Hello everyone! This is my first ever blog post, and I thought, why not write it about one of my greatest passions, film?
Parasite is a South Korean film directed by Bong Joon-Ho, winning Best Picture, Best Director, Best Original Screenplay and Best International Feature Film at the 92nd Academy Awards. There is no doubt that this film has created a great impression on film lovers all around the world.
Editor Jin-mo Yang shares some insights on how he edited the film.
I use Final Cut Pro 7. I have been using this program for more than twenty years and I think this is the most convenient and stable program. But, since Apple does not support the program anymore, I needed to maintain the OS at Mac OS Yosemite version. I always start editing from the first scene. Mostly, I begin with rough cuts. For Parasite, on-set edits were the assembly edits. So, I watch entire on-set edits first and refine it from the scene Number One.
I think it is very interesting how Jin-Mo Yang decided to use Final Cut Pro 7 and this goes to show that everyone has a different way of working and a different style. This also proves that an 'older' type of software can still give amazing results and create a modern-looking film in 2020.
Something I noticed whilst watching Parasite was the colour choice for the scenes. There are many scenes set inside the Park's family's house, where the yellow lighting takes over and create some interesting shots, whilst giving the rooms an almost a cosy, comfortable effect.
The daylight scenes are characterised by a Teal and Orange effect - we also must remember, that there is not one piece of media that isn't colour corrected for television or cinema showing. Everything is professionally colour corrected before its publication, whilst also taking care of its correlation to the emotions and actions in the film.
Parasite is a film that tackles class struggle in South Korea, differentiating the rich and the poor. It does so carefully, with an important attention to screenplay, irony and attention to detail.
The screenplay is fascinating. Attention to detail is one of the most prominent elements of the film. These are found in scenes like the peach.
“Of the 10 main characters, four die in the end. There was a moment when they could have potentially avoided the massacre – when the Kim family’s mother and daughter come to their senses, and talk about how they should negotiate with the couple in the bunker. But from a slip of fate, they aren’t able to go down, and miss the opportunity to avoid that tragedy. Of the Kim family, the daughter is the smartest and most reasonable character, and she is the one that has to die in the end. It’s even sadder when her death comes.” says Bong Joon-Ho.
Overall, this is my favourite film, and has been so since the date I first saw it screened at the cinemas. Its genius metaphors and storytelling elements are what drive me to study meaning and the importance of cinematography in films.
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