Get ready to be blown away by the incredible editing work that went into the 2020 Academy Award-winning film, Parasite. Editor Jin-mo Yang spills the beans on his approach to editing this genre-bending masterpiece, and why he still swears by Final Cut Pro 7. From energetic drama to satirical commentary on class structure, Parasite takes you on a wild ride that leaves you breathless. But with Bong Joon-ho at the helm, what else could we expect?
Jin-mo’s on-set editing trick is a game-changer, allowing the director and actors to watch a quick edit on-the-fly and avoid missing any shots. And while many editors have moved on from Final Cut 7, Jin-mo still finds it the most convenient and stable program after using it for over twenty years.
So, if you’re a fan of Parasite or just curious about the art of film editing, don’t miss this exclusive interview with Jin-mo Yang.Academy Award-nominated editor Jin-mo Yang spills the beans on his editing secrets for the critically acclaimed film, Parasite. Yang starts by refining the scenes and then reaffirming the entire flow and tempo of the film. He repeats this cycle until he finalizes even the most meticulous details. Yang’s experience with VFX, such as being the VFX supervisor for Joon-ho’s Snowpiercer, allowed him to stitch together shots to get the desired look that wasn’t captured on set. He frequently stitched two shots as if they were one, creating convincing “mock-up” shots on the spot. This on-set experimentation facilitated the film’s overall success. Waiting for a VFX artist to get back with mock-ups can be tedious, so having the ability to get the look you want on-the-fly is a great way to get a rough cut looking the way you want before sending it out for VFX treatment.Get ready for some spoilers! The editing process for the critically acclaimed film Parasite was no easy feat, but Academy Award-nominated editor Jin-mo Yang was up for the challenge. While the film was mostly formed in storyboards, leaving little room for improvisation, Yang had to focus on getting the right rhythm in some scenes. In fact, the most difficult sequence to edit was fully conveying the change in Ki-taek’s facial expressions right before he stabs Mr. Park in the chaotic climax of the film. But Yang’s attention to detail paid off, as he expertly tailored each scene down to the very last frame. If you’re interested in learning more about filmmaking and VFX, be sure to check out some of our other articles below.
