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I was keen to avoid diluting the impact of each message with an overload of trendy visual effects, so I chose to create an actual collage of photos and ephemera to illustrate callers and specific scenes. This covered 9 boards, each a metre wide and 16:9 in ratio. Since life is a continuous event, I wanted the flow of the film to be unbroken also - i.e. to film the completed montage in one continuous take. But first, the edited sequence of messages had to be signed off or ‘audio locked'. Only then could I complete the artwork, and plan camera moves & timings. Inevitably, the cut was tweaked a few times at the last moment, resulting in some late nights re-jigging the montage artwork. It's not often that a shoot occurs after the edit!

Ken Morse. 42 years in the rostrum camera game business and more screen credits than I've had hot dinners. If anyone can shoot it, he can. So... that's 9 boards of artwork, each with a couple of dozen camera moves with ‘buffered' starts and ends, invisible transitions between one board and the next, all in one take please Ken… In his own words, it was “a bit of a bugger” - but he did it!

With the resulting rushes deftly synched up and graded by DS Nitris wizzard John Cryer, it was onto the audio mix with Cliff ‘sound monster' Jones for a sprinkle of SFX and a clean up of my mucky old analogue messages. Then suddenly, it was all over. M y documentary / arts project of 20 years was finally complete.

We headed straight to the nearest pub.