section_path: Production/Post-production
section_name: Post-production
paragraph_text: Post-production
  
  Fargeat described post-production as the most challenging period of the production, taking a year and a half. With over 300 hours of dailies, one of the main challenges was finding the right pacing for scenes with little dialogue. Scenes were frequently changed based on the interaction of the music, visual effects and sound design, with post-production finishing just three days before the premiere. Visual effects by NOID Studio took one year to complete.
  
  The film was edited by Jérôme Eltabet, Fargeat, and Valentin Feron. Eltabet had previously collaborated with Fargeat on Revenge and taught her editing while working her children’s show Les Fées Cloches He began editing midway through the shoot, approximately three months in and independently created the film’s initial 3.5 hour rough cut, which did not include many of the inserts or closeups. After filming wrapped, Eltabet and Fargeat collaborated over six months bringing the runtime to 4.5 hours. Eltabet and Fargeat collaborated by editing separate sequences in different rooms using Adobe Premiere Pro, then swapping the sequences between each other for further refinement. Due to the film’s numerous iterations with some sequences having between 150- 200 different versions, Feron was later brought in to give a new, outside perspective to the film. Several scenes with Elisabeth’s agent were shot but ultimately not included as they were not deemed compelling according to Eltabet. He found the theater climax the most difficult to cut, as he had to edit around prosthetics that didn’t always look convincing.
  
  For the sound design, Fargeat placed sound effects and notes in the editing software timeline for sound designers and editors Valérie Deloof and Victor Fleurant. The team was tasked with finding the right textures, effects, and tone for each scene, using exaggerated or realistic sounds to explore deeper meanings. For example, a chainsaw was used for the electric mixer in Elisabeth Sparkle's cooking scene, and pistol handling sounds were used for the triggering of the capsule during injection shots.
  
  For the first person view shots in the birth sequence, Fargeat wanted Sue's movements to sound as if immersed in amniotic fluid. To achieve this, the sound team placed microphone capsules in the actors' ears to capture breathing through cranial resonance. Simultaneously, a boom mic and a high-frequency mic captured audio to allow for further edits or to switch to an external viewpoint.
  
  For scenes with Harvey, the team wanted to emphasize his larger-than-life character. Before entering a scene like the bathroom or restaurant, sounds were mixed realistically. Once on screen, they became heightened; for example, for the restaurant, sounds were layered emphasizing his eating and the juiciness of the shrimp. Ambient sounds and music in the restaurant were muted at this point. When Harvey enters his office, the sound team emphasized the "blinged-out heaviness" of his boots.
  
  The team created soundscapes to enhance the film's visuals and themes. When Elisabeth leaves to retrieve the substance, the sound design shifts from a noisy street to deserted suburbs with dogs, police sirens, and crows used to foreshadow danger. Inside the storage facility, sounds were shaped musically with metallic materials and sustained notes to give a feeling of discomfort, and then drawn back to only a low and clinical neon light.
  
  For the low-angle shot of "Gollum" banging on the bathroom door, visual effects were used to combine Moore's prosthetics with the prosthetics on the thinner body double.
  
  When projected for Kračun, the film appeared too sharp, so it was downscaled to 2K and then upscaled to 4K to retain the softness he found on the set. When Sue is on the TV show, the footage was kept at the original pre-processed 4K for a sharper look.
  
  Fargeat described post-production as the most challenging period of the production, taking a year and a half. With over 300 hours of dailies, one of the main challenges was finding the right pacing for scenes with little dialogue. Scenes were frequently changed based on the interaction of the music, visual effects and sound design, with post-production finishing just three days before the premiere. Visual effects by NOID Studio took one year to complete.
  
  The film was edited by Jérôme Eltabet, Fargeat, and Valentin Feron. Eltabet had previously collaborated with Fargeat on Revenge and taught her editing while working her children’s show Les Fées Cloches He began editing midway through the shoot, approximately three months in and independently created the film’s initial 3.5 hour rough cut, which did not include many of the inserts or closeups. After filming wrapped, Eltabet and Fargeat collaborated over six months bringing the runtime to 4.5 hours. Eltabet and Fargeat collaborated by editing separate sequences in different rooms using Adobe Premiere Pro, then swapping the sequences between each other for further refinement. Due to the film’s numerous iterations with some sequences having between 150- 200 different versions, Feron was later brought in to give a new, outside perspective to the film. Several scenes with Elisabeth’s agent were shot but ultimately not included as they were not deemed compelling according to Eltabet. He found the theater climax the most difficult to cut, as he had to edit around prosthetics that didn’t always look convincing.
  
  For the sound design, Fargeat placed sound effects and notes in the editing software timeline for sound designers and editors Valérie Deloof and Victor Fleurant. The team was tasked with finding the right textures, effects, and tone for each scene, using exaggerated or realistic sounds to explore deeper meanings. For example, a chainsaw was used for the electric mixer in Elisabeth Sparkle's cooking scene, and pistol handling sounds were used for the triggering of the capsule during injection shots.
  
  For the first person view shots in the birth sequence, Fargeat wanted Sue's movements to sound as if immersed in amniotic fluid. To achieve this, the sound team placed microphone capsules in the actors' ears to capture breathing through cranial resonance. Simultaneously, a boom mic and a high-frequency mic captured audio to allow for further edits or to switch to an external viewpoint.
  
  For scenes with Harvey, the team wanted to emphasize his larger-than-life character. Before entering a scene like the bathroom or restaurant, sounds were mixed realistically. Once on screen, they became heightened; for example, for the restaurant, sounds were layered emphasizing his eating and the juiciness of the shrimp. Ambient sounds and music in the restaurant were muted at this point. When Harvey enters his office, the sound team emphasized the "blinged-out heaviness" of his boots.
  
  The team created soundscapes to enhance the film's visuals and themes. When Elisabeth leaves to retrieve the substance, the sound design shifts from a noisy street to deserted suburbs with dogs, police sirens, and crows used to foreshadow danger. Inside the storage facility, sounds were shaped musically with metallic materials and sustained notes to give a feeling of discomfort, and then drawn back to only a low and clinical neon light.
  
  For the low-angle shot of "Gollum" banging on the bathroom door, visual effects were used to combine Moore's prosthetics with the prosthetics on the thinner body double.
  
  When projected for Kračun, the film appeared too sharp, so it was downscaled to 2K and then upscaled to 4K to retain the softness he found on the set. When Sue is on the TV show, the footage was kept at the original pre-processed 4K for a sharper look.