POST-PRODUCTION
EDITING
In order to synchronize all four walls, I edited using Premiere Pro’s multi-cam function. It took three weeks, endless tweaks, sleepless nights, and a significant amount of patience.
This is officially my last film edited in Premiere, not because I don't love the process, but because Premiere simply couldn’t handle Mustra.
At some point we had so many rendering problems that we even managed to make this song while we waited! enjoy!
In post, I worked closely with Henrique (Quinho), and our past selves had one golden mantra: “We’ll fix it in post.”
Once we got there, though, we realised we didn’t need a timeline, we needed a Time Machine to go back and slap ourselves.
Post became a battlefield of problem-solving, audio ghosts, and creative panic. But somehow, with enough late nights and dark humor, we made it out alive.
THE ORIGINAL SCORE
What I love about film is its ability to be deeply original, personal, and unapologetically human. That’s exactly why I wanted an original score, something raw, emotional, and created by a real person, not a machine.
I shared the emotional world of the film with Quinho, and he got it immediately. It took only two rounds of feedback to land on the exact sound I was envisioning. It wasn’t just music, it was a translation of feeling.
