Everything That Could Go Wrong On a Shoot… Did | Ep 14 w/ Kat Alvarez-Jarratt

For the first time, we put an editor in the chair. Jamie Rusiti breaks down a Destination NSW immersive experience — a four-screen dome you physically walk inside — that he and Ethan built together over six months with no rulebook to follow.How do you cut for a room where the audience can look anywhere they want? Jamie gets into the homemade four-screen preview rig, the RED Komodo 360 array, a 12-speaker sound mix designed to steer your eye around the space, why everything had to be locked on a tripod, and the hardest lesson of all — pacing your cuts so people have time to look around without losing the story.Then a genuinely great conversation about editing itself: why a film is written three times, the "make the worst edit you can" trick for beating the blank page, why editors should never be on set, and what it means to dream about your timeline.00:30 Intro06:35 The Breakdown: a film for four screens23:52 A 12-speaker mix that steers your eye56:30 On editing: a film is written three times1:00:50 Life of a Freelancer: booking holidays🎙️ New episodes weekly.#thedirectorandthedop #filmediting #postproduction #immersive

In an age where everyone's reaching for AI, director Andrew Seaton (Mint Films) built a monster by hand. He breaks down ResMed "Lossy" — a lack-of-sleep puppet brought to life with a hand puppeteer and mechanical eyes instead of VFX, and why the tangible, practical approach gave it a charm no prompt could.Andrew takes us through finding puppeteer Rob Cook, ADR-ing a puppet into cute international gibberish, and the on-set magic of grown adults talking to the puppet instead of the man inside it. Then the Mint Films story, and a genuinely useful conversation on directing: decision fatigue, directing athletes vs actors, and using callbacks as rehearsals.Plus What We Watch: a Jamiroquai "Virtual Insanity" redo, a sound-design masterclass, and a love letter to Gary Oldman in Slow Horses.00:20 Intro 06:00 The Breakdown: ResMed "Lossy"7:37 Why a puppet instead of VFX24:48 Everyone talked to the puppet32:20 On directing: decision fatigue and talent55:00 What We Watch🎙️ New episodes weekly.#thedirectorandthedop #commercialfilm #puppetry #directing

Toby Morris (Cousin) is one of the most in-demand directors in the region, with a singular, playful visual style. He breaks down his Kia Seltos spot — shot with two full crews running simultaneously, a solo-built CG fly-through of Sydney's Town Hall, and a director's-cut approach of jamming the best gags out in the edit. Then the bigger story: Toby's just-finished independent feature "Cooee," a passion project a decade in the making that a cancer diagnosis finally forced into being — and a genuinely moving conversation with Liam, a survivor himself, about why it takes a wake-up call to pull the trigger on the thing you keep putting off. Plus a Gear Chat eulogy for Miller — the Sydney brand that invented the fluid-head tripod in 1946 and just closed its doors. 00:21 Intro 05:12 The Breakdown: Kia Seltos 07:37 Shooting with two full crews at once 29:34 "It's such a dumb job" 31:48 Cooee: the feature, and finishing what you start 45:07 Gear Chat: farewell to Miller tripods 🎙️ New episodes weekly.#thedirectorandthedop #commercialfilm #directing #filmmaking

Art director Ruth Levi breaks down Liquorland "Score More This Summer" with Pat Cummins — four completely different worlds (a talent show, a game show, a bowls green and a backyard) crammed into a single shoot day, and the torrential-rain forecast that forced her to build an entire backyard from scratch in a studio with 48 hours' notice. It's a window into a department this show has never covered: the noughts-and-circles motif hidden in plain sight, a black-market hunt for incandescent globes under a Sydney underpass, why she refuses to send a set to landfill — and the quiet philosophy behind it all: if you notice the art department, they haven't done their job. Then What We Watch: a genuinely stunning ABC crime drama, the cinematic leap of GTA VI, and a love letter to editors. 00:18 Intro 05:38 The Breakdown: Liquorland "Score More" 11:55 Building a backyard in a studio in 48 hours 19:58 The black-market globe hunt 37:57 "You shouldn't notice the art department" 51:07 What We Watch 🎙️ New episodes weekly.#thedirectorandthedop #artdirector #commercialfilm #productiondesign

Elliot Constable just won ABC's Race Around the World — the rebooted format that drops six filmmakers into ten countries and makes them research, shoot, edit and star in a film a week, completely solo. We met Elliot on a Destination NSW shoot; here he walks us through the near-impossible logistics, the stories (Moldova, Svalbard's polar bears, a Brazilian favela homage to City of God), and the all-time production disaster — a thorn bush destroying his camera two days before a rhino de-horning shoot, and the snake farm 2.5 hours away that saved him. Plus: the strange new pressure of having to be the personality, not just make the work; why the one thing he'd spend money on wasn't gear but someone to do his receipts; and the honest truth about online criticism. Then Hot Takes — including the first live one in the show's history. 00:18 Our own overseas near-death stories 07:50 Winning Race Around the World 18:18 How the show actually works 31:30 Being the personality, not just the filmmaker30:30 The broken camera and the snake farm 1:01:45 Hot Takes (first-ever live one) 🎙️ New episodes weekly.#thedirectorandthedop #filmmaking #racearoundtheworld #documentary