Tuesday, 9 a.m. Taped to the front door a screen shot of Aida Causevic from yesterday's shoot informs the crew in no uncertain terms where we'll be viewing dailies. The editing teams, consisting of Todd Doray, Ed Friesema, Kevin Graham, Seth Herring, Ben Jaffe, Ryan Kennedy and Ryan Panchadsaram, are still at their stations.

While dailies are typically unedited footage serving to check performances of talent, lensing issues and the overall quality of what's been shot, given our compresssed timeline the teams have been instructed to assemble their own versions of whichever scenes they had sufficient footage of. Based on the strengths evident upon viewing, the teams will be assigned specific sequences to edit under the supervision of the director.

We're on the clock. The producer orders the teams to stop where they're at and show their stuff. Numerous sound issues become apparent — usually the bane of production — but the footage looks clean. Now the real work begins. The teams have one day to assemble a rough cut suitable for screening Thursday morning.

THE ROUGH CUT

Thursday, July 3rd. It's the final day of IFB #1 as a result of the Fourth of July holiday. Inside CAS 300 our team awaits the arrival of the movie they have collectively created from scratch and labored so intensily to complete. It is tangible evidence of their time, efforts and experience. A validation of who each in this room has been for nine days.

"One more day," one of the editors laments. "If we only had one more day to make it better."

The lights go out and the rough cut of Rock, Paper, Peace comes onto the screen — lacking music, devoid of ambient track, untimed (not color corrected), audio unmixed, ADR (additional dialogue recording) to be done, scenes unpolished — and illuminates every hopeful face in the room...

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