One of the things I’ve learned from watching Terry is that he is always operating to a rhythm. You can literally hear him mutter the beat - and watch his hands tap it out like the director of an orchestra. He applies this “beat” to the pacing and timing of transitions - gesturing at camera and crew for transitions on syncopations. The comedic moments, the dramatic moments are suspended for caesural pause and then released. By being literally in his shadow I can hear the beat better and then minimize the gap between him saying “now” and actually applying that effect. It is tricky because there is a natural latency in an effect going from his voice to my ears, to my hands, to the computer, to the network, to propagate over all the computers, and to be applied to the target computer, and then to animate that effect on the target display. The latency can be as high as 200 milliseconds. So I have to slightly anticipate to absolutely minimize the delay. Terry wants it to feel like Quohen or other actors are “reacting” exactly to the visuals or visa versa - it is supposed to feel like a push-pull between actors. And for me to make that believable I have to be very sensitive to the transition points (as well as having memorized the script during rehearsal).
Today I’m exhausted due to simply having had to program all the effects and all the machines and setup the hardware. So between shots I sneak around to a part of the set that is not being used and I have mini-naps. I drink a lot of coffee and eat sugary snacks. I work, then I power nap, then I work. We spend a couple of days on this set - it is grueling.