The mountain was just the beginning.

When we came back from Mont Blanc, we carried with us over 1,100 raw photographs and more than 40 hours of footage. The climb was behind us. The real work was just starting.

The first thing we do after every field mission is sit down and do nothing with the material for 48 hours. Not because we are not eager — but because good editing requires distance. You need to forget what you felt on the mountain before you can see clearly what the camera actually captured. Emotion is useful on the field. In the editing room, it gets in the way.

Then comes the selection process. Going through 1,100 photographs one by one is not a mechanical task. Every image gets looked at seriously. We ask the same question for each one : does this frame say something that the others do not ? Does it add to the story or does it repeat it ? Most images, even technically strong ones, do not survive that question. After three full days of selection, we had 80 candidates. After another round, 32 finalists. That is the collection you see.

For the film, the process is longer and more complex. 40 hours of footage becomes a structured narrative. We map out the emotional arc of the story first — where it starts, where it breaks, where it resolves. Then we go back into the footage and find the moments that serve that arc. A look. A breath. A silence between two sentences. Documentary editing is less about cutting and more about listening to what the material wants to become.






Détails

Type — Post-Production · Editing · Color Grading · Sound Design Duration — 4 weeks in post-production Material processed — 1,100 photographs · 40 hours of footage Final deliverables — 32 photographs · 1 documentary film · Full sound design