Gustavo, this is basically how narrative films "finish" the editing process: there's a deadline.
Either a contractual deadline or the editor is only booked through a certain date. Probably only a very small percentage of films beyond very healthily budgeted/scheduled studio features ever are considered 100% done, editing-wise, by the director and editor(s). You usually just get to the point that what it would cost to go in and rework those few imperfect scenes isn't worth it. The cost usually being via complications for the audio team who have probably already begun their work.
I'd recommend you arrange a small secret screening with a few people you greatly respect. Figure out how long it "should" take someone to finish the edit and then schedule the screening 90% of that time from now (ie. if it should take 30 days to edit, schedule the screening in 27 days). Pretty much everyone always does their best work when there is just slightly not enough time to achieve what they want... you'll feel less comfortable that way and way less likely to let yourself fall into lazy mode. I know it sounds weird but humans are weird.
Sitting watching the cut with other people will magically make it blaringly obvious what you did wrong, even before you get their input... because you will likely feel the pangs of shame and embarrassment during the moments that "don't work" in the edit. It'll all be strangely obvious all of a sudden. For the last 10% of teh schedule, it'll be incredibly easy to make those fixes like you have laser vision or something.
Editing with no deadline or "social consequence" is like playing chess against yourself — it can go on for infinity. Hope this somehow helps and best of luck.
If you want to get hit by a car, go walk onto a busy freeway, don't stay where you are trying to get cars to drive to where you are. You have to get yourself wedged into a machination where money is already being spent on video production (frequently and, hopefully, in volume), instead of spending huge amounts of time and energy trying to convince people that they should take an unfamiliar risk and start spending money on video.
Probably the easiest way to go about this for someone not in LA or NYC is to reach out (via email, not phone — people will instantly start trying to figure out how to get off the phone with you... this is 2016) to small and medium sized marketing agencies and ad agencies and make it clear that you are willing to work on whatever unglamorous stuff they may need. It will help immensely if your work is of outstanding quality. You then repeatedly impress them and gradually they award you bigger and bigger projects. Then art directors, account execs, etc that work there (and like working with you) leave to work at other (hopefully bigger) agencies/firms and call you about projects there.
The important concept here is that you go to where money is already being regularly spent on video production... find the existing wide, raging river and jump in it, don't spend time trying to dig out your own stream. Hope this helps and best of luck.
@josh That's not really a filmmaking question, more a hardware question... it depends on what the components are made of. Take your partial sword prop and your chest plate to the hardware store and ask for advice. Best of luck.
Probably the most cost effective way to execute this in a completely convincing way is to use a succession of three common techniques:
First have actor A use a sword to cut/break something (show the viewer it's real).
Cut on action to actor A now thrusting a sword with the outer half of the blade removed. Have him plunge the "invisible" part of the sword into actor B's chest. In post, you can do a very simple 2D track of the first half of the sword to attach a still image of the outer half of the sword to it (motion blur will make it easy to sell this effect). You then do a simple manual masking of where the synthetic blade is entering actor B's chest. Add to the wound one of the bazillions of available squib/blood spurt stock footage shots if need be. If the synthetic blade has lighting change on it over the course of the shot, then shoot multiple stills of the blade with the different lighting, then dissolve to the relevant lit versions in a precomp/etc of the element that is used for the synthetic blade.
As the blade is being thrust and still moving (but after the viewer sees it has already entered the chest, cut to a side angle and use ye olde "through the armpit" technique, and composite in another blood spurt stock element onto actor B's back.
Then after the stab/thrust is complete and the sword isn't moving anymore, find some cut on action to a frontal or rear angle and have the sword portion be attached to a simple chest or back plate actor B is wearing under their costume.
And lastly, one of the absolutely most important things to do is to have an outstanding sound effect.
I believe there are also retractable sfx prop swords.
You are correct, I agree (as detailed in that FAQ excerpt). But compared to all other post options, our plugin does come closest.
If you're speaking of diffusion filters, there's now an AE plugin called Variable Diffusion (http://invisiblechainsaw.com). Disclaimer: this is my plugin, but it is the best post production emulation of real glass diffusion filters available and it's a result of 18 years of development. But keep in mind that there is nothing better than the real thing when it comes to diffusion filters. Here's why (from our FAQs)...
"When you use real physical diffusion filters, you’re sampling light from the real world which contains much, much more image information that any recorded image of it. We feel our Real Filter Emulations come very close to the look of physical glass diffusion filters and capture the “feel & spirit” of them, and do so closer than any other dedicated post production product, thanks to our new proprietary algorithm. For most types of shots, our Real Filter Emulations affect the image in a way that is almost indiscernible from the way the real physical diffusion filter affects the image—albeit in terms of “feel & spirit” and not in exact, pixel-for-pixel emulation. No post production solution can authentically duplicate what a real physical diffusion filter does, at least until there are cameras that record in 14-bit color space with 40+ stops of dynamic range."