Wednesday, January 27, 2010

Sundance & Sound Design

What a crazy past few weeks...

Early last week, we pushed "Another Life" into the sound design phase after meeting our keys: Beth, our editor and post supervisor; Chris, our lead sound designer; Rebecca, our dialogue editor (first at work on sound); and John, our composer.

And the meetings all went well.

Rebecca and Chris both spotted the film with me and gave very good notes about the challenges ahead in ADR and Foley, the exciting opportunities of developing backgrounds, and the surmountable difficulties of dialogue editing. And some pretty great ideas with developing a new take on the film's soundscape!

John and I met and spotted the film. I discussed my initial impressions for the score and he came to the table with some brilliant ideas on developing two themes for Angela's two worlds.

After a few technical difficulties, Beth and Chris stepped in and made sure that John and Rebecca had all the right files to begin their work.

And, yes, I was at Sundance this past weekend.

I woke up early and stood in line for hours and hours to wait-list tickets for amazing films that will change the landscape of independent cinema. Films like Animal Kingdom, Abel, and Cyrus.

I took buses, waited in long lines, and struck up conversations with complete strangers, making budding connections connections with emerging filmmakers and passionate filmgoers.

I went to late night mixers and parties, rubbing elbows with actors, actresses, writers, producers, directors, and all kinds of exciting filmmakers until I ran out of business cards.

Why?

The whole time I was there, I generated buzz for "Another Life."

Stay tuned as next week, we review dialogue editing, build sound backgrounds, start making a trailer, and keeping the post-production schedule chugging along!

Monday, January 4, 2010

PICTURE LOCKED!

No better way to ring in the new year than with a Pic Lock...

Picture. Editing. Is. Finally. DONE.

Earlier today, my editor Beth and I watched the film for the first time since the winter holidays break. With fresh eyes to the 6th Cut and our last (very successful) test screening's notes, we watched the film, and... there was very little left to do.

Beth had a few edit points she wanted to massage just right, cutting/adding a few frames at a few moments that felt slightly off... and then those scenes felt ten times better, just because there was half a breath more after a provocative line of dialogue or a stronger connection between the actors' eyes.

I had one big note from the screening notes: a few audience members felt a little confused with the last flashback when Angela watches Tom die in her arms. They didn't understand what happened to the off-screen insurgents . Beth and I agreed and inserted a shot of Angela shooting down an off-screen insurgent before turning back to Tom bleeding out on the floor. Beth and I took some time picking just the right take, inserting it into the timeline, reconfiguring all the gunshot sound effects, massaging the edit points, getting the timing just right... and we nailed it.

Beth and I both had some tweak notes on sound design and then we had some business to cover to make a smooth transition from picture to sound: making the OMF file and a high-res quicktime with the TCR embedded into the screen with no sound as well as a discussion of credits. I'll be compiling the final list this week (minus the names to be added during the sound design process) and we'll find a credits artist and finish that work before Spring Break.

And after two hours of work, that was it. Final Cut Done.

This is the way the editing ends
Not with a bang, but with an AWESOME.

Next, sound design! And then, the world!