March 2009 Archives
...first fall.There is no love for Luci at this years Oberhausen . This is, of course, disappointing. However, it's not all doom and gloom round theses parts as the fantastic Plane Days, directed and shot by Ben Kracun (DP on I Love Luci) & Ewan McNicol, is in competition there so we are very pleased that a close friend has secured a place.
If you would like to see Plane Days it is screening at the London International Documentary Festival (LIDF) on 29th March.
I recommend it, it's a gem:
I am once again looking for help.
Top of the agenda at the moment is the title sequence for I Love Luci and I am trying to find out what the font used on prescription labels is.
Here's a photo of a label. If anyone can tell me what the font is I would be most grateful:
Top of the agenda at the moment is the title sequence for I Love Luci and I am trying to find out what the font used on prescription labels is.
Here's a photo of a label. If anyone can tell me what the font is I would be most grateful:
Big Ideas (don't get any)
The blog is looking a bit messy at the moment because I'm tinkering with it to get it to look semi-decent and be halfway navigable. Please bear with me while I continue to ferret around in the site's engine room, breaking things and then trying to mend them again.
I have appealed for help in this area before. If there are any experts out there who would like to answer some questions or could spare a moment to share some coding tips with me then please feel free to leave a comment and I'll get in touch immediately.
Trying to fathom this stuff myself is getting tiresome and I make very slow progress on my own - trial and error has never been the quickest route to getting results in my experience.
Pardon the mess.
I have appealed for help in this area before. If there are any experts out there who would like to answer some questions or could spare a moment to share some coding tips with me then please feel free to leave a comment and I'll get in touch immediately.
Trying to fathom this stuff myself is getting tiresome and I make very slow progress on my own - trial and error has never been the quickest route to getting results in my experience.
Pardon the mess.
We are very near the end of the mix and it is a beautiful sounding thing indeed. All that's left to do is make the track at the end sit nice and loud and clear and give everyone the feeling we want them to have as they leave the cinema.
We have the wonderful King Creosote and Domino Records to thank for our final track, I won't tell you which one it is suffice to say you should go out and buy everything KC have ever published. I am a fan for sure.
Their latest oeuvre is available via all the usual portals and some sample listening to treat your lugs to can be found on Myspace.
Click here to buy the album on iTunes
Here is an amusing thing, the nominees for the music video award at the weekend have been written up by a TV channel in LA with We Are The Physics topping the bill.
I am currently in Savalas doing the foley for I Love Luci. So I thought I'd do a live blog to cover the event a there is quite a bit of sitting about and just watching for me in this process.
I am away from my on computer so you'll have to do without photos for now I'm afraid. I'll try and describe what's going on:
I'm sitting in a booth with the sound recordist watching little snippets of the final cut pop up on the screen. We watch it back and forth and the foley artist decides on what kind of implement is best to match the sound of the picture.
Our booth has a huge window looking on to the foley artist in a studio that is not too dissimilar to most sound studios, but, it has pits in the floor with different types of road surface, floor surface and anything else you might find underfoot. There is a back room with bikes, cutlery, pots, different kinds of shoes, cloth, glass, metals etc etc. All necessary for replicating the rich tapestry of sounds that surround us every day as we wonder through the world, and of course for making sounds from other worlds too.
We will be spending the next few hours shaking old bike frames, rattling tea spoons and rubbing bits of leather against and an old shirt. We even have a dog we can record of necessary.
I am away from my on computer so you'll have to do without photos for now I'm afraid. I'll try and describe what's going on:
I'm sitting in a booth with the sound recordist watching little snippets of the final cut pop up on the screen. We watch it back and forth and the foley artist decides on what kind of implement is best to match the sound of the picture.
Our booth has a huge window looking on to the foley artist in a studio that is not too dissimilar to most sound studios, but, it has pits in the floor with different types of road surface, floor surface and anything else you might find underfoot. There is a back room with bikes, cutlery, pots, different kinds of shoes, cloth, glass, metals etc etc. All necessary for replicating the rich tapestry of sounds that surround us every day as we wonder through the world, and of course for making sounds from other worlds too.
We will be spending the next few hours shaking old bike frames, rattling tea spoons and rubbing bits of leather against and an old shirt. We even have a dog we can record of necessary.
"We use the three beeps system here at Savalas...", Iain's opening gambit to the start of each ADR session with an actor begins with a brief explanation of what they will hear in their 'cans'. Three beeps and then they begin talking, hopefully in sync with the picture on the screen.
Yesterday we had 3 of our cast in to re-do and in some cases re-invent some of their lines. We started with Sanjeev Kohli, a very well known Scottish actor and ADR veteran judging by the way things went.
As with all the cast we got some real gems but they didn't happen where I was expecting them.
Colin Harris was next up, followed by Camilla Rutherford. In both cases the covering of the original lines was a technical pursuit, trying to recreate the performance from the shoot and while interesting wasn't nearly as fun as discovering the stuff that we could add to enhance the shape of the film. This largely came in the form of laughs, breaths, sighs, coughs, audible shrugs and other minutae. This stuff was great fun to do and it was a real pleasure to be afforded the opportunity to do this level of detailed work.
Many thanks to all involved:
Cast:
Colin Harris, Sanjeev Kohli and Camilla Rutherford.
Technical:
Recordist: Iain Anderson; Sound Designer: Douglas MacDougall; Voice Coach: Ros Stein
The last person I would like to thank is Joe, the night security guard at Film City Glasgow, who very kindly allowed us to interrupt his rounds to come and do a line that I hadn't put in the script. The line covers a security guard at the end of the film - a nice authentic touch we thought, and a great voice.
NB There will be a few crap photos to follow, I promise.
Yesterday we had 3 of our cast in to re-do and in some cases re-invent some of their lines. We started with Sanjeev Kohli, a very well known Scottish actor and ADR veteran judging by the way things went.
As with all the cast we got some real gems but they didn't happen where I was expecting them.
Colin Harris was next up, followed by Camilla Rutherford. In both cases the covering of the original lines was a technical pursuit, trying to recreate the performance from the shoot and while interesting wasn't nearly as fun as discovering the stuff that we could add to enhance the shape of the film. This largely came in the form of laughs, breaths, sighs, coughs, audible shrugs and other minutae. This stuff was great fun to do and it was a real pleasure to be afforded the opportunity to do this level of detailed work.
Many thanks to all involved:
Cast:
Colin Harris, Sanjeev Kohli and Camilla Rutherford.
Technical:
Recordist: Iain Anderson; Sound Designer: Douglas MacDougall; Voice Coach: Ros Stein
The last person I would like to thank is Joe, the night security guard at Film City Glasgow, who very kindly allowed us to interrupt his rounds to come and do a line that I hadn't put in the script. The line covers a security guard at the end of the film - a nice authentic touch we thought, and a great voice.
NB There will be a few crap photos to follow, I promise.
...or ADR or whatever term you like to use is happening today.
We will be in Savalas all day and night trying to get tiny little bits of dialogue just right to match with location sound and in some cases alter the performance to fit the now slightly different story. The process is covered in the comprehensive little video below courtesy of the encyclopeaodic blog from King Kong.
This is very exciting, my first time doing proper ADR and also being reunited with the cast after all this time.
Of course, it also means that we are nearing the end of the making of I Love Luci. Which I'm pretty glad of too, I can't wait to see a finished film and we're getting very close.
Here's the wee vid of them re-recording the dialogue on King Kong...
We will be in Savalas all day and night trying to get tiny little bits of dialogue just right to match with location sound and in some cases alter the performance to fit the now slightly different story. The process is covered in the comprehensive little video below courtesy of the encyclopeaodic blog from King Kong.
This is very exciting, my first time doing proper ADR and also being reunited with the cast after all this time.
Of course, it also means that we are nearing the end of the making of I Love Luci. Which I'm pretty glad of too, I can't wait to see a finished film and we're getting very close.
Here's the wee vid of them re-recording the dialogue on King Kong...
