Sound: March 2009 Archives
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...
