Millie, our one woman filmic powerhouse, has been working on a third edit of ‘Milk’, and I have been there to advise and offer input.
One clear new direction was the involvement of a new composer and sound director who reached out via a mass email looking for projects to work on. I met Guillermo, showed him the film as it stood and we discussed where we wanted to go from here and what was needed to be done.
Yesterday, he came back with his first edit (not yet finished). It was fantastic – a huge elevation in the overall tone and storytelling potential of the film. Through music composition, some foley, new overlaid ambient sound and a few other tricks, the film now stands on a whole new level.
There is still work to be done, and I’m meeting him this afternoon to give him some notes, however they are really minor tweaks here and there – with the exception of the long conversation (scene 6); I think it’s missing something that I just can’t put my finger on.
One of the rolls used is apparently Roll 5 Scene 1 Take 3.
I don’t have that.
It is after the last shot I have down as us doing.
According to Millie and Lorene’s schedule,
it sometimes seems that they think the only thing that needs doing with sound is just syncing it with the footage and then dusting your hands for a job finished.
I guess this is a vaguely understandable belief to have if you’ve not worked with sound files or editing sound files before. However, I made sure that they do have access to exactly the same sound files as me. I know they are very focused on the visuals of the film, and esp. the colour grading – which is fab, I love colour grading – but I which they would stop treating sound as an afterthought
This is very annoying. Especially when I had to fight so hard on set to capture decent sounds thanks to locals still being in the pub, and I had to pour so much work into Roll 6 (the main scene) in order to get the sound as crisp as possible with a controllable amount of background noise. To do this for every take will be a whole load of time thrown at it, which is something I don’t have if I still don’t have a cut of the film.
I’m sure they will realise once they hear the film synced with just the raw sound files, most of them completely untouched.
(some of the things said above may be unfair, I’m just working out my frustration a little – small crews put a lot of strain on individual people)
I asked Lorene and Millie for a cut of the film as it stood so far.
I knew they were working on colour grading, but if the film needs the sound done sooner rather than later for the 1st cut, I needed to start before they finished colour grading.
I therefore asked Lorene for a full cut of the film as it was so far.
I asked what a “10 bit one” was. I then told her the stills would probably work, as it seems like it was cause her difficulties to sent the a render of the whole film.
This, as I learned later, was a mistake on my part.
She sent me a list of the shots:
so I made corresponding folders ready to receive the stills and dump the relevant sound files in the folder. It was labour intensive – for no real reason, and that labour could have been saved. That was a little frustrating.
As well, the still were in DNG format! Large and unfriendly. I could turn them into jpegs, but that’s hella labour intensive.
The stills turned out to be a little useful, but only really for reference as to whether the sound was for the right shot, which it should have been, but as stills they were not hugely useful even for this simple task.
I could not get to work.
This is why ‘Data Wrangler’ is a job, to separate the grunt simple file processing with the actual creative process of editing and mastering files!