Research: Sound Editing

My colleague, Alice, showed me her real today:

DemoReel – Think Better Think Faster (2017) from Alice Pozzoli on Vimeo.

In the description, she lists freesound as one of her sources.  ‘Freesound is a collaborative database of Creative Commons Licensed sounds. Browse, download and share sounds.” It’s something I ‘m going to start looking at more regularly to patch holes.

Freesound

 

What I got from this:

  • Sharing is a vital part of learning. I need to make sure I’m open and aware of the different ways I could be finding things and doing things better. There’s no sense reinventing the wheel or wasting time trying to.
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Methodology: Do It Right

How I’ll shoot my film, based on first-hand experiences of others’ fucking up theirs:

  • Concept Art – not only to get people excited and interested in the premise of the story, but also suggestive of the look, style and place of the film – useful for cast and crew AND the audience

Pacific-Rim-Concept-Art-Street-Chichoni- Doug Williams

  • Storyboard – something physical to refer to when conversing with the crew, esp. the cinematographer, DOP, first AC etc. also helps to externalise the mush that’s in your head
  • Live Reads – you watch an actor’s showreal, and think they’re perfect for your role – great! Get them in, and reading the script in a room with you and potentially the other actors. It helps kickstart your working relationship with them, as well as remove the mediators of editing, camera etc.

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  • Screen tests – similar premise; you won’t know what your actors will look like on screen until you shoot them and put them on a screen.
  • SOUND – cannot stress enough. Two man crew, at least. Consult with the head of sound regarding creative and technical decisions. Don’t let it be an afterthought.
  • Realistic Schedule – schedule the shoot days with allowances for all of the technicalities and prep work that needs to be done before and during shooting. This varies, and includes, but is not limited to; costume, make up, miking up, rehearsals, blocking, weather, environmental noise, blunders, forgotten lines, corpses etc etc.
  • BTS Photography
  • Extra hands – I seriously don’t think it’s wise to turn down a willing pair of hands to be on set because
  • Capture the sound live – unless there is a very real and definite reason not to capture sound live, do. It will be a ball ache to do wild tracks, ADR or Foley. Avoid it if possible.

decipher-film-slate-mos3

  • Share your vision with the creative crew – but at crunch time, get them to give you two or three distinct options to choose between.
  • Sweat the small stuff, or get someone else to sweat it for you
  • 1st ADs are your best friend. Don’t lie to them, but perhaps get them to bend to truth to keep morale up.
  • Analyse other movies. Really break them down, and all of their individual elements, and how and how successfully they contribute to the overall effect of the movie.

Updated:

– Create a document listing shot names and then keep it up to date with takes shot, any comments the director or anyone else had at the time of the shooting and which take was preferred. This will become an incredibly useful working my document when it comes to post-production and you sit there at staring at gigabytes and gigabytes of often unprocessed film footage. Save yourself some pain.