I know there are areas that need some work. That's the problem with such a tight deadline.. and they are always tight... However it is also the beauty of digital.. it's pretty easy to 're-stripe' the picture when you need to make a change.
MUSIC
I spent an awful lot of time working on the 'Burley Attack' (Heavy part) music to find that my
skills as a 'pop' mixer have a very long way to go... in future I will have to get budget to hire a team of recording pros... or spend 20
years acquiring the knowledge........ sheesh!
Orchestral stuff is so much easier to mix because the instruments have been designed over 200 or more years to blend well with each other.
The music at the start is called 'Zimmer Frame'.. no prizes for guessing why..
SOUND DESIGN
Thanks to the internet and a growing library, the sound design started to take shape relatively easily.
There are still some glaring problems... I don't like the Harpy scream and the overall mix sounds a bit muddy..
The expertise and experience of a pro is a must.. Luckily a friend of mine called Fai was willing to listen to my mixes... I'm waiting to hear the bad news!!!!
He's a seasoned pro
having worked on many Johnny To Movies with 'THE' Martin Chapel.
I always have a tendency to add too much.. but it's al a very steep learning curve.
SOFTWARE
Soundtrack/dialogue editing and mixing:
Audition 3
Waves mercury bundle.
Protools 8.0... sitting there unused for this project.. due to time constraints
LUMINA will be done on Protools! Promise!
Sonar 8.0 for composition and sequencing.
Vienna strings
EZdrummer
Garritan Personal Orchestra
Synful Orchestra
Vsampler and loads of Giga samples (bought
and made by me... for example.. I went to Japan to record Taiko drums.)
INSTRUMENTS
a $200 (HK) violin for a touch of realism on the score at the start.
Gibson SG guitar
Epiphone Sheraton for
those nice feedback sounds (it's hollow)
USA METAL PEDAL (borrowed from my friend Kenneth Wong) and the trusty; yellow BOSS Overdrive.
Yamaha solid state amp... (would love to get a Vox AC30)
Burns Bass (borrowed from work with a dodgy input!)
MICROPHONES
SM57 for off-axis amp micing
NT2a capsule condenser for ADR
AT-8015 long shotgun for production sound recording.. a really good mic!
Billy Lau's amazing Senheisser wireless lav! THIS IS TOTALLY AMAZING.. everything we recorded with
this was crystal clear and so noiseless... even in a really noisy location.
PRODUCTION SOUND CHALLENGES
Manman and I (and Isaac) recorded the synch tracks straight to my little old laptop via an Edirol UA25 USB interface. I have used this for many years and it produces some good results... of course I would live to have a Nagra V or Fostex.. I've heard good things about the Tascam HDP2 recorder.
Everything was recorded at 48k 24bit. The beauty of using a laptop is that you can name your files as you go.. there's usually enough time between shots to prepare 6-8 labelled takes.
(The HDP2 has a keyboard input for this very use.. and timecode.)
Time code would be
useful..
The problem we had was we did not synch the sound as DAILIES to the footage so everything had to synched up using PHASE MATCHING.. this is quite simple
but the camera sound was really shocking (HVX200)
We had slates but the due to our tight schedule we didn't synch any dailies.
However, in future; recording direct to cam via a mixer, even if it is to get a clearer synch sound, is vital.
Suggested setup for feature:
Record to Tascam HDP2 (or Nagra V etc....) with timecode coming out of cam.
Send a real time feed to the cam and record with the high quality pre-amps.
Dailies should be made (just like film) so the editor can edit with Production Mixer's sound.. then the dialogue editor can clean up and smooth as need from the picture synch sound.. minimal synching needed.
It takes a REALLY long time to synch dialogue without slates.. even when you are good at it.. if it is 1/2 a frame off... you get the old 'Hong Kong Movie Dubbed'
look.
PRODUCTION SOUND DREAM TEAM
Production Mixer
Boom Operator
Sound Assistant/ Cableman.
With this team, you can get everything you need.
We didn't have enough phones outputs to give the boom op a set of cans.. on a feature this would be simply.. STUPID!
I'll upload some pics of work in progress and gear on the
weekend.
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