The music arrives!
Ragnar Rosinkranz's music arrived over the weekend, which means we start working it into the film tomorrow morning!
We'll take a look at the entire rough cut of The Whole Truth, share notes on what we (editor Stephen Myers and myself) need to do to improve it through editing, including inserts of sound effects, tightening, changing what we can. Then we start adding the musical riffs Ragnar sent us.
That will be day #4 of editing.
Day #5 (Tuesday) will be more of the same .. refine, refine, refine. Focusing closely on every visual detail and movement with each pass, listening to every sound - electronically drawn out to catch every minuscule audible modulation.
This is where the film actually gets made ... and of course we can only work with what was actually shot. "Fixes" in post production are, while having much more potential than they did even a few years ago, are still fairly limited unless the film is shot properly.
We have one action scene that will have special effects, but we had to shoot it a specific way and at a certain speed, prepping it for the special effects folks at Modern Digital to modify after we've finished the editing process.
It's all pretty exciting. But our film is not really changing in editing - it's the same story we shot in the same way it was shot. Some films change drastically in editing because there were problems on the shoot. One such film was the award-winning Annie Hall. Most films that undergo such extensive changes in editing are not as fortunate.
We'll take a look at the entire rough cut of The Whole Truth, share notes on what we (editor Stephen Myers and myself) need to do to improve it through editing, including inserts of sound effects, tightening, changing what we can. Then we start adding the musical riffs Ragnar sent us.
That will be day #4 of editing.
Day #5 (Tuesday) will be more of the same .. refine, refine, refine. Focusing closely on every visual detail and movement with each pass, listening to every sound - electronically drawn out to catch every minuscule audible modulation.
This is where the film actually gets made ... and of course we can only work with what was actually shot. "Fixes" in post production are, while having much more potential than they did even a few years ago, are still fairly limited unless the film is shot properly.
We have one action scene that will have special effects, but we had to shoot it a specific way and at a certain speed, prepping it for the special effects folks at Modern Digital to modify after we've finished the editing process.
It's all pretty exciting. But our film is not really changing in editing - it's the same story we shot in the same way it was shot. Some films change drastically in editing because there were problems on the shoot. One such film was the award-winning Annie Hall. Most films that undergo such extensive changes in editing are not as fortunate.
Labels: adding music to an edited film, Annie Hall, editing, Ragnar Rosinkranz, The Whole Truth shooting blog, writer-director-producer Colleen Patrick
posted by cp @ 6:44 PM
1 Comments:
At 8:01 PM,
The Entertainment Corner said…
How's things rollin' with adding the musical riffs?
Can tell there's plenty of love going into this film.
It's a sure fire sign that TWT is a solid & stellar flick ... in that you didn't have to re-shoot scenes and no need to drastically edit it to get the final product.
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