Things are moving.
Michaelangelo once said, "I saw the angel in the marble, and I carved until I set him free." At the moment, the film looks more like a gorgon than an angel, but I'm now confident that it's in there somewhere. I now have about seven and a half minutes roughly edited, and I've put a hard deadline on a completed first pass. It's fascinating to me how obvious some shot omissions are now that we're actually cutting. I wish, for instance, that I had gotten more handheld coverage during the most tense parts of the conversation. Still, I suppose hindsight is 20/20.
My sound designer and I experimented with recording some sound using a shotgun mic and an H4N. We basically took turns picking up and putting down different plates and glasses, dropping things to the floor, and scraping knives together. The result is about thirty minutes of scattered noises that will eventually be utilized to create a bustling sound bed. I plan to get more of this in the days to come, but I think I'll try to find a roomier area to record in.
Speaking of sound, I've put a lot of thought into what to do about the electrical roar found in many of our shots. A friend showed me some samples of taking it out, and it is difficult to keep the dialogue sounding round. We'll continue to ruminate on that.
Also, has anyone begun to think about score yet? I realize that it is not exactly priority number one right now, but I'm curious as to where everyone has landed. I auditioned a couple of orchestral pieces with some of the film that I have cut together, just to try to get a feel for what it would sound like, and I can't decide if it helps the emotional tension of the scene or robs it of its authenticity. I think I need to go back to square one and watch some of the genre films that inspired the screenplay in the first place. Any thoughts?
Hope everybody's edits are coming along smoothly.
-David Vance
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