ADR Session, Redux
The ADR session that I had scheduled for last week got postponed, due to scheduling conflicts. It was a minor setback for the project, but not one that we could not recover from. We made up for lost time this session with good times, good food, and a good session. Granted, we finished in the wee hours of the morning, but we got the work done. I commend my teammates for putting such dedicated effort into this project: they are rockstars. Please take a look at some of the behind the scenes photos from the session. Feel free to leave comments here or on the gallery pages. Blessings, Scott...
Read MoreADR Session Scheduled: Time for Voiceovers
With the bulk of PARALLAX complete, we move to the ADR session. This brings us one step closer to completion, and ultimately to launch. What is ADR? ADR is automated dialogue replacement. That’s a fancy term for redoing the vocals, or dubbing them in. For this, the actors go to the studio and record the dialogue all over again. This can happen for many reasons. Some reasons would be: Flubbed lines Having a cold or allergies that day Too strong or weak an accent Unacceptable original audio recording Not enough umph or expression Errant sounds behind the vocals In this case, the audio...
Read MoreMy First Foley Session…Aah, What Fun!
I spent the better part of the day this past Tuesday in Track Headz Entertainment, Inc.’s studio recording foley for PARALLAX. It was an impressive experience and I’m pretty proud of the outcome. When I filmed PARALLAX, my plan was to use my Rode Video Mic. I did, but the audio did not come out clean. I had to settle on using it as placeholder audio that we’d recreate with ADR and foley. Gregory Vilfranc, my star, is responsible for scoring the film. Since he’s an able engineer (a graduate of SAE), he is also responsible for the audio post work. He introduced me to...
Read MoreFoley Session Scheduled
We’re nearing the end of production with PARALLAX and are confident that it looks good. But how does it sound? Not too good. There was a lot of interference with the sound on location. Rather than spend the time cleaning it up, we opted to recreate the ambient and local sounds (foley) in studio. I would have preferred to use the sound recorded live, but it just didn’t work. There was a hum in the audio. The room had too much echo. Some sounds did not work well at all because the room was brand new: it hadn’t “settled” yet. Those were some of the challenges of the...
Read MoreScoring Update
PARALLAX is such an amazing little short film because it is doing so much with so little. With less than a ten minute footprint, the movie is calling upon many resources so that it can be the best that it could be. For this reason, I enlisted the help of the very capable Gregory Vilfranc, who I highly endorse for work on other projects. I visited him in his studio on Friday morning and I was gingerly surprised with the work that he had done up to that point. I provided him some direction that I wanted the score to go in and he succeeded on working with my vision. Admittedly, I have a bias for...
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