There is a spotting session – normally with the editor and director somewhere near the final cut which involves understanding the intentions of the material. Any narrative information that the sound can bring to the final process and the setting. There is generally a lot of discussion about dialogue – quality and intelligibility and whether to ADR or not. Some directors prefer original performance. So, capturing the dialogue places a lot of pressure on the production sound mixer. For me, what we do in sound is generally a collaborative process and as technicians we all try to get the best from the material.
Month: October 2016
October 2016 – Read the best of FEATURE FILM Loglines & Movie Pitches
Click the link and read the loglines: BURN THROUGH ME, by Shawn McCormack http://www.wildsoundfestival.com/burn_through_me_by_shawn_mccormack.html RANSOM HOLLOW, by Jeffrey Slocum http://www.wildsoundfestival.com/ransom_hollow_by_jeffrey_slocum.html SEARCHING FOR A MAN OF THE CLOTH, by Cindi Walton http://www.wildsoundfestival.com/searching_for_a_man_of_the_cloth_by_cindi_walton.html BABY ON BOARD, by Steven LaFlamme http://www.wildsoundfestival.com/baby_on_board_by_steven_laflamme.html THREE THE MOVIE, by Elisabetta Minen http://www.wildsoundfestival.com/three_the_movie_by_elisabetta_minen.html A WINK OF THE BLACK EYE, by Mark Wagner http://www.wildsoundfestival.com/a_wink_of_the_black_eye_by_mark_wagner.html… Continue reading October 2016 – Read the best of FEATURE FILM Loglines & Movie Pitches
WILDsound Festival 