We have audio!
The Green Chain moved into Post Modern Sound this week and our post team -- Jana Fritsch (editor), Darron Leiren-Young (coordinator) and I -- moved in with our mix masters. So we got to watch, listen and work with Gael MacLean (sound designer), Mark Hensley (head mixer) and Don Mann (effects/foley/ambience mixer).
It was wild seeing the movie on a big screen, hearing it on a half dozen speakers and layering in the dialogue, foley and effects.
And it was even wilder to realize we're almost done...
Mixing was a new adventure for me. I've been involved in producing three albums and I've done a fair bit of radio work where I’ve seen foley artists in action, but this was the first time I've had the chance to play with the sound on screen. It was amazing working with audio to find new ways to tell our story and capture the worlds of each scene.
On our first day of shooting, Brendan Fletcher was fifty feet up a tree. During the night shoot, coyotes started howling at him. Brendan howled back. After I said "clear-cut" our sound man tried to capture the coyote howls -- but I guess they'd recognized Brendan as the alpha dog and run off. Now the coyotes are back, sounding exactly like they did that night.
But the mosquito that decided to take up residence in front of our boom microphone for a large portion of my favourite take of Scott McNeil's performance has finally been swatted.
And I've been introduced to a dozen subtle variations in the sounds of silence.