Josh Cut scenes 1-6 in Bournemouth, whilst I cut scenes 7-12. Thankfully the two halves came together well with only minor tweaking. The footage from the HVX in DVCPro gave great results with very solid blacks and further grading was easy as no further compression artefacts appear visible. In the grade it was important to me to further enhance the existing pallet and most importantly try to retain a cohesive emotional journey for the viewer, which kept pace with the simultaneous progression of the edit and sound design.
Once picture lock was achieved, the cut was thrown downstairs to our in house audio mixing legend Maximilian Mc'Neilly who very quickly denounced all of the HVX's 6 audio channels embellished with the old Honda's drone. To the point where virtually every spoken sentence, trodden footstep or rumble of thunder was painstakingly dubbed and synced. A few quick compositions later, a master mix and a dash of compression brings us somewhere near to the finished piece.
Josh handed in the project for his final major project at Bournemouth and we now all eagerly and somewhat sarcastically await his mark. Meanwhile in preparation for the real premiere we are showing the film to people with no previous involvement, in order to get feedback and tweak accordingly.
Once picture lock was achieved, the cut was thrown downstairs to our in house audio mixing legend Maximilian Mc'Neilly who very quickly denounced all of the HVX's 6 audio channels embellished with the old Honda's drone. To the point where virtually every spoken sentence, trodden footstep or rumble of thunder was painstakingly dubbed and synced. A few quick compositions later, a master mix and a dash of compression brings us somewhere near to the finished piece.
Josh handed in the project for his final major project at Bournemouth and we now all eagerly and somewhat sarcastically await his mark. Meanwhile in preparation for the real premiere we are showing the film to people with no previous involvement, in order to get feedback and tweak accordingly.
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