CREATIVE: Full Post Production including sound edit and final 5.1 LTRT broadcast delivery, Colorgrading, and VFX.
PROJECT SCOPE: Produce color grading, VFX, and audio post production for independent horror feature, combining film standards of Dialogue, ADR, sound edit, foley, and music edits, while using director developed evil world sounds.
TEAM: Supervising Sound editor/ Rerecording mixer, Conforming editor, Sound Editor, Dialogue editor, foley team, and ADR supervision.
PROCESS:
- Dialogue Edit, ADR spotting of 200+ lines, from 4 remote studios, which included breathing, emotional reactions, including complete ADR design of three key romantic close shot scenes of male and female principle actors.
- Sound edit involved evaluating director’s evil sound collection. Organize current production sound for adding additional sound options for evil ambiences that connect to live action standard sound edit.
- Foley spotting was provided to external foley team of Foley First under Yuri Pridachin’s direction. Foley goal was foley filled track for M&E Foreign language dubbing internationally.
- Music edit involved resurecting music cues from previous composed underscore. These cues were used in alternate ways to underscore the film with composer reviewed approval of the repurposing process.
- VFX was director organized, but executed by Mechanism Digital, and independent VFX editor, Paul Levin.
- Color Grading Artist was Nicholas Wiczynski
- Final Mix goal was to be a very loud film due to the loud nature of Death Metal Music. While maintaining an acceptable Dia, sfx, cinematic level. The film reached levels above 100 decibels with no distortion, with Dolby standards
Final mix was completed in 5.1 and dowmixed to broadcast LTRT at -24 broadcast standard. with negative transient peak control of -6.
Audio post schedule was very demanding, as time allotted for delivery 6 months.
