Sound is nearly there.

We're going to have a great sound track on this short.  We did well on set with getting clean dialogue so actors will be happy to hear, no ADR.  There is a piece of music my friend Pól has composed for the film and it works really well.  The sound track is being designed by Aza Hand at Ardmore Sound.  We will also have a Foley session and finally the re-recording mix, scheduled for Friday 20th.  

Instead of a physical cameo, don't forget to listen for the voices on the radio in Anthony's taxi.  Nial and I spent an hour trying to relive a radio show from during the boom years.  Anyway, don't panic.  The film and entertainment business usually survives the recession.  Fingers crossed.

Credits

I'm compiling the contents of the credits roller and I can't help but be humbled by the number of talented people who have given their time, effort and passion to this film.  The featured cast runs to 18 with 8 background players.  The production crew is 30 and I'm sure by the time the film is delivered, the post-production crew will have topped 12.  There are also a number of people who helped in various ways to make this all happen.  So to everyone who is a part of this film, I'm looking forward to seeing you all at the first screening, as soon as we can manage to arrange it.  Thanks.

So Close...

Since we locked picture the week before Christmas, we've moved on to final finishing.  The biggest issue now is sound, final colour grade and online.  Sound is up and running at Ardmore Sound, including Foley, sound design and a final Dolby mix.  The grade has been completed at Windmill and some graphics work has been booked in.

I saw the picture in full HD resolution during the grade and it was great to see it in all it's glory at last, having got used to viewing the low resolution versions during the off-line edit.  Stephen came over for the grade with Dave at Windmill.  We've pushed the sense of the accident /traffic jam happening late in the day which links in well with the drive home.  Here's a set still coloured to mimic what the grade looks like.

So if all goes well now, I hope to deliver the HD version of the film by mid February.  Striking the 35mm print will be a whole new adventure.

Picture almost locked

Ultan and I started editing last Wednesday, the 10th, and by the end of the first day, we had a full assembly of the film.  There are no huge changes from script, other than those made on the shoot.  We have tweaked some scenes to make better use of the footage.  The accident/robbery scene is the biggest in the film and runs remarkably close to anticipated on the shoot.  The house scene had some undiscovered gems which we have assembled into a beautiful sequence.

We have also added music by our composer Pól Brennan, which adds incredible depth to the opening and the driving scenes.  

If all goes to plan, Stephen will grade the cut, and we will have a full HD, graded, picture locked film, before Christmas. 

To all of you who have made this possible, thanks, and have a very happy Christmas and prosperous New Year.

Finally, the edit is booked.

I'm delighted to say I met our editor, Ultan Murphy in Windmill Lane today and we're getting started on Wednesday the 10th of December.  It's been a long wait but if all goes well we'll be picture locked this side of Christmas and be ready for the sound mix in January.  Onwards and upwards!

Some Photos From Day One

Rushes

After a long wait, I finally saw the rushes synched.  They look great.  I feel like a child getting a box of building blocks and I need help making something good with them.  So it's time to find the right editor for the job.  The script worked to get a great cast and crew, so now the rushes have to work to get a great editor. Looks like I'll be back on the phone.

Bren.