Today, dear friends, we locked the sound edit. That includes all music, sync and re-recorded dialogue, room tones, wild tracks, fx, and even a sizable amount of cloth-pass foley (we run through the movie for each of the major characters, recording fabric noises that synchronize with the movement of their clothing).
Along with having a sound lock and all that it entails, we now have a hard-and-fast runtime for the film. Anyone wanna guess what it is? Go on, guess. It’ll be fun.
And I have some exciting news that I just can’t keep from spilling right now: tonight we handed off our 20 tracks of audio to a real, honest-to-goodness post house for sweetening and mix-down: Emmy-winning audio production house Derryberry Audio in Westminster will be handling our final mix! And we can actually afford this, somehow!
I’m an often-overprotective director when it comes to letting strangers get their grubby mitts all over the movie before it’s finished. But after meeting with our engineer and walking him through the project, I couldn’t be more excited. The film is most definitely in good hands, and we’ll be heading back out to review the final mix and pick up our files tomorrow night! Can’t wait! I’ll be sure to take pictures of their awesome mixing suite!
Wanna experience something weird on Sunday? Wait until the weekend and I’ll tell you what it is!