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| L-R: Kat Brede, the Camera Canoe, Erik Hammen Photo by Mel Café |
Not every production is lucky enough to even have a Camera Canoe. I'm pretty sure we were the only one in Seattle this year.
Thanks much to awesome AD Mel Café for the two gigantic files of production stills that he gave me over the weekend!
Also over the weekend, I completed the organization of all film footage. The digitized reels of film are now subdivided up into clips, files, and folders, all carefully named by scene, shot, take, retake, and whatever else that needed noting. Time-consuming, but necessary. And highly educational.
Next, I'll be doing the same sort of cataloging for all the audio tracks. We got tons of ambient sound during production (thanks David Thomas!) and it'll be interesting to hear what we have.
Once editing starts, I also know for sure that we'll need more. We didn't record audio on any of the Bolex days for one thing, and there's always going to be things I couldn't have anticipated that will help make the edit work.
For example, I came across a really cool "lucky accident" shot the other day and I think I know how to work it into the film, but it'll need a very specific new sound that will be a hassle to get. The footage is kind of awesome, though. And it was so incidental that I bet no one in production will remember we shot it until they see the final film.
Work also starts this week on the final music performance tracks. I meet with Ahren Buhmann on Thursday, and the whole bonfire group the week after.
In general, music creation/acquisition will be an ongoing process, probably right up until the film is finished.
In other news, my 2012 feature Time of the Robots is screening at the TriCities International Fantastic Film Festival this coming weekend. If you're in Richland, WA on Oct. 20, be sure to check it out and remember to applaud at the end.
