The worst thing about editing sound? The wait. You've got to wait 'til the film has picture lock before you can do any mixing. Sure, you can take note of some of the sound effects you'll need and go out to record them, start working on ideas for music composition, and other little bits and pieces, but the meat of the work doesn't come until the end. Adam decided to take it upon himself to sync up the sound for Who's the Mother, which was all well and good, but I wish he'd let me know he was doing it, I would have given him the sound report sheets, and it would have significantly cut the time it took him. Too late now... I did get most of the sound for Isolation synced though, only to be informed that they had started working on a different sequence and didn't take any of my synced sound, so I'll have to do it all again. A bit frustrating and inefficient, but once again, nothing can be done now. They said they'll hand it over to me for sound sync and mixing once they've achieved picture lock, so I guess I'll wait it out and keep working on The Ghost Recordist.
We also showed off our rough cuts the other day. I'm really impressed with how all of the films are shaping up, Remembering Yesterday is my favourite so far, it's really quite moving, and very artistic, so I must congratulate Paddy, Colin and the crew when it's finished. I'm not so happy with how The Ghost Recordist was received. It's not even halfway finished yet, so we weren't expecting scares, but laughs were just about the worst reaction we could hope for. We were reassured that it was just because of James' hammy acting (which we had planned to fix with some ADR), but still, it was a little disheartening. We got some good feedback on other areas of the film, but the general response was that it's hard to judge without sound, as it's such an integral part of the plot. Listening to the class's feedback on Isolation and Who's the Mother helped too, I know what issues I'll have to fix when I get to the mix.
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