PRE | PRODUCTION | POST | ACTORS & CREW
Post production on this project was relatively simple as we had planned out every shot with storyboards. This was really important as we had less than 2 weeks in post, which really meant 1 week to get a lock. After a few rounds with Gary we got a lock, and then moved onto sound.
The edit went very quickly since we had done so much work in Preproduction. The first edit came in at 11 minutes, and quickly cut down to the final time of 9:30 in a matter of 3 edits. Once Gary, Erin and I agreed that this was a lock, I prepped all the files for ADR with Seth Kearns at Tidal Sound Studio.
The location sound at Grace was tricky due to a lot of factors, the size of the space and the fact that there were MANY refrigerators behind the bar and in the kitchen area. As the script had minimal lines, we decided that it was best to ADR the entire film. Early on Seth Kearns at Tidal Sound Studio agreed to help us with the post production on the film and so the sound was brought to him. This was a lot more work than we originally anticipated but he graciously took on the challenge.
We started that day by setting up a reference monitor so the talent could easily see themselves, then we piped the audio from the edit through Seth’s console so the talent could easily hear their lines as they recited them. While listening to the edit audio, when they felt comfortable with the pacing Seth would mute the edit line allowing them to match their lips while hearing themselves in the booth. Sometimes we would leave the edit audio in if it was a cluster of dialogue. It all depended on what the talent needed to get the keeper.
After Jennifer and Dana left we set out to record some foley. This was a first for me, and it proved to be a really fun time for both Seth and I. We recorded the sounds of wine glasses being set down, ice in water, cloth rustling, and footsteps on salt and snow… which was actually just running on a pillow.
The next day and a half Seth and finessed all the sounds together with existing recording of location sound.
I am very grateful to Seth for all the hours he invested in to this project! I was a superb experience working with Seth and I highly recommend Tidal Sound Studios.
Before the grade I spent a half day smoothing out shots, and in the wide tracking shot of Jennifer at grace, slowing it down. We were only about to shot at 30fps in the 5D as I wanted to keep the resolution. Since I did tests before of converting 30fps to 24fps I knew that it was going to have the feel I wanted. The specific shot we ended up using needed to be slowed down more since the distance walked wasn’t that far. For this I brought it into Twixtor, which did a surprisingly good job. Other shots that were smoothed included an exterior dolly, and the boom up for the master wide in the park.
Color grading was rather simple over all with one exception, the yellow walls of Grace. These walls really made the over all color of the frames yellow, so it took a lot of finessing to not only take the color way, but also match the shots as either a setting in the camera shifted, or some of the lights.
Besides the walls I spent time bringing down the shadows, boosting blues where I could, and adding power windows to focus the viewer in wider shots.
By far my favorite scene to grade was the park. It was a simple grade where I pulled out 30% of the color with an exception of the skin tones, which were denatured by about 10%. I warmed up the highlights in the snow with a bit of magenta at add some life back in the image, and that was it.