Tag: Descent

P + P – Final Progress Report – April

13421070 / / Descent Contrib., Individual Reflection, Learning Outcomes, Process Management

(Outcomes – GR2,5 + IN1)

This will be the final situation update for this project, taking place after our final review of the work in progress for all of the films that comprise the artifact. The date of this entry is one week prior to our deadline, so any other pertinent information on the actual carrying out of the project will be included in my final summary.

We have received picture locks for all the films except Immort throughout the early part of April. All of these have, naturally, then been broken by the various editors and directors in charge to a greater or lesser degree after we have started work on the fine audio work, mostly due to a lack of understanding of the import of the word ‘lock’ on the part of student filmmakers.

Descent and Sour Puss are nearing the final mix stage, with foley, dialogue, music and SFX all largely complete. We estimate these films will require another 12 hours of work between them to complete.

Remember has fallen behind schedule due to poor practice on the part of it’s editor complicating our dialogue edit. We estimate another 15 or 20 hours of work will be required here.

Feel Good is still technically incomplete because the production team have failed to factor production of the montage sequences they’d slated throughout into their timeline, but it’s supervisor assures us we will be handing in the version slated to arrive at end of play today or, failing this, the one we have already been working on regardless of further changes to picture. This will require a further 15 hours of working time.

Having seen it’s ambitious plan for the ‘real-life’ aspects of the film largely stymmied, pressure on the visual FX team working on Immort appears to have increased. This has caused an extension to be required to the production, but we are still required to deliver the film with audio complete on the 5th, in time for it’s premiere. In addition, the repeatedly delayed VFX cut of the film is now promised to us on Monday the 2nd May – 4 days prior to our own hand-in date. This is not ideal, but the supervisor of the film is confident it can still be delivered since much of the work on the film (such as scoring, dialogue and foley editing) is complete. We’ve collectively agreed that this is the concrete outer limit of what we consider achievable, and that we will be required to hand in the version without VFX we’ve already largely compelted if this final deadline moves any further. It is difficult to estimate how much time the film will need, since the VFX could make the current audio obsolete, but we’re prepared to commit a further 8 hours if necessary (the film is relatively short). [GR2]

My contribution has largely been made to Descent since it’s pictures began to arrive, with some extra sound design work for Immort based on the concept art for the as-yet-incomplete VFX and basic atmosphere work for Remember also taking up some creative time. Foley editing of Descent has proven quite complex, as the mix of production audio and foley I’ve settled on is difficult to achieve the correct balance of in terms of the environments depicted. The dialogue edit (which was largely handled by another member of the group) also suffered from unpleasant room effects (despite being of good quality), and required a large amount of treating and balancing to complete. [GR5 + IN1]

Time spent on admin has noticably dropped off this month but has essentially been replaced with internal quality control meetings driven by the interminable watching of the different edits as they’ve come in and the transfer of sessions and data around different facilities, and the changes to ostensibly locked pictures have also lost us extra time resyncing audio. Elsewhere, the cancelling of our facilities bookings have also continued to reverberate, with us having to stake-out the Sound Theatre three days of each week and second guess the movements of other students in an effort to find extra time for foley, VO recordings and sync work.

Reflecting on the situation presented here, we’ve been reasonably fortunate that only one film has been significantly delayed in production and even then in a way which has enabled us to work on it regardless, but the final week sees us in a position just shy of the required number of facilities hours we need to complete and mix the films, a situation which could become severely problematic if further issues arise from Immort’s incomplete state.

The process of collaboration and feeding back amongst the group during the post phase in April has been very useful to everybody, not least in my case with Descent – This film has been an exemplary example of the collaborative effort we undertook in post, with dialogue edit, music construction and foley / SFX all benefiting from a significant collective contribution which has then been brought together, finessed and is just about ready for mix. I have learnt however that this process is similarly time consuming and that it effectively takes the place of the administrative work from the earlier part of the process, though I believe it is just as critical for achieving our desired outcomes.

In the sense of effective collaboration the project has undoubtedly been a success, with five films now largely complete to a much better standard than we could have managed as individuals. [GR2]

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KEY POINTS – 

Overview of situation with a week to deadline, and plans moving forward. – Process Management
[GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.

Breakdown of work carried out in April so far – Contribution
[GR5] To produce soundtracks comprising of foley, SFX, dialogue, music and atmospheres to client specifications that synergistically support the other components of their films.
[IN1] To successfully manage the provision of service by the business for the film Descent with regard the assignment of resources, specialisms and working time, liason with the director, editor and producer on a practical and creative level, and communication of information on their needs and requirements for the piece in order to appraise the efficacy of the collaborative approach to working on the piece – (Supervisor and Company Officer)

Reflections on the process – Individual Reflection
[GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.

RESEARCH – ‘Helper Track’ and complex delivery requirements.

13421070 / / Individual Reflection, Research - Film Audio, Role – Dub Mixer

‘…then there’s all these weird things you deliver as well, there’s a thing called a helper track…if you ever encounter in your professional careers because it took me ages to find this out, is, it’s the sound that you might or might not replace in a foreign version, so if there is a radio playing in the background and it’s got a English song on it, it’s the vocal split from that and if there’s a TV on in the background, it’s the voice track from that…‘ – Studio Manager at a top UK audio production house.

An important part of the dub mixer’s role is to manage the various deliverable’s of a film’s mix and, in the spirit of the advice above which I received from an interview conducted for another module, I’ve carried out some research into some of the more unusual requirements that may catch a newly fledged dub mixer out.

These will not only include various seperated mixes of sound effects, music, dialogue and rendered FX tracks, but also more specific versions which may be required for foreign language cuts of the film. Conversion to another language is often considered to be relevant only to the dialogue mix, but can often have ramifications for other aspects of the picture’s sound palette as illustrated above. It is also worth stepping away from the feature-film sector for a moment when considering these factors, as things like laugh tracks in studio-based TV work may well be captured to some extent with the dialogue recording and will need to be replaced or augmented if the original dialogue is removed.

An example of a related requirement of delivery for the dub mixer in the context of TV would be the bleeping or replacement of words deemed offensive from the original dialogue. Requirements here are absolutely client specific and will vary considerably based on intended audience, and the best way to minimise issue here is for:

‘…the discussions and understanding of the audio elements (to) be started early to be sure to fulfill the requirements prior to delivery. It is always best to get things right from the start.‘ (provideocoalition.com) [IN2]

Audio delivery requirements in general haven’t been particularly relevant to working on student films throughout this year, and in the case of the film I’m supervising for this project there’s no requirement for a ‘helper’ track as the film was kept relatively simplistic and naturalistic (though the disembodied voice over from one scene would need to be provided in another language if a foreign language version were ever motted), and I’ve had to prompt the director to specify any file delivery requirements at all. However, extrapolating our two sci-fi leaning projects this term outside of academia I could foresee the need to provide helper tracks with these mixes, since both films contain sequences featuring dialogue-heavy TV shows, disembodied advertisements and TV montage sequences. [PER1]

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Key points

More detailed information on potential delivery requirements for the dub-mixer’s work – Research
[IN2] To develop a better understanding of the craft and industry of a Dubbing Mixer, and to contribute to the dub mixing required for presentation of the artifact – (Dubbing Mixer)

How does this apply to the films we’re making – Reflection
[PER1]  To develop a better understanding of the pros and cons of business structures, processes and agreements which might enable film audio producers to collaborate on multiple projects

P + P – Progress Report – February

13421070 / / Contribution, Individual Reflection, Process Management

(Outcomes GR1,2 + IN1 + PER1)

All the films we’re working on have now begun shooting except Descent which has not confirmed a shooting schedule but does have it’s location confirmed and actors onboard – The audio team have carried out the requisite location recces and have received preliminary dates for which we’re awaiting a confirmation. Issues stem from matching actor availability with the possible shooting dates, but communication is good with the production managers of the film, contingencies have been discussed and are in place should it begin to fall behind schedule.

All the supervisors along with various team members and composers have organised and met with their respective directors and teams multiple times to feedback on the direction for sound design, based initially on director notes or conversations. All the pieces of work now have a more or less solid creative direction underpinning them on which the team has collaborated through a series of creative meetings and script read-throughs, largely at my insistence, in an effort to head off the production process for each film becoming the isolated province of it’s supervisor. Supervisors retain the final say but ideas for films are sourced collectively, and our composers are assigned and largely briefed regarding each film’s musical requirements by the supervisor who then decides whether to allow the composer to deal direct with the director on their film. I will also be pushing for feedback on composition to be a similarly collective process where desirable as the projects continue. [GR1, GR2]

In pushing for this more collaborative approach across the group, I am attempting to set the agenda for something akin to an Omni-Gaffer communication management strategy. This is a concept I picked up during a brief research foray into the literature of the Prince2 project management system, a recognised qualification for managers in the UK. A major project with a larger team would likely have a written and structured system of making sure information is properly shared, and collaborative outcomes and the structure’s to facilitate these collaborations would likely be properly stratified and reported upon, which ‘…facilitates engagement with stakeholders through the establishment of a controlled and bi-directonal flow of information.’ (Managing Successful Projects with Prince2, 2009, 239) [PER1]

As Descent is filming later, I’ve tended to fall into the role of firefighter for the other supervisors who’s films are in motion and have been called upon several times to cover location shoots, move equipment and perform administrative tasks (like booking equipment when other people are on set). Creatively, I’ve managed to get a headstart on some of the atmosphere’s for Immort which will be used to explain our audio direction during a spotting session with the director this week and as a base for future work, and am collaborating as a writer performer on one of the compositions for that film. The following week (which is likely the one before which shooting will commence for Descent) will also be spent building audio devices which might be suitable for use in Descent. [IN1]

Planning research into the foundations of the ‘company’ style structure has been my focus but I’ve fallen behind in carrying this out – thrashing out a ‘formal’ agreement (in the context of academia at least) between the members of the organisation who are carrying out these services is the next priority here. We’re all tracking our hours of work on any given project and intend to ascribe some kind of goodwill value to each component and phase of the project throughout it’s life, which we intend to be the ‘currency’ in which we’re trading. I must be wary of how easy to get caught up in administration and practicalities, and end up taking my eye off the ball of the academic side of the project.

My hours spent on the project for February have broken down roughly as follows, not including academic aspects such as blogs or research –

Total hours = 42.5
Admin – 14
Meets – 11
Creative Work – 8.5
Other – 8

There have been issues, but they’ve generally been minor and have been overcome with a combination of good judgement, forward-planning and luck. If we have to have one, our main issue so far has been facilities and equipment. Pressure on these is massive, and failure on set of key pieces of equipment relied upon for location audio work has caused several production problems and extra administrative work. The next hurdle on the horizon in this sense will involve the post work facilities bookings, which are already becoming a bone of contention because of the perception that we are using facilities at our institution inefficiently.

Reflecting, it is noticable that these issues lead practically to a carousel of phone calls, time sensitive emails, time spent replanning the projects and interruption when working creatively, which collectively mean I find myself spending more time problem-solving than doing the creative pre-production work for the films I have involvement in.

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KEY POINTS – 

Overview of situation generally for the project and specifically for the film Descent –Professional practice, Process Management.

  • [GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.
  • [GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.
  • [IN1] To successfully manage the provision of service by the business for the film Descent with regard the assignment of resources, specialisms and working time, liason with the director, editor and producer on a practical and creative level, and communication of information on their needs and requirements for the piece, in order to appraise the efficacy of the collaborative approach to working on the piece – (Supervisor and Company Officer)

Collaborative creative process – Process Management

  • [GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.

Researching wider project management literature and concepts – Research

  • [PER1]  To develop a better understanding of the pros and cons of business structures, processes, regulations and agreements which might enable film audio producers to collaborate on multiple projects.

Reflection on outcomes / efficiency – Individual reflection on learning and team role.

P + P – Progress Report – March

13421070 / / Individual Reflection, Learning Outcomes, Planning, Process Management

(Outcomes – GR1, 2, 3, 4 + IN1 + PER4)

With completion of our final shooting day on Thursday 24th March, production has now wrapped on all of the five films we’re working on, and even with two shoots substantially over-running their initial dates and requiring numerous reshoots we are currently on track for picture-locks for all of the films more or less on time – all of them are scheduled for today, basically. We have also made  inroads into some substantial aspects of post production for three of the films over the last few weeks, mainly due to a policy of consistently badgering editors for work in progress cuts of the work which have enabled the members of the team not tied up with location work to make a head start on post-production. The team have also been extremely effectively covering one another for location work, with boom ops and supervisors operating interchangably based on who’s available on any given day. [GR1,2,3]

Amusingly, in terms of our expectations vs the reality of production, the most outwardly-organised group of film-makers with the most ambitious ideas in pre-production have ended up being the most heavily behind schedule, whilst the production team with whom we had a horrendously complex experience last semester that caused their project to overrun by some months (and from whom we half-expected issues this term) ran an extremely efficient shoot which completed without need to recourse to their contingency day and without any significant issues whatsoever. [IN1]

Composition is as good as complete for one picture and underway for two others, with work in progress scratch-tracks having been demoed to the relevant supervisors and the rest of the team for feedback purposes in all those cases. Supervisors have remained in close contact with both directors and editors (in some cases these are the same person) for the films they’re managing, and we are now beginning a process of adapting the initial audio plans for our films to the reality of the pictures as they arrive. [GR1,2]

The sci-fi leaning films are the best examples of this process. Since it is extremely difficult to realise a convincing sci-fi vision with little experience or budget, the two films with sci-fi themes have tended to underplay the futuristic elements visually a little. This leaves more room for the audio to do the work of signifying and world-building, but also requires a deft directorial stance not to allow the audio to undermine the visuals where these haven’t quite matched the director’s initial vision. The picture must always dictate the audio and even if the director’s original vision for a scene was much more interesting from a sound design perspective it’s necessary to rein in the largesse at times. [GR4]

In terms of my own contribution, I’ve been on-set for three of the five films including managing the entire location audio operation and subsequent transfers and admin for Descent, have contributed considerably to sound design and foley aspects of Immort and Feel Good, such as they are completed at the moment. As we’ve got into the momentum of production with the crews, administrative requirements for the project have thankfully slackened off somewhat. [PER4]

My hours spent on the project for March have broken down roughly as follows, not including academic aspects such as blogs or research –

March Total = 101
Admin – 16
Meets – 7
Location – 52
Creative Work – 24.5
Other – 1.5

Our main issue this month has been facilities, as mooted in February’s report. In order to alleviate the pressure on our favoured workspace our institution took the insane decision to cancel 12 of our 38 booked sessions and drastically shorten another 8. This destroyed our post-production schedule at a stroke, and created a veritable storm of admin in planning and rebooking work. We tried to rationalise this into real world terms as if some kind of technical catastrophe had befallen the facility, but practically we have lost any hint of a margin for error on the part of any of the films and experienced another ballooning of administrative time for the project as a consequence. [GR1,2]

The main impact of this complication in terms of the team was morale, since most of us were flat-out on set with little time to think about the ramifications or spend time replanning our post work for the films. As the situation here is now somewhat fluid (it is impossible to say whether the Sound Theatre will actually be available to use for two days of each week until we get to the day), we are setting our work priorities on a week by week basis, with desired outcomes for each film set at the production meeting at the beginning of said week. We’re confident we can manage the films as long as they remain on schedule which, at the present time, largely appears likely.

In the interest of staying ahead of the game the priority for each supervisor going forward is now to decide who will be performing the final mixing of each of their films and where this person will be performing said mix, and then setting a deadline for it’s completion, the latter preferably in confluence with the director of their film. Aside from the benefit of a solid deadline, this will enable a process of centralisation of the data from aspects of audio production for each film which is now being split across multiple people in different environments (our composers are tending to work at home, for example) which will hopefully avoid too many data management and compatibility issues as the aspects of the films come together. [GR1, 2]

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KEY POINTS – 

Overview of situation generally for the project and specifically for the film Descent –Professional practice, Process Management.

  • [GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.
  • [GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.
  • [IN1] To successfully manage the provision of service by the business for the film Descent with regard the assignment of resources, specialisms and working time, liason with the director, editor and producer on a practical and creative level, and communication of information on their needs and requirements for the piece, in order to appraise the efficacy of the collaborative approach to working on the piece – (Supervisor and Company Officer)

Breakdown of work carried out in March – Contribution

  • [GR3] To provide a professional standard of service in respect to location sound recording and post-sound design / mixing.
  • [GR4] To conceive, compose, source and / or produce music to client specifications that synergistically supports the other components of their films.

Collective creative process – Process Management

  • [GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.
  • [GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.

Contribution specifics – Contribution

  • [PER4] To contribute extensively to multiple film productions.


Reflection on process of adapting audio plans and outcome of facilities issues– Individual reflection on learning and team role