Monthly Archives: January 2013

Epic Timeline pt. 2

epictimeline2If all goes as planned, Coyote will be complete (sans Oberst and Mullen ADR and the score) by tomorrow evening.  My job will be nearly finished, except for that whole promotion and exhibition part.  In 2 hours or so, I’ll have all available elements placed, synched, mixed, and edited.  It is EXHAUSTING trying to perform the work of an entire post production house as one person.  I think I’ve spent at least 10 hours a day since December 27 on this thing.

Tomorrow, I’ll take one final pass at foley since I seem to miss elements on every viewing.  There’s also one more rotoscope I need to do.  It’s at about 50% right now.  There’s some processing and color grading to do on a couple of shots still, but that’s all really, really close to completion.

Mike Schiralli  came over a couple of days ago and embarrassed me with my lack of knowledge of adobe premiere’s audio plugins.  I’ve been experimenting a little the last couple of days, and I think I’m a stronger editor for it now.  Thanks, Mike.

Short blog post!  I’m going to run to my basement to film a dangling lady’s foot, and a corpse before it gets deep into the AM.



I’ve got a second…

So I’m transcoding another rough cut to bluray (I’ve been having a ton of issues with encore burning bad blurays), and I’ve got a second to talk.

Almost all of that list on the epic timeline post is complete.  There’s still the car stalking shot, but snow is preventing me from shooting that without a really weird continuity error.  Since I’m using those as a tool of sorts, I can’t have them without any sort of meaning to the film.  Where’s that heat wave when you need it?

Chris Bruemmer and I shot a couple of things yesterday including the credits shot.  It’s a pretty cool skull I made most of.  Chris finished it quite nicely with some mortician’s putty.  Did you know that crickets eat waxworms?  I thought that was really weird.  I probably should have gotten some diopter footage of that, but just take my word for it.

Tomorrow, Mike and I begin mixing audio for this thing.  I stress the word BEGIN.  This is probably going to be a long and tedious process.  There are still a lot of sound effects and foley to lay in.  ADR for Bill wont come until the end of the month, so this is very preliminary.

Another boring post.  I’ll give you a photo next time.

Music oft hath such a charm To make bad good, and good provoke to harm. (William Shakespeare – Measure for Measure, 4.1.14)

November 19th, 2011:  

     Getting ready for bed, I put my laptop on my makeshift nightstand next to my bed, so I could commence my nightly ritual of falling asleep to the Simpsons.

THE NEXT MORNING: November 20th, 2011,

     Trevor sent me the script for his newest work “Coyote”, a project he had asked me to compose the score for (If I was interested of course).  Before I left the bed, I started reading.  45 min later, after I had finished, I switched rooms to my dining room workstation, and read it again.  That may not seem like a big deal, but let me assure you, as someone with ADD, this is a BIG DEAL.  His script got my attention in such a way that I had no choice but to get enveloped by the nightmarish vision Trevor put before me.  It was such a vivid experience, making my imagination run wild.  It was dark, mysterious, and appealed to my sensibilities.  

Needless to say, I really hoped this film got made. 

     Then things got better.  How’s that you ask?  Well Bill Oberst Jr. signed on as our lead.  Bill is the most underrated actor in Hollywood today.  Period.  A true talent, and class act.

Cut to July, 2012:

     Filming begins during the hottest summer in St. Louis history, but Bill and Victoria Mullen went through hell for the sake of art, and their performances were fantastic, despite the sweltering heat.  

     In the next months, Trevor starts editing the footage.  In October, he invites me over for a viewing of the rough cut of the film.  Despite all the flaws of it being a rough cut, I was amazed, and extremely intimidated.  All I could think to myself was “How the HELL can I make my music live up to what I just saw?”  Not only that, the longest film I have scored before this was 6 minutes…  A far cry from the 1 hour 20 min (approx) of Coyote.  


December, 2012:

     Trevor gives me a slightly more polished version of the rough cut to work with.  Having that in my possession allowed me to finally start my composing in earnest.  Being able to look at the footage immediately inspired me.  The 1st few pieces I composed practically FLEW out me.  Trevor immediately placed them in the film and they fit perfectly.  It was one of those amazing moments when we all felt that “YES – this is really coming together beautifully.”  

     Things are moving along now.  Here’s a snippet of a scene for you to listen to:

To all that are reading this, take care of yourselves!