We’re trying our best to follow a strict process for controlling which aspects of the movie are “frozen” and thus ready for post production, but it’s still inevitable that some things slip through the process and get reconsidered at a later point. – Worry about glueing them together later on.Īpart from keeping me from going bonkers, this approach has another big advantage, which has to do with the fact that scoring and mixing, while traditionally being post production tasks (and thus taking place after the film has been shot), are happening alongside the main production itself in our case. – Work on each of them in isolation until it can stand on its own. – Keep these chunks in separate DAW projects. – Split the whole task into smaller, more manageable chunks, loosely modelled after the audio workflow of a feature film production.
Because of this, I’ve been looking for strategies to avoid wearing too many hats at once. Sintel is a relatively complex production in that the action is pretty condensed and takes place in a lot of different settings during a short amount of time. Taking care of all audio aspects of a film by oneself provides some great opportunities, but the sheer number of things that need to come together to build a cohesive soundtrack can be a bit daunting, at least to me. I hope that this keeps things more readable than liberal use of parentheses would. Quick note: I boldly assume that most of you are more at home in the realm of 3D and video than audio, and seeing that I regularly go “wait, rig what with the what now?” when I read posts from the rest of the team, I’ve put a little glossary at the end of this article. For my blog inauguration, I’ve chosen the proven subject of “what am I doing here anyway”. I’m responsible for the scoring, sound design, and re-recording mix of Sintel, and I just realized that I’ve been cowardly ducking any blogging duties that might have arised ever since I started working on this project.
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