FUTURE WORKFLOWS
POST
sound editor at the start. We are all doing re-conforms of re-conforms of shots. There’s a certain amount of flexibility we’ve got to re-cut. But does it make sense to have sound effects being cut right at top?
GODWIN: Audio was always affected by the picture. So, you look at the picture and then you decide what audio goes on it.
MILES: I love the idea of getting sound involved sooner because how many times have you been in a mix and you’ve thought, if only they had recorded this that I’m seeing happening on screen? We all know the experience of wild tracks. I do find it quite interesting, this idea. You’re planning your camera moves, you’re planning your VFX, the sound department, you could deliver audio assets for particular items. Your AI can look at your audio bank and go, okay, here’s a sound, here’s the shape of the movement, this is what we’re putting in. And it’s giving you a creative starting point and it’s helping the director think about the audio at the start of the process.
ADDIS: I think they are fundamentally different disciplines. You’re working where your efficiency gains through doing virtual production with the lighting, you’re doing pre-visualisation, everything is getting to the point where what goes into the camera lens is closer and closer to being the final deliverable. Audio is incredibly layered in comparison. You’ve got a huge number of decisions, and everything is contextual.
SHANNON: Audio in many ways, is always reactive. When you think about a door closure, it will always depend on what the picture is. You could say, here’s my previous mix and this is how the doors close, but you’ve still got to make the audio fit the picture in some way, shape or form.
FRY: I just don’t think the clients are in a head space where they want to be thinking about audio at that point. I just think they want to wait until later.
NORWELL: But is there a compelling argument to make to a PPS at an early stage, to say, I can save you two days after the lock.
FRY: I don’t think it would save them time, but I do think the product would be better.
HATFIELD: We find out when and where the shoot is and we’ll send one of our supervisors to see what’s being filmed and that will be on day one of a rig shoot. And then, we leave them alone. And it just costs us a day to send a guy in.
SIMPSON: I agree with everyone. Picture is everyone’s priority and agree about the layers and that makes complete sense to me. On set, the priorities are having a lighting camera and a live grade in. And then no there’s no thought given to turning an extractor fan off. I am hearing on higher end productions that they want the dailies to look like and sound like they should.
ADDIS: I can totally imagine that if you built in an auto generated soundtrack in an offline cutting tool, it will probably help but, again, a huge amount of world building that happens in post production is to fill in the context of what happens off camera. There’s a great quote from Bonnie Wild, about The Mandalorian, that you can add money to a shot through the soundtrack, because you don’t need to see the spaceship until the last second when it lands as four pixels in the distance. Or if you’ve got a cutaway, how do you know that the car is approaching from off screen? You can only automate to a degree.
SHANNON: I think you still need time. We’ll do the pre-vis, that’s locked. Now we do the sound for it before we shoot. Will people give the time at that point?
ADDIS: Unless it’s automated, that’s invariably less efficient.
GODWIN: Unless that audio that you use on those dailies then gets used in the final mix.
NEWTH: You still have to shoot ADR and things like that and I wonder how efficient all of that would be for dailies.
SHANNON: You’d need to slot the audio in between those two points. You’d need to have your finished pre-vis and then do the audio to react to it, and say, here they are, and then you shoot it. As long as people allow you that time in the middle, it’s fine, but at the moment people don’t.
DAVIS: You’re either tracking effects for your dailies or you’re doing it when the pictures are fine or when you’ve got more control over what you’re being presented with.
Jungle, Nothing Lost for Amazon Prime Dubbing mix by Rich Simpson at HIJACK
SIMPSON: We might find it soulless as a concept, but if the producer is going to follow the pre-vis and says, ‘we’re going to shoot that and then it’s going to cut exactly like that, we’re only shooting the elements we need’, you could probably get an auto edit to just drop in the shots. You’ve got sound that fits to that pre-vis exactly. Yes, there are certain things that might not work - like the sound of the door didn’t work for whatever reason, assuming it was a real door – that can be fixed later, but as less and less of the content is shot in real places, this becomes more relevant.
Winter 2022
televisual.com 81
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