3 is my favorite number.
So, having spent the better part of this week doing Foley for 'Leverage', a short film I'm making through my start-up, Emkay Studios, my appreciation of sound is just constantly going up. My respect for Foley artists, in comparison, has sky rocketed. Given how 75% of most films is "Foleyed" (is that a word?), it's amazing how barely any of that sound fails to deliver. I'm struggling with a small fight sequence, cursing every pillow hit that fails to substitute as a punch, and just thinking about how the Omaha beach landing from Saving Private Ryan was done makes me cringe.
Well, at least I have my new Tascam DR-100 to help out. Honestly, for all the opinionated indifference and ignorance towards it, 24-bit 96-KHz sound, is awesome. Speaking especially in regards to mastering towards a final 16-bit format, 24-bit sound really helps push that noise floor all that much further away from your subject sound, making live sound capture, as well as sound for Foley and ADR, rather convenient.
In other news I'm working on the screenplay for a psychological short film. I say screenplay, but it's still in the preliminary influences and identity searching stage. I have a bunch of ideas floating around in my head, hopefully a couple of them will pan out. I'm excited though, haven't really written anything in a while.
Gotta commit.
But who doesn't?
So, having spent the better part of this week doing Foley for 'Leverage', a short film I'm making through my start-up, Emkay Studios, my appreciation of sound is just constantly going up. My respect for Foley artists, in comparison, has sky rocketed. Given how 75% of most films is "Foleyed" (is that a word?), it's amazing how barely any of that sound fails to deliver. I'm struggling with a small fight sequence, cursing every pillow hit that fails to substitute as a punch, and just thinking about how the Omaha beach landing from Saving Private Ryan was done makes me cringe.
Well, at least I have my new Tascam DR-100 to help out. Honestly, for all the opinionated indifference and ignorance towards it, 24-bit 96-KHz sound, is awesome. Speaking especially in regards to mastering towards a final 16-bit format, 24-bit sound really helps push that noise floor all that much further away from your subject sound, making live sound capture, as well as sound for Foley and ADR, rather convenient.
In other news I'm working on the screenplay for a psychological short film. I say screenplay, but it's still in the preliminary influences and identity searching stage. I have a bunch of ideas floating around in my head, hopefully a couple of them will pan out. I'm excited though, haven't really written anything in a while.
Gotta commit.
But who doesn't?