Early this morning, I picked up the "master" DV file of the entire film from Colorist/VFX Artist Aaron Shirley and delivered it to Post Sound Supervisor Sean Russell. Up to this point, Sean has been working on the film in eight separate "reels," nine if you count the end credits. Though still in the middle of recording Foley, Sean can now pull his eight separate ProTools sessions into one master session in preparation for mixing which begins next week.
Look! Here's Natalie Apuzzo, our Foley Walker/Artist stabbing melons. Why on earth would she be doing that?
On Saturday, Cindy and I met with Composer Ryan Sayward and for the very first time watched Women's Studies in it's entirety with music. It was a pretty exciting and fulfilling, yet surreal experience. For the first time in a very long time, I felt like I was watching a movie I hadn't worked on. It was a pretty good feeling to get swept up in the mood of the scenes again. After seeing the film more times than I care to count, I've become a little numb to the emotional impact it can have. If you can't tell, I'm really happy with the music.
Ryan has also picked out some "needle drop" songs from local music artists to use as background music in parts of Women's Studies. "Not Alone" by Redshift will be featured at the beginning of the film. "Barcelona" by Soft Complex as well as a remix of their song "Beat the Chill" will also be included.
I feel good about where we're at. Sure, we've still got six weeks of work to do in less than three, but if this was easy everybody would be doing it, right?
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