Delivery Deadline Looming!

Check out this video about my last trip down to see the team:

Deadline: 5 weeks!

That is how long we have to finish the film. That’s not a lot of time. I was under the impression our premiere was our deadline, but of course that’s not the case! There’s mixing and DCP making and testing and ingesting and censorship boards and ratings to do…

DCP making? A DCP is a way of transporting your movie. It stands for Digital Cinema Package and it’s how projectors at cinemas read your film. Creating the DCP of your film is a challenge in itself that I’ll tackle in a later post when I’ve done some experimenting.

What needs to be done?

I’m glad you asked. The answer doesn’t make me so glad:

Quite a lot.

The visual effects. VFX are time consuming and take a lot of energy and brain power from our uber talented multi-string bowed Director of Photography Simeon Duncombe. He’s currently finishing up a big show at WETA and his time is precious! Chronesthesia has a few sequences, most are mild but there’s one sequence in particular that is quite large… it’s the climax…

The colour grade. Simeon is also in charge of the grade. I’ve smashed a temporary grade for watchability’s sake, but it’s nothing compared to the control Simeon has over the image. And the eye. That guy has an eye for images, hence his successful career at WETA Digital, and he’s going to make sure Chronesthesia looks great.

The Sound. I say ‘sound’ and I mean Additional Dialogue Recording (ADR), mixing, designing, EQing, spacing, balancing, and the final master with score. A mammoth job. Phil Burton at Underground Sound is our head honcho for this. He’s a genius, that’s all I can really say about him. He has the tools, he has the know how, the only things he lacks is the time and the money, and that’s 100% my responsibility and the blame rests on these heavy shoulders. Despite that, Phil is putting his nose to the grindstone and getting it done!

The Music. I’m a big music fan. Music in movies is often what makes me see a film repeatedly. If it’s not the awesome soundtrack, it’s the original score that makes me pumped and gives me goosebumps. Thanks to years of making smaller films and meeting talented people, I had Johnny Barker to call upon for pop music. He’s in multiple bands and also records solo and he gave me free reign on his entire discography. I chose four tracks that kick arse and they’re in there, playing in the background and forefront of scenes. Me and Barker recorded one original track that plays as live music in the film and there’s a vlog coming soon about it.

The Score. SCORE! What an integral part of the proceedings. We have a composing prodigy doing Chronesthesia’s score named Conor Cameron. He’s a fellow 48hour filmmaker and we’ve admired each other’s films for many years without having any genuine face time. It’s exciting to have him aboard, working his sweet little tits off to make his outrageous deadline for four weeks… for a feature film… I’m in love with what he’s done and we’re about 30% of the way to a finished score.

Check out this vlog about Conor and the score, as well as our FINAL RECORDED PICKUP:

Will we make it?

Are you kidding me? Of course we will. There’s no alternative. The film is playing to an audience in July and it has to be the best possible film it can be. People are working hard, through the night (Conor’s up at 2:30am to rock a full day before his usual day-to-day), and through their weekends. Chronesthesia is going to blow people’s minds!

Keep your ears and eyes out because things are really heating up. Time travel of the brain, an indie romance with time travel: CHRONESTHESIA