Skinny Bones on Air for February 28th, 2005 -- Special Guest: Haley Pinyerd
On the Cutting Room Floor actress Haley Pinyerd talks about acting on a Spanish soap opera and explains her link to J-Lo.
Sunday, February 27, 2005
Friday, February 25, 2005
A new look
So, here's the new threads, a lot more friendly I think ... that's right, be lulled into a relaxed state, let your guard down, look at the gentle white background and the peaceful grey glow of the font ... sleep ... sleep ...
WAKE UP!!!!
and come on by www.skinnybones.net to check out the rest of the changes, like the latest news!
We have finally decided on who's gonna do the score for On the Cutting Room Florr. It's ... Kim Braun! She's got a long list of work that you can check out here.
WAKE UP!!!!
and come on by www.skinnybones.net to check out the rest of the changes, like the latest news!
We have finally decided on who's gonna do the score for On the Cutting Room Florr. It's ... Kim Braun! She's got a long list of work that you can check out here.
Monday, February 21, 2005
Totally not-Skinny Bones related, but I like NIN so there
So, I dl'd the Nine Inch Nails promo photos for the new album "With Teeth" and now can't find 'em anywhere else. In the interest of spreading the love and/or sharing it, here they are:
NIN Band 1
NIN Band 2
Trent
Okay, NIN fan mode off ...
NIN Band 1
NIN Band 2
Trent
Okay, NIN fan mode off ...
Hopefully by Summer Trailer
So, some of you have mentioned that you aren't able to view .mov files, so, here's the Hopefully by Summer final trailer (mentioned in the Editing Process post> in AVI.
HBS_final.avin (15.5MB)
HBS_final.avin (15.5MB)
Skinny Bones on Air for February 21st, 2005 -- Special Guest: Guy Castonguay
On the Cutting Room Floor actor Guy Castonguay joins us to discuss the difference between working as an actor in Tucson and LA.
Monday, February 14, 2005
A look into the editing process
Okay, so I just can't get enough of this 'before and after' stuff! This time, however, there's just one part!
Today we're gonna focus on editing -- no podcast on this one, just this text and some clips.
The scene we're looking at is the movie trailer for Hopefully by Summer, the movie that is being made in the story of On the Cutting Room Floor.
Quick background on the HBS (Hopefully by Summer): The movie starts out as a teen, romantic comedy ala American Pie, but, because of studio meddling, a golem, etc it totally gets screwed up and the studio tries to market it as a horror movie, hence the tone of the trailer.
Rough Cut 1 and 2: These cuts are still in their native DV PAL (European format -- we shot in PAL, because it has higher resolution than the American NTSC standard, and it's framerate is 25fps (or 50i if you wanna get really technical), which is closer to the film frame rate of 24fps than NTSC, which is 30fps (or 29.97fps or 60i if you wanna get really technical again ... you love that, don't you? Man, you and your 'technical'...). So, being in PAL has no effect really if you're watching it on a computer monitor, but try dropping it into Final Cut Pro and watching it on an NTSC TV -- whacky!
So, these cuts were just used to really find the clips needed for the final trailer and to get an idea of what order the clips and graphics would go in.
When I call these clips rough, I'm not lying. The audio is not mixed, one of the graphic elements in one of the trailers is not sized right (see if you can guess which one!) and we used place holder effects. So let's see what that got us!
Final: I took the clips I eventually decided on and spent a week rendering them through Magic Bullet to bring them to 24fps and make them NTSC friendly. Since our final movie is going to be formatted for NTSC, this step was crucial, because the frame difference between PAL and NTSC introduces a 4% time change, making the NTSC version about 4% slower than what we started with in PAL.
For the other scenes we've been editing, I've been staying in PAL for now, and waiting to do the Magic Bullet transfer later. Once I do that, I'll also stretch the audio slightly using the time remap tool in Adobe After Effects 6.5, so that it will stay in sync with the video. You can't really notice the effects of the time change in the dialogue, but you can with the music. So, any scene that I have music for or feel that I can score myself, needs to get into MB before I work on it. This includes the HBS trailer.
So, after running the video through MB and running the dialogue through AE, I was ready to work on the trailer. About 30% of the time fiddling you see in the trailer was done with AE, and the other 70% was done in Final Cut. All the image effects, from the Overdrive fades to the desaturated look was done in Motion. The trailer narrator dialogue was recorded in Logic Pro 7 using a Shure SM 57 microphone, and then was sweetened in Ableton Live 4. The dialogue was also sweetened in Live 4. The intro music is Ari Scott's "And a Day" (used with permission from the artist).
The score was recorded using a virtual synthesizer and just a basic software recorder, because Logic didn't like the synth and refused to acknowledge it's existence. The drums were recorded with Reason 2.5 (don't get me started on my Reason/Logic audio recording joke anthology!).
The music, the dialogue and the narrator were mixed and mastered in Live 4.0.
Here's the clips, lemme know whatcha think (they're kinda sizeable, but they're examples -- you can't skimp on examples):
Hopefully by Summer rough cut 1 (10.64MB)
Hopefully by Summer rough cut 2 (13.28MB)
Hopefully by Summer final cut (22.75MB)
Today we're gonna focus on editing -- no podcast on this one, just this text and some clips.
The scene we're looking at is the movie trailer for Hopefully by Summer, the movie that is being made in the story of On the Cutting Room Floor.
Quick background on the HBS (Hopefully by Summer): The movie starts out as a teen, romantic comedy ala American Pie, but, because of studio meddling, a golem, etc it totally gets screwed up and the studio tries to market it as a horror movie, hence the tone of the trailer.
Rough Cut 1 and 2: These cuts are still in their native DV PAL (European format -- we shot in PAL, because it has higher resolution than the American NTSC standard, and it's framerate is 25fps (or 50i if you wanna get really technical), which is closer to the film frame rate of 24fps than NTSC, which is 30fps (or 29.97fps or 60i if you wanna get really technical again ... you love that, don't you? Man, you and your 'technical'...). So, being in PAL has no effect really if you're watching it on a computer monitor, but try dropping it into Final Cut Pro and watching it on an NTSC TV -- whacky!
So, these cuts were just used to really find the clips needed for the final trailer and to get an idea of what order the clips and graphics would go in.
When I call these clips rough, I'm not lying. The audio is not mixed, one of the graphic elements in one of the trailers is not sized right (see if you can guess which one!) and we used place holder effects. So let's see what that got us!
Final: I took the clips I eventually decided on and spent a week rendering them through Magic Bullet to bring them to 24fps and make them NTSC friendly. Since our final movie is going to be formatted for NTSC, this step was crucial, because the frame difference between PAL and NTSC introduces a 4% time change, making the NTSC version about 4% slower than what we started with in PAL.
For the other scenes we've been editing, I've been staying in PAL for now, and waiting to do the Magic Bullet transfer later. Once I do that, I'll also stretch the audio slightly using the time remap tool in Adobe After Effects 6.5, so that it will stay in sync with the video. You can't really notice the effects of the time change in the dialogue, but you can with the music. So, any scene that I have music for or feel that I can score myself, needs to get into MB before I work on it. This includes the HBS trailer.
So, after running the video through MB and running the dialogue through AE, I was ready to work on the trailer. About 30% of the time fiddling you see in the trailer was done with AE, and the other 70% was done in Final Cut. All the image effects, from the Overdrive fades to the desaturated look was done in Motion. The trailer narrator dialogue was recorded in Logic Pro 7 using a Shure SM 57 microphone, and then was sweetened in Ableton Live 4. The dialogue was also sweetened in Live 4. The intro music is Ari Scott's "And a Day" (used with permission from the artist).
The score was recorded using a virtual synthesizer and just a basic software recorder, because Logic didn't like the synth and refused to acknowledge it's existence. The drums were recorded with Reason 2.5 (don't get me started on my Reason/Logic audio recording joke anthology!).
The music, the dialogue and the narrator were mixed and mastered in Live 4.0.
Here's the clips, lemme know whatcha think (they're kinda sizeable, but they're examples -- you can't skimp on examples):
Hopefully by Summer rough cut 1 (10.64MB)
Hopefully by Summer rough cut 2 (13.28MB)
Hopefully by Summer final cut (22.75MB)
Sunday, February 13, 2005
From Script to Screen Part 4
It's over! We finish our comparison of the 3rd draft outline of On the Cutting Room Floor and the final shooting scripting (the 10th draft) in Part 4 of "From Script to Screen."
Show links:
On the Cutting Room Floor shooting script (in pdf)
On the Cutting Room Floor Draft 3 Outline (in PDF)
Show links:
On the Cutting Room Floor shooting script (in pdf)
On the Cutting Room Floor Draft 3 Outline (in PDF)
Friday, February 11, 2005
ADR with Jonathan Northover
Remember British actor Jonathan Northover?
Well, he had his first dose of ADR and did really well -- he hit his stride pretty quickly, and having the waveform as a visual aid really helped out a lot.
Check out photos here.
Well, he had his first dose of ADR and did really well -- he hit his stride pretty quickly, and having the waveform as a visual aid really helped out a lot.
Check out photos here.
Wednesday, February 09, 2005
Hello new people!
Please do not be alarmed - I am waving my arms around in a sign of greeting, not threat.
Anyway, I noticed our traffic spike up a lot in the past few days, so I figure it'd be a good time to start the first annual 'Skinny Bones on Air Spring Orientation.'
Get out your red binders, okay let's go - wait, Johnny, that's a blue binder ... how did you get past security?
Okay, first off, let's go over what this podcast is about!
Okay, before that first off, let's cover what a podcast is! Go here.
Okay, now let's cover what this podcast is about!
THE HISTORY OF SKINNY BONES ON AIR
Way way way way back in 2002 I started writing a script - it wasn't my first, and it wasn't my last, but something made it special -- the stock I was printing on was a little heavier than usual, the ink a little more black, the paper a little bit whiter (despite the green flecks that are indicative of recycled paper), the fresh-out-of-college writer a little more desperate to get a job ... a fun job. So began my journey to take a script and make it into a movie. By November of 2003, with two producers on board (Chris Wolf and my brother, Raj Garewal), we were ready to go into pre-production. By May 2004 we had a full cast and crew and were ready to shoot. We wrapped in August, and, since then, I've been editing away and have about 1 hour of a 1.5 hour movie done. We are also in the middle of doing ADR (automated dialogue replacement) for about 1/3 of the scenes and are reviewing demos from various composers and will pick our John Williams (albeit younger, nicer and a little less 'Santa Clausy') by the middle of February (by the way, I got a job by February 2003 as an editor, but I got caught up in writing the script, and then, when we started rolling, I could never really find away to adequately storm off the set in anger and let the project wallow in publicity-less limbo).
So that really doesn't explain the podcast ... but this does! Stolen from the podcastalley description I made years (months) ago:
The podcast episodes cover the experiences gained from writing, directing and editing an independent feature film. A majority of the shows feature guests who were involved with the production (producers, actors, crew, etc). Oh, and there are two hosts - Jaz Garewal (writer/director of On the Cutting Room Floor) and Steve Gladish (Army helicopter pilot).
Wow - that was pretty concise.
THE SKINNY BONES ON AIR SITE
This site is your text-based roadmap to the show with links to everything that kinda sorta has to do with something (there goes the conciseness).
Use it to get show notes for individual shows, or click over to the official On the Cutting Room Floor site, or check out the latest and greatest pictures from ADR sessions and co-host Steve Gladish's Helicopter Training Phuntime Photo Phalbum. Also, if you feel inclined, vote for the show by using the nifty voting box thingy on the upper right side of the page.
OLD SHOWS
Click the title of a post -- any old post ... I dare ya! See! Wait, it didn't work? Hmmm... okay, right click it and go to "save as" or "download linked file as ..." (depending on your OS). Well, anyway, all the posts here that reference a show are linked to the mp3 -- so comb through the archives and check out any podcast you might have missed. I do it all the time, because I maybe physically present during the recordings, but spiritually I'm not there (my spirit's usually watching 'Arrested Development').
YELL AT US (ACTUALLY ME, BUT I WILL PROBABLY SHOW IT TO OTHER PEOPLE, SO, YEAH, I MEANT US)
Send an e-mail with questions or comments or audio questions or audio comments. The links at the bottom of the page, just under the odometer. It looks like this: podcast@skinnybones.net
Or just leave a comment on one of these posts -- hey, let’s make it fun - leave it on a really old post, so we have to hunt for it!
CONTESTS
Every so often, we pretend to have something that other people might want, and offer it up in (what we hope is) a frenzied contest full of biting and clawing. A couple of weeks ago we started this chaotic rip in the moral fiber of humanity by telling everyone that whoever e-mailed us first after that show would get the cast and crew only DVD of "On the Cutting Room Floor" (which will be published in August. See? What did I tell you? Not only do we pretend to think that people might want that, we are even so bold as to offer it even though we don't even have it. Bold man. Bold.). Future contests will involve giving away OTCRF (that's the easy way of writing On the Cutting ... OTCRF) promo shirts (which we don't have yet! We are like steak sauce! Bold and a lil tangy), and, just so we can actually give something away, we got a couple of Gmail.com invites wasting away (even then, gmail accounts aren't physically tangible! Man, we are so bold, I'm even beginning to annoy myself!).
So that's it. That's more then 'it', that's just too much writing for this keyboard.
Anyway, thanks for making it to the end of this, and I hope you enjoy the shows (the comments link is right below this. click it.).
Anyway, I noticed our traffic spike up a lot in the past few days, so I figure it'd be a good time to start the first annual 'Skinny Bones on Air Spring Orientation.'
Get out your red binders, okay let's go - wait, Johnny, that's a blue binder ... how did you get past security?
Okay, first off, let's go over what this podcast is about!
Okay, before that first off, let's cover what a podcast is! Go here.
Okay, now let's cover what this podcast is about!
THE HISTORY OF SKINNY BONES ON AIR
Way way way way back in 2002 I started writing a script - it wasn't my first, and it wasn't my last, but something made it special -- the stock I was printing on was a little heavier than usual, the ink a little more black, the paper a little bit whiter (despite the green flecks that are indicative of recycled paper), the fresh-out-of-college writer a little more desperate to get a job ... a fun job. So began my journey to take a script and make it into a movie. By November of 2003, with two producers on board (Chris Wolf and my brother, Raj Garewal), we were ready to go into pre-production. By May 2004 we had a full cast and crew and were ready to shoot. We wrapped in August, and, since then, I've been editing away and have about 1 hour of a 1.5 hour movie done. We are also in the middle of doing ADR (automated dialogue replacement) for about 1/3 of the scenes and are reviewing demos from various composers and will pick our John Williams (albeit younger, nicer and a little less 'Santa Clausy') by the middle of February (by the way, I got a job by February 2003 as an editor, but I got caught up in writing the script, and then, when we started rolling, I could never really find away to adequately storm off the set in anger and let the project wallow in publicity-less limbo).
So that really doesn't explain the podcast ... but this does! Stolen from the podcastalley description I made years (months) ago:
The podcast episodes cover the experiences gained from writing, directing and editing an independent feature film. A majority of the shows feature guests who were involved with the production (producers, actors, crew, etc). Oh, and there are two hosts - Jaz Garewal (writer/director of On the Cutting Room Floor) and Steve Gladish (Army helicopter pilot).
Wow - that was pretty concise.
THE SKINNY BONES ON AIR SITE
This site is your text-based roadmap to the show with links to everything that kinda sorta has to do with something (there goes the conciseness).
Use it to get show notes for individual shows, or click over to the official On the Cutting Room Floor site, or check out the latest and greatest pictures from ADR sessions and co-host Steve Gladish's Helicopter Training Phuntime Photo Phalbum. Also, if you feel inclined, vote for the show by using the nifty voting box thingy on the upper right side of the page.
OLD SHOWS
Click the title of a post -- any old post ... I dare ya! See! Wait, it didn't work? Hmmm... okay, right click it and go to "save as" or "download linked file as ..." (depending on your OS). Well, anyway, all the posts here that reference a show are linked to the mp3 -- so comb through the archives and check out any podcast you might have missed. I do it all the time, because I maybe physically present during the recordings, but spiritually I'm not there (my spirit's usually watching 'Arrested Development').
YELL AT US (ACTUALLY ME, BUT I WILL PROBABLY SHOW IT TO OTHER PEOPLE, SO, YEAH, I MEANT US)
Send an e-mail with questions or comments or audio questions or audio comments. The links at the bottom of the page, just under the odometer. It looks like this: podcast@skinnybones.net
Or just leave a comment on one of these posts -- hey, let’s make it fun - leave it on a really old post, so we have to hunt for it!
CONTESTS
Every so often, we pretend to have something that other people might want, and offer it up in (what we hope is) a frenzied contest full of biting and clawing. A couple of weeks ago we started this chaotic rip in the moral fiber of humanity by telling everyone that whoever e-mailed us first after that show would get the cast and crew only DVD of "On the Cutting Room Floor" (which will be published in August. See? What did I tell you? Not only do we pretend to think that people might want that, we are even so bold as to offer it even though we don't even have it. Bold man. Bold.). Future contests will involve giving away OTCRF (that's the easy way of writing On the Cutting ... OTCRF) promo shirts (which we don't have yet! We are like steak sauce! Bold and a lil tangy), and, just so we can actually give something away, we got a couple of Gmail.com invites wasting away (even then, gmail accounts aren't physically tangible! Man, we are so bold, I'm even beginning to annoy myself!).
So that's it. That's more then 'it', that's just too much writing for this keyboard.
Anyway, thanks for making it to the end of this, and I hope you enjoy the shows (the comments link is right below this. click it.).
Sunday, February 06, 2005
From Script to Screen Part 3
We continue our comparison of the 3rd draft outline of On the Cutting Room Floor and the final shooting scripting (the 10th draft) in Part 3 of "From Script to Screen."
Show links:
On the Cutting Room Floor shooting script (in pdf)
On the Cutting Room Floor Draft 3 Outline (in PDF)
Show links:
On the Cutting Room Floor shooting script (in pdf)
On the Cutting Room Floor Draft 3 Outline (in PDF)
Tuesday, February 01, 2005
Carter Mason - who is he and how come he gets to be a title?
Good question ... wait, how come I haven't been a blog title yet? I mean, I am running this thing -
Anyway, it looks like Mr. Mason has not only bested me, but he's taken the rest of you down too. He was the first to meet producer Chris eye to eye in our SUPER DVD/ARE YOU LISTENING? contest! That means we'll be sending him out a cast and crew only edition of the On the Cutting Room Floor DVD in August.
Check out the e-mail that cinched the deal:
_________
Carter Mason (carter@shifterfilms.com)
You guys crack me up.
I doubt I'm first, but I thought I'd send you an email any way.
I'm a filmmaker myself in Los Angeles.
Carter Mason
--------
Next up: We'll be giving away five On the Cutting Room Floor shirts. It probably won't involve e-mailing Chris again, but you can overload his mailbox if you'd like. Do it. You know you want to. I'll send the first volley.
Also, if Chris intimidates you and you don't want to e-mail him, you can always e-mail your comments, questions, audio comments, first born, etc (wait, keep the first born -- we'll try something new -- we want your second born) to podcast@skinnybones.net.
Anyway, it looks like Mr. Mason has not only bested me, but he's taken the rest of you down too. He was the first to meet producer Chris eye to eye in our SUPER DVD/ARE YOU LISTENING? contest! That means we'll be sending him out a cast and crew only edition of the On the Cutting Room Floor DVD in August.
Check out the e-mail that cinched the deal:
_________
Carter Mason (carter@shifterfilms.com)
You guys crack me up.
I doubt I'm first, but I thought I'd send you an email any way.
I'm a filmmaker myself in Los Angeles.
Carter Mason
--------
Next up: We'll be giving away five On the Cutting Room Floor shirts. It probably won't involve e-mailing Chris again, but you can overload his mailbox if you'd like. Do it. You know you want to. I'll send the first volley.
Also, if Chris intimidates you and you don't want to e-mail him, you can always e-mail your comments, questions, audio comments, first born, etc (wait, keep the first born -- we'll try something new -- we want your second born) to podcast@skinnybones.net.
