With the trailer released we inch closer to picture lock on the edit.
With SODO EXPRESS and the miniscule budget we’ve been playing with, we have been doing the whole production with our small team which in turn has sharpened our skills. For me that means producing, shooting, editing and a lot of preparation for CINEMA ILOOBIA to come in and work his magic.
On previous films where we’ve had the luxury of a larger budget we’ve let colleagues, collaborators and crews take care of their own part of the film – with direction over course. With SODO EXPRESS getting closer to the finish line we still have a lot to get on with.
AUDIO
When it comes to audio, we ourselves do a lot of track laying i.e choosing and laying out sound effects, sound beds and all your audio components that really help the scene. Tim Grabham and are doing most of the tracklaying and using music and sound elements from IXA and. others. which means we haven’t had to clear or license any tracks this time round.
For licensing and clearance on previous films we’ve worked with FIVE MISSIONS MORE in London, who would take a brief and budget and clear the tracks we want to work with. They’re a great team that help make the process seamless and who fit in the production process really well. We also work heavily with Matt ‘IXA’ Rudge who’s ability to produce audio and sound in line with our vibe has been key to our work. Still in the audio realm we’ve worked with audio post house HOME STUDIO in Singapore who helped us finish FOUL PLAY. Wayne and Joshua have helped me with commercial jobs and indie films over the years and I look forward to more great things in the future.
COLOUR CORRECTION
With audio feeling good, next is the grading / colour correction and preparing our deliverables which differ in every production. Right now we’re still deciding on our deliverabls and who will be doing that on SODO EXPRESS but we’re hoping CINEMA ILOOBIA can help us with the lions share as not only does Tim do a wonderfully artistic and dilligent job, he now knows the film really well.
In the past, ENVY POST in London was always a treat and their full service was fun to be part of. We worked with them through SOKA AFRIKA and a particular highlight for me was working with colourist Paul Fallon. Another colourist and editor that was a pleasure to work with was Alex Elkins from 7A FILMS. He really helped get FOUL PLAY over the line, hand holding us through preparing all the in-game graphics and getting the film ready for distribution.
THE TRAILER
It was actually edited and ready months ago but there was no point sharing too early. It’s an easy mistake to make and we’ve done that too many times. I’ve always felt momentum building is key to get a lot of indie productions over the finish line and a well-timed promo or trailer release can help in building that surge of energy, whether it is simply to inspire the crew or to share with potential festivals and distributors.
SODO EXPRESS has been a breath of creative fresh air for me this year. Working remotely alongside Cinema Iloobia in Brighton, UK, and Ryo Sanada in Brussels, Belgium plus our composer Matt ‘IXA’ Rudge who was based in Hong Kong till just a few weeks ago, we’ve actually had a relatively smooth post-production which you can read more about it here.
