“Arriving in 4” is LIVE on Vimeo!

 

Two brothers wait for a car to take them (or not) to their father’s funeral.

I’m very happy with this – it’s a “real movie.” My actors, Cody Hamilton and Paul Sean Ward, did a stellar job and my DP Josh Larson delivered amazing footage on my $600 Panasonic Lumix G7.

There were some sound problems, oh yeah, including replacing all of the original scene 3 audio with ADR (rerecording the dialogue later in studio). Nothing like filming on a warm Saturday afternoon to make it impossible to cut together takes with chainsaws, airplanes, trucks, children, etc. in the background from one take to another.

And, hiding the lavs behind ties meant scritching and scratching to the point where I had to abandon a lot of that material. My next short will be about a movie star having a breakdown on a talk show… because I want to write something where I don’t have to hide the mikes! Pragmatism, right? Learn your lessons, and create within your technical limitations.

That said! This is my first time editing a movie. And while I know I’m going to get shit on in Reddit’s filmmaking sub (“What camera did you use?” is pretty much the only question there, and saying “A Panasonic Lumix G7” is not going to win me the big swinging camera contest), and I know the shots in the back seat could have done with some video massaging, and I know the sound in the first two scenes is, well, I did what I could and masked a lot by having the driver playing music in the car…

At least I did enough noise reduction that I don’t have that most aggravating distraction in a lot of nonprofessional films, the dramatic ups and downs in background hiss/noise from one cut to the next. Man, if you can just keep that out, you’re improving your movie 1,000%.

But! If I’ve learned anything from all my reading on editing, it boils down to one thing: duct tape. Whatever you have to do behind the scenes to put it together with as little tape showing as possible, is what you do. I know it won’t win any prizes what with the technical cracks in it, but hey, I’m still going to submit it to a few festivals – I know that everything else about it is very, very good.

Barring technical difficulties, and just watching it for story and performance, I fucking love it. I finally have something in my pocket that, should (warning: magical thinking ahead) A Little Too Broken have a chance at actually being made into a movie, that can help me make my case for directing it myself.

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