![]() Pro Tools allowed for easy transfer of the audio from the sound editorial to the mix stage, as well as greater flexibility during the mix. ![]() Since the film didn’t use ADR, Dubaz used Pro Tools-and plugins from iZotope, Waves and FabFilter-to reduce environmental sounds and other extraneous background noise from the production audio to preserve the actors’ vocal quality and performances. At our Sundance premiere, everyone seemed to be laughing, cringing and enjoying themselves.”Ī fresh, quirky exploration of personal dysfunction and misunderstanding in our relationships, Lemon also screened at the Rotterdam and SXSW festivals, and the film’s North American rights have been acquired by Magnolia Pictures. “As a result, I get to spend more time finding creative ways to tell the story. “Pro Tools allows me to quickly manipulate and enhance sounds,” says Dubaz. Having graduated from USC with a Bachelor of Science in the Music Industry program, Marcello Dubaz chose to do the sound editorial and mixing for the film Lemon using Pro Tools because, he says, “It combines the technical and creative tools I need as a re-recording mixer.” “I’ve tried to do long-form with other platforms and ended up spending a great deal more time managing the technology, which was a true obstacle to creative momentum.” ![]() “Without Avid’s media management and sharing capabilities, this would’ve been a very different series,” Lo Greco adds. “Avid is the only environment that allows the level of creative collaboration necessary to do this well on a TV schedule.” “My team and I work very collaboratively, and our work tends to be driven by a lot of observational documentary footage and longer, more in-depth interviews,” says LoGreco. The show, which was subsequently screened at the Miami Film Festival in March, will begin streaming on Netflix this spring.īesides rough cutting and online editing the show with Media Composer, UHD resolution media files were stored on Avid shared storage, and the sound was mixed using Avid Pro Tools. Shown in the 2017 Sundance DocuSeries Showcase, Hot Girls Wanted: Turned On tells the personal stories of people whose lives have become defined by the ways in which they use the internet to explore, express and/or exploit their sexuality. “Our Sundance screening was a blast, and it was so gratifying to see our work on the big screen in a theater full of people who laughed, gasped and clapped in all the ‘right’ places,” says Peter LoGreco, executive producer of Hot Girls Wanted: Turned On. Peter LoGreco- Hot Girls Wanted: Turned On “When you get really comfortable with an intuitive piece of software like Media Composer, the tool sort of fades into the background and allows the editor to explore creative ideas as quickly as they come to mind.” Ever since, “I’ve been a massive fan,” says Schrodek, who received a MFA in Film and Television Production in 2012 from USC, where Avid technology has a significant presence. Schrodek also grew up with Avid Media Composer, which he began using as a student in 2003. “We got to showcase our first public screening to a packed house at Eccles and I couldn’t have been more thrilled.” “Having grown up on the wave of independent films of the early ‘90s, the Eccles Theater at Sundance has always been this mythical place,” Schrodek says. The film examines the bonds that are formed by a tightly knit group of men in an incredibly trying set of circumstances. Burning Sands tells the story of five college students who embark on a “Hell Week” of hazing and abuse in order to receive admission into a prestigious black fraternity. “The reception to our film was wonderful,” says Evan Schrodek, editor of Burning Sands, which now streams as a Netflix original feature.
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