Second ADR Session

We had another great day of ADR at SSR Manchester  this week. Thanks to our sound effects supervisor Andy Low  for working his magic again, our all of our returning actors Clayton Gordon, Stephen Mitchell aka Stainless, Jake Francis and Lewis Fletcher for giving up their day to help us get the film yet another small step closer to completion.Thanks to Graeme for helping the day come together and taking the photos.

  

For those who don't know, we publish behind-the-scenes pictures in Facebook and Twitter twice a month, plus an occasional update like this. Like/follow if you want to stay in the loop!

ADR

We had a great evening of both ADR and Voice over recordings at SSR Manchester  this week. Thanks to our sound effects supervisor Andy Low and James Boothman for their technical wizardry, our two new cast members Nikki Dean and Dave Egerton and to all of our returning actors Andre Burton March, Sakinah May, Michael Maughan and Lewis Fletcher for giving up their evening to help us get the film one small step closer to completion. Also thanks to everyone's favourite Brant Adam for taking the photos.

      

For those who don't know, we publish behind-the-scenes pictures in Facebook and Twitter twice a month, plus an occasional update like this. Like/follow if you want to stay in the loop!

Brothers day - Post production update

An update from Angel, the director:


"So as those that follow us in Twitter probably know already, Brothers day is nearly finished now. As ever, we depend on the time people can dedicate us in between paid projects, so we cannot give a date yet, but we hope we'll be able to show the film in some way this year.

Making a film is a lot of work on a lot of different fronts, here's a brief summary of the progress at the moment:

Done since the last update:
- Edit: we locked the edit soon after that. Done and dusted, yes!
- Digital corrections: reframing some shots, stabilizing others, duplicating extras (what!? :), making day into night and a bit of everything else. The magic and time-consuming joys of digital post-production. It took a lot of work, but sure makes the film a lot better.
- Music tracks: such as this recently released track. Remi has now finished the last one of his many contributions to the film. Well done, Remi!
- Titles: we have a fantastic design, can't wait for you guys to see them. We also have a cool poster matching the titles that we'll be sharing publicly shortly.

Working on now:
- Grading: I've been working hard with Luca, the DOP on making the film look as cool as possible. Here's the proof:

- Sound post: Foley, atmospheres and the rest of sound design (those sounds that have to be created or improved) are well under way thanks to the wonderful guys at SSR. So is dialogue editing (making them sound as good as possible!).

- Additional score: all the incidental music for all the other parts of the film that need it.

Left to do:
- ADR: we have some ADR to schedule. This is those bits of sounds that have to be re-recorded because -for whatever reason- they weren't clear enough.
- Final mix (putting all the sounds, music and dialogues together!)

So that's it for now, you know exactly where we are now. You can follow the more frequent updates in Twitter and Facebook, if you so wish!"

Brothers day - long edit

We had an update today from Director Angel Delgado's blog:

"Where are you with the editing for Brothers day?" -some people keep asking me. Not surprisingly, since it's been about a year since we released the trailer for (if you haven’t seen it, you can do here). So I thought I'd give a quick update on what’s happening.

So why so slow!?

The reason things take so long, as some of you know already, is still the same as explained then. Everyone working in this film is taking time out of their daily busy lives and not getting paid for it, and there's a limit to the speed we can pick up with this system. That means we still need some more patience from all of you lovely people who are waiting to see it.

So where are we specifically?

Although we've had a number of other assistant editors helping along the way, so far the bulk of the cutting has been done by editor Terence Johnson and yours truly. That is, 1) an assembly edit we have already left way behind, and -what we're currently working on and hope to have finished by the end of this month- 2) the rough cut. A big and important step for the film, but one that, sadly, we'll not be able to share with the world.

The rough what?

For those who don't know what all these terms mean, (while the assembly is more of a working guide of what happens and when), the rough cut is cut of the film that already contains all the scenes that will be in the film, plus a choice of shots, plus temporary sound and music tracks. It still requires a lot of trimming and polishing, and it’s usually longer than the finished film will be, but it is at this point a lot closer and, if the job is done right, it should “feel” like it. Digital effects and fixes need to be added still, and audio treated so that it sounds great, and of course actual sound design and music done too. We do have some music tracks actually, like the one of Remi’s we used for the trailer, but still need a lot more done. I can’t wait to fully get into all this but hey, step by step.

So there you go, things are happening at a slow, yet steady pace, and we are hoping for a 2014 release. Thanks so much everyone who is waiting for this, you're all so incredibly nice people :)

Oh, for those who don't know, we publish behind-the-scenes pictures in Facebook every week, plus an occasional update like this. Head over there and like it/subscribe if you want to stay in the loop!

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