Tag Archives: Redlab Digital

Finished! Big Thanks to Redlab Digital and more.

Image

LOCKED & LOADED! Michael Legedza, Shawn Whitney, Kathryn Palmateer and Jason RIvera. 

I’ve been meaning to summarize our final stages of post-production for the last several weeks and have final set aside the time to do so. When, many moons ago, I last blogged about our struggle to complete post-production, we had just hired Luke Sargent to step in and take over the role of picture editor. This was both an excellent decision – life changing, in fact – and a lesson in expectations, especially when it comes to timelines for lo-fi filmmaking. 

Luke was contracted to work on the edit until the end of October. But when you only have a few days a week to work on something things take longer than expected. He had every right to step back at the end of October – when we barely had a fine cut – and expect either more money or to move on. But he stuck with us right to the end, through colour correction and sound mix. He has been an inspiration to us and a great learning resource. And incredibly supportive – in the last two weeks he picked up the master files and a BluRay master from Redlab Digital (our post-production house) – to cut a trailer for us and to burn us an exhibition screener. Incredible. Besides his commitment, his work and creative contribution have been incredible. I don’t think that any of us believe that we would have a completed film as good as it is without Luke. Many hat tips go his way.

I have to admit that I’m the kind of person who isn’t always great at planning ahead. I focus on the task at hand, work my way through it then move on to stage. As we approached the end of picture edit we knew we were going to have to colour correct the film – we lit with mostly fluorescent bulbs, for instance, which gave everyone a yellow hue. And of course we needed a sound editor and sound mixer – to get the best quality sound and to get an M&E track (music & effects – you need a separate track from the dialogue if you hope to make any foreign sales so that they can dub in the local language).

This was new territory for me. I have no experience with this aspect of the post-production process and have never dealt with a post-house. I met with one facility and they talked about giving us a great deal and coming in as executive producers in return for an equity stake in the production – then they backtracked a few days later and gave us a very large quote that was out of our budget. But, even more, we were left with a bad taste in our mouths because they had said one thing and then turned around and done another with no explanation and pretending like nothing had happened. Trust is really important to us. So, I started looking around Stage32.com – sort of a Facebook for film industry types. We’d found some crew on their for the shoot and it had worked out well. We got in contact with a few colourists and even met with a wonderful sound editor and mixer, Anne-Marie Ront. But it was clear that separating all of the elements – when none of us had experience with this stage of post – was going to be too much to deal with.

Again, Luke came to the rescue. He introduced us to Ahmad Ismail at Redlab Digital and Ahmad came through with an excellent overall quote for bespoke completion services. We decided not to try and take the movie to Telefilm and seek finishing funds. We’d already had a bad experience of submitting the unfinished film to a distributor who had been asking to see a rough cut – and then didn’t give us notes, just sent a curt email passing on the film (we were expecting advice, not a sale). Filmmakers: in case you haven’t heard this enough, never send your unfinished film to anyone, no matter how much they ask. So we decided to shoulder the extra debt and finish the film ourselves and do it in a one-stop, high quality facility. And it was well worth it – Redlab organized everything and all we had to do was show up and focus on the movie. And we worked with some excellent people: colourist Andrew Exworth, Sound editor Michael Legedza (who provided full foley and created a whole sound design for us!), and sound mixer Jason Rivera. It made it a painless process and gave us a film that was the best possible end product that it could be. There’s no doubt that helped us get into Worldfest, the Houston International Film Festival.

It’s been a long, challenging process and a steep learning curve for all of us. But we made it through and now we’re ready to embark on the next phase of this journey: festivals (yay, Houston!), sales, and a premiere screening in hometown Toronto. Stay tuned!

Leave a comment

Filed under Uncategorized