The Dark Side of the Earth: May 13th, 2010

Yesterday was far less of a trial than Tuesday. Since I had no meetings until the evening, I spent the morning on the surprisingly-deserted beach, before strolling leisurely along the coast to Cannes.
During the festival, the town is packed with industry professionals and film fans alike (and presumably some actual residents somewhere, although if I were them I’d be off like a shot come festival time). Traversing small distances, particularly around the Palais du Festivals, can take quite some time, what with the crowds and all the barriers that are up around the red carpet. I passed many people holding signs saying “Un billet pour Robin Hood S.V.P.” – wanting a ticket to the opening night premiere.
After picking up my badge I took a walk around the festival site to re-acquaint myself with the layout, before meeting Carl and his students for dinner. Over pizza I explained what I got up to on my last visit to Cannes (see the Soul Searcher blog for 2005 if you’re interested) and we discussed the merits of going freelance after university.
I risked the bus system to get back to the hotel, and it worked out well, although it was pretty packed because of a sudden shower.
Today we have our first proper meetings.
And if textual descriptions don’t float your boat, you can follow my Cannes video blog on YouTube, and the iTunes podcast feed too.

The Dark Side of the Earth: May 13th, 2010

The Dark Side of the Earth: May 12th, 2010

With my flight status showing as “scheduled” I began my journey from the Hairy Ford (that’s Hereford, for the casual reader) a little after eleven of the morning clock. The British rail network did me proud, delivering me to Gatwick in plenty of time for my 18:15 flight.
I was glad that I had decided to check-in online, as the queue was quite formidable. I joined the shorter bag drop queue, only to be told, upon reaching the front, that I had to wait ten more minutes because the computers would not process anything to do with my flight until it was less than two hours away. During those ten minutes I contemplated the baffling phenomenon that is airport queueing. You queue to check in; you queue at security; sometimes you queue to enter the mini departure lounge at the gate, and you queue to board the plane. What purpose do these queues serve? I appreciate that you need to be metal-detected, and your bags need to be x-rayed, and that the hilarious nostalgia fest of your passport photo needs to be compared to your miserable, queue-beleagured face. I can even tolerate, albeit begrudgingly, that it’s not practical to board every passenger in strict descending order of their seat number, so as to avoid some arsehole trying to stuff his battleship-sized carry-on into the overhead locker, delaying everyone else from sitting down. But I can’t see why they don’t just roll them all into one giant queue and have done with it – sort of a conveyor belt, a production line. If this conveyor belt led from the airport entrance to the gate, it would streamline the whole process beautifully.
But aside from the shorter queueing time , exactly what did I achieve by checking in online? I still had to queue to see a woman who checked my passport, asked me if I’d packed my own bags and put my suitcase on a conveyor belt to the underworld. How does this differ from checking in? I always thought that by checking in, you were confirming that you were going to fly – like form registration. “Oseman?” “Present, sir. Please don’t give my seat to someone else.” But Easyjet lets you check in up to 60 days prior to your flight. A lot can happen in 60 days. Rome wasn’t built in a day, but I’m guessing they at least had the foundations dug and a couple of burger vans frying up after 60.
Anyway, having seen my suitcase off to the nether regions of the airport organism, I joined the mercifully short queue for security. After being metal-detected, and having my keys and belt bombarded by the rays discovered by Malcolm X in his downtime from violently opposing racism, I soon found myself sat in front of the departure board. At 17:10, the message “boarding starts at 17:10” was replaced with the all-purpose legend “please wait”. At 18:15, I was still being silently and unnecessarily exhorted to wait. At 18:20, the text turned red and informed me that the flight was closing. simultaneously revealing the gate number for the first time. A brisk walk to the gate, and I found myself in another queue. A tannoy announced that passengers with inaccurately-named “Speedy Boarding” passes were now invited to come forward. Half an hour later, I was still in the queue, which was advancing at speeds most closely associated with the Eastbourne post office queue at 9:30 on pension day, in a universe where time runs six times more slowly than it does here. Reaching the head of this queue, and passing through the hallowed portal, I discovered not the Holy Grail, nor the shining face of the Lord himself, nor even a plane, which, frankly, was the least I was hoping for. Instead I espied a bus, filled with people who had been ahead of me in the queue. It was like I had joined my deceased loved ones in heaven, only to discover that heaven was a bit rubbish and, had they had the means, my loved ones would have sent me a postcard telling me not to bother hurrying, and to be honest, only to come on to heaven when I was quite sure that I’d exhausted everything I could do on earth and I was so desperate for a change of scenery that sticking my head in the gas oven was the only thing left to do.
Of course, the bus couldn’t go anywhere until everyone who was behind me in the queue had also passed through the golden portal and suffered the same crushing disappointment. When it had finally shuttled us to the plane, there was a final, brief queue to get on the aircraft, as if someone was reminding us that, even in the blessed afterlife, there is some arsehole with a carry-on that’s too big.
The plane finally parted company with the ground two hours after its scheduled time. Upon arriving in Nice, I called my hotel to inform them that I wouldn’t make it there before the latest check-in time of 11:30pm. Defying the odds, my baggage chose the same holiday destination as me, we were swiftly reunited, and the careful planning of my route to the nearest railway station paid off admirably. Having purchased a ticket, I took a pew on the dark and lonely platform, reflecting that, were I in a similar situation in the Hairy Ford, I would be in constant fear of yobs and muggers. Regrettably, the French railway system proved as piss-poor as the bus system I had been subjected to on my previous visit to Cannes. The scheduled time came and went (the only saving grace being the singular absence of queues), and the hour of midnight found me teaming up with three other stranded Brits, walking back to the airport and negotiating a fare with a tourist-hating taxi driver.
At 1:30am, my destination and I finally coincided on the time-space continuum, and a comfy bed called my name.
Today, being the day before the Film Market really kicks off, I have little to do until a dinner with Carl and his SAE students, so I believe I shall check out the beach. Au revoir.

The Dark Side of the Earth: May 12th, 2010

The Dark Side of the Earth: May 3rd, 2010

The DVD is complete and the first meeting has been held. It went down well, but this is just the first tiny step in what will doubtless be an epic process.
Getting the edited 2K (full resolution) pilot onto DVD proved to be an epic process in itself. Due to the system at MFX being crammed to bursting point with other projects, we were unable to view the online with sound, so it wasn’t until I got it home and played it with the soundtrack that I realised that a shot here and shot there were out of sync. No-one was to blame – it was a combination of technical factors born of a complex edit, filled with flopped shots, reversed shots, upside-down shots, anamorphic, non-anamorphic, artwork sequences and of course the FX.
But every time I watched the online, I noticed another shot that was out. In the end, about a dozen needed fixing. Now, my poor old PowerMac G5 isn’t too hot on playing back 2K material, and I certainly don’t have the software or hardware needed to edit DPX – a format commonly used for scanned film footage, in which each frame is an individual still image file. So the only way to re-edit the online was by moving, copying, deleting and/or renaming these image files. With a bit of help from Shake (an application designed for compositing with DPX files, amongst others), I eventually got the online to match the offline. I was then able to convert it to Quicktime and give it a basic grade, before burning it to DVD.

The Dark Side of the Earth: May 3rd, 2010

The Dark Side of the Earth: April 18th, 2010

On Friday, Carl and I went to MFX in north Soho to approve the online which the company has kindly been doing for us here and there over the last few weeks. This was no mean feat, pulling together film footage that had been scanned in three different batches, plus effects shots from five different artists, and the introductory artwork sequence. The logistics of getting the material to MFX in the first place, from all the disparate sources, were challenging in the themselves.
But now it’s all come together, and we were able to watch the completed, full resolution edit. It looks great, but there are still a couple of FX tweaks required before we can move onto the grade. Since the company we hoped to be grading with have had to pull out due to other commitments, unfortunately we’re not going to have a 35mm print in time for Cannes (now just three weeks away). Instead it will be DVDs for now, with a print to follow in the summer.

The Dark Side of the Earth: April 18th, 2010

The Dark Side of the Earth: March 23rd, 2010

The FX, I believe, are finished. Tomorrow John, the compositing supervisor, will give them all the once-over, and barring any last minute alterations, they should go to the online editor in the next few days. Big thanks to MFX, who are very kindly providing us with said editor and associated edit suite.
Once the online is done, just three steps remain to complete the pilot: 1. grade (adjust colour and contrast levels to make the footage look its best), 2. transfer the digital master to film, and 3. process the film and combine it with the optical soundtrack.
Henning has pretty much finished the sound for the intro, which I just have to conform at HD quality so it can be dropped into the online edit. Aside from that, I’m hard at work on the script, to make sure that once people have been dazzled by the pilot, the screenplay lives up to it.
And speaking of dazzling, Ian recently showed me a sample of the information pack which will be handed out to viewers of the pilot. He’s painstakingly made it in the style of a period document, complete with wax-sealed envelope and thick, watermarked pages.

The Dark Side of the Earth: March 23rd, 2010

The Dark Side of the Earth: February 14th, 2010

The Dark Side pilot now has a lovely surround sound mix. Once again, huge thanks to the SAE Institue in Dalston, this time for giving us use of their state-of-the-art Neve DFC suite.
The day got off to a bad start, with the mixing desk refusing to output any sound all morning, a fault eventually ascribed to a previous user messing with the settings. On the plus side, this allowed me to have productive meetings with both Carl – now Dark Side’s official producer – and Aidan and Joe. The dynamic duo are now back on the case full time with the puppeteer paint-out work. If you’ve seen the latest podcast you will appreciate just why this particular part of post-production is taking so long. Six more shots have effectively been signed off this weekend, which is good progress in the face of the looming end-of-month deadline.
By lunchtime the Neve was cooperating, and Henning and I began translating the stereo panning from the pre-mix to 5.1 panning, to envelope the audience in the sonic world. The five speakers in the 5.1 system are centre (used for dialogue and any other sounds that have to be locked to the screen), front left and front right (used mainly for spot effects and the odd bit of foley and dialogue that happen just off screen), and rear left and right (where only music and background atmosphere dare to roam, save for the odd special effect). The point one in 5.1 is the sub-woofer, which handles the low frequency effects, giving the soundscape scale and literally making the room shake where necessary. The mix sounded huge in the studio, and will sound even bigger in a cinema or screening room.
We got through the positioning far quicker than I had expected, and were soon onto balancing: tweaking the levels of the various tracks to ensure clarity of dialogue, impact of effects and effectiveness of music. We finished on time at 8pm, an achievement for which credit must go to Henning, whose dedicated preparation made sure that everything went as smoothly as possible, and whose talent, of course, made the mix sound as brilliant and epic as it does.

The Dark Side of the Earth: February 14th, 2010