Mad Movies With the La Connection (9781393069614) by White Mike

Author:White, Mike [White, Mike]
Language: eng
Format: epub
ISBN: 9781593935900
Publisher: Draft2Digital
Published: 2014-09-15T00:00:00+00:00

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Skov says, “Depending on how much time we all had, we would try to sit down together to watch the movie and come up with ideas. I would take those and come up with a final idea and put together an initial edit. We’d sit down and look at the film again with the storyline idea in mind. Then we would make edits based on ‘what if we put this here and that there’ to tighten up the story. Then, either I would give Randy Ridges our time code numbers or sometimes I’d do the edit myself.

“Once we had the final edit we would write our copy. We might make adjustments based on the edit or we might say, ‘You know what? That isn’t as funny as we thought. Let’s get a little more footage and put it in here and change that up a little bit.’ We could do whatever we wanted with the ¾” tapes. The final step was going into the post house and doing the final edit of the video, record the voice-over, and add that to the master.

“For the audio, you would have three tracks on a 1” master: one for your dialogue, one for your music, sound effects, laughter and all that. The third was audible time code. When you’re in the studio, everything is separate, but then you’d have to designate them as one track or the other when you put them on the master. We would keep the dialogue apart from the rest so we could make adjustments like making it louder. You know, if you went from one city to another – and who knows what their systems would be – you could ride the audio. Hopefully, they never have to do that but, if you had to, you could.

“A lot of people think that just because you’re taking something that’s already there that there’s no cost. They don’t realize that it’s actually almost more costly to do what we do than to go out and re-shoot it. Because, with shooting it, I’ve already got the audio, I’ve got the sound effects, I’ve got the visuals the way we want them. It’s more time-consuming to do what we do. They don’t factor in the cost of writing it, editing it, going to a recording studio, mixing it, put in all the Foley, bringing in music; everything you have to do for every television show, but we have to replace all the dialogue, as well.

“With the Foley, you can’t just use sound effects because they’ll never match. I used to use two Styrofoam cups for a horse’s hooves. I mean, if a guy pulls his keys out of his pocket or a woman snaps her purse, if they got up out of a chair we’d put a little squeak in the chair. The things that most people try to remove, we would put back in because we had to create a soundtrack that sounded real. These days you see a lot of movies and say there’s a guy on a train.

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