pops and buScreecHes

Right. Well.

The 2-camera set-up we used for Scene 6 (Davis Square) actually proved very useful today. I took the video from one camera on Take 4 and the sound from the other. This worked remarkably well -- and it even synched up on the first "paste" attempt, which seems - still - highly unlikely, unusually lucky OR a function of Final Cut of which I've been unaware. So when I _look_ like I'm muttering "Bastard!" I sound like I'm saying it, too. We like this.

On Monday I did actually get to cutting a little. When I quit for the day in order to go to my brother's for x-mas eve dessert and games, I was quite sure it would Never Be Possible to make any of the sound work Ever (at least in this scene), because 1) there was SO MUCH TRAFFIC - Aarrghhh!!! - and 2) the mic under the table was so much louder than - uhh - the other mic, wherever it may have been. So as Bill and Sarah (Kevin and I) talk about whether or not she's "turning gay" and whether or not this would "bother" him, and the shot goes back and forth (from him to her to him to her to him, you see?), the sound goes like this:

SARAH
You honk sure whirr you screech don't vroom want ghgtm?

BILL
Yeah, honk pretty sure.

But not to fear! My point of saying all of this is to announce that - huzzah! - today I actually fussed around with the sound levels (is there an intuitive or historical reason that tool looks like the tip to a fountain pen?) to such an extent that I close out today rather, if I dare admit, HOPEFUL. That hope is augmented by my "discovery" of the existence of the "stereo spread" tool, which I think will also help.

Note to self: no exteriors in high traffic areas when the scene is intensely dialogocentric.

I'm not putting "dialogocentric" in the glossary because I made it up.

So, tomorrow is Pete-my-manfriend's 50th birthday, so I'm not sure I"ll be editing or blogging, but I may. I've got two sequences going -- one that will try to cut more of the scene out than the other. I"m eager to see just how short I can make the scene and have it still make sense and serve its "vibes are unreliable" purpose.

We shall see, we shall see.

Rachel