"Corrado" - A production blog

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Cmon guys give me a break, i know you are the local cheerleaders for Corado, but we are all entitled to ask the questions that interest us. Since the last 20 pages filman has asked two questions...

filmman said:
Tell us about the boat. Is it a sailboat? Will you shoot a movie on it? How much would you rent it for, say, if Adam wanted to rent it to dock it at Cannes and sell Corrado territorial rights? LOL

hey, Adam Z, how did you get a video on Youtube that sharp?
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...the rest has been pointless commentary of what HE thinks Corado is or isn't. Adam has answered all my questions so far and hasn't complained. In the end i think people don't come to this thread to hear when Adam is sending out autographed socks or how to compress there video for youtube, but if they do i have no beef with it. So lets just all get along you ask your questions and i mine and let this thread go back to what it is about - the making of Corado.

peace!
 
you should probably just condense all your questions in 1 post at a time and maybe number them, that way Adam can just click the quote button and answer them all.

this thread has over 200 pages and it's hard to read keep up with what's going on when you have 2 or 3 pages of questions, it kinda makes it hard for anyone else to ask questions and its probably hard to answer as well going backwards and forwards in the thread.

i dont have a problem with your questions but you can see how some may get irritated when they have to scroll through several pages of one-liner questions back to back...it bogs down the thread.
 
I'm with HVX Adam has been very gracious to let us pick his brain and I for one want to know everything. A lot of these things I knew already but some of it I didn't and I'm reading everything. Action films are my thing and it's not often you hear about someone doing it at this level. This is where I'd like to be real soon. But maybe it would be better to condense the questions.

-Nate
 
Mickey Munday said:
you should probably just condense all your questions in 1 post at a time and maybe number them, that way Adam can just click the quote button and answer them all.

this thread has over 200 pages and it's hard to read keep up with what's going on when you have 2 or 3 pages of questions, it kinda makes it hard for anyone else to ask questions and its probably hard to answer as well going backwards and forwards in the thread.

i dont have a problem with your questions but you can see how some may get irritated when they have to scroll through several pages of one-liner questions back to back...it bogs down the thread.
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Fair enough.
 
A Messenger said:
I kind of like a 4 act structure too. How would you describe yours?

I read the first 12 pages and I think they're pretty entertaining. Not that it makes any difference at this point but I noticed a few grammatical errors. Was this the version of the script that was sent to agents and actors? Do you think anybody noticed or cared about anything other than the quality of the story and dialog?

Sorry to dwell on this a bit longer but the nature of these errors surprises me. The classical wisdom on sites like Triggerstreet is that any error in format or grammar is inexcusable. How important are format and grammar if you are a writter/producer/director?
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What Shawneous said re: the structure.

This version is post actor revision, so it might contain a few errors. I sat down with my lead a little in haste and amended some portions of it.

Still, not sure where the grammatical errors are, but they aren't that big a deal. Spelling is death, grammar is.....a warning.
 
Have you looked into AV Transfer? Just grasping
http://wwwdotavtransferdotnet/

Converting OMF
AVtransfer can read almost any OMF or discreet edit project file.
One of the principal uses of AVtransfer is to read “dirty” or non-compliant
OMF project files and export clean OMF with full control over all parameters.
AVtransfer can also cross convert between versions of OMF.
Open the source OMF file in AVtransfer and then:
Export the entire project as an new OMF file with full control over
all parameters.
or
Extract portions of the OMF project, file by file or by timecode
region and export them as a new OMF - again with full control
over all parameters.
For a full explanation of all the OMF parameters that AVtransfer can set,
refer to “OMF Export Options” on page 45.
Creating OMF
AVtransfer can be used to produce OMF projects from individual audio
clips. These clips may be sourced from a pre-recorded library, audio
CD’s or from location recordings etc.
AVtransfer is compatible with location recorder files such as those generated
by the Deva disk recorder and can generate OMF projects from
these files supporting clip naming, track information and location timecode.
Open the source files as a new project in AVtransfer and then export portions
or all tracks and clips - with full control over all OMF parameters as
well as the project frame rate if this was not embedded in the recording.
Correct any pull up/down scaling errors if necessary (NTSC only). This will
help correct slow drift audio sync problems seen when long runs of location
timecode are used.
 
Let me know if it works. I am edting the sound on a feature and I also use Vegas.. The director/editor is using FCP. So I will face a similar problem once we enter the post stage.

Good Thread!! Keep up the good work.

Wadro
 
Wadro said:
Let me know if it works. I am edting the sound on a feature and I also use Vegas.. The director/editor is using FCP. So I will face a similar problem once we enter the post stage.

Good Thread!! Keep up the good work.

Wadro
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So far the demo version exported an .omf file from my EDL.....it doesn't like the .mxfs, but I can swap those out with WAVs for sound....

But it did put out an .omf. I sent it to the sound man, let's see what he says...

Very promising so far! Thanks for the tip!
 
quick question for ADAM, or anyone else who may know the answer...

I noticed in the script you mentioned the beloved, Fender Stratocaster, I say you should have gone with the Gibson SG, alright just joking, but...

Did you have to do anything through Fender to mention that, or is it safe to throw in brand names in the script without legal trouble?


thanks!
 
sorry if this has been answered but you said you had a problem with an actor who became very difficult (I think he was cast in the movie but let go?). What happened with this actor?
 
taormina said:
So far the demo version exported an .omf file from my EDL.....it doesn't like the .mxfs, but I can swap those out with WAVs for sound....

But it did put out an .omf. I sent it to the sound man, let's see what he says...

Very promising so far! Thanks for the tip!
Click to expand...

If its possible, keep us in the loop on this one.
If it works it will be very helpful.

It's still going to be difficult if you used the camera sound up till now because
there is no metadata in that, that gives timecode etc, that is stamped
within the "real" audio wavs that would be used to resync all the extra tracks.

But getting the audio apart will definitely be in the right direction.
 
You know what sucks, I just edited a project and made a bunch of sound edits in Final Cut. When I sent the sound output (OMF file) to the sound mixer, none of my sound edits went with the file...which means he had to do all of the leveling work, all of the mutes, etc. that I had already done. Have you guys noticed this, or did I export the file incorrectly?
 
OMF is a very basic translation protocol. Only clip (or "region in Pro Tools) location, duration and name are transferred. There can also be a fixed audio level attached to each clip, but no keyframe ("breakpoint") automation (although I believe Digital Performer may have figured out a workaround for that). Crossfades usually get recomputed as small new audio files.

So what you'll get will look like your FCP audio timeline, but only the basic clips. No automation, mutes, plugins, routing, filters etc. It has no way to handle those.

Most mixers are fine with that because they're going to want to do the mix themselves anyway. Trying to work from an amateur mixer's existing data is a major drag, hard as this is for most amateur mixers to understand! So when you work with you audio in FCP, if you plan to send it to a mixer, don't spend too much time finessing your levels. It's all gonna vanish once it's OMF-ed over to Pro Tools.
 
most mixers and sound designers i've worked with ask for the timeline to be prepped by levelling everything to zero, staggering clips so no two are butted up against each other, centering all pans on mono sources, mixing down clips with plugins and keyframing and placing them on the timeline for reference at the very bottom, while keeping an uneffected version on the timeline as well. and then generating the OMF with 2 second handles.
 
Rippie said:
If its possible, keep us in the loop on this one.
If it works it will be very helpful.

It's still going to be difficult if you used the camera sound up till now because
there is no metadata in that, that gives timecode etc, that is stamped
within the "real" audio wavs that would be used to resync all the extra tracks.

But getting the audio apart will definitely be in the right direction.
Click to expand...

Well the latest is that Kent is able to open the .omf and all the data appears to be there!!!! The bad news is the translation program really does not like working with MXFs so I need to pull all the sound data off of the DVD RAMs my mixer gave me. It's going to take a few more days but hey, a ton of bitching multichannel audio always helps.

Thanks much to Wardo for that insightful tip - that little program saved the day!

While I'm at it, I thought I's post Kent's bio. I've worked with him before and he's a great help and resource to me in all areas Audio.

http://www.soundesign.org/company/kbio.html
 
thesammyshow said:
quick question for ADAM, or anyone else who may know the answer...

I noticed in the script you mentioned the beloved, Fender Stratocaster, I say you should have gone with the Gibson SG, alright just joking, but...

Did you have to do anything through Fender to mention that, or is it safe to throw in brand names in the script without legal trouble?


thanks!
Click to expand...

It was moot because I shot the scene a little differently, and the name was not mentioned.
 
megf said:
sorry if this has been answered but you said you had a problem with an actor who became very difficult (I think he was cast in the movie but let go?). What happened with this actor?
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I never did mention this.

A Very Large Pussy (Pseudonym - name withheld to protect the parties involved) was hired on to do the part of Tommaso, which ultimately went to Frank Stallone. I sent him a deal memo which he never signed, there was always an excuse from him or his agent. He was busy, they lost the file, it would be done next week. blah blah. Then he put pressure on me to get him his airfare, which I did, to the tune of $800 worth of flights.

He acted like all was well, and truly wanted to be part of the picture. About two weeks before he was to fly out, he called and left a voice mail saying he was quitting the production because he didn't want to be in the same film as Joe Gannascoli.

I phone him up and asked what the situation was...apparently the two of them had gotten into some sort of fight.....I told him he wasn't even in the same scenes as Joe, that Joe was to fly out before he was even IN town.....nothing could convince him to be in the same movie as Joe Gannascoli - which seemed odd to me since it was Joe who originally recommended him and gave me his number!

Anyways, I told him he was reneging on his commitment, that we had airfare booked, and I wanted the money back. He then got threatening with a bunch of his goombah crap....as if he's a real gangster, and I let it go. He was a real douche bag.

In any case, Stallone replaced him.
 
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it's funny how actors (especially one whose character was more like a dufus or not-so-tough guy out of the mobb) can start believing their own character .... or be perceived one way on screen or how you may think they are and then you hear they're a douche bag. i didnt mean literally.
 
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