Sorry for the lack of recent updates, folks. I literally worked 12-18 hours a day for the month leading up to Dec. 24, when my colorist completed most of the Color Correction work. It was a lot of tedious technical effort, but the final results look better than ever! We’ll reconvene later in January to make a second pass and tune up anything that’s still not quite as good as it can be.
I also got a big surprise when our composer suddenly showed up with the film’s musical score weeks earlier than expected. If you didn’t know already, the score was provided by Susan Oliver’s niece’s husband, Lyle Workman, who plays guitar for Sting on concert tours and who composes scores for major Hollywood movies like The 40-Year-Old Virgin, Superbad and American Reunion. He did a fantastic job and, having only gotten to know Susan for a short while before her untimely passing, he really poured his heart into the work.
I’ve also been working hard with our lawyers to make sure we have clearance for everything appearing in the film and that it will be releasable with no issues. So far, so good, and it looks like we just have a few more formalities to sort out in January and we’ll be fine on that front.
Also in January, I’ll be turning the film over to our sound editor to clean up the recorded interviews and do a final mix (including setting the levels for our new musical score). Sometimes it feels like this film is a thousand moving parts, but they all seem to be falling right into place and many of them have already stopped moving!
Here’s hoping everyone has a great New Year’s Eve. See you in January!