Worked on the dialogue transcript, which will morph into subtitles, which I assume I’ll be able to put on after some book reading.
Need to add another screen of credits and acknowledgements. Right now, we just have one screen with the crew and principal cast. But since there are another nine people in the movie, we gots to get them in. AND, there are sponsors and people who helped out to be thanked. I learned how to do that, though.
There’s one clip from inside the car, during one conversation, one line of dialogue, where the exposure’s all whack. We’d shot it early in the morning, and the sun is coming right in the window. The problem is, I’m pretty sure that’s the only take with that exact line. I’ve gotta go through all the tapes again and look for a better shot.
The sound needs to be remixed, I think. Basically, it’s all there, and pretty good, but levels aren’t quite right, there’s some noise in places (although most of it’s gone)…a real audio expert’ll be able to do wonders, I think.
That said, after rewatching Kieslowski’s Dekalog–where there were tons of car interiors with overexposed landscapes and/or harsh shadows from a sun gun spotlight inside the car, and after seeing Y tu Mama Tambien, where the narrator’s voiceover cuts abruptly into the ambient audio of the story, I’m a little less hung up about the last two. Our light’s better than some of Kieslowski’s, and our sound’s better than some of Alberto Cuaron’s. That’s something. Not that I’m not going to fix these things, though, obviously.