The sound edit, foley, and mix for Blumenthal is being be handled by Josh Berger over at PostWorks New York. I had met Josh several months back when we were just getting our first assembly of the film together. On my last trip to NYC, we took the opportunity to screen the final cut of the film for Josh at the facility and discuss some of what lies ahead of us for post-production sound. Josh was an instant fan of the film and we were all instant fans of him.
Thanks to co-editor Alex Kopit, our temp sound from Final Cut Pro is actually pretty darn good. Tracks are organized quite well and we've squeezed about as much sound quality as we could get out of the editing suite. That said, their is still plenty still to do.
Much like the color grading process, the sound design will really take the film to another level. From foley sound effects to mixing music with dialogue, there is so much shaping still to be done. Seeing as our dialogue is all well-recorded, the real benefit will come in the sound textures of environments, the integration of voice-over (where dictated), and the ultimate final mix in a theater.
I've spent much of the past week breaking the film into reels, generating reference quicktimes with timecode, and portioning and exporting OMF files. I'm sure there are many assistant editors out there that know all about academy leaders and tail pops, but there has a been a slight learning curve for me. I've spoken more to Alex Kopit in the past few days than I ever did when we were working at the same desk!
Understanding and managing how all the departments of film interact has certainly been beneficial, but some of this stuff I do not care to mess with ever again. Wearing many hats has its upsides, but for the most part I think I'd like to get just one really well-fitting hat that looks great on me.
I'll share more details on the post-production sound as we move forward, but I expect to be back in NY in a month or so for a mixing session with Josh as well as some more color work with Seth Ricart.