A "Credit" to Her Gender. Get it? "Credit?" Ha! I kill me!
On Wednesday afternoon, I got to walk the hallowed halls of DeRouchie Studios and watch as large sections of the Bigger than Jesus opening credit sequence were put together.
Since I'm a largely-untalented boob, it will shock no one that most of the heavy post-production lifting is done by others. In that way, I'm like most of you...in that I often don't see the final product (or at least final cuts of individual segments) until they're done; having me in the mix would only complicate and delay things. All of which is what made Tuesday so great.
Having a rough idea of what the opening credit sequence would consist of, Joni was hunkering down to assemble, edit, and polish it---to turn the idea into a usable thing. This entailed a sound mix (of several different audio sources) as well as numerous small sections of film...all of which had to be heavily processed and matched to one another. Then, there was the issue of timing...how fast should one shot cut to another? How loud should the audio be? And -always the hardest choice- what should be cut when things start to run overtime?
Within a few hours, the figment had become flesh. What had once been an amorphus collection of ideas and notions was now a largely complete opening sequence---one that (hopefully) starts this unique film off on the right note of energy and antici....pation.
What makes this opening even more special is that it contains some great, very stylized shots of certain audience members. Your face may grace tv and theater screens the world over, depending on how things unfold.
I can't wait for you to see. Really, truthfully, I can't wait for everyone to see the whole thing, and that's not a function of my ego, but a reflection of how much energy has gone into this whole labor of love. (Well...and a little bit of ego. Ahem.) Everyone in the audience who supported this project, those who spread the word, told their friends, and put their butt in a seat...as well as the crew, cast, and production team...this really is for you.
December third is coming. Order now.
Since I'm a largely-untalented boob, it will shock no one that most of the heavy post-production lifting is done by others. In that way, I'm like most of you...in that I often don't see the final product (or at least final cuts of individual segments) until they're done; having me in the mix would only complicate and delay things. All of which is what made Tuesday so great.
Having a rough idea of what the opening credit sequence would consist of, Joni was hunkering down to assemble, edit, and polish it---to turn the idea into a usable thing. This entailed a sound mix (of several different audio sources) as well as numerous small sections of film...all of which had to be heavily processed and matched to one another. Then, there was the issue of timing...how fast should one shot cut to another? How loud should the audio be? And -always the hardest choice- what should be cut when things start to run overtime?
Within a few hours, the figment had become flesh. What had once been an amorphus collection of ideas and notions was now a largely complete opening sequence---one that (hopefully) starts this unique film off on the right note of energy and antici....pation.
What makes this opening even more special is that it contains some great, very stylized shots of certain audience members. Your face may grace tv and theater screens the world over, depending on how things unfold.
I can't wait for you to see. Really, truthfully, I can't wait for everyone to see the whole thing, and that's not a function of my ego, but a reflection of how much energy has gone into this whole labor of love. (Well...and a little bit of ego. Ahem.) Everyone in the audience who supported this project, those who spread the word, told their friends, and put their butt in a seat...as well as the crew, cast, and production team...this really is for you.
December third is coming. Order now.
6 Comments:
I think it's time we all finally acknowledge that this whole dang show came together so well because of the incredible prop work. I mean, Uncle Steve's briefcase didn't stuff itself.
/attention whore
You mean Pastor Steve. Uncle Steve was the chatty Jewish fella with all the microphones.
Dammit...I always get them two mixed up. I'll just be quiet now and fill in the new "word verification" box...
Toddski.... during my editing process, I am especially enjoying the conversations you and Rick had off-stage when you both, for whatever reason, thought his mic was muted. It was not. Heh.
"Sweet Nothings from Behind the Balo Curtain: The Todd W. Story"
cough....fluffer....cough
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