So it’s been a whirlwind couple of months working on post sound and re-recording, but we are very proud to announce that our mix is now complete, and the movie sounds fantastic!!!
Thanks to our amazing Digital Dreams/Virtual Mix sound team Chip Mullaney, Clancy Troutman, Patrick Giraudi, Savannah Auch, Lorita De La Cerna, Reece Miller, Lisa Neidhardt, Bootsie Boots, and Eli Cameron in the UK who recorded Sarah Douglas ADR in her bedroom (!) via Facetime with our director in L.A. — which turned out fantastic and matches seamlessly. Gotta love modern technology and artistic ingenuity.
Also thanks to our brilliant composer Bruce Chianese and all the talented musicians who contributed a bit of their souls to the incredible score. Big, orchestral, emotional, magical. It is a thing of beauty we cannot wait for you to experience.
Now a final pass on color grading and some visual effects tweaks and it’s off to the big screen! Can. Not. Wait.
Onward and Upward,
L-R: Director Kenneth Mader, Sound Supervisor Clancy Troutman, Composer Bruce Chianese, and Mixer Patrick Giraudi just after locking the sound at Virtual Mix in Burbank, CA. With Susan Blakely and Courtney Hope on screen. Photo by Zander Villayne.
Now that we are approaching the finish line on the film, with our sound mix, visual effects and color grade nearly complete, our BTS Producer Aza (who also plays the character of “Lewis” in the film) has been getting caught up and cutting more videos for you. This one covers three days of filming last year that took us to the over-90%-in-the-can milestone (little did we know then it would take another entire year to finish that last 10%!) But if you’ve been following these posts you know we made it and the film is nearly complete! So enjoy this little flashback that recaps our adventures on the road to where we are today… and also get a glimpse of how we pulled off what is arguably one of the coolest shots in the film:
So after a marathon 18-hour color grading session, another marathon 13-hour sound mix session, an outstanding music score delivered in record time, and days of conforming, fine-tuning, tweaking, rendering and uploading, we finally have a near-finished version of Displacement submitted to the Sundance Film Festival!
Thanks to Gavin Fisher, Clancy Troutman, Patrick Giraudi, Savannah Auch, Bruce Chianese and the entire team for all your hard work and burning the midnight oil to hit the deadline. This begins our festival process. Now on to the final phase: ADR looping, final color and vfx, live musicians recording, final mix, mastering, then… Screenings!
Here’s the view from the Director’s pilot chair at the mix session. That’s sound mascot (and new friend) Bootsie Boots on the left supervising the session.
Emmy nominated and award-winning composer BRUCE CHIANESE has signed on to score the orchestral music for our film. Bruce is a brilliant and talented artist with over 100 credits in film and television. Having worked with director Mader on a few smaller projects in the past, this will be their first feature together. And their collaboration is off to a rousing start, with Bruce having already delivered what is arguably one of the most sweeping and magical music cues to grace the soundtrack of an independent film in quite some time. It is truly amazing, and it will only get better from here.
In addition we are also very proud to be working with an amazing sound design team headed by Sound Supervisor Clancy Troutman, sound designer/mixer Chip Mulaney, award-winning re-recording mixer Patrick Giraudi, dialogue editor Savannah Augh, sound effects editor Reese Miller, backgrounds editor Lisa Neidhardt and Foley artist Lorita De La Cerna. With a list of credits reaching some 400 titles, we can rest assured that this film will now sound as great as it looks!
Stay tuned as we move through these final stages of post-production and ready the film for the festival circuit and eventual theatrical release. Screenings coming soon!
Clocking in at 2 hours and 3 minutes (with over 15 minutes of Deleted Scenes and Extended Versions for the eventual home video release), the Director’s Theatrical Cut of Displacement is now complete and ready for Sound Design, Music Composing, final Visual Effects and Color Grading. It’s been a long road getting here, but the stellar reviews from a select few early test screenings agree that it was well worth it. The film looks and plays great!
We are very proud of what we’ve accomplished and excited to get it over the finish line and out into the world for everyone to enjoy. Click the grey bar above to see a picture of the actual editing timeline beginning to end. Yep, that’s what a feature film edit looks like folks!
Stay tuned for more updates as we move toward final completion, screenings, festivals and markets!
Onward and Upward!
So as we drill deep into post-production and visual effects on Displacement, we are finally getting caught up on our BTS Videos. Here’s a look at our beach days including the ever lovely Susan Blakely. It’s ‘Beachin’. Enjoy!
Another grueling yet fantastic final weekend of shooting put Principal Photography behind us! After 2 years, 2 months, and 21 days, filming on Displacement is finally complete! Extra special thanks to our extraordinary cast and crew for kicking ass and enduring long days to help finish this picture. You are all amazing and we couldn’t have done it without each and every one of you. Our heartfelt appreciation for all of your hard work and dedication and sticking it out till the very end. We love you all! Stay tuned as we push into the post-production phase and beyond. The adventure is just beginning.
And happy belated Mother’s Day everyone!