This Friday sees the UK theatrical of Anuvahood, written and directed by Adam Deacon. The film is the spoof of UK street movies such as Kidulthood and Adulthood, it tells the story of Kay, a young MC failing at music, women and life, set in the council estates of Notting Hill. It’s also bloody funny.
I’m going to be drinking an inordinate amount of whisky this weekend in celebration of the film, it’s the first cinematic release that I’ve worked on as an assistant Foley editor and I loved every single cut, nudge and volume adjustment throughout each reel. Working under the instruction and guidance of Supervising Sound Editor, Re-recording Mixer and Associate Producer Alex Joseph, I noticed an unfolding improvement in my sync, noise reduction and levels awareness as the timecode ticked away.
Working on this project offered a rare opportunity to discover more effective means of fitting character movements, feet and props, blending naturally into the production sound and still cutting through when sitting amongst the soundtrack’s punchy hard effects, sound design elements and busy music tracks.
I soon found an affection towards experimenting with fades. Yes, this paragraph is indeed talking about the thrilling subject of fades… sorry about that. Previous to this project, I’d only used the standard slow fade in/out in order to prevent pop and clicks after leaving sizeable handles of room tone to prevent audible swells of noise floor. Having gained an insight into the relationship of cutting Foley amongst the dialogue and it’s own moves tracks, I began to use fades in a more aggressive and corrective manner; using the variety of different shapes to cut into regions or leaving long fade outs between footsteps, reducing noise without chopping in and out of the feet in a sudden and noticeable manner.
This is probably most obvious to other soundies, however it gave me real confidence in tacking the recordings without hesitance or meekness and consequently has affected my approach to sound editing in general, be it a feet track or a jet ski pass by in a corporate film. I normally have no reservations in tacking a physical object with gusto and intrigue, hitting it about, setting fire to it, biting it in half… so it’s thoroughly relaxing to now have a more daring approach to the sound once it’s lying ready and waiting to be fitted amongst its counterparts.
Is this interesting? Possibly not. I wanted to share.
So sod it, the film is out this weekend, I’ll be up in Scotland on a trip away from the city, enjoying fine whisky at an awesome club night dressed as a cowboy and come Saturday night will be at the cinema with a hangover, eager ears and a large bag of gratitude to Alex and a hell of a lot of people who have advised and encouraged me up until this point. If you happen to see it (UK only at this point), let me know your thoughts on the film and the sound.