I need help with recommendations on people here in Los Angeles who do sound design. Much of For Thousands of Miles, of course, takes place outside, but it is also told as a memory, so there is a lot of room for subtle play with otherwise natural sounds. The foley work has been a part of post that I’ve been looking forward to for a long time, I need someone meticulous that I can trust. Any recommendations would be much appreciated. 
Pop-upView Separately

I need help with recommendations on people here in Los Angeles who do sound design. Much of For Thousands of Miles, of course, takes place outside, but it is also told as a memory, so there is a lot of room for subtle play with otherwise natural sounds. The foley work has been a part of post that I’ve been looking forward to for a long time, I need someone meticulous that I can trust. Any recommendations would be much appreciated. 

Source: ftomfilm

I’ll be looking at this for most of the day. Exporting the current version of the film for a round of selected feedback screenings - nervous, but feeling good about things. 
Pop-upView Separately

I’ll be looking at this for most of the day. Exporting the current version of the film for a round of selected feedback screenings - nervous, but feeling good about things. 

Got a bit side-tracked earlier with fixing a few issues with clips that didn’t want to quickly smoothcam in Final Cut. Most of the problems seem to come from high-contrast areas of the picture that FCP mistook for best points of stabilizing. So, I pulled a few shots into Motion, tracked specific areas of the picture that were *actual* points of stabilizing and it seems to have worked out great! Moving back to editing now - one small to-do checked off the list. 
Pop-upView Separately

Got a bit side-tracked earlier with fixing a few issues with clips that didn’t want to quickly smoothcam in Final Cut. Most of the problems seem to come from high-contrast areas of the picture that FCP mistook for best points of stabilizing. So, I pulled a few shots into Motion, tracked specific areas of the picture that were *actual* points of stabilizing and it seems to have worked out great! Moving back to editing now - one small to-do checked off the list. 

Larry has been on the road for over six weeks now - having started near Reno and worked his way south through Mexico. This screenshot is of a corner he recently twittered from, I want to live next to this little store. He’s been traveling through some beautiful places… be sure to follow his updates on Instagram! 
Pop-upView Separately

Larry has been on the road for over six weeks now - having started near Reno and worked his way south through Mexico. This screenshot is of a corner he recently twittered from, I want to live next to this little store. He’s been traveling through some beautiful places… be sure to follow his updates on Instagram! 

Source: g.co

I did something a bit scary today - I asked a friend at work to create a piece of music that is very, very important to the film. I’ve had a rough-version of the music in the timeline for over a year now, all the time knowing that I’d have to eventually trust someone to take a stab at it… I have Zadi to thank for pushing me to finally take a chance and ask. I don’t know much beyond that - it could take a few days, it could take a few months, I’m not really sure how these things work. In the meantime, I’ll post any updates on this specific piece of music under the #hashtag Song for Larry. 
Pop-upView Separately

I did something a bit scary today - I asked a friend at work to create a piece of music that is very, very important to the film. I’ve had a rough-version of the music in the timeline for over a year now, all the time knowing that I’d have to eventually trust someone to take a stab at it… I have Zadi to thank for pushing me to finally take a chance and ask.

I don’t know much beyond that - it could take a few days, it could take a few months, I’m not really sure how these things work. In the meantime, I’ll post any updates on this specific piece of music under the #hashtag Song for Larry. 

I am besides myself. Last night a newly purchased iMac arrived - after much saving and waiting and more waiting, Erica and I were able to upgrade from the older Mac laptops that we’d been slowly driving into the ground over the last few years.  As of writing this I am currently / simultaneously exporting 4 hours worth of HD footage in iMovie, re-compressing 3 hours worth of footage in MPEG Streamclip from June, motion tracking a long-shot in Motion, all while editing a 2 hour film in Final Cut without the slightest bit of hesitation from the computer! On the MacBook Pro I’ve been using the last few years to cut the film, doing one of these things alone would have slowed my machine down to the point of un-usability - hitting play and then stop in Final Cut resulted in 2 minutes minimum of the spinning.  I can edit! I am so happy because I can finally-finally-finally spend 5 hours editing the film and actually put in 5 hours of editing; not 2 hours of editing and 3 hours of waiting and scratching my head; 5 hours of actual progress! This wouldn’t have been possible without Erica * 
Pop-upView Separately

I am besides myself. Last night a newly purchased iMac arrived - after much saving and waiting and more waiting, Erica and I were able to upgrade from the older Mac laptops that we’d been slowly driving into the ground over the last few years. 

As of writing this I am currently / simultaneously exporting 4 hours worth of HD footage in iMovie, re-compressing 3 hours worth of footage in MPEG Streamclip from June, motion tracking a long-shot in Motion, all while editing a 2 hour film in Final Cut without the slightest bit of hesitation from the computer!

On the MacBook Pro I’ve been using the last few years to cut the film, doing one of these things alone would have slowed my machine down to the point of un-usability - hitting play and then stop in Final Cut resulted in 2 minutes minimum of the spinning. 

I can edit! I am so happy because I can finally-finally-finally spend 5 hours editing the film and actually put in 5 hours of editing; not 2 hours of editing and 3 hours of waiting and scratching my head; 5 hours of actual progress!

This wouldn’t have been possible without Erica * 

Currently installing the newly discovered 30 day trial of FCP X - about to attempt a XML migration from FCP 7 to X, keeping my fingers crossed. 
Pop-upView Separately

Currently installing the newly discovered 30 day trial of FCP X - about to attempt a XML migration from FCP 7 to X, keeping my fingers crossed. 

Up past my bedtime tonight - moving a few pieces of FToM around before Stephen arrives in the morning to record the latest narration track for the film! 
Pop-upView Separately

Up past my bedtime tonight - moving a few pieces of FToM around before Stephen arrives in the morning to record the latest narration track for the film! 

I’m not sure how I would - or could - pull this off, I don’t think I have the outreach, influence or even the spare-time it might require to see this through - but, regardless, I wanted to share the idea and see if anyone out there reading had any thoughts, here it is: I want to take the 64 Days Production Journal, and replace each photograph with an artist’s representation. For example, say someone took the photograph above and remade it with acrylic paints; or maybe - being it that it doesn’t have much color to begin with -they used charcoal pencils to draw Larry behind all the tiny raindrops; or maybe they used paper cutouts to recreate the original photograph… it could be anything really, whatever the artist was comfortable with.  So… what do you think? 
Pop-upView Separately

I’m not sure how I would - or could - pull this off, I don’t think I have the outreach, influence or even the spare-time it might require to see this through - but, regardless, I wanted to share the idea and see if anyone out there reading had any thoughts, here it is:

I want to take the 64 Days Production Journal, and replace each photograph with an artist’s representation. For example, say someone took the photograph above and remade it with acrylic paints; or maybe - being it that it doesn’t have much color to begin with -they used charcoal pencils to draw Larry behind all the tiny raindrops; or maybe they used paper cutouts to recreate the original photograph… it could be anything really, whatever the artist was comfortable with. 

So… what do you think? 

Source: mikeambs

I’m not sure what the special occasion is, but, for what ever reason, Final Cut decided not to crash while I was sleeping. I woke up this morning to find it still chugging away at a few smoothcam filters and rendering the last bits of orange in my timeline. It was nice. 
Pop-upView Separately

I’m not sure what the special occasion is, but, for what ever reason, Final Cut decided not to crash while I was sleeping. I woke up this morning to find it still chugging away at a few smoothcam filters and rendering the last bits of orange in my timeline. It was nice. 

I am really tired of waking to find this waiting for me on my computer screen - I haven’t gotten in an entire night’s worth of rendering in weeks again. Frustrating. I think as soon as the new FCP is released I’m going to do a clean re-install of my OSX. Until then. 
Pop-upView Separately

I am really tired of waking to find this waiting for me on my computer screen - I haven’t gotten in an entire night’s worth of rendering in weeks again. Frustrating. I think as soon as the new FCP is released I’m going to do a clean re-install of my OSX. Until then. 

Been struggling these last three weeks just to keep my head above water - I know a lot of people are feeling that way these days, much of my time is spent applying to jobs that I never hear back from and listing things to sell on Amazon and Craigslist. I’m keeping a chin up though - I know we’ll be okay as long as we stay positive and keep pushing forward.  Last night I took the edge off a bit by watching an hour of the film - the structure that I’ve been working with the last year is more bare-bones, as far as what shots and sequences I’ve used so far to piece the story together; one thing I’ve been making an effort to do lately is track down more related footage and intentionally bloat the edit. A month ago the timeline ran about 2 hours even, as of last night it’s pushing closer to 2 and a half hours long. Much of the pieces that I’m cramming in will eventually get trimmed back out - but it’s important I make sure I’ve carefully compared different available shots before locking picture.  It has been amazing to rediscover footage that I haven’t seen or thought about in almost eight months, it’s all sitting there in a separate five hour edit waiting to be taken advantage of. The above screengrab is the film’s timeline short of the first fifteen minutes, which were cropped out when I made the image 4x4, it’s surreal for me to look at the tiny blocks above knowing they represent years of work. So close. 
Pop-upView Separately

Been struggling these last three weeks just to keep my head above water - I know a lot of people are feeling that way these days, much of my time is spent applying to jobs that I never hear back from and listing things to sell on Amazon and Craigslist. I’m keeping a chin up though - I know we’ll be okay as long as we stay positive and keep pushing forward. 

Last night I took the edge off a bit by watching an hour of the film - the structure that I’ve been working with the last year is more bare-bones, as far as what shots and sequences I’ve used so far to piece the story together; one thing I’ve been making an effort to do lately is track down more related footage and intentionally bloat the edit. A month ago the timeline ran about 2 hours even, as of last night it’s pushing closer to 2 and a half hours long. Much of the pieces that I’m cramming in will eventually get trimmed back out - but it’s important I make sure I’ve carefully compared different available shots before locking picture. 

It has been amazing to rediscover footage that I haven’t seen or thought about in almost eight months, it’s all sitting there in a separate five hour edit waiting to be taken advantage of. The above screengrab is the film’s timeline short of the first fifteen minutes, which were cropped out when I made the image 4x4, it’s surreal for me to look at the tiny blocks above knowing they represent years of work. So close.