rss feedInterview with Filmmaker Carlo Ortu on Post-Production Audio
Q. Some filmmakers wait until the final hour to begin considering post-production sound. Did you plan ahead regarding sound design and audio sweetening or did you consider the audio aspect early on? Were there any pros or cons related to your timeline of post-production sound?
A. With all my films I consider post-production sound. It is very often overlooked on tight budgets and filmmakers usually regret this when they listen to their film on a professional sound system if they’ve been mixing on the cheap. With regards to my last film, The Killers, I had my regular composer Stuart Briner on board from the script stage and Oli Whitworth, who is based up in Oxford, on board before we started shooting. I shot a test sequence as well and Stuart gave me a flavour of what we had been discussing which was very film noir inspired with a Ealing Comedy flavour.
Q. How did you handle audio sweetening, mixing, and mastering? (hired a sound designer, found someone to work for free, did it yourself)
A. I hired the very talented Oli Whitworth.
Q. Were there any pros or cons related to your strategy for audio sweetening, mixing, and mastering?
A. I would like to expand but it was a very straighforward process. I had a good sound recordist, Michele Caruso which is very important, I’d discussed with Oli what we needed and what he thought we needed and everyone just got on with it.
Q. How did you handle securing sound effects to use in your film/s? Did you use a sound effects library (CDs or downloads?), a foley artist, or did you create your own?
A. The sound mixer, Oli Whitworth has an Aladdin’s cave of sound effects. We also recorded some specific effects we would need on the shoot itself like the police raid at the end.
Q. Did you encounter any difficulties or set-backs with your choice of securing sound effects? (ie “foley artist wasn’t good enough,” “Sfx CDs too expensive”). Or, did you find your choice of securing sound effects perfectly suitable?
A. No not really. We went through several sound versions for the ending and made some more tweaks after the cast and crew screening which was in a cinema and very unforgiving. Sound effects (of the kind I needed) are easy to source these days with so much variety. It wasn’t a problem at all. Oli had pretty much everything we needed and like I said we also recorded some specific sounds we would need on the shoot itself.
Q. How did you secure music for your film/s? (Royalty-free or stock music, volunteer musician or composer, paid a professional composer to create a unique score for your film)
A. I always use Stuart Briner who I’ve known since University.
Q. Were there any pros or cons to your method of finding music for your film and would you do anything different next time?
A. I’ve been working with Stuart Briner for about twelve years. He’s a very talented composer and we’re making another film together this summer. I have listened to other composers of course but nothing seems to match Stuart. We are very honest with each other and both come to the table with ideas which makes it a very productive and enjoyable partnership with respect to the music for my films.
Carlo Ortu has written and directed a number of short films and one feature film “The Killers,” which is signed to IndieMoviesOnline and available to buy or rent on DVD., as well as worked on and scripted television, corporate and commercial projects and his credits include BBC, Channel Four, and ITV. His last short entitled ‘Safe Zone’ was one of the Top 20 Highly Commended films in the 2007 TCM Classic Shorts Competition, was selected for a special screening at the Palais at the 2008 Cannes International Film Festival, nominated for the UK Film Council Award for Best Film at the 2008 London Short Film Festival, nominated for Best Drama at the NPA 2008 Film Awards, and won the Audience Award at a 2008 Shortwave Films screening.
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