Directors Notes

 

Postscript

Once the footage has been captured, the film has to go through a completely different stage… if shooting is the larval stage, post production is the cocoon stage, which can be quite a lengthy, intensive process, before the fully fledged movie can emerge and take wing… (with apologies to Flight of the Butterflies)…

DSCF0538

Mike Roberts, Brian Eimer, a shark and Luke Cresswell during the mix at ImagesInSound

We consider all aspects of post to be equally important, and we script, edit and compose the original music ourselves: its hard for us to imagine them as separate elements, they all develop at the same time, or are reworked at the same time, repeatedly, until we are ready to let go of the movie and hand it over to the real post experts. The offline post work takes place in our home town of Brighton, including the recording of the soundtrack in our room at the Old Market Theatre.

Our temp tracks are meticulously replaced by live musicians, including a 20 piece string section, conducted once again by Dominic Nunns; also on the soundtrack are the ubiquitous rhythms of Luke Cresswell with myself and an uncredited Mike Roberts on guitar (Mike added some funky electric wah-wah guitar to our Los Angeles musical sidetrack).

Recording at TOM

Domininc Nunns conducting the GWS strings at The Old Market, Hove, UK

But this is a large format film, which requires a 65mm print release, with a 6.1 soundtrack…

So this takes us to Los Angeles, to the 65mm den of iniquity that is RPG (Rick Gordon), and the house of transition from digital to 65mm film, Fotokem. Much of the digital footage also needs to be prepared for the ultimate scrutiny that projected 65mm gives it ,by going through complex, proprietary processes performed by Reliance. The colour of the film and the 3d correction all takes place in the D.I room at Fotokem in the very capable hands of John Daro, operating the highly impressive Mistika.

Our map and 3d cgi doodles are painstakingly reinvented by the artists at Frima in Canada, and our soundtrack mixed, as ever by Brian Eimer at ImagesInSound, under the watchful eye of our very own Mike Roberts, who has the unenviable task of translating our complex musical machinations into a manageable track list…

There are several end results: a 65mm 3d print, a digital 3d drive, a cut down version for digital cinema plus a 2d Dome print….

It’s a lengthy, intensive process, that doesn’t seem to get easier even on our 4th film: with every movie, the technological goalposts change, the bar is set ever higher, and the metaphors ever more mixed…

Hopefully the end result is as inspiring as the subject matter is to us: we hope our audiences will be as moved as we have been, to know more about this somewhat stunning creature we share our oceans with…

Steve McNicholas May 2013

©copyright Yes/No Productions 2013 All photos by Steve McNicholas and Luke Cresswell except where credited

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Our long time collaborator, David Marks (we have worked with David since he produced our Stomp/Target commercials in the mid 90’s), was line producing  the movie, but mid way through production, his son, Gardner, was diagnosed with Leukaemia. Quite how David managed to keep a grip on Great White Shark whilst he and his family were fighting for his sons life, we will never comprehend. Gardner passed away in April of this year, and we all dedicate this film to his memory.

David and Gardner Marks

David and Gardner Marks