ARTS2065 Adaptation Production Report Thijs Rozeboom, z3420075

Exegesis
I) What I have done:
or this project ! se"ected to ta#e on the ro"e o$ sound recordist and sound editor%
Pre-Production:
&urin' the preproduction process ! ana"(sed the ori'ina" to )nd out about $o"e( S*
and music used and tried to )nd simi"ar ro(a"t( $ree sounds and music on"ine% ! $ound
the +ebsites +++%sonn(boo%com $or $ree chees( music and +++%$reesound%or' $or
$ree S* ,er( he"p$u"%
! a"so tried to he"p )ndin' actors% -( $riend .en .runne#ree$ +ou"d ha,e made a
terri)c Tomm( /iseau impersonation0
.ut un$ortunate"( he +as bus( shootin' a $eature as &P in the ."ue -ountains%
Production:
-( contribution to the production process +as0 supp"(in' e1uipment 2camera, sound
and "i'htin'3, sound recordin' and steadicam operation%
Post-production:
&urin' the post4production process ! "oo#ed a$ter sound editin', co"our 'radin' and
)na"isin' the c"ip +ith tit"es% -( aim in sound editin' +as to emu"ate the ori'ina" as $ar
as possib"e in terms o$ sound e5ects and music 2as $ar as ! cou"d )nd simi"ar ro(a"t(
$ree music on"ine3% !nitia""( ! p"anned to a"so simu"ate the A&R done $or the ori'ina" but
due to time restrictions and other constrains ! ended up on"( usin' A&R recordin's in a
$e+ instances% -ost o$ the dia"o'ue in our rema#e +as the actua" audio recorded on
set%
II) What I have learnt:
6omparin' both the ori'ina" and the rema#e side b( side 2see here0
http077,imeo%com78803299:83 ma#es one thin' especia""( ob,ious0 the pacin' o$ the
edit% .oth ,ersions start out at the same point and end rou'h"( at the same time but in
bet+een those t+o points both ,ersions $o""o+ a di5erent pacin' in the edit% The
ori'ina" starts s"o+er +ith shots bein' he"d $or "on'er and the actors ta#in' more time
in bet+een their "ines and then pic#s up pace to+ards the cu"mination point% This
happens t+ice in durin' the scene% Presumab"( the reason $or that is bui"din' tension%
!t starts s"o+er, bui"ds up tension cu"minatin' in the the )'ht scene bet+een 6hris R
and &enn(, a$ter +hich the pacin' s"o+s do+n a'ain $or the initia" e;chan'e bet+een
&enn(, <isa and the -other on"( to pic# up pace a'ain to emphasise the drama
un$o"din' around &enn(=s dru' use and <isa and her -other=s disappro,a"% This tension
cu"minates +hen the mother >attac#s> &enn( ph(sica""( 2another )'ht scene3 and
?ohnn( and -ar# come to the rescue a'ain%
!n contrast to that, our rema#e has a di5erent pacin'% ! +as not the ,ideo editor o$ this
project but it seems to me, that +ith our project the pacin' $o""o+s the action on
screen and the de"i,er( o$ the "ines b( the actors rather than the pacin' bein' used as
a dramatur'ica" de,ice% ! don=t #no+ +ether this +as a de"iberate decision on beha"$ o$
the director 7 ,ideo editor or more the resu"t o$ a combination o$ circumstances under
+hich our )"m +as made% These circumstances +ere0
ner,ous 7 ine;perienced actors
ine;perienced director
ine;perienced ,ideo editor
pressures o$ the production process on the da(
"ac# o$ pre4production ana"(sis and preparation
! ha,e to sa( that on"( no+ that ! see both ,ersions side b( side and ana"(se them !
become $u""( a+are o$ this dramatur'ica" de,ice% .e$ore this e;ercise ! did >#no+>
about it on a >$act #no+"ed'e "e,e"> but on"( no+ that ! e;perienced it in rea" "i$e in m(
o+n +or# ! $u""( understand +hat it means and does%