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Invitation to connect on LinkedIn

Posted in Uncategorized on October 16, 2013 by bangproductions
Giles Lamb
From Giles Lamb

Film and TV composer at Savalas Ltd
Glasgow, United Kingdom

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– Giles

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Listen to the Trailer for HP Lovecrafts ‘The Dunwich Horror’

Posted in Forthcoming productions on April 28, 2010 by bangproductions

H.P. Lovecraft’s The Dunwich Horror Post Production Week 3 – New photos up!

Posted in 1 on March 8, 2010 by bangproductions

Last wednesday we recorded the last of the dialogue for our large scale audio adaptation of H.P. Lovecraft’s The Dunwich Horror and it couldn’t have went any better. We had both Gavin Mitchell and Innes Smith in the studio and they did a phenomenal job. The chemistry between these two performers is just wonderful and the scenes we recorded with them just sparkle with energy. Gavin also recorded his dialogue as Wilbur Whateley, the main villain of the piece, and his voice has all the menace and sinister other worldliness I knew he would capture.

We also had the superb Seth Gardener in lending his voice to the character of, funnily enough, Seth Bishop. 

So, a few more days of editing and we will have a complete dialogue edit of The Dunwich Horror, all ready for music, sound effects and foley to be added. And talking of foley, that will be the next step. Literally, as we’ll be recording all sorts of footsteps and other noises… but more of that next week.


P.S. And do check out the new photos of the actors in action

The Dunwich Horror Post Production Week 2 – Pick Ups and Tweaks

Posted in 1 on February 25, 2010 by bangproductions

We’re now into the second (well, third to be honest) week of post-production on H.P. Lovecraft’s The Dunwich Horror and it’s been a week of pick ups, tweaks and still more dialogue editing.

One of the great things about pick ups is that it gives you the chance to refine what you already have. During the dialogue editing process you might find that there are certain scenes that you know will work better with a slight tweak here of there or, sometimes, just the inclusion of an extra line. If you can get one of the actors back into the booth you can get them to re=record lines or, more often, add new lines to fill out certain scenes. That’s the point we’re coming up to just now. Most of the dialogue has been edited, cleaned up etc and it’s at this point that we get the chance to have a look over it and see where things can be improved on. The one danger to this though is the temptation to keep on tweaking and adding so there has to be a definite deadline so you can get on with the next step of the process.

Greg Hemphill was in last week and he wrapped up his narration, and it’s sounding great. He has done a spectacular job, especially as the narration was extremely difficult at times, both in terms of getting the tone and atmosphere right but also simple in terms of some of the language poor Greg had to say. It’s actually quite hard to say “teratologically fabulous”… and make it sound scary, but Greg did it.

Another thing I decided to do with Greg’s narration was to give him some alternate lines so that we would have different options when it came to editing and deciding how best to pace the narration. For example, there might be a good few lines of narration describing some dying monstrosity on the floor. Lovecraft is wonderfully descriptive in his language and for some of Greg’s takes we would use as much of Lovecraft’s text as possible. However, we’d also have a take where, in order to keep the pacing of the story moving, Greg would simply say “The thing lay dying on the floor.” This gives us the option of either allowing the listener to immerse themselves in the imagery of Lovecraft or, if we think the flow needs to be best served and push the story and momentum on, the we use the simpler, shorter line and let sound effects fill in the rest. It’s a very enjoyable part of the process and also very important because you’re very much deciding on the rhythm of the entire story.

The following week we have the excellent Gavin Mitchell in the studio to record his lines and the last picks ups for Innes Smith, who is playing the part of Dr Henry Armitage. They’re both not only extremely gifted actors but easily two of the funniest people I know so it should be fun getting the two of them together. Before then, it’s a quick look over the script to decide if any last minute changes are needed because once Gavin and Innes session is recorded next week then that’s it as far as studio time is concerned. No more dialogue can be recorded and  everything we have is… well… everything we have. And it’s then a case of putting Gavin and Innes scenes into the finished dialogue edit to be ready for the next step… music!

But more of that next week 🙂


The Dunwich Horror post production week 1

Posted in 1 on February 5, 2010 by bangproductions

Well, the first week of post-production on The Dunwich Horror is over and, so far, it’s all sounding extremely good. Although I am also very much aware that this is just the start of the process. Here is the story so far of our production of H.P. Lovecraft’s ‘The Dunwich Horror’, and also a little insight into the making of an audio adaptation –

The first step was a script writing and adapting period that lasted just over two months. From the end of October till mid January the script was written and re-written serveral times. The challenge in this was how to make Lovecraft’s story really come off the page and to adapt it to the audio format but, at the same time, not to lose too much of the language and turn of phrase that makes his stories so atmospheric and idiosyncratic. We knew we wanted to make our adaptation as faithful as possible to the original so time, place, characters and events have all remind unchanged. The only real differences have come about where scenes that were originally narrated (and most of H.P.’s stories are sometimes nothing but narration) have now been dramatised along with the inclusion of new dialogue to open certain scenes up. We also knew that we wanted to make this as exciting to listen to as possible so we dramatised as much of the story as we could. What this means is that it immediately comes to life and stops sounding like an audio book, in which you are told the events of the story, and starts becoming more of a film without pictures and a world you can fully immerse yourself in.

Of course this means that the whole project becomes ALOT bigger in scale. A forty page long short story pretty much driven by a third person narrator has now become a 112 page long script with a cast of fifteen! Still, this is very much the approach we were wanting to take with this adaptation. There are already some really great and atmospheric readings of Lovecraft’s stories (worth checking out) and we felt we wanted to take a different, larger scale take on his tales.

The actual production time on the project was relatively quick. Two weeks ago was the main recording session. What this involved was getting the actors into studio 4 at Savalas and getting through as much of the script as we could. We had an excellent group of performers and actors and at the end of a full day we had got through over 80 pages of dialogue. Because some of the actors were only available at certain times during the day this meant that the script was recorded out of sequence. Although you want to record as much of the script in sequence as possible, this worked out pretty well. One of the advantages of recording a script out of sequence is that you can keep some of scenes that involve shouting and loud voices til towards the end of the day. The last thing you want is for an actor to shout themselves hoarse at 9:30 in the morning. The next step was to get Greg Hemphill in to record the narration which was done a week later. 

So we’re now into post-production. What this means is that for the last week I have been sitting in a cutting room going through all the dialogue we recorded, cleaning it up, selecting best takes, editing out stumbles and breaths/gasps/clicks etc, the stringing all the dialogue into one large file and putting it back into the order it was in the original script. This can be a long process. For example, after four days dialogue cutting I’ve got about 32 minutes finished… with another 56 to go. The great aspect of this part of the process though is that, apart from being fun, you get the chance to hear how the entire thing is starting to hang together. It also gives you the chance to finely tweak certain performances: slightly change the timing between two lines etc. 

The next part of the process after this will be pick ups where we get some of the actors in to re-record certain lines or, more often than not, to record new dialogue needed to make the story more energetic or just to make certain scenes a little clearer.

After that, it’s the track laying of sound effects, then music and finally, the final mix… but more of all that in the next week or so.

And with that I have to get back to editing all this dialogue. 

Next blog – Pick ups! Adding extra lines to make it that little bit more perfect