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If audio is indeed desired for this film, then the entire film needs to be redubbed, as the difference between the production audio and the ADR audio is very apparent. (A little room tone and echo would then need to be added to the ADR audio through an audio program to prevent the audio from seeming like a strange voice-over.)
Sound effects were basically non-existent, which was very noticeable in such a slapstick type of film. Again, if the recommendation to turn this into a silent film is followed, then most of these issues will be nonexistent.
However, the biggest audio issue in the film is still a concern if the film is turned into a silent film, as all silent films need music. There were some really cool songs in the sound track, at least two of them (David Bowie’s “China Girl” and Bruce Springsteen’s “Born in the USA”) weren’t obtained with permission. Without that permission, this film couldn’t even be shown in a film festival, much less in a normal theater, which curtails the ability to have this film get any form of distribution. It’s often a hard fact for new filmmakers to accept, but you must get permission to use all the music in your film. (For well known tracks, like “China Girl” and “Born in the USA”, you could easily use over $100,000 obtaining the rights to use the music in a film, which is why only “indie” filmmakers with millions for their budget use tracks like these. That’s the reason why Microfilmmaker Magazine has started connecting Indie music artists to microfilmmakers in our Links Section, as these musicians will let you use their music on a pure contingency basis.)
[Note to Directors: Silent silms are best suited to instrumental tracks, so, if you decide to go that route, I would recommend looking at SonicFire Pro 4, a very clever program that allows you to tailor music to your film and which uses royalty-free libraries that are very affordable. (For the very customizable program and enough music to score an entire film, you’re only looking at about $399. You can read our review of the software here.)]
Use of Budget
Considering that half their budget went to their equipment costs and the other half went to feeding their actors and location costs, I felt $5500 was a decent budget for this film. For future films, hopefully they’ll be able to scale down the size of their crew and in turn, budget in a shotgun mic.
Lasting Appeal
Unfortunately, as it stands right now, 90 Days Visa doesn’t have much lasting appeal. It isn’t one I personally would want to watch again or show to others. However, this is in the modernized, talkie state. I could see this film having a lot of appeal as a retro-silent film.
Overall Comment
This is the first feature film for both directors and nearly a hundred folks besides, each of whom have now been bitten by the filmmaking bug, which, in my opinion makes the endeavor a great success. And while the film may have some pretty big issues, it’s not outside the realm of salvation. With its short run time, audio issues, and over-the-top melodrama, 90 Days Visa might not work as a talkie, but, with a little extra creativity, it just might be the perfect silent film.
With their heart to tell stories and entertain, I look forward to seeing what Mr. Vargas and Ms. McCawley create in the future.
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Content |
3.5 |
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Visual
Look |
6.0 |
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Use
of Audio |
4.5 |
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Use
of Budget |
5.0 |
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Lasting
Appeal |
1.0 |
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Overall
Score |
4.0
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The
director of two feature length films and half a dozen short films,
Jeremy Hanke
founded Microfilmmaker Magazine to help all no-budget filmmakers make
better films. His first book on low-budget special effects techniques, GreenScreen Made Easy, (which he co-wrote with Michele Yamazaki) was released by MWP to very favorable reviews. He's curently working on the sci-fi film franchise, World of Depleted through Depleted: Day 419 and the feature film, Depleted. |
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