As to the second problem, the background noise isn’t so extreme as to require ADR, so it should be able to be dealt with via a number of noise removal software packages, most of which can be purchased in plug-in format, like Bias’ Sound Soap Pro or Sony Noise Removal. (Since this film was edited on Vegas, which originally started out as an audio editing program, there are actually greater numbers of audio plug-ins available for it than most other video editing programs.) For future films, the amount of unwanted background noise can be eliminated by (a) turning off all possible background machinery, including A/C, when shooting and (b) placing your shotgun mic’s business end between 1 ½ to 2 ½ feet from your talent’s lips. (For more on this, check out our article on the essential basics of audio production for no-budget films.)
As this film was recently purchased for distribution by Boll AG, hopefully they will pay for the noise removal and audio mixing so that White Out can be the best it possibly can be. (If so, then it will share another thing in common with Clerks, as much of the release budget for Clerks, once it was purchased, went into professional audio mixing.)
One area that was really quite impressive in the audio department was the lineup of independent music artists that were chosen for the soundtrack on this film. Since the film takes place in a radio station, it makes sense that a lot of music would be in the film, and the music chosen serves to build the quirky feel of the film and undergirds some of the more emotional sections. Most of the audio levels on the music are pretty good, although a few times the music gets a little loud when it’s supposed to be serving as a bed (underlying music that is played beneath dialogue). To fix this, mix music that serves as a bed to about –18 Db with the dialogue at –12 Db. If there is no dialogue, music is usually raised to –12 Db.
To help him figure out his issues,
Nick will rely on his co-host, Andy...
...and his producer and
dear friend, Hannah.
Use of Budget
Considering the actual film was shot for about $1,000, with the remaining $4,000 going to post expenses, like hard drives, better editing gear, festival submissions, and digibeta masters (for distribution with Boll AG), Grelck and company made great use of their money. Since most everyone worked for free, with the main actors signing backend deals if the film was purchased for distribution, the actual production budget went toward food, batteries, tapes, and the like. To further save money, they shot all of the radio station footage at the old Northwestern University radio station in just two days--a Friday and Saturday. (In that regard, it's nothing like Clerks, which took three weeks to shoot.)
Lasting Appeal
As White Out asks pretty deep questions about why we get into relationships, what lies we keep from ourselves, why we do the things we do, and what risks we’re unwilling to take, it is a movie that has a lot of lasting appeal. Fans of the irreverent musings of Kevin Smith will definitely enjoy Grelck’s work in this film, as will most people who’ve worked in a radio station or found out their fiancée was cheating on them. (Believe it or not, I actually have a friend who was a DJ at a country music station who got a call from his fiancée telling him that she was cheating on him right before he went on air. His response was not nearly as exciting as Nick’s in this film, but it just goes to show that these topics clearly deal with some common themes in our society.)
Overall Comment
White Out is a strong film from David B. Grelck and his little band of rebels from WDBG, with stand out performances from both Jonathan C. Legat and Michelle Higgins. While it struggles with a few audio difficulties and one pacing concern, if the distribution company is amenable, these problems can be fixed nicely in post. For filmmakers who want to see a very competent production on a very limited budget, this should be an inspiration to them. For film lovers who like Kevin Smith films or who like dynamic, exploratory comedies, White Out should be a no brainer to pick up.
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.
