Writer/Producer/Director Terry R. Wickham is proud to announce he has licensed Marco Sfogli “Nothing is Lost” instrumental from JamTrackCentral for his upcoming love story-suspense thriller Double Vision.  This romantic guitar piece is from the awesome JTC Guitar Hero Ballads album.

Wickham says, “Marco Sfogli is one of my favorite guitarists in the world.  He has been since I first heard him on the 2005 James LaBrie Elements of Persuasion album.  He plays with such deep emotion and expressiveness, when you combine it with his tremendous technique it makes for jaw-dropping guitar playing.

Since I love good guitar playing so much, I’m always looking for ways to include it in my work as a filmmaker. I kind of figure there is not a lot of other directors doing it, so the responsibility falls on me. When I heard this beautiful romantic track on YouTube, I knew right away that it fit the mood I am looking for in Double Vision.

Double Vision is a mature, tender love story that becomes a terrifying excursion in suspense.  I have a very clear vision of what I want the film to be and that includes the type of songs to be used in the movie.  The main couple (“Julie Goodwin ” and “Wes McCulloch”) use to date 10 years prior to this film taking place.  During that time “Wes” made a Love Mix CD of melodic hard rock ballads (something I did in real life for my wife when we were dating) and is playing it again in his muscle car stereo, now that they are reconnecting.  The songs have to support what I wrote and will definitely help lift the story.

The songs I’m choosing to use are not necessarily from a specific time-period, but rather the passionate romantic feel that is reflected in both the instrumentation and lyrics (if any).

Marco’s playing is so heartfelt in this tune that he conveys the tug of war of being apart and together at the same time, which totally mirrors what will be happening in Double Vision.  The guitar playing on JTC Guitar Hero Ballads is loaded with romantic guitar firepower.  Click here to purchase your copy.

I’m such a major fan of exceptional guitar playing, this is a real honor for me to get use of Marco’s song.  Hopefully the finished film/TV show segment will be something Marco & JamTrackCentral will be pleased being a part of as well.

I can’t thank the good folks enough at JamTrackCentral for authorizing use of this song and together doing what we can to continue to support great guitar playing.”


“The Devil’s Five” Editor Kris Ramsey agrees to Cut Double Vision

Filmmaker Terry R. Wickham is way beyond happy that “The Devil’s Five” Editor Kris Ramsey has agreed to Edit his upcoming love story-suspense thriller Double Vision.

Editor Kris Ramsey created the blazing, smoking Opening Credits for Devil’s Five feature film. Copyright 2017 Mantaray Pictures LLC/Cool Creative LLC / HERMANOfilms  All rights reserved.

Wickham says, ” Kris did such a phenomenal job of cutting “The Devil’s Five”, which included not only traditional editing, but he personally did all the special visual effects in the Wraparound segment, color correcting and animated artistic Opening Credits. Kris also was responsible for taking all five separate segments (“The Devil’s Five”, “Abandoned”, “Don’t Say These Words”, “Choke” and “Stash”) threading them together as one complete feature film and generated all End Credits as well.

There is a definite cohesiveness he brought to the movie that my Devil’s Five partners and I will be forever grateful for.
The opening scene in “The Devil’s Five” features all sorts of visual effects you may not even notice Ramsey added to make the powerhouse beginning. Copyright  2017 Mantaray Pictures LLC
Kris is just so highly skilled in every aspect of editing that he brings a wealth of technique and expert talent that heightens the films in every way.
Screengrab from “The Devil’s Five” has “Ansel Schneider” (Ralf Scheepers) being interrogated by Detective Armitage (Kevin Cusick) . Copyright 2015 Mantaray Pictures LLC
What I really admire about Kris’s approach is not only does he do his best to fulfill my vision, but is not afraid to challenge things or look at scenes/moments at a slightly different angle to make it even better.
Kris Ramsey augmented the colorful police car lighting in this dolly shot moving in on “Ansel Scheider” (Ralf Scheepers) in “The Devil’s Five.” Copyright 2015 Mantaray Pictures LLC
Look at how he edited the ambulance arriving scene in “The Devil’s Five.”  The original footage run around 5 to 6 minutes.  He creatively cut it down to probably around 1 minute using an amazing-stylish time shaving way.  Or the flashing red/blue light effects he added from two police cars in the first scene.  Also his addition of the shot of the full moon shot transitioning  to the police station.  How about the cool insert flashbacks glimpses to the first scene in the hallway when Detective Armitage (Kevin Cusick) is speaking to Detective Hannigan (Sarah Haruko) about what happened.  I honestly loved how he heightened those moments and everyone one of those ideas/additions were all Kris.
Ramsey’s editing prowess is on full display in this intense Screengrab from “The Devil’s FIve.”  “The Woman” (Diana Noris) sits up suddenly to “Nurse Davenport” (Lauren Dougherty) and “Dr Goode’s” (Richard Kern) dismay. Copyright 2015 Mantaray Pictures LLC
Some people wouldn’t have the wherewithal, courage or maybe even talent and foresight to do that, but Kris definitely wants the best for the film and that’s what really matters.
“Minka” (Tyler Kipp), “Myra” (Rachel Scarr) and “Deena”  (Chanise Renae ) scream for their lives in “The Devil’s Five.”  Screengrab from “The Devil’s FIve.” Copyright 2015 Mantaray Pictures LLC
I’m really super thrilled that my first choices for my behind-the-scenes collaborators are the people I wanted for this film. Kris joins already announced Cinematographer Adrian Popescu, Poster Artist David Helpling and Music Composer Houssem Turki as four of the five I targeted for my most important production staff.
In this screengrab, “Chelsea” (Sarah Greenspan) and “Deena” (Chanise Renae) scream in horror as all hell is breaks loose in “The Devil’s FIve”. Copyright 2015 Mantaray Pictures LLC
There’s a certain synergy of working with the same production personnel who are great at what they do  I recognize that as being vital to the success of John Carpenter’s early career.  I saw the same thing with late George A. Romero, when he worked with his Pittsburgh crew.
In this screengrab from “The Devil’s Five”, “Babs” (Nadie Lahaie) and “Francine” (Elia Coutte) facial expressions are similiar to how thrilled filmmaker Terry Wickham feels Kris Ramsey is joining his production team for his upcoming suspense-thriller Double Vision. Copyright 2015 Mantaray Pictures LLC
I’m hoping that these talented folks (and a few others  such as Bryan Lopes, Jason Paluck, Giorgio Savona to name a few) will be part of a select roster of people who I will continue to work with again and again going forward.”
Expect to see an announcement for Wickham’s choice for who will be the Sound Designer real soon .  The Sound Designer he wanted for Double Vision just accepted the role Saturday January 13th.  Double Vision‘s outlook is looking better and better each day.

Joe Satriani – What Happens Next

Joe Satriani – What Happens Next

Sony/Legacy Recordings – 2018

“Energy” kicks off Joe Satriani’s 16th solo album What Happens Next with a thrust of power that’s sure to charge your musical soul.  The enigmatic guitarist is right in his element, singing out with his guitar in a way that has made him famous over the past thirty plus years.  Rhythm section of Bassist Glenn Hughes (Deep Purple/Black Country Communion) and Chad Smith (Red Hot Chili Peppers/Chickenfoot) bring a deep pocket groove that anyone could jam along with.

Smith’s hard-hitting percussion allows Satch to do his cosmic six-string thing in “Catbot.”  This tune reminds me of a cross between “The Mystical Potato Head Groove Thing” and one of the harder driving songs off The Extremist.

There’s a native American feel to “Thunder High on the Mountain.”  This probably stems from the huge bass drum kick that Chad Smith puts down during the first half of the song.

“Cherry Blossoms” is a tender piece where Satriani adds guitar in soft little ways, while Smith pounds out another heavy percussive approach.

There’s a spiritual touch to “Righteous.  The bass and drums foundation in this track allow Satch to get expressive with a touch of funky guitar texture and patterns.

“Smooth Soul” has a real cool down relaxing way about it.  I can’t say enough how the bottom end of this album makes the musical base solid.  It’s tight and is perfect for letting Satriani do his thing.  The thing that also stands out so much about this song is how comfortable Joe Satriani feels within his composition.

“Headrush” provides a stomping good time.  It’s a boogie piece the moves at an up-tempo pace with the drums and bass providing the groundwork for Joe to get expressive with his bluesy rock-n-roll.  I found the most interesting aspect the soft guitar playing while Satriani was playing some heavier edge stuff on top of it.

“Looper” sounds like a cousin of one of the tunes you would have heard from Satriani’s self-titled 1995 album.  It’s got that kind of guitar sound and overall groove.

I love the song title “Super Funky Badass.”  Satch harnesses his inner-coolness to channel bluesy-groove driven guitar that only his six-string highness can do for our listening delight.  The bass and drums are just perfect, and the sound recorded by Producer/Engineer/Mixer Mike Fraser is so pristine that I’d call it close to an audio work of art.

The ending like beginning of “Invisible” gives it immediate energy.  The drum beat in this eleventh track is active and fun to listen to.  The way the bass rhythm takes over one and half minutes into the song is cool.  The sound of Satriani’s notes that follow is quite amazing. This song has almost a live-jazz like performance, which done with high energy rock-no-roll makes for something special.

“Forever and Ever” is a purposeful way to send warmth to listeners of this impressive album.

I’d say What Happens Next is a truly special album because it’s tremendously diverse, recorded at the highest level of production, with musical performances nothing short of inspired.  Satriani and his bandmates caught a spark of musicality on this one, not seen often in today’s world of music.

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