One week ago today (3-27-18) actors Chanise Renae and John Logan got together with Gruesome Threesome Editor/Sound Designer Bryan Lopes to record the ADR necessary to finish the webcam wraparound for the feature film.
From what Director Terry R. Wickham was told, as he was not in attendance, they had an absolute blast.
Now the film can be wrapped up audio wise and the music score will be created by Music Composer Houssem Turki. Very exciting development.
Writer/Producer/Director Terry R. Wickham is very enthusiastic to announce Danny Knutson will be the Sound Designer for his approaching love story suspense-thriller Double Vision. This completes the five top behind-scenes crew members Wickham targeted for Double Vision.
Wickham says, “I was going to work with Danny on another project that lost its funding. I’m not entirely sure if that project we’ll ever get made, so it was time for me to make another one of my own films.
I’m excited that this will give us a chance to finally work together. I did connect Danny with my two Devil’s Five Partners George Brianka and Edwin Figueroa for their episodes “Don’t Say These Words” and “Choke”, which he did the Sound Design for both. Danny also did a big favor for me (us) by completely equalizing the five films that make up Devil’s Five, which I felt was necessary after noticing that they were mixed at different volumes of loudness during our Red-Carpet Premiere.
Also, we’ve had wonderful conversations by phone recently and in the past that have been really passionate about the art of sound and how it affects a movie. We share a similar commitment to being very comprehensive in trying to capture a pallet of sound that not only supports a story, but reaches the audience on so many different levels. To be specific, the obvious things you see physically happen in movies, but then going deeper by augmenting the psychological and even subliminal gradations.
Danny has told me that he will be putting Double Vision in Surround Sound, which is really the only way he likes to work with at this point.
Knowing this has me really stoked because it’ll be the first project of my entire career that will in Surround Sound. I can only imagine the types of Foley and sound effects Danny will be adding/creating that will go along with our dialogue/live sound recorded by Craig Jimenez and the score by Houssem Turki. There’s no question the sound in Double Vision is going to be tremendously rich with dynamic audio, which is sure to be a treat for the audience to experience.
I’ve been super impressed with some of the work I heard/seen from Danny and the exchanges with him alone have been super collaborative. We both have a similar outlook about working together and the value of long-term professional relationships. We both feel strongly that we can help one another reach our ultimate goals and I believe in sticking with the talented people who help reach those important plateaus.”
Danny Knutson BIO:
20+ years professional experience ?in (and out) of LA. Started out as a touring singer/songwriter in a hard rock band and transitioned during the mid to late 1990’s into a sound mixing engineer, working with many international touring musicians on the road and in studio. TV A1 mixer for productions at studios like Fox Digital (Culver City, CA), NBC (Burbank, CA), Paramount Studios (Hollywood, CA) and many more.
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.
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.
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.
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.
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.
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.
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.
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.
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.