In 2002, I stumbled into Clemens Keiffenheim who I had not seen
for many, many years. And what was this guy doing? He told me
about a movie project he was going to realize that year! Deadline
- Das Musikill. He told me about the plot and I was thrilled.
He needed support, especially with the original sound, which I
promised to him. I began with my job although I knew at that time
that I could hardly hope to be available during the whole shot.
Lucky I was, my colleagues supported me and Phillip Sattler, originally
assigned for working as camera assistant, developed a high interest
in sound. So he got a crash course and did then a very good job.
He finally became the guy Friday: fishing, sound recording, photo
shooting and assisting the camera. That allowed me to concentrate
on consulting, i.e. playing the role of a know-it-all.
Concerning sound: It is a great risk to shoot motion pictures
on DV but this technique offers among other things creative possibilities
ten years ago directors could only dream of. As good as the picture
quality is, unfortunately, as bad is the sound on DV cameras.
When planning the shot we agreed on recording the original sound
on a separate sound carrier and on shooting conventionally by
using a slate. We chose DAT, first because during post production
it can be copied without any loss of quality on an editing computer,
and second because synchronisation problems never occur with DAT.
This project has proven it: Spending more time for sound editing
and higher costs for additional equipment have paid off!
I wish the project and all participants that this movie becomes cult and pioneers for other movies.
Wilm Brucker
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