I’ll take the blame for this one, I guess. There’s nothing worse than making a funny and having it fall flat. For anyone else who’s wondering what the hell this is, here’s the deal laid bare:
A few weeks back in one of our production meetings I brought up the idea that we could do something entertaining for Halloween; rather than just another talk-about-something-Halloween-related, we could try our hands at a little radio theater and maybe make it kinda funny. At the time I had sort of a rough outline of what we could do, but I expected we’d have time to flesh it out more.
In short: we didn’t. And in classic Chuck style, I refused to let it go. Some interesting facts and lessons learned:
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[li]We actually recorded two separate versions of this, in pieces. Without time to sit down and write a script, we had to improv most of it, and it took a couple of tries to get enough to work with.
[/li][li]Improv is a lot harder than you’d imagine, and you (like me) probably imagined it to be hard at the start.
[/li][li]All the sound effects you hear – except the zombies and the window breaking at the end – are our own. I’m responsible for the initial getting into the car bit, Sean and I recorded any gun sounds and gunfire you hear (just a little bit at the very end – and they are indeed a 12-gauge and a .22 automatic), and Audra foley’d every other sound you hear including rummaging, doors opening/closing, etc.
[/li][li]Sound effect recording is a lot harder than you’d imagine, and you (like me) probably imagined it to be hard at the start.
[/li][li]The ODST segment was indeed a produced segment and was scheduled for release this week anyway, so we included it. Again, with some time to script it we’d probably have been able to make it clearer that we were playing a segment. But it was pretty much improv’d.
[/li][li]The call you hear to Juan is an actual Skype call, and it’s mostly unedited. Seems Juan is better at improv than most of us, and works great from a cold start (as I just called him up).
[/li][li]Editing on this 'cast took in excess of 12 hours over two days, not counting the prep work beforehand, about 3-4 hours of effect recording, and two nights of improv sessions. The final product utilized over 80 tracks in ProTools, which means it had to be rendered in four pieces, then re-assembled and rendered to the final file.
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All in all, this podcast suffered a lot from my underestimate of the time required to get it right. There’s a bunch of funny stuff and great ideas that just didn’t make it in due to time constraints. So I essentially learned two important lessons, one positive, one negative:
Negative: This stuff takes a lot of time, and if we ever do something like it again, I’ll need to schedule it months ahead of time, put together an actual script, break it down, and leave plenty of time to work through it.
Positive: If you filter out the frustration over time issues, this is kinda fun. Who knows? Maybe I’ll try something like this again in the future, though it’d almost definitely be separate from the podcast.
Anyway, hope you enjoy what’s there at least a bit. And next week we’re back to our regularly-schedule podcast, discussing Contact. We’ve already got some pieces of this week’s 'cast together, and you’re not going to believe it. Let’s just say this: don’t miss it. If you’re going to take a week off from GWC at some point, this shouldn’t be it. Those who watch Contact this week and participate in the podcast/discussion are going to get a really special look at it. Seriously.