World's First ASMR Feature Length Film

MURLYN Films International in association with Trash Arts and Deer Studios announce principal photography for the ASMR movie "P.A.I.N." being directed by britmic begins August 9th 2016 in Portsmouth, UK.

The world's first narrative ASMR feature length movie is entering production and it promises to bring fans of the aural sensation a passionate story of love mixed with the dangers of gambling in gang controlled regions of the coastal city of Portsmouth.

Not much else is known about the story other than the director describing it as "a road movie and a homage to the Wizard of Oz, created with modern techniques for modern audiences".

Part of these modern production techniques include recording the film at 60fps, also known as HFR (High Frame Rate); this is a frame rate even higher than Peter Jackson used in The Hobbit which was just 48fps. Also recording live sounds with an array of microphones to maximise chances of reproducing ASMR trigger moments with viewers (especially if they are listening to playback in headphones).

When asked about these choices (HFR and ASMR) the director tells us, "science shows humans have a great reaction to 60fps film, thrills are more thrilling. This was proven when they were designing the first Star Tours ride but unfortunately technical limitations meant they could not implement [such a high frame rate] at the time [in the 80s]. If you've not heard of ASMR then keep an eye out for this movie's release and be sure to listen to it, really listen to the textures, as well as watch and respond to the visual aesthetic."

Aren't you worried at the reception 48fps screenings of The Hobbit received? "Not at all. The main criticism of The Hobbit screened with HFR was that it seemed too real and exposed the limitations of presenting Hollywood production values in anything but the same old mould. Kubrick once said 'a truly original person with a truly original mind will not be able to function in the old form and will simply do something different' - welcome to my world."

At time of writing confirmed headline cast members include Suzy Weatherall, Patrick Olliver, Phil Lyndon, Simon Berry, Chris Mills, and Michel du Vagin.

Release date for P.A.I.N. is expected to be early 2017.

PAINthemovie Gets Green Light

The spiritual successor to GAINthemovie will be shooting in summer 2016. The corridors of power in Hollywood are describing it as 'They Live' meets 'The Wizard Of Oz'.

GAINthemovie (Ghostly Apparition Investigation & Neutralisation the movie) pioneered the modern airninja movie method in 2012 and went on to win multiple awards internationally, including the esteemed Wingnut's Choice at the BUFI organised #FrugalWave Power Awards.

Whereas GAIN was directed by Evil C vs britmic, PAIN will be directed solo by britmic (does this mean we can look forward to a solo project by Evil C in future? Let's hope so).

Scant clues to the storyline exist, although rumour has it that 'PAIN' is an acronym for Personal Area Interurban Navigator', inspired by the 'PANIC' - Personal Area Network Internet Computer' - which was cut from britmic vs Evil C flick 'The Fix:'

Although the leads of PAIN have been cast, we are left to guess as to which parts they are playing. Actors include newcomer Suzy Weatherall through to industry veterans Patrick Olliver and Phil Lyndon.

Full listing of known cast below.

Jackson Batchelor

Phil Lyndon

Suzy Weatherall

Chris Mills

Patrick Olliver

Thomas J. Davenport

Sam Mason Bell

iPhone SE - A Lot To Like

So the 4" screen iPhone SE is here, retailing in the UK for £439 with 64GB storage onboard.

The real kicker? It has the guts of the latest iPhone 6S inside in terms of A9 processor and 12MP iSight camera with focus pixels.

For an airninja like me that is very very tempting. Why? Apart from the fact it is simply light and powerful and strips away a lot of the flimflam.

Over the years my iPhone usage has matured, much like my iPad usage - which has fallen away completely. I'm old, I'm boring, I don't play games (at least, I have played my favourite genres to the point of boredom) - the idea of having an understated - yet powerful - iPhone appeals.

And I've had extensive use of all the public iPhone form factors at this point.

I started using big screen phones with the Dell Streak, believing that I would soon be able to get real meaty work done with the occasional attachment of a keyboard. It's never really happened though - my usage pattern has basically reverted to iPhone for comms/navigation/camcorder and any heavy lifting done on my 2013 13" MacBook Air - if that computer is tied up doing a heavy render I reach for a ChromeBook to do stuff.

I think this is a result of failed mobile UX paradigms as much as my own brain calcification. Which ever way you look at it, editing a video is fiddly on a small screen (I attach my 13" MBA to a 24" display for proper narrative video editing sessions - though I did edit my first feature film on the 12" screen of a PowerBook).

There are a couple, and only a couple, of reasons I will resist pulling the trigger on a 64GB iPhone SE purchase:

1. My current 128GB iPhone 6S Plus has 61GB storage free - this tells me that 64GB max storage just isn't going to cut it for me without additional admin/habits.

2. The size of the iPhone 6(S) Plus means it has a huge battery relative to smaller models. I am just not concerned about shooting video all day whilst powering a microphone on the lightning port. Take that battery away and it becomes a choice of lightning microphone or an external battery pack - and, that's right, potentially a whole bunch of admin.

It's a case of iPhone SE at £439 (still a significant chunk of change) vs my iPhone 6S Plus at £789 though - and the airninja movie method has always been about grasping value propositions early on. For my actual usage, I suspect the iPhone SE with 64GB would do just fine (after all, I have made feature films using iPhone 4S - albeit with onboard mics and an external battery pack).

Remember, zig when they zag. Avoid the mushy middle. It is tempting.

Sound Really Is 50% Of Your Movie

In the beginning was the Word, and the Word was God – it’s the big bang that started it all, not the big picture!

The sound wave, not the light wave.

Sooner or later you’ll hear someone say how important sound is – but rather than wave them on and uttering “we’ll fix it in post”, have you stopped to consider what it is that sound actually brings to your movie?

Here’s a quick test. Watch your favourite movie with the sound turned off.

Does it still engage you fully? Honestly? Would you sit so long through the end- credits (or opening title crawl) if it weren’t for the choice of music?

Does that really constitute 50% of the movie? Well, on a purely “count the senses” – vision and hearing – yes, yes it does. Arguably sound can improve the visual, and even make people see things that aren’t there.

Good sound can really help prop up a substandard visual but bad sound is, well, just bad sound. Our eyes provide vision as a dominant sense, our ears provide sound almost as a secondary sense – a sense waiting to alert us to events rather than continuously inform us in the foreground. Vision gives us actual information – “that bloke is closing a door” – sound gives us implication – “I heard the door shut, it must be shut”.

Seeing is believing; hearing is implication. Implication can exercise far more of the imagination than actual seeing (afraid of the dark? things that go bump in the night?) – yet so much sound today is used with direct correlation to the visual, giving little room for imagination amongst the (im)perfectly rendered CGI.

Imagination is possibly the most visual weapon in your arsenal as a moviemaker – and that can be driven by sound moreso than picture.

It’s not all about imagination though. Most directors agree that a performance recorded on-set will be better than any looping session (looping, or ADR, is the re-recording of dialogue in controlled studio booth conditions), although often certain environmental conditions will mean that the production sound recorded on-set or on-location is not useable.

Sound is also positional in a way that vision is not – the cinema screen is immersive, yet sound allows you to hear things off-screen (given at minimum a stereo soundstage to work with). Even with the latest 3D visual technology, you still need glasses and everything is still contained within that rectangle. Sound is reproduction of actual physical waves in the air, broken free and authentic in ways that photons are not (and, of course, vice versa – arguably – headphones are entirely optional!).

We could get into stereo miking techniques here, but I suspect that’s best saved for another post. Suffice to say I’ve been a convert to stereo recording for several years, yes, even for production audio. It gives so much more depth and spatial precision versus the cost of full sound design – cost usually being a major factor in the indie moviemaker’s world (whether that cost be in time spent or money spent).

“Real” sounds obviously work best at “real” locations and not those recorded in the fakery of the staple studio system. In the late sixties, “Easy Rider” and “Midnight Cowboy” promised to liberate the moviemaker from the shackles of over-engineering. Then Star Wars happened and moviemaking was never quite the same again.

What do you think? Is sound under utilised in modern movies? Can indies get one up on contemporary Hollywood by tapping into imagination drawn from intelligent sound rather than absolute CGI that uses sound as a crutch only?

Since originally writing this article in 2012 for OTTfilm (now defunct), it's interesting to see the rise of popular ASMR related content on YouTube vs the cinemas push for 3D glasses and a general overall industry push to 4K imaging, IMAX, and resolutions beyond.

Taking Stock

No, not some euphemism for my Little Shop work on Hayling Island, this is more to remind me what the Deer Studios production slate is at this moment.

Whilst the world must wait for the Provincial's chilling horror short Dark Is A Long Way (coming 2016 ... we hope!), the Airninja movie method has been persistently seeing acquisition and edits through to final production.



1. After successfully collaborating with Mark Handley for Pompey Princess, we are now discussing potential for a video for his Christmas single. If it happens it will happen fast and within a couple of weeks.

2. On the theme of Christmas, I shot the interview with Graham Stansfield (famous keyboardist of Rare Bird fame amongst other fascinating things) to support the upcoming release of his new Christmas album release.

3. Earlier this month we had the first production meeting for another Mark Handley video, this one called Bella Ballerina - expected to shoot Jan/Feb 2016. We have great talent and crew lined up, technically elevating the production away from pure airninja-ry but remaining true to the spirit!

4. The next short film by award winning director Chris Jupp. Currently in pre-prod/development. I expect to be recording production sound and edit producing on this show. Likely shooting Q1 2016.

5. A dementia related project, or two. I have one ambitious project in development and another more practical, smaller, project slated to shoot over-night some time this winter. The one may lead to the other.

6. Longer term, the making of a feature length documentary on the work of prolific low-budget film director Michael J. Murphy. I have gathered several new interviews to augment the FilmRaker interview with the late director. This is an ambitious project in terms of cataloguing the material and assembling it into a coherent, comprehensive narrative without alienating Murphy's fanbase - but also allowing it to be accessible to anyone else.

Below is a small tribute video assembled from this last ever recorded interview with Murphy, and screened at his funeral earlier in 2015:



7. Recently completed edit of found-footage for the video to Owen Troman's single Winter Child (presumably another Christmas release). I worked on Owen's previous single in a similar fashion - finding footage and mashing it up into something symbolic for the track.


There are many other side-projects I am involved with but I am on the periphery or only providing services on-demand. Two most notable are both for Trash Arts, schedules TBA.

A busy season!

Never Mind (Here's Boba Fett)

As part of the British Underground Feature Initiative and their educational Motion Picture Arts Academy (not be be confused with that MPAA or this Academy!) this short documentary on Boba Fett was created to take people back to the era of the Original Trilogy.




Some of the most fascinating footage is the "home video" shot in George Lucas' back garden, and the film of an early Boba Fett prototype walking around to promote the upcoming movie The Empire Strikes Back - which was not guaranteed to be a hit at that time.

What really takes me back is the shots of the toyshop (the Cowplain Model Shop was local) and the racks-and-racks of carded action figures for sale (although they were never that well stocked in Cowplain Models!).

As a child I often wondered what the Palitoy factory looked like, and there is also a brief peek inside the UK plant at Coalville, Leicester.

It could be anywhere between 1978 - 1982 once more.

Golden Ticket to LIVE FilmRaker ChatLab

After the success of FilmRaker's London Pop-Up, the next live conference is happening on the south coast of England in the seaside town of Southsea.


Numbers are limited at the venue so the event sessions will also be broadcast live via periscope. Keep an eye on FilmRaker's twitter feed on the 22nd from 6pm-BST for the live broadcast links.

The Switch From iPhone 6 Plus to Sony Xperia Z3+ (iOS to Android)

The airninja switch is complete. As I'm sure you know I am platform agnostic, being primarily interested in the best tools for a given job.

For the last five years I've been an iPhone user, upgrading most years with unlocked devices and running on Three UK PAYG (great unlimited data plans).

Each year I've been waiting for Apple to release an iPhone that is capable of recording stereo sound using its onboard mics when taking video (modern iPhone has three mics). Whilst iPhone mono recordings do sound good, I've always preferred the 'reality' of a stereo sound-stage - and I don't always carry a stereo microphone with me because extra gear is not the way of the airninja.

For various reasons (job redundancy being a huge one) I have been re-evaluating the "things" in my life and when Apple came under the microscope it just didn't hold up. The competition promised to deliver far more value into my life (including the stereo audio video recording).

I bought a refurbished Sony Xperia Z2 for a shade over £200 to see how I'd get on. This phone model is about a year old, records 4K video, has 3GB RAM, expandable storage to 128GB and is made by the company and culture that Steve Jobs himself had great admiration for.

An Apple designer, Shin Nishibori, was asked to create “Sony-like” concepts of phones that carried the name “SONY” and “JONY”. The pictures were created around a year before the iPhone first appeared.

Based on my success with the Z2 (and the release of the Z5) I upgraded to the Z3+ which has an improved camera over the Z2 and a reduced price due to the release of the Z5. They all record stereo audio video and have 4K capability.


I did wonder if Apple's iPhone 6S might offer stereo audio recoding with video, but as far as I know it does not (the iPhone 6 which I owned definitely did not). So, for my airninja purposes, it looks like I made a good choice with the Z3+

Now if you google anything about the Z3+ you'll probably come across reports of how this phone runs hot and overheats. In my experience this is not accurate on the current firmware. Although when taking video it does run warmer than the iPhone ever did. I think it's fair to say that whatever problems may have existed with the Z3+ original firmware has been addressed by Sony in recent updates. HOWEVER a mild annoyance remains with the Z3+ in that the native camera app will report "overheating" and shutdown to cool off. It only does this on looong takes (30 minutes or more continuous) which most normal people rarely do. The workaround is to use an alternative app, such as Google's own camera app (also shoots video).

BTW, I have no compelling reason to ditch OS X or FCPX so I remain an Apple customer.

Competition between vendors is a good thing in general, and who knows I may return to a future iPhone iteration. Yesterday's Apple keynote only confirmed my thoughts on the direction Apple is now taking, and it's not a direction I want to travel when Sony already provides the sufficient destination today.

Hush Hush New Star Wars Project

Well I can't let July go by without a blog entry. Things have been moving thick-and-fast for me, Deer Studios, and I.

If it's not FilmRaker it's SongRaker and if it's neither of those it's the miker smelting pot of lowest common denoms.

So imagine my excitement when me - Star Wars fan since it's UK screening Christmas 1977 - gets a draft of a hush hush Star Wars project through his letterbox.

Hush hush.

FilmRaker pops-up in London for a LIVE summer session

Anyone interested in the future of the British film industry (pounds not dollars) could do a lot worse than check out the free seminars on 25th June in London.

More info in the trail vid:



FilmRaker is the UK's première forbidden filmmaking magazine - live in London.

Update: Michael J Murphy Documentary

Vintage Michael J. Murphy

Today along with Phil Lyndon we began the task of assessing available materials for inclusion in the forthcoming Deer Studios documentary on Michael J. Murphy.

There's just so much stuff including press clippings, programmes, stills, video, letters from film studios and distributors, that we're going need a second day to collate it all.

Right now my mind boggles about how to hang all this stuff on the hour long interview I recorded with Mike in March this year.

This will be a somewhat organic doco for sure.

I'm also looking forward to recording interviews with two of Mike's long time collaborators to help describe what it was like working - and partying - with him throughout his career as Portsmouth's most prolific feature film maker.

Big News For Sexton Lovecraft

Sexton before and after: colour grading at Deadbolt facilities, Farnham.

After a very successful screening of the 'short short' Sexton Lovecraft in Pompeywood, work has begun on a longer episode.

We will be joining Sexton Lovecraft in webisode 69,105 within the next few weeks.

Sexton Lovecraft has previously defeated the Zargs in animated adventures designed by Kevin Turrell, MND.

Character creator Mike Peter Reed has been pursuing a live action version for some time.

To date the character of Sexton Lovecraft has been portrayed by the same actor in both animated and live action forms.

Reed calls his character "a mash up" of everything from Sexton Blake, James Bond, Indiana Jones, Men In Black, Ghostbusters, Austin Powers, Sapphire and Steel, and of course H.P. Lovecraft.

The episode is being directed by Gav C. Steel, whose previous credits include the splatterfest that is The Shadow Of Death.

Can't wait!

Chris Jupp talks about his new short Scissor Happy

Fat Finger Films are working with Deer Studios (amongst others) to bring Scissor Happy to screen. This interview was produced completely using the Airninja Movie Method.

'Scissor Happy' Major Collaboration with Fat Finger Films and moakley54

Last night saw filming of the title sequence and final voice-over for 'Scissor Happy'. I was there representing Deer Studios in my capacity as sound recordist. We got some cracking footage and a silky smooth v/o. And a beer.

Chris Jupp, Mark Oakley and Phil Lyndon rehearse title sequence actions.

We were also able to review the final cut of the film and it's a really well-paced dark comedy.

Hat tip to Mark Oakley for a great edit.

It does however need some serious work on M&E (music and effects) which is where I come in. I'll be working with director Chris Jupp of Fat Finger Films over the coming weeks to nail the foley, spot effects and any music cues.

No doubt I'll also have an opinion on the final mixdown.

This project will continue to be a lot of fun, though will no doubt need a solid few days to complete the post-production sound. This is planned to happen after next week - which gives me plenty of time to continue working on another major Deer Studios project - Seb Hunter's 'Dark Is A Long Way'.

Quick Review of Manfrotto ML360 video light Midi LED panel

This light approximates a 16:9 screen horizontally and the basic ML360 is a 36 LED panel and ships without any additional filters. You do get a cold shoe adapter.

Here's what's in the box:


It's rated at 420 LUX up to 1 metre and reckons it will pick out your subject at up to 3 metres. I'm inclined to agree after my initial testing. Easily.

THE GOOD
This thing is as light as a feather.
It's small and should easily fit in a coat pocket or inside jacket pocket.
At the maximum brightness it's pretty darned bright, enough for fill at a relatively good MCU to mid-shot distance, or closer.
Dimmer built in.
Takes 4x AAA batteries you can find them anywhere.
I got a continual usage of three+ hours on Asda own-brand AAA alkaline batteries using 50% brightness (easily enough for MCU fill on a talking head for example).
Includes a ribbon in the battery compartment to allow easy and quick removal of dead batteries.

THE BAD
Only lasts around one hour at full power.
Takes AAA batteries that you will have to go and find if you are anything like me and have a bias for AA.
Doesn't ship with filter/diffuser and you don't appear to be able to buy these separately.
At lower brightnesses then at wide angles you will likely notice some vignetting. But hey, if you're doing lomography that will actually be a GOOD!

THE UGLY
The filter/diffuser you make yourself will be pig ugly clipped to this thing.
Quite plastic-y build quality, and the battery compartment is difficult to replace so it is flush with the body.
Expensive (approx £60 from Amazon at time of writing).


Despite its flaws, the killer features for me are its featherweight, small size, and 4x AAA batteries as a power source (though I would prefer if it ran from AA cells). Sure there are better lights out there but when running-and-gunning with minimal kit,

I will definitely be using this LED panel as part of my doco and reportage acquisition.

Sexton Lovecraft Out Of The Bag

Satisfy your curiosity. Just. Press. Play. Now.

Sexton Lovecraft - Update and Insight From 2nd Unit Co-Director

Strictly speaking not an airninja movie method production, there were definitely elements in the 2nd unit crew, evidenced in this video.

Certain insights into the 2nd unit production methods are given by @britmic - some regarding practical effects (gaffer tape and tree branches) and some regarding technology (it won't save us).

Sexton Lovecraft is on the big screen tonight, February 9th 2015, at the Fat Fox in Southsea and other select independent venues throughout the year.

Mind your icing sugar.

#DIALW Post Production Update

Going well. The iPhone production scratch sound recording holds up so well. If I did this all over again, I would have the strength in my conviction that the iPhone 6 Plus recorded audio is good enough to shout 'quiet on set' before each take.

The edit has been through three iterations so far -

Example of foley stage at Sony museum.

1. Rough assemble.
2. Fine cut.
3. Locked cut.

What we have remaining to do,

4. Black & white processing.
5. Looping / ADR (Automatic Dialogue Replacement or Additional Dialogue Recording depending who and when you ask).
6. Music.
7. Sound Effects / Foley.



An initial black-and-white look has been applied shot-by-shot to the locked cut. This will be reviewed by the director tomorrow when he drops by with the lead actress to re-record dialogue (ADR). This was always in the plan, as I say the intention has always been to shoot MOS and use whatever the iPhone records as reference.

So this morning I have to think through the setup for an ADR session tomorrow and render some loops. Although this is a Deer Studios production, the studios in question tend to be where the deer roam - that is, out in the forest (much like early movie studios were about large warehouse spaces and back lots rather than isolated audio booths). So front room it is.

The ADR playback will be from USB stick into a 50" LCD with headphones connected (I'd better check the screen has a headphone output) with pre-rendered loops of existing edited footage with reference sound. I'll record using my super-secret Sennheiser microphone onto SD card in my Nagra SD. Having slept on it, in keeping with the spirit of Airninja iPhonemania I shall be recording using iPhone 6 Plus, my favourite recording app du jour, and my favourite lightning enabled condenser microphone. Simple. Low admin. Airninja.

#DIALW Wind Reel And Print - It's a WRAP!

So technically we wrapped production on Saturday and proceeded to discuss future film projects over a great curry.

It's been a fun week and I look forward to turning in the first finer-cut edit to the director, Seb Hunter. But Monday is a day off, I'll tackle that tomorrow.

The film is already loosely cut and clocks in at around 28 minutes sans titles. But too loose to show anyone, just yet.

Floor 6, Chesil Street MSCP. Park by phone.

So let me reflect on what I've learned on this production -

1. To park by the statue of King Alfred on Broadway in Winchester requires 'coins'.

2. In freezing muddy conditions you can do a lot worse than Vivobarefoot Tracker hiking shoes.

3. In freezing muddy conditions at night you can do a lot worse than Nitecore TM26 at 150 lumens with a runtime of approx 41 hours.

4. If the production unit is highly mobile with added agility then kit choice needs to reflect this. Mobile means why not use mobile. Thus, airninja movie method is validated.

5. Even though we are not using production audio from the iPhone 6 Plus, if we had planned for it, we could have. Audio perspective matches the fixed lens, MEMS microphone DSP helps noise reduction (although it didn't reduce the noise of overhead aviation, it won't do miracles nor should you expect it to).

6. All I want from a video camera app is simple - fix the white balance to a preset, fix the exposure, but leave autofocus roaming (AF with focus pixels works very well in iPhone 6 Plus). Currently the native app can't do this, so the closest I have found to my needs is Kinomatic.

7. Parkas are in fashion this season.

8. I didn't need touch sensitive gloves to operate the iPhone - just a naked hand and a spare pocket to keep it in between takes.

9. I used the ShoulderPod S1 + Manfrotto PIXI with wrist lanyard 95% of the time. The other 5% was on a Manfrotto Compact Action tripod.

10. Digital zoom, you guessed it, sucks. Which means all next wave rebellion against airninja must use digital zoom.


Look out for the final cut of Dark Is A Long Way playing in Winchester cinemas with live musical accompaniment from the Provincials - ETA Easter 2015.

#DIALW Day Seven - trinkets, traders and black art

Polly directed by Seb in a small hut at Spinney Hollow.

The last day of principal production at Spinney Hollow completed just before dark yesterday, as planned. Evil C had to deal with probably the most challenging lighting setup of the whole production as we shot from inside a small hut as a bunch of gang-raping merchants pop their heads around the door, in dusky backlight.

The somewhat plump rough edit now clocks in at around 28 minutes. Once trimmed and with a sprinkling of cross-fades I anticipate a movie around 20 - 25 minutes.

As we wind down production (very last day of shooting is a 2nd unit setup with an aquarium full of water) I'm very mindful that the journey through post-production and to market is only just beginning ...