Scott Johnson

THE SKIN I’M IN: Original Score Available on iTunes

The soundtrack for THE SKIN I’M IN is now available on iTunes, featuring the incredible original score by Ronit Kirchman, and Fox’s musical contribution (track 25) which garnered the album an “explicit” Parental Advisory Rating. Ha!

The music in this big little film is the product of much extraordinary collaboration:

Music Orchestrated and Conducted by

Ronit Kirchman

Orchestra Recorded at Rotosonic Sound, Salt Lake City, UT

by Michael Greene

Music Editor

Scott Johnson

Score Mixer

Mike Roskelley

Music Contractor

Ted Hinckley

Copyist

Nicholas Greer

Musicians

Piano

Jed Moss

Woodwinds

Daron Bradford

Horn

Laurence Lowe

Violin

Aaron Ashton

Kathryn Collier

Maria Dance

Tina Johnson

Rachael Bower Karr

Katherine Kunz

David Langr

Kathryn Langr

Kendra Lowe

Rebecca Moench

Cynthia Richards

Becky Rogers

Kristiana Sandberg

David Siegel

Janice B. Vincent

Viola

Candace Wagner

Emily Brown

Heidi Hicks

Lorraine Larson

Mario E. Ortiz

Elizabeth Wallace

Cello

Nicole Pinnell

Desireé Ashworth

Ellen Bridger

Cassie Olson

Brian Stucki

Contrabass

Ben Henderson

Matt Larson

Alexander C. Willey

Violin for “Man with the Movie Camera” sequence, guitars, synthesizers and all other instruments performed and programmed by Ronit Kirchman

This soundtrack was supported by a grant from the Sundance Institute Film Music Program with additional support from the Sundance Institute/Time Warner Foundation, Inc. Fellowship Program.

Final Sound Mix Completed!

Dear friends,

I’m pleased to report that just before the holidays, we completed the final sound mix for THE SKIN I’M IN! Sound designer Scott Johnson, composer Ronit Kirchman, executive producer Lee Biolos, and I had the pleasure of collaborating with amazing rerecording engineer Wade Chamberlain on the Rick Chace Theatre stage at Chace Audio.

Scott worked so hard on the sound design to get it to this day, and Ronit’s music sounds incredible in the mix. Also amazing to finally see Zulu and Rande Cook on the big screen!

I hope to report the film’s premiere venue in a forthcoming update. For now, a very happy New Year to all and here are some photos from the big day.

–Brody

The final sound mix for THE SKIN I'M IN begins at Chace Audio with (l to r) composer Ronit Kirchman, rerecording engineer Wade Chamberlain, and sound designer Scott Johnson — The final sound mix for THE SKIN I’M IN begins at Chace Audio with (l to r) composer Ronit Kirchman, rerecording engineer Wade Chamberlain, and sound designer Scott Johnson

Broderick Fox on the big screen at the final sound mix of THE SKIN I'M IN — Broderick Fox on the big screen at the final sound mix of THE SKIN I’M IN

Director Broderick Fox at the final mix session for THE SKIN I'M IN, along with sound designer Scott Johnson. — Director Broderick Fox at the final mix session for THE SKIN I’M IN, along with sound designer Scott Johnson.

Rerecording engineer Wade Chamberlain, composer Ronit Kirchman, sound designer Scott Johnson, and executive producer Lee Biolos at the final mix session for THE SKIN I'M IN — Rerecording engineer Wade Chamberlain, composer Ronit Kirchman, sound designer Scott Johnson, and executive producer Lee Biolos at the final mix session for THE SKIN I’M IN

A shot from our final sound mix: Rande Cook's "Elements Within I-IV" serigraph series on the big screen in THE SKIN I'M IN — A shot from our final sound mix: Rande Cook’s “Elements Within I-IV” serigraph series on the big screen in THE SKIN I’M IN

A shot from our final sound mix: Brody meets tattoo artist Zulu for the first time in THE SKIN I'M IN — A shot from our final sound mix: Brody meets tattoo artist Zulu for the first time in THE SKIN I’M IN

THE SKIN I’M IN records original score with 30+ live musicians

Our scoring session in Salt Lake City was incredible.

Supported by a grant from the Sundance Institute Film Music Program with additional support from the Sundance Institute/Time Warner Foundation, Inc. Fellowship Program, we recorded over 40 minutes of original score by composer Ronit Kirchman.

The scoring session took place over the course of two days at Michael Greene’s Rotosonic Sound, a magical space with incredible acoustics and a great atmosphere.

Special thanks to music contractor Ted Hinckley and the 30+ musicians that shared their talents on the soundtrack.

If composing the score and playing a number of instruments herself wasn’t enough Ronit also conducted the scoring session. Sound designer and music editor Scott Johnson kept us on track for an incredibly tight two days of recording, after which he and Ronit launched directly into four days of music editing and mixing with the amazing Mike Roskelley.

After six years of working on this project as a largely solo endeavor, it was wild to have so many people come together to record the music. Ronit’s work adds such a powerful dimension to the film; I can’t wait to share it with all of you.

Until then, here are some images from our two-day session.