The Filmmaker Thread

[Duncan]

Get ready for teh mindfuck! My optical opus, a flicker film I made last year. It is 1 minute of visual crack. Comments most welcome!

Concealer (2007/B&W/16mm)

Very cool. What's the music?

[Kurious Jorge v3.1]

Very cool. What's the music?

rjd2 - chicken-bone circuit

[megladon8]

I really like that too, Jorge

[Li Lili]

Get ready for teh mindfuck! My optical opus, a flicker film I made last year. It is 1 minute of visual crack. Comments most welcome!

Concealer (2007/B&W/16mm)

If you like experimental videos, you can watch some video art works and experimental films on this site

I recommend :
experimental :
Untitled #
Courrour Station
Donkey Harvest
video art :
da qui sopra il mare
Just Say No To Family Values
video loop installation :
Quasi-Objects / Cinematic n.04

[Sycophant]

This is the film I screened Wednesday night. It reminded me that, yeah, this film is pretty much for insiders of Mormon culture. But since I was talking about it, here it is anyways:



And this is something probably more accessible.



[/whore]

[Barty]

This is the film I screened Wednesday night. It reminded me that, yeah, this film is pretty much for insiders of Mormon culture. But since I was talking about it, here it is anyways:

Pretty funny send up. The shot of him praying in the grove made me laugh. Nicely done.

[D_Davis]

Pretty funny send up. The shot of him praying in the grove made me laugh. Nicely done.

Was that the same grove that Joseph Smith used to pray in?

[Barty]

Was that the same grove that Joseph Smith used to pray in?

No, but I'm guessing Sycophant meant to reference it. :lol:

[Sycophant]

Glad you caught that, Barty! As far as I'm concerned, that was our money shot.

We couldn't afford plane tickets out to upstate New York (we shot this for roughly $20 in prop and material costs in the span of about eight hours), and in fact snagged that shot in the midst of ratty-ass shrubs in Rock Canyon park in Provo, Utah.

[Barty]

Glad you caught that, Barty! As far as I'm concerned, that was our money shot.

It was an awesome shot. Made me laugh.

[D_Davis]

So what you are saying in that film is that Catholics are gay and Mormons aren't.

Interesting.

[Duncan]

This is the film I screened Wednesday night. It reminded me that, yeah, this film is pretty much for insiders of Mormon culture. But since I was talking about it, here it is anyways:

Honestly, that's pretty close to how I imagine Utah. Tucked in shirts, sweater vests, white people as awkward as Mitt Romney, and an air of kindness that I can't help be skeptical of. Then again, I've never been to Utah.

[Sycophant]

Honestly, that's pretty close to how I imagine Utah. Tucked in shirts, sweater vests, white people as awkward as Mitt Romney, and an air of kindness that I can't help be skeptical of. Then again, I've never been to Utah.

It's the image so many of us around here strive to preserve.

[origami_mustache]

This was my first production sound mixing effort...I was also an extra in this short comedy called From Wack To Mack...it's pretty corny, but what can I do haha.

Part 1



Part 2

[Philosophe_rouge]

I'm planning on shooting a film in black and white and need some serious help. I know, so student film... I'm making a noirish film about a boxer on a very limited timeline/budget. The only thing I have is good locations, an actual boxer and a good camera (a high end Panasonic, DVX100 I think)... I've made one project before which was pretty good, but I had a lot of help I don't have this time around.

I've heard two camps of thought, work most of it in post production by filming in colour or work with it with the setting on the camera(I'm pretty sure it's on the camera). Also, some suggestions/advice for lighting would be incredible. I know backlighting is especially important otherwise people blend into the backgrounds. I'm trying to achieve stark contrast, and work with high key lighting. I'm not really that great with this kind of stuff so all the help I can get is welcome raise:


Example of look trying to achieve sorta. I'm also working with an outdoor location at night. Any suggestions with that also would be so wonderful.

[Ezee E]

Any access to DPs or Gaffers? If you're in film school, find one, and they'll definitely be more help then us. However, for that particular shot, just take a close look at how they are being lit. There is obviously from the front, but it also looks like the roof is lit so that we can see the hair, the hat, and even the roof itself. It's certainly not realistic, but it lets us see the actors better and gives a better depth of field because we can see the windows as well.

They're most likely on a set filming this, so I'm not sure if you have those capabilities, because it'll certainly make sound an easier issue.

What type of scene are you shooting outside? Day or night?

[Philosophe_rouge]

Any access to DPs or Gaffers? If you're in film school, find one, and they'll definitely be more help then us. However, for that particular shot, just take a close look at how they are being lit. There is obviously from the front, but it also looks like the roof is lit so that we can see the hair, the hat, and even the roof itself. It's certainly not realistic, but it lets us see the actors better and gives a better depth of field because we can see the windows as well.

They're most likely on a set filming this, so I'm not sure if you have those capabilities, because it'll certainly make sound an easier issue.

What type of scene are you shooting outside? Day or night?

Not that I know of, I have asked a few people about it though, I'm waiting for an answer. I'm figuring on covering all my bases. Unfortunately, they're too busy to actually work on my project at the moment. I'm not going for realistic, so that's not a problem. Although quite obvious, surprisingly actually analyzing the shots never occured to me.. so thanks for that.

I only have one outdoor location, and although controlling sound in the indoor locations I do have is not 100% possible, I'm fairly experienced with reducing noise as much as possible. I don't have a lot of dialogue, one line really, I'm going to try and capture as much sound as possible but I think a lot of it is going to be done afterwards.

I'm shooting at night in front of a building with a rather huge neon sign. It's rather open, and can pull together some resources to get some lights I can use without outlets. It's a long shot of a man walking in front of it, there is also a close-up/mid shot of a drunk couple.

[Ezee E]

Not that I know of, I have asked a few people about it though, I'm waiting for an answer. I'm figuring on covering all my bases. Unfortunately, they're too busy to actually work on my project at the moment. I'm not going for realistic, so that's not a problem. Although quite obvious, surprisingly actually analyzing the shots never occured to me.. so thanks for that.

I only have one outdoor location, and although controlling sound in the indoor locations I do have is not 100% possible, I'm fairly experienced with reducing noise as much as possible. I don't have a lot of dialogue, one line really, I'm going to try and capture as much sound as possible but I think a lot of it is going to be done afterwards.

I'm shooting at night in front of a building with a rather huge neon sign. It's rather open, and can pull together some resources to get some lights I can use without outlets. It's a long shot of a man walking in front of it, there is also a close-up/mid shot of a drunk couple.

Neon lights are fun. Typically, a neon light in a movie can somehow cover an entire parking lot it seems. Just look at Big Lebowski. My only idea would be to use a gel. If possible, film at dusk and decrease the exposure. When it's completely dark, it tends to make your video look grainy.

Also, if you are able to get a cameraman, or by yourself, test it out. My film partner and I tend to film ourselves rehearsing scenes with our lighting ideas to see if we like the way it looks. It's much better figuring it out then, instead of when you have actors and a crew to deal with.

[Philosophe_rouge]

Neon lights are fun. Typically, a neon light in a movie can somehow cover an entire parking lot it seems. Just look at Big Lebowski. My only idea would be to use a gel. If possible, film at dusk and decrease the exposure. When it's completely dark, it tends to make your video look grainy.

Also, if you are able to get a cameraman, or by yourself, test it out. My film partner and I tend to film ourselves rehearsing scenes with our lighting ideas to see if we like the way it looks. It's much better figuring it out then, instead of when you have actors and a crew to deal with.

I would do that, but I only have the actor available after 8pm. A shame... hopefully the sign is enough though, it's pretty huge.

Unfortunately, the cameras I have are on very limited reserve. Not many of them and tons of students. I can't test anything out with the Panasonic because I only have 3 days, and they're filled to the brim. Usually it's only a day, but it's break so yo ucan reserve them for a little longer. I was planning on heading on out with my crappy DV camera tomorrow just to test things out though. Far from the same effect, but I would get a general idea.

[Sycophant]

If you're shooting with a DVX100B, that camera is a dream. Doesn't get better in SD.

I haven't really worked with black and white since high school, though a friend of mine did a film I was in where we shot in color with my Panny GS-120 and took it down, all using natural light. If the neon light is strong enough (and the DVX100 is wonderful in low light anyway), you can surely use that as a significant source of light so long as you're mindful of it in your compositions. I'm mostly accustomed to forcing available light to work, so I'm not sure how much help I can offer in that regard.

At any rate, you should definitely do some kind of screen test if possible. And best of luck!

[origami_mustache]

shooting a sweded version of There Will Be Blood should tomorrow should be fun.

[Grouchy]

I'm planning on shooting a film in black and white and need some serious help. I know, so student film... I'm making a noirish film about a boxer on a very limited timeline/budget. The only thing I have is good locations, an actual boxer and a good camera (a high end Panasonic, DVX100 I think)... I've made one project before which was pretty good, but I had a lot of help I don't have this time around.

I've heard two camps of thought, work most of it in post production by filming in colour or work with it with the setting on the camera(I'm pretty sure it's on the camera). Also, some suggestions/advice for lighting would be incredible. I know backlighting is especially important otherwise people blend into the backgrounds. I'm trying to achieve stark contrast, and work with high key lighting. I'm not really that great with this kind of stuff so all the help I can get is welcome raise:


Example of look trying to achieve sorta. I'm also working with an outdoor location at night. Any suggestions with that also would be so wonderful.

Use a red filter on the lens of the camera. It will make lights harder and create more defined lines between light and shadows. Also, everything that E said. Get yourself a good DP. Analyze the lighting in pictures of noir movies. It's highly expressionistic, and they don't have to come out of a visible source. Using neon and car lights is fun.

[Philosophe_rouge]

If you're shooting with a DVX100B, that camera is a dream. Doesn't get better in SD.

I haven't really worked with black and white since high school, though a friend of mine did a film I was in where we shot in color with my Panny GS-120 and took it down, all using natural light. If the neon light is strong enough (and the DVX100 is wonderful in low light anyway), you can surely use that as a significant source of light so long as you're mindful of it in your compositions. I'm mostly accustomed to forcing available light to work, so I'm not sure how much help I can offer in that regard.

At any rate, you should definitely do some kind of screen test if possible. And best of luck!

That short was brilliant, probably the best faux silent I've seen. The punch line was awesome.

Yea, I've talked to a few other people and everyone seems to say going for colour is the best option. Considering the power of the software, you can adjust different shades in post-production to look better in black and white. Having the colour will overall lead to a richer pallette.

Use a red filter on the lens of the camera. It will make lights harder and create more defined lines between light and shadows. Also, everything that E said. Get yourself a good DP. Analyze the lighting in pictures of noir movies. It's highly expressionistic, and they don't have to come out of a visible source. Using neon and car lights is fun.

I didn't know about the red filter, thanks for that. I'm already starting with analysis, I also have a ton of photography books lying around that show how using reflectors and angles of light will effect the final outcome. Very helpful. The car light idea is brilliant, I'm totally using that. Thanks!

[eternity]

This is the film I screened Wednesday night. It reminded me that, yeah, this film is pretty much for insiders of Mormon culture. But since I was talking about it, here it is anyways:



And this is something probably more accessible.



[/whore]

I totally did not expect that ending.

[Rowland]

I want to buy a digital camera and do some experimental collage work. Does anyone dabble in stuff like that?