What Are You Working On?

[Gavin Greenwalt]

thanks to some guy who registered recently as "thatoneguy" pointing out some mistakes, I've had to rewrite a few things... by the way, are you willing to proof read articles before I publish them ;-)

Who says I'm thatoneguy?

email is below.

 

[Bruce Allen]

Number6, please don't destroy your house. You have everyone worried. I mean, of course I'd love to see it on film but the chances of something going wrong are kinda scary. I'm not just talking about something dangerous happening - it's more the whole 1 take thing that makes it incredibly scary - I mean, what if you don't like the performance of your actor while the explosion is happening?

Hollywood doesn't like to admit it, but they re-shoot an incredible amount. My trailer editor friends have many tales they can tell of getting in a rough cut of a movie, and then when they get the next cut of the movie a month or two later, the first 20 minutes have been totally re-shot. Almost all of the time, it is for the better.

So destroying your set takes away those options in case you are a month or two into editing the film and you realize you need an extra shot or two for a scene in the house... your way of working seems like an organic process and I think you might like to work that way. It's REALLY, REALLY hard to get everything right the first time.

If you want to, write out or draw shot for shot what you want to happen in the scene and PM it to me. I'll try to PM you back some suggestions which bits you should do CGI or practical.

Okay, back on topic, what am I doing?
- A bunch of movie trailer stuff
- Directing some music videos
- Trying to compile my HV20 test footage into meaningful form
- Working on my 10" high-res monitor project
- Draft 2 of my script
- Looking for a case and light stand, replacement red plastic light cover and replacement lollipop bolt thing for an ancient ARRI 1.2K HMI Fresnel I bought used (anyone have recommendations on this? I'm stopping by FilmTools to pick up a light stand, will be asking them... otherwise was going to talk to rental places like Wooden Nickel, find the ARRI dealers, etc?)
- And trying to relax and enjoy my weekend?

Bruce Allen
www.boacinema.com

 

[Michael Schrengohst]

Funny, here is a test I was doing for a client.

http://www.mediafire.com/?bbzmmjz9tsn

 

[Steven M. Bailey]

Bruce,

Save A 10 inch monitor for me as I hope to buy one from you soon. I have been a little tied up with my money pouring into large projects and watching it sift through my fingers like sand. Soon all shall be resolved and I would very much like to purchase one of your garage proto monitors. BA10.4-720phd00003

Thanks

 

[Ace]

Number6. Why cant you just shoot separate explosions on a large scale model and composite? Easy as... Real as.

 

[Finner]

Don't be a PUSSY #6.

BLOW IT UP, BLOW IT UP, BLOW IT UP, BLOW IT UP...

Come on everyone join the chant, its fun. Can't you just see the house going up in flames as a 3 toothed neighbor kid next door plays a little deliverance on his banjo. Make sure to get your el-camino off of the blocks it is sitting on in your front yard though before you do it as that is some fine american metal you will want to have available to live in for a while after the boom.

 

[Ace]

And get it on tape for youtube!

 

[number6]

Don't be a PUSSY #6.

BLOW IT UP, BLOW IT UP, BLOW IT UP, BLOW IT UP...

Come on everyone join the chant, its fun. Can't you just see the house going up in flames as a 3 toothed neighbor kid next door plays a little deliverance on his banjo. Make sure to get your el-camino off of the blocks it is sitting on in your front yard though before you do it as that is some fine american metal you will want to have available to live in for a while after the boom.

THAT DOES IT! IF FINNER IS FOR IT, I"M AGIN' IT!!! AND... if's a Ranchero... not an El Camino

 

[Andrew Benz]

Don't be a PUSSY #6.

BLOW IT UP, BLOW IT UP, BLOW IT UP, BLOW IT UP...

...Can't you just see the house going up in flames as a 3 toothed neighbor kid next door plays a little deliverance on his banjo.

Hold on Finner, did you stop to think for one minute that the kid may be me... btw, I have FOUR teeth (you know... summer teeth) and that git fiddle is a chinese strat and she screams "Free Bird".

 

[number6]

Number6. Why cant you just shoot separate explosions on a large scale model and composite? Easy as... Real as.

Acehole, I've kinda been thinking that there is a way I can create an explosion as the characters approach a small rise, and then set off some thick smoke between the house and the camera. I've re-thought the scene and since the actual explosion isn't necessary to the story, but only the loss of the house and the mystery thereof, the characters do not have to go near the burning house. They actually turn around and go quickly away from the house. As was suggested earlier by Jeff Kilgroe, I probably have access to an old house that I can set afire and layer it over the setting for the other house. Just curious... is there anyway to set up a near-camera green screen silhouette in the center of a shot and then fill that with the burned out house? Maybe just better to overlay as a composite?

 

[number6]

Number6, please don't destroy your house. You have everyone worried.

Heh! Yeah Bruce... REDuser.net just won't let me destroy my house (except Finner... he's that guy doun at the bottom of the Empire State Building yelling Jump! Jump! to the person on the ledge. Probably has an X marked on the sidewalk with one camera trained on the X and another pointing up at the jumper). I really was looking forward to getting rid of that house... really bad feng shui.

I mean, of course I'd love to see it on film but the chances of something going wrong are kinda scary. I'm not just talking about something dangerous happening - it's more the whole 1 take thing that makes it incredibly scary - I mean, what if you don't like the performance of your actor while the explosion is happening?

That's why I want two cameras. One would be trained solely on the exploding house while the other would be looking through the (removed) back window of the Jaguar with the two protagonists (or antagonists, depending on your POV) being surprised be the explosion as they were driving toward the house. They wouldn't speak, but would just look at each other with dropped jaws, and then look back at the house and just sit there in silence. If something should go wrong with that shot, then I would still have the other camera shot and could green screen the actors and use the second camera shot.

Hollywood doesn't like to admit it, but they re-shoot an incredible amount. My trailer editor friends have many tales they can tell of getting in a rough cut of a movie, and then when they get the next cut of the movie a month or two later, the first 20 minutes have been totally re-shot. Almost all of the time, it is for the better.

So destroying your set takes away those options in case you are a month or two into editing the film and you realize you need an extra shot or two for a scene in the house... your way of working seems like an organic process and I think you might like to work that way. It's REALLY, REALLY hard to get everything right the first time.

Was going to actually shoot two movies before even going into edit. The movies, though set in the present and probably 20 years in the future, would be vaguely connected, so there should be synergism between them, from a shooting standpoint. The house destroying scene was to be the last shot and would involve only the two actors, thus it would be easy to set up as the final shot. This would be after all other footage from both movies was edited and declared "done."

If you want to, write out or draw shot for shot what you want to happen in the scene and PM it to me. I'll try to PM you back some suggestions which bits you should do CGI or practical.

I hope this offer stays open for a while... I won't be shooting for at least a year, and should even have one camera by then and some acquaintance with it. If so, I will shoot the house as it will look intact, and then shoot the house I will burn up for the "smoking embers" look. Should be able to put it on a DVD and send it to you, if I decide to go that route.


Bruce Allen
www.boacinema.com[/QUOTE]

 

[Gavin Greenwalt]

House in exchange for shot of 'house exploding' offer still stands.

I'm just concerned you're going to not put enough explosives in the house to make it as awesome as blowing up a house should be. There's nothing wrong with blowing up a house. It's when the fireball doesn't attract the attention of the FBI that it's a disappointment.

 

[Rocket]

Make sure to get your el-camino off of the blocks it is sitting on in your front yard though before you do it as that is some fine american metal you will want to have available to live in for a while after the boom.

You'll want to get the El Camino off the blocks first, and maybe scramble together the rest of that good 'ol 350 small block that is strewn around the house.

 

[Keith Alan Morris]

What am I working on? I just shot a parkour video yesterday. Those guys are crazy. One of the guys free-climbed a 13 story building like Spiderman. I asked him, "What do I do if its just you and me and you fall?" He said, "Make sure you get it all on camera." From every angle.

I said, "Shouldn't I help you? Like call an ambulance?" He said, "Get the shot first."

(Parkour is freerunning, like the opening foot chase scene in the new Casino Royale, for those that dont know...)

 

[P Andersson]

You mean like this?

Spoiler warning if you are going to see Antonioni's Zabriskie Point ever!!!

http://video.google.com/videoplay?d...=36&start=0&num=10&so=0&type=search&plindex=2

 

[Gregory Karydis]

A little late on this thread but here's what I'm working on;
My familly owns a property at the top of a hill, built on the 16th century by My part of the familly that was italian aristocracy sent to the island of Corfu in Greece.
So the thing is partly in ruins, nature has made it's presence known in every spot possible.
There's a catholic church and a water well as well as the main two storey building. Everything is surrounded by a 12ft high - 3ft thick stone wall and there's even a5-6 ft ditch surrounding the walls.

I plan to shoot my first and second feature on this location.
The first one is going to be 20-25minutes long with no dialogue and about 80-85% of the shots will have some form or other of VFX and CGI. With just one actress strapped with a wireless mic (to sync everything in post)
The second feature will be normal length (80-110min) with five people and some decent dialogue.

Both movies will be part of the same story-arc based on an unexplained phenomenon that has killed my great grandfather as well as two construction workers.

First feature will be mostly action-horror shot with the RED One handheld and if possible using only natural light (the sun sets behind the house lighting it up like a christmas tree for"magic-hour" which lasts about 30-45minutes..
The second one will make use of a jib and a programmable panther and some kinos.

Right now I am in the process of roughing out the storyboards for the first feature but I get a bit distracted and go off on tangents and do a few scenes for #2.

I make every effort to avoid all the usual cliches found in simillar films but you never know

For the first feature, to give it a more interesting curve, I'm having a friend from Nepal do the score after the effects and editing is complete.

As for VFX I am also figuring out the new features of the freshest release of Houdini as it's part of my job. (yes, I'll be doing most of the effects myself)
The way the whole thing looks like is I'll do about 1 week to 10 days of shooting around february for the first movie and then spend 4-6 months in post.
Asm for the second one... I dunno yet.

 

[Phil Bates]

Back to the original question, I just finished a month long shoot with the Vision Research Phantom HD camera. I shot a lot of 1000fps footage, everything from birds to butterflies, waterdrops to waterfalls. Lots of variety. Basically, everythiing we could think of that would look cool slowed way down.

We will be at least 2 months in post production for stock.

Phil
www.artbeats.com

 

[Steven M. Bailey]

Back to the original question, I just finished a month long shoot with the Vision Research Phantom HD camera. I shot a lot of 1000fps footage, everything from birds to butterflies, waterdrops to waterfalls. Lots of variety. Basically, everythiing we could think of that would look cool slowed way down.

We will be at least 2 months in post production for stock.

Phil
www.artbeats.com

That really sounds cool. I love to see the difference between the reality of motion and the perception of the eye.

Good luck

 

[Mark Thorpe]

Working on capturing a bunch of hours recently filmed in northern Sulawesi and Bali, editing a new show reel, editing some promo stuff from the trip and looking to land a 6 week filming gig this coming September. S'all good. Here's a pic of one of my recent subjects. These suckas are just 10 to 15mm tall, I used stacked achromatic diopters (+3.5 and a +2) on a Z1U in a Gates housing.

Cheers,
Mark.

 

[Curran Giddens]

Back to the original question, I just finished a month long shoot with the Vision Research Phantom HD camera. I shot a lot of 1000fps footage, everything from birds to butterflies, waterdrops to waterfalls. Lots of variety. Basically, everythiing we could think of that would look cool slowed way down.

We will be at least 2 months in post production for stock.

Phil
www.artbeats.com

Sounds like a nice collection! What rez will these be available?