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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

feature film SLAVE

J

Jan Reiff

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hi again,

after "Iron Doors" shoot in december the 2nd feature is in work: SLAVE
we are shooting with two reds, mine one "Travis" and one rental.
this is a erotic thriller, we are shooting in cold berlin.
first five days (of 27) no problems at all with the cameras, some issues with the batteries caused by heavy low temperatures this winter.
The film is directed by jorgo papavassilou, DoP´s are Kim Howland and me, i also have responsibility for the art direction of this movie.
SLAVE follows a strong visual concept based of a lot of photographys.
These inspired the whole lightning and production design (executed by german designer Wolfgang Arens)
we are shooting with cooke S4 lenses and Arri Highspeed.
here are some first (rough graded) images and impressions of the movie, more images and infos soon...
 
some more moods
 
shot of one of our main actress and some setfotos
 
The DoP´s (freezing and shooting)
me on "travis" and on the right Kim Howland
 
reds at work
 
vaoov very impressive , is there any teaser or trailes can we see?
 
thank you, in the name of the whole team.

no teaser/trailer yet. we are at day 5 of shooting :blush:

but again and again: red one is a great tool to produce, and this is another example, this film and story wouldn´t be told without red.

here some more small moods
 
on every street - reds ...
 
Absolutely beautiful. These stills are great, if you can, please post some motion footage when you get the chance.
 
Beautiful, from the images it's the type of movie I would pay to see...;)
 
thanks so much.
that´s motivating us for the remaining 22 days of shooting.
i will edit the movie in february/march, then it will go postproduction and mastering. the footage is amazing, the (partly hard compressed) stills can´t show the real beauty of the native 4K material. it´s clean, sharp (though the cooke lenses are visible softer than arri lenses, but this is the concept) and the highlights are soft and not video-like at all.
we will print the movie in final step on 35mm and i hope it will be as soon as possible.
 
some moods from day 6 ... enjoy
 
some new redstuff from yesterday...
 
hard conditions tonight for the red cams. car rigs and icecold wind, but all fine...
this is maybe the darkest movie of the year :devil:
 
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