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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 :)

'pussycats from hell' (babes, guns, explosions,...)

Kobe Van Steenberghe

Kobe Van Steenberghe

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Dec 17, 2008
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Website
www.ateamproductions.be

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HAHAHA!! Great work! Really cool stuff. Looks like you guys had a lot of fun on this one.
 
Thanks Julian. We did indeed have lots of fun on it, on set as wel as in post production.

Hi, Martin. the translation of the subtitles was done by a friend (Elias Mentzel) and I made them. The subtitles don't exactly match the original titles. The idea behind them was that someone would have to make a fast translation and didn't really care about the movie itself. And that they where put on the trailer poorly (soft focus).
 
Just a nit-picking comment, please don't take it too seriously.

But shouldn't the subtitles jump together with the main titles - as they are suggesting a cheap telecine?

And there are a couple of grammar mistakes in the translation, and not the type that would stem from someone not caring about themovie, but rather not caring about the German language ;)

But overall you very nicely emulated that 70s feel, including the optical effects. Should be fun to watch the whole thing.
 
Very Grind House, I am liking it great work and beautiful car...
 
thanks everyone!

btw there isn't a feature film. We just made this trailer as the music video.

About the titles martin, the idea was that the original titles were already on the print when the subtitles were done later, that's why the subtitles themself are a lot less shaky (idea is they are done in another post house in germany). Maybe I was taking the idea a bit far ;-)

The grammar mistakes, must be real mistakes. The subtitles were done after been awake much to long and a couple of hours before the deadline.

I will post later on the process how everything was done.
 
WORKFLOW

WORKFLOW

For those who are interested, the workflow.

To get as close to the 70/80's look we studied the style of those movies. If you like to know more about this type of films, I recommend 'Not quite hollywood' (http://www.imdb.com/title/tt0996966/), about every movie talked about in the documentary and many more.

We decided to use ariflex schneider (18/25/35/50/85/100mm) lenses and an angenieux 12-240mm zoom which are all very old lenses and already have some of the look. We also tried to not show anything in the video which would be a give away about the time in which we shot. We even chose a dodge challenger as the car for the girls because the car is so well known (Vanishing point). The zooms and other stuff were dictated by the style.

Editing was done in final cut.

I graded everything in apple color. I used redlog and camerargb and then used a lut to get as close as possible to the film look before grading.
Then I built some different looks by studying different (old/degraded) film stocks and recreating them with the curves etc. With those looks it was a lot easier because I could throw them on shots and with little tweaking I had a starting point. The grading itself was really intensive. Adding lots of promist effects to skies, cars, highlights in general. Also lot's of keyframing. Every front car window in the clip is keyframed and stopped down about 1/1,5 stops to get more contrast in the car (didn't have a polarizer filter on set). All the blacks were lifted a bit (around 8-10 IRE). Some shots were deliberitly graded different so you would have the feeling they made a fault on set and had to push the shot in telecine (as example the shot at 02:06 or 02:35) or you have the feeling they used a film stock which had been lying around to long. Al the explosions where graded a bit different so you could have the feeling they are using stock footage.

Graded vs. ungraded stills here: http://www.facebook.com/album.php?ai...5&l=beebce1f85

After that we added grain in after effects and also made the titles there. We added some gaussiun blur to the titles and some wiggle. Some shots were also given some extra blur to match.

After that we did the film scratches and dust. We first had a version which was much more intense, with the image going left to right revealing the sprocket holes and skipping revealing the filmframe. It looked cool but we decided it was to destracting and toned it down a lot.

Video with extensive effects: http://vimeo.com/9600567
PASSWORD: spielerei

The dust and scratches can be done with plugins but I prefer using real footage. When you use a plugin (like misfire from redgiant) you really need to keyframe so it doesn't seem like a loop. I prefer real footage because it isn't a loop and it's REAL. The biggest problem is to let the sratches look as if they are part of the footage and not just a layer on top of it. I mostly grade the scratches a bit the same as the footage, desaturate and blur it. I also play around with the opcapacity. You can see this very good with the explosions and the end shot where the scratches are yellow.

You can use stock footage like artbeats film clutter or other footage some you can find for free on the net. You can even use your own. I have some super8 footage and sometimes use that. For comparison I uploaded a version without the scratches.

video without scratches here: http://vimeo.com/9602767
PASSWORD: clean

If you have other questions, do ask.

(btw excuse my english, it's not my native language)
 
Pretty good done for a low budget production and as Rick already mentioned "Gotta love old glass on Red...".
 
Thanks for the kind words!

actualy the total budget was less than 100 dollars.

the only mony spent was on the gasoline for the explosions. Al the other things we were able to fix with the help of the musicians. Everybody who worked on the video worked for free.

The only lights we had were home build 'kinoflo like' lights and also a Hedler 3006 Digi C Power kit which are tungsten lights for photoghraphic use. We used some red/yellow/green filters, had some bouncing boards; mirrors and also build some mirrors on a spinning platform for flashing lights). Our special fx guy had recently finished a prototype of a machine to make fire balls so we used that and his smoke machine.

I'm pretty happy with the result if you calculate in the budget. Think what we could do if someone actualy gave us some money ;-)

And it's true, the lenses make so much difference. I'm one of those guys who tries to do as much as possible in production and in front of the camera rather than in post, because when it's real, people see it's real.
 
Nicely done I thoroughly enjoyed that
 
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