Sometimes I Dream...

[Dylan Macleod CSC]

...of Reindeer.

A year or so ago a director that I work with who is also a stills photographer asked if I'd shoot a short film for him. His name is Tom Feiler.

He is a very talented stills photographer and I had been talking up the merits of RED. Especially the ability to create look profiles and load them in to the camera.

We shot a test. I asked him to take a still from the test and put it in to Photoshop. He tweaked the still in to a look he liked. I then emulated that look in Redalert. We used the look profile on the shoot.

Although this was eventually timed on a Pablo - our in camera look was very close to how the end product looked.

Tom created a book - a sort of portfolio piece - with a DVD of our short film as a companion. The stills in the book were mostly pulled from the RED footage and are quite impressive.

The film recently played at the Toronto Worldwide Short Film Festival.

The only downfall was that he decided to make everything slow motion in post so the motion has a bit of a stuttered feel to it. But otherwise it is one of my favorite projects that I have shot on RED.

Enjoy!

http://vimeo.com/10356522

 

[Taylor Morrison]

Dylan,

YES...Perfect. The tones are delicate, soundtrack nuanced, shots lingering...everything that most of the BS out there is not. Congrats to your team and thanks for posting. I am tired of the quick and dirty and this piece is neither, on the contrary, its studied and careful ...

Taylor

 

[Wolfgang Woehl]

It's beautiful. You happen to know the medium it was presented in at the festival?

 

[Dylan Macleod CSC]

It's beautiful. You happen to know the medium it was presented in at the festival?

That is a good question. I'm not sure. I imagine an HD tape format.

 

[Subhadip Sen]

Dylan, I loved the film. It was beautiful, enigmatic and just plain magnificent. Most of all, it portrayed a grace and restraint that is extremely rare in modern cinema. The visuals fit in perfectly. The composition and mise-en-scene was immaculate, and Tom's background in still photography shone through. The soundtrack was atmospheric and the editing was exceptional. I mean, the visuals were edited to the soundtrack - rather than to the visuals, and this gave it a unique emotional resonance. Great work, and I look forward to Tom's and your's future works. :smile: Till then, I am going to watch Sometimes I dream... again.

 

[Jochen Schmidt-Hambrock]

Als much as I like the cinematography (congratulations), I must say that I am very put off by the fact that everybody is listed in the credits except the composer of the fine music.

We can all agree that it - the music - plays a big role in this film.

If the music was stolen I am even more put off.

Jochen

 

[Tim Hole]

Sensational...Enough said....

 

[Scott Crawley]

It's evocative but mysterious enough to maintain it's dream like quality. It took me a while to discern the metaphors, so I don't feel terribly confident that I understand her. That's OK with me, since it is a feminine point of view and I find women in general to be equally enigmatic. As a result I find myself hoping that I haven't reduced her to a simple stereotype. That strikes me funny to say that, since dreams of reindeer are not what I'd typically expect from post-coital glow, no matter how bad the sex was. ;-) In that way her imagination reminds me of the young girls of Coraline, and Pan's Labyrinth.

The images convey much, it is dense and challenging to me. I enjoy that. Thanks

 

[Tim Hole]

Als much as I like the cinematography (congratulations), I must say that I am very put off by the fact that everybody is listed in the credits except the composer of the fine music.

We can all agree that it - the music - plays a big role in this film.

If the music was stolen I am even more put off.

Jochen

unless it was a good use of public domain soundscapes and either the director or editor scored it. In which case there is no need to credit it.

 

[Sanjin Jukic]

Nice and obviously those guys and gals who made this short movie probably working with commercials and advertising...

Just needs a bit more "inner" touch and tension with a psychology background for a sort of dream like movie...

 

[Jaime Vallés]

Excellent. Looks and sounds gorgeous. Well done.

Could you tell us some more about the equipment used? Lenses, resolution, etc.?

 

[Nick Grow]

Visually compelling and emotive vignettes...absolutely! Great cinematography and thanks for sharing!

Nick

 

[Rob Castiglione]

Terrific.

I second the question, what lenses?

 

[Peter Strietmann]

I'd like to see that in a feature length.

 

[Scott Crawley]

I'd like to see that in a feature length.

Really? Why? It must be saying far more to you than it is to me. I just feel her lonliness after failing to find love in intimacy. Sure entire films have been based on that, but the character needs to be on a longer journey of growth. Did this short suggest to you where that journey might take her?

 

[Dylan Macleod CSC]

Terrific.

I second the question, what lenses?

Lenses were Zeiss High Speeds.

Unfortunately, I do not know who scored the music. And yes they should get credit. I'll try to find out.

Shot 4K.

Lit with a Vista Beam and a couple of Kino Flos.

Thanks for the feedback.

 

[Tony Lorentzen]

I like when I see something that inspires me to shoot movies. This did exactly that. Thanks

 

[Sidney L. Plaut]

I liked it too and like Tony was very inspired by it.

 

[Nathan Ryan]

Als much as I like the cinematography (congratulations), I must say that I am very put off by the fact that everybody is listed in the credits except the composer of the fine music.

We can all agree that it - the music - plays a big role in this film.

If the music was stolen I am even more put off.

Jochen

I have no way of knowing if the music is stolen, but the music is from Album Leaf's 2004 release In a Safe Place. The name of the track is Window

...

Unfortunately, I do not know who scored the music. And yes they should get credit. I'll try to find out.

...

I guess you should find out before it screens at any more festivals. If you haven't secured the rights your friend could get into some pretty hot water, depending on how rabid the bands record label is (Sub Pop, I think). At the very least the band deserves credit.

The whole album is great, by the way, I recommend it highly to anyone who liked the track in this film. There's quite a lot of instrumental, some tracks have singing, as well. In a Safe Place was recorded in Sigur Ros' icelandic studio, which probably influenced the sound somewhat. It's one of the albums I quite enjoy listening to while cycling to work in the morning. But I digress.

Hope this helps.

/N

 

[Zhibo Lai]

stunning visuals. makes me want to go shoot and try different looks. nicely done.