TIFF film shot on DVX 100 (pretty sure...)

[DeSica]

Just got back from seeing The Tracey Fragments premiere. This thing is excellent (and I'm not just saying that because I may have a bias). The editing alone is incredible, and has won an award in Berlin. Anybody interested in the direction of digital films and how the technology can be used to tell stories should realy check this out.

I chatted with one of the editors, and he mentioned that it was shot on a dvx 100 (a...?..b..?). I actually sat beside the DoP's parents, and chatted with his girlfriend (a friend and associate), but I had no idea that it was shot with a little pansonic when I complimented him on his shots at the party.

It really looks great, and the color correction guys did good work. The colors, the cutting, the sound editing,...it all serves the story. Bruce McDonald really raised the bar in terms of artistic digital filmmaking with this, and the fact that it had a very small budget makes it even more impressive.

Just to give you an idea.....it was shot in 2 weeks and it took something like 8 or 9 months to edit. The end result truly is something quite unique.

Ellen Page (X-Men 3, Hard Candy) was very good in it, and is also getting good reviews for her work in Juno. Seems like the Canadian connection is working out well for her.

This film should definitely be checked out.

[The Lodge]

Thanks for the props, and you're correct. The film was shot on DVX100B. We removed all the pulldown on the digitize and cut 24p. Steve also purchased some crappy old broken video cameras off of Ebay just before the shoot started. One was called the "Dick Cavet Camera" because I think it was used on the show back in the day. That's why some of the shots had that hazy afterglow look, it wasn't a post effect, it's the tracers left behind when you shoot with a tube camera.

I won't get into the specifics of how the post was done, but I can assure you that it was consumer gear. We spoke with technicolor about this film before we started post, and they admitted that they could not help us due to the fact that there are so many multiframes, the Lustre can't really deal with layered material, so we needed to do the work on Apple machines and hand it over to them fully color corrected. This is funny to me because a $1/4 mil system can't do what any old mac can do. They just added a 50% contrast effect applied with a discreet logic machine of some flavor to bring it into log space, then fed that right into the arrilaser.

There are many shots where color correction was applied, but there are many which were left exactly as they were shot by Steve Cosens and they were the best looking do to a lack of extra noise. DVX100 looks great when printed to film. As Steve told me, that camera has great rolloff, it handles highlights really well.

Here at the Lodge, we are shooting tests with the Red Camera this week and preparing a robust system to handle it's output in a lab sense. The stuff looks phenominal.

You can be sure that we're working on ways to push these new technologies very hard. We don't use the tools that we do just to save money or make things easy, the aim is to show people somthing amazing that they've never seen before.

www.lodgefilm.com

[StefanHaynes]

*Adds to the list of "Must see indie films."*