View Full Version : "An Orange Rose" by J. Van Auken

Hans Moleman
01-17-2008, 11:48 AM
Didn't want to post before the film was completed, but with the project done, I just wanted to announce my entry of "An Orange Rose" for Love Fest. This'll be my first serious entry to a DVXuser fest, and I'm looking forward to it.

Now that the viewing and voting are up, I've added a direct link to the film below. Enjoy!

DOWNLOAD HERE (http://www.dvxfest.com/lovefest/loader.php?id=90024)


Marlon Ladd
01-17-2008, 12:03 PM
I like the poster. Good luck. Love the quote by Kubrick too.

01-17-2008, 02:34 PM
glad to see another fellow first timer. do you have any grabs to share?

Hans Moleman
01-17-2008, 11:44 PM
As per Ugafan's request, here are some pre-CC grabs.

As a side note: Cinelike-D is my best friend.





01-17-2008, 11:50 PM

lol. :)

Marlon Ladd
01-18-2008, 01:21 PM
Grabs look good. What camera are you using?

Kyle Stebbins
01-18-2008, 01:22 PM

Hans Moleman
01-18-2008, 03:15 PM
HVX with a Brevis and nikon primes.

As another side note: I've learned the virtues of using a large reflector. they are your friends.

Marlon Ladd
01-18-2008, 03:28 PM

Kyle Stebbins
01-18-2008, 06:34 PM
Your actor looks like Kumar! White Castle!

(what a truly awful film...)

Hans Moleman
01-18-2008, 06:39 PM
Your actor looks like Kumar! White Castle!

please please please remember you said that when you see the movie

Hans Moleman
01-20-2008, 12:56 AM
Finally decided on a CC we like, so here are some grabs:




Hans Moleman
01-20-2008, 11:08 AM
comments? I tried to make it mild enough to fit the mood (comedy), which was a tough compromise to find.

Chris Messineo
01-20-2008, 01:28 PM
I liked the original grabs and I think the cc looks even better - well done.

I'm horrible at cc and half looking forward to it and dreading it on my own film.

Hans Moleman
01-20-2008, 02:23 PM
thanks chris. means a lot :) I've been a moviepoet fan for some time now, and I hope your project goes as well as you hope. I believe I read that script in a contest some time ago, and I have high hopes for it.

Chris Messineo
01-20-2008, 02:27 PM
Thanks for the kind words about MoviePoet.com - my script was originally written for one of the contests there. I hope the final film lives up to your expectations.

Hans Moleman
01-20-2008, 02:51 PM
ah, then I do remember it :) gave it an 'excellent' if memory serves.

Hans Moleman
01-22-2008, 08:30 PM
UPDATE: finished the final cut after a week of solid polishing. learned a few lessons about coverage that I'll definetly bring to set next time. Also refined how a 35mm adapter finds its way into a production. Working with primes has really changed how I block my camera.

01-22-2008, 11:51 PM
i'm looking forward to it. good luck!

01-23-2008, 03:53 AM
Great grabs! CC is subtle but effective.

Hans Moleman
01-23-2008, 12:21 PM
thanks a lot.

We took it to a director (fresh off broadway) in Duluth over the weekend and had him take a look and give notes. Got a few solid laughs, which was all I was hoping for.

Robert Eldon
01-24-2008, 09:55 PM

How's this going? It looks like you're shooting in a florist shop? My film also takes place in a flower shop.

Did you run into challenges with sound? From the coolers?

Good luck with this!

Hans Moleman
01-24-2008, 10:01 PM
we did in fact, run into a LOT of cooler sound trouble. enough to where im pretty sure we're not taking home the sound design prize. we tried to cover it in post as best we could with a mix of store ambience and elevator music. In the end, i'm happy with it.

The other problem was physical space. It was a small small shop, and cheating wasn't always an option (walls are hard to move) so the 28mm lens became my buddy all day.

thanks for the encouragement, rob. good luck to you too.

01-25-2008, 04:33 AM
Those CC grabs look great, like you said they're not overdone.

Hans Moleman
01-25-2008, 11:53 AM
comedy is one of those tough genres for the camera. It often limits your lens choices and really only allows for to much CC. in contrast, I made a dramatic spot to run on tv here yesterday, and I could go NUTS with CC. it was a lot of fun.

Hans Moleman
01-31-2008, 04:04 PM
been working on the compression and I got a really great picture at SD size. But the file is 50.9 mb.


01-31-2008, 05:35 PM
Hey Hans. I'm liking the grabs. Great lighting. Looking forward to seeing this.

Hans Moleman
02-04-2008, 10:50 AM
thanks duke. Lighting was one area I was afraid would fall short due to the resources we had at the time and working in a confined space. Really had to stretch what I could use a reflector for, but I think it worked. This film was definetly a situation of lighting for the room opposed to the individual setups.

Hans Moleman
02-04-2008, 01:32 PM
So I was looking around at the other lovefest individual film threads and noticed that a lot of them have many times as many hits as mine, and what's more; many have 5 star ratings. Granted, many of those threads have been up much longer than mine, but I still wasn't happy about it.

Then it dawned on me why; those threads offered more than my sparse updates and production logs. They have detailed bits and insights about filmmaking that drew a lot of people into dialogue.

So, in the interest of enriching the community here, I'll be posting a number of times over the next few days going into detail about a few issues that seem prevalent in the indi community here. hopefully this will draw some more hits and help a few people who find themselves in similar situations to mine.

Zak Forsman
02-04-2008, 01:42 PM
for that I give you five stars. enjoy.

Hans Moleman
02-04-2008, 02:10 PM
Lesson one: So you have to film in a tiny tiny place and you have 2 lights.

This is pretty common among the lil filmmakers out there. You finally got a place that will let you shoot there, and you were able to get some home depot or even *gasp* some smith viktor lights together.

The trouble is, that the place is tiny, like say, a tiny flowershop in the middle of Minnesota. Not only that, but there's crap all over the shop, which REALLY cuts down on places to put stuff.

Here is a pencil diagram of the space we had to work with:

Our lights were two 1k smith viktors (cause all my Arri's were in Chicago) and a 40" 5-in-1 reflector.

My process was this: it's a flowershop, a place for business, so the ambient light was prettyt much set when we got there. We were fortunate they have tungsten track lights all around. This is good, cause we didnt have china balls or softies at all.

I set keys on the talent based on which side i could physically jam a light stand.

The other concern with such a busy background and varying skin tonalities was separation. Now, in the diagram, you can see that the way I stages the talent, particularly talent H and talent D, each of the two lights served dual purpose: as key for one character, and edge for another. Two lights just became 4. thats money saved. money you can buy legos with.

Another concern in such a small area with little diffusion at my disposal was the intensity of the light. Luckily, most places have some kind of white walls and/or ceiling. thats hundreds of square feet of free reflector. This was most used in the diagram as edge light for talent A with light B at mark 1. Using the walls and cieling let me determine just how diffused I wanted things, and also didn't make me point a white-hot light at an actor's face.

the last major concern was that we needed eyelight. Notice in the diagram there are only two lights used, and a reflector. Most lighting books start you with the idea of three point lighting with three heads. well, 2 is not three. so, by finding the exact opposite angle from the camera's angle on the talent, and bending the reflector convexly, we created a nice eyelight for most of the shots that also provided free fill. That's two lights covered by a $40 reflector. that's legos in the bank.

As a note; in the diagram above, the camera angles were'nt drawn out. This is because the size of the location would pretty much determine our focal lengths and angles. Not showing equipment in the frame pretty much cut down my composition choices.

I'm sure my chicken scratch leaves a lot to be desired, so I'll welcome any questions that the diagram raises.

The next lesson: So you don't have time for a script.

Hans Moleman
02-05-2008, 10:01 PM
Lesson 2: So you don't have time for a script.

Alright, so you've nailed down a place that will let you shoot there, except it isn't exactly what you had in the script. You've also got a few theater friends who're willing to put in an afternoon, except theyre not really what you had in the script. Also, you're script has more locations than you could get, and would take more time than you have. Basically, you have no script.

"No problem" you say. "We'll just improv. Acting's that easy, right?"

No. it's not. The last decade in theater has told me that much.

But you've got to improv, or there's no film. Fine. It can work.

Firstly, you NEED to have at least one meeting, preferably a dinner, where you and ALL the actors sit down and cook up the scene. As a director, it is best to give them a direction to go with (as per your title) as opposed to just sitting there and saying "Make it funny!" or "More enthusiasm!"

Ever watch "Who's line?" every game starts with a suggestion, or character, or direction. Giving the actor a goal in the scene, and a preconceived way of achieving it gives their performance some structure, and you avoid the major pitfall of most improved indie scenes: they suck because they have no direction.

When picking characters and directions, try to play up opposites and foils. Introduce as much inherent conflict into the scene as possible. don't just make a scene with one normal character and a character with a funny voice. Make the normal guy a minority, and funny voice guy a racist. Conflict will drive the story, and keep people from asking what the heck they just saw when your credits roll.

Once each actor has set in on who they want to be and what they want from the situation in the scene, rehearse it. Run it until they basically write their own lines. After a dozen or so times through, their "improv" will become much more uniform, making editing the scene and keeping pace much much easier.

Blocking is an area a lot of beginners fall very very very short on (how many "two guys sit there and talk" scenes have you seen from new filmmakers?) People move. the change positions, they sit down, the wander around. Make your characters move, but make damn hell ass sure there's a reason. character A goes to lift a vase, character B tries to make sure he doesn't drop it. easy stuff. Try to put this under your dialogue to avoid tiring 'proscenium' filmmaking. And while you're at it, move your camera too. If I wanted to see a scene from one static angle the whole time, I'd go get a ticket to Wicked at the oriental down the street. This is motion pictures. It's right in the name.

So there it is: you have a scene with conflicting characters. They each want something. they but heads. they move around. they solve their problem in some fashion. there's a beginning, a middle, and an end, and we weren't bored as hell, and all without a script.

Hans Moleman
02-06-2008, 10:56 AM
anyone finding these useful?

Jason Ramsey
02-06-2008, 11:18 AM
Hey, man. Don't know how I missed the thread here. Just wanted to pop in and say that's a purty picture in your poster.

I'm really liking the grabs you've got going on. Both the raw, and CC'd ones. They are nice and clean images. Looking forward to seeing what you come up with.

Don't worry about the pre-fest hype... :) Once people start watching the films, it'll start to shift to different threads....

Best of luck to you in the fest.


Hans Moleman
02-06-2008, 08:58 PM
Thanks, Jason. I'll keep that in mind :)

02-07-2008, 07:18 AM
Hey I really enjoyed what you wrote, especially about the actors. I'm really pumped to see this one now.

Yeah and don't worry about the hype. Once the films are up almost everyone will weight in with praise/critiques etc.

Kyle Stebbins
02-07-2008, 08:18 AM

Haha! Hilarious! Is this an outtake or an actual grab from the film? AWESOME!

Marlon Ladd
02-07-2008, 08:30 AM
Hey, Hans. Glad to see you got everything done. And what Jason said is absolutely right. I was a little overwhelmed in the last fest when I would see some threads with thousands and thousands of views. That just because some of the filmmakers have established good friendships with users around these parts, because of locations, similar interests and respect of talent. These things build over time and I'm sure after this festival experience you'll establish some new forum friends as well. I was part of the last festival and it was a great over all experience.

Good luck.

Michael Anthony Horrigan
02-07-2008, 09:14 AM
Looks like a fun movie!



Hans Moleman
02-07-2008, 11:04 AM
that, my friend kyle, is a straight grab.

The actor is David Horn who headlines in Duluth. He's what we like to call "special"

02-07-2008, 11:07 AM
Hans, I couldn't agree with you more about all your actor stuff. I definitely agree with everything you have said and its awesome knowing a filmmaker with as much talent as yourself!

Mark Johnson
02-07-2008, 11:37 AM
Very very nice exposition here. Seriously. Once you start providing useful info like this, people will most definitely begin gravitating to your threads whenever you are participating in a fest here. Basically, you can get thread buzz by either 1) posting useful and interesting stuff; or, 2) hosting a virtual "frat party" where anything goes. We, obviously, take the latter route. Our thread is sort of like a bad frat party without any cute girls. You pretty much stay for the beer.

It would be nice if you can continue to carry the torch for a serious discussion of techniques and work-arounds, such as your discussion of the flower shop scene. I know a LOT of people here appreciate that.

Hans Moleman
02-07-2008, 12:03 PM
I'd be more than happy to talk at length (out my arse) about technique. 30 grand a year on filmschool's gotta be worth somethin to somebody.

Hans Moleman
02-07-2008, 10:35 PM
Ok, here's a quickie:

So you've got your film all ready to go, and now you need to get it under 50mb.

the problem is that your NLE doesn't do it right, or does a crappy job, or (in my case) it just can't do it at all.

Let me suggest a lil free program called MPEG streamclip.

This is the greatest little app ever. Not only does it let me do "questionable things" to dvd's I rent, but it also has a very, very intuitive and easy to use encoding feature.

When you watch rose, try and look for artifacts. You wont find em. The multipass encoder on streamclip is beautiful.

I forget where I downloaded the program from, but you can google it easily.

02-07-2008, 10:45 PM
I'm pretty sure I got the program from versiontracker.com

Hans Moleman
02-07-2008, 10:46 PM
thanks for that :)

02-08-2008, 10:05 AM
Hey man, love the thread. Fun and excited about seeing this one. The poster's deceptive. Looks dramatic, and then there's your signature, which is awesome. Nice work with the CC, looks subtle. Can't wait to see this one. What film school did/are you going to? Oh, and congrats on getting approved. Now I get to watch it. AND, the wait begins.

Luis Caffesse
02-08-2008, 10:54 AM
Great thread - thanks for going into so much detail about your process.... I'm finding this fascinating. So keep those posts coming...

On another note - here is the link to MPEG Streamclip:

02-08-2008, 11:36 AM
I am liking the feel to this, looking forward to seeing it wrapped.

Hans Moleman
02-08-2008, 12:26 PM
Thanks guys - As more things come up, I'll detail my process more. I'm always happy to help.

Daniel - I'm currently going to Columbia College in Chicago. Highly recommend it.

Hans Moleman
02-08-2008, 02:01 PM
Lesson 3: So your movie sounds like you hired Stephen Hawking to do the mix

DISCLAIMER: I am not a sound designer. This is not my field of expertise. :Drogar-Mark-08(DBG)

Sound is one of those things. You know, one of those "I know it's important, but I'll ignore it anyway" things.

I wont go over how to record good audio. You know damn well how to do it. You get a microphone, place it as close to your talent as possible, and just outside the path of their breath. Turn off the paintcan shaker in the background (which every location seems to have one of for some reason). That's it. I'm done.

So now you have a pretty clean audio track. great. now what. Well, unless you have the dough for a sound designer, which you don't, you have to toy with it yourself. Not hard. The first thing you will want to do after you edit the whole movie is to lay a quiet track of room tone under the WHOLE THING, crossing all your edits. This will hide the rampant splicing you did without checking levels on set, which I know you didn't. Don't lie to me. Room tone is 30 seconds (or more) of good 'silence' you recorded at you location. If you were too lazy to do this, what you can do instead is find a good chunk of silence from one of your dialogue tracks (5 seconds or more) and paste it a bunch of times under your dialogue. I'd avoid this because the repetition might become obvious to listeners.

Anyway, so now you have your basic dialogue track, with a nice tone under it. Time for foley. I suggest not overdoing this. For one, only put in sounds that matter. Character walks in a shop door, make the door ding as he passes through. This is a meaningful sound effect. Foley'ing in every movement he makes including the swishy jacket he's wearing and the squeaky shoes he's got on, is going to be distracting. Like anything in filmmaking, there better be a reason for that sound to be there. The other side of this is do not UNDERdo this part. If there's not enough sound going on, your scene will sound empty and therefore amateurish. Find a happy medium.

As another tip; don't try to cover up audio recording mistakes with creative foley. In Rose, there are 5 seconds of poorly recorded audio. I admit this. The mic was poorly placed. I own up to that. I'm not going to jam in a dumptruck soundeffect and some michal bay smashcuts to distract from it. Audio is the one thing you can't gloss over, and cant really mess up the first time around. Sound design is its own Oscar for a reason.

Ok, so now your track sound much more full. There aren't obvious quiet spots, there's good foley, it sounds like the place should.

Oh crap; music...

A few choices that you have are: royalty free stuff, actually free stuff, stealing, doin it yourself.

Royalty free: I'm not in the business of spending money. You can if you want, but I only would if you find the PERFECT track on a royalty free site. I'd recommend some sites, but I've never gone to any. I hear freeplaymusic is good.

Actually free: I get my 100% free loops from a little program called soundtrack pro. It's great. Highly recommended. Also got a heavy FX library. The place I got my loops (and custom compositions from) was flashkit.com. Here's what you do; find a loop you like. Download it. presto. Some guys on there require you to ask permission to use it. I've never been turned down, not once. Now let's say there's a track that's really close to what you want, or an artist whose style you like a lot. Remember the saying "flattery will get you everywhere" ? It's dead true. I had a short film a few years ago fully, beautifully, scored, for FREE, by finding a cool track on flashkit, and e-mailing the composer, telling him how great it was (it really was) and then asking if he would want to score a film that'd be in festivals for credit. Most guys who put their music on free sites like that one are smaller time dudes who would LEAP at the shot for exposure like film festivals. It's worth a shot, you can get really nice music this way, and make good friends and connections for the future. This is called networking in the real world.

Stealing: This is where you find a song from an obscure album of an obscure band and use it without permission. Sometimes guys don't put up the effort to steal an obscure song and get a very mainstream track (see: 'Whitewood entertainment'). How many people on here do you really think you'll fool? Half these guys have worked in a music store. Some of us actually have albums out there. If you took something I wrote, I'll come for you in the night. Don't steal.

Do it yo' DAMN self: Done this one before. Just find one of your friends who plays guitar. You have one. Trust me. Everyone does. Have him sit down and strum out some chords that sound like what your film should sound like. Sad film? strum some D minor chords for 30 seconds. boom. done. Happy film? C major chord in 4/4. boom. No stealing, no money, and you have a 100% original track to your film. If your guitar playing friend is hit by a train, what do you do? Go get his guitar from his room while his family's grieving, and do it yourself. Google image "guitar chord chart" and try em out. Work out a chord progression. It takes about 5 minutes to become comfortable with it. I learned the mandolin in 2 weeks, and I'm JUST smart enough to not have to wear a helmet when I leave the house.

So there it is: you have nicely recorded dialogue, smooth room tone and edits, and nice, original music. Now we aren't distracted from your poorly written dialogue by a bad soundtrack.

Mark Harris
02-08-2008, 02:07 PM
As another tip; don't try to cover up audio recording mistakes with creative foley.

Uh oh...I mean, you're 100% right! I would NEVER do this!

Hans Moleman
02-08-2008, 02:10 PM
grain of salt, man. Grain of salt ;)

Michael Anthony Horrigan
02-08-2008, 02:13 PM
Uh oh...I mean, you're 100% right! I would NEVER do this!Ditto! The sound of that plane landing right at the crucial point in my movie was timed to perfection!!

I had flight schedules and everything. :huh:

Hans Moleman
02-08-2008, 02:16 PM
maybe i AM just talking out my arse

Hans Moleman
02-09-2008, 11:04 AM
Lesson 4: Keyframes and the mobile camera


"this isn't a play. Move around a little or something."

One thing I touched on earlier but i realize that I didn't spend nearly enough time describing was the moving camera.

This is important, because if you plan to advance in your filmmaking, you're going to have to find ways of making your frame mobile. Scientists say 90% of monkeys can compose a static shot according to thirds, but making a visually interesting and technically well done shot move within a scene is what is going to make you grow as a filmmaker and an artist.

"But Joe!" you whine, "I don't know when to move the camera, and I think my shots look fine already!" Shut it. Thats como-talk.

This is where the idea of keyframes comes in. I'm not talking about the timeline markers in your NLE. That's for smelly editors to worry about. The keyframes I am referring to are the specific stops, pauses or bits that you want to capture in a single continuous shot.

If character A enters a room, walks to the sink, washes his hands, walks to the fridge, and prepares himself some ludafisk, there is zero reason that has to be five different shots with five different setups and multiple takes each time. What you can do, is find the five 'keyframes' within that little sequence that you would normally capture with multiple shots, and connect them with movement. You can set up a dolly by the door to follow him in, curve it to the sink, tilt to see the water on his hands, then tilt back up, and dolly with him to the fridge. There. boom. One mobile shot where we saw everything we would have in 5. It's like the megazord of shots, and all he did was make a sammich.

"But joe!" you snivel, "I don't have a dolly, or the initiative to make/rent one!"

Fine. But you do have a tripod. Fluid head or not, you have one. I've won awards using a photographic tripod circa 1920, so don't give me crap about you not having a cartoni on hand.

With a tripod, you still have to mobility to pan and tilt. This is where the magical art of blocking comes into play. Before, with the dolly, we could move all AROUND and OUTSIDE or character as he moved. Now that we are stationary, we can move our camera INSIDE our character's action, and block him around us. So we start in the middle of the kitchen, close to the sink. We see him walk in, we pan as he passes us, tilt to the sink, tilt bak, and pan to the fridge, and then follow him on his way to the table. Easy stuff. The only hard part was sitting down first and thinking about it.

You'll find that by deciding on everything that needs to be seen in a scene, and connecting those elements with movement, you'll have a lot more success with fluid camera segues, as opposed to interjecting contrived steadicams into sequences of static OTS shots.

Everything I refer to is cover EXTREMELY in depth by the hollywood camerawork dvd set, which I would highly recommend taking a look at.

Hans Moleman
02-10-2008, 03:45 PM
So finally got BTS shots. MAN that took a while. It was too much of a guerilla thing to have a designated set photographer, but one of the cast snapped a few while on set, and facebooked em. Here you go, for your enjoyment. See if you can pick me out ;)


Hans Moleman
02-10-2008, 05:13 PM
need a hint?

Michael Anthony Horrigan
02-10-2008, 05:58 PM
Umm... the dude that looks like your avatar with the shaved head? :D

Mark Harris
02-10-2008, 06:15 PM
I was way off. From your posts and general demeanor, I assumed you were this guy:


Hans Moleman
02-10-2008, 06:22 PM
I was way off. From your posts and general demeanor, I assumed you were this guy:

Yeah, I WISH I was that happy

Michael Anthony Horrigan
02-13-2008, 09:43 PM
Nice work! The acting was pretty good and all the characters were enjoyable. I felt the pacing was a little slow in spots and there were a couple of audio issues.

Still, the story flowed well and I got a few laughs out of it.


Ted Arabian
02-14-2008, 05:50 AM
Hey Guys, great job.

A well executed simple story!

I liked the characters here. I thought that your lead was great. The girl was perfect. The salesman, a bit "out there!" At first, I was totally annoyed with his stereo-typical geekiness but it grew on my as he developed his own character.

And damn, I was ready to punch the guy myself when he came out with that potted plant. I was like, "OMG... that's where this film is going! A political statement!" I don't know what held the lead back from attacking this guy earlier and I actually would like to have seen a bit more inner conflict with him as he held his anger back.

But, NICE punch/transition. I loved that.

I also wanted a "new" look of disbelief at the end when the girl completely cut him off and went on with her own story. The guy had just gone through so much and we saw several looks from him. I wanted one, last fresh look of disgust with this visit. No deal-breaker. Just something that I wanted to throw out there. *** update **** I just went back to see that final scene again. What actually bothers me is that our lead is looking down throughout that final exchange. I just wanted to see a full face shot after this outrageous experience he just had. Just my thoughts.

Nice soundtrack. Really worked for this film.

Great job, guys!



02-14-2008, 10:21 AM
You had some nice shots. I enjoyed Kirk’s entrance, the shot from the floor, and the punch. The “one of your wives” line was funny. The comedy was cheesy, maybe a bit too cheesy, but I kinda like cheese myself.

Biggest nit, the audio could have used some work.

Overall, I enjoyed this film. i liked how we subtly slide into the point. Thanks for sharing it!

02-14-2008, 11:14 AM
He did look like Kumar. Acting was impressive, especially from the girl. The audio could use a little help. I liked the part with the punch. The story didn't do anything for me. I thought for sure he was going to fall in love with the cranky girl.
Keep up the good work though.

Hans Moleman
02-14-2008, 11:16 AM
well, for a simple story, I think the commentary here is great :) I knew the audi thing was comin at me, so I can't be too disappointed about it. For an improvved, one day shoot, I'm glad people are liking it. Keep it comin, guys :)

Charlie Anderson
02-14-2008, 11:28 AM
all I could thihnk of was "the spleeeeeeeen" from mystery men with the way the sales guy was talking

Mark Harris
02-14-2008, 11:44 AM
Cute story. I felt like the weird, creepy dude was a little out of place acting-wise. A little over the top. I felt like the actress was a little better handling a "character" in a more natural way.

Audio was kind of all over the place, which ordinarily I don't care too much about, but it was a little distracting here. Fridge hum, odd clicks and pops and the like. A couple of spots where you brought the level WAY up on the goofy guy to hear him, I would have ADRed those.

But a nice film.

02-14-2008, 01:05 PM
Hahaha yes another comedy, I have been waiting to see this one.

I really enjoyed it. I thought it was funny, cute, and simple. Yes the audio needed work and I may have opted to go adapterless, but those are nitpicks. Funny acting, good pacing, I enjoyed this one.

My favorite line was when he says this is like the bible, or Koran, of flowers. haha.

Hans Moleman
02-14-2008, 03:52 PM
Glad you weren't disappointed, smash :)

02-14-2008, 06:21 PM
AN ORANGE ROSE -- I LOL'd. For serious.

No, really I did. Of course they were all the jokes about the race, but I actually found them pretty funny in a good way. I also LOL'd when the dude "arose" from behind him.

It's a comedy, it made me laugh, good job. I'm sure someone already pointed out the audio issues since I'm not the first to post here. So nevermind that. I'll say that it did linger a little too long in the beginning and in the end. In fact, I think that the entire ending after the line "it was behind the counter the whole time." could be cut and it would have the same exact impact. That might be me.

The flowershop guy's part could've actually benefited from speaking clearly. Maybe not so over the top so that when he delivers his funnier lines "Iranian Flowers" it's more of a laugh out loud moment.

So most of it lies with editing, to me. That and fixin' minor technicalities.

I do want to ask what adapter ya used for this.

Funny stuff!

Chris Messineo
02-14-2008, 06:48 PM
I thought this was a lot fun. The music was perfect.

Kirk reminded me of a Michael Palin character.

Well done.

Robbie Comeau
02-14-2008, 06:51 PM
I to, enjoyed this film.

Acting was well done also.

The guy rising from behind was hilarious as well Kholi!

Goodluck man,


Brian Parker
02-14-2008, 11:49 PM
Good film...a lot of good timing and I too loved the 'flower bible' line. It was a little over the top but each of the characters were likable and it never felt tiresome. I LOL'ed. Also like the choice of CC. Good job.

Hans Moleman
02-15-2008, 09:48 AM
Kholi - I used the Brevis for the whole shoot.

Someone here brought up the idea of not having used it, which I think might have been a better decision in this case.

Hans Moleman
02-17-2008, 04:57 PM
A question I had:

It's hard for me to see Rose objectively, and gauge how it comes off to most people. So, my question was if anyone had watched it more than once to catch things, or if most people felt like they got it all in a quick view. Not the deepest tale, I know, but I just wonder if it's really just considered standard comedy fare, and doesn't warrant another look. Not that I'm lobbying for it to be seen more, I'm just curious.

02-18-2008, 02:35 AM

I used to know a guy in my small college community who sounded excactly like Kirk, believe it or not. I wanted to punch him too! Aaagh... same mannerisms as well.


Hans Moleman
02-18-2008, 08:57 AM
ha! hope the film wasn't too irritating ;)

02-18-2008, 05:52 PM
okay, good film, and im not sure what to say about it exactly but i will try...

funny- the kid popping up from behind. cool. his accent, sort of funny. his dialog- funny at times, but im not the biggest fan of racial humor. the girl behind the counter- she was funny, she was ridiculous, especially at the end.

the lead was okay, i am sure it was not easy to act to the other two. as for the story, it was alright. congrats on your film, thanks.

Hans Moleman
02-18-2008, 05:57 PM
thanks for the frank feedback. always helpful to hear it straight :)

02-18-2008, 11:32 PM
this most definitely has been a learning experience. Lesson number one-- don't ever settle when it comes to audio. It was a total blast though, for sure.

Hans Moleman
02-19-2008, 06:00 AM
wow. here I am, shooting my mouth off, and KJ has barely had the chance to chime in.

Marlon Ladd
02-19-2008, 08:00 AM
I thought this was a very funny film. That guy, "Kirk" or whatever his name was, was hilarious. He had me laughing out loud. I thought the acting was pretty good and I liked the story. There was just one place when the two guys were talking where the audio seemed to change (for the worst), but that's pretty much the only problem I saw. Good work.

Hans Moleman
02-19-2008, 08:56 AM
thanks, newton :)

02-19-2008, 09:37 PM
(In a whisper) Mesopotamia!

haha, this film was fantastic! One of my favorites so far. Great acting all around. Despite your troubles with the location and finding lights, the film still looked terrific. My only critique would be a few bits of audio, but for the most part, it was very good.

:thumbsup: Great work!

Hans Moleman
02-19-2008, 09:39 PM
(In a whisper) Mesopotamia!

I'm SO glad someone caught that part. We agonized over whether to keep it or not.

Thanks for the nice words :)

02-19-2008, 09:46 PM
Kirk reminded me of a Michael Palin character.
Dead on, Chris. Michael Palin. :thumbsup:

This WAS a lot of fun. Kirk was over the top...WAY over the top. But I'm believing that is what your were going for. I was a bit bothered by his speech affectation, though.

Overall, a lot of fun to watch.

Hans Moleman
02-19-2008, 09:50 PM
blaine - He's a musical theater major, if that helps any, lol ;)


02-20-2008, 12:31 AM
blaine - He's a musical theater major, if that helps any, lol ;)


hahahaha yeah, so diction SHOULD be his life. Nothin' wrong with theatre majors though

02-20-2008, 12:34 AM
there was supposed to be a winky face at the end of that last post. But what i wanted to ask, as i am in pre-production for a film i am shooting for a student festival, are there any pointers anyone could give on how to fix the sound problems? we pinpointed a mic misplacement for the major one (and then wanted to shoot ourselves!), but does anyone have any tips or such that they picked up in the trade?

Hans Moleman
02-20-2008, 06:08 AM
the biggest problem I found right off that bat was that there were 12 refrigerators on the set that couldn't be turned off. Also, a dedicated boom man would've been able to keep the levels consistant, but we didn't have one of those ;)

Hans Moleman
02-20-2008, 06:09 AM
why didn't we have this conversation in person?

02-20-2008, 06:52 AM
I'm SO glad someone caught that part. We agonized over whether to keep it or not.

Thanks for the nice words :)

That might have been my favorite line of the whole film. Very unexpected and completely insulting to the other character. Loved it. Glad you kept it.

Rodney V. Smith
02-20-2008, 11:43 AM
there was supposed to be a winky face at the end of that last post. But what i wanted to ask, as i am in pre-production for a film i am shooting for a student festival, are there any pointers anyone could give on how to fix the sound problems? we pinpointed a mic misplacement for the major one (and then wanted to shoot ourselves!), but does anyone have any tips or such that they picked up in the trade?

ADR is usually the only way to go to fix bad sound and get consistent sound all around. Just gotta be careful with syncing it up and adding background sound and foley and you'll be golden. Takes some practice though and your actors will probably hate you after the session, but when they see the final, they'll love you again.

Rodney V. Smith
02-20-2008, 12:00 PM
Funny story, nice shots through most of it and competent acting all around. The Clerk was a little too geeky for my liking, but he got his just desserts (why didn't he clean his clock earlier, i wonder).

You used the camera well, staging the shots and setting the scene well. Definitely wasn't what I expected at the end there, and that's a good thing. At least dude got his orange rose. Which were behind the counter. All this time. Damn self obsessed girl...

It was while I was watching this movie that I realised I could always tell the age of the filmmaker, largely from the age of the actors used, as well as the quality of actors. Mostly it was because the age of the clerk and the actor calling him "sir". I know this was probably due to the timing of the shoot, but keep in mind for the next one (and I am looking forward to your next one) that age appropriate characters or appropriate dialog would lend a lot more reality to the film. Don't let your own age dictate that you only ask your friends either.

It will only make your films better if you have an air of authenticity in casting.

All around it was a good movie and I enjoyed it,

Good luck to you and your many wives. :-)

02-21-2008, 10:39 AM
This was a fun film. Comedic acting with "unlikable" characters. Breakfast of champions. The main actor did a good job selling how annoyed he was. The flower shop girl was pretty mean and the guy was pretty annoying. I actually felt sorry for the guy that got punched. Funny characters.

02-23-2008, 05:31 PM
Mostly it was because the age of the clerk and the actor calling him "sir". I know this was probably due to the timing of the shoot, but keep in mind for the next one (and I am looking forward to your next one) that age appropriate characters or appropriate dialog would lend a lot more reality to the film.

An excellent point! This entire thing was basically improvisation, we would just give the actors a scene outline and they would go for it, but it was our fault for now specifying age and what not. We will be sure to monitor that in the future!

02-25-2008, 09:41 PM
This was a great bit of fun, really enjoyed it. The cranky clerk was excellent and I thought the over the top sales fella was pretty good too, he's definitely got some talent. Good job.

Hans Moleman
02-25-2008, 10:11 PM
glad ya liked it. Though we didn't place, I'm happy with the film, and I'm glad it made people laugh.