Lost Children - Mark Harris

[Mark Harris]

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/the-lost-children-poster.jpg

OFFICIAL PRODUCTION BLOG (http://www.desperatecomfort.com/lostchildren/)

THE LOST CHILDREN LossFest Entry by Mark Harris

CAST:

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leahrudick-300x199.jpg
"EVIE" Leah Rudick

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/sdnogi-300x261.jpg
"THOMAS" Scott David Nogi

Written & Directed: Mark Harris (http://www.desperatecomfort.com)
DP: Aram Bauman (http://www.urbanmouse.com)
Production Sound: Dennis Haggerty (http://www.facebook.com/home.php#/profile.php?id=1039016739)
Score and Sound Design: Herman Witkam (http://www.witkamsound.com)
Special Visual Effects: Gigi Ng
Costumes: Jill D'Oronzo

[Mark Harris]

12.27.2008 - Cast Locked. Crew nearly locked. Will announce crew within the next week, hopefully.

12.27.2008 - Gear maybe locked. Looking at and discussing options based on needs. Hopefully can have that locked this week as well.

12.28.2008 - Outline done. We will be improvising based on this outline. Then, from those improv sessions, I will pick the stuff that works the best and include it in the final "script." This is kind of Zak Forsman way of working, but I've done it before in a comedy with good effect. So I have been eager to try it out in a "drama" for some time. Also, have done a lot of work on what the "look" off the film will be. Some will be done on set and some in post. But I've decided on a look that is integral to the story. Hopefully I will get a blog up this week and start blogging about that for real. Will try to get it fired up tonight. Also will start podcasting this week, but I have hard time getting that going if I don't actually have something to say relevant to the film. Seems like a good marketing took though, so I will get on the ball with it.

[Mark Harris]

Some Grabs from Day 1:

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_tu-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_tu.jpg)

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_infront-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_infront.jpg)

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_top_1-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_top_1.jpg)

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_scott_talk-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_scott_talk.jpg)

Day 2:

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leah_side_2-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leah_side_2.jpg)

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leah_side-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leah_side.jpg)

[Mark Johnson]

Now it's a fest! Great to see this entry Mark!

[jasonthewho]

Mark, thanks a lot. Now I have to drop out.

[Erik Olson]

Welcome! I'm always impressed with your work. And your script doctoring. ;)

e

[Susanne G.]

Very nice to see, that you found new energy for a film! Wish you all the best and hope this one will be the winner! :beer:

Susanne :bath:

BTW - very beautiful and charming looking actress!

[Will Clegg]

Looking forward to seeing this one.

[Zak Forsman]

I like leah. Glad to see you working with her again.

[Rodney V. Smith]

Gosh dammit Mark! Now i have to drop out too.

Edit: or maybe not... time for Plan B

[Dustin R. Rogan]

Excellent! Love your work big guy!

Rogan

[Mark Johnson]

Damn. We were going to enter this time but this is clearly the winner. Maybe next time.

[Mark Harris]

Damn. We were going to enter this time but this is clearly the winner. Maybe next time.

Ya, right. You should know by now I never win higher than 2nd :) Besides, after getting tromped by you guys last time I can only imagine what amazing shit you'd pull out now, six months down the road.

[Drew Ott]

Woohoo!

G'luck!

[ZazaCast]

Looking forward to it...#!%$A#$%!

:crybaby:

[Robbie Comeau]

If you fly me down to Brooklyn, I'll help out on the shoot :thumbsup:

Nice title.

Robbie

[Zak Forsman]

hey, if you fly robbie to the arctic circle, i'll help you out on the shoot! ;)

[Robbie Comeau]

I don't understand your humor Zak?

Did you ever end up meeting with Matt. He's in Hollywood now.

Robbie

[Zak Forsman]

no, he sent me a pissy email about it. i told him i was sorry it wouldn't work out but that I was very busy and that this was a bad time to take meetings. i wanted to, but alas...

[alex whitmer]

Welcome to the fest Mark. Glad to see you in.

aw

[Robbie Comeau]

Well he sent you a crap load of emails I thought...But you didn't reply?

Robbie

[mattspat]

Ah didn't mean to come off pissy by any means. I was just stressed because I had a bunch of shit to organize for my trip and wasn't sure on your intentions of meeting up.

Not a big deal at all.

I'll be coming back soon though! Hollywood is awesome.

[stinkpot]

Looking forward to your film.

:beer:

[AmyO]

Yay Mark! Loved RPDM. Looking forward to this one. :)

[dvpixl]

much luck!

[Darkline]

Oh Mark,

now you've done it.

(please say we get to see zombie babies)

[ConspiracyPenguin]

I can't believe I missed this. Great to see you entering, Mark, I always enjoy your stuff. As always, if there is anything this humble flightless bird can do for you, please don't hesitate to ask. Looking forward to it! :)

[Beat Takeshi]

I just saw this and can't wait to see the next installment of your work. I'm sure you will wow us yet again.

[Mark Harris]

Also added to the first page:

12.27.2008 - Cast Locked. Crew nearly locked. Will announce crew within the next week, hopefully.

12.27.2008 - Gear maybe locked. Looking at and discussing options based on needs. Hopefully can have that locked this week as well.

12.28.2008 - Outline done. We will be improvising based on this outline. Then, from those improv sessions, I will pick the stuff that works the best and include it in the final "script." This is kind of Zak Forsman way of working, but I've done it before in a comedy with good effect. So I have been eager to try it out in a "drama" for some time. Also, have done a lot of work on what the "look" off the film will be. Some will be done on set and some in post. But I've decided on a look that is integral to the story. Hopefully I will get a blog up this week and start blogging about that for real. Will try to get it fired up tonight. Also will start podcasting this week, but I have hard time getting that going if I don't actually have something to say relevant to the film. Seems like a good marketing took though, so I will get on the ball with it.

Edit: Development Blog (http://www.desperatecomfort.com/lostchildren/) is up!

[Jack Daniel Stanley]

Excellent. Have a feeling about this one.

[Mark Harris]

Excellent. Have a feeling about this one.

Yeah? You feel another second place coming on? :)

[Mark Harris]

So for Christmas, I was in Dallas with my Girlfriend, visiting friends and family. For the most part, I let this project go, not thinking about or doing any writing on it at all.

Then, the last night we were there, I could not sleep because the details of the short suddenly started forcing themselves into my mind, in very sharp focus.

It happens that way sometimes. You write, and work, and think, and struggle. Then you set it down for a week, and somewhere deep in your subconscious, it all gels. And you think about it one day, and everything is clear.

So that's what happened with this one. The next day on the plane home, I wrote up the outline on my Palm Pilot.

I am going to continue revising this, but will not write an actual script until I rehearse with the actors. But this outline does contain the majority of the beats, objectives, and some suggestions for the actors. So it's already a pretty complete story.

I am meeting with Leah and hopefully the other actor on Sunday, the 4th, to start work on this.

My plan is to spend the first meeting not so much rehearsing, as talking about the characters with the actors, based on the outline I sent out to them. The purpose of which will be to get their imaginations sparking in this world, and to bring out some hopefully new and unexpected details which will inform the script. I'll document that meeting and have a first podcast from it next week.

Also, set a costume and make-up person.

Development Blog (http://www.desperatecomfort.com/lostchildren/)

[Beat Takeshi]

Can't wait to see what you come up with this time. New and unexpected details are always great to have.

[Mark Harris]

Did some location scouting the other day. Here are the photos:

http://www.desperatecomfort.com/working/lossfest/Photo_1.jpghttp://www.desperatecomfort.com/working/lossfest/Photo_2.jpghttp://www.desperatecomfort.com/working/lossfest/Photo_3.jpg

These are pretty bad photos, but show a sort of view of the city I would like to have in a certain shot. At night, the whole thing outside is lit up like nobody's business. The location is on the 33rd floor of a building in the middle of Times Square.

The only issue I have is, I am not sure I can set-dress this room enough to be what I want...So I may wind up using it for something else instead...

Still seeking my second actor. Have been in touch with a few possibilities.

M

[Danielleus]

Good luck man. Can't wait, as always, to see what you got for us.

[Beat Takeshi]

Did you shoot that through a stocking?

[Mark Harris]

Really crappy cel phone camera.

[Chris Messineo]

Best of luck with your film. I'm looking forward to it.

[Dustin R. Rogan]

http://i3.photobucket.com/albums/y65/Cia_Rogan37/SEAL.jpg

[Mark Harris]

Story

So Leah and I have gone back and forth on the story and the complete outline is about done. As I've said before the performances with be improvised, but now the scenes and beats making up those scenes, thus the archs of the characters, have pretty much been charted. Over the next two weeks, we will be honing this, refining the beats as much as we can. Then we will go into rehearsal and figure out which beats work, which ones need change, and with any luck, we'll find a whole bunch we never knew were there. But this outline is a good starting point and very clearly indicates the characters' objectives, so though the rehearsals will be improvised, we should be able to keep on track.

I guess it's all right to come out with it now. This short is about a character who appears in a feature film I'm working on.

I've been working on the script and the business plan for this feature film for some time, and in all likelihood, will continue to do so far into this year. But I knew I wasn't going to be able to go very long without actually making something. Couple that with the fact that I need a lot more practice as a director anyway, I thought, I am going to produce a short or two this year, no matter what.

At the same time, I felt like I could not let myself get distracted with other projects, when I should be keeping my nose to the grindstone on the feature.

So I decided that all of the short content I would produce this year would be set in the world of the feature. I would use some shorts to explore characters, flesh out the world, etc. And at the end of the day, I would have a lot of peripheral content that might go along with the feature film.

So though this short fits in with the theme of Loss, it also serves as an exploration of one of my feature characters. And it's having the desired effect. The things I learned about this person in the short, have already informed her behavior in the feature script.

For a long time, I've been an advocate of writing about your characters, fleshing them out with narratives, journals, biographies and such. So I guess this is just an extension of that technique.

I'll go into some more detail about this in future posts...

Acting

Leah has agreed to start doing some blogging of her own on here, regarding her acting process. Hopefully she will have something within a few days. I will have a lot more on this as well once we go into rehearsals.

Casting

Having lost the first actor I wanted to cast opposite Leah, I put out a casting notice and got many responses. I will be contacting the ones I want to see tomorrow, and setting up auditions for the week after next. If all goes well, by Feb 1 we will be cast.

Storyboard

Now that the outline is finished, I can start working on the storyboards. It's my hope that these can be pretty much done by the first of Feb. as well.

Podcasting

I meant to get on this, I really did. But in all honesty, when I'm working, it's next to impossible for me to split my attention enough to film me working and talk about it at the same time. So I am going to really try to get some going, but can make no promises...

Full Development Blog (http://www.desperatecomfort.com/lostchildren/)

[alex whitmer]

The office looks like one of those coveted 'corner office suites'.


Nice updates.

a



www.brooklyngarrison.wordpress.com (http://www.brooklyngarrison.wordpress.com)



.

[Mark Harris]

Things are progressing.

We have brought on Aram Bauman (http://www.puffinfilms.com/) to DP, and will be shooting on the RED ONE. He's known on DVXUser as Beat Takeshi. AKA, Spike, AKA Two-Hip Shakur. Met with him today to discuss some of the look and shots, and get his brain-juices cooking. I will start a new post soon about the look of the piece and how it relates to the content. Then get Aram to add in his thoughts on it.

Also, there is one serious VFX shot in the film. For that I have recruited a friend of my GF (http://www.facebook.com/profile.php?id=711793778), who does VFX work for the NYC post house, THE MILL (http://www.the-mill.com/). On New Year's Eve, she said she would like help on one of my films, and even though she was three sheets to the wind when she said it, I got her to agree again when she was sober. This week, I will get her with Aram, so we can all discuss the VFX shots.

I have contacted the relevant parties about about securing the final locations.

Auditions are scheduled for next week. I have seven actors coming in to read for the remaining role to be cast.

Storyboards will be done this week.

[Beat Takeshi]

Hi all, I'm very excited to be working with Mark again. I absolutely love his amazing work and hope to do justice for him and the story. Shooting on the RED will give the VFX people the cleanest plates to work with. It will be exciting to see how they do the process for what is needed.

[Mark Harris]

The Lighting Ninja is on the case.

[Beat Takeshi]

http://www.thebeandom.com/spaceturtle/files/ninjablog.gif

[Will Clegg]

Nice - I got to meet Jean Grey a few months ago. I think you will enjoy the images she makes, Mark.

[Mark Harris]

thanks Will. Though Aram told me to get the really good images, he has to make sweet-sweet love to her. I thought he was speaking metaphorically, until my hand got stuck to the eye-piece.

[Zak Forsman]

careful, that's how you get pink-eye.

[Beat Takeshi]

that turns red after a few days.

[Jack Daniel Stanley]

Mark,

Really looking forward to what you and Aram will do with the Red.

[ZazaCast]

Not to take anything away from the Red (it has been used in the last few winners)...but these guys could probably make a film with a cloudy cellphone that would blow us all away! Really looking forward to this one.

[Jack Daniel Stanley]

Yep. That's what I meant. Said looking foreward to what they can do with it.

[pia12254]

I totally agree with JDS! The visuals Mark uses in his film are always very, very unique...

And with the RED it should be EPIC!

Daniel

[Mark Harris]

Auditions are over. Demo sent me a reel for the perfect actor. Check it:

http://www.youtube.com/watch?v=BGyAYkUNosM

[Lawsuit_Boy]

Get all of the juice you possibly can out of the RED. People are still pulling wonderful images out of dvx's and hvx's, and I've seen a lot of fair to mediocre productions that used a RED One. Make that camera sing!!! :)

Oh, and I'm looking forward to the film! :beer:

[Mark Harris]

I have a lot of blogging to catch up on with the auditions. They went perhaps better than any other I've ever done. By which I mean, I came away with a greater percentage of good people than I ever had before. So I will write some detailed stuff about that hopefully this weekend.

In the meantime, since I am making a jump to RED, I had to switch to FCP. Or I made the decision to switch to FCP for this project. I got the RED codecs installed and so far I am able to work with the proxies just fine. I need to start boning up on workflows, but it seems like my Quad Core box will get me through this. I think I will have to edit with proxies though. Going to try the FCP installer at red.com next. Will blog about this as well.

Edit Machine set-up:
http://www.dvxuser6.com/uploaded/2939/1233240297.jpg

[Mark Harris]

I will get into the audition post later. But I wanted to point out that one of the guys I read last night was this guy:

http://www.imdb.com/name/nm0256032/

Really amazing actor and gave a great audition. But please note his latest credit on IMDB. :)

[Will Clegg]

Dude, this could be your in with UWE BOLL!!!!

[Herman Witkam]

I will get into the audition post later. But I wanted to point out that one of the guys I read last night was this guy:

http://www.imdb.com/name/nm0256032/

Really amazing actor and gave a great audition. But please note his latest credit on IMDB. :)

Postal! LOL

Actually, I know the composer for that film. She studied at the same music college as me :)

[Beat Takeshi]

Edit Machine set-up:
http://www.dvxuser6.com/uploaded/2939/1233240297.jpg

That guy looks familiar.

[Mark Harris]

Ugh, going to try to update better on sunday. Tomorrow I am hauling my tired ass down to Jerz to help Chris Messinio with his shoot. But cast set, first shoot dates set, costumes set. Will try to post some more details Sunday.

[Michael Anthony Horrigan]

Ugh, going to try to update better on sunday. Tomorrow I am hauling my tired ass down to Jerz to help Chris Messinio with his shoot. But cast set, first shoot dates set, costumes set. Will try to post some more details Sunday.Wow! Chris has got quite the crew.

Have fun, guys.

MAH

[Mark Harris]

Wed Feb 11
Thurs Feb 12

Need a grip. Hoping not even full days each day.

Daytime hours.

PM me if you want to come play!

[Shawn Philip Nelson]

hey Mark, glad to see you doing something again. and with the Red no less! i'll probably watch this first.

[Mark Harris]

thanks Shawn. Honestly the RED decision was Aram's. He and I talked about working together, but he's the one who decided to roll with that.

But just playing with test footage in post, I'm beginning to see the real benefit it brings. Not the 4K, but the ability to have so much control over your footage, in terms of CC. That's kind of blown my mind.

But we'll see. I am still a little afraid of it, and in the back of my mind, I feel like it's going to become self-aware on set one day, revolt, and kill us all...

[Shawn Philip Nelson]

I am still a little afraid of it, and in the back of my mind, I feel like it's going to become self-aware on set one day, revolt, and kill us all...

Oh yeah, very real concern. #27x knows I'm its master so it's good. It's like owning a pet Jaguar or something.

[Mark Harris]

CAST:

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leahrudick-300x199.jpg
"EVIE" Leah Rudick

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/sdnogi-300x261.jpg
"THOMAS" Scott David Nogi

We cast the last main role. I had auditions last week, and came away with the larges number of good candidates I'd ever had. Meaning, the choice was harder than ever before. It's always seemed that if I came away with one great option, it was a good day. But this time, just about everyone who read could have done the part, and it came down to nuance. And look. I'll say a little more about look in a bit.

This audition consisted of an improvisation with Leah, based on beats I outlined from the actual scene. I had given the candidates the outline about a week before. And all came in with various levels of preparedness and all performed well in the improv.

Now to nuance. I'll just talk about three of them as examples.

1. There was one actor in the group who was easily the most experienced. His resume included the many prominent TV shows. And he was good. Really good. He came in the most prepared too. He had made the most specific choices and came in prepared to work with them. He made adjustments as I asked for them without missing a beat. He would be a dream actor to work with on just about any project. But his excessive experience and skill were also a hindrance, to a degree. He was so good at acting, that I had a hard time seeing him really let go and lose control of himself. Now I don't mean hauling off and hurting actors and breaking things, but there comes a point when watching an actor when he really starts to fly, and you can tell that they genuinely have no idea what is going to come out of his mouth next. These moments are golden and should be captured on camera at all costs. They are also very rare. Maybe Actor A would have gone there just fine. But it seemed to me that it's not where he goes.

2. There was another actor whose resume included a Uwe Boll film. But I didn't hold that against him. He came in prepared, but was more willing to let himself actually go. He had less experience than Actor A for sure. And he was my second choice. Which brings us to look and Actor C.

3. Actor C is Scott, the actor I cast. When I weighed everything, Scott had the best blend of what I was looking for. Skill to pursue and objective and stay in the moment. Trust enough to let himself go in the scene and really just be there without knowing what will happen next, and lastly, the thing that put him over Actor B was his look. And for this part, if you understand that the character is a virgin, who has never even been alone with a woman in any romantic capacity whatsoever, if you lay all of that on Scott's look, all of those things are amplified. Because the other actor looked like he could have been early 20s. So if he has never had sex, well, okay, we all have met someone who hasn't has sex until college. But Scott looks clearly in his 30s, and could read into early 40s. And anyone who has never had sex up to that age range, we really wonder about. And I wanted the audience to really wonder about this guy.

I think this is a point that I disagree with Zak on. I've seen him say he casts for the actor and re-works the role based on that. And that is one way to work. But in my mind, movies are photographs. So I don't think it's unreasonable for a director to want to conform the photograph to what's in his mind, in terms of design, color, light, and actors. Also, I think you can get a lot of mileage playing on peoples' pre-conceptions with the images you show them, as with the character above.

Or, for another example, when working with Leah on this part, this part is very much NOT her. The part calls for her to be very sexual. And she's a big floppy goof-ball.

Exhibit A:

http://www.desperatecomfort.com/working/lossfest/leah_goofball.jpg

I am keeping some her goof-ball in the role, but also, the thing I've been telling her about being "sexy" is that she is already young, beautiful, thin, and tall. Just by showing up, she is 80% the way to being a sexual being in our minds. So she doesn't have to do much more at all in her performance.

Hitch knew this about casting and of course most modern Hollywood films do as well. You cast Grace Kelly and already every guy in the audience is wondering what the hell Jimmy Stewart's problem is. I hesitate to call it a short hand, but rather let me say that images are loaded. And a filmmaker can work on that loadedness.

Rehearsals are set for tomorrow, Tues 3rd and Wed 4th.

Otherwise, Leah has been for her fittings and the costumer is now working on Scott. Aram and I have been hashing the look of various scenes back and forth. I have been storyboarding and shot-listing and taking care of the million and one details that come up. And I am now thanking God for the new Ikea we just got in Brooklyn, because I imagine it will come in handy for last minute prop runs.

More soon...

Prod Blog (http://www.desperatecomfort.com/lostchildren/)

[Zak Forsman]

guilty as charged.

[Mark Harris]

At least I know someone's reading this thread.

[Shawn Philip Nelson]

At least I know someone's reading this thread.

dude, your thread has all kinds of love!

[Mark Harris]

One more exciting update: The legendary Herman Witkam has agreed to do both sound design and score!!! I sent Herman the script and his brain is already crackling with ideas about sound-scape.

[Simon Höfer]

Thats awesome news! I'm sure he will do an amazing job :)


Edited to add: I am really looking forward to this one Mark! As usual I expect this to be really good!

[Richard J. Johnson]

Mark + RED = call to hitman.

[Mark Harris]

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/rehearsal_1-300x199.jpghttp://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/rehearsal_2-300x199.jpghttp://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/rehearsal_5-300x199.jpg

So tonight we had our first rehearsal. This one was two hours and included both Leah and Scott. Tomorrow night I will rehearse with Leah alone, to work on the sections of the film where she is alone.

The rehearsal went well, and it seemed like we basically got done what we needed to get done.

As I've stated before, some of this film is improvised, based on beats I'd outlined. This scene in particular was the most improvised of all.

So the rehearsal had two primary goals.

First Goal - Solidify Beats

Solidify the beats in the scene. I came into the scene with a number of beats written down, more than we would need to get from point A to point B. The first outline contains a lot of ideas just thrown out there and put on paper. So in this rehearsal, I wanted to give the actors the chance to play with those beats, so we could start to pick which ones worked and which we could throw away. Through this process, we were able to really hone the scene down to something specific, with shape and direction, and we were able to toss out anything extraneous to the scene. From this, I will write down what we came up with and that will basically be the scene. I will still not write all of the actual lines, so that when the actors get in the moment and are pursuing their goals, they can use whatever words come to them in that moment. And those might be different from take to take. As long as they are playing their objectives, I am willing to let them say whatver comes in the moment. Talk and Listen.

So basically we ironed out the scene.

Second Goal - Give Actors Time to Work

The second main purpose of the rehearsal for me, is to give the actors a time and place to work. As we worked through the beats, I try to make it clear that this does not have to be a performance, that they are to use the time to seek out and find the moments, find their objectives, find their connections to the characters and the moments they are playing.

This might entail having them feel their way through an important moment until they find out what makes that moment work. Sometimes, I have them slow down, or even pause the scene to live in that one moment, until they can reach into themselves and find their own personal connection to it. But the main point is that rehearsal is a place for actors to figure out how the scene works.

I often see filmmakers who believe in no rehearsal at all, in order to "keep it fresh." They somehow believe that the goal of rehearsal is the ossifying of a performance.

To me, rehearsal is for the actors to figure out what the scene is about, and how it works, so they know what their homework is. So they can take the work home, work out the objectives they need to play and the connections they need to have to the material.

The last thing I'll say is, I think rehearsal is ten times more important on low-budget productions. Not only does it give the director time to focus on the performances, when he/she is probably doing a million other things to get the production going, but it also gives the actors a dedicated time to focus on the performances.

If you're making a $100 million movie with Tom Hanks, Tom Hanks has the leisure to spend six months working on a role, doing cop training, etc. If you are working on no budget affair, the actors most likely have day jobs and other concerns. Of course, all of these actors will work on the roles on their own. But I think it really helps to give them that dedicated time to purely focus on the work.

PRODUCTION BLOG (http://www.desperatecomfort.com/lostchildren/)

[Rodney V. Smith]

the train is rolling... man you're going to rip right through production and then wonder why you were so worried in the first place. You're getting 80% of the work done before hand with all your planning anyway...

[Mark Harris]

With no money, planning is all you got, man. If you ever come on set with me, you'll know I don't like surprises unless they come out of actors. :)

My storyboards and shot lists have everything from lens choice to Frame rate written down for every shot.

[Rodney V. Smith]

Now THAT is true planning. I do a similar thing myself with my shotlists, but I know a lot of us go out there on the fly and miss so many shots because of a lack of planning. For structured stories like the ones you tell it definitely serves to take a page out of your book.

may have to extend the same planning to my own rudimentary storyboards, although I've been leaning more towards storyboarding with a digital camera.

[Zak Forsman]

I think this is a point that I disagree with Zak on. I've seen him say he casts for the actor and re-works the role based on that. And that is one way to work. But in my mind, movies are photographs. So I don't think it's unreasonable for a director to want to conform the photograph to what's in his mind, in terms of design, color, light, and actors. Also, I think you can get a lot of mileage playing on peoples' pre-conceptions with the images you show them, as with the character above.

i've been thinking about this and want to flesh out what I mean when i say I don't try to cast according to the visual image I have in my mind of what the character looks like. A quick example is that as written, the main character of Heart of Now was written was a young filipina-american living south of the 10 Freeway in los angeles. but I was so moved by Marion Kerr's audition and callback that we adjusted the character and backstory to suit her.

It's true that when Sabi sets out to make a film (and begins the casting process) we’re ultimately not looking to mold an actor to the character that already resides in our head (if we were satisfied with the depiction in our head, why make a movie?). we're looking for the people we want to watch for two hours. people who are naturally compelling and skilled at dramatic improv. but above all at this stage, sabi’s casting process tries to find the actor that can teach us more about the character we’re creating… real, human details and insights into fears, emotions, and hidden qualities that we couldn’t have otherwise known. does that make sense? those new things we learn during rehearsal, then go into the rewrite of the script.

[Mark Harris]

i've been thinking about this and want to flesh out what I mean when i say I don't try to cast according to the visual image I have in my mind of what the character looks like. A quick example is that as written, the main character of Heart of Now was written was a young filipina-american living south of the 10 Freeway in los angeles. but I was so moved by Marion Kerr's audition and callback that we adjusted the character and backstory to suit her.

It's true that when Sabi sets out to make a film (and begins the casting process) we’re ultimately not looking to mold an actor to the character that already resides in our head (if we were satisfied with the depiction in our head, why make a movie?). we're looking for the people we want to watch for two hours. people who are naturally compelling and skilled at dramatic improv. but above all at this stage, sabi’s casting process tries to find the actor that can teach us more about the character we’re creating… real, human details and insights into fears, emotions, and hidden qualities that we couldn’t have otherwise known. does that make sense? those new things we learn during rehearsal, then go into the rewrite of the script.

Absolutely makes sense, and I'm looking for all of that too. In fact, on this casting, the actor I wound up with did NOT match the initial description I had, but upon reflection, the traits he did bring, as described above, turned out to have the same effect as the traits I was looking for.

Also, thanks for mulling this over. I hope by now, it's clear that my respect for you is sky high, so I used you as an example, not to criticize, but have a conversation about the subject.

And as I said, I think the only point I was making was I don't necessarily think it's invalid to mold to a vision in the head. As to your point of "why make the movie" if it's already in your head, the reason is to share a vision with other people. That's why it becomes art and not just a thought. You give it form to physical share with other people.

[Zak Forsman]

no, i know. feel the same about you.

"why make the movie" is overstating it. just an (overblown) expression of my desire to keep exploring and reworking the material on camera. I have to admit to a low threshold for... i don't know what to call it, but I get off on rediscovering the movie as we are shooting and again as we are editing it. the actors can speak to this. sometimes, I see an actor doing a bit of business between set-ups and I'll have them incorporate it into the scene. I definitely want to share a vision. i think my vision just keeps evolving as we make it. i don't mean to say i get bored recreating what i've already dreamed in my head, but I'm excited by the spontaneity and the risk inherent in the way i work. it definitely necessitates shooting as close to chronologically as possible and some late nights after the cast and crew have gone to bed.

[pia12254]

Mark and Zak,

Thanks to both of you for sharing some insight on your approach to casting and working with actors. I think this is something I could definitely do better as a director and it is insightful to hear the different approaches you guys take.

Thanks for sharing and good luck on your films!

Daniel

[Rodney V. Smith]

Insight is always such a nice thing. I'm just glad Mark and Zak like to share so easily and freely.

[Mark Harris]

no, i know. feel the same about you.

"why make the movie" is overstating it. just an (overblown) expression of my desire to keep exploring and reworking the material on camera. I have to admit to a low threshold for... i don't know what to call it, but I get off on rediscovering the movie as we are shooting and again as we are editing it. the actors can speak to this. sometimes, I see an actor doing a bit of business between set-ups and I'll have them incorporate it into the scene. I definitely want to share a vision. i think my vision just keeps evolving as we make it. i don't mean to say i get bored recreating what i've already dreamed in my head, but I'm excited by the spontaneity and the risk inherent in the way i work. it definitely necessitates shooting as close to chronologically as possible and some late nights after the cast and crew have gone to bed.

I think you have a much clearer idea of what you're after aesthetically, than I do. I'm still feeling it out, and kind of want to make something like IFHY as much as make something like RPDM.

And to a degree, this short will be an experimental blending of the two. At least one scene is going to be very very verite in shooting, improvised, with a couple of specifically chosen lock-downs, and other scenes will be extremely precisely planned compositions, camera moves, dollies and jibs and such. The content and visuals in this one are very closely tied together.

Also, you were right the first time about the D90. I love love love it, but ultimately, it simply would not give the visual I wanted for this. Thus the RED. I can see using it other times, but it definitely pushes you to work within its confines.

[bosindy]

Hey man, I am shooting with aram and Hetch the day after your shoot, Friday the 13th in Ct. After I am going to swing into NY to meet up with Tim and Luis who are in town. Hope you can chill.

[Mark Harris]

Yeah, they've been in touch, so I am def planning on meeting up with them and hopefully you too.

[Beat Takeshi]

I'm getting excited this is getting closer. Just hope the batteries come back in time.

[jasonthewho]

I think it's going to be very interesting to see what you to with an improv based short. The other films of yours I've seen are so perfectly specific, and it's going to be interesting to see how you mold this.

Nice rehearsal pics. I love rehearsal, but due to the distance of the actor I really needed to work with, was unable to do it this time. Bartholomew Saxton would have been a mess if I hadn't been able to rehearse. I'm sure with all your prep work, you'll be golden.

You and Zak's argument over casting is an interesting one. I think that while being open-minded and willing to alter roles is crucial, sometimes story takes precedent. I wonder if Zak would have been willing to cast a brilliant 12 year old in IFHY, and completely rework the story. I don't even know how that could possibly work, but I guess Zak could probably figure it out.

Anyways, I'm rambling. Best of luck on your shoot!

[Brian Parker]

Wow. Lots of wisdom in this thread, especially pertaining to casting. I'm just trying to soak everything up. Everybody's doing even bigger things this time around. I'm gonna end up being a groupie. Looking forward to seeing this Mark.

[Mark Harris]

Thanks man,

I am going to do some more blogging over the weekend about process, but a quick update:

We are all set up for the first two days of shooting this week.

Costumer is meeting with Leah one last time on Tues to fit the altered dress, and do a make-up test.
I am making a scene diagram so Aram can think about the lighting plots.
I will be getting many props today.
Cast is all set.

And our last major shoot date is set for the 20th as well!

So hopefully by the weekend of the 21, I will have just about the whole movie shot! Then spending that whole weekend cutting so I can lock picture for Herman and Gigi(EFX) as quickly as possible.

[Mark Harris]

Added first attempt at a poster to first post. Here as well. I suck at this, so if anyone wants to jump in and make us a killer poster...er, I won't complain...

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/the-lost-children-poster.jpg

[Russell Moore]

Great thread. Great insight into casting and rehearsal, planning. I'll just say thank you for that.
Can't wait to see this one, loved RPDM.

[Mark Harris]

Just sent shot list for Wed to Aram. It includes detailed descriptions of the shot, that match what's in my sketches. It also has frame rates for each shot and lens suggestions. Of course, ultimately, that is up to Aram, but I will say things like: "Long lens, get the camera back for this shot..." or "50mm?" or "Wide angle, try to get the whole room in..."

I have some more things I want to blog about, but they might have to wait until the weekend. I still have about 5000 things to do for Wed shoot.

Man, it really sucks to live in NYC when you need props like Pepper-Spray...

[Sprocketboy]

Man, it really sucks to live in NYC when you need props like Pepper-Spray...

That's funny. Your right. I remember hearing about that a long time ago. I would never have remembered this law in NYC, because CT folk don't remember things like that. I would have purchased the pepper spray and bring it to the city for a shoot, and get arrested.

Its a prop! What's the worst thing they can do?

On a side note, I'm a big fan of your short films on this forum. They are usually the first ones I click during a competition. I know I'm getting quality.

[Kwan]

I'm getting excited this is getting closer. Just hope the batteries come back in time.
I can arrange two Extra batteries for you... Just in case...LOL

[Mark Harris]

Yeah, Aram likes to live on the edge like that. That's how he roles...

[Mark Harris]

On a side note, I'm a big fan of your short films on this forum. They are usually the first ones I click during a competition. I know I'm getting quality.

Ha ha, thanks. Just this time around don't look too closely at the pepper spray, because you might recognize it as a travel-sized shaving cream...:)

[Brandon Rice]

Looking forward to this Mark!

[Beat Takeshi]

I can arrange two Extra batteries for you... Just in case...LOL

Hey Kwan, I may need to take you up on that because I haven't heard from RED yet and they have my batts, battery plate, EVF and EVF cable still.

[Mark Harris]

Running around getting props and last minute set-dressing, etc.

Then heading to Aram's, to the costumer, to Kwan's, all for gear, etc. take it back to the set, spend a late night dressing the set, and tomorrow we shoot!

M

[kevinkshah]

Wishing you all the best Mark - kick ass tomorrow


Running around getting props and last minute set-dressing, etc.

Then heading to Aram's, to the costumer, to Kwan's, all for gear, etc. take it back to the set, spend a late night dressing the set, and tomorrow we shoot!

M

[Sprocketboy]

Good luck and get an good night's rest.

[Mark Harris]

Update on first day of shoot:

Aram lit the building on fire. Re-writing the script to take advantage. More soon.

M

[Sprocketboy]

You have my interest... at least you are not throwing in the towel. I hope Aram pigtailed the fuse box before lighting the place up with 2K+ lights. Ok, I'm guessing.

[Brandon Rice]

Update on first day of shoot:

Aram lit the building on fire. Re-writing the script to take advantage. More soon.

M

Whoa! Serious? lol :beer:

[Kwan]

Intelligence teamwork and very nice collaboration.
Thanks for sharing a great time today (on set). I had a really good time.
keep up the good work

[Mark Harris]

Intelligence teamwork and very nice collaboration.
Thanks for sharing a great time today (on set). I had a really good time.
keep up the good work


Kwan, thanks so much for your help and your generosity in this shoot. It was nice to meet you and work with you.

Everyone on the shoot today killed it. Aram, Hech, Kwan, Jules, Omar, Leah, Scott, Jill. Thanks all for coming out and making today a success!

M

[Rodney V. Smith]

So one more kickass film from Mr Harris coming right up! This is gonna be exciting...

[Mark Harris]

Little wiped right now, but here are a couple of grabs from Day 1, out of the camera, no post yet. Click to see larger versions.

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_tu-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_tu.jpg)

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_infront-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_infront.jpg)

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_top_1-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_leah_top_1.jpg)

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_scott_talk-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/lost_children_day_1_scott_talk.jpg)

[Michael Anthony Horrigan]

Nice! What are the little lights in the background? Candles?

I actually like the colour as is. Very warm.

:beer:

[Mark Harris]

thanks michael. We actually worked to get as close as we could to the final in camera. I am not a fan of over-cced footage.

But also, Mike and Aram really got what I was after with the light and shadows. I am a fan of letting people be dark, letting light come from the back and their faces fall int shadow, etc. They got that.

And yeah, those are candles.

[Michael Anthony Horrigan]

Well, you guys achieved a very nice look. I think you accomplished what you wanted because if it were me I don't think I would cc it at all.

I figured they were candles, I just wasn't sure because I was looking at the light on his face.
Obviously another source.

Great looking scene.

MAH

[Mark Harris]

I figured they were candles, I just wasn't sure because I was looking at the light on his face.
Obviously another source.


There is another source on him...a candle source! :)

We actually worked pretty hard to make all of the lighting motivated in this scene, and motivated by the candles around the set, including the flicker of those candles in the moving footage.

[Michael Anthony Horrigan]

There is another source on him...a candle source! :)

We actually worked pretty hard to make all of the lighting motivated in this scene, and motivated by the candles around the set, including the flicker of those candles in the moving footage.
Very cool. The flickering light will look nice in the moving footage. So hard to tell in a single frame. :thumbup:

[TimurCivan]

First off. how the fuck did i miss this thread.

second, if Leah ever dyes her hair black she will look just like Eva Green. And i might just Die if that happens.....

[Mark Harris]

First off. how the poo poo did i miss this thread.

second, if Leah ever dyes her hair black she will look just like Eva Green. And i might just Die if that happens.....

LOL, yeah, she is looking mighty...um...what's the word...YUM! in this one.

Word holmes!!!!

[Beat Takeshi]

thanks michael. We actually worked to get as close as we could to the final in camera. I am not a fan of over-cced footage.

But also, Mike and Aram really got what I was after with the light and shadows. I am a fan of letting people be dark, letting light come from the back and their faces fall int shadow, etc. They got that.

And yeah, those are candles.

Mark had to beat us into lighting in camera. :) first thing I said was lets light for exposure with the contrasts we want and bring it back down in post and Mark said hell no. And after he got his foot off my throat I agreed.
All true except for the foot on the throat and I think the shots look great. I had to throw them in REDalert and play a little on set during a break though. Mark said something funny about that too but I'm running on 2 hours sleep and about to pass out and can't remember what he said.
Leah did a great freaking job. I have seen her in Marks films and other random films around town but never in person. She kicks ass mos def. VERY professional. Thanks Kwan for coming down and helping and also for saving us on the battery situation. Nate from RED left a message saying they will be sending ours back soon. Mike did a freaking great job staying with the shots and feeling the moments. I know he was hurting with that camera on his back all day. Omar didn't really have a chance to do his Macgyver thing today but I'm sure something will come up for him to build whatever it is we will need.
And of course Mark does such a great job directing. I take notes every time he opens his mouth for real. When I got home its the first thing my girlfriend and I spoke about. Can't wait for tomorrow.

[Rodney V. Smith]

hey Mark need any help with the poster?

[Mark Harris]

hey Mark need any help with the poster?

Possibly. Another person offered to help too, but honestly I cannot even think about it until tomorrow's shoot is over, and possibly until after the weekend. There is still a lot to do on this little movie...

[Rodney V. Smith]

well let me know if you do need it. get through the shoot, but in the back of your mind just consider an iconic shot that you can shoot tomorrow while you have the actors there. No pressure of course.

[Mark Harris]

And of course Mark does such a great job directing. I take notes every time he opens his mouth for real. When I got home its the first thing my girlfriend and I spoke about. Can't wait for tomorrow.

You're making me blush...

I am actually planning a blog post about directing actors. Not like I am some big know-it-all, but I would like to share some thoughts on it. Jack and I always spent time talking about ways to get actors to do absolutely nothing on camera. It ain't easy, so I will try to start a post about it over the weekend and hope to get some chimes in from the other people in the fest.

[jasonthewho]

Very nice grabs, I especially like the second one.

[Sprocketboy]

You're making me blush...

I am actually planning a blog post about directing actors. Not like I am some big know-it-all, but I would like to share some thoughts on it. Jack and I always spent time talking about ways to get actors to do absolutely nothing on camera. It ain't easy, so I will try to start a post about it over the weekend and hope to get some chimes in from the other people in the fest.

This could be a very interesting blog. I always have problems managing this part of the performance especially when the clock is ticking. In order of importance, its imperative to pick the right actor to pull this off.

[Jack Daniel Stanley]

Looks awesome guys. Glad it's all coming together so well and so smoothly.

[Mark Harris]

Thanks, Jack.

Couple of grabs from day 2:

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leah_side_2-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leah_side_2.jpg)

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leah_side-300x168.jpg (http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leah_side.jpg)

Again, great work from everyone today!!!

[Mark Harris]

Few BTS shots:

The ELEMENT crammed to the gills:

http://www.desperatecomfort.com/working/lossfest/bts/element_1.jpg
http://www.desperatecomfort.com/working/lossfest/bts/element_2.jpg
http://www.desperatecomfort.com/working/lossfest/bts/element_3.jpg

Aram freaking out about lighting in camera and having to check the footy in REDAlert like a LITTLE GIRL:

http://www.desperatecomfort.com/working/lossfest/bts/aram_in_camera_lighting_panic.jpg

Hech using the Skater with the RED ONE to master a couple of really important shots. Let me tell you, these guys really pulled no punches getting the shots just right:

http://www.desperatecomfort.com/working/lossfest/bts/hech_skater_1.jpg
http://www.desperatecomfort.com/working/lossfest/bts/hech_skater_2.jpg

And Hech with the BFD(Big F-ing Dolly). Word of advice: if Aram ever works with you and says: "the dolly's easy. It fits in a suitcase like this..." and makes motions with his hands that lead you to believe the suitcase is really small, DO NOT BELIEVE HIM!!!!!

http://www.desperatecomfort.com/working/lossfest/bts/hech_big_dolly.jpg

Last word of Advice, if Aram says he had an experimental fish dinner that Leslie made, wait at least a week before having Aram on the set.

[Mark Harris]

All right, I am not going to try to be all mysterious with this film. Going to share everything we do and learn.

Aram playing with some CC. Looks nice cropped for scope too:

http://www.puffinfilms.com/Lost_Children/Leah_Scott.jpg

[Geoff_R]

Nice shot... Looking forward to what you gentlemen pull off here, Mark. I've been fans of you and Aram for a while.

How bout some tech bits...

Aram, why Red Alert? I've been usually playing in RedCine. What's your pref and how are you guys doing the post? RedRushes to an online format or working with proxies?

[Beat Takeshi]

Thanks Geoff. I use REDalert on set because its windowed and I can leave it open and still copy media around. REDcine has that full window only thing I hate. I use REDcine on my old PC at home for testing CC on stills. When I edit I use 2K proxies in FCP and when the edit is finished I do a reveal in finder on each clip and open that file in REDalert on the Mac and do the CC and then do a save all quicktimes... and the changes automatically show up in FCP. Then you can apply any effects from FCP after that and render out the movie.

[Geoff_R]

So you're rendering out the full file in redcine then? I did this for a short once, but it was a 20 min one and it took forever to get through a scene because some of the full shots were so long.

Have you used crimson to just relink and render what you need? OR is it more because for the time being, you want the latitude of being able to extend clips and perhaps re-edit a particular shot you're using?

[Mark Harris]

So you're rendering out the full file in redcine then? I did this for a short once, but it was a 20 min one and it took forever to get through a scene because some of the full shots were so long.

Have you used crimson to just relink and render what you need? OR is it more because for the time being, you want the latitude of being able to extend clips and perhaps re-edit a particular shot you're using?

I am going to try the FCP plug-in this weekend to work with the native files in QT wrappers. If that does not work, I will likely edit the proxies. I tried REDCine, but it crashed my computer EVERY time I used it.

REDAlert generates QT files at full, half, quarter, that you can edit with in FCP as well.

[Geoff_R]

Yea RedCine has a history of bugs... I've gotten it to be semi-stable on my macpro since I haven't upgraded any of my typical QT components in a long time. That's the big issue... errors with the QT components. I haven't batched a bunch of RedCine stuff in a while so not sure how it's running nowadays. I don't even remember how many times I reinstalled my OS, the FCP suite and all the Red post apps... It was crazy... but worth it ;)

[Mark Harris]

Ugh, don't tell me that. Part of the reason I wanted to do RED on a short was to get the experience to use it on my feature. But if post turns out to be a massive headache, it might be to the circular file with the whole thing...

So far I can edit the 2K proxies from a USB drive on my quad-core Mac just fine. That's CCing in REDAlert. I would prefer the plugin and do it all in FCP, but we'll see...

For the contest it doesn't matter as much because the final is so small, I could prob just edit the 1080 proxies and be fine. But I want to get my brain around it.

I am very, very happy with the images Aram and Hech wrangled out of it though...

[Geoff_R]

It's better these days. I wouldn't be concerned with a feature at all. The whole crimson process is definitely something you'd want to experiment with when doing a feature. It saves a lot of rendering time. On the other hand... you may just treat it like film and 'print' that particular shot, rendering the whole thing to a 1080 codec and then later, relink everything with a high res 2k img seq export later on down the road. The one great thing about Red post is that you have many options to follow.

[Mark Harris]

How bad is it in your opinion to work with the 2K QT proxies? Color is going to be important to this film, and I've heard that is not the greatest way. Though, people on reduser do it.

Because color will not only be important, but changing actively throughout scenes in the film, I want to do it all in FCP/color. Not REDAlert, know what I mean?

So I will be coloring 2K proxies in this plan...thoughts?

[Beat Takeshi]

So you're rendering out the full file in redcine then? I did this for a short once, but it was a 20 min one and it took forever to get through a scene because some of the full shots were so long.

Have you used crimson to just relink and render what you need? OR is it more because for the time being, you want the latitude of being able to extend clips and perhaps re-edit a particular shot you're using?


Nope. I only use REDcine for test CC on a frame or two. My work flow is:
Edit 2K QT proxies in FCP
After edit is done, I do a "reveal in finder" on the clips on the time line.
I open the clip I did the "reveal in finder" in REDalert and CC/brighten/tweak.
I do a "save all quicktimes" in REDalert to generate new colored proxies
I go back to FCP and it automatically updates to the colored proxies
I repeat for each clip. (You can save your look in REDalert and apply to each clip so it goes pretty fast).
I can render from there or add more effects like the Nattress or something to the new colored proxies and then render out to whatever I want.
Done.

[Mark Harris]

Right, but in this one I am going to to need to color in color, because there will be many places where the color changes base on keyframe, say. Know what I mean?

[Beat Takeshi]

You can ingest the R3D and rewrap them to prorez and then go back and forth to color or you can just render out the section you know you are going to ramp the style to tiffs and bring those into color.

[Mark Harris]

You can ingest the R3D and rewrap them to prorez and then go back and forth to color or you can just render out the section you know you are going to ramp the style to tiffs and bring those into color.

What do you mean, wrap them in pro-res? You mean with the FCP installer from RED?

M

[Beat Takeshi]

I think if you use "log and capture", it changes the files to Pro-res and you don't need the R3D files anymore since it creates a new independent file.

[Geoff_R]

How bad is it in your opinion to work with the 2K QT proxies? Color is going to be important to this film, and I've heard that is not the greatest way. Though, people on reduser do it.

Because color will not only be important, but changing actively throughout scenes in the film, I want to do it all in FCP/color. Not REDAlert, know what I mean?

So I will be coloring 2K proxies in this plan...thoughts?
I actually haven't tried this route yet... I guess you could literally take the proxies straight in there and do your magic. The one aspect I dislike about the proxies is that you are technically sacrificing some image quality... but this ties straight into the old debate of codecs and datarate; where often we assume more is always better. Now this may be technically accurate but is it even visible to the eye? REDCODE is marvelous itself and it's nearly impossible for even the best to decipher between Redcode and Raw which are very different datarate wise.

So although you're technically sacrificing some bits to work with the proxies. Is it that big of a deal? I think that's completely up to your taste based on the final results you're seeing. I'd take some proxies into color, play around and render out to your deliverable format. I'd also take that same shot, do a quick one-light in Redcine or RedAlert and do the same work in color. See if it's worth it.

[Arrik]

I actually haven't tried this route yet... I guess you could literally take the proxies straight in there and do your magic. The one aspect I dislike about the proxies is that you are technically sacrificing some image quality... but this ties straight into the old debate of codecs and datarate; where often we assume more is always better. Now this may be technically accurate but is it even visible to the eye? REDCODE is marvelous itself and it's nearly impossible for even the best to decipher between Redcode and Raw which are very different datarate wise.

So although you're technically sacrificing some bits to work with the proxies. Is it that big of a deal? I think that's completely up to your taste based on the final results you're seeing. I'd take some proxies into color, play around and render out to your deliverable format. I'd also take that same shot, do a quick one-light in Redcine or RedAlert and do the same work in color. See if it's worth it.

We just had this conversation last night at the diner. I was saying we should see a side by side because of the "technical" quality loss. There's gotta somebody who's already done this test on reduser though, right? I mean there's people on both sides of the fence who say it is and isn't noticeable.

But, if Mark's computer runs fine on the redQT rewraps then this isnt really an issue for him.

On a side note, Mark is a badmuthashutyomouth! Great working with.

[Mark Harris]

Reading...

[Mark Harris]

Okay, seems like I will be okay with what I want to do.

Was reading this thread at reduser:

http://reduser.net/forum/showthread.php?t=25762



Yes! If you edited proxies, all you have to do is SEND TO COLOR and it will pick up the original R3Ds. It's fantastic and works great. You will need to change the project size in Color, as it will use the proxie size, but insert 2k R3Ds.


So it seems that I can use the proxies, edit in 2k, send to color when I need to, and then, if I want afterward, use monkey or crimson to re-link the whole thing with the EDL.

But I should be able to do all my crazy color stuff and it will be done on the RD3s.

Hmmm, clearly this is not the same on effects in te timeline....but for those, I will prob export the RD3 to uncompressed QT, or whatever, work in AE, etc, and then use those in the timeline.

Okay, will test today, but I might have a workflow theory to work from now...anyone have more thoughts?

Wow, I never thought I would long for the days of P2...:)

[Beat Takeshi]

Thats cool to know, I had no idea that could be done.

[Mark Harris]

We just had this conversation last night at the diner. I was saying we should see a side by side because of the "technical" quality loss. There's gotta somebody who's already done this test on reduser though, right? I mean there's people on both sides of the fence who say it is and isn't noticeable.


So far, I am pretty blown away by the 2K proxies. But then again, I am used to looking at HD. I am going to start blogging about the workflow I figure out this week.


On a side note, Mark is a badmuthashutyomouth! Great working with.

Speak for yourself, sucka. You rock it hard.

[J. Erik Reese]

thanks for posting those BTS pics! Looking at a car crammed with gear reminds me of why I love being an independent filmmaker! Cheers Mark!

[Mark Harris]

Last night, my GF and I cooked together, then settled in to watch Almodovar's "All About My Mother." And I thought: "Oh yeah, this is why I want to make movies..."

[Mark Harris]

http://www.desperatecomfort.com/lostchildren/wp-content/uploads/2009/02/leah_cc_test-300x168.jpg

When it comes to color correction, It seems that a lot of filmmakers work out a "look" they like and CC the footage to that, without much regard for what that look actually means to the film. Actually, this seems to be the case in a lot of Cinematography as well. People like cool shots, or cool lighting, but very often don't think beyond that to what the shots and lighting mean to the content.

I am working really hard this time around one this aspect in my own film. I've done this to varying degrees in the past. In R.P.D.M. (http://www.desperatecomfort.com/epk/rpdm/), obviously I tried to represent the effects of the drug in a visual way, by slowing the footage down. In my film, BLOODY MARY (http://www.desperatecomfort.com/site/?p=112), I developed a distinct look for the "Nightmare" sections, and a look for the "present." Beyond those "looks," the viewer was not given any real indication of which was which. Perhaps a little too obscure, but the point is, I was working on using the look of the film to communicate content. When the color was "X," it was a nightmare, a vision brought on by the ghost. When the color was "Y," it was the "present."

Well in this one, I am going to be doing the same, but taking it further. The visuals will be important to understanding the story in this one, as I am going to be trying to represent a character's various emotional states visually. In addition, representing transitions between a character's emotional states visually. So what I am working on now, is how visual transitions work between emotional states. I do not want them to look digital, or like an effect, but more like a photographic, in camera effect.

I"m very drawn towards this kind of thing. To some degree it is very basic filmmaking; using the visual to communicate content. For instance, in 12 Angry Men, as the movie went on, the camera got lower and lower, so that the ceiling started to show in shots. This was to help emphasize visually the feeling of being trapped.

That's the kind of thing I want to keep working on in my films.

Anyway, just some ramblings as I was working on this tonight. I will blog more about this as we go...

Here is a test: CC TEST (http://www.desperatecomfort.com/working/lossfest/test/lost_children_cc_test_1.mov)

Thoughts on all of this?

Dev Blog (http://www.desperatecomfort.com/lostchildren/)

[Beat Takeshi]

I think with what she does in the shot its going to really accent what you are going for. I'm wondering if something like messing with ramping noise would take it even further.

[Mark Harris]

I think with what she does in the shot its going to really accent what you are going for. I'm wondering if something like messing with ramping noise would take it even further.

Yeah, interesting about ramp noise. I am actually going to try to meet with Gigi, the VFX person and see if she has any ideas as well. One thing I had in mind was for the faded part to sort of burn away, like say a film burning from behind to reveal the colored part. But not sure if it will be too gimmicky and Special Effects-y.

Also, today got one more scene shot!!!! WooHoo!

M

[Mark Harris]

Hey Aram, would you give some RED details for how we're shooting? Would like to add them to the first post and the blog. ISO, settings? Anything relevant and interesting?

[Beat Takeshi]

Hmmm. Let's see. We were keeping all the candle lit scenes extra orange through white balance keeping the blue channel down to minimize noise. I think we shot it daylight balanced with Tungsten lights at 100 iso. The bedroom was shot daylight balanced with daylight balanced lights at 320 iso to keep the image as clean as possible since the RED sensor is a daylight balanced one and anytime you can keep it fed with blue do so. We shot on build 16 with 3 8 gig cards without a hitch. I think we hit the end of the card twice during a take but only because we had other shots on the same card.
We used Zeiss primes and 95% was shot on the 50mm and 95% was shot hand held. Mike busted his ass with that camera on his back but since time was short it wasn't worth it to switch camera ops after he got the flow of the scene down so Mike had to take it for the team and did it well. We usually switch up between us and also use Omar since he towers over the both of us and can get taller actors better. The one thing that was a pain was that we sent our EVF back to RED for a fixing and that made the hand held work much much harder since we had to use the LCD. Mike had to bend his neck back all the time to be able to see the monitor. With the EVF you can adjust it in any direction because it sits on your eye so the eyeball focus distance isn't a problem. I could never hand hold with the LCD since I can't see that well close up and wouldnt be able to keep things in focus, at least not with the RED arm's short distance.
We borrowed Kwans top mount and were able to mount the battery on the top of the camera giving it a shorter length for the tight spots so the batts didn't hit any walls or furniture. Another thing was we didn't put the follow focus on to save weight on the cam since we had to have the wireless units on there. We took the mattboxx off also in the tight areas to save weight and to keep it from bumping into things. The jump from 4K to 2K for the slo-mo was a little bit of a pain but lucky the slo-mos didn't require wider angles since the sensor gets cropped a ton. We had just enough room to get the shots at 2K.

[Mark Harris]

Tonight, head over to Aram's to test out the indie-slider, hoping it will give us a lot of our dolly shots on Friday.

Then have to get my jib and finish up a few props.

Been talking to the costumer about what all we need for Friday and she is on the case with that stuff.

Otherwise, a small shoot tomorrow night and then the last BIG shoot date friday.

Then my plan is to work all weekend to lock the cut for Herman by monday. It will not have the EFX in there yet, but it will be time locked so he can start his magic.

[Matty_g]

How many shoot days do you have Mark!?

[Mark Harris]

How many shoot days do you have Mark!?

3 main ones, the last of which is Friday. Then I've had two smaller ones, like an hour or so, and then one half day next week, of all exteriors.

Why don't you be a pal and PM me something about the super secret project you're going to win with?

[Richard J. Johnson]

You really know how to light your films. I just can't seem to grasp it yet. Can't wait to check this.

[Mark Harris]

You really know how to light your films. I just can't seem to grasp it yet. Can't wait to check this.

No, I really know how to pick DPs who know how to light my films :) I give the look I am going for, but it's all the DP doing it.

[Richard J. Johnson]

No, I really know how to pick DPs who know how to light my films :) I give the look I am going for, but it's all the DP doing it.

I need to find me a good DP when I'm ready. I live in MD and there are some good people within driving distance. I Lived in BK for years and I'm only about 2 hours away.

[Sprocketboy]

No, I really know how to pick DPs who know how to light my films :) I give the look I am going for, but it's all the DP doing it.

I am good at picking DPs myself, except there was an occasion when I ended up with someone who had the right attitude during pre-production and then, out of the blue, became Mr. Hyde during the actual shoot.

I was tempted to take over, but then, I feared my hostility would spread through the rest of the crew and cast. It would create a very uncomfortable atmosphere. Instead, I rode it out and never worked with that person again.

Just something to think about before picking a DP.

[pia12254]

I had that EXACT same experience with a DP! Weird...maybe it is some kind of "DP disease". Super cool during pre-pro and then went insane the day of the actual shoot. Weird.

Makes you appreciate a good DP! I think Mark has a good one in Aram and I would pick my DP, Eric Meisner any day. A very, very important role regarding the end quality of the film!

Three cheers for good DP's! :beer:

[Mark Harris]

Shoot day three a success. Grabs to follow shortly.

[Rodney V. Smith]

sweet! one more day to go?

[Mark Harris]

Well, one more maybe 2 hr day of pick-ups.

[Rodney V. Smith]

looks like you'll be done in no time then. You have enough time to squeeze off another film. :grin:

[Mark Harris]

There is much, much post production left to do...

[Rodney V. Smith]

There is much, much post production left to do...

I hear ya on that one. I'm having a bit of a challenge juggling the sound mixes for my own. I imagine you have a bit of a process to go through now with yours.

Any idea if you overshot or will it be a fairly straight forward edit, with just a bit of trimming?

[Mark Harris]

I hear ya on that one. I'm having a bit of a challenge juggling the sound mixes for my own. I imagine you have a bit of a process to go through now with yours.

Any idea if you overshot or will it be a fairly straight forward edit, with just a bit of trimming?

I storyboard and shotlist everything, so I don't usually overshoot. We generally get anywhere from 1-4 takes of any one thing, to get it with between performance, camera movement, etc. This time we had several difficult, long shots that had to gt it right between all elements.

Luckily my crew was off the hook on this shoot. They looked the challenges straight in the eye and said: "Hey bud, let's party!"

I know how the edit will basically play, but sometimes there are pleasant surprises in the footage, so I am open to those.

No, the post in this will be a lot of work, because there are a couple of EFX shots, and a lot of color manipulation I want to do.

That and the soundscape needs to be pretty detailed.

[Mark Harris]

Couple grabs from today. More soon.

http://www.desperatecomfort.com/working/lossfest/day3/leah_couch.jpg
http://www.desperatecomfort.com/working/lossfest/day3/leah_laptop.jpg

[Eric Meisner]

Not to be a repeat, a repeat, she really does have an Eva Green look...

[Geoff_R]

Nice. This feels like it has a more classical approach cinematically. I'm craving to shoot stick and dolly these days... I've been doing nothing but handheld insanity because I'm too cheap to rent a tripod...

[Sprocketboy]

Beautiful grabs, Mark. I'm a big fan of classical films and I love this look a lot. The lighting has the feel of a film shot in the late 60s or 70s. I'm sure you are adding another layer during color grading to fine tune the look.

[Beat Takeshi]

Actually the first few days were all hand held. Mikes probably in traction now. :)
We had the RED on the indy slider and it worked well I thought. I just wished we could have used the Miller on it instead of having to use the 503 but it still worked fine. It was a little ghetto looking but hey, it was indy film making at its best. Make with what you have.

Thanks Mark. I glad to hear you are happy with what we did for you and we would definitely do it again.

[Mark Harris]

What's all this about "classic" cinematography?

This film is FULL of camera movement. Many of the grabs are taken from dolly shots. As Aram said, we did a lot of handheld one day, and a lot of dolly the rest of the days. It's one of the things I was working on in this film, was looking for motivated camera movement. And there is a lot in this film.

Thanks all, getting excited. I'm sure I will be pinging some of you with questions over the weekend as I edit, like: "How do I add a sequence in FCP?" :)

[Mark Harris]

Actually the first few days were all hand held. Mikes probably in traction now. :)
We had the RED on the indy slider and it worked well I thought. I just wished we could have used the Miller on it instead of having to use the 503 but it still worked fine. It was a little ghetto looking but hey, it was indy film making at its best. Make with what you have.

Thanks Mark. I glad to hear you are happy with what we did for you and we would definitely do it again.

Thanks man, you guys definitely nailed some very difficult shots under less than perfect circumstances. That one in the bathroom with the zoom lens was golden. Glad you're happy with the end product too.

[Sprocketboy]

We had the RED on the indy slider and it worked well I thought. I just wished we could have used the Miller on it instead of having to use the 503 but it still worked fine. It was a little ghetto looking but hey, it was indy film making at its best. Make with what you have.

Thanks Mark. I glad to hear you are happy with what we did for you and we would definitely do it again.

I wish I discovered the Indy Slider before my shoot. There was a bump (molding strip) between an area with rug and hard floor that we could not dolly over. That Indy slider would have given me the distance I need. I ended up using another technique to get around it without losing too much time.

Keep in mind, films during the late 60s and 70s used a combination of hand-held, dolly, jib, crane and tripod shots. They did what ever it took to get their message out there. Robert Altman and Martin Scorsese, both classically trained Directors used everything at there disposal to strike emotional chords.

RPDM has the feel of these films I'm talking about. Its one of the best shorts I've seen on this forum.

[Sprocketboy]

What's all this about "classic" cinematography?

This film is FULL of camera movement. Many of the grabs are taken from dolly shots. As Aram said, we did a lot of handheld one day, and a lot of dolly the rest of the days. It's one of the things I was working on in this film, was looking for motivated camera movement. And there is a lot in this film.

Thanks all, getting excited. I'm sure I will be pinging some of you with questions over the weekend as I edit, like: "How do I add a sequence in FCP?" :)

"Classic" is too broad of a term. I probably should not use it.

I'm not sure about your FCP question, I was hoping you can answer that for me? I can't start editing until you do? :)

[Mark Harris]

The BFD:
http://www.desperatecomfort.com/working/lossfest/day3/bts/mike_aram_bfd.jpg

Ghetto-Slider. Never do this with your RED. I threatened to post this ghetto set-up at REDUSER and get them banned. Mike is using his finger to try to hide the fact that we are using a Bogen 503 head...

http://www.desperatecomfort.com/working/lossfest/day3/bts/mike_hide_ghetto.jpg


Mike looks guilty. Aram is making "tard-fingers."

http://www.desperatecomfort.com/working/lossfest/day3/bts/guilty_mofos.jpg

[Mark Harris]

"Classic" is too broad of a term. I probably should not use it.

I'm not sure about your FCP question, I was hoping you can answer that for me? I can't start editing until you do? :)

Well it's true in the sense that our lighting is pretty conventional. I wanted realistic light, but you can clearly see hair lights in there, and other things that don't really exist except in movies. I am a fan of beautiful cinematography to be sure. As I said in a previous post, I was watching an Almodovar film a couple weeks ago, and I was really reminded how much I do love really beautiful films.

[Sprocketboy]

The slider looks like a good investment.

Its bizarre how things play out. I rented a Sachtler Video 20+ Tripod Head for an HVX200 (overkill), and you used a 503 for a RED. I own a Bogen 503 and find it usable for pans or controlled motion shots with any camera. Its amazing that you manage to get anything decent while mounted on that head.

[Mark Harris]

The slider was actually a prize from TimeFest.

[Geoff_R]

I meant classical in more of a lighting, framing and movement sense too. Classical for me is very heavy on dolly and movement.

[Mark Harris]

Yeah, that is totally on then. I worked really hard on the compositions in this one as well...

[Beat Takeshi]

The slider looks like a good investment.

Its bizarre how things play out. I rented a Sachtler Video 20+ Tripod Head for an HVX200 (overkill), and you used a 503 for a RED. I own a Bogen 503 and find it usable for pans or controlled motion shots with any camera. Its amazing that you manage to get anything decent while mounted on that head.

Well with the 503 we never took our hands off the camera in fear it would fall over. We used a 503, 516 and a Miller 40 on this shoot. The 516 is the only one that fits in the Cinevate dolly so we had no choice. Its a little sticky with the red on it if you are trying to do a static dolly and then start to pan.

[Arrik]

LOL, I knew mark was gonna post that 503 shot! Better here than on reduser.

Regarding movement, I think Mark made smart choices regarding which shots were hand held and those that were done with "classic" cinematic movement. Having the pleasure of shooting with a talented actress made it very easy for us to allow her performance to dictate where/when/how we moved the camera when handheld. Mark encouraged this organic approach and I think it worked out well.

On a side note, Aram also encouraged an organic approach.... but usually in the bathroom.

[Mark Harris]

So I've done rough cuts of most scenes. This will be the best 24 minute entry EVAR!!!!!!

[TimurCivan]

maybe the 2nd best 24 minutes EVAR..... ;)

[Mark Harris]

maybe the 2nd best 24 minutes evar..... ;)


d'oh!!!!!!!

[Beat Takeshi]

LOL, I knew mark was gonna post that 503 shot! Better here than on reduser.

Regarding movement, I think Mark made smart choices regarding which shots were hand held and those that were done with "classic" cinematic movement. Having the pleasure of shooting with a talented actress made it very easy for us to allow her performance to dictate where/when/how we moved the camera when handheld. Mark encouraged this organic approach and I think it worked out well.

On a side note, Aram also encouraged an organic approach.... but usually in the bathroom.

Yeah I don't know whats up with that. Maybe Marks craft services?
I just ate some steak from V-day so maybe I'm in for another round again.

[Mark Harris]

Yeah I don't know whats up with that. Maybe Marks craft services? .

No way, man. You brought that shit with you...er, so to speak...

[TimurCivan]

clearly its late... this thread is a weird place to hang.......

[Beat Takeshi]

It was definitely THE most embarrassing moment on a set that's for sure. Leah was a champ and only giggled at me when I finally came out.

[Mark Harris]

Okay, rough cut done at 4:51 AM, Sunday. I started at 2PM Sat. Tomorrow is all about the tweaks and cleaning up! Yeeeeeikes!

[Jason Ramsey]

Just noticing that you guys are in this fest... I always love a Mark Harris Joint.

Later,
Jason

[Beat Takeshi]

I can't wait to see it!!!
I was up all night working on that Team Blackout edit. I had to fix the whole edit someone else did but they had a million layers and every time they moved something it had to render.

[Mark Harris]

I can't wait to see it!!!
I was up all night working on that Team Blackout edit. I had to fix the whole edit someone else did but they had a million layers and every time they moved something it had to render.

With my monster Mac Pro, I can use UNLIMITED RT, and no render :)....Except I think when I add in some efx and color, prob not...

[Mark Harris]

Working on the cut, got it down to 20:33. Making progress!!!!

[Rodney V. Smith]

damn dude. how long was the script? I'm having trouble just editing mine down from 8 minutes. too much damn pacing... but necessary pacing. is your edit SERIOUSLY thatl long or are you just frakking with us?

[Mark Harris]

No, it's really 20:33. Script was prob. 10 pages. But there is improv in there.

Trouble is it WORKS at this length, or close to it...Hmmmm

[Rodney V. Smith]

i think that's the main problem.. is that it WORKS at the length. The 6 minute cut is going to be hard to do. I don't envy you.

[Beat Takeshi]

cut it up and enter 4 shorts...that just happen to work if you stick them all together.

[Rodney V. Smith]

you have a whole bunch of built in sequels..
"The Lost Children",
"The CHildren are Still Lost",
"I think the Children are Lost" and
"Is Anyone even Looking for these Lost Children Anyway?"

[Herman Witkam]

No, it's really 20:33. Script was prob. 10 pages. But there is improv in there.

Trouble is it WORKS at this length, or close to it...Hmmmm

That's the second time today I'm gonna go WTF (as Rodney calls it) :)

[Rodney V. Smith]

you went and gone and done it now.

anybody ELSE wants to make Herman go "WTF" now?

[Herman Witkam]

you went and gone and done it now.

anybody ELSE wants to make Herman go "WTF" now?

I don't do it on command.

[Mark Harris]

Whew! 4:33 and didn't lose a single bit of story.

[Arrik]

Damn... u went ginzu on that rough cut. Pretty impressive. I'm getting excited to see something.

[Rodney V. Smith]

holy shit! 4:33????? WTF did you DO to it?

[Mark Harris]

holy shi*! 4:33????? WTF did you DO to it?

Simple, I just removed all of the shots with Aram's thumb in front of the lens.

[Beat Takeshi]

LOL!!!
That thumb is going to be worth a lot of money one day.

[Geoff_R]

Did you really take a 20 min cut and slice it to nearly 5 min?

[Mark Harris]

Did you really take a 20 min cut and slice it to nearly 5 min?

You'll have to wait till March 13th to find out...:evil:

[Arrik]

Simple, I just removed all of the shots with Aram's thumb in front of the lens.

Too funny.

[Brandon Rice]

Did you really take a 20 min cut and slice it to nearly 5 min?

ditto

ROFL!

[TimurCivan]

All im gonna say is i saw a 4k Grab today....

Leah never looked so detailed before....

[Mark Harris]

All im gonna say is i saw a 4k Grab today....

Leah never looked so detailed before....

Awwww, every girl wants to hear that she looks....detailed. :)

[Danny_dileo]

The shots look simply gorgeous. You have a top notch crew working with you.

[Mark Harris]

Thanks Danny, yeah they really kicked it out on this one.

[Michael Anthony Horrigan]

Mark just cut out all the romantic crap and turned it into a Horror Fest entry! :evil:

God luck, Mark. Can't wait to see it.

Especially all the..... detail. :grin:


MAH

[Mark Harris]

Talked too the VFX person today. Tonight I will send her DPX of the shots she needs to work on. She works in flame.

Waiting to hear back from Herman about sound thoughts...

[Mark Harris]

Down to three stars. Some haters out there...

[Michael Anthony Horrigan]

Down to three stars. Some haters out there...

Just bumped you to 4. :thumbup:

Looks like I was bumped down to 3 stars after dropping out. :grin:

Actually.... by the looks of it 1 or 2 Members are going around and dropping most of the threads down to 3 stars.

[Rodney V. Smith]

hey I got bumped down to 3 stars too. at least the haters are hating everyone.

[Mark Harris]

I guess Aram and Herman REALLY hated the rough cut.

[Zak Forsman]

Down to three stars. Some haters out there...

i really couldn't give a f*ck about a thread ranking but I reeeaaaallly want to know what that person thinks they're accomplishing. i'm giving you five and keeping a sixth locked away in my heart in case of emergency. :kiss:

[ZazaCast]

Yep... mine went down to three too...what's up with that?

[jasonthewho]

Back in Timefest it was cool to have a low rating. Maybe someone just likes you guys.

[Sprocketboy]

Either somebody likes me, or they haven't seen my thread title because its all the way at the bottom... I still have five stars, but I'm sure after they read this... I'm going down. :(

[Michael Anthony Horrigan]

Either somebody likes me, or they haven't seen my thread title because its all the way at the bottom... I still have five stars, but I'm sure after they read this... I'm going down. :(

Nice cover. We all know that it's you. :evil:

j/k

[Zak Forsman]

at this point, anyone with five stars IS SUSPECT!!!!!! hahahahahahahahahaha!!!!!!

[ZazaCast]

Rogan! He has 5 stars!

[Sprocketboy]

Truth be told. I am jealous of all you talented pricks and prickettes, but I would never pull a prank like that. This was intended to improve my cover. That last line too. :evil:

[Beat Takeshi]

I guess Aram and Herman REALLY hated the rough cut.

LOL.
I liked it. I watched when I got to Connecticut but have been working since. I think its going to rock and we will start seeing films here trying innovative story telling like this one does.

[Matt Sconce]

This is definitely on my must watch list.

[TimurCivan]

Its an INCREDIBLE film. Seriously. Amazing Story Telling.

[Mark Harris]

Its an INCREDIBLE film. Seriously. Amazing Story Telling.

Thanks brother. Your $20 is in the mail. :)

[Zak Forsman]

Its an INCREDIBLE film. Seriously. Amazing Story Telling.

Thanks brother. Your $20 is in the mail. :)

:shocked:

Hey uh... I was just thunking about how Its an INCREDIBLE film. Seriously. Amazing Story Telling.

[Mark Harris]

:shocked:

Hey uh... I was just thunking about how Its an INCREDIBLE film. Seriously. Amazing Story Telling.

Cha-Ching! Anyone else want to get in on this action????

[Dustin R. Rogan]

Cha-Ching! Anyone else want to get in on this action????
You're one sexy beast Mr. Harris!
and your films are sexy too!
Rogan

[Sprocketboy]

Its an INCREDIBLE film. Seriously. Amazing Story Telling.

When do I get my 20 bucks?

[Mark Harris]

* Not redeemable in the following states: TX, CT

[Dustin R. Rogan]

* Not redeemable in the following states: TX, CT

Dear Sirs and/or Ma'ams
I regretfully have to retract my above statement, because obviously I was under mental distress. I appologize for any confusion that it has brought upon all parties. I will have to have my future messages filtered via a third party.

Thank you for your time,
Dustin Rogan

[Sprocketboy]

What? I'm your neighbor. Come on...

[Rodney V. Smith]

Funny: i was ALSO thinking: Its an INCREDIBLE film. Seriously. Amazing Story Telling.

Now pony up Mr Harris.

[Mark Harris]

Mark is hitting that point in the edit where he thinks this whole thing just sucks...

[Zak Forsman]

Mark is hitting that point in the edit where he thinks this whole thing just sucks...

dude, I know that feeling. Jamie, my editor KNOWS that feeling. you need to flush your head for awhile. a few hours of anything other than the film. preferably, a few days. but i imagine thats a luxury you don't have.

[Mark Harris]

dude, I know that feeling. Jamie, my editor KNOWS that feeling. you need to flush your head for awhile. a few hours of anything other than the film. preferably, a few days. but i imagine thats a luxury you don't have.

Ah, if only I had an editor, I could say: "Eh, it's your problem. Edit, my editing minion!!!"

[Beat Takeshi]

That's exactly why I hate editing for someone.

[Mark Harris]

Oh yeah, aram has FCP...yeah...

[jasonthewho]

Mark is hitting that point in the edit where he thinks this whole thing just sucks...

Mark is also hitting that point where he starts speaking in the third person... should these editing problems persist his next symptom will be speaking in the Royal We.

[pia12254]

Hmm...I've spent the last few days in that place! It is so weird...every film I do I hit that "wall" at some point and wonder why we wasted all our time shooting this piece of... :)