GRIS (GREY), DVX100 short film with chroma keying

The landscape is 3d, done based on some ortophotos and topographical curves of a real place in La Rioja.

When the camera enters through the window it is a simple travelling and we needed not to track the motion since the landscape is so far away it is almost a matte painting. The title that moves (the one with the sript credits) was kinda tracked by hand.

The major problem with the 3d were the trees and, of course, the smoke column which isn't quite right.

The crew was kinda large (around 13-15 ppl) but the important thing is that we had capable technicians in the cinematography and sound departments. We always strive for a "transferable" or "blowupable" image and sound quality just in case the pieces work in the short film festivals. Needless to say that nowadays it has become much easier with the new hd prosumer cams.

Many ppl have issues with the alley sequence and the truth is it doesn't work well. It has been very obvious every time I've seen the short film in a theatre.
 
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Well, our 2005 short film "El Punto Ciego" (The Blind Spot) was shot with two DVX at the same time creating a final 1:2,38 HD (1286X576 with 1,067 pixel aspect ratio) frame.

You may take a look at "number five" here:
http://rlux.blogspot.com/2006/02/acerca-de-la-tcnica-en-el-punto-ciego.html

Our latest short film was shot with the Sony HDV. We will be transferring it to film pretty soon. I can tell you already that the image quality was amazing but it is more due to the fact that we had an awesome cinematographer, Jon D. Domínguez.
 
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I could sum up my reaction by simply saying, this is one more piece of evidence why I love Spanish movies. I live in Texas, am a U.S. American, and speak Spanish. The Spanish-lang TV here is heavily focused on Mexico, with the movies being mostly about horny old men running after sexy young women OR bravado Clint Eastwood type-movies. Spanish, Argentian and Brasilian movies are always so much more enthralling. In my admittedly limited experience, ONLY Cuaron's movies defy the stereotypical Mexican movies.

Anyway, this was a GREAT romantic tragedy. I loved the colours--though there were some slight mismatches in some places. Great Foley work and placement of music also. Like others said, it was obvious this wasn't created with a two-person amateur crew in 1-2 days. I would love to see this developed into a feature length film. On to the critique:

2:48 Your subtitle says "A hole damn exhibition ..." It should read "a whole damned exhibition." Minor issue maybe but I'm one of those who, even though I understand the dialogue, I can't help but also watch the subtitles and compare for accuracy, spelling, grammar and all that.

4:16 Subtitle says, "F***." I couldn't really hear what the actor said, maybe because his hand was covering his mouth. Did he say "Que disastre!"?

4:53 Very nice stunt and Foley work on woman's head hitting wall.

4:57 The guy sitting on the ground hands the other guy the stick. Needed a little braver stunt work in swinging and grabbing that stick. Then when he starts punching the guy, very nice use of camera shake to simulate first-person view of getting the crap beaten out of him. But I think the last punch should have ended with the camera falling off to the side or something.

Question: When he goes over and kisses the woman, where did the piece of glass come from? In terms of this scene overall, I think it DID work and fit into the film, but needs to be reworked. It furthers the idea of his not having let her go, and even taking his grief to the point of seeing Elena in other women. The ONLY problem I saw was the friend's reaction to seeing the dead woman and beaten up guy and having no reaction other than sympathy and worry for his friend. In fact, this scene is sort of the catalyst for his ending up in a psyc ward.

7:17 A little weird for main character's voice to rattle like that while crying. The silent, mouth open, devastated facial expression alone would have been enough. Just as an observation, the other guy looks like he's laughing.

7:28 Great use of keying with the bookcase then bed shaking in background and coordinated with the guy's screams.

I loved this film! I know my little critiques basically said the same others have said, but I was writing all this down in my anal way as I was watching. Now I'm going to watch your other films because I'm captivated.
 
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"Pollo" was cool, but "Si Quieres Puedes" was a scream! I could so see that being made into a commercial about ... something people have a hard time deciding to do. Your imagination is outrageous! Do you have a website?
 
Rodgrigo,

Wonderful!

Simply wonderful.

I do agree the alley scene seems off but you've already addressed that.

This short makes me wonder if I could even come close to what you've produced.

Still. It'll be fun to try.

Again. Wonderful!
 
Awesome! This is really inspiring for me. Watching this just made my wait even more painful (a little over 2/3 the way saving for my new camera, most likely a DVX100).

I think the keying was pretty darn good! I get pretty good results with Keylight in AE 7 (even over my my silly home-made $3 / yard neon green felt screen) - ever tried it? If so, how do you think it compares (Keylight in AE vs. Ultimatte)? I had Ultra for about 2 weeks, but I don't think it looks as nice as Keylight.

Again, I am very impressed and I really enjoyed it! Great work, Rodrigo!
 
Ogrus - there is substianal keying (replacing a green/blue background with an image) that is hardly even noticeable.

not to mention he gets the lighting/acting spot on (no pun intended)

and plus, its just a beautiful short
 
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