Mark Harris
Pain in the ass
Thanks to John Hudson for changing our thread title for us. Yes, it took an intervention by one of the DVXUser Gods to get that done.
"Bloody Mary: A nightmare Collaboration by Mark Harris and Timur Civan"
- Thread starter Mark Harris
- Start date
Brandon Rice
Distributed Producer
WOW! Nice title!
Mark Harris
Pain in the ass
VersuS said:
Did I mention we were funded by the Church of Satan?
I will of course be going to hell after this, but for the chance to win an HVX...Hmmm it might be worth it. Soul...HVX...soul...HVX...
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Ramon Boutviseth
Well-known member
looking forward to this entry
Soul......hvx......... Soul..........hvx..........Soul.........hvx.............HVX!
desperatecomfort said:
TimurCivan said:
I would like to know as much as possible about your makeup and blood effects. I know you don't want to give too much away, but just from a technical standpoint.
Mark Harris
Pain in the ass
Jack Daniel Stanley said:
I will try to post some more later today. I can easily give the blood recipe too. It's probably the most common one out there, and you probably know it already from theater. But when I come back later, I will post the ratios of ingredients and such. And will try to get some more up about the prosthetics too.
Have to run out for a while now.
Were there like pumps or squibs or anything invlolved with the blood though?
well there was the blood flame thrower and mechanised decaptation machine......
jk
jk
DarkMatter
Veteran
Ok.. Those grabs are awesome. Bloody Mary huh? This should be interesting.
Coming from a contemporary art background, my aesthetic sensibility is very very very specific. Every milimete of film plane is controlled as much a possible.
Thsi sensibiliy carries over into this current project as much as possible. We tried our best to make sure there was a consistent and unrelenting visual thrust in
the film. Mark approached me with the idea of joiningforces on this project after we worked together on his film Manhole-IV. Origionally i was going to
create somethign with less of a narritivre and more of a montage of horrific images based on an old Turkish folk tale. I read Marks script, which was refined and of high quality, and descided to apply the special effects, and cinematic elements i wanted to create in my project and apply it to his narritive. In terms of lighting, i wanted a theatrical, and almost abstract lighting scheme during selected segments of the film. I believe abstraction of the image is crucial to create psychological tension. I looked to Sue DeBeer and Bill Viola, Video artists, for inspiration on the lighting scheme. For other segments i looked to Nuri Bilge Ceyleyan, DP and director for the Film "Distant". Ceyleyan uses Incedentals as keys and allows darkness to be a force unto itslef. Powerful stuff.
I canot stress how important it is for you to be accustomed to your Gear, practice, and story board. Organization pre shoot is what makes or beaks picture. thsi way you dont have to compramise your shots because of schedule restrictions. you know exactly what you can do, and when. We were shooting on the SGpro, almost exclusivly
and having been shooting stills for 10 years i know my lenses inside and out. This was a huge help because i could block shots knowing the limitations of the scene, lighting, space, and be able to select exactly what look i was going for in my head, and knowing exactly whcih lens would do the trick. Below are some of the Storyboards, and the accompanying stills. granted the locations were still a mystery to me at the time, so some of the elemnets changed, however the basic framing is about exactly where i was imagining. Granted the grabs i have dont match the exact moment in time of the Story board. but these shots were in there.
For the actual filming, we had a production monitor upsidedown to help with exposure and continuty, and most MOST importantly, to make sure the Focus was perfect. Focusing using the EVDTL is good in a pinch but not or critical shots.or extraordinarily shallow DOF. which because of the dark nature of the film, was used often because the lenses were left wide open to ensure proper exposure. Now alot of people treat the 35 adapter as a "filter", where as because the lenses are so familair to me, i treat it as a different camera. the lenses operate as they should. their natural effects and "defects" are part of their charachter and help add an organic feel to the digital image. Also, The Sgpro because of it s Unique GG material, trandsmits more light that i think just about any 35adapter. with my F1.2 lens, in total i am only really losing about 1.5 stops of light. Half stop throughthe SG, 1 stop through the lens. actually about T2.0 but still its very useable. we even managed to go Ala Barry lyndon and shoot by candle lightwith an accptable image. My secret to good lowlight is, the shutter speed. set the synchro scan to 1/33 or 1/30th of a second. IT buys you a half stop back, and still has the 24P stutter without being to smeary. thsi way a simple boost in post gets you al you need.
But for most of the filming we over lit wit plans to bring it down later. This way the imges are cleaner, and with more definintion.
More soon.....
Thsi sensibiliy carries over into this current project as much as possible. We tried our best to make sure there was a consistent and unrelenting visual thrust in
the film. Mark approached me with the idea of joiningforces on this project after we worked together on his film Manhole-IV. Origionally i was going to
create somethign with less of a narritivre and more of a montage of horrific images based on an old Turkish folk tale. I read Marks script, which was refined and of high quality, and descided to apply the special effects, and cinematic elements i wanted to create in my project and apply it to his narritive. In terms of lighting, i wanted a theatrical, and almost abstract lighting scheme during selected segments of the film. I believe abstraction of the image is crucial to create psychological tension. I looked to Sue DeBeer and Bill Viola, Video artists, for inspiration on the lighting scheme. For other segments i looked to Nuri Bilge Ceyleyan, DP and director for the Film "Distant". Ceyleyan uses Incedentals as keys and allows darkness to be a force unto itslef. Powerful stuff.
I canot stress how important it is for you to be accustomed to your Gear, practice, and story board. Organization pre shoot is what makes or beaks picture. thsi way you dont have to compramise your shots because of schedule restrictions. you know exactly what you can do, and when. We were shooting on the SGpro, almost exclusivly
and having been shooting stills for 10 years i know my lenses inside and out. This was a huge help because i could block shots knowing the limitations of the scene, lighting, space, and be able to select exactly what look i was going for in my head, and knowing exactly whcih lens would do the trick. Below are some of the Storyboards, and the accompanying stills. granted the locations were still a mystery to me at the time, so some of the elemnets changed, however the basic framing is about exactly where i was imagining. Granted the grabs i have dont match the exact moment in time of the Story board. but these shots were in there.
For the actual filming, we had a production monitor upsidedown to help with exposure and continuty, and most MOST importantly, to make sure the Focus was perfect. Focusing using the EVDTL is good in a pinch but not or critical shots.or extraordinarily shallow DOF. which because of the dark nature of the film, was used often because the lenses were left wide open to ensure proper exposure. Now alot of people treat the 35 adapter as a "filter", where as because the lenses are so familair to me, i treat it as a different camera. the lenses operate as they should. their natural effects and "defects" are part of their charachter and help add an organic feel to the digital image. Also, The Sgpro because of it s Unique GG material, trandsmits more light that i think just about any 35adapter. with my F1.2 lens, in total i am only really losing about 1.5 stops of light. Half stop throughthe SG, 1 stop through the lens. actually about T2.0 but still its very useable. we even managed to go Ala Barry lyndon and shoot by candle lightwith an accptable image. My secret to good lowlight is, the shutter speed. set the synchro scan to 1/33 or 1/30th of a second. IT buys you a half stop back, and still has the 24P stutter without being to smeary. thsi way a simple boost in post gets you al you need.
But for most of the filming we over lit wit plans to bring it down later. This way the imges are cleaner, and with more definintion.
More soon.....
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Matt Sconce
Veteran
This sounds awesome! I love the name, and thanks for the detailed info!
yea the blood was nice.
that girl is an awesome actresss.
Brandon Rice
Distributed Producer
heehee lol... cool BTS stuff!
DarkMatter
Veteran
Ok now I really really really really want to see this movie.