Sample of rear projection

was that a shot of the camera zooming out of the M2 lense adapter...hella funny. I really liked all the rear projector stuff. Reminded me alot of the scence of sleep. How much was that set-up, the projector and the screen???
 
I lived in the admiral's housing right behind where you shot the gantry and ferry footage!

Was that RP when he grabs the shipping container?

The only shot that looked flat was that sailboat sequence. Did you have a hazer or something going there or was there too much light spilling on the rear-projection screen?

Awesome work. It's good to see someone doing something interesting.

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Really like the images a lot.... The style and the thoughts behind them. LOOKS really amazing and imaginative and surreal. Great job and looks so unique and trying something different. Like it alot. It does however seem a bit disjointed and muddy as far as the scope.. The graphics were also a bit too long and uneven in their presentation... Overall.. you have an interesting look.. Kind of a Gondry type look

Did you ever see a foreign film called Poison? Really used rear screen stuff so seemlesly and so well...



You've got something different here. Did you shoot this as a feature? What's ya plans and do you have any short scenes to throw up? WOuld be interesting to see it in its presntation format.


CONGRATS for doing something that's out there!
 
Hey,

Thanks for all the feedback. Kristian Hansen is the writer, director, producer, and editor. It was his concept and I was excited to be involved.

As for the cost of the projector screen setup…it was a fairly big line item for us. That being said I think it was around 600 bones for two days.

Eric brought up the F word with the sailboat scene. I hate the F word (flat) but I do agree with him. The projector had some issues with color. All of our beautiful sunset shots would only be projected with the sky green. I have seen a green sunset before but only in LA. We tried everything to calibrate the projector and I even tried to compensate in camera and by using gels to keep a nice skin tone but it didn’t work. So in the end I choose to dim the rear projector. Not sure that it was the best solution but it was the one I went with.

Thanks again for all the comments. It was an interesting narrative to work on and I am excited to see what Kristian does with it. I will post a scene or two after the DaVinci.

Jennifer.
 
Forgot to answer the questions…

Yes, it is a zoom out of the M2. Kristian was great… we tried and recorded anything that looked good (including turning the adapter off and using the grain for a couple of looks).

Yes, it was RP in the close up of the shipping container grab.

No, I never saw poison but I will now.
 
Looks great though the dialogue gets a little awkward near the end. By the way what were the first two songs used in the trailer?
 
Interesting aesthetic. Very creative feel. Makes me want to see it.

Did you try doing any compositing (blue/green) w/ m2 on this production? Is that perhaps why you went with Rear Projection?
 
100% creative power. pro look. only, for me, the girl was overwondering receiving that container. it's just my blink impression, which count, yes, but not that much
 
Love Rear Rear projection. It is so underused these days. I think it brings reverie to the work.

I am very interested in this
 
especially the rea projection shots were really cool. is this the official trailer or more like a preview.

and i wanted to know the artists of the guitar track after the regina spektor song :D
 
Thanks All...

Thanks All...

Hey - Thought I'd check in to say thanks for the generally great feedback - I directed the film and it was and continues to be quite a labor of love - so a bit of encouragement from y'all goes a long way. I think Jennifer responded to most of the visual questions put forth; I'd just add that aside from being a hassle in terms of setup and playback and somewhat scarily marrying you to what you've shot, rear projection is a blast! Not only for its retro coolness, but it also makes everyone on the set so much more present and engaged with what's going on - for the shots of the car falling apart, we had just about every crew member holding a part of the car, or manually flagging a light, or otherwise being active and contributing creatively to the shoot which is just a blast. So the choice was more aesthetic than techincal, and yeah was perhaps a bit of an extravagence, but I'm really happy that we worked this way. Greenscreen compositing makes me sleepy anyway.

I've just recut the trailer using only music that I've cleared with the artists - but those of you interested in the original music choices they were in order Hot Chip, Regina Spektor, and Four Tet. The recut trailer (which includes better color work and a few more effects shots,) starts with two songs by Plex Plex and concludes with the same Four Tet song. My underdeveloped website @ www.threeballfilms.com has a link to it as well as a music video I completed recently (also on the dvx,) and I'm beginning to dabble in myspace: www.myspace.com/threeballfilms. Feel free to be my buddy or whatever it is that we're all supposed to do there.

For those who'd like to see the final film, stay tuned - I've submitted to a few film fests and am waiting to hear back; first up on the wish list are SXSW and Tribecca. Thanks again for the kind words and insightful critiques, keep shootin'... :beer:Cheers, Kristian
 
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