the Starlit Ritual -- Feature -- NSFW! <DVD>

Hey Paul. Happy to know you're not pissed with the review!

"Steal" away!!

After the fact, I started thinking the 2 narrators were actually the same guy at different times in his descent into darkness. Like the 2nd part is him as a young man before he becomes the monster, where everything is strictly in his head, and the first part is him a little older, having fully become the serial killer.
(basically I'm saying the film is very open to interpetation-which is a cool thing).

Congrats again!... and make sure you visit a psychiatrist soon!!(jk)
 
Staven said:
After the fact, I started thinking the 2 narrators were actually the same guy at different times in his descent into darkness. Like the 2nd part is him as a young man before he becomes the monster, where everything is strictly in his head, and the first part is him a little older, having fully become the serial killer.
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I love it. I think that's a great way to see it. Or you could say these are his two choices/paths. :beer:

Congrats again!... and make sure you visit a psychiatrist soon!!(jk)
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Maybe I'll just send him a link to the movie?:evil:
 
is that Brea Grant I saw in there? we had her in for an audition a couple months ago. beautiful, unique looking girl. surprised I remember her name but I guess that hair is hard to forget. how was she to work with?

i'm downloading now. you'll have my $5 shortly. dont spend it all in one place.

i see your dp was laura beth love. i tried contacting her thru her web site a couple months ago about shooting a feature I made. email bounced back though.
 
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cygnet74 said:
is that Brea Grant I saw in there? we had her in for an audition a couple months ago. beautiful, unique looking girl. surprised I remember her name but I guess that hair is hard to forget. how was she to work with?

i'm downloading now. you'll have my $5 shortly. dont spend it all in one place.

i see your dp was laura beth love. i tried contacting her thru her web site a couple months ago about shooting a feature I made. email bounced back though.
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Hey Zak, thanks. :beer: That is Brea, and it was great working with her. I'll PM you Laura's contact info. I'd really like to hear your thoughts on the film.
 
Paul Coleman said:
Hey Zak, thanks. :beer: That is Brea, and it was great working with her. I'll PM you Laura's contact info. I'd really like to hear your thoughts on the film.
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great, thank you! i have a short and a feature i'm prepping for 2007. i like quite a bit of what i saw in her 24P reel.
 
I loved it Paul. Has a David Lynch quality to it. The visuals are great especially the ones in the blackness. Truly unique and innovative. Good job.
 
marlontorres said:
I loved it Paul. Has a David Lynch quality to it. The visuals are great especially the ones in the blackness. Truly unique and innovative. Good job.
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Thanks, Marlon.:beer: You know, I might re-configure the edit and add more black frames to the VO.
 
that was honestly one of the creepiest trailers i have ever seen. beautiful haunting and innovative all at once.

kudos kudos kudos my friend.
 
paul, that was an amazing, dark, mysterious journey. i was mesmerized at one point, maybe even hypnotized, by the perpetual stream of pain and anger and frustration and fear and hurt. it shared many of the quaities I admire in Twin Peaks Fire Walk With Me, not to say its derivative in any way. this is a unique, original work with a clear signature by its director. congratulations! :)

and sorry it took me so long to give feedback, paul. i've been working quite a bit in preparation for expanding my business. moving from a two office/bay suite to a seven office/bay suite on march 1st! btw, laura beth and i have batted a few emails back and forth.
 
Thanks, Matthew. :) Can't wait to hear what you think of the film.

Wow, Zak. That means a lot coming from you. I really hope people catch on and realize there's more to "Starlit" than meets the eye.:beer:

Congrats on the business, I'd love to work with you when I migrate back to LA. And good to hear you and Laura Beth are working together. Love to see what you guys come up with.
 
very nice

very nice

first i wanted to thank you for the kind words on man with a moustache, and just wanted to let you know how impressed i was with your trailer. I think you're definitely making the most of the camera, I'm constantly suprised how well the camera handles blacks...and thought the editing at least of the trailer (i haven't seen the film yet) was very effective. I'm definitely looking for a dp for my next project, as it obviously adds a great deal to the production value. good work.
 
leachmo1 said:
first i wanted to thank you for the kind words on man with a moustache, and just wanted to let you know how impressed i was with your trailer. I think you're definitely making the most of the camera, I'm constantly suprised how well the camera handles blacks...and thought the editing at least of the trailer (i haven't seen the film yet) was very effective. I'm definitely looking for a dp for my next project, as it obviously adds a great deal to the production value. good work.
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Thanks bro. Yep, the DVX is beyond amazing. I don't want to leave it behind for my next feature, but I want to shoot HD. Plus RED is lookin' mighty fine.:beer:

By the way: http://imdb.com/name/nm1149785/

Shamrock, thanks. We had a great team on this project.
 
Hey Paul, trailer looked super sweet. Could you tell me how you did ur CC? In particular could you use the first shot in the trailer as an example? or the first screen grab on your site?
 
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Thanks guys. :beer:

Cheesesailor77 said:
Hey Paul, trailer looked super sweet. Could you tell me how you did ur CC? In particular could you use the first shot in the trailer as an example? or the first screen grab on your site?
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Ok, CC was really basic. But you can get a lot of control just from the 3-way Color Corrector in FCP:

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You can see the vector is on the fleshline (11 o'clock) but it's aiming a bit toward red/magenta. I simply pushed the vector toward yellow for a golden tone. The secret was that we shot at 40 IRE, which is very dark. But this means that you can alter the image in more extreme ways in post -- you can get a very high contrast image this way. First step is contrast:

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a) I crushed the blacks. b) Pushed the whites very high. c) Pushed the mids toward white for a high-contrast image. d) Pushed the midtone color toward yellow: dragged the white ball toward yellow for a golden skin tone. (The white ball controls the direction of the vector on the Vectorscope.) e) Desaturated just a bit.

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On the Waveform Monitor, you can see the blacks have been crushed almost too much. If you look along the white line at the bottom, you can see that a lot of the image data was pushed below that line. But we wanted the film to look really dark. As for the highs, since we shot at 40 IRE, we have plenty of "headroom" to adjust the image. We pushed the highlights to 65 IRE, but we could still go higher.

:thumbup:
 
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