"The Regret" HVX/M2/Zeiss Lenses

dantewaters said:
Nathan, what are you editing on in the field? Macbook pro?
If so what are the specs?
Click to expand...

17" MacBook Pro, dual 2.16ghz, 2gb ram
Used external Fw800 G Technologies Drives on this, but I just picked up a Wiebetech Silver Sata Setup.

That particular trip was shot on the Panasonic HPX3000.

I use the duel adapter to mount and dump the P2 cards.
 
cheezweezl said:
incredible work.

so if i read this right, you shot this without a monitor? how in the world do you pull focus that sharp using the stock lcd/evf? or did you pull by numbers and marks?
Click to expand...

yup - no monitor - well sort of.

The director had a SD sony field monitor to view, and I used the lcd. It takes a bit of getting used to. I always check the shots in the field monitor as well.

Im pulling focus using marks - both on the follow focus and floor marks.

We do playback after good takes before moving on to verify focus, timing, etc
 
Great work Nathan and Micheal! Nice to see the Bresson influences. He's one of the greatest directors. But Bresson didn't like using music in his films. He wrote..." A sound never has to help the image, neither the image has to help the sound".

Arno
 
Last edited:
Arno,

Always good to hear from another Bresson fan. I know Bresson came to that conclusion about the use of music eventually. Maybe I will too. Even though I'm going for that silent film feel, which was never silent, always images and music, I am still conflicted about where the strength of the images ends and the strength of the music begins. At this point, I am largely inspired by earlier Bresson, such as his use of Schuberts Sonata for Piano in A Major in "Au Hasard Balthazar." Even though Bresson regretted it later, it remains one of the most, perhaps THE most, powerful use of music in film ever. That marriage of image and music is the ideal for me.

Best,

Michael
 
Hello Micheal,
Although i liked the kind of shots you make and the way you tell the story, the music in your film tells the story twice. And i think it's not neccecary, it's to much. The purity of want you to tell in pictures looses it's effect. If you like the music and filmmarrige try a good composer. I know a good one, but it's it's a prof. but maybe he wants to try.

Best. Arno
 
Arno,

Thank you for the comments. Definitely an interesting discussion. The way in which we use music is a critical issue we all have to consider. Obviously it's a matter of personal taste and opinion. For me, an original score that underlines every moment with music that evokes the same feelings is telling the story twice. I see (and hear) this all the time. Music during dialogue sequences that reflects precisely what's being said. That drives me nuts. The music I'm using has no direct correlation with the images whatsoever. It's existing classical. Something I've admired for a long time or found afterwards that hopefully helps me tell the story or bring out the feeling I want from the story once by adding to the mood. In the same way that I'll drive around looking for locations that inspire me and help create the world of the film, I'll do the same with classical music. I personally enjoy listening to this kind of music and the feelings it evokes. I suppose you could use music that serves as a contrast to the images. I don't know. I think it's probably the music being so much in the forefront that disturbs you as opposed to the choices themselves. If it was lower key and mixed with diegetic sound, it might be more palatable to your tastes. What can I say? I'm doing the silent film thing.

Best,

Michael
 
fantastic images (colors, framing, camera moves), by far some of the prettiest grabs I've seen on this site. great locations and set design...

but what about the story? what are we supposed to feel, not only what is physically happening, what is this about? There was really no arc, and nothing to provoke audience reaction. For me this was more of a montage of pretty pictures. You've got that down, but I'd like to see that combined with a story and characters.
 
djdougyfrsh said:
fantastic images (colors, framing, camera moves), by far some of the prettiest grabs I've seen on this site. great locations and set design...

but what about the story? what are we supposed to feel, not only what is physically happening, what is this about? There was really no arc, and nothing to provoke audience reaction. For me this was more of a montage of pretty pictures. You've got that down, but I'd like to see that combined with a story and characters.
Click to expand...

Thanks for the props on the visual. You'll have to talk with Michael (writer/director/editor) on the story part though.

We're in prepro on 2 more - another of his and one of my own.

His will probably be done and up on this very site the beginning of the year. Mine won't be shot until early february, after I return from a TV show in LA.

Should be fun!
 
djdougyfrsh,

Yeah, it totally is a montage of pretty pictures on a theme. But I don't know if one can ever have that "down." It's been my experience that once I make a short film with a bunch of "pretty pictures," it doesn't make it any easier to do another. It's an immense challenge every time. I still have to go out searching for weeks for spots that are visually strong to me. That's how I come at the process. At the same time, it was definitely my intent to tell a story with a beginning, middle, and end though not absolutely in that order. The guy has a chance to kiss a beautiful young woman. He doesn't, due to a sense of unworthiness. He regrets it and returns to the church. It's too late. She doesn't give him a second chance. I hoped for some emotional connection as he is shut out at the end. There is for me, as it relates to an event in my life. I'm sorry it didn't connect for you. I'm curious if you feel the same way about TO A FLAME and SHELL, particularly SHELL, my other films on this site. I wonder if these films being silent makes you feel as though you're simply watching a montage and not connecting with the performers. It's a different experience watching silent film, with no titles. And I am grasping for a somewhat unique style and viewing experience. So if it went down too easy, I'd feel I wasn't approaching anything challenging or new.

Thanks for checking it out and the thoughtful comments.

Best,

Michael
 
Glad to hear someone is using the duel systems adapter. I am working on using that once I get my camera. I was also looking at the sliver sata setup, but hear it was a bit noisy what does it sound like to you?

Nathan Beaman said:
We do playback after good takes before moving on to verify focus, timing, etc
Click to expand...

What do you mean by verifying timing?
 
michael_fisher said:
djdougyfrsh,

Yeah, it totally is a montage of pretty pictures on a theme. But I don't know if one can ever have that "down." It's been my experience that once I make a short film with a bunch of "pretty pictures," it doesn't make it any easier to do another. It's an immense challenge every time. I still have to go out searching for weeks for spots that are visually strong to me. That's how I come at the process. At the same time, it was definitely my intent to tell a story with a beginning, middle, and end though not absolutely in that order. The guy has a chance to kiss a beautiful young woman. He doesn't, due to a sense of unworthiness. He regrets it and returns to the church. It's too late. She doesn't give him a second chance. I hoped for some emotional connection as he is shut out at the end. There is for me, as it relates to an event in mylife. I'm sorry it didn't connect for you. I'm curious if you feel the same way about TO A FLAME and SHELL, particularly SHELL, my other films on this site. I wonder if these films being silent makes you feel as though you're simply watching a montage and not connecting with the performers. It's a different experience watching silent film, with no titles. And I am grasping for a somewhat unique style and viewing experience. So if it went down too easy, I'd feel I wasn't approaching anything challenging or new.

Thanks for checking it out and the thoughtful comments.

Best,

Michael
Click to expand...

Michael,

Bresson did know what he wanted to tell. But what is the story you want to tell? What is the theme (themes) of your film?

Arno
 
The theme... More than once in my life, I've begun relationships and quickly put the women on such a high pedestal that I feel unworthy of being with them and that it would be disrespectful to their "perfection" to attempt to further the intimacy of the relationship. Of course, that's absolutely rubbish, and these women just want to be loved and want a physical connection. And I wind up losing them. I know its ridiculous, I'm aware of the situation, but I'm having trouble getting past it. That's what I'm exploring. That situation and the regret that I feel afterwards. The one benefit is that the anguish over losing a connection with people that I actually deeply loved, and winding up alone, does fuel me creatively. I suppose in some of my films what makes it to the screen is a veneer of a story that's an excuse to display my sensibility and explore my emotional mood. For some, that might make for interesting viewing, for others, it's not enough. But it gets me off my butt and making movies, so I go with what I've got.

Best,

Michael
 
You must log in or register to reply here.
Back
Top