"Corrado" - A production blog

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filmman said:
Well, if a distributor picks up the film, which in the case of Corrado is very likely if not imminent, then would it not be better not to have a website for the movie?

Sometimes distributors prefer to do their own marketing, because they don't wish to work at cross purpose with the filmmaker.

I wonder, Brandon, if you would be willing to share your experience with us regarding this aspect of distribution. You have a pretty well designed website. It's a lot of work and it requires a lot of expertise. I've never had the time or the skill to create such a site as yours, but does it pay off if someone is selling DVDs directly from the website? Or is it more for general PR?

Thanks for your comments. I'm curious to know what Adam thinks about this whole aspect also.
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Actually, I've been told that distributors like when a film has generated it's own buzz... helps actually... the more buzz the better.

I didn't create the website for Smuggler's or NGL, the guy who does that here is Henry (we call him Hank) he's a member on DVXuser as well... talented dude.

taormina said:
First let me say that I would challenge anyone to prove to me that my film was edited on Vegas after watching it. If you can tell me what NLE was used when you watch a film - you have super powers.

It's not as if I'm making an effects heavy Transformers 2 here.

Second, I've said again and again that the colorist I am using works off a davinci machine and expects me to bring him an exported file of the movie, which they will put on tape and color correct. Do you really think he will be able to tell which NLE the file came from??? Do you think he cares??? (he cannot, and does not, I already know the answers to these questions)

Third, what business is it of yours what I edit on, freindo???? (sorry, couldn't resist).

Seriously, I know full well FCP and Avid are industry standard, but honestly, prove to me they are any better based on their specs. I think you'll find their specs are very close.

I don't give a shi* what people think about the software. Unless they can point out a legitimate flaw in the software, I'm not interested in any rhetoric. Or what people think.

As far as stating that I don't know what I'm doing - ouch, HueynRolf go get your own thread and pontificate there, amigo. That was rough and uncalled for. Personal attacks when you don't even know the guy is a bad deal.

As far as the site - already paid for it - my web guy is a little slow, but very soon I'll have a full Corrado site. More buzz the better - totally agree with Brandon.
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Yeah, it was a bit uncalled for when you said Adam didn't know what he was doing...

Look at Robert Rodriguez for a second guys... he edited tape to tape! Come on now.... he got his film picked up, and they re-conformed it, etc. etc. He didn't care what he edited on, he just knew he had to cut on something... I'd personally rather edit on Vegas than tape to tape ;) Just me...
 
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No More Final Cut Vs Vegas Debate In This Thread

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Move The Discussion Onto The Topic At Hand
 
Adam, are you going to sit in on the CC session? If not are you going to make notes or take grabs and correct them as referance?
 
HDkilledFILM. said:
Adam, are you going to sit in on the CC session? If not are you going to make notes or take grabs and correct them as referance?
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Most definitely, I wouldn't miss it for the world.

We have two black and white sequences that I want really tweaked - they are flashbacks. Also the whole movie should have a really desaturated look - think "Man on fire" by Tony Scott.

The color of the film is going to be soooo important to the way I want to present the film. It's not so much color correction, to me it's part of the storytelling.
 
I have allways felt the same, the way a film's color plate is set can completely alter your mood. It's strange, it seems almost counter productive to go to tape and then CC it but every CC guy who I've ever talked with agree that this is the best method. I wonder is there anyone here who could illuminate why CC off of tape is better than CC'ing images from a digital file?
 
HDkilledFILM. said:
I have allways felt the same, the way a film's color plate is set can completely alter your mood. It's strange, it seems almost counter productive to go to tape and then CC it but every CC guy who I've ever talked with agree that this is the best method. I wonder is there anyone here who could illuminate why CC off of tape is better than CC'ing images from a digital file?
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for people who aren't personally invested in the film, "better" means "easier".
 
how true Zak. That and comments like "that's how we've always done it" always baffle me from post houses. Easier for them, for sure.
 
CC can be difficult without proper monitors, I'm told. And I've not been able to do extensive CC myself. About 10% is the maximum that doesn't throw the look off completely.

I don't like the look of my digital movies at all and I've been wondering about Red Giant's Magic Bullet. Is it in fact a good way to do CC with plugins?

And have you considered plugins like Magic Bullet, Adam?
 
"that's how we've always done it" leaves no room for creativity and innovation. I have found in my dealings, that the people who say things like that are the 9-5ers. For them it is just a job, for which they get paid well. However, they will never reach the highs or lows that someone willing to experiment will reach.
 
filmman said:
CC can be difficult without proper monitors, I'm told. And I've not been able to do extensive CC myself. About 10% is the maximum that doesn't throw the look off completely.

I don't like the look of my digital movies at all and I've been wondering about Red Giant's Magic Bullet. Is it in fact a good way to do CC with plugins?

And have you considered plugins like Magic Bullet, Adam?
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I've used magic bullet in the past as well as the Celluloid plugins that David Jimerson makes. They are pretty cool. Magic Bullet makes the most insane render times, though.

I think color correction for me falls into the "A man's got to know his limitations" category.

I can color correct, but I've never really been satisfied with the results especially when using canned looks like magic bullet. I guess we are speaking of two different things - color correction and color grading to give the movie a "look". I can do both but I am not good at either.

Also, without a properly calibrated monitor it's impossible to do. I'm going to leave it to the pros who cannot only do a hundred times better job than I can, they also have the tools to do it quicker.

Kinda like post audio. I can make it listenable - heck - Vegas has some of the best audio mixing tools of any NLE, but why bother.

So for me the motto with post audio, color correction, and scoring is:

Treat it like a sore dick: Don't F*ck with it.
 
It's strange but you would think that taking a file instead of having to print to video and then work on a tape would be "easier". My only thoughts on this are that the format that most of us would deliver to a post house would be something that the post house would have to up rez anyway and that it's in someway easier to get both done in one streamlined process... I'm guessing that you are uprezing to true 1080i full HD right Adam?

It's still a mystery to me...

Correct me and guide me someone...
 
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