"Corrado" - A production blog

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Adam,

I'm really sorry to hear about your post-compatibility woes. Don't be too hard on the NLE as it's a good little editor and serves a lot of folk here very well.

Please don't flame me again, but don't you think you were expecting too much from it? I'd be inclined to do the edit again on a professional NLE. It may be a hard bullet to bite, but the sooner the better.

BTW, thanks in advance for your 'congrats' on me turning 50 this week :)
 
HueyNRolf said:
Adam,

I'm really sorry to hear about your post-compatibility woes. Don't be too hard on the NLE as it's a good little editor and serves a lot of folk here very well.

Please don't flame me again, but don't you think you were expecting too much from it? I'd be inclined to do the edit again on a professional NLE. It may be a hard bullet to bite, but the sooner the better.

BTW, thanks in advance for your 'congrats' on me turning 50 this week :)
Click to expand...

It's great as an NLE and just as powerful as Avid or FCP. No complaints at all in that regard. It's connectivity, however, has been hamstrung by some corporate dweebs at Sony for political reasons.....if all it did was exported an .omf file I'd forever swear to use it and brand my children with Sony Vegas tattoos!

Happy Birthday!!!!
 
Yikes, poor kids :huh:

Bur seriously, what do you think about a reedit? Once you've done it once a second time around takes a fraction of the time.

Wouldn't it be nice to be able to hand the project off without all that messing around?
 
Open Media Framework Interchange
From Wikipedia, the free encyclopedia
(Redirected from OMFI)
Open Media Framework (OMF) or Open Media Framework Interchange (OMFI) is a platform-independent file format intended for transfer of digital media between different software applications.
The following applications are known to support OMF Importing and/or Exporting:
Avid
SONAR
Cubase
Final Cut Pro
Logic Pro
Nuendo
Pro Tools
Digital Performer
SADiE
Automatic Duck
Avid systems generally store video in OMFI format, and audio in AIFF.
 
HueyNRolf said:
Yikes, poor kids :huh:

Bur seriously, what do you think about a reedit? Once you've done it once a second time around takes a fraction of the time.

Wouldn't it be nice to be able to hand the project off without all that messing around?
Click to expand...


No I don't need a re-edit. Not being able to export an omf causes about a week's delay, no more. It's just more menial labor. It's not a setback, it's just more work than it should be!

Also, the post house is hard at work on the color, so the pic is locked at this stage...and the composer has been working on it for over a week.....
 
Ah, I see.
Well I guess 'that ship has sailed.'
Anyways, sounds like you're in reasonable shape considering. Do a nice job!
Cheers,
HnR

BTW, I'm a big Sony fan; when you think of all the products they've brought to the consumer and professional, you can't help but love 'em. But, they've also produced some turkeys.
 
taormina said:
If you don't produce and direct yourself you'll steal form your cast budget.
Click to expand...

Ahh...makes sense...I thought I'd be taking it from my producer fee if I got a co-producer..i.e. each producer share's the 5% producer fee, not each producer gets 5%...Maybe I'll just cut back on the amount I get for producer fee in order to get a name actor..
 
Hey Adam,

Here all the questions condensed in one post-


Just a quick question and this is not a criticism but simply I'm curios. What is the central need of the hero, i was kind of expecting him to be at the cemetery because of his dead ex or something, at what point/page in the script does it become clear what Corado wants?


When you presented the script to Tom or his agent, did you somehow highlight the scenes he is in or print out his pages separately? Did you have the script in some fancy coat/sleave with your production company name on it? I saw a Miramax script the other day and it had blue cardboard back and front pages with the logo on it.



What is the premiss for "Corado" the story? 3 sentences if you can.


Can you reveal the day rates for the following crew?

DP
Gaffer
Best Boy Electric
Key Grip
Grip
1st AC A cam
1st AC B am
2nd AC A cam
Makeup
Makeup asst.
Sound man
boom op
Script supervisor
1st AD
2nd AD
Two PAs
transpo dude to watch and move the truck



As for directing -

Did you call out directions during a shot? How many takes did you do on average? Did you check playback after every scene to "know if you actually "had it"? In my experience simple things like walking, picking something up, doing stuff is often the hardest thing to get just right. How do you feel about the "choice" of not rehearsing? How did Tom feel about that? How much time do you think you could have talked him and his agent in to for "the good of the project" to rehearse? Would that have been at full rate?


As for editing? What size shots did you end up using the most in the end? How much did you have to "cut around" gaps in performance? Where you more often forced to cut or could you let it play for several sentences or more at a time? Did you most of the time construct a given dialog from the same take or rather multiple takes? How many cuts are in your film? Who preformed better, i mean ratio vise the TV actors or the Film actors? How did the "non actors" or "first timers preform compared with the star? Did you have more problems cutting around them?

Directing #2

When Tom or the main actor was wrong/off, how did they react? Did he want to move on or go back and get it better? What was there attitude to failure and the process involved to getting to perfection (not always pleasant)? What was your attitude to it? Move on and hope to save it in post? Try to be positive and let it go? How did you deal with "crisis" in the realm of acting? What would you differently when dealing with performance on your next project?

Often it seems that there is a perception that a great actor gets "there" easily because he is "great" and that the performance is always great in take #1 and perfect by take 3. It has often struck me how little actors know about there own performance, even great actors like Gorge Cloney are always allot less good in the films where they direct them self.


On writing?

Did you model the main characters inner life on your self? How much of "you" is in there? How long did it take you to complete the script? In your own assessment are the what are the tightest and what are the weakest sections of your script? As in did you concentrate more on the first ten pages and than let it lag in the 2 act and got it back together in the 3 act? How many hours did you write a day? How many pages?


In a perfect world what movie would Corado be 'like"? What did you aim at? What movie(s) served as inspiration?

Directing 3#

Did the actors want to see the takes at the end of a scene? How do you feel about that as a director? Would you have been comfortable saying no? How was it directing your wife? Did you have to scream at her allot? What takes president for you when choosing a "print", the actor hitting his mark, great performance, correctly executed blocking.....? Did you end up using allot of traveling shots? Did you block the takes and set marks or did you leave it mostly to the actor? Did you do complicated set ups and blocking? Did you do standard "coverage"? Did actors need allot of "explaining the character"? Did you take time off to talk to actors one-on-one if things weren't working? Did actors when waiting for the lighting, rome the set and talk to crew or did they want to be somewhere off by them self? Did you provide such a space at all times? What in your opinion are the 3 dont's and do's when dealing with stars, i mean practically on set, in your day to day interaction?


On sound?

Are you expecting to do allot of "looping"/replacement of dialog?
What about foly/soundFX? Are you using stock or are you making your own?
Again, will you have to pay day rates for actors?

I don't know if you can divulge this information, but what would you consider a financial successes for Corado. I know you are budgeting the film at something like 750k, but in fact if you sold it for that you would simply be paying your self the salary you earned through a wide variety of jobs you took on and not even that if you split 50/50. I assume thats 50/50 after hard cash investment? So you are not counting your labor, screen writing, directing, editing....as initial investment? Or are you? How do you break it down? So what do you expect to sell it for 1.4? 1? 2? 4? What would you consider failure? 20% return on hard cash investment + you being paid for your personal investment? What would be concidered "good" return for this kind of initial investments (350K + work = 750k +-) in other business?
 
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I also wanted to add, that i did like the 10 pages, but as stated before i was expecting/hoping to know what Corado wants by page 10.

At times i found the voice over restating the same info 2,3,4 times and i think this was not so necessary and almost distracting.

At times it walked a thin line of "I'we seen it before moments" not necessarily bad since you also managed to give them a "new" twist most of the time.

But my overall sense of this project was that you where not really trying to push the envelope and rewriting film history but that in some way you wanted to make a typic straight to DVD action flick, so the above is less a critic as it is a observation. In any case it seems like you have succeeded.
 
What is the premiss for "Corado" the story? 3 sentences if you can.
Click to expand...

How about this:

Corado, a career-underworld hit man, gets out of jail and decides to go straight. With the last of his ill-gotten gains he opens a club, renews his relationship with his childhood sweetheart and settles down. All is peachy until his cousin Marco shows up. Marco has got himself in too deep with the Yakuza and needs Corado's help. Reluctantly, Carodo tries to help, but ends up having his club burnt to the ground, his girlfriend raped and murdered and the FBI on his trail.

So, Corado heads to Japan to murder the CEO of Sony, who he blames for the whole frightful mess.
 
HueyNRolf said:
How about this:

Corado, a career-underworld hit man, gets out of jail and decides to go straight. With the last of his ill-gotten gains he opens a club, renews his relationship with his childhood sweetheart and settles down. All is peachy until his cousin Marco shows up. Marco has got himself in too deep with the Yakuza and needs Corado's help. Reluctantly, Carodo tries to help, but ends up having his club burnt to the ground, his girlfriend raped and murdered and the FBI on his trail.

So, Corado heads to Japan to murder the CEO of Sony, who he blames for the whole frightful mess.
Click to expand...


You got all this out of 10 pages?:Drogar-Smoke(DBG):
 
Dude you are stepping on my posts!!! No, but it makes them easier to answer individually, i feel instead of making one very big post and have 40% of the questions unanswered it is better to break them up. Sorry for any inconvenience.
 
"In my experience simple things like walking, picking something up, doing stuff is often the hardest thing to get just right."
-HVX2006

Out of context, it's funny.
 
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