FEATURE: DEUCE OF SPADES - How I made a period full feature film all by myself on ZERO budget

YES!!!

The first interview, which features some never seen before snipits of my film, is now up on vimeo: This is the first of many interviews coming up.


My actor Frank O'Leary really surprised the heck out of me (and all of us for that matter) because for a 23 year old, he was incredibly articulate, eloquent and most of all HE GOT IT. He arrived, gave the interview in one pass (well, two, if we count the close up pass) and did it in one shot. Everything he said resonated with me. He really nailed the essence of the film. It was wonderful to realize just how deeply my cast feels connected to this film. I feel this interview to be a great ambassador to the film.

Enjoy!

http://vimeo.com/2626116
 
Great interview! Very professionally done (interview and editing). It will make a great addition to the "Special Features" section of the DVD ;)
 
mvansomeren said:
Great interview! Very professionally done (interview and editing). It will make a great addition to the "Special Features" section of the DVD ;)
Click to expand...

Hi there :)

Happy New year!

Yes, I conducted interviews with each main cast actor and they will all be in the "special Features" section of the DVD. Meanwhile I will be releasing them as "teasers", at the rate of probably one every 3 weeks or so, until the film is released.

I have a few questions:

1. Did watching the interview make you feel more connected to the film and increase your interest in seeing it?

2. Did you enjoy getting a peek at new shots / scenes snipits?

3. Furthermore did you feel like you now personally know the character "FRESNO" and got to like him, despite the fact that he is considered to be the "antagonist" in the story?

4. Did we give away too much, too little, or just enough to tease you and entice you and leave you wanting more?

Thank you for your feedbacks.
 
Last edited:
Faith,

Here are my answers to your questions:

1. Did watching the interview make you feel more connected to the film and increase your interest in seeing it?

Absolutely. The actor's passion was evident and sincere. You get the impression that he was in awe even being a part of the production - how can that not rub off on the viewer?

2. Did you enjoy getting a peek at new shots / scenes snipits?

Yes. I think that really helped paint the picture of how unique this production is and helped to visually express the actor's comments. It also makes it easier for the viewer to relate to his statements.

3. Furthermore did you feel like you now personally know the character "FRESNO" and got to like him, despite the fact that he is considered to be the "antagonist" in the story?

I feel like I personally know Frank and because of his sincerity, is very likable. Knowing that about him and how he explained his character means that I will probably like "FRESNO"...even if he is the "bad guy".


4. Did we give away too much, too little, or just enough to tease you and entice you and leave you wanting more?

When shown as a preview, I think its the right amount. However, if it will be in the special features of the DVD, then I would like more. When I watch a movie on DVD, my favorite part is going to the special features, watching the deleted scenes, and expecially interviews with the actors and the "Making of" sections.

-Marcel
 
Last edited:
Great feedback Marcel, thank you so much! I await others to chime in....



mvansomeren said:
Faith,

Here are my answers to your questions:

1. Did watching the interview make you feel more connected to the film and increase your interest in seeing it?

Absolutely. The actor's passion was evident and sincere. You get the impression that he was in awe even being a part of the production - how can that not rub off on the viewer?

2. Did you enjoy getting a peek at new shots / scenes snipits?

Yes. I think that really helped paint the picture of how unique this production is and helped to visually express the actor's comments. It also makes it easier for the viewer to relate to his statements.

3. Furthermore did you feel like you now personally know the character "FRESNO" and got to like him, despite the fact that he is considered to be the "antagonist" in the story?

I feel like I personally know Frank and because of his sincerity, is very likable. Knowing that about him and how he explained his character means that I will probably like "FRESNO"...even if he is the "bad guy".


4. Did we give away too much, too little, or just enough to tease you and entice you and leave you wanting more?

When shown as a preview, I think its the right amount. However, if it will be in the special features of the DVD, then I would like more. When I watch a movie on DVD, my favorite part is going to the special features, watching the deleted scenes, and expecially interviews with the actors and the "Making off" sections.

-Marcel
Click to expand...
 
On thing that I wanted to suggest is that you might want to tell your actors not to cross their arms when being interviewed. Frank did that at the very begining and, in body language terms, that sends a guarded or defensive message. Fortunately, he only did that in the first scene. Once he dropped his arms, his body language was that of being open.
 
Last edited:
mvansomeren said:
On thing that I wanted to suggest is that you might want to tell your actors not to cross their arms when being interviewed. Frank did that at the very begining and, in body language terms, that sends a guarded or defensive message. Fortunately, he only did that in the first scene. Once he dropped his arms, his body language was that of being open.
Click to expand...

Yes, I so much agree. I told that to all the other actors, so the problem was fixed for all remaining interviwes. The main problem we had is that the ators were nervous so played with their hands and the hands made a lot of noise whenever they rubbed against pants, fabric, chair, or each other... My Senn 416 picks up that noise very much. I asked the actors to use their hands while talking but not let them rub, tap or land on any surface. Invariably, as soon as they started talking they forgot about hand noise and made a lot of it (sigh) so we would have to CUT and stop and start again. One actor ended up having to sit on his hands to stop them from making noise LOL.
 
Faith,

Forgive me if this question was already asked, but, could you list the camera settings you used?

Thanks
 
Might be a silly question but I genuinely don't know... when you film with the Letus 35mm adapter does the footage come out as 16:9 or the film size (I think it's about 2:1 or something)?
 
Indyreel said:
Faith,

Forgive me if this question was already asked, but, could you list the camera settings you used?

Thanks
Click to expand...


I have my setting saved in F5, so when I go home I will have to look and see what they are. I set them about a year ago and don't deviate much, except maybe for the pedestal and color, if I need to compensate for something, and it is usually rather settle changes. I think the look is also the prime lenses I use, each lens has a look and added to the camera internal settings, it creates the overall look.
 
Kelvin Benjamin said:
Might be a silly question but I genuinely don't know... when you film with the Letus 35mm adapter does the footage come out as 16:9 or the film size (I think it's about 2:1 or something)?
Click to expand...

Not sure what you mean by "film size" since there is no film. The size recorded is the same as if you were using the camera alone. In short, the adapter does not alter the size of the image recorded by the camera in any way. All the footage you guys have seen of mine is RAW footage. Nothing was (yet) done to it, no filters, no color correction, no altering in any way. That's how it was shot and that's how it was shared on the net.
 
HAPPY NEW YEAR EVERYBODY!

No filming for me over the last week. Been consummed by a big repair/upgrade project on my deuce, so we can resume filming. The hotrod had become "unstable" and it was time to address all my wiring issues. Have not had a chance to do any editing either, since I pretty much go to my day job everyday and then come home, change and work under the dash or body of my hotrod until 11PM... And start all over the next day...

OUCH.

Anywhoooo, here are some more screengrabs from the film, from a flashback to 1953 showing Johnny taking a cigaret break in the back of his shop.

Below: Yes the grease is real. We did have to teach the actor to do zippo lighter tricks so he would look "manly and cool" lighting his cigaret.

SG%20scene%205%204.jpg



It was very cold that day and despite the fact that this scene was shot in Southern california in JUNE, we had RAIN. It figures. the actor had to sit bare chest for HOURS and by the time we were done, was so FROZEN he no longer could deliver his lines. He was quite a trooper though :).

SG%20scene%205%202.jpg



I really love the lighting on these shots... It was a combination of cloudy skies / natural light plus a couple 1K.

SG%20scene%205%201.jpg




The shop, vintage 50's bike and props were donated by a hotrodder buddy of mine.

Additional props below were rented. Yes they did have black zippo lighters back then.

SG%20scene%205%203.jpg



This was Kyle Clifford second on screen appeance. He was still nervous, but starting to find his grove. Kyle is not an actor, he is a hotrodder I discovered lying under a 1950 shoebox in the middle of the desert. His car broke down, and that's how he got a part in my film LOL... He turned out to be a natural.

SG%20scene%205%206.jpg



SG%20scene%205%205.jpg



The black 1920 roadster in the far background, all done 50's style, sporting a gold flathead engine, was donated by another hotrod buddy of mine. He had never driven his roadster more than 15 miles away from his home, until that day. And that day he drove a good 90 miles IN THE RAIN to make it for the shoot. the roadster never broke down. Following this, he started driving his hotrod everywhere!! I FREED him from his own fears :).

SG%20scene%205%208.jpg
 
OK, HERE THEY ARE, the current four clips I have up on vimeo:

BEHIND THE SCENES INTERVIEW WITH ACTOR FRANK O'LEARY:





THE MAIN TEASER FOR THE FILM:




THE JALOPY RACE "Survival of the fastest" :)





LAST BUT NOT LEAST, here is an entire section of my film. It comprises of two scenes back to back, showing Johnny (in 1955) suddenly going into a flashback to his chilhood (1942) - As he remembers his father James.

I really like this scene and it has a couple of really neat shots. The little actor who play little Johnny at 8 years old is a kid I discovered. He did a marvelous job and it was his very first time in front of a camera. He worked hard, never forgot his lines, never complained and stayed focussed. In the end of the scene, we made him run after the jeep in these vintage 40's leather thin soled shoes for over an hour... Poor little guy, his feet were killing him but he kept running for me... From my photos and footage, he got offered to get signed with a major kid talent agency which deals with major studio stuff (ex: "CLICK" with Adam Sandler etc...)... But his parents turned it down :(... Too bad, the kid could go far.


The vintage WWII jeep and uniforms were donated by a friend of mine. The vintage 40's period correct machine shop was donated by another friend of mine. The 1929 Ford roadster, period correct to the 40's, was donated by (you've guessed it) yet ANOTHER friend of mine... I did all the make up, hair and wardrobe for the kid and mother.

What can I say, I got lotsa COOL friends :D

LIGHTING: The outside shots were supplemented with flags and 1K lights. The inside shots were lit with a combination of natural light coming through the large windowns and through the huge sliding door in the background and Tungsteen light, giving it the cool blue and golden feel.

Notice how I had to jump the line and break some rules in this clip, because I was unable to get proper reverse shots due to some period incorrect items in the other angle... Still it seems to flow OK, which goes to show that rules can be bent... At least some :).

The temperature in the opening shot of the kid playing up the rafter was over 115F. We died up there. the shop is 100% metal and no AC or opened windows. the 5 freeway runs about 30 feet from the shop so it is impossible to record clean sound. I used the machinery to create ambiant sound to mask the sound of modern cars passing by us. It worked OK. Use of music in the far background helped too.

The first song on that soundtrack was donated by STOMPY JONES, a killer swing band friend of mine. The second song is me (www.alternatefaith.com) writing, singing, playing all the instruments and mixing/producing. :)

I hope you enjoy the scene, if you have any questions, ask away.


 
Scene file

Scene file

Faith,

Did you have a chance to check your camera settings yet? Interested to know how to get a great picture like yours.

Also, you mentioned that a lot of the film-look was due to using primes. How did you learn about them and how to use them? Is there a resource you can recommend.

Thanks
 
Indyreel said:
Faith,

Did you have a chance to check your camera settings yet? Interested to know how to get a great picture like yours.

Also, you mentioned that a lot of the film-look was due to using primes. How did you learn about them and how to use them? Is there a resource you can recommend.

Thanks
Click to expand...

Lenses are everything and as I said many time on this thread, each one has it's own "look", purpose and application. When I block one of the first things I do is pick the lens for the shot and that dictates how I will place my actors, where, the background I pick etc...

It was here on dvxuser.com that I learned about prime lenses, thanks to member "Disjecta" who was ever so kind to explain to me what they did and recommend a few he had used in the past and liked. Each cinematographer has his/her own "look" and they will gravitate towards a few lenses that they favor and use more often than any other lenses.

My look is low key lighting, low fill ratio and shallow DOF, so I shoot a lot with long lenses. This makes it a lot harder on me, especially since I pull my own focus, and long lenses are a real B*** because any slight movement of actor will cause you to go out of focus. You also have to be FAR AWAY to get the same framing that a medium length lense would capture... And it is sometimes hard to do that, especially indoors. But whenever possible I will go for that "dreamy look". I have yet to use my 50mm lens. I don't believe a single shot in the film was captured with the 50mm lens. Not-a-one. Funny eh? The 50mm lens is so boring it looks just like what the human eye sees. No artistic interpretation there.

The next lens I want to buy is the 85 mm. If anyone has a clean one for sale PM me.
 
I have a moment today to share a few more screengrabs and talk about that shoot briefly.

The period correct shop was extremely small and crowded. We had to clear out a lot of heavy stuff (engines, wheels, racks etc...) to make enough room for my indie dolly.

The whole scene is one single continuous shot. I did this shoot with no crew. My two actors helped me unload the gear and set up the lights and move stuff around. It was just me and them.

The shot opens with a crabbing left to right, including several focus pulling points to hit at precise points, as I passed several foreground object. It went something like this:

ME: "action. (I push dolly) Tim! (my actor Tim puts a vintage beer can on top the car I am passing by at that precise moment - timing was essential) Kyle! (My actor Kyle walks in the room in the far background carrying a carburator set-up - as he walks from left to right, my camera is following him - again timing was essential). I then pull focus a first time to pass a mere 4 inches from a flathead engine in the very foreground, which is ornate with cool looking bolts, spark plugs etc... And which we saw in all its details. I then reframe upwards and pull focus again, by feel, to Johnny's face, who now is revealed, working between the carb and the sediment bowl. I have to slow down the dolly and come to a smooth stop while nailing final focus and frame and end up in a perfect two-shot.

Now the actors talk. Still same shot - no cuts or edits - I rack focus between Tim in the foreground and Kyle in the far background.... Conversation ends, I crab back out right to left....

SHEEEEEESH - This was one of my 3 most challenging shots in the film. Meanwhile, I have no A/C, no crew and I am monitoring the sound myself.

:huh:

The acting had to be right on too, because as I said there was no editing this scene. I did do one insert which ended up in the scene briefly, showing cool hotrod details.

Let me mention also that this was actually my SHOOT # 1. So the first time I rolled on DEUCE OF SPADES and it was both actor's first time being filmed too.

By a miracle of God, despite all these challenges, the scene came out wonderful and this intricate shot remains one of my best.

Here are some screengrabs.

Traveling by the flathead engine:

Flashback6%20Image11.jpg




reframing to now include Tim and Kyle:

Flashback6%20Image6.jpg



Insert on Kyle's reflection in the carb scoops, as he bolts the tri-power on.

Flashback6%20Image13.jpg


then crabing back out

Flashback6%20Image3.jpg



While I was at it, I did several shots I used elsewhere in the film:

Flashback6%20Image7.jpg




Flashback6%20Image10.jpg




It's a wrap!! The actors and I get goofy and demonstrate my half lit/ half dark lighting style:

Scene%206%20Image33.jpg




So there you have it. It was my first shoot, I had no crew and I was ambitious with my shot and I live to tell the tale :thumbup:. We truly had a blast.
 
You must log in or register to reply here.
Back
Top