EVERYTHING'S EVENTUAL: A Stephen King short story adaptation (Production Diary)
- Thread starter CallaghanFilms
- Start date
Filmbuff28
Well-known member
That's a wrap!!!
That's a wrap!!!
We just wrapped the picture!
That's a wrap!!!
We just wrapped the picture!
CallaghanFilms
Veteran
In the can, baby!!!
jpbankesmercer
Director Mod
Man that was quick!! Great job guys.
Jp
Jp
CallaghanFilms
Veteran
I think I can safely say most likely not, Hag...
Boy, it sure didn't seem quick.
Thanks for the continued support, my man:beer:
I'm not gonna talk specifics - I'll let J.P. answer if he wants...
But let me unabashedly say this:
As far as "Bang for the Buck" (AKA budget vs. production value) goes, EE may be looked upon right up there with The Brothers McMullen, El Mariachi, Reservoir Dogs, etc...
Expound. Are you talking about just getting a feature done in general or something that really has it all.
This is quite a statement! I want more. =D Is the budget dirt low? I see a lot of crew members, lots of large set pieces (helis)... fill us in. Or, JP, where are you?
Filmbuff28
Well-known member
I am here. Always watching...
Kholi. The budget was pretty low (I'll disclose the number later). And with that we were able to shoot on an amazing camera with plenty of gear, get a great crew and terrific actors. We also snagged a bunch of great locations (I think there were 18 if my memory serves me correctly). So for the dollars we spent we got a lot out of it.
Kholi. The budget was pretty low (I'll disclose the number later). And with that we were able to shoot on an amazing camera with plenty of gear, get a great crew and terrific actors. We also snagged a bunch of great locations (I think there were 18 if my memory serves me correctly). So for the dollars we spent we got a lot out of it.
Filmbuff28
Well-known member
No we are not under 10k. But do remember that El Mariachi was made 17 years ago (a dollar went further). And we are filming in the US, had a professional cast, crew and equipment. I myself wouldn't call it "shoestring" though others would argue that it was, given the locations and equipment we got for the price we payed. Some of our locations included a private jet and hanger, an airport terminal, 19th floor high-rise condo etc. Everything was done legitimately through the appropriate city (permits and fees) and there wasn't any "gorilla" style shooting. Our equipment list was also impressive given our financial circumstances (fisher 11 dolly, 3 ton grip truck, RED camera with all the fixings (minus additional glass). Plus 30 (give or take depending on the day) seasoned crew.
We don't really compare to El Mariachi on an apples to apples basis. They had almost nothing, no pro crew, no lighting equipment etc. Most of the cash was spent on the stock. But they made a great film (not taking anything away from that). This film is different in the sense that we tried to get the best equipment, crew, cast and locations for as cheap as possible. Basically trying to match hollywood with virtually nothing compared to their budgets. Now I'm certainly not saying we match hollywood (those guys are good) but we definitely have a great looking piece and we are pleased with the rough edit so far as narrative goes.
I must digress for fear of never stopping. Please continue with the questions and I will answer what I can.
For lenses we just used the RED 18-50 and an occasional 135 nikon.
JP
We don't really compare to El Mariachi on an apples to apples basis. They had almost nothing, no pro crew, no lighting equipment etc. Most of the cash was spent on the stock. But they made a great film (not taking anything away from that). This film is different in the sense that we tried to get the best equipment, crew, cast and locations for as cheap as possible. Basically trying to match hollywood with virtually nothing compared to their budgets. Now I'm certainly not saying we match hollywood (those guys are good) but we definitely have a great looking piece and we are pleased with the rough edit so far as narrative goes.
I must digress for fear of never stopping. Please continue with the questions and I will answer what I can.
For lenses we just used the RED 18-50 and an occasional 135 nikon.
JP
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That's about it from me! Just waiting on a ballpark or hard figure for budget and, of course, a trailer or some stills. =D
Congrats on getting principal done!
Oh, and how did you deal with switching between the 18-50 and a Nikon mount lens? Every time you wanted a telephoto you literally switched the mounts on set?
Congrats on getting principal done!
Oh, and how did you deal with switching between the 18-50 and a Nikon mount lens? Every time you wanted a telephoto you literally switched the mounts on set?
CallaghanFilms
Veteran
Hey-ya, Kholi - How's by you?
Just so I'm clear...
I mentioned the three films that I did (Mariachi, McMullen & Reservoir) because, even though their respective budgets vary greatly (from under 10K to under 500K); their individual production value shines much brighter than should be, relatively speaking. If I were referring to the whole "shoestring" thing, I would have cited El Mariachi, Clerks and...I don't know...Blair Witch Project or something.
I hope that clears up the point I was tryin' to make:beer:
CallaghanFilms
Veteran
I enjoyed our talk, you old so & so.
It was great to catch up.
(now about that Islay...)
Filmbuff28
Well-known member
Whenever we wanted to use the nikon we just took off the 18-50 and held up the 135 to the lens mount and held it real steady like... No, we just planned around our long shots (there weren't many) because of the time it takes to change the mounts out. I wish we had either the 18-85 or the 50-150. Next time for sure.
Filmbuff28
Well-known member
Clerks's budget was 27k (in 94') and Blair witch project was 22k (in 99'). Just so we know.
The Budget Game is a strange one! I think it matters around these boards because we're all trying to see what we can do with little-to-no-money. With that discussed, how soon til we get to see some stills! =D
About the 135 thing: you gotta do what you gotta do to make this stuff happen. Did you fumble any shots because of this? I assume there wasn't any dollying while employing the 135, less someone had hyper-steady hands; I know my hands are jello to begin with so I wouldn't try it. LoL
About the 135 thing: you gotta do what you gotta do to make this stuff happen. Did you fumble any shots because of this? I assume there wasn't any dollying while employing the 135, less someone had hyper-steady hands; I know my hands are jello to begin with so I wouldn't try it. LoL
Filmbuff28
Well-known member
we left the 18-50 for the dolly and the 135 for a select few shots. Since we are editing in 2k we can, if necessary, import a 4k file (to CS3 or shake etc.) and crop the appropriate 2k section and export out back to FCP and essentially get 100mm out of the 18-50. It would be like shooting 16mm 2k windowed with RED (you know).
As for stills ask and you shall receive. Give me a couple minutes to get a couple up. They are just going to be some random unfinished stills from some clips. Hopefully I can figure out how to post pics...
Dinky with Mr Sharpton
The private plane
Skipper being Skipper
Young Dinky drawing on a dirty window
Finder on the balcony
Dinky at the airport
Dr. Wentworth's apology
Low Men
As for stills ask and you shall receive. Give me a couple minutes to get a couple up. They are just going to be some random unfinished stills from some clips. Hopefully I can figure out how to post pics...
Dinky with Mr Sharpton
The private plane
Skipper being Skipper
Young Dinky drawing on a dirty window
Finder on the balcony
Dinky at the airport
Dr. Wentworth's apology
Low Men
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