Envision & RebeccaD Present "Where Silence Falls"

shawneous said:
Shoulder mount gives you a very different look from Steadicam, even on Hollywood shoots, where they could easily afford 100% steadicam you'll still see a lot of shoulder mount. Plus, a shoulder mount can get into spots a steadicam can't. So I'd imagine both would be great tools to have in the box.

I'd love to hear now what your plans are for Trinity River. Btw, I have a micro short that I will shoot in May or June on my Red, and I want you to star in it. (Here's hoping you say yes...)
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Devi's rejects was a lot of shoulder mount to give it a documentary feel.
 
Congrats, Norm. I was pretty confident that you were going to be sitting in the top tiers.

I think the short has a lot of potential, and exploring your setup a bit more could see a lot more recognition as well.

I remember a comment I made to you back like a fest or two ago. "Sure, if you want to come in fifteenth place again, go for it." Way to kick those words and my teeth in. You've really improved, man. I'm proud to say that I'm looking forward to what you kick out next.

Question: Do you feel that straight human drama, minus all the frills (horror, superheroe's, etc.) is your strong point? Like, do you feel that you've found something you can really tackle? I know that the practice helped a lot, but you seemed to really nail the humanity here.

SpyFest?
 
Thanks, Jazz Dog, who's signature I love! :thumbsup:

Kholi, I think you may be right with regards to the drama/niche thing. I HOPE that I can do well with other genres as well, but I know even for my own performance stand point, I prefer dramatic things with a lot of human emotion. If I do SpyFest, it's likely going to have a ton of emotion as well ... still trying to weigh that one out.
 
I think that's just part of the process. By all means, if you pull a SpyFest short that actually makes me go "oh shizzle" like the phone call in WSF, keep giving us that.

Congrats once again.
 
Congratulations Norm!!!! Woo Hoo!!! Awesome!

Congratulations to everyone on WSF. Rebecca!! Ryan!! Justin!! Dan!! Forrest!! EVERYONE INVOLVED! Well Done!!!

Norm, I LOVE that clip that you posted of the camera rushing in on Rebecca and then rotating around her! WOW! Can you PM me to a post or info on how you did that? That was amazing.

Great job everyone! Great film!

-Ted
 
Hey Timur, Darkline & Ted, thanks very much! D and G, thought I saw a post of yours last night, but now gone ... regardless, I know you were saying congrats, so I wanted to thank you as well, much appreciated for your support!

Ted, as far as the process, Vegas is able to do some pretty amazing things with regards to velocity/warping, etc. I simply took the first available frame where Rebecca stood absolutely still (so when sped up, she didn't have that RING/GRUDGE twitchy effect), and then sped up the footage a LOT (if I recall, it was 1,000%+), and then at a certain point (this was all shot at 720/60P) I SLAMMED it down to 40% speed for silky smooth slow motion, over the course of 1-2 frames (like going from supersonic speed to a crawl instantly). Was able to do it in five minutes or less, minus any CC'ing I did.
 
You know, to tell you the truth I don't really understand the tech stuff of the camera yet, since I don't own one. Ryan was trying to explain it to me today, and it was just basically going right over my head ... I'm such a hands on person that I've got to experience & play with things myself to truly know what's going on. Simply reading about it or hearing about it usually doesn't cut it for me until I've put the knowledge to application & test it out, etc.

If I'm correct, however, I think we simply shot it in 60P vs. 60i ... so instead of interlaced, we shot it progressive. That's it. When I plopped the footage into the 24P timeline, it played at normal speed, so I don't believe it was overcranked, from what I understand about all that.

Someone feel free to correct me, however.
 
I cannot wait to see it in the final DVD! You rock, Norm! Thanks Ted and D & G for all your nice comments! We so appreciate it!
 
Thank, Rebecca. I've decided NOT to spend the time trying to fix the interlaced/29.97 issue, as the fact that once we properly converted all of the footage back to the original 23.98/progressive that we shot it in, ALL of the cuts & edits would be out of place, and we would essentially have to re-edit everything from scratch, this time trying to match it up to the original as well. In addition to that, I'd have to resync all of the sound as well.

I've realized that this is probably not the best ROI (return on investment) for my time, as it IS just a short film, and other than tech geeks (like a lot of us) or people that see a side-by-side comparison of progressive vs. interlaced, 90%+ won't even notice anything with the picture.

I've got a seven minute version of the film that has no opening titles, but a 1 minute credit roll (that's the only thing that extends the cut) ... we weren't able to have time to change my character's montage shot, nor was I able to fit in the 'Michael Bay' style shot (I'll simply use it for transition menus instead on the DVD), as Forrest was just too pinched on time with other projects, and I don't know FCP well at all. I DID, however, make a quick edit in Rebecca's crying scene (getting off my face a little quicker & back to her), as well as getting back to over the shoulder of the punching scene, and beefed up the punching SFX a little ... small adjustments, but works better, IMO.

Finally, we did all the CC in FCP, and I think the CC looks MUCH better than how I had it before, which was a temp fix for the fest only.

Lastly, I've also cut a 5 minute version of the film for the Speilberg ON THE LOT contest. With a story already so tight, it was tough to find an extra minute to cut, but I think it works ... feel free to let me know what you think: www.eefilm.com/silence/film/silence-speilbergsubmission.wmv
 
Yep, has the new CC (just more clear, as well as brighter ... not as muddy as it may have been before). The main difference between this & the festival cut is that we now start on Rebecca's initial phone call, and cut out a good chunk of both of our montages.
 
Yep, the CC looks a lot better now. Much clearer. I still think a little cutting on the end punching would have been good... I also liked the shortening of the montage.
 
All I could do (for the sake of time yesterday) was cut away from my CU punching to the OTS punching shot (someone had suggested that in this thread, and I liked the idea of getting away from the CU sooner) ... if I had actually cut down the scene/length, then I would had to have resync'd the sound from that point forward (because I did the sound on this end - Vegas, not on FCP), and then would had to have considered the score as well.
 
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