Evie - Mark Harris

Mark Harris said:
There is much, much post production left to do...
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I hear ya on that one. I'm having a bit of a challenge juggling the sound mixes for my own. I imagine you have a bit of a process to go through now with yours.

Any idea if you overshot or will it be a fairly straight forward edit, with just a bit of trimming?
 
puckthemad said:
I hear ya on that one. I'm having a bit of a challenge juggling the sound mixes for my own. I imagine you have a bit of a process to go through now with yours.

Any idea if you overshot or will it be a fairly straight forward edit, with just a bit of trimming?
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I storyboard and shotlist everything, so I don't usually overshoot. We generally get anywhere from 1-4 takes of any one thing, to get it with between performance, camera movement, etc. This time we had several difficult, long shots that had to gt it right between all elements.

Luckily my crew was off the hook on this shoot. They looked the challenges straight in the eye and said: "Hey bud, let's party!"

I know how the edit will basically play, but sometimes there are pleasant surprises in the footage, so I am open to those.

No, the post in this will be a lot of work, because there are a couple of EFX shots, and a lot of color manipulation I want to do.

That and the soundscape needs to be pretty detailed.
 
Couple grabs from today. More soon.

leah_couch.jpg

leah_laptop.jpg
 
Nice. This feels like it has a more classical approach cinematically. I'm craving to shoot stick and dolly these days... I've been doing nothing but handheld insanity because I'm too cheap to rent a tripod...
 
Beautiful grabs, Mark. I'm a big fan of classical films and I love this look a lot. The lighting has the feel of a film shot in the late 60s or 70s. I'm sure you are adding another layer during color grading to fine tune the look.
 
Actually the first few days were all hand held. Mikes probably in traction now. :)
We had the RED on the indy slider and it worked well I thought. I just wished we could have used the Miller on it instead of having to use the 503 but it still worked fine. It was a little ghetto looking but hey, it was indy film making at its best. Make with what you have.

Thanks Mark. I glad to hear you are happy with what we did for you and we would definitely do it again.
 
What's all this about "classic" cinematography?

This film is FULL of camera movement. Many of the grabs are taken from dolly shots. As Aram said, we did a lot of handheld one day, and a lot of dolly the rest of the days. It's one of the things I was working on in this film, was looking for motivated camera movement. And there is a lot in this film.

Thanks all, getting excited. I'm sure I will be pinging some of you with questions over the weekend as I edit, like: "How do I add a sequence in FCP?" :)
 
Beat Takeshi said:
Actually the first few days were all hand held. Mikes probably in traction now. :)
We had the RED on the indy slider and it worked well I thought. I just wished we could have used the Miller on it instead of having to use the 503 but it still worked fine. It was a little ghetto looking but hey, it was indy film making at its best. Make with what you have.

Thanks Mark. I glad to hear you are happy with what we did for you and we would definitely do it again.
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Thanks man, you guys definitely nailed some very difficult shots under less than perfect circumstances. That one in the bathroom with the zoom lens was golden. Glad you're happy with the end product too.
 
Beat Takeshi said:
We had the RED on the indy slider and it worked well I thought. I just wished we could have used the Miller on it instead of having to use the 503 but it still worked fine. It was a little ghetto looking but hey, it was indy film making at its best. Make with what you have.

Thanks Mark. I glad to hear you are happy with what we did for you and we would definitely do it again.
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I wish I discovered the Indy Slider before my shoot. There was a bump (molding strip) between an area with rug and hard floor that we could not dolly over. That Indy slider would have given me the distance I need. I ended up using another technique to get around it without losing too much time.

Keep in mind, films during the late 60s and 70s used a combination of hand-held, dolly, jib, crane and tripod shots. They did what ever it took to get their message out there. Robert Altman and Martin Scorsese, both classically trained Directors used everything at there disposal to strike emotional chords.

RPDM has the feel of these films I'm talking about. Its one of the best shorts I've seen on this forum.
 
Mark Harris said:
What's all this about "classic" cinematography?

This film is FULL of camera movement. Many of the grabs are taken from dolly shots. As Aram said, we did a lot of handheld one day, and a lot of dolly the rest of the days. It's one of the things I was working on in this film, was looking for motivated camera movement. And there is a lot in this film.

Thanks all, getting excited. I'm sure I will be pinging some of you with questions over the weekend as I edit, like: "How do I add a sequence in FCP?" :)
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"Classic" is too broad of a term. I probably should not use it.

I'm not sure about your FCP question, I was hoping you can answer that for me? I can't start editing until you do? :)
 
Some BTS from Day 3

Some BTS from Day 3

The BFD:
mike_aram_bfd.jpg


Ghetto-Slider. Never do this with your RED. I threatened to post this ghetto set-up at REDUSER and get them banned. Mike is using his finger to try to hide the fact that we are using a Bogen 503 head...

mike_hide_ghetto.jpg



Mike looks guilty. Aram is making "tard-fingers."

guilty_mofos.jpg
 
Sprocketboy said:
"Classic" is too broad of a term. I probably should not use it.

I'm not sure about your FCP question, I was hoping you can answer that for me? I can't start editing until you do? :)
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Well it's true in the sense that our lighting is pretty conventional. I wanted realistic light, but you can clearly see hair lights in there, and other things that don't really exist except in movies. I am a fan of beautiful cinematography to be sure. As I said in a previous post, I was watching an Almodovar film a couple weeks ago, and I was really reminded how much I do love really beautiful films.
 
The slider looks like a good investment.

Its bizarre how things play out. I rented a Sachtler Video 20+ Tripod Head for an HVX200 (overkill), and you used a 503 for a RED. I own a Bogen 503 and find it usable for pans or controlled motion shots with any camera. Its amazing that you manage to get anything decent while mounted on that head.
 
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