how long did your first full-length feature take?

[jpbankesmercer]

I have seen three features blown up to 35 shot on the DVX, and I think they are beautiful. Obviously, they won't let me, but if clients would, I would use this camera for a lot! I honestly believe that the DVX and a Sennheiser MKH66 plus Avid Pro HD with BCC, BRed, Magic Bullet, FilmFX2 and Knoll Light Factory are the way to go. I love that I can take a grip kit consisting of an ARRI roller with a 1k softbank, 2 650s and a few inkies, a crate full of diffusion, tape and three sets of road rags, and just blow people away with the quality DV can rise to.

The DVX is absolutely the cornerstone of indie filmmaking. I wish I could go back and make ONIP with it...

I second this.
Themandril your film looks great, sincity eat your heart out.hehe.I wanted to use a similar idea for an intro of mine...Ill dig out what I did...Although i use adobe prem. pro and RTX suits me fine...I did my stuff in after effects...care to share your process?
J.P.

 

[themandril]

Thanks for the kind words!

Sure, as a matter of fact, the technical process of ONIP is laid out in an article in "The Art of ONIP" section at www.onenightinportland.com - shows actual shots, the changes as I worked through it and so on. I have to say, the trailer on the site doesn't do it much justice, but we had to trade stream time for quality. With rotoscoping you have to see it full res to really get the detail.

It was a lot of fun, but man, it was tough. Like David Lynch says, if you don't have the money there is still a way to do it. But it can take a while when you're just sitting with a laptop for months going, "Am I crazy? Will people throw stuff at the screen when they see this?" A large effects house in LA was curious and they asked me to let them screen it a few weeks ago. I sent a copy, thrilled that someone other than a drunk festival goer who wandered into the wrong screening was interested. They called back and said, "Uh, we love it. We watched it twice and we've never seen anything like it. But, uh, we have a question for you: Why? What on earth posessed you to do something like this to your film? Don't get us wrong, it's cool, it's going to be a cult classic, but how did you arrive at this look?" I said, "I don't know. It just seemed like the thing to do." And the article I mentioned above does go through a lot of the why and how of it, but sometimes you have to just experiment. I mean, when Sony gives you 100 million to make a film, you're not going to have any "experiment time" so you might as well do it now, and do it big. Do something nobody has ever seen so those people that get it will go, "WOW!"

Nestle has asked me to do a series of commercials identical to that look. My answer was "ABSOLUTELY!" so it will be out there and in no time flat you will see my look ripped off on MTV and everywhere else, but at least I was there first on something.