REAP short film

Thank you. SGpro Rev 3. Zeiss f mount lenses. I was really pleased with the adapter. I typically shoot with a DP who owns an M2, which I've also been impressed with but the SGpro was what I had access to for this shoot. Planning on shooting a film with M2 Encore shortly.
 
This boosts my confidence since I just purchased a HVX200 and an SGpro rev 3 lol... though I have the nikon adapter.
 
F mount is Nikon. We've got the same set up. I found it to be totally reliable. I took it into some rough situations with the wind and weather. Worked great. Good luck!
 
I thought the SGpro gave it a nice soft organic quality. Just watched your demo reel Steve. A lot of nice moves. Love the stuff on the country road with the girl.
 
The footage is absolutely beautiful. Truly lovely. Shot composition is stellar throughout. Lighting is beautiful even when it is (apparently) completely natural, which is pretty rare at "our" (DVXUser) level. There are many, many shots that had me saying right out loud how gorgeous they were. I stopped it at 3:50 to drink in the lovely shallow DOF lamplit two-shot in the barn. Then there's the long grass blowing in the wind, the weather ravaged barn...honestly, just one lovely shot after another. Beautiful, beautiful, beautiful. Ridley Scott territory...

On the other hand (and this may have been a choice/compromise you made), the "story" is pretty empty. I felt very little from the film other than the breathtaking beauty of it. Unfortunately, story is far and away the most important thing in a film. Acting is second, and this film features little more than what I'd call 'posing". As such the film read to me sort of like a collection of 'moving stills' if you will. Larger audiences will not go for this sort of thing. You need a story...

Find a compelling one to tell, well acted and directed, and you'll make a fortune.

Please note that all of the above is *strictly* offered as 'my humble opinion'...
 
Well said Ted. Thank you. I'm shooting a film right now and your praise for the visuals is a great encouragement. Particularly because it was me and the actors out there. No crew whatsoever. So thank you for your comments.

As far as story, I was certainly expecting comments like this. You're absolutely right. I'll tell you where I'm coming from. Interested in a sort of poetry narrative style with film. Each image (line in a sense) distinctive, crafted, reflecting my sensibility, and then the whole to be an accumulation of subtle evocative pieces that can be unwrapped with some consideration or a repeat viewing. Walking a fine line between a distinctive narrative approach and an out and out experimental film. I'm consistent anyway, if you want to check out some of my other work, TO A FLAME, THE REGRET, SHELL recommended:

http://www.vimeo.com/michaelfisher/videos

The film is told in an unusual way but there is a certain amount of depth and emotion in there for me. The girl is manipulating the farmer away from his house so the other man can steal from him. The girl is conflicted about what she's doing and when she returns the second time, she appears penitent, and the farmer tries to resist but reluctantly follows her again. He's drawn to her. The other man shows up once more and approaches the house. Is the girl still manipulating the farmer or has she chosen him over the other man? I know what I believe but it's open depending on your own relationship & life experiences. That was the game plan.

As far as performances, I do subscribe to the Bressonian "models" school of thought. It takes skill to fit into this world and move through those extended moments in those frames. I don't think of posing in a negative sense but rather a classical style of filmmaking. Quite a few movies use a shaky cam and overly shallow depth of field to replace a good frame with actors placed to graphic effect.

You might be wondering right now if I'm 80? Close, 32. But man I love slow stylized foreign art films. And poetry. And children's story books.

Thank you for taking the time to watch and comment thoroughly and thoughtfully.

Best,

Michael
 
Wow, Michael. That was breathtaking. I was hesitant going into this once I read Nathan hadn't photographed it. I didn't know if I'd miss his perfect dolly shots or not. But wow. Your eye for detail and framing is as beautiful as his. You are very lucky to have that Vermont countryside to work with. It's such a foreign look. Loved it.
 
Thank you. Believe me I was just as hesitant about shooting it solo. Scheduling didn't work out with Nathan. He's very busy. And has children. I hope to shoot with him again soon. It was always going to be static compositions even if Nate had shot it. That made the idea of shooting it solo somewhat realistic to me. This was way up near the Canadian border in Vermont where it flattens out. I've always had a mid-west obsession. That wide open to the horizon landscape. Maybe it's because I grew up in a valley surrounded by mountains.
 
Thank you. You as well. I don't know how it could get much better than doing whatever I want in a place I love shooting. Really enjoying it.

Michael
 
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