SHADY TEXAS web pilot

Jack Daniel Stanley

Jack Daniel Stanley

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Staff member
ADDED 8/21/10 TRAILER. Yay!



ADDED 3/28/10 TEASER





there's something dark in ... "SHADY TEXAS"


"Beacon" the web series* pilot / teaser for "SHADY TEXAS"
The * is for the fact that as of right now there are no plans for producing the rest of the series. We made the pilot for fun, as a stand alone (albeit an unresolved standalone), as part of a larger project (more on that later), and in the off chance someone might want to option it or produce the rest of the series online or elsewhere.

SPECIAL THANKS to AUSTIN FILM MEETUP and SMITHVILLE TEXAS
(individuals to be named soon).

CREDITS BELOW.

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SHADY TEXAS
- WRITTEN AND DIRECTED BY JACK DANIEL STANLEY
- SHOT BY VINCENT PASCOE
- PRODUCED BY BARRY GREEN / WRIGHTSVILLE BEACH STUDIOS in ASSOCIATION WITH JDS/ FRENCH QUARTER FEATURES

KEY/INVALUABLE CREW INCLUDE: ADRIAN GOLDEN, BRANDON BOGGS, H. CHERDON BEDFORD, LOUIS MONCIVIAS GUTIERREZ, DREW OTT, MARK GARDNER, LUIS CAFFESSE, CLIFF WILDMAN, DAVE RUTLEDGE, BRIAN MORGAN, SHEILA TAMBLE ...

STARRING:
GARRY PETERS
KYLIE BAKER
CHRIS HIGGINS
LAURIE COKER
LOUIS MONCIVIAS GUTIERREZ
LEAH SIMONETTA

CAST PICS and BEHIND THE SCENES SHOTS SOON.
 
MOVED INITIAL POSTS HERE since I forgot to reserve a few for BTS stuff (self noobed)

Brandon Rice said:
When/Where do we get to see it Jack?!
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Jack Daniel Stanley said:
Just beginning editing. Trying to switch from FCP to Premiere. So with the NLE switch, probably sometime in the next decade or so. :)

We're trying to get everything done in August. But many irons in the fire right now.
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Brandon Rice said:
Cool! Why the switch?
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Jack Daniel Stanley said:
I'm tired of color grading in FCP 10 bit. Also it doesn't play as well with Cineform which I think is a bit better than ProRes. Also After Effects is still better than Motion. So I want to do my color grading and FX in Premiere / After Effects with cineform and 32 bit float. I'm really having trouble getting to know these alien (to me) programs but the image is sooo much better.

So better IMAGE quality with more features in Premiere and After Effects. This is hard for me to say having worked with FCP since 2004. I dabbled with Premiere a bit before that but only a few times and it's so different now.
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Brandon Rice said:
Gotcha :)

Yeah, I'm still on my ol' Avid... work with a guy who uses AE quite a bit, and we've figured out a good workflow, but it's still tricky sometimes... and as for mastering, yeah Premiere has some advantages.
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Matt Sconce said:
Welcome to the Dark side....mwa ha ha. I have been with premiere for a while now. I think you will learn it quite quickly.

I am STOKED to see more of this project Jack. -Matt
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Ian-T said:
Wow...you sure know how to hype things up. I am also eager to see this movie...at least a trailer..lol. But I have to say way to go.
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Ian, the newspaper was all Smithville - they know how to hype it up ... OK I do too. But they're way on top of this kind of stuff in addition to being awesome in every other way. And it will be a full 8 to 10-ish minute "webisode". Not just trailer. The story will be a bit more of a tease though in so much that it will introduce some of the mystery but leave it unresolved until the next episode (which currently there is no plan to make ... muahhahahaha!) :)
 
Still on a mac. I feel blasphemous liking something over FCP. I will have to spend some extra time with some of my iphone apps that do things like control my home stereo in order to feel clean again.
 
Jack Daniel Stanley said:
I'm tired of color grading in FCP 10 bit. Also it doesn't play as well with Cineform which I think is a bit better than ProRes. Also After Effects is still better than Motion. So I want to do my color grading and FX in Premiere / After Effects with cineform and 32 bit float. I'm really having trouble getting to know these alien (to me) programs but the image is sooo much better.

So better IMAGE quality with more features in Premiere and After Effects. This is hard for me to say having worked with FCP since 2004. I dabbled with Premiere a bit before that but only a few times and it's so different now.
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I'm really curious about this. I've had CS4 for some time and just haven't gotten into using it beyond specific necessary situations, which has been only twice thus far. Are you saying you've been color grading in FCP and it doesn't work with Cineform well? What about Color and what about the new ProRes 4444 codec? Would that make a difference with the issue you're referring to?
 
Wow missed this question, was about to bump the thread because I just added photos.

Mike it's not that the color grading in FCP doesn't work worse with Cineform than it does with anything else. It's 2 things:

1. 10 bit color grading in FCP is extremely limited. Especially when it comes to any sort of power windows or relighting. You will likely see vingettes stair stepped with banding for example.

2. FCP doesn't work well with unknown / non FCP codecs. You just can't do all the real time monitoring and rendering with Cineform because FCP is made to work better with apple codecs. So you have to bring your neoscene stuff into a proress timeline and render it in pro res if you want it to play on an external monitor fore example, then duplicate your timeline when you are done, change the codec to cineform, re-render then output.

BUT ....

The workflow I described above has been to processor intensive. I just can't get premiere to run worth a flip on my macbook pro. It's almost like a practical joke application. It opens and looks fancy, but literally does nothing.

Anyway .... pictures with links to galleries added at the top posts. BUMP (sort of).
 
Hey Brandon,

Status has been "back burnered" behind getting Depth of Phil ready for festivals and getting a feature script ready. I have some final mixing, etc. to do on Depth of Phil and the feature script is near completion. A theater in Austin in conjunction with our local Film Meetup group wants to do an evening of my shorts during SXSW. So ... blah bla blah, I hope to premiere a very nearly done SHADY TEXAS at that screening.
 
Looks great. I love the sharpness in the features of your actors. The light/dark distinctions and the subtle shadows you threw in were wonderful. Watching that really stimulated my interest. Thanks for sharing with us.
 
The teaser looks great – congrats!

I think I recognize the jib-shot on the crime scene from a post a long time ago, when one of you guys described jumping through some hoops by mounting a second camera (an HV20?) alongside the GH-1, for monitoring purposes.

Was this 100% GH-1 footage (including the chroma-key stuff)?


DP


Sorry to focus on the technical; I've just never attempted keying with footage from the GH, and I thought this looked great!
 
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Thanks Jonathan & Gary.

@Blue_Food: Ha! I wish we'd been smart enough to rig something like HV20 thing you're talking about. No we just shot blind and reviewed the takes and made adjustments. Yep that's 100% GH1 even the greenscreen.
 
Jack Daniel Stanley said:
@Blue_Food: Ha! I wish we'd been smart enough to rig something like HV20 thing you're talking about. No we just shot blind and reviewed the takes and made adjustments. Yep that's 100% GH1 even the greenscreen.
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Ha ha! Weird. I'm pretty sure you posted a grab or a BTS image of that scene in the early days of the GH-1, though. Maybe it's just what I was thinking at the time, or another member's suggestion!

Best of luck with the project; I look forward to seeing more!

DP
 
You've seen the crane shot in Vincent Pascoe's demo reel, so that might be what you were thinking. That was posted a few months ago, long before Jack got this trailer up.

yes, the GH1 was set on the jib and the screen was pointed down and we just kind of stationed a couple of people around the arc of the shot so that they could keep an eye on it. Pretty ridiculous workaround, and one of the things I hate about trying to get great shots on these types of cameras (but, that said, we did get the shot, and as you can tell it all looks spectacular.)
 
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