Ben Sliker
Pain In The Ass 2.0
keep rocking it Kholi!
FEATURE: TRAILER - SUPERSEEDS | Super Powered Adventure
- Thread starter Kholi
- Start date
Definitely on two hours of sleep over the last two days, need to eat for sure but I've been glued in the chair checking out footage from the last week's rush.
Two more days of shooting left, a reshoot day and pick-ups, one scene... and About to start cutting, FINALLY... but first making some adjustments in REDCine to the footage before it gets kicked out.
Hopefully, there'll be a teaser available really really soon.
Two more days of shooting left, a reshoot day and pick-ups, one scene... and About to start cutting, FINALLY... but first making some adjustments in REDCine to the footage before it gets kicked out.
Hopefully, there'll be a teaser available really really soon.
ryancglover
Well-known member
Congrats! Very much looking forward to the teaser!
Matt Sconce
Veteran
I would love to hear what adjustments you are making in Red Cine. Congrats on the almost wrap of production!
Your feature looks great, man. Again, made me wish I would've stuck it out and just shot anamorphic!
Honestly, fairly unnecessary adjustments. I'm doing some light image manipulation from the original footage to something that I'd like to look at while cutting... example...
Adjusted (not calling this color correction, it's just me adjusting small details so I won't freak out in the edit)
This is what I'd be okay with showing anyone interested in a cut later on, without having to go back to the raw for a major adjustment.
While I know that DSLRs and other cameras similar can produce amazing imagery on a budget... Unless it's for an effect, I wish to never use anything sub RED MX or Alexa again... the flexibility is just too handy for a low budget production, especially when it comes to post recomposing shots in 4.5K.
Matt Sconce
Veteran
NICE! Thanks!
ryancglover
Well-known member
Thanks a lot Kholi!
So envious of that nice flat, beefy RED image. All the shots look great.
It's been a lil' while since I've posted anything. Just been working hard on the material, but the updates would be:
1. A tentative wrap on Principal Photography. But, I know we'll have to go and shoot a bit more material to fill out some transitions. Regardless... we've move on to...
2. Editing. What a crazy-ass process. I've only done one short before and it never turned out (or was never finished) so, now that we're at this stage it's been insane. More on this later, because I've already assembled a full rough cut and...
3. Screened the feature for the most close involved. A room of about five of us sat and watched it in its rough form, at least two people haven't read the script and one was detached from the entire process up until now. Glad to hear some genuine laughs at material and know for SURE that some of it needs to be retooled for timing and punch. Regardles, now...
4. I'm back on the second cut, redoing full scenes and we've got a list of what needs to be shot to help the transitions from scene to scene. It's not a lot, but plenty enough to get back to work on.
I'm a little bummed that I haven't had time to get back to writing and preparing another project, I've been overseeing the edit and actually digging in a lot myself to help speed up the process, but soon enough. So much that I've learned that could never be taught otherwise.
Hoping to have a trailer up really REALLY soon, and I'll throw up a few thoughts about this entire process now that I'm at a different stage.
1. A tentative wrap on Principal Photography. But, I know we'll have to go and shoot a bit more material to fill out some transitions. Regardless... we've move on to...
2. Editing. What a crazy-ass process. I've only done one short before and it never turned out (or was never finished) so, now that we're at this stage it's been insane. More on this later, because I've already assembled a full rough cut and...
3. Screened the feature for the most close involved. A room of about five of us sat and watched it in its rough form, at least two people haven't read the script and one was detached from the entire process up until now. Glad to hear some genuine laughs at material and know for SURE that some of it needs to be retooled for timing and punch. Regardles, now...
4. I'm back on the second cut, redoing full scenes and we've got a list of what needs to be shot to help the transitions from scene to scene. It's not a lot, but plenty enough to get back to work on.
I'm a little bummed that I haven't had time to get back to writing and preparing another project, I've been overseeing the edit and actually digging in a lot myself to help speed up the process, but soon enough. So much that I've learned that could never be taught otherwise.
Hoping to have a trailer up really REALLY soon, and I'll throw up a few thoughts about this entire process now that I'm at a different stage.
Awesome man.
Kholi Hicks.
Talkin' the talk. Walkin' the walk.
Kholi Hicks.
Talkin' the talk. Walkin' the walk.
Ted Spencer
Veteran
Kholi's the man...
Eric Boellner
Well-known member
@Kholi, you said you've got a full rough cut already. Were you assembling the cut throughout production, or did you just bust ass in post to get it cut quickly?
Looks great. I've only seen the promo videos for Kickstarter, but even those were fun. Definitely let us know when you've got a trailer up.
Michael
P.S. Sorry if my question was already answered somewhere earlier in the thread. I've got this thread bookmarked for reading, but have had very little time to do so. <sigh>
Looks great. I've only seen the promo videos for Kickstarter, but even those were fun. Definitely let us know when you've got a trailer up.
Michael
P.S. Sorry if my question was already answered somewhere earlier in the thread. I've got this thread bookmarked for reading, but have had very little time to do so. <sigh>
Wrapped and rough cut in a couple of weeks?
Yeah you're such a slacker dood
Cut yourself some slack foo. Inspired by and proud of you mang.
Michael Anthony Horrigan
More Cowbell Pictures
This looks like a lot of fun. Best of luck with the post work.
I would have LOVED to actually get to cutting over the course of the downtime between shoot dates but, because there wasn't much money, I actually had to continue to find other work which depleted my personal time resource.
So, no, no cutting over the span of shooting. I actually had only glanced at the footage off and on, did some editing tests but never got around to cutting a scene until the very lasty "full" day we shot.
Transcoded all of the RED footage to 720P LT PRoRES and started chopping away. There's also another editor working one some of the scenes, I couldn't just go away and ended up cutting forty out of fifty-three scenes myself.
I think it was one of the best things I could have done to learn more about directing.
I'm on the second cut now and have recut a number of scenes over the weekend, just pulled two all nighter/all dayers to get them done so that I've got another cut with temp music and sound gaps filled in by friday.
Looks great. I've only seen the promo videos for Kickstarter, but even those were fun. Definitely let us know when you've got a trailer up.
Michael
P.S. Sorry if my question was already answered somewhere earlier in the thread. I've got this thread bookmarked for reading, but have had very little time to do so. <sigh>
MUST keep it fun. My first lesson is just in entertaining an audience, so it's a pretty dumb story but a great exercise in generating a response.
I'll definitely keep the thread up to date as media is released. Thanks much, Michael.
Wrapped and rough cut in a couple of weeks?
Yeah you're such a slacker dood
Cut yourself some slack foo. Inspired by and proud of you mang.
Thanks J Dan Stannnn. You know how it is, though. It'd be nice to be very ready to roll on something else as soon as I can step out of the editing bay--more than likely during sound and VFX process--so that I don't sort of get caught sitting around. I do have some stuff that I want to start shooting immediately, though.
>=P
Marlon Ladd
Veteran
Filming is our life! We just can't stop.
It's really hard to find great actors. I can't decide which is more important, or which to take if you could only have one or the other: really good actors or really good sound. Meaning, they're equally detrimental to making or breaking a project.
So, when I say to STAY AWAY FROM SAG IF YOU ARE LOW TO NO BUDGET ... it pains me. But, dealing with SAG is the BIGGEST headache I have come across so far.
Before you deal with SAG, remember these things:
1. SAG ULB says that you pay each actor 100.00/day minimum (with no residuals) and, on top of that, pension and healthcare. So, each actor's getting paid around 125.00/day or more. I can't remember the exact figure. It's a steal, and I'm not complaining about the money, but just realize that it's not 100/day, it's 125.00/day.
2. You have to pay through a Payroll system. That tacks on an amount per payment, not sure how much it is, but count on it.
3. There is a BOND that you have to pay up front to even use the actors. It's a percentage of all of the days you will pay your actors in the future. The bond is going to be painful, unless you figure out a way to shoot in seven days or under. So, add a few thousand on top of what you have budgeted to actors. You DO get this back, but it'll take like a month or more to do so. And, you probably need that money to shoot.. right?
4. The system is old. It's paper-based. Expect long wait times and organize months in advance...
I am not AGAINST the guild. It's great for larger budgets, the rest of that stuff. At that point, bonds etc don't really matter, you're paying to ensure a product and you probably have at least a million to work with. Cool.
They also make sure their actors are treated fairly (not like animals) and get paid, while taking a little cut themselves. There's a pension, I mean. So, of course it's a good thing depending on how you look at it.
At this stage in the game, dealing with SAG is a huge burden and I would rather pay the actors out of pocket. They get paid faster, I don't have to deal with the monster.
Of course, it's much harder to find great talent that isn't SAG yet or being forced to join the union. So gotta pick your battles.
So, when I say to STAY AWAY FROM SAG IF YOU ARE LOW TO NO BUDGET ... it pains me. But, dealing with SAG is the BIGGEST headache I have come across so far.
Before you deal with SAG, remember these things:
1. SAG ULB says that you pay each actor 100.00/day minimum (with no residuals) and, on top of that, pension and healthcare. So, each actor's getting paid around 125.00/day or more. I can't remember the exact figure. It's a steal, and I'm not complaining about the money, but just realize that it's not 100/day, it's 125.00/day.
2. You have to pay through a Payroll system. That tacks on an amount per payment, not sure how much it is, but count on it.
3. There is a BOND that you have to pay up front to even use the actors. It's a percentage of all of the days you will pay your actors in the future. The bond is going to be painful, unless you figure out a way to shoot in seven days or under. So, add a few thousand on top of what you have budgeted to actors. You DO get this back, but it'll take like a month or more to do so. And, you probably need that money to shoot.. right?
4. The system is old. It's paper-based. Expect long wait times and organize months in advance...
I am not AGAINST the guild. It's great for larger budgets, the rest of that stuff. At that point, bonds etc don't really matter, you're paying to ensure a product and you probably have at least a million to work with. Cool.
They also make sure their actors are treated fairly (not like animals) and get paid, while taking a little cut themselves. There's a pension, I mean. So, of course it's a good thing depending on how you look at it.
At this stage in the game, dealing with SAG is a huge burden and I would rather pay the actors out of pocket. They get paid faster, I don't have to deal with the monster.
Of course, it's much harder to find great talent that isn't SAG yet or being forced to join the union. So gotta pick your battles.
Barry_Green
Moderator
Kholi, you've only been treated to the easy part. Wait until you try to sell the film, and find out that you may owe money to SAG on amounts that they make up out of thin air. If you sold it outright to a distributor for ten grand, who refused to sign the SAG Distributor's Assumption Agreement -- you remain on the hook for paying royalties to SAG, on whatever SAG thinks that distributor might have grossed. Here's a fearful example:
You sell the film to York for $10k cash, you pay your actors their royalties, you think you're done.
York goes on to distribute it however they do.
SAG estimates that York has probably grossed $700,000 dollars worldwide on your film.
SAG sends you a bill for 12.3% royalties. Yes, SAG sends you a bill for ~$75,000... on a film you sold for $10,000.
You take that bill to York, and they say "screw you, we're not paying that -- SAG sent that bill to YOU, not to US."
If your distributor doesn't sign that Distributor's Assumption Agreement, you are perpetually and forever S C R E W E D. In that scenario, you would have been better off never selling the film in the first place.
You'd better know exactly what you're getting into, before signing that SAG agreement. For no-budget folks, it's rarely a good idea.
The one saving grace is if you're lucky enough to get picked up by a distributor who is already a SAG signatory, because in that case they are presumed to have automatically signed the DAG and you therefore have no more worries about royalty payments, those become the liability of the distributor and no longer your liability. But other than that, unless they specifically sign that agreement (and when you're talking about a low-budget distributor, why would they?) then you remain liable, and in lieu of actual accounting reports, SAG can estimate what they think the distributor's gross revenues were. It doesn't matter what you got paid, not one bit -- the contract you signed said that you would pay a royalty based on gross distribution revenues, and you remain liable to that until someone else signs the DGA assuming liability onto themselves. And if the distributor won't give SAG accurate accounting reports (and why should they?) then SAG retains the right to estimate what they think the distributor grossed, and bill you based on that.
It's crazy.
That's the #1 problem I have with SAG. They can bill me for money that I never even received. Ain't right.
You sell the film to York for $10k cash, you pay your actors their royalties, you think you're done.
York goes on to distribute it however they do.
SAG estimates that York has probably grossed $700,000 dollars worldwide on your film.
SAG sends you a bill for 12.3% royalties. Yes, SAG sends you a bill for ~$75,000... on a film you sold for $10,000.
You take that bill to York, and they say "screw you, we're not paying that -- SAG sent that bill to YOU, not to US."
If your distributor doesn't sign that Distributor's Assumption Agreement, you are perpetually and forever S C R E W E D. In that scenario, you would have been better off never selling the film in the first place.
You'd better know exactly what you're getting into, before signing that SAG agreement. For no-budget folks, it's rarely a good idea.
The one saving grace is if you're lucky enough to get picked up by a distributor who is already a SAG signatory, because in that case they are presumed to have automatically signed the DAG and you therefore have no more worries about royalty payments, those become the liability of the distributor and no longer your liability. But other than that, unless they specifically sign that agreement (and when you're talking about a low-budget distributor, why would they?) then you remain liable, and in lieu of actual accounting reports, SAG can estimate what they think the distributor's gross revenues were. It doesn't matter what you got paid, not one bit -- the contract you signed said that you would pay a royalty based on gross distribution revenues, and you remain liable to that until someone else signs the DGA assuming liability onto themselves. And if the distributor won't give SAG accurate accounting reports (and why should they?) then SAG retains the right to estimate what they think the distributor grossed, and bill you based on that.
It's crazy.
That's the #1 problem I have with SAG. They can bill me for money that I never even received. Ain't right.