two monsterfest entries on gh1

M

Matty_g

Veteran
Dispatch - monsterfest winner
1258914503.jpg

http://www.dvxfest.com/monsterfest/index.php?id=3600639


Sinnergy - 4th place
1258914465.jpg

http://www.dvxfest.com/monsterfest/index.php?id=3600650

Both shot by me on the gh1 w/ hot rod pl mount and lomo anamorphics.
 
Matty I wanted to ask you about the exact frame you posted from Dispatch.

Are the lights in the left side of the screen gelled that blue green color and the lights in the right side ungelled or gelled warmish? Or how did you get that look?
 
The lights on the left were i believe tungstenish flous from home depot doubled up with a cyanish gel i had and the other side is a 650 tungsten w/ chimera on a dimmer.
 
It works in the film no question. How did you arrive at that look. Did you ever question what you were doing? Think it might be to contrived / artificial to play for example? Again I think it really plays well. My question comes from how well it plays and that it was a ballsy, big choice. Somehow the scene feels fairly domestic and real. Not completely X-Filesy where a choice like that would be apropos, and it still works here nonetheless. So how did you arrive at it and did you question if it might be too much?

Thanks.
 
It was a conscious decision to be more bold with color and the need to spice up a rather "town and country" location.

I really like the work done by stephen murphey
http://www.stephen-murphy.com/ and how his very bold color choices play so well with the story he's telling.
Also, like I said, it's a monster movie so unnatural colors feel more at home here. One thing i will say is that they were never intended to actually BE in that space. It was meant to be more of a background thing. Blocking got changed on set and I had to improvise a few things. Lighting people on the ground and in confined spaces is way harder than i though.
 
Wow, I didn't realize the same person shot both great work Matty! Any chance of seeing Vimeo HD soon for either?

Also, while of course the filmaking talent is far more important in all instances than the Camera being used, I will say that the last two DVXfest winners being shot on the GH1 might give pause to those internet hordes claiming it's useless.
 
Matty_g said:
It was a conscious decision to be more bold with color and the need to spice up a rather "town and country" location.

I really like the work done by stephen murphey
http://www.stephen-murphy.com/ and how his very bold color choices play so well with the story he's telling.
Also, like I said, it's a monster movie so unnatural colors feel more at home here. One thing i will say is that they were never intended to actually BE in that space. It was meant to be more of a background thing. Blocking got changed on set and I had to improvise a few things. Lighting people on the ground and in confined spaces is way harder than i though.
Click to expand...

I can see that re the ground, especially concerning shadows both on the face and on the floor.

Thanks for your responses. I see basically it was for mood. Were there any other reasons or things about that moment or in a larger sense, more from a narrative standpoint, that you chose that lighting to convey (not saying mood isn't a good, or most right answer) just wondering if there was anything else about the story that pushed that cyan/warm split screen contrast choice.
 
Stunning, amazing, I don't know what to say really, THE BEST FOOTAGE FROM GH1 EVER, NO DOUBT. A great movie also, I really enjoyed it.

Congratulations!
 
Both Dispatch and Sinnergy look fantastic. I'm so envious of your LOMO anamorphics.

Both are also well done films - acting, editing and direction. Looking forward to more.

Good job and congrats!
 
Jack,
You could say that at that moment the different color pallets represent the internal struggle between the womans human, and vampire selves.
You could say that the haunting blue in contrast with the warm setting is a clue that maybe something is wrong back there.
Neither of these things were talked about on set.

Soroush, Sinnergy was shot with the dynamic B&W preset. Nothing changed. all 1080. Not much cc. I was not involved in post but I know it was transcoded into prores, and then converted by cinematools to get the 24p.

Dispatch was the same post process with the smooth preset.

These are going to be as high of res as I imagine they'll have online. These may get taken down soon when they start entering them into other festivals.
 
Hi Matty,

Just curious if you used an outboard monitor with the composite output and the "dustbin" trick in order to get a larger view during shooting, and if so, did you have a monitor that would let you squeeze the image so that you could see how it would look when properly stretched?

I'm planning on shooting my feature with anamorphics and I'm wondering about shot composition when you can't really see what the final image is going to look like on the camera.

Wow, Dispatch was great!
 
Last edited:
You must log in or register to reply here.
Back
Top