Routine Sickness

I thought I'd post something, even if it's nothing. Not a whole lot going on. The job's a lot less busy now, which is good. Money's been tight, though, since Rebekah went part-time. So I've done some side jobs.

Right now everyone's sick. First it was Bekah. She's just getting over it. Then Zoe, and I think she's starting to get over it. I'm in the middle of it. I know Brock was sick recently. Are you over it, Brock? It's probably running the gamut in his family too.

Cartoon's are a pain to keep doing. So, I pretty much dropped that. Perhaps you'll see one now and again on special occasions.

Quit

I just got off the phone with the director of the Advanced Production shoot (which I attended last weekend). I had to let her know that I quit and that she would have to find a replacement. I gotta say, I don't feel terribly good, but it had to be done. Last weekend, the shoot was an organizational hell. She didn't know what she was doing and she over-worked the entire crew. To top things off, she didn't provide the crew with very much food or downtime. We were there for 11 hours and we worked all 11 hours.
The final nail came when she failed to recognize the efforts of everyone who was involved in the shoot. She posted special thanks on the film's webpage to the cast of the film and the location providers, but she failed to highlight the efforts of key members of the crew. For example, she failed to recognize Brandon Steed, the nagra operator who basically put his cushy job at the Mac store in danger just so he could help her with sound. She failed to recognize the efforts of her DP, Jayme Schere and she failed to recognize the efforts of her script supervisor, who basically walked away from a very organized and promising shoot just to help out on this one. And then, just yesterday, the director shoots out an e-mail to everyone informing them that a 5th day will be added to the shoot. And here's the kicker...the burden of the camera crew falls on Brock and I. Yep, her AC's, DP and gaffer quit...so she was planning on having me fill in just about every roll on the camera crew. That wasn't gonna fly. So I quit.
This shoot has provided me with two valuable lessons: (1) Don't use the school equipment for your projects and (2)don't alienate your crew.

Your inside is out and your outside is in

Here's a late post for you...

I put the finishing touches on my new edit for "Outside In" today. I forgot why I wanted to make that film, and months after I had made it I found myself really disliking it, but after re-editing it I mentally said to myself: "Oh, riiiiight". It's just a silly film and that's why I had so much fun with it originally.

New points on this edit:

-Letter CU re-shot: on digital. Otherwise, without a good, clear closeup of the letter, the entire film is pointless.

-Monster revelation: the monster revelation sequence is quite a bit different now...the original edit had the dolly-back frame kick into an undercrank when the monster was revealed. Now, it starts off with an overcrank, moves into an undercrank and then eases back in to an overcrank. Lemme be more clear - it goes slow-mo, then fast, then back to slow-mo.

-Tossed out footage re-used: a lot of footage that I threw out on the original edit I use in this one, including lots of cut-aways.

-Cuts to black eliminated: Now, instead of the cuts to black scattered throughout the film, we have cuts to telecine color-correction. I really like this.

Getting experience

Hello all,

How have things been? I realize it's been quite a while since my last post, and I do apologize for that. I must say that this has been a very hectic semester. And that's quite potent when you consider that I'm not shooting any personal projects this semester…just writing and editing. Much of this stress and time consumption comes from the number of classes I've taken and the learning curve I've experienced in some of those classes. Avid editing in particular feels like one of those classes that are really giving me a run for my money.
The interesting thing about this semester however is the knowledge it has provided me with. Most of this knowledge relates to upcoming projects I plan to film with Josh and Gabe. For example, in producing I've learned how to make a business plan to attract potential investors to my films. Since a number of our movies currently in development (Castro, Everlast, etc...) are much longer then the typical 3-minute Screen Wars short, and because they have numerous production details that are far too expensive for us lowly peons to cover with our own wallets...attracting investors will be a key part to producing the next batch of MOC projects.

The other thing I've been attuned to lately is the various formats available in the film market...HD, MiniDV, 16mm, Super 16 and 35mm. I bring this point up because I plan to shoot my next two projects on film, if possible. This will probably mean that I will have to attract an investor. And if investors get involved, I'm sure they will support our efforts to maximize our visual potential.
However, there is the possibility that shooting on 35mm film will be far too expensive and burdensome for our investors. If that is the case, then we will need to be well informed of the other gauges and formats available to us. Josh will be the cinematographer on Everlast (the film I would like to use 35mm for), and I’m sure he’s able to consider numerous positives and negatives with regards to each format. I need to bone up on this knowledge however. In doing so, I've found myself flirting with the idea of shooting Everlast on Super 16. If 35mm becomes a pipe dream, Super 16 may be an alternative. I must say though, considering the user-friendly nature of various Super 16 products, shooting on Super 16 may become more then just an alternative – it may become the preference.

Some great links for Super 16 are as follows:

Aaton's website devoted to Super 16 and Super 35 products - If we do shoot on Super 16, I will probably go with an Aaton camera because of its maneuverability and easy magazine loading. We probably won’t be able to get a huge camera in on the fight scenes, and these smaller cameras are less imposing for the actors. They seem easy to deal with as well…The A-Minima takes 200 ft. daylight spools, so we can change mags quickly and efficiently on the set.

Kodak's website on Super 16 in the current HD marketplace - Gabe might find this to be an interesting article. It notes that many of HDTV's current projects are shot on Super 16 and then mastered to HD. The article does note a discrepancy in Super 16 for daylight exterior shots, but this discrepancy was found in 1996.

And finally...

Kodak's modest dictionary of Super 16 cameras - The information here isn't very detailed, but at least it gives you an idea of the current Super 16 cameras on the market, plus standard 16 cams that have been modified to support the Super 16 format.

I think another reason for my recent investigation into the Super 16 format comes from recent reports I have gotten about the quality of equipment currently accessible to students at my school. Next semester, I will be shooting my portfolio piece at the college, a 15-30 minute film with sync sound (for those curious, it is a war film much like Apocalypse Now or Platoon). I do have the option to record it on digital, but since this is my last real film project at the school, I would like to go out on film. Unfortunately, friends who have had access recently to the cameras and equipment for the portfolio class have reported a serious problem with quality. Lenses are banged up, scratched and difficult to manipulate. Magazines and cameras are worn and used beyond the point of repair, etc. Even more telling - groups of students who work in the equipment facility at the school shot their final projects this semester on cameras rented outside of the school.
I think with the problems I've had in the past (most notably with the Arri 16s on The Subject), the notion of shooting my final project on another badly worn camera is stomach churning.
I want one thing to be optimal on this final film: image quality. I don't want to deal with equipment that is difficult to shoot on, and I don’t want to get back a telecine that looks like it was recorded with a projector on a stucco wall. I’ve noticed that when these problems happen, when the basic fundamental image quality deteriorates, my contribution to the aesthetic quality of the story deteriorates as well. And I refuse to allow that on my next two films. When locations are falling through and my brains are leaking out through my nose, I can be comforted by the idea that at least my camera works…
On a related note: this Saturday, I will be stepping in as 1st AC on a portfolio project (I will be working with an old chum, Jayme Scherer). Obviously, this is a perfect opportunity for me to study the quality of the school's equipment. I'll be handling it all day, so I'll be able to get a fair idea if it is up to snuff.

Anyway, that's what's been running through my head lately. I'll try and post more often...I have to say; I've really enjoyed Gabe's comics. They've been a fond throwback to when I first met Gabe. I remember looking through his notebooks back then and finding all kinds of comics he drew that I found hilarious (they didn’t make sense, but they were brilliance!)

Castro

Charlie

Espanol

Mr. Young

First day of Bridge School has come and gone - what a great show. Los Lobos played a very energetic set and at the end they even did a cover with Neil. Bright Eyes kicked butt, busting out accoustic fare absent from the Digital Ash tour. Good Charolet was an embarassment, especially sandwiched between Nora Jones and Bright Eyes. Johnny Cooger (hah) was great, but his set faaarr too short.

That is all for now...

A final note: hikus for you

Alone with Brock,
Sitting in the dark,
Hands off, buddy!

Fake Irish accent,
Real Irishman in tow,
Soooooo dumb.

A strange woman's tuckus,
Brushes my kneee,
Do you smell pudding?

Two motrin,
On my seat,
For my buttache.

Wontons or eyeballs,
I do not know,
Chinatown.

Smells like the dickens,
So hard to light,
Dookie cigar.

Rebeckah Loyer,
Gabe Loyer,
Zoe Castro.

A Galli named Marco,
The Youngest Rotundo,
Gay as they come...

Oh to be Green Day,
So cliche,
Good Charlott takes the stage.

Nora Jones,
Piano and headphones,
Want to touch the hiney.

That's a lot...enjoy.

Ah, Blissful Merchandise

Today, was a good day. Remember when I had 90-some of my CDs stolen from my car? Just recently I ordered them all back. Today I got most of them in. Plus, I bought the new Batmen DVDs. That's right, Batmen.

Anyway, it was extra great to get the CDs because I was sorely missing them. I've only gotten into a handful of new artists in the past few years. Yes, I'm still jaded about the overall music scene these days. But now I get to listen to the "classics."

Avoiding a Car Crash

Tuesday I was cruising west along Bell Rd. during work when a white pick-up truck cut across north to a Fry's shopping plaza. Fortunately I saw him when he first took off. I thought he was going pretty fast, but figured he'd be stopping in the center lane, thinking he must see me, being that I was right in his path. Nope.

That only gave me enough time to floor it, and to try turning away from him, as I in was in the center lane, of a three lane, west bound road. I didn't make it past him and he nailed the back corner of my bumper, sending the tail north bound, but I regained control. He slammed on his brakes, after the hit.

I must've gained some distance, because when I looked back he was further away than I expected. He was stopped in the driveway of the plaza. I probably should've stopped the car there and walked back, but I wasn't thinking (the adrenaline was pumping). Plus, I saw a bunch of traffic coming, so I made a U turn to go back. He wasn't there anymore. I realized that he may have thought that I was taking off, since the next turn off wasn't for a little ways. But I searched the entire parking lot for white pick-ups and only came across two. I inspected both but saw nothing incriminating.

I expected my car to be in bad shape, but I almost couldn't tell I was even hit, if it weren't for the scuffs. If I had tunnel vision, and didn't see this guy, I would've been t-boned! It was a scary moment, but all's good.

The Matter of Chance Training Video

In one of my classes, I have to create a three to five minute informative corporate screenplay for my class project. What is that per say? Well, such screenplays might be akin to a training video or "company policy" film, a video you might see if you are training for a new job or applying to an organization. You know...films that tell you how you're supposed to give your customer their Wendy's burger.
I've never really had any job or corporation that I would affiliate myself with, and most of the kids in my class are using their current jobs as the sources for their screenplays. So, I've decided to create a training video for Matter of Chance Productions.

What goes into this MOC training video? Well, this is an introduction into the world of the Matter of Chance team - so I must cover our history, what services we offer and what it is exactly that we do. Every corporate screenplay, just like a feature screenplay, is broken into three parts. A beginning, middle and end. The beginning of the training video is supposed to introduce the organization and briefly highlight what it is that will be covered. The middle of the training video is supposed to cover the important information of the company, like the history, services and accomplishments. And finally, the ending of the video will state a "call to action", or something that entices the viewer into some kind of effect. I think the action for my video will be, "use MOC for your production needs", or some such fiddle faddle.

Now...most videos are presented with standard gimmicks or tricks. Some informational videos are just edited sequences of captured footage with a narrator voice over. Some are designed to be a mini-movie, covering a day in the life of an employee at "Wendy's". Some are simply speakers standing in front of a camera, spouting out info - talking heads if you will. The MOC video will be a combo of talking heads and voice over narration, and an MOC character will introduce each segment.
For the beginning, Harold will introduce us into the Matter of Chance world, using a chalkboard to highlight various components we will be looking at.
For the middle, Leonardo will be going point by point through the company history, following which he will promptly assassinate Joshua J. Provost, Gabriel Loyer and Brock H. Brown.
Finally, at the end, The Printer will give the viewer his or her call to action. The call to action will be punctuated by The Printer's death, which will make his martyrdom an inspiration to all future clients.

I expect it to be a fantastic video, one that the teacher will reject completely.

The New Storytellers

Just got out of my editing exam a short while ago...man, talk about a toughie. I did pretty well though I expect, so that's good.

I had to add one of my favorite Castro pictures to this post

Josh came over yesterday and we chatted about the Castro Film. A big thing we noticed was how young Castro looked remarkably similar in various facial features to Gabe, particularly the eyes. Physically, we have the look in the ballpark, so it'll be up to Gabe to nail the psychological aspect.

Josh also showed me pictures of the main character. Yes, it is a film about Castro, but there is a protagonist that we see the film play out through. And like Castro, he is also a historical figure who resided in that infamous period. No one we know looks quite like this fellow, so we may have to do some casting and searching for this part.

Anyway, all I can say is, I'm stoked.

Phoenix film's new base of operations?

I totally forgot to post this. Looks like ASU is finally taking steps to embark upon a serious film program.

Cough

Man, being sick is terrible. Let me tell you though, there's nothing worse then going to school...a full day, while being sick. Something nasty is in the air. And what's the deal with people? I had a whole bunch of people come up to me today (of all days) wanting to shake my hand. I feel like a tool telling people, "Hey look, I'd shake your hand, but I'm teeming with germs".

I'm Batman

Finally. I've been waiting for this for years. No word if it's a better transfer, but at least there's commentary from Tim Burton.

Many things

There are many things we must talk about soon.

1. Prison Break - who is watching? I'll blog about this specifically later...

2. Castro - The next MOC production? We need to set ourselves up a little online Castro database so we can all look at info regarding our story.

Land Shrimp

There were many of these creatures jumping around the beach in San Diego. I called them "Land Shrimp." Apparently that is what everyone else calls them as well. However, I wasn't about to find out if they tasted like ocean shrimp. I would've needed a handful anyway. That little guy above is probably around 5-7mm.

Dad Survives San Diego Trip

When Rebekah announced that we go to San Diego to meet up with family from New York state, I have to admit that I was very hesitant. We hadn't traveled anywhere further than the mall with Zoe, who is five months. She did very well.

We actually stayed in Solana Beach (pictured above) with Rebekah's brother Alex, and her parents. They have a second cousin enlisted in the Navy, stationed in San Diego. Her parents came out for over a week to visit her. Their original plan was to drive to Phoenix and visit Bekah's family. But why drive 5+ hours to come to the desert heat when you're in cool San Diego, by the Ocean? So we decided to go out there.

We did the typical beach visit. Saturday we visited Birch Aquarium, which Rebekah and I have done before, but the rest of the family hadn't. That night we ate at an Italian restaurant, Parioli. I had the seafood risotto, which was very good. We sat outside on the patio, which had a nice atmosphere. We were treated to a movie, Cosi Ridevano, on their outdoor screen. I didn't catch much of the movie, though.

It was good to get away, albeit a short weekend.

While

Haven't had a post in a while...don't know why.

Points of discussion:

-A hit man TV show (with episodes written by Gabe Loyer, Joshua J. Provost, Jeremy P. Provost and other guest writers.)

How am I gonna lure all those writers to the staff of my show? Well, I'm working on the premise, but I think it has two things that said writers will find enticing: hit-men (I know at least two of those writers have brooded upon this subject in the past) and filmmakers. These are the professions that the show will revolve around.

Note: I'm roughly developing the pilot for TV class right now, so don't everyone be writing up episodes just yet.

-Good Criterion DVD purchases (I'm thinking of something along the lines of Rashamon, Kagemusha and maybe something Godard. The problem with Godard is that I haven't really seen any of his films. He's one of those filmmakers where I'm forced to say "oh, he's brilliant", only because I know he is. From study, I've practiced theories he may have developed in my own craft.

...

Yes, it is ironic that I as a filmmaker use conventions developed by the works of others...works that I have not seen.)

-Creative writing class (Interesting, fun, but I feel a little underworked. Don't get me wrong, I get plenty of homework and I do it with the right attitude...I guess I want to be writing fiction. As this point she is developing us as writers. I whine now, but later on all of these minor exercises and routines will pay off in spades. I can already tell.)

-Armageddon (Speaking of Criterion, I was browsing their collection a short while back and I noticed the Michael Bay/Bruckheimer film on their list. What's up with that? I thought Criterion was a collection of the most important and often-times overlooked (by a mainstream audience) films. Armageddon?! The only reasoning behind this DVD being on the list is (a) Bruckheimer paid off Criterion handsomly and they used the cash to release a bunch of deserving films, or... (b) they consider it an important film to release because it represents the standard of all mainstream action films. It is the cinematic representation of that corner of the craft. Of course, maybe I'm missing something???)