DVC7 - Kris Holodak - Christmas Past

Bruce Foreman · January 1st, 2007, 02:08 PM

Excellent use of closups and music with the opening sequence. Dialog and acting flowed smoothly, sounded just like a couple of sisters doing a little friendly verbal sparring.

I also was taken by surprise as the "passed" sister became the dog..."Oh just...You know. The dog".

I wanted to reach out and pet Blue. I'm "dogless" and have a lot of love and respect for the critter called "Man's Best Friend". Looks like blue takes direction fairly well.

Bruce

Kris Holodak · January 2nd, 2007, 09:22 PM

Well I'm back and as a reward for having watched most of the other entries I let myself satisfy my curiosity and read this thread. (I was going to make myself watch all of the others first, but they're starting to blend so it seems more fair to those that are left to watch them tomorrow with fresh eyes.)

Meryem: I'm not allowed to use Blue in any of my work videos, so she gets into all of my fun ones. :)

Michael: Same camera as always, Panny DVX100a stolen/borrowed from work. But you know, the more you use it the better you get. Glad you're seeing an improvement. No room tone throughout because I forgot to get a quiet patch of room tone to lay under. I got the dog so that I wouldn't be wandering around the house talking to myself all the time.

Bradley: I noticed the 1982 being prominent only when I got to the editing and sort of wondered how much of a problem that was. I have about a dozen ornaments from the real Mr. P. and they've all got dates. The one she was holding is from 77 and it was easier to just have her read it. In the story Mr. P is supposed to be dead (the real one is alive) and the question being have you seen him in the afterlife, which you wouldn't realize until later. At first I had scripted a response to that, but someone suggested choosing not to answer would set a better tone.

Bradley/Lorinda/Robert: I've been a trekie since back in the day when trekie was the right thing to say. Though to be honest I didn't put that there on purpose. We had decorated the tree the day before and then I spent a lot of time fussing over the "dead brother" ornaments (it was never supposed to be me) and their placement. It wasn't until editing that I realized it was there. I should really be more observant when I shoot. Lesson learned. BTW, it talks too. Push a button and Spock wishes you a happy holidays.

Chris: I'm glad you changed your mind about the ending. I spend so much time talking to the dog that it never entered my mind to do it any other way. That was how the inspiration for the story started, using the dog as a way to talk to someone you miss.

Mike & Mike: Thanks.

Hugh: the blue backlight in the other room? ...hmm... I hate to admit this, but I didn't light the other room. Though I could have, I'd brought home every light we own at work. But being down half my crew/cast I started taking shortcuts.

Jamey/Bruce: Blue is my best little actress, though mostly I was just trying to get her to sit up enough to be consistent from shot to shot, and visible at all in the wide shot.

Ok, the story of the music. 7 years ago my brother had a friend with some kareoke (sp?) christmas music so he coerced his kids into singing and made us all a CD. It was great in a you-have-to-be-related-to-them-to-think-so kind of way. But after a couple of years dear brother got bored with that and started writing his own christmas songs. And his kids have all been taking music lessons since they were in pre-school so they're pretty good when they're willing to be cooperative (the oldest one declined to sing this year probably because his voice is starting to change, but he still got a credit because he played the bass on a couple of songs.) So when I needed Christmas music I thought, Jim'll give me permission, that'll be easy. His stuff tends to be kind of peppy though and I went through a bunch of tests to find something that fit the mood. That's why I switched to the piano music after the opening bits. I was also trying to signifiy a passage of time, like she's listening to music while she trims the tree and enough time has passed to be on a new song. Not quite sure that worked, but it was a try.

By the way, the piano player, my nephew Mike, is also the artist who did the dog bone that hangs over my couch. I didn't put that there on purpose, but I was pleased when I noticed it showing up.

Smile,
Kris

Sean McHenry · January 3rd, 2007, 12:14 PM

Kris. Looking good. Lighting was crisp and images were good. I like what you did here. I don't take the end as creepy but more the idea you are projecting a personality on the dog. You see the dog as more than a pet, more like a person in the form of your deceased sister. Perhaps a coping mechanism for the loss?

Overall, nicely done.

Sean

Michael Fossenkemper · January 3rd, 2007, 02:34 PM

definately much more clarity and pop to you images. And the Colours jumped out, I could smell that tree from here.

Kris Holodak · January 3rd, 2007, 02:54 PM

Quote:

Originally Posted by Michael Fossenkemper

definately much more clarity and pop to you images. And the Colours jumped out, I could smell that tree from here.

I was really happy with that opening image, and really happy the compression didn't kill it. Here's what I think I can attribute the image quality to in perceived order of impact (if it helps anyone else to know):

- being in a very controllable environment
- being in only one location
- using softer lights than I recall using in my indoor shots last time
- taking the time to color correct (having those thick white window frames made it really obvious on the couple of shots that didn't exactly match, so I couldn't get lazy and skip that step.)

As happy as I am with that first shot there are others that I look at and think, if only I'd taken more time. So I guess my lesson learned is: take your time.

Michael Fossenkemper · January 3rd, 2007, 03:43 PM

I think all of those things contributed. but talking with Lorinda, we think it's more to do with your use of close and medium shots. all of the little background details that give it away that it's a small chip camera are not as apparent. Looking forward to your next one.

Don't mean to harp on it, I just like to find out what could be behind such big quality jumps.

January 2nd, 2007, 09:22 PM	#17
Kris Holodak Major Player Join Date: Feb 2004 Location: Washington, DC Posts: 302	thanks for all the great responses Well I'm back and as a reward for having watched most of the other entries I let myself satisfy my curiosity and read this thread. (I was going to make myself watch all of the others first, but they're starting to blend so it seems more fair to those that are left to watch them tomorrow with fresh eyes.) Meryem: I'm not allowed to use Blue in any of my work videos, so she gets into all of my fun ones. :) Michael: Same camera as always, Panny DVX100a stolen/borrowed from work. But you know, the more you use it the better you get. Glad you're seeing an improvement. No room tone throughout because I forgot to get a quiet patch of room tone to lay under. I got the dog so that I wouldn't be wandering around the house talking to myself all the time. Bradley: I noticed the 1982 being prominent only when I got to the editing and sort of wondered how much of a problem that was. I have about a dozen ornaments from the real Mr. P. and they've all got dates. The one she was holding is from 77 and it was easier to just have her read it. In the story Mr. P is supposed to be dead (the real one is alive) and the question being have you seen him in the afterlife, which you wouldn't realize until later. At first I had scripted a response to that, but someone suggested choosing not to answer would set a better tone. Bradley/Lorinda/Robert: I've been a trekie since back in the day when trekie was the right thing to say. Though to be honest I didn't put that there on purpose. We had decorated the tree the day before and then I spent a lot of time fussing over the "dead brother" ornaments (it was never supposed to be me) and their placement. It wasn't until editing that I realized it was there. I should really be more observant when I shoot. Lesson learned. BTW, it talks too. Push a button and Spock wishes you a happy holidays. Chris: I'm glad you changed your mind about the ending. I spend so much time talking to the dog that it never entered my mind to do it any other way. That was how the inspiration for the story started, using the dog as a way to talk to someone you miss. Mike & Mike: Thanks. Hugh: the blue backlight in the other room? ...hmm... I hate to admit this, but I didn't light the other room. Though I could have, I'd brought home every light we own at work. But being down half my crew/cast I started taking shortcuts. Jamey/Bruce: Blue is my best little actress, though mostly I was just trying to get her to sit up enough to be consistent from shot to shot, and visible at all in the wide shot. Ok, the story of the music. 7 years ago my brother had a friend with some kareoke (sp?) christmas music so he coerced his kids into singing and made us all a CD. It was great in a you-have-to-be-related-to-them-to-think-so kind of way. But after a couple of years dear brother got bored with that and started writing his own christmas songs. And his kids have all been taking music lessons since they were in pre-school so they're pretty good when they're willing to be cooperative (the oldest one declined to sing this year probably because his voice is starting to change, but he still got a credit because he played the bass on a couple of songs.) So when I needed Christmas music I thought, Jim'll give me permission, that'll be easy. His stuff tends to be kind of peppy though and I went through a bunch of tests to find something that fit the mood. That's why I switched to the piano music after the opening bits. I was also trying to signifiy a passage of time, like she's listening to music while she trims the tree and enough time has passed to be on a new song. Not quite sure that worked, but it was a try. By the way, the piano player, my nephew Mike, is also the artist who did the dog bone that hangs over my couch. I didn't put that there on purpose, but I was pleased when I noticed it showing up. Smile, Kris

January 3rd, 2007, 12:14 PM	#18
Sean McHenry Trustee Join Date: Mar 2004 Location: Hilliard, Ohio Posts: 1,193	Kris. Looking good. Lighting was crisp and images were good. I like what you did here. I don't take the end as creepy but more the idea you are projecting a personality on the dog. You see the dog as more than a pet, more like a person in the form of your deceased sister. Perhaps a coping mechanism for the loss? Overall, nicely done. Sean __________________ ‘I don’t know what I’m doing, and I’m shooting on D.V.’ - my hero - David Lynch http://www.DeepBlueEdit.com

January 1st, 2007, 02:08 PM	#16
Bruce Foreman Trustee Join Date: Nov 2006 Location: San Angelo Texas Posts: 1,518	Excellent use of closups and music with the opening sequence. Dialog and acting flowed smoothly, sounded just like a couple of sisters doing a little friendly verbal sparring. I also was taken by surprise as the "passed" sister became the dog..."Oh just...You know. The dog". I wanted to reach out and pet Blue. I'm "dogless" and have a lot of love and respect for the critter called "Man's Best Friend". Looks like blue takes direction fairly well. Bruce

January 3rd, 2007, 02:34 PM	#19
Michael Fossenkemper Major Player Join Date: Sep 2005 Location: NYC, weeee. Posts: 417	definately much more clarity and pop to you images. And the Colours jumped out, I could smell that tree from here.

January 3rd, 2007, 03:43 PM	#21
Michael Fossenkemper Major Player Join Date: Sep 2005 Location: NYC, weeee. Posts: 417	I think all of those things contributed. but talking with Lorinda, we think it's more to do with your use of close and medium shots. all of the little background details that give it away that it's a small chip camera are not as apparent. Looking forward to your next one. Don't mean to harp on it, I just like to find out what could be behind such big quality jumps.