Show Your Work 2003

[Rob Lohman]

I can imagine you can always export your movie uncompressed
as an AVI (or any other AVI codec that suits your needs) and
load that up into AE, it might even understand Vegas' DV Codec.
Try it out!

[Rob Lohman]

Bob, I've put a reply to this in the other thread

[Bob Benkosky]

Yea, saw that, I did this one before I saw the reply. Plus, having a seperate topic helps others find it easier.

Yea, I just got Adobe 5.5 and it seems to work with avi's so I guess it will work. Seems that will simply eat up HD space, which I need more of. 80 gigs don't do it no more. I'm going to be getting a 160 or 200 drive soon.

[Shawn McBee]

I thought I'd post a couple links to trailers for a short I worked on to see what you guys think. I would like to note that I can't take credit for much of any of this, I was little more than a general crew member, though my camera (XL1 - stock 16x lens) was used for some of the shoots. I think Greg, the director has done amazing things with this and I think most of you are likely to agree. For those of you who are curious, editing was done in FCP 2 and 3, also not by me.

http://www.theuninvited.net/Uninvite...elentless.html
http://www.theuninvited.net/Uninvite...journal_I.html

(Quicktime req.)

-Shawn

[Rob Lohman]

Looks very nice indeed. Especially the Relentless trailers has
a real professional trailer feel to it. The other one was okay too,
but a bit slow for my taste.

[John Locke]

I agree with Rob, Shawn. The Relentless trailer grabbed me more than the Journals trailer. Nice work. What did you do exactly on the film?

There are some nice shots...nice lighting, and some good effects.

You know the one thing I don't like about a lot of indie productions is when someones suburbia house is used for the location when it doesn't fit the theme of the movie. This type of story needs a scary old house or building. Somehow, seeing the evil woman framed by a modern bare spackled wall and vertical blinds and shag carpeting kind of takes the oomph out of it.

But that's just me...and believe me...I know how tough it is to get good locations.

[Stylianos Moschapidakis]

I only had the time to watch the Relentless trailer, and I have to say that it looks good; very good job on visual fx and sound design, and pretty good lighting too. I didn't mind the location as John pointed out. Not all scary stories happen in scary old houses.

Good work! I'll check out the other one some other time and let you know what I think.

[J. Cody Lucido]

Hey Folks,

I just wanted to drop a line and shamelessly promote our new DVD shot entirely on a Canon XL1s and edited at home.

We are very proud of the quality we achieved. It rivals anything else out there shot in this great format. If you are interested, you can buy it at:

http://www.customflix.com/Store/ShowTtl.jsp?id=204754

If you want to check out the Diary I kept as the DP on the production, you can go to my site at:

http://www.digitalvideo.cc

Or you can view the trailer and other goodies at Alex's site:

http://www.galaxaco.com/hellholehigh/index.html

We hope you enjoy.


-Cody

[Nori Wentworth]

I thought the lighting was great! I think I've seen a movie that was shot in the 80's that was the same story though... I can't remember what it was called.

I'm curious as to the background of the D.O.P.?

I was also impressed by the editting of both trailers.

-Nori

[Derrick Begin]

Kudos to the team...

I enjoyed the trailer, particularly the titles/effects editing. Also, the undead makeup/heroin look was nicely executed. (TRAILER was viewed only)

It looks like the work had some great production values.

[Shawn McBee]

To Answer John's question, I supplied my camera and microphone and acted as boom operator, grip, lighting assistant, basically anything where a body was needed to do something, I was there. I had just recently gotten my camera at this point, and was getting involved in this project as a way of sort of cutting my teeth.

As for the lighting, the DP was Greg, The Director. I'm not sure what his bg is as far as film school or anything, but he's only like 25 and this is really the first thing he's done. Much of the lighting was done with those lights that look like an aluminum bowl with a lightbulb in the middle (with the help of some gels) and with candles. On of which I had to hold just out of frame for 15 minutes, covering my hand in hot wax. But the end result was worth it.

-Shawn

[Todd Mattson]

Hi,

Planning to write a screenplay to be shot on my DVX100 later this summer, and wanted to know what the rules are about using trademarked names in dialogue and subject in a narrative. For example the topic I'm writing about is a trademarked prescription drug that is being abused that came to market in 1995. It has a generic name, but it's my understanding that the two are not one and the same, and there is a reason that abusers are looking for the version with the trademarked name. My question is, do I need to change the name if I cannot get permission from the drug company, which I may not be able to, as it portrays the drug in a not so positive light?

Thanks

[Akos Szemenyei]

It sounds like you have answered your own question, but yeah, you have to clear the trademarked name if you are going to use it, their lawyers are probably not that nice, especially if you are going to use it in a negative way.

[Richard Alvarez]

Todd,

Before you put pen to paper, (or digit to keyboard) consult an attorney. Find out your "exposure' and decide if you can live with it. That way, you won't invest energy into a project that can't be produced.

Don't screw around with your liability.

Richard

[Joe Gioielli]

There is a great book "The 5 Cs of Cinematography" Buy it, read it, read it again. It is a great book.

As for the clip, I watched it with the sound off. On the tech side it was great. You could consider tightning up the frame and don't be afraid of a close up. That will help get rid of the "Newscaster" effect.

Comedy or Drama, focus the attention of the auidence.

Looks good and good luck