kaylee
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Posts posted by kaylee
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1 hour ago, AaronChicago said:
Even
worsebetter than Birdemic and The Room....omg ????
• i kind of liked that i think i wanna see the movie
• it was also the longest 3 minutes of my life
• is this ironic tho!!! cmon....... *google search*
QuoteWikipedia: Neil Francis Breen[1] is an American film actor, filmmaker, and architect. He is best known for writing, directing, editing and starring in his self-produced films Fateful Findings, I Am Here....Now, and Double Down.[2] Breen came late to film-making, having previously worked as a real estate agent and architect.[3][4] His releases thus far have been considered cult films.[5][6][7]
haaaaa ??????
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i randomly saw the lights out trailer the other day and i was like Wow.... that was good (i hate everything)
talented dude great to hear more of his story. it is inspiring!
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@Andrew Reid i miss you how are you. how has your summer been
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2 hours ago, tupp said:
Your terror is justified. Avoid looping like the plague. It's not something you would ever want to do. If you do not record your audio live, you are in for a long slog through the mud in post.
ADR was discussed in a similar thread last week.
In this post, I embedded a video example of the proper way to setup each take in an ADR session to save time. If after watching that video you still think ADR is a cake walk, do a test -- try shooting one page of dialog with camera audio and then loop it. See how you feel about looping your entire project after doing that small test.
thanks @tupp... thats what I thought~!
tbh long ago i did a 30 sec spec commercial for school where i figured id adr the dialogue because there was ~so little dialogue~ and it was a nightmare and turned out terrible. mind you, this was at the very beginning of my filmmaking journey so i know a little bit more now... i would change a lot of things if i were to do it again lol. but that was when i learned that a film is audio
my vision for my indie feature is to do as little adr as possible – only when unavoidable. and of course im going to hire audio people who actually know what theyre doing, unlike myself lmao
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53 minutes ago, IronFilm said:
Thus one of the pitfalls I see of ADR on low/no budget productions is that you run out of "time" with actors to get them back to do ADR
that too
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@mercer thank you thats very helpful
tbh im the actor with the most dialogue, and the idea of just trying to match my voice cadence without using anything visual seems way easier to me.... but idk ive never really tried to do it lol
what i hate is watching something and having particular lines of dialogue stand out as adr – like in the middle of a conversation – where they dont fit in. i dont think audiences notice that but i do
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On 5/27/2016 at 1:06 PM, AaronChicago said:
@AaronChicago thanks for these dngs, i didnt realize how much i liked this camera, and as soon as i opened the first one you posted i was like Wow! looks good and so easy to work with!
is moire much of a problem? the gentlemans tie in the last frame is a p challenging pattern i know
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first of all, @andy lee, thank you so much for all of this great information. i love your use of COLOR!
now what is this adr stuff guys fill me in smore (mmmmm..... s'mores)
On 7/12/2016 at 0:54 PM, mercer said:I like ADR. I have done a little acting and it is pretty easy to listen to the scratch track and mimick the cadence and tone of your lines... Especially when broken down into smaller bits.
pretty easy... really??? thats great to hear ive always been terrified of adr cuz it just seems so hard and time consuming to me... from all these comments it must not be as tough as i think...???
On 7/12/2016 at 3:03 PM, andy lee said:most big Hollywood films are ADR , Fincher has been doing it for years now , as it lets the actors craft a performance for the dialogue , I do prefer it as you get a much better contralled dialogue sound in the studio , also outside in a big city its impossable to get useable production sound as you have car traffic noise , airplanes, policesirens etc etc all messing up your sound , so I prefer crafing at all in ADR and post.
that makes sense. but is this practical for a lil baby indie film like mine (feature)? i mean i love the idea of having that control to get the best performance, and isolating the voice itself from the rest of what the actors are doing...
wow i really have to look into this *mind blown*
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2 hours ago, AaronChicago said:
The image is different in my opinion though. Something about the 1DC looks different than C300mkii, IDXii...
I guess with the 1DXii it could be the lack of C-Log, but even the Cx00 lineup has a different looking image, with C-Log.
i agree
just for the record, i wasnt suggesting that these cameras all produce the same image
what i wanna see ideally is the color we get from ml raw on ALL canon cams
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id like to remind myself and everyone else that the original msrp of this camera was $15,000
FIFTEEEN THOUSAND DOLLARS
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21 hours ago, DaveAltizer said:
He never used the camera before and wasn't used to the full frameish image and got too close to our actor while she was swinging an axe and it put a gash on his head. Blood spewed everywhere
when people are new to producing, im like "Shit is going to happen that you do not plan for" ?
good work on keepin it goth. glad everybodys ok!!
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!!!!!!!!!!! interesting!!!!!!!
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why doesnt canon get this: ill buy both, BOTH an slr AND a cX00 cam, horses for courses, but i need the image to MATCH!!!!!???
thats the most obvious reason id buy into their "system" – i can pick up shots in clog with my 5d4 and match it to their actual video cams with plugs and grown up features
AND the slr shoots stills~! imagine that!!! what a concept
[edit:] addendum: "protecting" other cams doesnt make sense in the same way anymore with a 4k 5d4 and a 4k c100iii on the way. things change, 2016 is half over, lets move forward
- Michael Ma and zuku
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12 hours ago, independent said:
In fact, I would spend a few hundred dollars to rent a couple cameras for even a weekend....Have the DP, camera op, DIT, even editor, and of course the director, to figure out what works the best for you guys.
2 hours ago, jax_rox said:Again, I don't know the local pricing, but most rental houses will allow you take gear for test shoots if you have an existing relationship, or have committed to a long term rental.
lots of good thoughts on cameras, image quality is super subjective so ill leave that alone
rent before you buy! or buy from a place with a great return policy so you have plenty of time to get a feel for the cam
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as promised, i watched your piece again~! my plasma isnt really happy until the sun goes down – its the most reflective surface on earth. its like the opposite of vanatblack
3 hours ago, Liam said:I hope I don't seem like I'm defending myself on these points.. I do that sometimes. Not helpful, haha
you dont at all. but explaining your point of view in why youre doing things is just as important to ones own personal growth as it is to dialogues like this. and at the end of the day if you do something really great there will always be idiots who level empty criticisms, having the confidence to ignore these slights or defend yourself is part of the job
3 hours ago, Liam said:great note, I was a little worried about that.. I played both parts (clearly) and dropped the pitch of the guy in plaid just a little. thought it might have been enough, but I'll take another run through to see if I can make it better.. was really worried about doing that in a cartoony way haha
after watching this again i was about to withdraw my statement regarding the voices, or qualify it, and now that i know for a fact that you did play both roles, id definitely say you did well with having them seem like different people – good work. my thought was that they should be more different, in a more iconic way. not a comical way, what you have going is good, but since we dont see the characters faces, re-doing the audio for one character wouldnt involve all kinds of tricky synching... maybe you could have a friend do some voiceover you could edit in. just a thought off the top of my head, but again, after watching it again, i dont think theyre too similar for their own good, id just personally like even more of a dichotomy
4 hours ago, Liam said:hmm.. I was originally going to have the first guy be leaving a party in the adjacent room, to go to the bathroom (by adding muffled murmurs), to imply the second guy was sitting off by himself, later joined by the first guy, which might better explain his weird music choices?
ok sure. i was thinking that id like the music blended into the voicework more, so its a bit more entangled, sounding more like practical music in the room with them vs. dubbed background audio. but as far as ~what~ it is, like the different styles of music, thats cool but for me at 6:30 it gets pretty trippy. which is a good word to use, like im sensing these guys were on something other than alcohol lol. the conversation takes on a very 5 hour smoke session vibe u kno. but i sense thats kind of what you were going for
4 hours ago, Liam said:The grain
yeah its definitely getting stepped on by compression, but i guess i just expect to see more noise in the shadows. and maybe a bigger blobbier (lol) grain, that looks more filmic. or no noise, thats a fine option too
4 hours ago, Liam said:probably the whole point right now is how stupid the conversation is, ha. and the end kind of does justify that in a way I hope? making like the lack of payoff a payoff?
okay great, i kinda figured but i didnt want to say that lol. in that case, i think it should be shorter or MUCH longer. perhaps this is either something digestible that people want to watch in our short attention span culture, or its deliberately the opposite like warhols sleep or andy kaufman reading the entire great gatsby onstage
4 hours ago, Liam said:more tempted right now to maybe just call this one done and use what I learned on my next film
thats up to you but ill tell you this: the reason my art practice is at such an incredibly advanced point today is because ive LITERALLY PUT A HUNDRED THOUSAND DOLLARS OF MY OWN WORK IN DUMPSTERS OVER THE YEARS AFTER HACKING THE PIECES APART WITH AN AX
its been a very difficult road. blood sweat and tears. but i am the sum of my parts, and i could never do the things im doing now without doing every single thing in my life that led up to the present
oh and thats just the process of being an artist. its a constant. happens to this day. but now, my "failures" are immediately recycled into a greater whole. it took me a long time to accept this phenomenon, but now i embrace it, and im all the better for it
4 hours ago, Liam said:thought Madatcha might have been a wrestler. Googled it and everything
thats actually a great wrestler name. im picturing this guy
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@Liam! thank you for sharing this
so, first of all, i thought this short piece was pretty good~! therefore let me make it clear that my constructive criticism is just that – youre definitely on to something here, something that needs development and refinement, but thats the life of an artist~! its never ending... and at a certain point you have to put stuff out there, and the people will probably like it more than you do, because theyre way less critical of your work than you yourself will always be! but thats good: when your reach exceeds your grasp, its tough to live, but it means youre growing
my first impression was that i found the way you shot the figures very intriguing, avoiding their heads and faces – not a unique notion, but a seldom used technique. almost reminds me a bit of all the cut aways robert rodriguez was forced to do in el mariachi due to lack of coverage.... which ended up benefitting his production tremendously, and people thought he was a genius for it...and it was in spanish. that helped too. but i digress
anyway, that was cool, and it developed a sense of tension from the very beginning. like, who are these guys, what are they doing? what are they planning? WHY cant i see their faces? there must be something sinister going on~! moreover, that coverage forces the viewer to listen carefully, far more so than they usually would, to get all the information possible out of what the characters are saying. without the infinite subtleties of human facial expressions, we strain to discern that missing information from the dialogue alone, the sound of the voices, the cadence, the emotion or lack thereof. its a fascinating principle
given those points, id suggest a couple things in terms of audio. firstly, it struck me that the voices of the principles are a bit too similar. theyre not identical, but since we dont have faces to associate them with, perhaps pitching one up or down in post could help differentiate the characters on an emotional level, so they seem more like two separate individuals, vs one characters internal dialogue. on the other hand, if youre going for the latter, great, push it that way instead!
additionally, i believe the score would be more effective in this case if the music in the background seemed more like music that the guys are listening to while chatting and drinking some beers, less like dubbed audio. moreover, it could be subtlety manipulated to work better with the conversation – but a random overlay of your music track where youre not ramping it/changing it to coincide with the dialogue could be great too – a bold "element of chance", as duchamp would say, can work wonders
i like the dialogue. i write "uhm"s and "like"s in my screenplays, but i keep it to a minimum, and try to have those pauses and forms of verbal static express a characters difficulty in forming a thought or making a particular point in that moment, describing their emotional state
i like grain/noise for narrative, but in this case i found it a little distracting, notably in the lighter areas of such a dark piece, if the noise was more unified over the entire image that might work better. mind you, its easy to be extra critical of something like that in a piece where we are listening even more than watching, you know what i mean?
last but not least: the content: what is this film about, what happens? like i said, i found the conversation intriguing and interesting from the beginning, but i feel like it needs something of a payoff, a conclusion, a highspot* if you will, something to complete it. i feel like these guys were having an idle discussion which might be leading to some wild action, or at least a resolution to do something extreme – like go on a killing spree. i feel like this is a teaser for something bigger... am i right?
the mention of anxiety and intrusive thoughts is great, subjects that are seldom addressed, americans being on a pharmacy full of [dangerous] drugs is our dirty little secret. id like to see more work that explores those issues – i mean how many people are on SSRIs today, like a billion??
anyway, those are just some of my initial thoughts, im gonna watch it again later tonight. but my biggest point is this: I HAVE SEEN PEOPLE THAT I WOULD CALL TREMENDOUSLY GIFTED FAIL MISERABLY IN MAKING A ~WATCHABLE~ SHORT THAT IS ~AT ALL~ INTERESTING WITH A BUDGET OF $50k OR MORE. Youve already made something that I'd like to see more of, and if this is indeed your first short (!!!), id say youre off to a great start
in conclusion, the salient principle of visual narrative is always paramount: "If its not on the page, its not on the stage"! And there's definitely merit to what youre doing, keep at it!!
Stay strong buddy!!
your pal,
Kaylee ❤️
*pro wrasslin term lol
- manueldomes and Liam
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42 pages and this thread is one page
edit: 43 now
- vaga and manueldomes
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this video is private? im signed in to youtube what am i missing here
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New Camera
In: Cameras
1 hour ago, IronFilm said:I only use a potato for my filming
i smoked weed out of a potato one time
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6 hours ago, iaremrsir said:
D35
YES!!!!! ?
How to Kill Piracy by 2017
In: Cameras
Posted
consider this: writing from the good ol usa, i dont feel safe commenting on anything political online, this topic included
i dont feel safe now