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MAKE-BELIEVERS on AVANCA film festival (Portugal) this July


Emanuel
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48 minutes ago, hyalinejim said:

It looks great @Emanuel!

Is it a kind of Umbrellas of Cherbourg vibe but without all the melancholy and unhappiness?

LOL It's just a scene but yeah, sounds inspired from but on that one, you need to ask it directly to Kenjo, my partner in crime, he is half Irish by father side, you know?

I'd dare to say melancholy is not absent from there either... Even though, much something more added there as well, I believe and see : ) Thanks for your care ! :- )

Here's a new (official) trailer which I guess unveils a bit more of it:

 

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Jesus Christ this looks pretty legit. A fucking musical, color me impressed. Are you fluent in Japanese? How long have you been involved in the project? What was the ballpark of the budget? My guess would be 100 million. Yen, that is.

Just based on the trailer, I'd have to say I'm not in love with the color grade. But I'm a moody guy. I like my movies to be a little bit on the darker side. Literally darker. Did you experiment with any film grain simulations? On the recent Dune they went so far as to do a 35mm print out from their Alexa source material, which they then rescanned in order to get the slightly softer, grainier look they were after.

Again, congratulations on your monumentous achievement of producing a feature length musical in 2022. They are rare birds these days.

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23 hours ago, Emanuel said:

you need to ask it directly to Kenjo, my partner in crime, he is half Irish by father side, you know?

I used to live at McCurtain's villas and there is a well-known McCurtain Street in my home city 🙂

Maith an fear, Kenjo!

Submit it to IndieCork @Emanuel a very good festival, with close links to IndieLisboa 🙂

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On 6/27/2022 at 5:09 AM, newfoundmass said:

Thank you for sharing. What camera and lenses did you use? Just the Pocket 6K?

Yes, Pocket 6K.

These vintage manual Nikkor AI lenses:

20mm F2.8
24mm F2
28mm F2.8
35mm F1.4
50mm F1.2
85mm F1.4
135mm F2

In order to match Kenjo's vision for this movie. Soft dreamy look especially for certain scenes. Great director, by the way! He is much above the average to say the least. IMO one of the most promising directors I've worked with and even seen as movie lover today.

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On 6/27/2022 at 11:18 AM, Owlgreen said:

Jesus Christ this looks pretty legit. A fucking musical, color me impressed. Are you fluent in Japanese? How long have you been involved in the project? What was the ballpark of the budget? My guess would be 100 million. Yen, that is.

Just based on the trailer, I'd have to say I'm not in love with the color grade. But I'm a moody guy. I like my movies to be a little bit on the darker side. Literally darker. Did you experiment with any film grain simulations? On the recent Dune they went so far as to do a 35mm print out from their Alexa source material, which they then rescanned in order to get the slightly softer, grainier look they were after.

Again, congratulations on your monumentous achievement of producing a feature length musical in 2022. They are rare birds these days.

Don't ask this because you'll be shocked with the real number... LOL Well, we're used to make miracles at times... ; )

Kenjo's next one I've already been literally invited to participate as Executive Producer if not more I guess I will ; ) it will be in a different tone on such darker side (INFINITE BLUE is the working title) as every single piece of him BTW.

INFINITE BLUE has been designed as a low-budget, psycho-sexual art-house-horror: A bored housewife discovers a mysterious portal that leads to her joining an underground cult and unlocking her potential.

YAMOME (2018) -- The Widow, in English, is something he did from a 30-year old young director and, well, it's simply a way beyond only a middle age man like my age could even imagine to shoot... 'cause it's simply amazing his insight as outcome there in one of the best portraits of a middle age woman I've ever seen on screen... Ozu would be proud! As much as Mizoguchi or Naruse, I am pretty sure. Kenjo knows very well my enthusiasm when I privately told him exactly such words...

Kenjo follows their tradition and legacy for his cinema. It's an old award-winning film critic who addresses to you now this line.

I am suspicious as his producer but you can mark my words. I am with him since AUTOMATION (2017) and MAKE-BELIEVERS is the result of an intense labour since TRAMSMISSION (2019), also producer there, based on 'The Statement of Randolph Carter' by H.P. Lovecraft to celebrate one century of his work.

No film grain simulations were used. Just raw and pure post-production work with many hours (in Philippines) of delicate grading obviously well cared to carefully fit the story and the characters. Inspired both on Kenjo's emotional side and mine with both fathers of us. BTW my own father is Executive Producer for some reason ;- )

 

Thanks for your kind remarks,

- EAG

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22 hours ago, hyalinejim said:

I used to live at McCurtain's villas and there is a well-known McCurtain Street in my home city 🙂

Maith an fear, Kenjo!

Submit it to IndieCork @Emanuel a very good festival, with close links to IndieLisboa 🙂

Thank you mate for the suggestion... Who knows we'll see it there from your tip now? ; )

I love anything Ireland related! < 3

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  • 2 weeks later...
23 hours ago, IronFilm said:

Shot at 4K DCI ProRes HQ?

No, shot at 5.7K 17:9 BRAW 5:1 for acquisition and going on 2K for post. Master and delivery as much as possible, yes, ProRes 422 HQ.

This information published at first hand here throughout this thread will be available on IMDb movie's page in a couple of days.

- EAG

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