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I appreciate that and for 20 years old that's a hell of an achievement. I am 24 and seemingly no where near making my first film!

exte wrote:Anyone care to share their NLE setups?

What about them in particular? I'm on Final Cut Pro 6 (and the other FC Studio apps), with a little help now and then from After Effects and Shake.

My student films from sophomore year. They were shot on 16mm B&W reversal in New York City in 2007.

They are all silent and around five minutes or so.

Here's a film/animation I made with some antique Toby Jugs. It's about an old sailor and his crap life.
It's called A Box of Shells. Any feedback (negative or positive) would be appreciated (you can PM me or whatever)

It's miniDV and still photography animated in After Effects.
Sorry the resolution's not so great in the upload, but I'm new to youtube.

In the continuing Red camera saga, the latest is an extended trailer for Peter Jackson's 'Crossing the Line' short. Still not the full thing, but it's a good indicator of what we can expect as far as the visual quality, keeping in mind this was shot on test cameras with a lot of the camera's features not yet enabled.

Aside from my own irritation/frustration at the shots not being held for more than two seconds at a time, and the cheesiness of the trailer (in terms of the canned score and silly text, in addition to excessive slow motion which was clearly added in post and not shot in-camera), it's hard to deny that the camera looks like it's going to be fantastic. Bearing in mind that this is a 1K compressed version of what originated in (and has been projected as) 4K, it's still amazing.

Here's a link to the extended trailer (293mb Quicktime 7, 1080p): and a mirror.

News! New script. Another re-write, actually. I shot this a year ago, but I had nasty goopy phlegm and allergies and my wheezing could be heard constantly over everything else. Plus the script was terrible and the acting sucked and it was my very first movie so if everything goes well I'll be remaking my own movie. Pardon the cheesy title.

Just Dying To Get In

Andrew and Peter experience the thrill of a top-rated school during turnover. Seven pages. This is actually unedited but it was more like edit on-the-go with this one, because it's so short. I like it. The individual scenes are practically whole acts (medium first, slower second, fast third).

I like this one a lot, actually. I like the claustrophobia of Sweet Violets but this one, I get to play with various environments, and there's more movement involved. Also, about the "droning synthesizer": drrrrrrrrrrrrrrrrr

Edit: If you've never seen John Frankenheimer's Seconds, then all the better.

Magic Hate Ball wrote:News! New script. Another re-write, actually. I shot this a year ago, but I had nasty goopy phlegm and allergies and my wheezing could be heard constantly over everything else. Plus the script was terrible and the acting sucked and it was my very first movie so if everything goes well I'll be remaking my own movie. Pardon the cheesy title.

One thing I've noticed is how often people don't remake thier efforts, when clearly they should, including me. Why is it so hard? Is it because you've already done so much heavy lifting and just move on to the next project, if there is one already waiting? Or why not revisit the same characters and themes, if not remake it, and make it into a trilogy or anthology, which I would guess would help the transition into features that much easier? All theory I guess...

Update: I've actually created a soundtrack for this. I've planned out the timing of the characters and everything, and now I need to shoot and edit it to the soundtrack. The credits (beginning and end) are musical, but the rest is just ambient stuff pieced together to create a weird soundscape. I hate that word, but that's what it is.

Soundtrack
1: Main Title/Lunch (2:04)
Starts off with the main theme, then fades into a windy day. A plane flies overhead.
2: Classroom (1:50)
Voices, creaking, rain and thunder can be heard until a fade-out, when the teacher is speaking (not on the soundtrack). Thunder still booms and rain can still be heard for the next minute.
3: Locker (0:59)
A faint vibration can be heard, almost like a low engine. At 0:36, the PA system announces something.
4: Bathroom(1:18)
A very low fan noise all through. Faint crashes and bangs can be heard.
5: Walking/The Find/The Teacher (3:19)
Again, the faint vibration. Seagulls and wind for a while. At about 2:00, a weird trilling builds up to The Find, where there's a strange "reveal" noise, then the vibration is amped up for the rest of the piece.
6: Dying To Get In (0:40)
The synthesizer track that plays during the end credits. Low, rhythmic beat.

I think they're pretty damn creepy, but that's probably because I have the movie in my head to go with it, and I've been working on the fucking things for almost six hours now. I feel like Brian Eno.

So, nobody's read it?

Ballerina Furnace

Hope you like it. We also have a website now

Jason, really liked your film. More developed thoughts later.

My new video outlet.

Thank you.

Hail Cracking Cobra Eggs is a new suped-up edit that combines a couple of our films for possible festival runs.

YouTube is blocked at work but I'll be sure to check out your link when I get home.

Channel 84 Presents

An Adrian Zaccone Production

Storm

A 3rd Period Dream

The YouTube video doesn't really do it justice, it looks really good fullsized. Shot on Digital 8.

If you convert to flash before uploading to youtube, it will not compress your video any further.

Jason wrote:If you convert to flash before uploading to youtube, it will not compress your video any further.

Here is how much I know about converting videos to flash:

exte wrote:One thing I've noticed is how often people don't remake thier efforts, when clearly they should, including me. Why is it so hard? Is it because you've already done so much heavy lifting and just move on to the next project, if there is one already waiting? Or why not revisit the same characters and themes, if not remake it, and make it into a trilogy or anthology, which I would guess would help the transition into features that much easier? All theory I guess...

I can understand being unwilling to revisit a film when you're satisfied with it and its characters; I couldn't imagine a remake or continuation of The Royal Tenenbaums just because the end of the film ties up everything very well, and there's no reason to carry on watching the characters because I doubt that anything else would be as satisfying. The reason Alfred Hitchcock remade The man Who Knew Too Much is because, as he put it, "the 1934 version was the work of a talented amateur, the 1956 version the work of a professional."

The urge to remake your own film may come from a sudden good idea, like my own idea which was to reshoot it as a minimalist film completely carried by soundscapes. So, obviosuly, there are many reasons as to why a film is remade or not.

Magic Hate Ball wrote:The reason Alfred Hitchcock remade The man Who Knew Too Much is because, as he put it, "the 1934 version was the work of a talented amateur, the 1956 version the work of a professional."

I wonder why the '34 version is so much better, then...?

tryavna wrote:

Magic Hate Ball wrote:The reason Alfred Hitchcock remade The man Who Knew Too Much is because, as he put it, "the 1934 version was the work of a talented amateur, the 1956 version the work of a professional."

I wonder why the '34 version is so much better, then...?

I haven't seen the '34 film, so I can't talk, but I suppose Alfred Hitchcock simply preferred his later version.

tryavna wrote:

Magic Hate Ball wrote:The reason Alfred Hitchcock remade The man Who Knew Too Much is because, as he put it, "the 1934 version was the work of a talented amateur, the 1956 version the work of a professional."

I wonder why the '34 version is so much better, then...?

Peter Lorre.

I've done it again: I've rewritten another of my old scripts.

Polaroid

Martin Robertson tries to deal with a nightmare as it seeps into reality. Guess the source of inspiration for this one.

Did any of the other filmmakers here participate in the 2007 Apple Insomnia Film Festival?

It's a contest Apple put on where a team of five (must be high school or college students) must write, shoot, edit and upload a three minute film in 24 hours. At 9:00 AM on October 13th, we were given ten specific items, three of which had to be included in our film (we chose dutch angle, park bench, and radio static sfx).

Anyway, here's our entry. I would really appreciate it if anyone here watched it and gave us a good rating. The top 25 highest rated films (out of over 1,500) will be judged by big Hollywood filmmakers like Fred Armisen, Nora Ephron, Terry George, Mary Harron, James Mangold, Mira Nair, Jim Sheridan, Barry Sonnenfeld, and Luis Valdez (gasp!)

Feel free to leave any comments here. I'd love to know what you all think.

And another script!

An Early Autumn Romance

Comedy, six pages. Sarah thinks her boyfriend is cheating on her and sets out to discover who.

I made a movie! It's the film version of An Early Autumn Romance: COMPRESSION ARTIFACTS FOR EVERY MEAL!

As an apology for the film itself, this is me working rushed and with bad actors. It came out pretty far from my original idea, which is always a bad thing. I don't particularly care for it. However, I wrote it and directed it and edited it so here it is!

I also have that Spaceman shirt, in a much much smaller size.

domino harvey wrote:I also have that Spaceman shirt, in a much much smaller size.

Hahaha. Well, thank god somebody watched it. What'd you think? Good, bad, somewhere in-between?

Can anyone suggest forums devoted exclusively to young/beginning/working filmmakers and their current/ongoing projects? Thank you...

exte wrote:Can anyone suggest forums devoted exclusively to young/beginning/working filmmakers and their current/ongoing projects? Thank you...

Forums I frequent:

Cinematography.net
DV Info Net
DVXuser.com
HV20
Reduser.net