HDV Short Fiction
Posted 24 January 2006 - 07:25 AM
I was a colaborator on this short. Everybody involved worked for free except the gaffers and best boy.
It's production costed about US $ 400,00. It is a bit too compressed so its not good to evaluate image
quality. It was shot using a JVC HD1 a single CCD camera. It had a poor exposure control and it
drove me nuts on the set. People involved were really eager to help. A toast to friendship!
Posted 28 January 2006 - 09:21 AM
Posted 28 January 2006 - 11:40 AM
I'm not going to download special software just to watch your clip.
Posted 28 January 2006 - 01:47 PM
I'm not going to download special software just to watch your clip.
you dont have to..
just click the "free" button, you'll then come to a page with a 30seconds countdown running at the bottom.
once this ran out, you can download the file, after choosing a mirror.
Posted 30 January 2006 - 06:41 AM
Posted 30 January 2006 - 12:05 PM
Posted 10 February 2006 - 06:45 AM
one quick question from watching the first seconds: what diffusion did you use? post effect? it looked a little over the top, but i don't know the story yet either...
Posted 10 February 2006 - 10:54 AM
Thank you for going through the ordeal. I did not use difusion. The camera ia a single ccd HDV from JVC.
It looks rather soft. I believe it has to with the heavy compression. I would be glad if you watched it.
Posted 11 February 2006 - 06:22 PM
Posted 13 February 2006 - 06:29 PM
Posted 13 February 2006 - 08:32 PM
Being used to shoot with film and having a background in academic painting I am often disappointed about the colors in video, so here. There is hardly a scene where I would not have filtered to get a more realistic skin color or a better saturation.
We have to see how we see and then master our imperfect artistic tools to approach the way we see or want to see. A painter will ask about every image: Is it too warm, is it too cold, is it too light, is it too dark, is it saturated and contrasted as I want it. Is the intention of the film to start out as in green light or is it lack of awarenes? etc
And then there is the problem in video that the latitude is so limited. The light parts of the picture often get burned away into a sauce where no value can be distinguished. (As do the dark parts) So the videographer needs to consider this and reduce the latitude of his picture throught lighting etc. The advantage of video beeing that you can see the result immediately and do not have to guess as with film where this problem also exists in a lesser degree as films latitude is about half way between video and our eyes. Some video cameras even give you the option to show a zebra where the light parts are overlit.
I'm not really able to give any advice about the story. Unfortunately story telling or inventing is not my talent and I admire people who can put themselves into different personae that interact. So that's why I stick with instructional documentaries in my own work. I just do not seem to easily get the sense of the story that is told here either and what pictures are needed to tell the story but as I say others have a better understanding of this.
What I like is that it takes me from my snowed in New York envirement into Brazil, with a different sensibility and different indoors and outdoors and an very old lady, a sympathetic guy, some jerks and some pretty girls ...
Posted 14 February 2006 - 04:36 AM
A couple of things I would like to add: this camera is a single ccd it offers a very narrow latitude.
The same applies to colour spacing. Of course the uncompressed version looks different. I agree
there should be colour correction, however the director wanted it the way it is, I am an easy going DP.
Now I better start saving and get myself a HVX 200 from Panasonic and put an end to the before mentioned limitations.
P.S to watch this video please click on the FREE button bellow. Then wait 30 seconds. Type a password.
It will begin downloading. I apreciate any comment.
Posted 14 February 2006 - 11:23 AM
I like the music in the car and when he looked at her legs and she looked at him and he looked away. It's kinda humourous with that 'jolly' music and with no one talking. But the car scene was too long and I thought that there were too many cutaways of the house at the beginning. The car seemed to be travelling too slowly. Look at the background. No, look at those girls -- gorgeous!!!
Why did we get a point-of-view handheld shot as he enters the house. Nothing dramatic or significant 'met' him en route to the door, or when he arrived at the door, or when the other man asked him "tudo bem?"
It didn't feel appropriate. I think you might re-edit this so the two 'suggestions' overlap and make sense, or just cut it out.
Generally, I do like your style. I actually do like Brasilian and Spanish movies because they are usually quite inter-personal. I mean, the way people engage each other is warm, and kind of 'innocent'. I also like your no frills approach.
When he's taking the old lady out of the chair. I didn't like your composition. It feels like we are a tiny mouse eating cheese looking up at these two humans. Whose eyes are these and what were you saying with that angle? I might have thought that an elevated shot would of been better because it would make him look 'small' (which is maybe how he feels about his life). Whaddaya think? Or even a distorted reflected shot through a mirror or broken glass (again, suggesting how he feels about himself).
The process of getting her out of the chair took too long, eventhough that's probably how long it would really take in real life. Can you suggest this without taking so much time?
When he banged his head on the door we might have seen some facial expression and body language because isn't that normal? Maybe he should of reacted quickly holding his head and saying "ah poop" (in Portuguese).
Your film gets 'quiet' Why don't you add some music to compliment movement and suggestion? Personally, I'd reduce the 'silent' acting, or at least have him (or her) complaining about life, or groaning, or introduce another character so you can justify adding dialogue. The feeling to the story is quite real but it needs dialogue. Having said that the story is a bit vague.
The heart beats for too much time....then from nowhere we get a wig, lesbians, roof tops...wow... that was sudden. But didn't it all come from nowhere without a coherent logical build-up?
Those girls are very nice to look at!
I liked the cops acting at the end. He was a good actor and looked the part because I could really believe that he was a cop. He was relaxed and confident. Can you draw this out more?
Overall, I think the story might benefit from a re-writing in part, and some re-shooting. I think you might reduce some parts and *add dialogue* elsewhere. What do you think?
It was nice to see something from a different environment. Maybe you could draw this out a bit with some wideshots of the town instead of so much inside the car...
Posted 15 February 2006 - 08:07 AM
The director Daniel Aragão read your comments. It translates as follows.
o outro cara LondonFilmMan, eu acho que ele deu opiniões muito particulares...só concordei que no começo, realmente, faltou mais tempo pra realizar a cena do carro em movimento...
o resto do que o cara falou eu discordo completamente, pq ele queria outro filme, queria dialogo outros personagens, narração em off, não tem nada a ver com a proposta...mas bem, realmente, esse curta é um exercicio estetico, desde o roteiro é assim.
tanto que agora eu tou me dedicando muito mais com a atuação hehe. bem, é vivendo e aprendendo, o negocio é sempre arriscar. só assim que se consegue o aprimoramento.
*LondonFilmMan gave some very peculiar opinions. I do agree the begining needed more time to shoot the car sequence
and it would eventually work out. I disagree however on the need to produce more dialogue and characters,
voice over and so. It is not the intention of the script. This short is simply an aesthetic exercise, that is how
the script was conceived. I have put more effort in acting for my next short. Life is all about learning.
It is all about taking risks. That is how we improve. *
To which I add. Thanks goodness the learning process for us does not cost an arm and a leg.
Posted 15 February 2006 - 12:00 PM
How about getting a cheap second hand 16mm film camera first and a light meter and learn about film before going into video that allows a set of shortcuts. But video also creates less awareness about image control. I would not go as far as my art teacher who told me when I was 16 (40 years ago) and I showed him my first 8mm BW reversal movie creations to first learn to draw and paint. The technology would come along easy once the awareness of the image was achieved.
I better start saving and get myself a HVX 200 from Panasonic and put an end to the before mentioned limitations.
Posted 15 February 2006 - 03:51 PM
film is totally out of consideration. If you guys in US and Europe find it expensive to deal with the film chain
just imagine a guy like miself coming from a developing country. I have done camera assistance for
35mm as well as 16mm. Indeed the attitude and discipline towards the work in a 35mm set is something that should
be applied to a video set the same way. I however do not envision a career in 35mm at all. High Def.
video fits my needs like gloves. Keep in touch.
Posted 19 February 2006 - 10:27 AM
I watched the film again. It always looks different second time around! I think it's good and is quite interesting. I just think the story needs some attention. Some parts are very good. I just wanted to say that.