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The Twenty-Third Letter - Scene 10


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#1 Robert Sanders

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Posted 31 May 2006 - 02:19 PM

I posted this over at DVInfo and XLCinema. I thought I'd post it here too.

We recently wrapped production on The Twenty-Third Letter trailer. We put the XLH1 through it's paces and in different production scenarios.

I chose to show off Scene 10 because it has many different production qualities that hopefully many on these boards would find interesting. Low light. 3x SD lens on some shots. Jib arm shots. Special visual effects. Color correction. Etc. We also had a blast shooting this scene in downtown L.A.

You can view the Quicktime versions here:

The Starway Blog

With a little luck I can offer WMV versions later today or tomorrow.

There are some noticable compression artifacts introduced by H264. It's always a tradeoff between picture quality and file size.
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#2 Robert Sanders

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Posted 01 June 2006 - 06:18 PM

Tough crowd.
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#3 Sean Curt

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Posted 01 June 2006 - 10:35 PM

Tough crowd.


hey its not that we're a tough crowd its just that we are slow to respond sometimes... I sat and waited on your download and watch your mini-short and I liked it.... I like where it was going...

I'll also add that, the alley could have used a bit more lighting but then again you might have intended for it to be dark and cold.


good work
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#4 David Mullen ASC

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Posted 02 June 2006 - 02:43 AM

I'm travelling and can't spend time downloading video clips in internet cafes...
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#5 David Sweetman

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Posted 02 June 2006 - 04:25 AM

Hey I get it..."Y?"

Finally, finished downloading...

just some instinct observations:

The reveal at the end was very effective. It saved an otherwise cliche set-up. But the smashed gate was not in the crane shot, and thus we can deduce -- it happened sometime in-between the cuts! The culprit is nearby, by golly.

I thought the colors were kind of sketchy - that pastel green building seems too light for the story.

Perhaps the over-the-line cut would have worked if it was wider, to emphasize the whole "back turned" thing. I recall similar intentional over-the-lines in season 4 of "24" -- it was like, woah - what? they just crossed the line? but they're professionals? Sweet. So I don't know if yours was intentional or not.

In the opening shot, there's not really anything to focus on. So the eye goes straight to the big, blown-out sky, which is unpleasant.

Hey I dig the birds though.
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#6 Michael Nash

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Posted 02 June 2006 - 02:04 PM

Looks nice. What frame rate/mode did you shoot? (viewed on a computer everything is progressive)

There is an odd rhythm to the cuts and focal lengths at the beginning, but overall it looks pretty nice for a "prosumer" camera! Shadows are good, but the highlights just go, and go quickly...
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#7 Tom Bays

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Posted 02 June 2006 - 07:04 PM

Shadow Falls has a very nice look to it. When is it Coming Soon.

What niche are you looking for...Is this a bridge to bigger things or do you want to stay in this realgm.

What are your blacks hitting at...it looks like about 10-12IRE

Edited by Kemper, 02 June 2006 - 07:07 PM.

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#8 peter orland

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Posted 02 June 2006 - 07:07 PM

Hi, thanks for posting the clip.

A few things...

Your logo is great, but the rather funny poke in the eye sits a little awkwardly with the tone of the piece that follows.

On the second edit from the wide to the two shot, if you had waited about another 8 frames or so, the CSI guy that walks in from right of frame would have covered the male cop and softened the edit - as it is, it feels wrong.

On the next cut over the shoulder into the lane it also feels wrong: 1. the female cop in the previous shots has quite a bit of natural body movement, in this cut she is almost standing to attention to keep the blocking 2: this problem could be lessened if the atmos didn't also change quite so dramatically. Even though the sound would change on the change of perspective, I think in this case a bit of creative license would help to soften that edit (try it with the sound off and it feels different straight away).

As they walk down toward the body there is no light at all coming out of the windows behind the crime scene, yet in the shot when he steps back and looks up at the bars the light is quite strong (this may be intentional I don't know but...).

Also when we get to the overhead, the lighting on the victim and surrounds doesn't match up with the wide, it would still work fine if it was pulled down a bit.

The acting performance of the lead male is a little heavy on the face work, he needs to pull back a couple of notches and let the scene tell the story.

Having said all that - overall I like it.
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#9 peter orland

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Posted 11 June 2006 - 09:45 PM

Tough crowd.


Tough poster...
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#10 gordon liron

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Posted 12 June 2006 - 05:51 PM

my only comment would be to add some contrast. The images look a bit flat. other than that...good work!
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#11 David Sweetman

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Posted 12 June 2006 - 06:14 PM

(viewed on a computer everything is progressive)


Woah! I never realized that. makes sense though...
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