I canít keep up with all these ups and downs. Iím trying to do my thing, off in my own world. Life has curve balls that derail efforts to just make things, create moving images that somehow mean more than their individual components. I have something to say with movies. Not everyone cares, in fact most people probably donít. Iím not making them for other people, only me.
Iím about to watch a great and hardly seen movie called SMILLAíS SENSE OF SNOW with Julia Ormand, Gabriel Byrne, and Richard Harris from 1996. Given how popular GIRL WITH A DRAGON TATTOO hit, this northern icy European mystery starring a wiley female lead will hit the spot. My brain needs some movie time. Feed the monster.
Did my seminar yesterday at the Worthington High School. I went with a new demonstration, which might wind up becoming a new video. Showing that in the 21st Century, something like a boom mic in the shot or crew member shadow doesnít mean you have to trash the take anymore. Now we still donít want to adopt the policy of ďWeíll fix it in postĒ, but that is becoming far more the norm every day.
Working on the next podcast release. It was shot over 4 months ago, the main edit was done 3.5 months ago, and Iím just now getting to the part where I do graphics and finalize it. I turned the ďWhat is Feature Length?Ē podcast out in a week from the shoot. This one Iíve sat on because the animation is a lot more complex.
So Friday Iím doing a 20 minute presentation for a high school filmmaking class. Iíve decided to do something on how editing has changed with Non Linear, computer based editing. Itís about how options expand with out of the box thinking
This arctic superstorm kinda sucks. Not a lot can get done when youíre huddling in blankets for warmth, teeth chattering. Not a lot of people want to go out and do shoots when the risk is wrecking your car on icy roads. Life in the midwest affects movie making.
Today is my birthday. 42 years old. I donít have any idea how I feel about that. I am not spending a lot of time thinking about rotations around the Earth and place no particular significance on the arbitrary marking of time. For reasons that elude any kind of rational thought, I have been in such a positive mood the last few weeks and it only seems to be increasing. What is odd to notate is that this is in the face of many personal hurdles, much turmoil that prevents me from doing the shoots I so desperately want to return to, and yet the jubilation continues.
So I finished and released and then marketed the latest Sonnyboo Podcast video on the various definitions of ďfeature lengthĒ. It has sparked much debate, mostly because it has so few agreed upon standards. Itís odd to me to put out a video describing the many union, film festival, governing bodies for awards, etc. all meticulously researched, and be told that I am wrong, that some wannabe online decided that itís 83 minutes and I should accept their answer or that they had a professor who told them it was 91 minutes, so that carries more weight than the Academy Awards. The internet is a strange place where narcissism and lack of social skills coalesce into a stew of the lowest forms of communication.
Did a little social media experiment. I made an Internet Meme, one specific to filmmakers (duh). I took a sketch of Stanley Kubrick and put a famous quote of his out there and placed a decent sized (not too big, not too small) JPG on the facebook, then started a few shares. The goal was to get people I donít know to share the picture. thus far, several people have shared it but in 48 hours, only about a dozen shares by people I donít know.
Got the piece shot, but a no-go on the HD-SDI experiment. I could get 60i, but no 24P (60 interlaced fields versus 24 progressive, whole frames per second). I liked the aesthetic of 24 frames per second, a holdover from the film days because it is a perfect frame rate for capturing motion with the right amount of motion blur to look normal. I am happy with the piece, will probably have it online within a day or so because it's such a minimal amount of graphics, at least comparatively speaking.
Going to record a couple greenscreen things today. The big experiment is to try to go straight from the camera HD-SDI to the hard drive via our Matrox MX02 LE box. I tried this once before and couldnít work it out in time. I want to be able to record like this because I can get 300 megabytes per second data rates with incredibly mild compression. What does that mean? Really clean, perfect greenscreen keying when you want to get that green background to be something else, you have a lot more picture and color information to work with.
I find it so odd that Hollywood is remaking POINT BREAK when they already did a decade ago. It was called THE FAST & THE FURIOUS. Remakes are getting so bad that I hope that the entire traditional system fails miserably and utterly. Some new style or genre is about to break out and redefine movies as we know it. Coppola predicted it in the 1970ís that some fat girl in Ohio was going to reinvent cinema and weíll see the industry taken in by whatever this new trend is like it did in the late 60ís with the USC film school kids and again by the indies of the early 1990ís.
At the last Arnold Schwarzenegger Film Festival, I was a guest lecturer and I did something on distribution. I have since shot this as a greenscreen Sonnyboo Podcast that as sat edited, sans anything in the green for several months. Last night I started to work on the prep work for this. Itís animation heavy, which is cool to do in Adobe After Effects, but also takes a lot of time. Hey, I donít need any of this free time stuff!
I really have gotten better at watching movies. Committing to sitting still for 2 hours and turning my brain mostly off seems like it wouldnít take a lot of effort but it does. No clue why, just not something Iíve done a lot of lately about 3 years. I just aimlessly read articles online or research project information without ever getting much done. I need to change that.
Watched 2001: A SPACE ODYSSEY last night. I had endeavored to explain it to a person under 25 a week or so ago and itís impossible. It means something different to everyone who watches it. What I got from it in this latest viewing was a simple message of a very complex concept. Also, the special effects (because they were optical effects, they are not Ďvisual effectsí as it has become in the industry today to differentiate effects done IN CAMERA as opposed to digitally) are miraculously relevant for a film nearly 50 years old.
I am in an inexplicable good mood. Iím not going to question it, just go with it. Iíve got some projects in the queue getting worked on today and this weekend. More content to go live in no time. Life is a moment by moment roller coaster of highs and lows. Iím pretty sure this year will be someone more epic than the year before. I have many things in line to get done and I am motivated to make more movies.
So this new season (or series as it is called in the UK) of Sherlock looks to be amazing. For the past 15 years or so, the UK has been setting the best trends in television. In the 1980ís British shows seemed to come from another planet. The language and humor were indecipherable to us in the colonies. As the greatest example, the 1999 TV series SPACED written and starring Simon Pegg and Jessica Stevenson and directed by Edgar Wright (Shaun of the Dead/Antman), showed a trendsetting that is unparalleled.
Episode 17 (aka S2x04) of FRAMELINES all the way done for editing. The Sacred Editorial Dance of Completion was done to satisfy the gods of Adobe and Avid. The DVD gets handed off today for transcription. Using my handy Google Docs where I have extensive notes on what is shot, intended to be shot, and anything edited, and I have a comprehensive spreadsheet on the past, present, and future of FRAMELINES.
At 41 (soon to be 42) years old, this is my Friday night: dinner = reheated pizza from lunch (not Marieís), driving in the icy cold weather for fresh cat litter, then the ultimate debate. Do I watch a movie or make a TV show? I opt for the creation of a new 30 minute episode of FRAMELINES.
After three months of housing and feeding these two kittens, I finally placed them in a new home. It was gut wrenching to let them go, but I did it. I had even developed a new rule which was that they could not be separated and the lady Iíve bequeathed them to was willing to keep them together. It made my New Years Eve a pretty fallow night, even though I was surrounded by good people and a good time. How I dealt with day two was simple; I edited some of my own material.