Am engaged in violent struggle 'gainst computers of varying sorts. Ugh. Anything that should only take about 5 minutes takes over an hour with restarts and work-arounds.
Video On Demand is up significantly this year. Thank goodness. Maybe VOD will really be the thing...
You can blow almost two thousand dollars for a reissue vintage Marshall head. I think I'd be interested in a JTM45 or possibly a boutique clone. Then on top of that you need a cabinet. I really have had good experiences with Marshalls, but the price has been keeping me away. I do like my Peavey Vypyr though. Especially since I retrofitted it with a Celestion Alnico Blue speaker.
John August believes that the screenwriter is the only one who has "seen" the movie when the screenplay is in the notes stage. Malarky. Most of the time the writer has no idea how something will actually play in the final -- even if the writer is directing and (dear Lord) editing. Still, it's vastly more likely that a director and/or editor would have a clue about how something plays. But Writers? Non triple-threats? They haven't seen the movie at all. You don't really know how the actors are going to interact with the locations, the lighting, and the camera until you get to the stage on the day of. The movie will change with the input from the actors, lighting, the set, the composer, the sound editor, and you know the editor is gonna do something you haven't expected. You think you know how long we're going to hold on a particular shot? "Ha!" I say "HA!". I've seen writers resist the most commonsensical notes every given because they just don't know any better.
I see unspecific and/or unworkable things in screenplays all the time. This is like seeing things in architectural drawings which can't exist in three dimensional space (this used to happen all the time before Auto-Cad. Heck, it still does.) If you get a note from my producer or my editor, you sure as hell better take heed.
Writers. Buncha whiney biotches. By the way: where's my script?
It's screening in my head as I edit it on the paper...
HA! Just wait 'till I get a hold of it... ;-)
BTW, shot 43, do we cross the line if she turns clockwise or counter-clockwise? ;-)
But you'll notice that we have been experimenting with "no haze" and deeper blacks, no? (I don't know if using a setup of "0" really makes the darks significantly darker -- even on a video monitor, but the clarity of no haze is amusing to us too. As long as the source light can be in the shot and shooting right now the barrel of the lens...)
The deeper blacks set at "zero" can be enhanced slightly by upping the contrast when you raise the highlights.
The point is getting a good, well-lit, crisp image against the green/blue screen that can be manipulated in post.
You saw the difference between the before and after of those two images I placed in our film bible, right?
Every shot we do is going to be like that....
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