Sunday, May 06, 2012

Pizza is Better

Ramsey Scott is a better person than we deserve.
Thanks to Ramsey we got a nice Italian lunch. It went like this: finally, Ramsey Scott complained about us always eating Chinese food (after all, we did five days of shooting on Chinese food). So Ramsey insisted on pizza. This meant that today was Italian day. Actually, the pasta and salads were pretty good.
Ramsey is simply saving us from ourselves. And for that we thank him.
Ramsey also took these pictures.
James Becton
James tried as hard as he could to wear these socks. Note that although he's wearing David Ian Lee's hat from Android Insurrection, he doesn't actually wear a hat in this movie.
Andrew Bellware
But then once we had lunch I suppose everyone collapsed. Well, at least the photographic evidence indicates that I collapsed. You might think I was setting up a shot here. Nonsense. I'm just napping on the comfy grating.

Saturday, May 05, 2012

Life in the Indy World

After a day of shooting I come home and peel off my clothes to go into the washer. Inevitably I'll have found myself on my back with a camera, lying on a filthy shop floor.
So really, although you see me in exactly the same shirt the next day, it's freshly washed.
I don't like getting my hands dirty. I'm a bit prissy that way. But I'll do whatever I need to in order to shoot the picture. The problem with me getting my hands dirty on set is that I don't want to touch the camera with dirty hands. I certainly don't want to change lenses.
Rebecca Kush
And when we do get latex gloves on set they end up disappearing. We can go through a LOT of latex gloves on a movie. I think I actually prefer the ones with powder although every dentist I've ever met hates the ones with powder.

Sarah-Doe Osborne
 I don't think it's possible we could be happier with our brilliant gaffer, the Queen of Mars. Note that we don't even have a light kit. These are some construction lights and a couple 300W (or 300W equivalent) lamps inside clip lights attached to C-stands. There's actually a florescent on the ground. You can see it in the next shot.
Michael Shattner and Sarah-Doe Osborne.
 The color palate of the costumes really helps too. For various reasons Ramsey Scott's costume design is very easy to light. I dig how one character can be very cool and another very warm. This is partly due to makeup but mostly due to lighting.

Michael Shattner and Sarah-Doe Osborne.
Smash or Trash has an advice column for indy filmmakers. I haveta agree with most all his advice. Although I run into the opposite kinds of filmmakers more often — the ones with an art-house sensibility who want to think they're making something brilliant and by extension never get the movie finished.
There's an interview with Kevin Kangas!
This is my favorite quote:
Your first couple of scripts are going to suck, but you won’t realize it. You’re going to think they’re very good but you’ll be wrong. Write more.

My Dad

Dan Bellware
I was testing out my 28mm lens on the GH1 in my dad's office and I made him turn and look at me in order to take this picture.

Day 5 on the Prometheus

Sarah-Doe Osborne as Artemis, the android aboard the Prometheus.
 The Le Maitre hazer failed on us today. I can't figure out what's wrong with it. It may have to go in for repairs.
Andrew Langton, Michael Shattner, and Rebecca Kush.
 But we shot the observation deck anyway. These sets are primarily built from pieces of Joe Chapman's sets for Earthkiller (don't tell anybody). We used some high-wattage incandescent and florescent lights slashing in on the sides.
Androids need love too. Michael Shattner with Sarah-Doe Osborne.
 The Queen of Mars was the gaffer and, unfortunately for her, the sound mixer on set too.
We wrapped Sarah-Doe Osborne today. I think that's her eyeliner on the bottom right.

Friday, May 04, 2012

Delicate Kickstarting



My buddy Chance's band, the Delicate Cutters, is releasing a new album soon. They're using a Kickstarter model to make a vinyl record.
Which, to me, means their record company is really really good to them. The business of music is tremendously hard, and they all know they need to work together to make something happen. Skybucket seems really awesome.

I wish we had a Skybucket for Tyrannosaurus Mouse.


Granelli Audio Labs makes an L-shaped '57. Which is, of course, super awesome. The Shure 57 isn't just an ubiquitous microphone because it's an old design and it's cheap — no. It sounds really good in many applications. You can mic guitars with it. Vocals. You can even use it for production sound (in a pinch). You can put it on a snare drum. Record a Hammond Organ with it.
And an "L" shape? Just makes it that much easier to get where it needs to go. Cheap too.

Year of Revenue

I'm calling 2012 the Year of Revenue in the Pandora Machine. I've traditionally be very afraid of every damn cost that comes up and this year I'm being much more libertine about spending (small) amounts of money.
You might find you need a Flying Squirrel T-shirt. I'm just sayin'.

So you know if — and this is a big "if" — you could gross between $24,000 and $30,000 average on a feature film, you could make five pictures a year and have a business that's between $125K and $130K a year.
But the question here is how much would producing five pictures a year cost you?
So you've got a big "if" and a big "?" all in one business formula.
Now as for the revenue side of the equation: it would be nice, I mean really freakin' nice, if we could up that revenue to (say) $100K/picture without name talent in it. And the reason I'm against name talent is because name talent ends up costing you more than you can get for North American distribution. So we want $100K/picture without name talent. But we can't get that. So we figure we can get $24K worldwide. That's maybe a little conservative. But not terribly.
So let's pretend we're starting a business where we have $125K to spend but we have to make five marketable movies with that $125K.
OK, so let's look at expenses. Firstwise, there's me. And I'm not 100% sure how much I cost/year. But what I can do is add up all the rent I pay.
And so I think and I guess and I'm going to make the estimation that my so-called "fixed" expenses are somewhere around $35K/year. That's low, I realize, and it involves me not owning a car and suchlike. But I think that's about the right number.
So now we have $90K to make 5 movies with.
To put out 5 movies we need a new one written in less than a month. We need to shoot and post it in less than two months. A feature has to get picture edit and visual effects and dialog, music, and sound effects editing with a mix in less than two months.
That's more work than I can do on my own.
So. Will someone help me? For free? Working 40-hour weeks all year through? Well, is it worth it to them?
And how many people do I really need? Two? One for picture things and one for sound? Working full-time?
How much would that cost in real life? If you're talking two people who can do more than one thing each (picture edit, foley, cgi, etc.) and you pretend that minimum wage is $10/hour and that the actual cost is $12.20/hour when you include taxes and insurance and they're working (no overtime!) 2000 hours/year that's a total of $24,400 a year in costs for the employer (for an employee to take home less than $18K/year -- but they'd make up some of it in earned income credit).
So yeah, that's not an ideal job. But it's a job. And they better be fast. And self-motivated to hold it down. With no medical benefits. Oof.
But we're not done with the person's real costs. The fact is they need a computer and they need a chair and they need a place to sit and, shockingly, all those things cost money. And employee involves overhead. So let's say that they end up costing about $30K/year but the two of them cost $60K a year and that they can handle all the post duties -- picture editing, cgi, dialog, music, and effects editing, mixing and color - grading.
That leaves us with $30,000 to actually make the movies. Which includes insurance, cameras, lighting, locations, sets, costumes, props, transportation, and whatever costs are incurred with writing the movies. Five movies. $30K.
Of course, there's no profit in't. We've gone and defined it with no "profit". For profit we'd have to make six movies...


Heathens

Hedningarna is pretty interesting. If you're getting this in an email or an RSS reader I think you have to click through to see the video.
Now don't get too excited about this video because it's just a still. Yes, spoiler alert, it never changes. But getting 5/4 to rock out to this degree is pretty impressive.
The folk-song singing style probably has a name. I always think of it as the anti-bel canto style but I'm sure that's totally inaccurate.
I'm looking for inspiration for The Imaginary Opera and there's a 6/8 thing in Apocalypse Now (when the boat first arrives at Kurtz' compound) which has a similar feel in the bass.
And, of course, I love those chromatic changes.

Thursday, May 03, 2012

CG

The door to the Prometheus.
Today is the day I'm doing a buncha visual effects stuff. And waiting on multi-hour AfterEffects renders.
This is a working CG door in Blender.

Drive Kick Zip and Publish

I'm not so much into Google Drive because I don't want to put my syncable stuff into another folder. I just want an interface where I can click a checkbox next to the stuff I want to sync. Which is why I dig SugarSync.
ProRes is a pain because you really can't render it on Windows machines. Right now I'm using OpenEXR files when exporting from the PC. We'll see how that goes.

Amanda Palmer's Kickstarter campaign is nigh on half a million dollars. Interestingly that's a half million of actual work she has to do. But $5K for a solo artist (without backline even) is not bad for playing at parties. If I could actually construct a sentence that last sentence would have made more sense. I should start a Kickstarter campaign to get an editor for my blog(s).
How to escape from zip ties. Shockingly relevant to our next movie.
Numbers: about book publishing. How many sales it'll take to be profitable.
All I do is steal Harry J. Connolly's content.
You know what I get to do tomorrow? Send my distributor a hard drive with everything we've shot so far on The Prometheus Trap so he can get started making a trailer. I suppose I could wait 'till Monday so we had a bit more of the movie shot but I think that little of what we're shooting this coming weekend will really be stuff that'll end up in the trailer.

Chairs With Wheels

I've seen all of John Scalzi's top sci-fi movies you probably haven't seen except for one — whatever that Buck Rogers thing is.
Ato Essandoh is on the NYC Actor podcast. Angela Dee interviews him. He explains that he has a chemical engineering degree from Cornell. Ato used to be one of the regulars — all men — in the morning at Theatresource. Wow, that was over 10 years ago. Whenever he showed up in a suit I'd say "Lawyer or FBI agent?" because suits would be audition-wear for either of those roles.
"People apologize for being actors... and that's awful... Never apologize for being an artist, never apologize for being an actor ever."

John Bruno discusses his policy of not taking lunch. Except for the bit about complaining about my hair, my one diva thing is that I like to take a half-hour lunch with the cast and crew. I also insist on a comfy chair at lunch because it's the only part of the day I get to sit down. I mean except for those times I claim a "director's chair" to shoot from. It's usually a chair with wheels...


Wednesday, May 02, 2012

The Hercules

I always figure that I'll need about three times the number of visual effects as I plan. So you'd figure that I'd just plan for three times the number of effects. I don't. But you'd think I would.

Today's excitement is brought to you by Nicolò Zubbini and Sky_D. This is the Hercules weapon. Eventually it gets sucked out that door...

"Cut" Means "Keep Acting"

Liquor
So, I haven't been drinking on this set. It's mostly because I'm afraid that it'll mess with my focus. Literally, my focus — I have to manually focus my lens on this picture. I am in love with my Canon SSC lenses. We didn't use them on the last two pictures but boy, they're just beautiful.
My depth-of-field is a quarter of the width of an actor's eye, but the picture is beautiful.

Footwear
I've made another determination: I will put a $100 line item for a new pair of sneakers on each movie I make. Running around on concrete floors all day will mess up my knees. No more of that. One new pair of sneakers for each movie. New Balance 840's are my shoe of choice right now.
They are not a good looking sneaker, mind you. Can I dye them? How about some black paint?

Camera
I do wish the camera I shot on did not have rolling shutter issues. Now to be clear, the only time I run into it where it's a problem is during compositing. So we lock down the camera for all composites (and add a bit of motion like it's handheld later).
Also: the time has come for us to get video tap. I honestly don't understand the need for HD video tap. SD is perfectly fine for seeing what's going on and for focusing.
Furthermore: I don't mind the amount of compression we get with the relatively low bitrate on the stock Panasonic GH1. Those things just aren't where the problems lie for us. Horizontal banding? Yup, that's an issue (and one which I simply cannot guess when will happen or not.) Rolling shutter? That also stinks. Blacks which are sunk forever? That could be an issue, but we shoot around it.*
We shot two features with a hacked GH1 and I've gone back to the unhacked stock version of the camera. First of all, it's more reliable. For those of you who have been on set when the camera has decided to cut and destroy a take, you know exactly what I mean. The camera works as advertised when it's "stock".**


Kermit
Watching takes I realize I sound like Kermit the Frog on a bender. I'm shouting things like "Stay in character!", "I'm bored with not making a movie!", and "Be more aggressive getting that microphone in there!".
At one point I actually said "The word "cut" means "keep acting"!

*The blacks being sunk actually saves us some time in post color-correction 'cause let's face it — you want to sink the shadows anyway. And with the amount of fog we typically have on set our contrast is pretty low anyway.
**I keep hearing horror stories of the RED going down in the middle of a shoot day. That must be incredibly demoralizing.

Tuesday, May 01, 2012

I've been better

Slogging along the road as snow is falling I'm dead. Dead. I have to force myself to breathe -- in and out of the ceramic powered armor that keeps my legs falling in front of one another. Somebody asks me a question and I blather nonsense back at them. I have to sleep.
The Betty picks me up by my harness and throws me into a ditch on the side of the road that our column was trudging across. Just then I heard it. The witch was screaming at me to get down and finally my betty heard the incoming drones — flechettes chewed up the road, chewed up the three marines I was with, nicked Dave the cat in his left ear while the witch gathered him up and put the kitty under her cloak.
In the meantime a 500-pound android lies on top of me while the drones come back for another strafing run.
All I want to do is sleep. I hate this planet. Mud is actually a season here. The crap falls from mud clouds.

Rebecca Kush

Rebecca Kush. I'm pretty sure that's her script and she left it there after we wrapped.
 Tom Rowen sent us a couple pictures of Rebecca Kush which he took on set of The Prometheus Trap.
This is me explaining to Rebecca that she has to have this all edited by next week.