Tuesday, March 10, 2009

One/Blog Post

I didn't realize that the guy who wrote the Bourne movies was the guy who directed Michael Clayton.

The problem with the New Yorker article on Tony Gilroy is that Gilroy isn't a terribly good director. I loved loved loved the second Bourne movie -- I thought the screenplay was terrific. But he didn't direct that one, just wrote it.

And I remember watching Michael Clayton (written and directed by Gilroy) and thinking, "We'll it's well written but other than that -- meh." Then I started to listen to the director's commentary on Michael Clayton and realized he had no clue what he was doing whatsoever.

The New Yorker article pretty much confirms that. Here is what he says to Julia Roberts after a take:

"“Cut!” Gilroy cries. “That look is so strong,” he says to Roberts. “That was great. That revealed a lot. Great.” Roberts, who has already done several versions of this scene, is clearly exhausted."
"That look is so strong?" That's direction to an actor? What the hell does that even mean? Ooh -- "Give me a really strong look here." Yeah. Or as we used to say in record mixing "Can you make this sound more... green?"

Roberts even seems to make fun of Gilroy's unprofessionalism in this exchange:

"The assistant director called, “Lock it up!” Gilroy said, “Lights, camera. Action.” Roberts asked, “Does action mean talking? I’m new around here.” Gilroy said it meant action."

"Lights, camera. Action"? Really? A child's idea of how you make a movie? C'mon.

I'll try to keep my irks to one per blog post.

Monday, March 09, 2009

Keys


I got the keys to my new apartment today.

Of course, the island in the "kitchen" isn't finished, they (for some reason) took out the smoke detector (I mean, I saw it in there when I first looked at the place), and I'm not sure that the intercom works. But more importantly I don't have any way to actually get my stuff to the new apartment yet.

Tony Gilroy article in the New Yorker.

The Adjustment Bureau is a possibility -- ripe for mockbuster treatment.

World Builder from Bruce Branit on Vimeo.

Seldom, if Ever


I have seldom, if ever, found myself agreeing with the Heritage Institute and not with the AFL-CIO. But in the case of the Employee Free Choice Act, I gotta go with Heritage.

Which is ironic because I even organized a union once. The largest theatrical shop in New York City outside of the Metropolitan Opera House -- the New York Shakespeare Festival -- I organized that with a couple friends when I worked there. We were so successful that Joe Papp closed the shops rather than let us organize. So essentially everyone got fired and they stopped having shops. No more employees. We never got to a vote. If we had, they would have closed the shops then.

I see no reason to abandon the secret ballot. I see plenty of reason to make the National Labor Relations Board speed up the voting process, but actually abandoning the secret ballot is just a terrible idea. Why don't the unions focus on speeding up the voting? Because they know they can intimidate people into signing cards. And because they're so lame they'll probably actually lose elections.

The AFL-CIO's site offers the following apologia for the EFCA:

By the time employees get to vote, the environment has been so poisoned that free and fair choice isn't an option. People call the current National Labor Relations Board (NLRB) election system a secret ballot election—but in fact it's not like any democratic election held anywhere else in our society. It's really a management-controlled election process because corporations have all the power. They control the information workers can receive and routinely poison the process by intimidating, harassing, coercing and even firing people who try to organize unions. No employee has free choice after being browbeaten by a supervisor to oppose the union or being told they may lose their job and livelihood if workers vote for the union.
Are you kidding me? You won't vote for the union because your supervisor has friggin browbeat you? Oh boo-freakin'-hoo. Anyone who's ever organized a union knows that an a-hole supervisor will virtually guarantee that you'll vote union. Come on. Just get real.

The AFL-CIO then goes into way disingenuous BS mode when they say:

Are workers are more likely to be coerced to sign cards under majority sign-up, as opponents say?No. In fact, academic studies1 show that workers who organize under majority sign-up feel less pressure from co-workers to support the union than workers who organize under the NLRB election process.
And so I read that and I'm thinking -- wait, where the hell did they get this data set? When do these majority sign-up elections happen? Oh, right. There are some companies which decide not to fight a union organizing, they say to the union "get a majority of cards signed, have 'em verified by the NLRB, and we'll negotiate with you." So by definition the union organizing under "majority sign-up" is being done under less hostile-to-union environment from the management side. There may very well be a correlation then of the union being less stron-arm-ish on the labor side. Nobody knows, because the data set is a cherry-picked one. In any case, that does NOT imply that union organizers won't break out the crowbars (I used to deliver to contruction sites in New York City, so that ain't hyperbole) and break some heads of those who don't sign cards. Because they will.

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American unions are terrible at organizing. And rather than fix what's broken at the NLRB, they figure they can just strong-arm people into signing union authorization cards.

What'll be interesting is to see what kinds of fights break out between two different unions when they're both trying to organize the same workers. Maybe there's some language in the bill addressing that instance.

Sunday, March 08, 2009

Girls With Cats


Why? Tell me why Bill Cunningham hasn't linked to this article from the New Yorker yet? ;-) (Sure, it's about a big player, Lion's Gate, but in telling about the audience and the story and the marketing it's everything we little companies need to be doing and aware of.)*

My favorite quote:
“I’m managing my stress that they want a guy named Doobie to cut the trailer.”

How to fake a sick-day call. Advice from Fiona Jones.

*Wow it would be so much easier if I could write a coherent sentence.

Quontract Cuota


Abandoned building in Central Michigan. Isn't it funny that Windsor Ontario is south of Detroit?

I've used up 57% of my allowable image quota on Blogger. It won't be too much longer that I'll just have to move to a new blog account. Or something.

Tomorrow I send out the last (I hope) of the contracts for Alien Uprising.

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Here are some notes on Nikon lenses. I've concluded that we do indeed need to use the Nikon D90 for exteriors in New York in order to shoot with available streetlight. And we need the fastest lenses.

There is some merit to the Vivitar over the Nikon 85mm. But nominally it would be better for us to use the same lens manufacturer just so the color and such tends to match when going from wide to closeup. We think.

Vivitar Series 1 85mm f1.4 $375
Nikon 35mm f1.4 perfect optics and operation $500 store -- $255 cheapest auction. I just got outbid at $358 for one in perfect condition.

Saturday, March 07, 2009

Dystopian Alien Cities


http://www.turbosquid.com/FullPreview/Index.cfm/ID/330221

Does the dystopian alien city end up only being seen in a wireframe because the pollution makes it impossible to actually see things further than about 20 meters away?

We can do wireframe really well. Of course, to a visual effects person wireframe looks "cheap". That's because it's the first thing they learn to do. But to the audience it looks really cool. I say if it's good enough for John Carpenter, it's good enough for me! ;-)

Oh the things we musts do in order to shoot on a no-budget budget.

Friday, March 06, 2009

Maybe

The Blade series I'm watching on Joost.com has me pretty well hooked. I'm surprised at how good the art direction is. And the mix is better by episode 3 than it was for the pilot.
The characters are strong. It's not as predictable as TV series' usually are. And it looks like each episode is more than 12 days of shooting. I have no idea how they budgeted for this.
The analog of the racial politics is vastly more interesting in the series than in the films. At least what I interpret as the analog of racial politics. And it sure looks like they actually shot in Detroit. The exteriors don't look like LA, that's for sure. Maybe they shot in Canada somewhere where it's grey outside all the time*. That's the right exterior look for Blade.
I'm a big fan of the second Blade movie especially. But the series has things which I think are even better than the movie versions. Oddly, in the TV series the "world" seems a bit more complete.
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Mpix makes photo books.
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The Hacker's Diet. How to lose weight and hair through stress and poor nutrition.


*Yep, Vancouver in fact.

New Ink

So we just inked a deal for a new movie, Clonehunter by Eric Steele. Good news? It's not an ensemble piece. Bad news? It wasn't written as a low-budget but rather as an off-world noir thriller about a professional clone hunter... well, this actually:

2525 A.D. David Cain is the Clonehunter - employed to capture escaped clones so that their genetic fathers can use them as hosts to gain immortality. But when this particular clone uses his mutant powers to control a planet's entire mafia, Cain becomes the hunted instead of the hunter.

I have no idea how we're going to shoot it. I think I have the hoverbikes figured out but the dystopian city on the alien planet is going to take some work. 

In about a week we should start scheduling. 

Via Stu. Robots versus trees.



Also, online production. I don't know if we would bother.

Bill Cunningham's article on The Watchmen (with Frank Miller's taking offence!).

What if God disappeared?

Blade Release


So I finally watched the first two parts of the pilot of the Blade series (which is linked below.) I thought it was surprisingly good. The story is strong, the performances are mostly very good, it looks terrific and the music is especially good. I wish the dialog were just a tad better/louder.

Why did it fail? I bet that it was really expensive to produce. And I bet that it really only skewed on the male demographic of SpikeTV which may have hurt its ratings. I bet somebody knows a lot more about what happened and why regarding the cancellation of the series. I know that I could never figure out what time it was on.

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So, I gotta come up with about 35 more pages of contracts for Alien Uprising. I'm workin' on it. I've worked on movies which have gotten theatrical release and never had to get a release from the boom operator. But our distributor wants releases from everyone we credited in the end title crawl. I don't know if that's what his buyers want or what. I should have that done by the end of the weekend.

Thursday, March 05, 2009

Some Tests

I did some tests to figure out a "look" for a couple movies I have coming up. Here's a bit of Solar Vengeance with "no effect". Note that there is color-correction and some Magic Bullet Looks on it.

Test Straight from Andrew Bellware on Vimeo.

First up I tried the FXFactory Pro "Artist Sketch" effect. I had high hopes for this effect. Possibly with different lighting it would do something. But I don't want to prejudice you, go ahead and look for yourself.


Artist Sketch Test from Andrew Bellware on Vimeo.

Here we've applied the Final Cut Pro "threshold" effect. I've colorized the white and black to be the same white and black colors as the original had.


test with threshold from Andrew Bellware on Vimeo.

Now here we're doing both -- applying the Artist Sketch (on top) and the threshold (on bottom).


Test -- FXFactory Pro "Artist Sketch" and FCP "Threshold" from Andrew Bellware on Vimeo.

Tell me what you think.

More Soon


Adam Tredowski.

Ooh look. The Blade Series is available online via Joost.


Wednesday, March 04, 2009

Contract Day

Today has been contract day in the Pandora Machine. About 35 more pages of deliverables (contracts and other paperwork) went out to the distributor on Alien Uprising. Sheesh!

Hopefully I got it all right this time.

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Zacuto's Great Camera Shootout '08 from Steve Weiss, Zacuto USA on Vimeo.
Wow, my little Letus adapter looks pretty good in this shootout.

I know that New Zealanders naturally elide like there's no tomorrow, but Zoe Bell really could take some elocution lessons. It's like she went to the Kira Sedgewick school of diction.

That's the beautiful and talented Kiwi actress Juliet Furness as Lucifer in the trailer of my second movie Apostasy.

Cranky Old Man


You know, I hate telephones. I didn't always, but I do now. I hate telephones for a reason. I used to think that it was because I felt I couldn't articulate responses fast enough to technical things in "real time" without (to me) unacceptably long pauses. But no, that's not it. What really ticks me off is how sucky telephones are now.

Back in the olden days (about the time of dinosaurs, shortly after the Constitution was written), telephones worked because a pair of twisted wires came to your house and connected to your telephone. A high(ish) voltage AC current would make the telephone ring, and a low-voltage DC current would sit on the line during the call to operate the phone while you talked. In real time.*

You only had a speed-of-light delay between you talking and the other person hearing you. And with the relatively simple circuits they had in the whole system that meant pretty much they heard you right now.

Between VOIP phones and digital cell phones there must be a 750ms delay in the audio between when they talk and you hear. So you start to respond but your response is now a second-and-a-half off. And that makes. I'm sorry no, you were saying? I said... I... I said... Oh. What? No I was just... I... I was... could you repeat that?

So of course there's no freaking side-tone. Words get dropped in addition to the delay. You just can't talk on 'em! I hate all of them. Phones! A failure to communicate.

So There! Bleh!

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Today I started singing a song with the lyrics:

My love, my love, my love
My love is a monorail.

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*When I was little my dad once hooked together a couple old phones with a 6-volt battery for me. That's all they needed to be able to talk to one another (the ringers didn't work of course). I thought that was the coolest thing in the world. I still do.

Why Am I Still Up?


Hee!

The best of contemporary fantastical art.

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The Panasonic GH-1 is out of the bag. The image sensor is smaller than the Nikon D90, but not by much. On the other hand, lenses for the four thirds system are more expensive (and there aren't that many of them available used.)

The kind of compression they do (I believe) is i-frame, not as good as the Nikon. But the Nikon has other issues (like "jellycam").

I have a couple pictures coming up where I fear I'm going to need to shoot some exteriors at night and do some set extensions to make the Gowanus part of Brooklyn look like a post-apocalyptic 'nother place. I'm not concerned about the set extensions. I'm concerned about speed. I need a fast lens (f1.4 preferred) on a fast camera (ISO 400 equivalent) with a fast car and a fast dog*. The Nikon with $1000 worth of lenses (an 85 and a 35) might just do me. But the Panasonic is intriguing.

Stu also points out the Panasonic LX3. But the imager on that camera is pretty small. It's 1/1.63. I still can't figure out what that means. Still, the built-in lens is a 2.0.

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From Gawker:

"All of the government's pesky market intrusions have people snapping up copies of Atlas Shrugged like they were bailout packages. Since it's not like Ayn Rand's laissez-faire fantasies got us into this mess."

*I have no idea where that was going.