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Post by Skywalker on Aug 31, 2006 0:26:48 GMT -5
okay so in case you don't know... eric said he wants to write this.. he can
i threw out my script because i reread it today.. and i realized that this is not what i wanted... I don't want CoCd to have a hint of ridiculousness in it. It's a serious movie w/ some comic lines. Plus... my style has changed in the past few years... i'm not so much into the light dramas... i prefer now the darker subject.
however i'm still directing this for directing experience
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Post by Eric T. Jones on Aug 31, 2006 18:13:02 GMT -5
Jessica Warner and I are going to co-write this script. Writing team for CoCdII, why not have a writing team for CoCdI?
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Post by Skywalker on Aug 31, 2006 18:53:12 GMT -5
alright.. this'll be interesting to read
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Post by Eric T. Jones on May 6, 2007 18:37:37 GMT -5
Months later and almost half the film is shot, with a title that's simply "'Con'science" (official abbreviation still CoCdI).
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Post by Eric T. Jones on May 28, 2007 12:20:01 GMT -5
It's offical: DMI/OP has exceeded the 30-minute mark. With only five scenes and opening credits to place in, it currently runs 33:55 (excluding end credits). I estimate the final runtime to be 45 minutes or slightly less. ...and the teaser trailer is up. one.revver.com/watch/283241/flv/affiliate/90843
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Post by Eric T. Jones on May 29, 2007 19:29:09 GMT -5
With rough cuts of the scenes compiled together, it runs 46:13 including end credits (44:38 without)- a runtime accomplished without one single montage. With principal photography only (not counting possible and preferable reshoots), four-and-a-half MiniDV tapes were consumed and 1:28:32 of raw footage uploaded to the editing computer. The project so far has consumed 21.5GB of disk space (18.7GB of that being raw footage), though takes unused in the final product may be deleted.
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Post by Eric T. Jones on Mar 10, 2008 15:37:25 GMT -5
Into the ninth month of on-and-off post-production. I don't think we'll have another project that'll take THIS long to get released for the sole reason of sound quality, since the length is really time spent learning the process and how to do it well.
So, since every time I view the latest workprint I get sick from "listening fatigue" (what happens when you mess with the wrong frequencies), I decided to start the sound mix from scratch, working on an all-production sound mix first and actually taking film school advice on going for audio dissolves rather than straight cuts for shot changes (before I thought continuous background sound was disorienting, but now I think the previous straight cuts were).
Since Richie and Jessica approved of the edit screened in December, it's "picture-locked", so the cut film is set in stone.
I'll be calling some volunteers to help me re-record sound effects, and I want to do all of them on either the authentic locations, or something close (as in, no, I don't actually expect to be re-using the office set or that specific garage). With the help of a portable DVD player and watching the scene a couple times, we should hopefully get it all in-synch.
I'm also contemplating getting the film color-corrected and reframed just so when the audio post-production ends, the film can finally be released.
Release date is uncertain, but a new trailer will be online two weeks before official release.
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Post by Eric T. Jones on Mar 10, 2008 23:59:45 GMT -5
Taking a break from production sound mixing, since I have reel 1 conformed with a mix. Switching on to color-correcting, which is a lot harder than it looks.
Currently I'm yearning for the digital intermediate tools that cinematographers today love to use- you know, where you can leave one part of the image alone and just mess with someone's face?
I suppose I could rotoscope the moving parts, but I'm going to limit "power windows" to backgrounds and distractingly-bright foreground objects... basically anything that's still. Spent the past hour finding a way to mask off bright chair legs, for instance, with all the trial and error. When I play it back in a rough render there are bright edges, but individual frames, it's pretty much invisible, and the notebook Clarence is grabbing will be your focus of attention instead of the glaringly bright chair legs.
(watch as I watch the print and think the original, unmodified version was more interesting)
Color timing is a lot harder than I thought it would be, mainly because my reference image is a lot brighter and more saturated than everything else. Brightness levels can be corrected, but anything that was less bright than my reference image has a layer of gray that I can't quite peel off (or I can up the contrast and make it look muddy, which I'd prefer not to do).
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