About the Straight 8
This year I decided, rather abruptly, to enter the Straight 8 2017 Film Festival held by CineLab in London. Each year I see the festival come and go and each year I think about entering but somehow don’t pull the trigger (so to speak). But this year, I saw that I *might* have enough time to put an idea together so before thinking about it too much I paid my entry fee.
Luckily, I already had one roll of 500T sitting around. So I quickly went to work piecing together a concept that was bubbling in my mind.
For those unfamiliar with Straight 8 festivals it works like this: using a single roll of Super 8 film you shoot your film from beginning to end without edits, without takes, without the opportunity to reshoot anything. Once you start shooting, that’s it – what you capture is what you capture and there is no changing it. The film is sent off for processing and digitizing. Meanwhile, a soundtrack is put together, thankfully, editing is involved with the soundtrack but because there is no picture for reference it is difficult (if not impossible) to completely synch up audio and visual. The soundtrack is submitted as a digital audio file.
The film and audio is placed together and the first time the film premieres is the first time it is seen, in full, by any audience or even the filmmaker!
This makes the film creation process that much more exciting, unpredictable, experimental, and…risky.
I began in earnest putting my script together, documenting shots, proposing run times for each scene. My method of pre-production involves a lot of brainstorming, keeping random notes, writing anything down that comes to mind and then sorting it out as I come back to those notes again and again. Old ideas dissolve and new ideas take shape.
As I found this happening naturally, I decided that was what this film would be about – things taking shape, changing, and reemerging as new things. A constant continuous process of change; changing forms. I began to tie this concept to a couple of visual ideas – the process of making something by hand – in this case the forging of an original art piece from it’s early stage as a wax sculpture to that of the human and natural environment. Tying these two worlds together of the human-made vs. the natural environment, the common thread being that we are all part of a “process.”
For this idea I wanted an original soundtrack. I immediately jumped to wanting a cello piece – the cello has a certain power and mood about it that is unique and carries a certain weight that is appealing. I began asking friends about people who played cello and where I might be able to find someone to create an original score – in a short amount of time! But it seemed a tall order to find someone who could commit their time and energy to something like this on such short notice. I began looking online and quickly remembered using Fiverr for a couple of past graphic design projects so I began exploring there for a person that might be able to accomplish what I wanted. I posted a request and within hours received a number of replies from various composers and musicians about what they could offer. After sorting through the offers and listening to sample works I selected one that I felt could best achieve what I was looking for.
I was lucky enough to find a young Venezuelan composer to complete the score in less than 7 days! Here is a sample of the music:
In the midst of conceptualizing the idea I wrote a narration – sort of a spoken essay or long-form poem. It materialized as free-form writing, ideas popping into my head that became the “story.” I didn’t spend a lot of time writing and re-writing as I wanted to embrace the idea of “the first take” even in this part of the process. So not a lot of revisions. I used Fiverr again to seek out some talent to narrate the story. I found someone and received a version back pretty quickly. I made a couple of suggestions and received another version back.
Ultimately, I wasn’t getting exactly the tone I was looking for so I decided to do the narration myself. It took me several takes and I ended up revising the script a little bit more. The best takes were recorded in my clothes closet using an R-09 Edirol (the same one I’ve had for years now – in fact, the batteries are starting to rust out the inside).
I used Audacity to cut the audio and shifted things around a bit more. Final running time for the audio was 3:23 (about 3 min long but that’s fine).
My first roll ended up being used on another -related- project so I purchased a second roll. (I have the first roll and will be posting that footage as part of another project which covers more of the interior of the Crucible Foundry and the molding process for the soon-to-be bronze belt buckle that Rick Sinnett designed.) It is the wax positive of that piece that I chose to use for my Straight 8 project.
Principle photography took place over a period of three days. The first day took place at the Crucible in Norman. One of the most important – if not THE most important shot – is the first three seconds of the film because it has to display a unique ID number that identifies this cartridge, this film, as a valid submission. If the ID number is not in the first three seconds, you’re disqualified! So I made sure to open with that shot. I continued with a fade-in on an exterior interactive/movable sculpture and then moved inside for a few more select shots.
The second day of shooting, about a week later, took place in the Wichita Mountains Wildlife Refuge in southeast Oklahoma. This is one of my favorite places to visit so shooting there would be fun. I rounded up a couple of friends and fellow staff members, Virginia and Baylor, to be actors.
I wanted some interesting shots so I played around with a stop-motion idea and a moving time lapse scene. After a couple of hours and multiple locations I wrapped up the day.
Day three of shooting was back at The Crucible location in the sculpture garden again for a final shot that would wrap things up where they began. Not knowing exactly when the film would run out was challenging.
It is not so far removed to try and shoot Super 8 film in one take. In fact, I try to approach filmmaking with the idea of using as few takes as possible because, frankly, film is expensive and every unusable shot is wasted film. But this was my first foray into zero editing where planning is everything and time-keeping is critical. Probably the biggest mistake I made was purposefully ejecting the film cartridge just prior to my second day of shooting. There is always a cool effect when a cartridge is exposed – sort of a flash effect – so I thought it would be cool to include one. What I didn’t take into account was that my in camera run-time counter would reset once I opened the cartridge door! In fact, I realized I’d made an even bigger mistake from the very beginning when I didn’t have a designated stopwatch or time keeper. So I had true way to measure how much I’d shot and how much film was left.
Having a larger crew – or should I say – having a crew at all, would have been helpful. Even a couple of people to help me keep things on track, to keep time, to help with equipment, etc.
Thoughts on the Process
It’s difficult to say with a film like this if it’s going to be good or bad. The best you can do is try to make as few mistakes as possible and hope for the best. A number of things can always screw up what might be a good film: poor focus, bad lighting, shutter-speed settings could be off and affect your color (such as I encountered with my first run of 500T film that was very yellow because I failed to engage the correct setting). I managed to accidentally pull the trigger at least twice that I’m aware of – so who knows what those frames will look like. And I’m pretty sure some of the close-up shots are going to pretty damn blurry.
Everything is easily critiqued on a project like this….in retrospect. But fortunately, film shot in this manner has its value rooted square in the moment. That defining moment when the decision is made to pull the trigger and just go-with-it, for better or worse. I guess therein lies the reason for participating in something like this. Yes, it puts boundaries on what you can and cannot do but those boundaries require you to rise to the occasion and put forth your best effort without room for do-overs, re-shoots, re-takes, or previews.
I can see that for some professionals that call themselves filmmakers but are really videomakers (doesn’t quite have the same ring to it, does it?) that process would be too restricting or cumbersome for their current “workflow.” But to me the thought of capturing something that is un-perfect and trying your best to dial-in everything leading up to the shot, and then once it is done, it is done – that it is both exciting and nerve-wracking all the same.
I guess that I hope the film is good but then again what is good anyway? Good seems to only be another individual’s judgement placed on the work. So whether what ends up as the finished product on screen is worthy or not is not for me to decide. What was good was the process of creating this project from start to finish. In that respect, I learned a lot and reinforced the idea that making film is a rewarding and fulfilling experience.
The Final Film
As of this writing the final film has been submitted and the soundtrack as well. At this point it’s a waiting game. Once the film digitized and the assembled with the audio track it will be placed online – at which point I will reference it from here for everyone to see.
My film was selected to show at the Straight 8 Film Festival in London!
Show is Sunday, July 9 at Picturehouse Central
The project is on. We’re in the process of capturing Oklahoma climbing, climbers, and the stories that came with climbing on the plains.
More to come….
I recently attended the ‘friends, family, and movie-people’ premiere of This May Be The Last Time, a documentary produced by Matt Leach, Sterlin Harjo, and Christina D. King and directed by Harjo. This was the first feature-length film backed by This Land Films a section of This Land Press based in Tulsa, OK. The premiere took place at Circle Cinema in Tulsa on the heels of a successful debut at Sundance Film Festival in January 2014. Here is the posting about the film on the Sundance site.
I was hired to work on the film last year. I worked with the director and producer and other members of the cast and crew to capture re-created historical events that took place decades. Though, there was some original home movie footage of other stuff they could not unearth any archived footage from this particular significant event. So the goal was to re-create several scenes in a manner that might pass for film footage captured in the early 1960s. Super 8 film shot in a hand-held ‘man-on-the-scene’ type way was used to create a stylized, authentic appearance.
Coming into the picture I had seen a rough cut of the film and I understood the scenes and what they wanted to capture.
The shoot was a memorable one for me as many of the shots took place with me standing in the North Canadian River with a camera in my hand. All told we shot 7 rolls of film that day at 24 fps which amounted to about 17 minutes of film. The film stock was Agfachrome 200D Color Reversal film and shot on a Canon 814 XLS.
The intention was to use about 5 minutes of the footage. I was happy to see that every roll of film turned out wonderfully; good light, good focus, and framing. Plenty of the footage made it into the final film and the trailer.
I was happy to have been given the opportunity to share in this experience. The documentary is beautiful, heartbreaking, and uplifting, all at the same time…it’s a story worth watching.
Posted below is the official trailer for the film:
For the past few months I have been assisting Rick Sinnett (mothman333, mothmancollection.com) on the Silo Art Project. Mainly, I’ve been helping out by shooting video for a documentary for the project . Yesterday we went to El Reno, OK to shoot some footage for an upcoming Kickstarter campaign which he’ll be lauching in the coming days. A few weeks ago we visited Digital Media Warehouse in OKC where Rick printed a number of fine-art prints in order to raise money for the project. OETA was there (along with myself, whom you may catch a glimpse of here and there) to capture the process.
I am excited to be involved with this project. It’s always refreshing to find someone passionate about their work, especially when it comes to bettering the environment, the community and making a positive social impact – that’s what this public art project is really focusing on. Furthermore, Rick is incredibly driven to see this project through. It’s been more than a year of work – lots of behind-the-scenes stuff and still we are inching closer and closer to making “This Land” a reality.
You can keep tabs on the progress on the Silo Art Project twitter feed.
Following Rick (mothman333) on Instagram. Check out the Silo Art Project Facebook page. Watch for the upcoming Kickstarter page. And buy some of Rick’s art in various forms on MothmanCollection.com to support the project.
There are so many aspects to putting a documentary like this together and right now most of the individual pieces are spread out like puzzle pieces across a table. The list in my head currently reads like this: title of movie, equipment to purchase/acquire, names and contact info of people to interview, scoping of story and script, website development and promotional stuff, grants and fund-raising, scheduling and travel. Under each of these headings is another list, each with its own “to-dos.”
All of this coupled with the fact that my wife is due with our second child in about 8 weeks.
What am I doing?
I’ve completed and uploaded another video from the trip to England. This one is of a day spent climbing and exploring Stanage Edge; a world famous gritstone area in the heart of The Peak District.
Unfortunately, we only had a day to experience the wealth of climbing in the area, and this was only enough to leave us wanting for more grit. So I’m hopeful that there will be a return trip in the not-so-distant future which will allow for several days of climbing and an opportunity to truly experience all that gritstone climbing has to offer.
This film was shot on a single roll of Tri-X Super 8 film using a Zeiss Ikon Movieflex S8 camera. The film was developed and transferred at Yale Film and Video in Burbank, CA. Post processing was all done in Final Cut Pro. The black and white (and grey) turned out pretty well on its own but I wanted to alter the image a bit in FCP. In this case I felt the use of a pink filter, upping the contrast and brightness (in some cases) added to the picture. Editing wise, I just did a little trimming here and there – I like to keep the sequence and the duration of the original film as much as possible.
With a film like this (meaning Super 8 ) I think it’s good to keep the home-movie feel. In fact, I would argue that it captures the experience more realistically – almost more documentary style.
The music is from a band/artist named Part Timer and the song is called Unwritten Letter no.9.
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Just completed editing a new short-short film. This one is very “home movie.” It’s some footage I shot while in Cambridge, England in April 2010. The person walking around is my brother, Adam.
The film was shot on-the-fly using a Zeiss Ikon Movieflex S8 camera. It’s really become one of my favorites, especially when it comes to usability. There’s not much to metering and focusing – just point and shoot. Of course you’ll be able to tell that it is auto-metering (instead of manual) because the brightness while change occasionally – but for on the run type of stuff, this camera works great.
This is a short film shot in Cambridge, England in April 2010 during a visit for the Cambridge International Super 8 Film Festival.
It was market day and the May Day celebration. My brother, Adam, walks the crowded streets, visits the open-air market and watches some street performers.
The sound was captured digitally using a hand-held Edirol R-09 recorder.
The film was predominantly shot on Kodak Ektachrome 64T but the last bit capturing “punting” was in Tri-X. Camera used was a Zeiss Ikon Movieflex S8.
All camera work by me.
The F47 Productions site has been revised.
New films posted soon….
Just posted a new Super 8 film to YouTube. This one is of Stonehenge.