New R8 Short 4 Download - UPDATE VCD & KILLER BUNNIES

[teadub]

Here is a new short I worked on. It was a two man shoot, me and the director. I was cinematographer and an overall technical consultant on it. It was shot on John Schwind's Cine-chrome 25 on my Minolta Zoom 8 R8 camera, then we processed it as 16mm unslit. He did the music on a moog theromin. Hope you guys like it .

ftp://ftp.filmshooting.com/upload/video ... _large.mpg

[CHAS]

It took five minutes to download but it was worth it. What a bizarre film. I loved it. The weirdness of the images with the theremin playing....jesus christ, what a great film.

[jumar]

OH MY GOD... that just set my mood for the weekend. That is messed up.

Two questions:

1) Is this straight from a 16mm telecine? And if so, how on earth did you time the cuts?

2) Is Dual8mm perforated the same as 16mm? (ie. is it just normal double perfed 16mm film that gets split, therefore enabling normal 16mm processing and telecine if you don't want it split?)

I have a Dual 8mm camera that I've been waiting for a project to come up before using because the film is so expensive, but if I can use normal 16mm shortends I'm set.

[paul]

"OH My GOD", that is the right expression...weird..but I had a great time...

Paul

[BK]

Bizzare! Technically execellent, and good one Wallace. I am not sure what the film is trying to convey though???

Bill

[teadub]

Let me start off by thanking everyone for the kind words

Two questions:

1) Is this straight from a 16mm telecine? And if so, how on earth did you time the cuts?

Yes, that was 16mm telecine to DVCam. I did the color correction. Some cuts were done in camera, and others were done on NLE. When you see one side cut and the other side stay the same it was an in camera edit, and when both cut at the same time it was done in Final Cut Pro. Orin did the editing, i think that it has a nice flow to it.

2) Is Dual8mm perforated the same as 16mm? (ie. is it just normal double perfed 16mm film that gets split, therefore enabling normal 16mm processing and telecine if you don't want it split?)

I have a Dual 8mm camera that I've been waiting for a project to come up before using because the film is so expensive, but if I can use normal 16mm shortends I'm set.

Dual8 ( R8 ) is 16mm wide, but has twice the number of perferations as normal 16mm. So you can run R8 film through 16mm equipment the sprocket holes line up great, but not vice-versa. The lack of perferations in 16mm will cause it to jam in R8 equipment.

I am not sure what the film is trying to convey though???

I don't think it is really trying to convey anything. Orin and I did another short (on DV) of the "running of the bulls" during cinco de mayo I think that it is just another installment of animal themed desert films.

check out http://www.wolftoob.com/birds for info on this film. also, if you click on the yellow "killer bunnies" it will direct you to a page about another film I shot for him.


TECHNICAL INFO

Size: 32MB
Time: 2 1/2 minutes
Film: Cine-chrome 25 Regular 8
NLE: Final Cut Pro 1, Sound: Pro Tools Digi 001
Compressor: sorenson 3 mpeg VBR (discreet cleener 5)

[BK]

I don't think it is really trying to convey anything. Orin and I did another short (on DV) of the "running of the bulls" during cinco de mayo I think that it is just another installment of animal themed desert films.

Oh! I see. It would be good like the fillers between these animal documentaries on Nat Geo or the discovery channel. Very cool!


Bill

[Splee]

Whoa! That's quite something...the images would be good on their own, but the soundtrack makes this film - into something quite awesomely terrifying! But I mean that in a good way - I'm impressed.

[mattias]

yeah, really really good, and yeah, especially the use of sound.

/matt

[Lunar07]

Here is a new short I worked on. It was a two man shoot, me and the director. I was cinematographer and an overall technical consultant on it. It was shot on John Schwind's Cine-chrome 25 on my Minolta Zoom 8 R8 camera, then we processed it as 16mm unslit. He did the music on a moog theromin. Hope you guys like it .

The images are great and they definitely convey certain thoughts and even an embedded 'sub-text/story.' I used to use that technique of shooting on R8 and displaying as 16mm all the time long ago. There is more to R8 than meets the eye
However, and please accept this as positive criticism - the weak point in this film is the music/sound: predictable, flat, one dimensional, and does not add anything to the images beyond sheer predictability. It just lacks texture. I advise the sound designer to listen to some music/sounds accompanying Robert Wilson's theatrical video pieces as an example of creating subtle textures for such film styles.

[studiocarter]

Damn, I had to log in after I saw this (must not reply, must not reply). Just trying to get a life. Anyway.........
Wow.
Where did you get it processed?
Someone posted that K25 was only possible to process to B&W anymore. This must have been processed as K40 then?
Did you hold the camera upside down for half of the film?
Could you make a SVCD version and post it? Please?
You are going to be famous, I'm sure.

[jumar]

However, and please accept this as positive criticism - the weak point in this film is the music/sound: predictable, flat, one dimensional, and does not add anything to the images beyond sheer predictability. It just lacks texture.

Wow, I completely disagree. The sound is perfect for this piece. It walks a thin line between simulated location sound (the cries of the ostrich) and score, and adds chaos to justify the chaos of the images.

This is a perfect example of how you can create something completely harsh (and somewhat scary) out of anything.

[Lunar07]

However, and please accept this as positive criticism - the weak point in this film is the music/sound: predictable, flat, one dimensional, and does not add anything to the images beyond sheer predictability. It just lacks texture.

Wow, I completely disagree. The sound is perfect for this piece. It walks a thin line between simulated location sound (the cries of the ostrich) and score, and adds chaos to justify the chaos of the images.

We can go in different directions with this - let us say, for the sake of argument, that the images are chaotic, why do you feel that music/sound has to justify this instead of adding a layer that can carry it into a different dimension.
Now, who told you that the images are chaotic? Even a chaotic series of nighmarish primeval images can carry through an inventive sub-text (I mentioned sub-text above, did not I?). The least that sound can do is to have a <b>texture</b> that does not merely justify but derives an extra stream of meaning - it anticipates the sub-text.
Please note that my concern is the lack of texture, and <b>not</b> the sounds as they are.
The sounds surely justify, in one sense, what you say. And that is the problem. It is a justification that lacks dimension and texture and depth.

[teadub]

Where did you get it processed?
Someone posted that K25 was only possible to process to B&W anymore. This must have been processed as K40 then?

I sent it to dwayne's. They used k-14 processing. It was done within the last six months. I thought it was the old kodachrome II that had to be done in B&W.

Did you hold the camera upside down for half of the film?

Yes, half we filmed normal, and the other half we had to film upside down. I even rigged an tripod attachment that held it steady while upsidedown

Could you make a SVCD version and post it? Please?

I have an S(X)VCD of the original telecine. Can you view these?

You are going to be famous, I'm sure.

That would be nice

[David M. Leugers]

Wow, great experimental film piece! Congradulations, especially filming in R-8mm! It may be old, but it can still rock. 8) I disagree with Lunar, the sound put it over IMHO, reminded me of, or gave me the kind of feeling I had when I first saw the ape/monolith scene in 2001. Just plain cool.


David M. Leugers