DELAYS:
Due to working on other projects, the pickup shots were completed in September 2008, 21 months after the principal footage. I do not recommend this method of working. Besides scheduling and continuity issues, there is a loss of momentum and energy and money due to the delay. The cost of recreating the set (which in this case was elaborate) is substantial. Luckily, everyone looked pretty much the same.
PRODUCT PLACEMENT/BARTER:
In the film I had a scene where we used a shot from Out of Frame Rentals (OOF) in LA. It looked really cool and so I sent it to Philip King at OOF and asked for his help. He loved it and allowed me to use some necessary gear free for the pickups. WIN-WIN is the way to play.
Since Fortitude had changed ownership, I went to Ricky Stoutland and Robert Sweet at Occidental Studios. We worked out a deal and I shot on their 60X90' green screen studio in Hollywood. Echo Entertainment rented me the camera package two HVX-200 cameras with P2 media. The cameras simplified workflow allowed me to skip old-school digitizing and deck rental and be able to start editing during the shoot.
PREPARING FOR PICKUPS:
Being a 1st timer, I met with expert friends of mine, Wes Llewellyn and Mike Wech. They advised me NOT to take the "easy" road of using green screen to simplify production and eliminate set-building. This can make for a real nightmare in post. There are enough variables that need to match without introducing the chromakey aspect.
Since we had mostly Two Shots and Wides, it was crucial to isolate the actors with POV shots and to exactly match the existing action (or use a cutaway). This meant knowing the original material intimately and being able t recall sight lines and action on the set.
To serve as a guide on the set, I exported still frames of selected scenes from Final Cut Pro. These stills showed the insertion points for the new footage, making communication with the DP very clear and precise.
UNEXPECTED CONTRIBUTIONS:
Don't overlook assets that cast and crew could bring to the film. For the evil genius Mogulschwartz' office, actor Scott King brought some krazy Lion lamps and desktop sculptures. Another actor, Chuck Loring provided full-on medieval battle gear (including coconuts) for the "Knights who say Meek" scene. For the "product marketing segment," Chuck also made the Hernia Action Figurines: Orchid Men, Tulip Boys, Gardenia Monsters and the ever popular "Abdominal Snowmen."
EDITING:
I highly recommend that directors learn to edit, at least on a basic level. This will save a great deal of money in post and make you much more efficient in production, knowing how to make your editor's job easy. Only YOU will be able to give the true actualization of your vision and it helps a lot to know editing basics. Then hire experts for finishing and conforming your final output.
DISTRIBUTION:
The plans for COH are to enter Sundance and other strategic festivals, then use COH to get meetings with directing, literary and talent agents. Then the film will be sold and/or distributed as webisodes. Finally I will market DVDs in a "long tail" strategy. Many irons for many fires.
FINAL THOUGHTS:
Reading in my journal, I am amazed at how much I juggled on this (writer, producer, director, actor, animal handler, etc). My demands for total efficiency have relaxed a bit and the anxiety is replaced by a sense of wonder and of fun. It's always plusses and minuses and we may lose a battle or two, but we will win the war.
As the good pastor at Media City Church, Rick Fry said, "If you can achieve your dreams on your own, they ain't big enough." Amen. |
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