Filtering by Tag: atlanta post production

Blog 009 - Codes Dealt

A new year means new projects... or the same series with new additions. With "Codes Abided" and "Codes Commanded" in the books, we had to do at least one more for the "Codes Collection." We introduced the characters in "Codes Abided," we then saw where the aloof and mysterious Tommy comes from in "Commanded", and now we're looking at young Freddy's time just before "Codes Abided" takes place in "Codes Dealt." 

We will be releasing the trailer within the next day or two, and the film this weekend (05/12/2018) 

For now, here are a few before and after stills from Sean Mccane and his color. The short film was shot on a Red Scarlett in 4.5k WS with Rokinon glass (mainly 24 and 35mm) in one location at The Cooler in Alpharetta Ga.


Blog 006 - "The American Dream" Color Correction

Our latest project is called "The American Dream." Sean Mccane, our in house colorist, did a great job creating a realistic feel for a film that doesn't require a huge amount of creative coloring. This family drama was shot on a RED Scarlett in a few locations; the one below, in a local Atlanta high school. 

"Because of the emotional context of The American dream I decided to go with a darker feel with some greens added in to give more mood to the film. Most of the film utilized natural lighting due to budget, which was okay because a lot was outside and the sun wasn't too harsh. I added a little more contrast to the images to help develop the mood and also punch up the image a little bit. The only scene that required a little more correction is the school scene because the lighting in the school hallways gave off a green cast that affected the skin tones. This was corrected by using the white t-shirt as a white balance point and keying out skin tones." -Sean Mccane

TAD Gif 1

In the next scene, two of our characters were outside of an apartment complex on a cloudy day. You can see what the scene looked like on camera at the top of the frame compared to what Sean did with the color afterwards. 

Both of these scenes consisted of all natural light due to budget constraints. Both scenes are enhanced by subtle yet effective coloring process. 

For better image quality and to see more changes from before and after, check out the video below. 

Blog 005 - Posters and Post Marketing

Sometimes we might complain about the Atlanta indie community. We are apart of it and we are embedded in it. There are so many issues with the community that need to be changed. Here's one... admittedly it's understandable that it's lower on the budget totem pole, but it is still a very important issue... 

The marketing material we've been seeing filmmakers put online is awful.

All too often do I see "posters" for indie flicks that have terrible design, typical and 100% displeasing font choices, and no real originality involved in the design what so ever.  Why is it that we (the ATL film community) don't care about how our films are first perceived?

(You specifically might not be doing this, but i'm still going to use the pronoun 'you' from now on.)

You do realize that the poster to your film, the Facebook image you post, the banner you create are all what the viewer first sees before they watch, or most likely don't watch, your film right?
How do you expect someone to want to watch your film when the design of your poster isn't inviting at all? Your marketing material needs to drive your potential audience into clicking play and taking the time out of their day to watch your film. 

Here's a few things to think about when creating marketing material:

  1. Most likely, you don't have a "star" in your film, meaning the draw you're looking for isn't going to be coming from the actors name. So why are you so determined that the actor is the dominant piece of your poster when it has nothing to do with story? 

    STORY should be driving your every move. Yes, even in the images you put on your poster, they need to be story motivated. So if you want to put five of your actors huge faces on the poster, have a story driven reason for that decision.
  2. Don't use Papyrus or Comic Sans... or most any other basic fonts for that matter. 
  3. Not every actor has to have their name on the poster. Think about design rather than politics. Again, you probably don't have Liam Neeson in your film... so no one cares.
  4. Chances are that you know the material you're looking at is bad. Chances are you just don't care and you're more excited about showing people that you did a thing... Here's an idea. Don't put out the subject if you know it's bad! If you're not sure, review a certain newer poster about an eight legged arachnid coming home... cough....
  5. Lastly, and as always, try to budget a designer who knows what they're doing or connect with a student or new designer and work out some sort of trade. 

All of these ideas are subjective of course, but they're still good concepts to keep in mind when dealing with marketing material.