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UNLEASHED

FILTH is on line so I won’t waste time with a long post. Give the film a look. Let me know what you think and share it as much as possible.

 

WIDE SCREEN

1-1 test comp

After a month of building, I’m back animating again. I expect to be finished all the shots on this set in less time than it took to build it. If I can keep the quality at this level, FROM HELL HE RIDES will certainly be my best looking film. Shooting widescreen has been a real learning experience. You might think that going from a 16×9 to a 2.35×1 aspect ratio wouldn’t be that big a deal but it drastically changes how you compose a shot and in turn, how you shoot a scene. These are the types of challenges that keep me intrigued with the film making process.

CABIN IN THE WOODS

FHHR Cabin Raw

I assumed someone would catch the reference to Evil Dead with respect to my cabin but I was a little surprised at how fast and how many people did. While not a direct copy it was certainly my intention to pay tribute to one of my favourite horror films with this set. So much of what I do has its roots in the films I enjoyed growing up. If I was ever to create a haunted house you can bet the house from Psycho would serve as my reference. For me it’s a wink to fans that enjoy the same things I do.

FHHR Cabin Test Comp

2020

Cabin in the woods

I had planned to write another half dozen posts about FILTH and its adventures on the festival circuit but the more I read over my notes the more it all started to sound like endless whining. No one wants to listen to that so let’s get back to the fun stuff. FILTH has made two Best of 2019 lists so far which is very cool. I continue to push it to as many sites as will promote it which is starting to pay off with some very nice write ups in the last month. You can find links to them HERE. FROM HELL HE RIDES is moving forward as well. My cabin set is starting to take shape and I’m hoping to be animating by mid-January. As I said back when I started this project, these sets are very labour intensive which inevitably will stretch out the production time but I think it will all be worthwhile. The results so far have been very encouraging.

WHAT’S YOUR SECRET?

Big Hand

This week just a very brief post, mainly updating FROM HELL HE RIDES. The first scene has been completed and the jail set is gone. Painful yes but I don’t have room to keep this stuff so down it came. I’ve started work on the next set which should be up and ready by early January. A lot of people ask me how I’m able to move so quickly through these projects. There’s really no trick to it, you just have to keep chipping away. Sounds simple but it’s a learned skill.

SHAKING HANDS

Animating

There are networking benefits to film festivals if you are able to travel to them but there are limits to what can be accomplished. There are a lot of factors at play. What city is the festival in, what kind of festival is it (short films, genre, shorts and features) what time of year is it, what day and time does your film screen. You’re not screening alone so what other films are you screening with, are you playing with the work of local film makers, what other film makers are going to be in attendance: these all have a huge impact on the response and the audience you will get. For the most part festivals are counting on you to help fill the seats which is why an on line presence is so important. My best advice is to be strategic. Only enter festivals that share your audience. Stay in your lane. And never submit to a one day festival unless if it’s part of a monthly screening series. The money you save by not over-entering is better invested on creating a web site or buying on-line promotion. And for the love of Satan do not spend 2 years on the festival circuit for a short film. That’s just crazy. Remember, the most important thing is to make a good film and speaking from experience that is way harder than it sounds. Speaking of making films, animation is continuing at a brisk pace on FROM HELL HE RIDES.

SOBER THOUGHTS

FHHR Frame 1

Submitting to festivals can be addictive. When you get in you want to enter more. When you don’t get in you want to make up for the losses by entering more. If you’re not careful you can easily find yourself spiraling out of control, spending literally thousands of dollars on entrance fees. Festival screenings provide a certain level of legitimacy for a filmmaker. If my film plays in a festival, on a big screen, then I’m a real filmmaker. Getting your film in front of people is never a bad thing; in fact, it is the main thing. Where most filmmakers get derailed is when they start believing that festival screenings are some kind of magical launching pad to bigger things. I don’t mean to marginalize the festivals, many of which I myself have been a participant but hundreds of films are screened at every event which means it’s that much harder to make a lasting impression. When you think of the thousands of short films being made each year, the chances of your little film breaking through are ridiculously small. But it’s not all doom and gloom. Far from it and I’ll tell you why I think that way next time. As for FROM HELL HE RIDES … after 10 months of pre-production, the year long process of animation has begun. Pictured is the very first captured frame. 15 minutes @ 15 fps means just another 13,500 frames to go.