I don’t post videos for a reason. They’re a lot of work to make and they take time away from making the film. However, I wanted to show that with just a few supplies and a little ingenuity you can create a decent looking set. This is not an instructional video by any means but it will give you good idea of what goes into constructing a set like this.
Watch the video: HERE
FILTH is not for kids. I’ve mentioned in the past that it is a violent film with extremely course language but living with the film for over a year now I sometimes forget just how over the top it is at times. I spent last weekend working on a montage sequence that had some particularly strong content. Now … it is puppet violence so that in and of itself softens the impact and being in black and white tones it down even more (some of the raw colour footage is spectacularly graphic) I will also add that FILTH is more EVIL DEAD II than it is SAW (for those unfamiliar with those films or who only know them by reputation, there is a difference) The fact that FILTH is a little on the extreme side doesn’t concern me in the least, just know you’ve been warned.
HIVE has been nominated for the Rondo Hatton Classic Horror Award for Best Short Film. 2 years ago BROKEN was nominated for the same award. The winners are chosen by fan ballet so I don’t expect to win but I was taken aback to see it nominated. I’m not sure how these things are selected but someone out there seems to like my work and for that I am grateful. If you wish to vote I will make it easy for you. Simply copy and paste the text below into an email and send it in. More on FILTH next week.
9. BEST SHORT FILM – HIVE, directed by Adam Ciolfi
email to: firstname.lastname@example.org
I will be putting the finishing touches on Scene 21 this weekend which will put this set to rest. The balcony scene was only 4 weeks in front of the camera but it was some of the most challenging work I’ve ever done. Not because of the animation (that was fairly standard) but for the amount of post animation manipulation of the shots. Close to half the shots had some sort of digital help (green screens, rig removal, set extensions) and on more than one occasion I found myself isolating the characters and replacing the entire environment (something I have strongly criticized in the past but have come to see the practical reasons behind, my how the times have changed) And finally, I say goodbye to a second puppet … I hardly knew ya man. I plan to clean up all the linking scenes next before moving on to the final showcase set. AND the film has inched past the 6 minute mark.