Festivals now entered:
Venice, Foyle (Ireland), Festival Du Nouveau Cinema (Canada), Glasgow, Toronto, New York, Austin.
Reckon I might have to call it a day at that now cos I’m skint. So far Venice said ‘nah cheers though’ and the rest are keeping schtum for some considerable time. Shitty postal services meant some entries arrived very late but after some begging and heavy petting it looks like they’ve accepted them at least as eligible, which is a start.
Entering a work in progress to a panel that must have to sit through hundreds of hours of some right ol’tripe (this included) is probably not the best plan in the world, but I’m currently pitching on paid work, then we’re off on hols (woe is me), so not a whole lot I can do about it. Some of the Festivals won’t be notifying of acceptance or rejection for a up to five months but I had to enter now to get the discounty cheapo entry fees. Serves me right for being a tight arse. Oh to win the lottery (I’d need to actually play it though) or sell an organ (they’d need to be fully functionning though) or something.
I’ve had a project accepted by Kickstarter, be some time to say the least before I’m ready to put it live, and making a video for it is potentially excruciating, but I’m intending to go for the sympathy vote.
Their logo above links to a nice little Guardian hosted explaination of the scheme by Perry Chen.
YEEAAHHH – … oh.
Keying things out from even a well lit greenscreen shoot is pretty much always problematic, with hair issues, spill etc.
Today I’ve been having to do it without the benefit of the ‘well lit’ and ‘greenscreen’ bits. The scene only lasts 5 seconds, but it’s involved stablizing a handheld shot to work as a backplate, removing Kate from it by duplicating sky, gravel and shrubbery to mask her out. Then I rotoscoped around her frame by frame using multiple masks, resized her and repositionning her centre screen. I then had to clean up the grass/gravel, replace the sky, relight the scene and retracked the whole shot to reinstigate the handheld drift it originally had. Nobody will even bloody notice, and I’m not even sure it was that necessary, but that’s why I’m telling you about it now so you can go ‘… oh. gosh.’ (I’d show more pics to better illustrate the process, but it’d be a bit of a spoiler).
I sense fatigue …
Nice to get on the fx, its ‘turn your brain off’ work compared to editing. This one was harder than it looks, it being handheld and the stork flying into shot, works though.
Only another 48 shots to go.