That's right. There was a gigantic pause in the updates... that's because of the hectic schedule. And even as I write, I'm in the process of writing the progress report for the 2nd tranche of funds. So let's make this quick and easy
cast- check
new production designer- check
location- check (somewhat...)
final script- check
camera equipment- check
Things to do/acquire:
back-up funds
check costume prototypes
rehearsals and fitting
PD checklist
Sound (crew + equipment)
final BOARD
catering sponsorship
transportation & logistics
staff:
- AD/PA/Continuity
- BTS people
- sound
Final Pre-Prod meeting
*Sorry, pictures next week after the shoot. As well as other details. Gotta go!
Sunday, November 23, 2008
Monday, October 20, 2008
Updates
1. casting call is out. been answering SMS from interested actors and (gasp!) talent managers. the experience is almost like dealing with over-eager boutique sales ladies. will be shortlisting for real on the 24th. browsing through the pics and resumes, my heart hasn't leapt yet. but will find them.
2. bon brought in ian of Tabo Works into the team. They'll be doing 3D effects, specifically the transformation scene. he's had a lot of input with regards to shooting with CG, like the "+" marks on the chroma cloth (for
3. productive meeting last night. finally figured out how to do the sets inside the dome. or at least an idea on how to do it. bon suggested we invest in a honeycomb shaped mold and use frosted semi-transparent plastic (i don't know what kind yet) to melt then harden into shape. each side would be a foot, and also a foot deep. with positive-negative ridges so they're stackable and interconnectable... yes, we'll be making giant semi transparent lego pieces we can transform into corridor walls, to tables, to pillars, etc.... and we can use or sell after the shoot. zero waste. i love the idea... i just hope it doesn't cost an arm and a leg... the quotes will be in, end of the week...
4. we're still stumped as to the material to use for the wastelands. bon suggested we could paint tinted resin onto plastic boards or fiberglass to create a textured but semi-translucent terrain. bambi's suggesting red cement with sawdust covering wire-framed rock formations... both sound a bit iffy at this stage, and i asked them to create a miniature version of each, just so we can see it.
5. i still can't bring myself to write my letters to the desired production houses seeking post-production partnership. i'm scared shitless actually. it's like proposing to a boy. if they say no, i'll kill myself. haaay... there is no way i can afford the CG and compositing for LK with the given budget. so a "no" is not an option... lord help me. but i need to do it before the halloween break, no choice....
6. karr is slowly getting quotes for equipment rentals, we need to have final dates and final decisions by next week as to ...
-when the 2nd occular will be
-tech meeting between alma and the cg people and noel and shine.
-audition date
-do progress report so we can get the 2nd tranche
- discuss feasibility of moving the shoot to december
-schedule an "experiment" day when we figure out how to do the live effects and how i should shoot them
- figure out how much to we really need, and how much we should raise
- the possibility of a 3rd shooting day (ouch)
7. I need assistants to help with these things, so i can DO MY BOARD! This is one reason why i'm "dyahe" to write to the prodhouses. My board looks like crap. Pencil drawings? c'mon. I'm thinking of getting figurines and setting up miniatures and taking pictures instead of drawing. but i need a couple of days to do it without any disturbances (no work, no declan, no lumang kahoy pre-prod concerns) .... i fantasize about faking my own death just for a couple of days just so i won't be bothered... it's hard to think with all this noise, but what can i do?
8. thanks to facebook, scarlet tears' sam vigila found out about LK and offered to do the music. Lo and behold, he sent me the .wav files for the theme. astig.... at least we've an OST on standby now. thanks sam
9. i need: 2 PA's, a costume designer/stylist, a compositor, and a post-prod sponsor.
10. and for the first time, i think i need an AD. i usually don't feel the need for it. i do my own breakdowns, coach my actors, i don't want to appear to be a monster to some of my crewmembers because of their incompetence (and i'm at the brink of doing so aheheh). i need someone else to get angry for me, hahaha.
2. bon brought in ian of Tabo Works into the team. They'll be doing 3D effects, specifically the transformation scene. he's had a lot of input with regards to shooting with CG, like the "+" marks on the chroma cloth (for
3. productive meeting last night. finally figured out how to do the sets inside the dome. or at least an idea on how to do it. bon suggested we invest in a honeycomb shaped mold and use frosted semi-transparent plastic (i don't know what kind yet) to melt then harden into shape. each side would be a foot, and also a foot deep. with positive-negative ridges so they're stackable and interconnectable... yes, we'll be making giant semi transparent lego pieces we can transform into corridor walls, to tables, to pillars, etc.... and we can use or sell after the shoot. zero waste. i love the idea... i just hope it doesn't cost an arm and a leg... the quotes will be in, end of the week...
4. we're still stumped as to the material to use for the wastelands. bon suggested we could paint tinted resin onto plastic boards or fiberglass to create a textured but semi-translucent terrain. bambi's suggesting red cement with sawdust covering wire-framed rock formations... both sound a bit iffy at this stage, and i asked them to create a miniature version of each, just so we can see it.
5. i still can't bring myself to write my letters to the desired production houses seeking post-production partnership. i'm scared shitless actually. it's like proposing to a boy. if they say no, i'll kill myself. haaay... there is no way i can afford the CG and compositing for LK with the given budget. so a "no" is not an option... lord help me. but i need to do it before the halloween break, no choice....
6. karr is slowly getting quotes for equipment rentals, we need to have final dates and final decisions by next week as to ...
-when the 2nd occular will be
-tech meeting between alma and the cg people and noel and shine.
-audition date
-do progress report so we can get the 2nd tranche
- discuss feasibility of moving the shoot to december
-schedule an "experiment" day when we figure out how to do the live effects and how i should shoot them
- figure out how much to we really need, and how much we should raise
- the possibility of a 3rd shooting day (ouch)
7. I need assistants to help with these things, so i can DO MY BOARD! This is one reason why i'm "dyahe" to write to the prodhouses. My board looks like crap. Pencil drawings? c'mon. I'm thinking of getting figurines and setting up miniatures and taking pictures instead of drawing. but i need a couple of days to do it without any disturbances (no work, no declan, no lumang kahoy pre-prod concerns) .... i fantasize about faking my own death just for a couple of days just so i won't be bothered... it's hard to think with all this noise, but what can i do?
8. thanks to facebook, scarlet tears' sam vigila found out about LK and offered to do the music. Lo and behold, he sent me the .wav files for the theme. astig.... at least we've an OST on standby now. thanks sam
9. i need: 2 PA's, a costume designer/stylist, a compositor, and a post-prod sponsor.
10. and for the first time, i think i need an AD. i usually don't feel the need for it. i do my own breakdowns, coach my actors, i don't want to appear to be a monster to some of my crewmembers because of their incompetence (and i'm at the brink of doing so aheheh). i need someone else to get angry for me, hahaha.
Sunday, October 12, 2008
Casting Call
------
Actors are needed for the following roles in a short futuristic sci-fi film:
ELIS
a young idealistic captain of an Earth colony
2 shooting days
-- male
-- late 20's to early 30's.
-- telegenic
-- holds himself well, respectable -looking
-- preferably with acting experience, but not required
-- fluent in Filipino
NARA
a humanoid, half-soil half-human, who will eventually turn into a tree
1 shooting day
-- female
-- teens to early 20's
-- telegenic and with a voluptous/ curvy built
-- preferably with dance background (can move)
-- preferably with acting experience, but not required
-- fluent in Filipino
-- IMPT: willing to undergo full body prosthetics (the goal is Rebecca Romjin Stamos' Mystique in the Xmen)
72
a humanoid, a 1000-year-old man trapped in his 12-year old body
2 shooting days
-- male
-- 10-13 years old
-- preferably with acting background
-- a child with depth and undestanding beyond his age
Sundalo/ Repairmen/ Extras for various roles
2 shooting days
-- (8) eight males, who will be playing speaking/non-speaking bit parts
-- preferably with acting background
Mimo
Elis' son
1 shooting day
-- male
-- under age 8
-- can read or at least follow instructions
-- cute, articulate and expressive
Interested parties may email the following to lumangkahoy@...
--resume with contact details
-- whole body pic
--close-up pic
THE PROJECT
The film will be shot in digital format and there will be 2 shooting dates tentatively scheduled on November 17 & 24.
The group behind this project has been making award-winning and internationally screened short films since the early 2000's. More information here
The actors must also be available for one line-reading session and two rehearsals scheduled on 3 separate days (to be announced) in November before the shoot. Costume measurements and fitting will be incorporated during those days.
There will be a small honorarium provided for the actors. Shortlisted actors will be invited to audition.
Screening is until October 24, 2008.
For questions or concerns you may email lumangkahoy@... or SMS the ff:
09212561469 or 09289726168
Thank you very much.
Actors are needed for the following roles in a short futuristic sci-fi film:
ELIS
a young idealistic captain of an Earth colony
2 shooting days
-- male
-- late 20's to early 30's.
-- telegenic
-- holds himself well, respectable -looking
-- preferably with acting experience, but not required
-- fluent in Filipino
NARA
a humanoid, half-soil half-human, who will eventually turn into a tree
1 shooting day
-- female
-- teens to early 20's
-- telegenic and with a voluptous/ curvy built
-- preferably with dance background (can move)
-- preferably with acting experience, but not required
-- fluent in Filipino
-- IMPT: willing to undergo full body prosthetics (the goal is Rebecca Romjin Stamos' Mystique in the Xmen)
72
a humanoid, a 1000-year-old man trapped in his 12-year old body
2 shooting days
-- male
-- 10-13 years old
-- preferably with acting background
-- a child with depth and undestanding beyond his age
Sundalo/ Repairmen/ Extras for various roles
2 shooting days
-- (8) eight males, who will be playing speaking/non-speaking bit parts
-- preferably with acting background
Mimo
Elis' son
1 shooting day
-- male
-- under age 8
-- can read or at least follow instructions
-- cute, articulate and expressive
Interested parties may email the following to lumangkahoy@...
--resume with contact details
-- whole body pic
--close-up pic
THE PROJECT
The film will be shot in digital format and there will be 2 shooting dates tentatively scheduled on November 17 & 24.
The group behind this project has been making award-winning and internationally screened short films since the early 2000's. More information here
The actors must also be available for one line-reading session and two rehearsals scheduled on 3 separate days (to be announced) in November before the shoot. Costume measurements and fitting will be incorporated during those days.
There will be a small honorarium provided for the actors. Shortlisted actors will be invited to audition.
Screening is until October 24, 2008.
For questions or concerns you may email lumangkahoy@... or SMS the ff:
09212561469 or 09289726168
Thank you very much.
Monday, October 6, 2008
Occular and PD meet
Long overdue post. The team has locations now. At least we've chosen them. Karr sent them letters to confirm the dates. We hope they give us discounts too.
We did the occular right smack in the mercury retrograde a couple of mondays ago, so of course we got lost several times, reset schedules, had tons of miscommunication incidents, and so on. We rented a van, a necessary expense considering we travelled from fti to makati to mandaluyong to marikina.
LK will be shooting its day 2 at a warehouse. The one in fti looked perfect. It was cool inside, the place being an abandoned freezer warehouse. And it was huge. Something like 60 feet wide. I just hope we get it for 5K like what they said before. We probably will need to rent an extra day before the shoot for the set up. I'm not sure if we can get a chroma cloth large enough to cover the the 22-ft wall, and the scaffolding of course. We won't use the entire floorspace, just enough for the Elis to run.
Day 1 will be shot in a studio with a pristine white cyclorama. Fine, we're doing a poor homage to THX, so sue me.
The one at Pioneer owned by artist katya guerrero was it. They had a better reception area and the staff seemed friendlier but I guess it helped that the studio was spotless unlike this other studio we went to where they had cars parked and equipment in the studio. Plus there were gigantic dogs in the reception area (i'm terrified of large dogs who act friendly by barking and pawing at strangers). In terms of size, the studios were pretty much the same, 90sqm according to their website, here's a pic...
The other one is from my cam. But what really sold us was that katya mentioned that maybe they could give us a cut off their usual rate and that they understood independent filmmaking and could adjust accordingly. This is the first time their studio will be used for a short film (usually its photo shoots and music videos), i'm not sure though if they're as excited...
----
We wrapped up our occular visits at around 5pm and proceeded to our gruelling scene-by-scene meeting with the PD's at Gusi (along Esguerra). We broke down the scenes and every prop that needs to be constructed.
Prior to this, during a weekend at home, ideas came to me on how the sets should look like. Gossip Girl had a part in this... looking at Blair Waldorf's "Queen B" fanpage on facebook, I thought... "bees"! An alien culture that lived eusocially like bees-- centralized reproduction, colonies.. COLONIES --this was the term i actually used in the script even in the first draft in 2007. And so, the honey-comb structure in the dome design (Cedric H's idea) would make sense and carry-over to the interiors... and the semi-translucent whiteness of an alien-organic world would make more sense than a synthetic-plastic world. Hence the "whiteness" ripoff of THX 1138 (thank you internet video streaming!) but with a fuzzy-alien feel...
And then i stumbled upon this website. Molo Design! And this was the inspiration for the corridors and other "interiors". Bianca mentioned that it will be impractical to use paper like the molo softwalls. Eventually she came up with the idea of using the thinnest available semi-translucent high-impact plastic, folded in the same way.
I actually tried other semi-translucent material. I was hell-bent on using bihon or vermicelli for the walls until I tried doing a miniature at Shine's house. Vermicelli when wet is a nightmare to control (no different from my hair). When dry, it does look good, but practicality killed the idea, did i have any idea how much bihon it would take to cover a 10ft wall? what was i thinking?
I made "mood boards" to help them visualize (because I can't draw!). I'm posting them here as well.
We could save on props by incorporating gadgets in the costumes... and a charcoal palette to contrast the white sets.
And of course, the "wastelands". If earth/soil no longer existed, what would the wastelands be made of? Some alien element... And what landscape would be more alien-looking than one made of uncooked gelatin bars. Reddish, translucent and could be made to glow like lava... I tried it out with some orange gelatin bars and a ceramic house.
But where are we going to get the hundred kilos of gelatin to make the set? The solution would be to find a similar material. But what? and where? This seems to be what's bugging bambi and bianca. Will be meeting with them soon to see the preliminary designs.
----
Later that evening the dome design by Cedric arrived. It was just a structure/ blue-print but there were some parts i didn't get and we might have to tweak the design a bit before constructing the miniature.
---
And much later that evening Noel came. Noel volunteered to do the Nara prosthetics, yay! He used to work for the Batoctoys. Benny Batoctoy and Cecille Baun are like the ABS-CBN and GMA of prosthetics in the Philippines. Anyway, Noel just came from a stint in Dubai where he did computer graphics (i think). Sad thing is though he really wanted to do the project, he might not be here for the actual shoot because his visa could be arriving in early November. He did assure us that he was gonna teach someone and make sure his design is executed properly on that day. I'm not quite sure about this set-up though. Will have to talk to him during the week and make sure that his guy is on board at this early stage.
----
A couple of days later, I finally met up with Bon Labora. Bon owns Anino Design and he did the visual effects of Blood Bank. He agreed to head visual effects. He's friends with a lot of CG and motion graphics people he could talk into helping out with LK. My thing is, I'm offering up the project for co-prod. It's up in the air still, but when I discussed the specific parts where effects would be needed, it seemed a piece of cake to him. Will be meeting with him and his people next week.
---
And finally, I got the preliminary work for PD done, I can focus this week on CASTING...
We did the occular right smack in the mercury retrograde a couple of mondays ago, so of course we got lost several times, reset schedules, had tons of miscommunication incidents, and so on. We rented a van, a necessary expense considering we travelled from fti to makati to mandaluyong to marikina.
LK will be shooting its day 2 at a warehouse. The one in fti looked perfect. It was cool inside, the place being an abandoned freezer warehouse. And it was huge. Something like 60 feet wide. I just hope we get it for 5K like what they said before. We probably will need to rent an extra day before the shoot for the set up. I'm not sure if we can get a chroma cloth large enough to cover the the 22-ft wall, and the scaffolding of course. We won't use the entire floorspace, just enough for the Elis to run.
Day 1 will be shot in a studio with a pristine white cyclorama. Fine, we're doing a poor homage to THX, so sue me.
The one at Pioneer owned by artist katya guerrero was it. They had a better reception area and the staff seemed friendlier but I guess it helped that the studio was spotless unlike this other studio we went to where they had cars parked and equipment in the studio. Plus there were gigantic dogs in the reception area (i'm terrified of large dogs who act friendly by barking and pawing at strangers). In terms of size, the studios were pretty much the same, 90sqm according to their website, here's a pic...
The other one is from my cam. But what really sold us was that katya mentioned that maybe they could give us a cut off their usual rate and that they understood independent filmmaking and could adjust accordingly. This is the first time their studio will be used for a short film (usually its photo shoots and music videos), i'm not sure though if they're as excited...
----
We wrapped up our occular visits at around 5pm and proceeded to our gruelling scene-by-scene meeting with the PD's at Gusi (along Esguerra). We broke down the scenes and every prop that needs to be constructed.
Prior to this, during a weekend at home, ideas came to me on how the sets should look like. Gossip Girl had a part in this... looking at Blair Waldorf's "Queen B" fanpage on facebook, I thought... "bees"! An alien culture that lived eusocially like bees-- centralized reproduction, colonies.. COLONIES --this was the term i actually used in the script even in the first draft in 2007. And so, the honey-comb structure in the dome design (Cedric H's idea) would make sense and carry-over to the interiors... and the semi-translucent whiteness of an alien-organic world would make more sense than a synthetic-plastic world. Hence the "whiteness" ripoff of THX 1138 (thank you internet video streaming!) but with a fuzzy-alien feel...
And then i stumbled upon this website. Molo Design! And this was the inspiration for the corridors and other "interiors". Bianca mentioned that it will be impractical to use paper like the molo softwalls. Eventually she came up with the idea of using the thinnest available semi-translucent high-impact plastic, folded in the same way.
I actually tried other semi-translucent material. I was hell-bent on using bihon or vermicelli for the walls until I tried doing a miniature at Shine's house. Vermicelli when wet is a nightmare to control (no different from my hair). When dry, it does look good, but practicality killed the idea, did i have any idea how much bihon it would take to cover a 10ft wall? what was i thinking?
I made "mood boards" to help them visualize (because I can't draw!). I'm posting them here as well.
We could save on props by incorporating gadgets in the costumes... and a charcoal palette to contrast the white sets.
And of course, the "wastelands". If earth/soil no longer existed, what would the wastelands be made of? Some alien element... And what landscape would be more alien-looking than one made of uncooked gelatin bars. Reddish, translucent and could be made to glow like lava... I tried it out with some orange gelatin bars and a ceramic house.
But where are we going to get the hundred kilos of gelatin to make the set? The solution would be to find a similar material. But what? and where? This seems to be what's bugging bambi and bianca. Will be meeting with them soon to see the preliminary designs.----
Later that evening the dome design by Cedric arrived. It was just a structure/ blue-print but there were some parts i didn't get and we might have to tweak the design a bit before constructing the miniature.
---
And much later that evening Noel came. Noel volunteered to do the Nara prosthetics, yay! He used to work for the Batoctoys. Benny Batoctoy and Cecille Baun are like the ABS-CBN and GMA of prosthetics in the Philippines. Anyway, Noel just came from a stint in Dubai where he did computer graphics (i think). Sad thing is though he really wanted to do the project, he might not be here for the actual shoot because his visa could be arriving in early November. He did assure us that he was gonna teach someone and make sure his design is executed properly on that day. I'm not quite sure about this set-up though. Will have to talk to him during the week and make sure that his guy is on board at this early stage.
----
A couple of days later, I finally met up with Bon Labora. Bon owns Anino Design and he did the visual effects of Blood Bank. He agreed to head visual effects. He's friends with a lot of CG and motion graphics people he could talk into helping out with LK. My thing is, I'm offering up the project for co-prod. It's up in the air still, but when I discussed the specific parts where effects would be needed, it seemed a piece of cake to him. Will be meeting with him and his people next week.
---
And finally, I got the preliminary work for PD done, I can focus this week on CASTING...
Sunday, September 21, 2008
PA's WANTED
CREW CALL:
We won a grant from the NCCA and are currently in the pre-production phase of a futuristic science fiction short film. In line with this, we are looking for VOLUNTEERS for the following key positions.
1. Production Assistant for Tech
- computer savvy
- interested in the technical aspects of filmmaking
(cinematography, sound, editing, computer graphics)
- eye for detail
- fast learner
- can multi-task
2. Production Assistant for Cast & Admin
- highly organized
- personable, can deal with all sorts people
- eye for detail
- fast learner
- can multi-task
Production is ongoing till December. Target shooting dates are Nov. 16 & 30.
Ideal candidates are those interested in starting a career in film, or sci-fi enthusiasts, or both. We’d prefer people who reside in Metro Manila, and with both a mobile and landline number. We’d also prefer people who have internet access.
I’m not sure at this point if I can offer to pay in cash (hence the term “volunteer”) but food and transportation expenses, we’ll shoulder. Kindly forward to others whom you think may be interested.
Please email by the ff to: pam_miras@yahoo.com by Sept. 26
1. letter of intent (why do you want to take on this job)
2. resume with contact details
Thank you.
Pam Miras
We won a grant from the NCCA and are currently in the pre-production phase of a futuristic science fiction short film. In line with this, we are looking for VOLUNTEERS for the following key positions.
1. Production Assistant for Tech
- computer savvy
- interested in the technical aspects of filmmaking
(cinematography, sound, editing, computer graphics)
- eye for detail
- fast learner
- can multi-task
2. Production Assistant for Cast & Admin
- highly organized
- personable, can deal with all sorts people
- eye for detail
- fast learner
- can multi-task
Production is ongoing till December. Target shooting dates are Nov. 16 & 30.
Ideal candidates are those interested in starting a career in film, or sci-fi enthusiasts, or both. We’d prefer people who reside in Metro Manila, and with both a mobile and landline number. We’d also prefer people who have internet access.
I’m not sure at this point if I can offer to pay in cash (hence the term “volunteer”) but food and transportation expenses, we’ll shoulder. Kindly forward to others whom you think may be interested.
Please email by the ff to: pam_miras@yahoo.com by Sept. 26
1. letter of intent (why do you want to take on this job)
2. resume with contact details
Thank you.
Pam Miras
Saturday, September 20, 2008
Pre-prod 1 cont....
... Alma arrived later. She had trouble parking. I really thought she was gonna back out after hearing from Bianca that they had a rift between them after a not-so-pleasant working experience for the infamous Haw-Ang. Good thing she decided to stick with it. I'm still hoping this production could help get them on good terms again... Well at least there's Bambi who can act as a mediator of sorts.
Sunshine came last, she had just come from the launching of Rights Vol. 2. We all know she's our editor, but she volunteered to play the part of Nara. To my dismay. But everyone at the table was for it especially Bianca. I'll have to think about it. Shine was a dancer with theater background before her foray into editing and filmmaking. And its important that Nara can move and act. But, my gut says no, she isn't it... Sorry shine...
Further discussions ensued, phone numbers exchanged and the meeting ended with a scheduled occular on the 28th. This is during mercury retrograde so I'm a bit scared. But heck, this needs to be done asap. Bianca and Bambi left and us remaining girls transferred to Katips with Sig B. joining us. We got to watch the xenoa trailer together over a san mig light bucket plus google some possible actors for the role of Elis.
Sunshine came last, she had just come from the launching of Rights Vol. 2. We all know she's our editor, but she volunteered to play the part of Nara. To my dismay. But everyone at the table was for it especially Bianca. I'll have to think about it. Shine was a dancer with theater background before her foray into editing and filmmaking. And its important that Nara can move and act. But, my gut says no, she isn't it... Sorry shine...
Further discussions ensued, phone numbers exchanged and the meeting ended with a scheduled occular on the 28th. This is during mercury retrograde so I'm a bit scared. But heck, this needs to be done asap. Bianca and Bambi left and us remaining girls transferred to Katips with Sig B. joining us. We got to watch the xenoa trailer together over a san mig light bucket plus google some possible actors for the role of Elis.
Friday, September 19, 2008
Pre-Prod 1
Pre-prod 1.1
Sept 18, 2008
Starbucks, ELJ
VISUAL EFFECTS
Met with Karr and Cedric in a spur of the moment decision. I came from a terrible docu presentation at DSWD and decided I had some free time in the afternoon. Cedric confirmed for 7pm which gave me enough time to finalize the script. Everyone was supposed to meet on Friday, but since Cedric clarified that he really can't be part of the production, it was a good idea to meet him separately for consultation.
A lot of important points were brought up.
1. the need for miniatures
2. the need for a post-prod partner
3. the design of the domed city (frosted glass and a honey-comb texture will save on money buy not having the need to do scaled-buildings, etc.)
4. the logical look of the place (a short discussion on the colonization process and the cliche fake-utopia which supposedly follows after a superpower takes over a weaker race)
5. the truth that the search for a visual effects supervisor for this project can be likened to the search for the holy grail.
And a lot more, considering that the meeting ran for a little less than an hour.
I think the project was enticing enough for Cedric, and that if he really wasn't tied up, he'd take it. Eventually he volunteered to design the domed city and possibly composite it later in the year if and when he has the time. I'll take that.
MONEY MATTERS
Karr turned out to be an ex-deal guru, which the film badly needs, because with an ultra-tight itemized budget, we are still around 80K over budget. She suggested that letters could be sent out to get several little sponsorships for food and tokens (in lieu of some tf).
But the big thing we need to get is a Post-Prod house willing to co-produce (and of course shoulder the post and visual effects). The group that produced Xenoa came up and the goal this week is to set up a meeting with them and charm them into saying yes.
Karr and I managed to set deadlines and a rough calendar of the things we need to have done.
Pre-prod 1.2
Sept 19, 2008
Baang Coffee, Tomas Morato
PRODUCTION DESIGN
Prior to the meeting, I had an issue of getting the right production designer for the LK. I ended up choosing the one who expressed interest and confirmed first. It also turns out that Bambi had a partner to join him in the project-- Bianca . Bianca Gonzales-Dadivas happens to be the wife of my former Sound teacher in UP, Sir Nonoy Dadivas. I know they'll never forget me because eons ago, when I was editing my friends' TVC for her thesis, I accidentally plugged their cd player into a 220v socket. Of course the thing blew up beyond repair.
At the meeting, there were talk about the ideas for the design of the interiors in the domed city, the Wastelands, etc. I showed them some visual pegs and I think they got it. More cold ultra modern minimalist for the interiors, rough junkyard-y for the wastelands.
The big problem is aquiring the latex for Nara, the mud-girl's prosthetics. Turns out only Cecille Baun has it in large quantities (and we're talking whole body coverage) but she isn't re-selling. Karr and I need to find a way to talk her into letting us buy from her (because there's no way we can afford her services).
I need to break for lunch... more later....
Sept 18, 2008
Starbucks, ELJ
VISUAL EFFECTS
Met with Karr and Cedric in a spur of the moment decision. I came from a terrible docu presentation at DSWD and decided I had some free time in the afternoon. Cedric confirmed for 7pm which gave me enough time to finalize the script. Everyone was supposed to meet on Friday, but since Cedric clarified that he really can't be part of the production, it was a good idea to meet him separately for consultation.
A lot of important points were brought up.
1. the need for miniatures
2. the need for a post-prod partner
3. the design of the domed city (frosted glass and a honey-comb texture will save on money buy not having the need to do scaled-buildings, etc.)
4. the logical look of the place (a short discussion on the colonization process and the cliche fake-utopia which supposedly follows after a superpower takes over a weaker race)
5. the truth that the search for a visual effects supervisor for this project can be likened to the search for the holy grail.
And a lot more, considering that the meeting ran for a little less than an hour.
I think the project was enticing enough for Cedric, and that if he really wasn't tied up, he'd take it. Eventually he volunteered to design the domed city and possibly composite it later in the year if and when he has the time. I'll take that.
MONEY MATTERS
Karr turned out to be an ex-deal guru, which the film badly needs, because with an ultra-tight itemized budget, we are still around 80K over budget. She suggested that letters could be sent out to get several little sponsorships for food and tokens (in lieu of some tf).
But the big thing we need to get is a Post-Prod house willing to co-produce (and of course shoulder the post and visual effects). The group that produced Xenoa came up and the goal this week is to set up a meeting with them and charm them into saying yes.
Karr and I managed to set deadlines and a rough calendar of the things we need to have done.
Pre-prod 1.2
Sept 19, 2008
Baang Coffee, Tomas Morato
PRODUCTION DESIGN
Prior to the meeting, I had an issue of getting the right production designer for the LK. I ended up choosing the one who expressed interest and confirmed first. It also turns out that Bambi had a partner to join him in the project-- Bianca . Bianca Gonzales-Dadivas happens to be the wife of my former Sound teacher in UP, Sir Nonoy Dadivas. I know they'll never forget me because eons ago, when I was editing my friends' TVC for her thesis, I accidentally plugged their cd player into a 220v socket. Of course the thing blew up beyond repair.
At the meeting, there were talk about the ideas for the design of the interiors in the domed city, the Wastelands, etc. I showed them some visual pegs and I think they got it. More cold ultra modern minimalist for the interiors, rough junkyard-y for the wastelands.
The big problem is aquiring the latex for Nara, the mud-girl's prosthetics. Turns out only Cecille Baun has it in large quantities (and we're talking whole body coverage) but she isn't re-selling. Karr and I need to find a way to talk her into letting us buy from her (because there's no way we can afford her services).
I need to break for lunch... more later....
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