Hello, well here I am again two weeks later just like I promised ;D
In my last blog (and my first one) I started to tell you some information about how I became involved in doing hair and make-up, this week I am going to tell you a little bit about I came to know Charles and work with him.
I first met Charles in 2003 through his lovely sister Olivia (who can be seen in 'Caution Wet Paint'). Whilst working with her she told me about her brother, and how he was a budding writer/director. Then before I knew it, I was meeting him to discuss an up and coming project called 'An East End Tale' a feature length screenplay that he had written. We discussed what he was looking to do and if I would be interested in coming aboard, and I said yes. A few months later, we started filming. After the first project had finished, he told me he liked the work I did and before I knew it, we were working on a second project called 'The Fight', and thats how it all started. It wasn't that long after he showed me the 'Caution Wet Paint' script, and well as you know that did really well.
So thats it, thats how I came to work with the lovely writer/director Charles and on Caution Wet Paint. Now I have to go, but be sure to tune back in; in two weeks, when I will be posting my third blog, see you then :)
Saturday 28 February 2009
Friday 27 February 2009
Post Production Blues or How to 'up' the DPI of your stills from 72 to 300
I am peeved off.
As a director, there are certain things I despise. One of them is a simple solution to a seemingly complex problem.
Note the following:
This is a sample of the rules I have to follow to enter a film festival. A seemingly simple proposition. To make sure my JPEG's have a resolution of 300 DPI. So I lift a few stills directly from the timeline of my editing suite.
And now I have this problem:
Yep, my stills read 72 DPI, despite the fact that the film was shot in HD.
Now, I'm racking my brains for a solution. I try tampering with the settings in my editing suite. I try different formats - PNG's, TIFF's, PICT's, anything! I try exporting Quicktime Stills, or anything else. I even try fiddling in Quicktime a completely different application Two whole days, I am banging my head.
The internet, normally the grapevine for such usefulness is basically hinting that I should buy an expensive photo editing suite - like hell I will!
So that is it, two day later, I am at a loss. Than in the corner of my eye, I spot a solution online:
I give it a try, and lo and behold, it works! Two frigging days for a relatively simple, if unorthodox procedure.
So, here is how you increase the DPI of your pictures so that it shows '300 dpi' instead of '72 dpi' to satisfy film festival regulations.
(If you follow the link, you will know for what operating system I am talking about, but like hell I will give those w**kers a direct plug by mentioning them in the blog).
---
1) Export the still from the editing timeline, in any 'still' format you want. I stuck to JPEG. Note that it will currently read '72 DPI' if you check the info of the file.
2) Open in Preview. Save as a PDF. Do not bother with any filters etc.
3) Open the PDF in Preview again. Save it as a JPEG. You will get the option to increase to the DPI, which is defaulted at 150 DPI. Type in 300 DPI.
4) You end up with exactly the same image, at the same dimensions, but now it satisfies the festival requirements and will read '300 DPI' when you check out the info for the file.
---
Now, I understand the festivals, why they want 300 DPI, as this is for their publicity, to make our films look good. What bugs me is that despite the multitudes you can spend on editing software, it does not do this automatically for you. I had to spend two days and follow an unrelated thread in order to find the solution to this problem.
After all, there are thousands of film makers, like myself out here in this world, who lift their stills off the editing time line and use it for their own publicity. Yet, the editing software, supposedly the 'one' that film makers use, the 'easy' option, cannot even export a JPEG to the standard dimensions demanded by film festivals.
For shame programmers - do you guys have a clue who your customers are?
As a director, there are certain things I despise. One of them is a simple solution to a seemingly complex problem.
Note the following:
This is a sample of the rules I have to follow to enter a film festival. A seemingly simple proposition. To make sure my JPEG's have a resolution of 300 DPI. So I lift a few stills directly from the timeline of my editing suite.
And now I have this problem:
Yep, my stills read 72 DPI, despite the fact that the film was shot in HD.
Now, I'm racking my brains for a solution. I try tampering with the settings in my editing suite. I try different formats - PNG's, TIFF's, PICT's, anything! I try exporting Quicktime Stills, or anything else. I even try fiddling in Quicktime a completely different application Two whole days, I am banging my head.
The internet, normally the grapevine for such usefulness is basically hinting that I should buy an expensive photo editing suite - like hell I will!
So that is it, two day later, I am at a loss. Than in the corner of my eye, I spot a solution online:
I give it a try, and lo and behold, it works! Two frigging days for a relatively simple, if unorthodox procedure.
So, here is how you increase the DPI of your pictures so that it shows '300 dpi' instead of '72 dpi' to satisfy film festival regulations.
(If you follow the link, you will know for what operating system I am talking about, but like hell I will give those w**kers a direct plug by mentioning them in the blog).
---
1) Export the still from the editing timeline, in any 'still' format you want. I stuck to JPEG. Note that it will currently read '72 DPI' if you check the info of the file.
2) Open in Preview. Save as a PDF. Do not bother with any filters etc.
3) Open the PDF in Preview again. Save it as a JPEG. You will get the option to increase to the DPI, which is defaulted at 150 DPI. Type in 300 DPI.
4) You end up with exactly the same image, at the same dimensions, but now it satisfies the festival requirements and will read '300 DPI' when you check out the info for the file.
---
Now, I understand the festivals, why they want 300 DPI, as this is for their publicity, to make our films look good. What bugs me is that despite the multitudes you can spend on editing software, it does not do this automatically for you. I had to spend two days and follow an unrelated thread in order to find the solution to this problem.
After all, there are thousands of film makers, like myself out here in this world, who lift their stills off the editing time line and use it for their own publicity. Yet, the editing software, supposedly the 'one' that film makers use, the 'easy' option, cannot even export a JPEG to the standard dimensions demanded by film festivals.
For shame programmers - do you guys have a clue who your customers are?
Thursday 26 February 2009
What the? El D is not happy...
What? This Pre-Production malarkey is getting to me. I am spending more time on London Transport than is deemed reasonable!
Damned city being so big! What next, another meet-up...oh yes, there is.
Well, I get to see a lot of London this way!
Damned city being so big! What next, another meet-up...oh yes, there is.
Well, I get to see a lot of London this way!
Wednesday 25 February 2009
Pre 4: Rewrite the Script
My joy at all film making comes from the script writing. Getting at the script and hacking out a piece of flesh worthy of shooting upon. The script is the most important part a film. The storyboard is the guide, but the script is the blueprint. It is what launches a film and without a script then there is nothing to bother the film maker, actors or crew with.
A good script allows not only the film maker to visualise, but also inspires the musicians, the players on screen and the guys behind the camera.
Rewrites are important. The first draft is often an excited rendition of my mind's eye. So the rewrite is the clear crystal look at the script. Is it as good as I first thought (50-50 chance), how are the spelling and grammar of the script (my weak point), how cluttered is the dialogue (another fault of mine).
Once the rewrite is done, the script gets leaner, more punchy. When I first write something, the sheer telling of a story becomes important. But on the rewrites, it is the visualisation of the story that becomes the key. Telling the story not through words but through images. And that is why the rewrite is so important.
And yes, even a short film such as Jay and Kay save the World is rewritten. Especially in a short film, where every second counts, rewrites are essential in order to keep the audience transfixed on what I am trying to tell them. In a short film, you only get one shot at the audience...
A good script allows not only the film maker to visualise, but also inspires the musicians, the players on screen and the guys behind the camera.
Rewrites are important. The first draft is often an excited rendition of my mind's eye. So the rewrite is the clear crystal look at the script. Is it as good as I first thought (50-50 chance), how are the spelling and grammar of the script (my weak point), how cluttered is the dialogue (another fault of mine).
Once the rewrite is done, the script gets leaner, more punchy. When I first write something, the sheer telling of a story becomes important. But on the rewrites, it is the visualisation of the story that becomes the key. Telling the story not through words but through images. And that is why the rewrite is so important.
And yes, even a short film such as Jay and Kay save the World is rewritten. Especially in a short film, where every second counts, rewrites are essential in order to keep the audience transfixed on what I am trying to tell them. In a short film, you only get one shot at the audience...
Tuesday 24 February 2009
The Hitchhiker's Guide to Facebook
This is what the Hitchhikers Guide to the Galaxy has to say on Facebook:
'By the 24rd century, Facebook had become a sinister Orwellian attempt to control us all.
A select few continued to fight for our freedom and individuality as one by one all things and people they held dear to them were drawn in as slaves to the new world order.
Bleary-eyed they marched, zombie-like to their electronic tabernacles to throw themselves before the alters screaming "I love you America! I love you America...!"
Only
one thing could save them, a month's processing at a secure rebel facility, with only "VisageBook" to keep them company.
"VisageBook"
is the world's first inverse-social networking facility - you start off with everyone on the Galaxy as your "friend" and the winner is the first person to regain their individuality by sending an e-slap (in fact a high-voltage electric shock) to as many contacts in their addressbook, thus symbolizing the termination of
"friendship".
With in excess of 1000 million patients hardwired via implanted rectal electrodes into the network at any one time, the incentive to regain individuality is something of a matter of uttermost urgency...
thus "cured"
our patients
start on a period of supervised probation in small groups, learning to re adjust to verbal communication, special privileges are
rationed out to those show marked improvement, (for example, an
i-phone,
covered in saliva
might be given out for an hour, or for the best behaved, there is the promise of an X-box
that has been chewed by a pack of rabid badgers),
following a few weeks of probation, our patients are issued with new identities and sent out into the solar system to start new lives as painters, craftsmen, philosophers, musicians, artisans.
Most took well to their new identities,
some,
however, just chose to spend the rest of their lives lying on the ground, staring up into space and crying in awe at the wonders of the universe...'
A select few continued to fight for our freedom and individuality as one by one all things and people they held dear to them were drawn in as slaves to the new world order.
Bleary-eyed they marched, zombie-like to their electronic tabernacles to throw themselves before the alters screaming "I love you America! I love you America...!"
Only
one thing could save them, a month's processing at a secure rebel facility, with only "VisageBook" to keep them company.
"VisageBook"
is the world's first inverse-social networking facility - you start off with everyone on the Galaxy as your "friend" and the winner is the first person to regain their individuality by sending an e-slap (in fact a high-voltage electric shock) to as many contacts in their addressbook, thus symbolizing the termination of
"friendship".
With in excess of 1000 million patients hardwired via implanted rectal electrodes into the network at any one time, the incentive to regain individuality is something of a matter of uttermost urgency...
thus "cured"
our patients
start on a period of supervised probation in small groups, learning to re adjust to verbal communication, special privileges are
rationed out to those show marked improvement, (for example, an
i-phone,
covered in saliva
might be given out for an hour, or for the best behaved, there is the promise of an X-box
that has been chewed by a pack of rabid badgers),
following a few weeks of probation, our patients are issued with new identities and sent out into the solar system to start new lives as painters, craftsmen, philosophers, musicians, artisans.
Most took well to their new identities,
some,
however, just chose to spend the rest of their lives lying on the ground, staring up into space and crying in awe at the wonders of the universe...'
Monday 23 February 2009
ARI GILL - on CWP PART 1
Greetings everybody! This is Ari Gill...the dude behind the dude who plays a dude. That’s right, I play the character of Jay in Caution Wet Paint... a series created and directed by Charles Michel Duke aka El Director.
I have been involved with this project just over two years now and we did our first outdoor shooting on a cold...wet and winding Sunday afternoon in Polar (East London). This day will forever hold great importance to me mostly because the role of Jay was specifically written with me in mind...which is a very rare thing for a British Asian actor!
Keep safe, be nice and I'll see you two weeks time!
I have been involved with this project just over two years now and we did our first outdoor shooting on a cold...wet and winding Sunday afternoon in Polar (East London). This day will forever hold great importance to me mostly because the role of Jay was specifically written with me in mind...which is a very rare thing for a British Asian actor!
Keep safe, be nice and I'll see you two weeks time!
Knuckle Down
One thing that is important in the pre-production stage is to knuckle down and get to it. So today, despite the thralls of nights kicking in, I am off to Tooting.
(But I will be half an hour late...)
(But I will be half an hour late...)
Saturday 21 February 2009
Pre 3: Storyboards
Oh yes, there is more than just the script. There are also the funky little stick men that I use to represent what I want on the screen. The script is a blueprint, the storyboards are a guide. Often the storyboards are changed last minute on the day, but they are essential to the workings of a good shoot...
And here is an example from my inner most workings:
And here is an example from my inner most workings:
Thursday 19 February 2009
Comedy Interlude... Larrs Grooven - Electric City
Its been a bit of a rough few months for former CWP composer and one-time Dutch Techno artiste Lars Grooven. Stranded in post-credit crunch London after his time machine dumped him here from the late 25th century, and with not enough AA batteries on sale at the local Argos for him to power “Das Grooven Maschine” (the one-off desktop solution to all humanity’s computing problems), Lars neitherless, did had one brief flirtation with success in the (conceptually doomed) first-ever online fish and chip shop, “The Frying Dutchman”. However, Lars is now clearly on the road to fame and fortune, with a new track “Electric City”, inspired his horrific experiences of life on 25th century earth…Wednesday 18 February 2009
Laptop vs Desktop
A real geek moment for the film maker, but a good question to pose. Is it better to use a laptop or a desktop. Well, overall that depends on personal circumstances.
Overall, a desktop is in my opinion the better of the two machines to get especially if on a budget. Most film makers are now editing digitally, but as the computer is essential in even the most basic of film tasks, a desktop does make a lot of sense. They are more powerful than their laptop counterparts and usually more reliable.
However, a laptop does have it uses, particularly when it comes to the Pre-Production stage. 'Pre' involves a lot of meeting up, a lot of faffing and a lot of rushing around. This is the time you appreciate a laptop. Great to show people things, bits and bobs. Wi-Fi is essential too.
Oh well, got a lot more pre-production to do...
Overall, a desktop is in my opinion the better of the two machines to get especially if on a budget. Most film makers are now editing digitally, but as the computer is essential in even the most basic of film tasks, a desktop does make a lot of sense. They are more powerful than their laptop counterparts and usually more reliable.
However, a laptop does have it uses, particularly when it comes to the Pre-Production stage. 'Pre' involves a lot of meeting up, a lot of faffing and a lot of rushing around. This is the time you appreciate a laptop. Great to show people things, bits and bobs. Wi-Fi is essential too.
Oh well, got a lot more pre-production to do...
Tuesday 17 February 2009
Pre 2: Cast...
Meeting with the cst is important too. Well, a good director loves their cast. A bad one treats them like crap. Guess what type of director I am...
So later on today I will be meeting with half of the cast of CWP and I am organising another meet-up later on this week for the other half...
So later on today I will be meeting with half of the cast of CWP and I am organising another meet-up later on this week for the other half...
Monday 16 February 2009
Working with 'Da Crew'
Yesterday's blog from Debra reveals a little of how many people are involved, even on a short film production.
Interestingly, I have worked with Debra for longer than any other person with regards to films. We started working together when I was just beginning to make films in 2004 and since then she has worked on almost every major production I have done, including the very first Caution Wet Paint which subsequently garnered my first taste of the film festival pie.
As a director, it is great to find people you get along with in a creative sense. It is also good to have people that think on the same wavelength as yourself. Having a good crew is essential to this. A good crew can read my mind, allow at me to shout at them and cover up for my mistakes. The crew are the silent sweethearts of the set. They do not appear on the screen, they do not get the inches of press dedicated to them, yet they are essential to the production of any film, big or small.
At the moment I am in the pre-production stage of the new Caution Wet Paint short. That means, meeting up with a lot of people. While I meet up with the cast and have regular chats with my El Maestro, I also meet up with the crew.
The crew know what their job is, but they are there to see the script, go over the storyboard and essentially familiarise themselves with what to do. Most things happen on the day, but a clued up crew knows exactly what to do and gets on with the job.
Expect to see more from both sides of the camera on this blog in the next few months...
Interestingly, I have worked with Debra for longer than any other person with regards to films. We started working together when I was just beginning to make films in 2004 and since then she has worked on almost every major production I have done, including the very first Caution Wet Paint which subsequently garnered my first taste of the film festival pie.
As a director, it is great to find people you get along with in a creative sense. It is also good to have people that think on the same wavelength as yourself. Having a good crew is essential to this. A good crew can read my mind, allow at me to shout at them and cover up for my mistakes. The crew are the silent sweethearts of the set. They do not appear on the screen, they do not get the inches of press dedicated to them, yet they are essential to the production of any film, big or small.
At the moment I am in the pre-production stage of the new Caution Wet Paint short. That means, meeting up with a lot of people. While I meet up with the cast and have regular chats with my El Maestro, I also meet up with the crew.
The crew know what their job is, but they are there to see the script, go over the storyboard and essentially familiarise themselves with what to do. Most things happen on the day, but a clued up crew knows exactly what to do and gets on with the job.
Expect to see more from both sides of the camera on this blog in the next few months...
Sunday 15 February 2009
Hello I'm Debra the make-up lady
Hello, let me introduce myself; my name is Debra and I worked on Caution Wet Paint as the make-up lady. I'm going to tell you a little more about myself, firstly I have been doing make-up now within the media for seven years. I first became interested in make-up as a career when I was 14, when I used to help backstage with a theatre company called Flash Musicals. Then when I was 15 I managed to gain a work experience placement at Charles.H.Fox (a make-up shop in Covent Garden on Tavistock street). Whilst working there, I learned that they also ran professional work shops and after my work experience, I decided to attend two of them. The first one was a beauty and photographic workshop and the second one was in special effects make-up. Then when I was 17 I started to attend The College Of North East London, where I studied for a VTCT in Theatrical and Media make-up. Since graduating from the course I have been fortunate enough to work a lot of different and interesting projects ranging from fashion shows to television to films, including Caution Wet Paint, which I will talk about in my next blog, which I will be posting in two weeks from today, so be sure to check back! :)
That's me, on the right, next to Olivia (La P)
That's me, on the right, next to Olivia (La P)
Friday 13 February 2009
'Pre' 1: The Script
A couple of weeks ago I was talking about the Post-Production process, but as Writer/Director/Producer, let me, Charles Michel Duke start at the beginning. Pre-Production.
The shoot will happen in March. That is, the shoot for Jay and Kay Save the World. And before anything starts, I have to solidify the script. Now, the problem between writing t and sitting on the script is that it changes. Not fundamentally, but it is the little changes. Already I have changed the words last night, and it will probably be tinkered with before I set it into production. But without the script itself, there is nothing...
The shoot will happen in March. That is, the shoot for Jay and Kay Save the World. And before anything starts, I have to solidify the script. Now, the problem between writing t and sitting on the script is that it changes. Not fundamentally, but it is the little changes. Already I have changed the words last night, and it will probably be tinkered with before I set it into production. But without the script itself, there is nothing...
Thursday 12 February 2009
'wet'
Caution. Wet. Paint. Three words that have been used together for quite sometime, but have never been combined into a single entity. Until one day I decided to do so and of course, the rest as they say, is history...
So, where do I want to take The Paint. Well, it has always been my intention to make a feature-length musical comedy with Jay and Kay as the central characters and it is the ultimate aim.
But more immediately, a short film, with Jay and Kay fighting aliens from outer space. And, let me indulge myself in this idea. There is a lot of mileage in it.
But, to be frank, it has nothing to do with the words: Caution, Wet or Paint. I just thought wanted to hijack a great phrase and stick it onto these guys.
Here is a photo to make me feel happy:
Ah, free advertising...
So, where do I want to take The Paint. Well, it has always been my intention to make a feature-length musical comedy with Jay and Kay as the central characters and it is the ultimate aim.
But more immediately, a short film, with Jay and Kay fighting aliens from outer space. And, let me indulge myself in this idea. There is a lot of mileage in it.
But, to be frank, it has nothing to do with the words: Caution, Wet or Paint. I just thought wanted to hijack a great phrase and stick it onto these guys.
Here is a photo to make me feel happy:
Ah, free advertising...
Wednesday 11 February 2009
Finally - Jay and Kay save the World online!
And so onto the relaunch. The script has been warming itself in the oven for months now, and in fact we started hooting last year. FInally, after much procrastination, the new CWP Website is here.
Basically, I took the best from the old website, but made it more relevant to the new project we are setting up - 'Jay and Kay Save the World'. And in the spirit of Jay's comic book mindset, I have designed the website accordingly.
Damn you all, I am proud of my creation!
Tuesday 10 February 2009
New Sites!
All right, it has been a little lathargic on on the web front as we have taken a slight bit of time out...well, you know how it is...
But, it is official, we are starting to film the animated sequences for the CWP Short film this week. Scary, but it as been sanctioned. Oh, and even more fun, the official Babarouge Website has just been updated to show all this.
El D. has been busy. But he is back...
But, it is official, we are starting to film the animated sequences for the CWP Short film this week. Scary, but it as been sanctioned. Oh, and even more fun, the official Babarouge Website has just been updated to show all this.
El D. has been busy. But he is back...
Tuesday 3 February 2009
Monday 2 February 2009
Nearly Corrected the Colours and also 'Pre'
The Brain of Charles Michel Duke is in two modes. Firstly in the post-production, editor's mindset of colour correction and last minute sound details (to el m - get well soon or I will cry due to my incompetence).
(Remember wannabe directors; you can tick off everyone except the cook and the musician)
Now I will try to slowly bleed the colours out of the movie, drop by drop. This is going to be...well, tough. But this is the version that I want to present to the world. Let me see if I am able to walk the walk...
---
And now onto Pre-Production. I am gearing up for a fiesta of CWP which yes, means webisodes, a revamped website (pink is getting a little bit to bright) and mosty importantly a proper short film. To be shot in March, allegedly, it is going to be a chalenge to get it done for a completion date of May.
Expect me to become much more 'mean' and 'tough' as well. I am getting into one of those moods agaian...
(Remember wannabe directors; you can tick off everyone except the cook and the musician)
Now I will try to slowly bleed the colours out of the movie, drop by drop. This is going to be...well, tough. But this is the version that I want to present to the world. Let me see if I am able to walk the walk...
---
And now onto Pre-Production. I am gearing up for a fiesta of CWP which yes, means webisodes, a revamped website (pink is getting a little bit to bright) and mosty importantly a proper short film. To be shot in March, allegedly, it is going to be a chalenge to get it done for a completion date of May.
Expect me to become much more 'mean' and 'tough' as well. I am getting into one of those moods agaian...
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