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Phil Connolly

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Phil Connolly last won the day on July 2

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About Phil Connolly

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  • Birthday 01/12/1979

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  1. Thanks, we found ourselve the Xeen 14mm on my short (The Fruit Fix) last year quite a lot even on closeups. Our next widest lens was a 24mm and that was bit tight for some locations in 2.39:1 (FS7) Here's a couple of frame grabs of closer shots on the 14mm, there's some distortion but it works in context of the sequence (Dop was Tom Shawcroft) The softness is more due these grabs coming off 720p proxies rather then the lenses themselves
  2. If the new 4K S35 Alexa is really good, maybe the OG mini prices will tank sooner than 5 years. People like the latest and greatest so prices should move when it comes out.
  3. Different brands lenses will look very different e.g the 14mm Xeen is quite distorted but the 14mm Canon CNE has no distortion its rectilinear. And to be be honest even the distortion on the Xeen is not that objectionable unless you push it into a close up. For instance this is 14mm: Location choice is a factor and that might be regional thing... In the UK/urban areas houses certainly can be small, needing lenses in the 14 to 18mm range for 2.39:1 framed films. If you have a nice big open plan house then lens in the 20 to 28mm work for the wides.
  4. In terms of finance there are certainly potential employment and taxation rules that you should follow when staging an international production with an international crew. On a low/no budget indie - working with volunteers on a collaborative project could be a way to side step some red tape. Making a film in Canada with friend's potentially working for free, is not going to trigger the Feds. Of course i would never recommend that people aren't paid for their work or tax is dodged (but i'm aware it happens). Whatever you do make sure you have sufficient insurance cover, particularly important for cross border work. Festivals themselves don't care what you did or didn't pay the cast and crew - thousands of films made with unpaid cast and crew have been screened in festivals. If you pay your cast and crew cash off books (which we know is naughty), festivals aren't going to audit your books and they don't care. What they do care about is they can show the film without getting sued, so the will want to know all the actor, location and music release forms are in place. E.g you own the rights to the performances in the production. Actors/contributors can of course sign a release even if money doesn't change hands and that would be enough for most festivals. Festivals typically don't ask to see all these release forms (imagine the paperwork)- but you will be asked to sign a form to indemnify that you have them and if any problems come out of the woodwork they are your problems not the festivals. In terms of location of production as you say it can get a bit messy when its crew from one place, money from another and shot somewhere else. You could just list the 1 or 2 key areas and make it an international production. E.g the 1 or 2 places most of the work happened. Country of origin matters for festivals and competitions because they often have different categories that are open to different films depending where it came from. It's a benefit to have a film from 2 countries e.g USA and CAN - because then you probably could submit to both USA competitions and CAN competitions... double the chances. Different festivals and comps will have different rules about where they draw the boundary, but you can always talk to them first to check eligibility most are helpful. I was able to submit a film into a regional competition because the director was from the region even though 100% of the production + crew happened elsewhere. I just called the festival explained the films background and they told me it was fine to submit...so you can always check. In the Academy Award example for Armour - (as I understand it) countries can only put forward one feature for consideration for the best international film. So if France had already picked a film to submit and it wasn't Armour, then it couldn't also be submitted as a "French" film. No doubt the production company played up its Austrian credits, to give it a chance by submitting as an Austrian film. Rules are stretched all the time earlier this year "Bait" won the Bafta for "outstanding debut" - yet its not Mark Jenkins first feature, just the first one that got wider notice.
  5. While there certainly are Tax issues relating to hiring international staff onto a US production. I doubt its something a festival would audit. A festival only wants to know that you hold the rights to the film for screening purposes and have actor/music/location permits covering the use of them. Often they don't even check you have them, just that you will indemnify (e.g take the hit) in the event of the film being screened without the releases. The simplest way of dealing with the Tax front is perhaps having the actors work on a "voluntary" basis which is perhaps a legal grey area but not something any festival would worry about. A festival does not care how or if you paid your cast/crew, they only want to know you have the rights to the performance...actors can certainly sign a release form without money changing hands. In terms of country of origin, again that's your call - For the purposes of the festival you make a judgment - normally its the location of the production office/where the bulk team is based. Or you could use Canada as the co-production location. It might be useful to have two countries of origin - then it might be eligible for more festivals/competitions. E.g you could submit to USA only catagories and Canada only catagories and sometimes festival fee's are different depending where the film is made. Then you can just submit to the category that's cheaper (if your worried - talk to the festival direct and they will advise you) Again festivals have their own individual rules on this and you can always talk to them. I once got a short in a specific festival because of the city the director was from, even though the production happened in the wrong place - I just emailed them told them who was involved with the production, where they were from and asked if we qualified - if they like the film they will be flexible on origins.
  6. I'd imagine the challenge of rigging the mirror to get the angle required while keeping it clean and not getting unwanted elements in shot would be tricky. The visual gain in look - may well be offset by the effort needed to achieve it. For instance if shot doesn't quiet work on the day, it's going to be more difficult to adjust it on the fly. Maybe think of other ways to make your location work for you, deep(er) focus can also be achieved in other. Or if you are jumping through this many hoops to try and make a location work, maybe just get a better location. Sometimes you can get creative tunnel vision once you get locked into a location, where the best option might to take a step back and really think if its best place to realise the scene.
  7. Depends if your camera allows backwinding. I would say do it in post- then you have control over densities and timings. Nailing it in camera is potentially going to burn through more stock.. Also in camera I'm assuming you'd attempt to do the dissolve by adjusting the Iris - if your camera iris doesn't fully close it's going to be impossible to do a smooth fade without it getting lumpy at the end. As the silent era proved its possible to impressive in camera effects, but if you can better looking results in post faster and with fewer mistakes..i'd always advise that. Unless your desire to do it in camera is part of the process you want to experiment with and the potential flaws to become part of the look.
  8. Close mic, dry, quiet location. Maybe some compression - but compressors bring up the background noise. Didn't sound very noise gated - or expanded
  9. Window tint is just sticky ND gel. It's about the same price or slightly more than the non sticky stuff
  10. Hi Wendy that would work (in terms it would cut the light) - but the issue is its quiet a specialist skill to get it installed without air bubbles etc... I had a 4 m square area of windows tinted with that film in my house - it was fairly expensive.. took a team of 2 workers all morning to install. Had I had attempted the installation myself I'd have most likely made a mess of it and in the long term it would cost more money to buy more materials and and expert to fix. Much like the time I tried to replaster the bathroom... 1 hour to skim... 3 additional days to sand the wall back to flat... Not really practical on a film set. It would also be quite a job to remove. Normal ND gel rolls can sometimes be rigged quickly if you hang them outside the window - if its not windy and the area is out of focus they don't need to be perfectly cut to match the window. Personally - NDing windows seems to be thing that happens less these days ... in the MiniDVcam days - I had to gel every window for pretty much any shot just to be in with a fighting chance. Now cameras have a 14stop range and you've got cooler running LED's - is easier to balance the light in a scene without reaching for the ND as often. Plus in the UK is not often that sunny
  11. Been doing the Insanity work out DVD's in lockdown - now everything hurts.
  12. I don't think cardboard would work - it would absorb low frequencies. What about making one from Fibre Glass? You can get kits for boat repairs etc... Then you could make any size you want and it would probably be easy to source a former to make the shape - a Yoga exercise ball or similar could work.
  13. One general note I'd give if your attempting to get into festivals is the film is a little bit long. Short films below 15 mins have a better chance of being programmed. That's because festivals would usually prefer to screen 2 x 10 min films then 1 x 20 min. Of course if you film has to be the length it is because that's how long the story is... that's also fine, there are lots of good 20-30 min shorts. In this case, I think you could get it down to 15 mins without losing too much. The intro title sequence on the film doesn't add much, with shorts it's important to get on with story. Although the shots of the cardboard houses/insect looks cool - it delays the start of the story. Setting a mood is ok - but on this it felt a little over long. waiting 3 mins to start the story on a short risks losing your audience. Same with the cool tunnel. The walk in looks like "hey we found a cool tunnel, let's show it off" rather than a particular narrative point that could be served by a shorter entrance. Serve the story not the location. If anything the location choice could be considered to work against the narrative, is that the best place to conduct a deal? It's exposed, would a dealer leave their car to walk down a long tunnel? etc...
  14. true indeed - I guess it could be any size. But sticking to standard formats perhaps simplifies things. If Youtube is the main deliver method its always wise to make a 4K version regardless or the origination format to benifit from the extra bandwidth
  15. But basically you have to deliver in a standard format either 1080 across for HD or 2048 across for 2K. If your camera is 1080p and your shooting with anamorphics with the intention of cropping to 2.39:1 your original footage is sub HD anyway. When you stretch your footage out you don't gain resolution. 2048 pixels across would be quite a bit higher than the actual resolution of your rushes - so your not loosing anything by making a 2k master
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