Fine Cut Update

Am working all through the weekend to complete the fine cut on the film. All is swell and it is just a matter of fine tuning al of the work and making it the very best it can be. Had a chance to screen it for Brian Shaw and he was instrumental in pointing out small things that worked - and didn't work - for him. This is one of the reasons why you screen works-in-progress. It's not a question of doubting oneself - it is really all about getting a 2nd or 3rd opinion. Julie has been instrumental in keeping the cut in line and has spent many hours watching, revising and reviewing the material. She is the best producer I have ever worked with - and it shows in the work. We will mix in Canada in December and have an ADVANCE SCREENING in January for cast and crew and friends-of-the-film. Alden Moore is in the UK so I will send her a DVD in PAL format so she can watch the film when we do. As this portion of the edit comes to a close (and we begin 6 weeks of Sound Editing), I am thrilled by what we achieved.

Defiled CGI Title Credit

Am entering into the CGI (computer generated imagery) phase of the production - as I alternate between the fine cut (now on Reel #10) and the needs of the show. Here is a look at the head credit as the city of Frankfurt, Germany stands in for a desolated and destroyed cityscape. WIll refine and rework all composites over the next month as the sound department begins work on the music and key sd. fx.

V4 Trailer WIP

Added Roger and will recut this many times before I am happy. Have so much more to show but this is just an idea I am riffing on. Fine Cut goes well. Am on Reel 7 and looking at a restructuring of first three reels (but more about that later). All is swell.

V3 Trailer WIP

My experiment in ambiguity was perhaps a little too vague. Peeps liked the visuals but weren't sure what the damn film is about. With that in mind, here is V3 with original music by our composer David Findlay and text added with a new tag line.

Final Cut now underway

Am finished the rough cut and indebted to my colleagues for their insights and notes on the material. Have locked the first two reels of picture and working diligently to have Picture Lock for October 31st. Now, with that being said, here is an exclusive look at the first trailer I have put together. There will be three in total - this short one (which is a work in progress) and two longer trailers that tell the story and allow for festival notices and celebrity endorsements. So, have a look...it's fun, it's gross and there's so much more to come.

Post Production Update

Composer David Findlay and I are starting to chat about original score and our needs. Am 100 minutes in and the end is in sight. Will complete my rough cut by Next Sunday and begin the tweaking process. Have 1 hr. of baby inserts to cull through and assorted fine edits to make. Oct. 31st is the Producer's Screening and reels will be sent out to the sound editors in Canada as they are locked. All is going gangbusters!!

Feeding the baby

At Wm Powers Park, Kathleen Lawlor (Janice) must fed Roger for the first time. As the film evolves and I look at running time, this is a moment that may find its way to DVD Extra Land (we shall see). My producers will be a good sounding board and give me some solid advice.

Back to CCC

Am over the 80 minutes mark now and have to return to teaching. Am responsible for the D2 Directing Class showing students how to work with actors and camera - and a new course on VFX Supervision. I'll keep to my schedule of a rough cut for my producers by October 31st and continue to look at Xmas or sooner for the fine cut.

A Treat For Me

Am pleased to announce I am 40 minutes through the rough cut. Just finished the Ghouls Picnic and it worked a treat. As a treat to myself, I allowed myself a rare glance at color in the work I have at hand. Here's the Gary Church after futzing a little with paint programs and the like. Seeing the world in color is so strange after being so immersed in black and white. Perhaps I don't see the world the same way most people do.

Shooting in tight places

Our last day of filming was on location at KL's place in the western suburbs of Chicago. Cast and crew were treated to BBQ and all the amenities of home - but were a little perplexed at how I was going to film the 'puke-athon' in the woods. There were houses everywhere you looked and it seemed almost unavoidable that a house or 'something' would get in the way of the shot. No matter where you looked, there was a house, a garage or a road in either direction. One thing I learned a long time ago was how to work in tight spaces and find the shot. We only see on-screen what the camera sees. For my film students working alongside me, it was a nice chance for them to see how selective framing can really pay off. Here's Yar in the woods losing his lunch after drinking tainted water.

Yar and Janice

My stars of this film are truly fearless. Working long and hard, both Brian and Kathleen did exceptional work and it is a treat to be editing their fine performances. Here are two closeups so you can see what they will look like in the finished film.

Post Production Process

One of the things that is vitally important to me as a filmmaker is the look of the film. As the cinematographer as well as the director, I was determined to shoot a film that reflected my fine art photography background with work as beautiful as it was disgusting. Here is an image that will be adapted for the final poster. Shot on location outside our principal location in Cranberry Lakes, IN, Yar and Janice walk the long, lonely road.

Editing Update

Am now finished with transferring the thirty hours of footage we shot. Have already started editing as I go and am twenty minutes into my rough cut. I am determined to have a cut as soon as possible for festival submission purposes. Screened the second reel for DJ and Mal and they were very gracious and complimentary. EP Julie has been invaluable in her comments and suggestions. I will not post any footage until I am done - but I will post screen grabs and token stills to wet your appetite as we go. Here's a nice one of Yar (Brian Shaw) and Janice (Kathleen Lawlor) at the Gary Post Office.

And so it begins...

Have formatted new T1 hard drive and backed up all materials. Have 29 hours of material to cull down to 110 minutes and have 8 days of transfer and logging ahead. I am determined to do 4 hours each day and have a little time to try some sample cuts and constructions. Editing is something that I greatly enjoy as I can cut out all the dodgy bits and concentrate on story and performance. Here the film becomes real.

A special note for Alden Moore

We are indebted to actor/ production designer/ still photographer and all-around fixer, AM, as we wrap this show. Always ready with an insight or an addition, AM is off to England at the end of this month to start a 2 year residency in higher learning. The photos on this blog are a direct result of her contributions. Many thx. AM for your good spirit, gear-humping, bear-smelling involvement.

Camera Shut Down

As we completed the last shot on "A" camera, the Canon HV20 - our trusty workhorse - shut down. It would not allow me to do any of the manual overrides that I had been doing throughout the show. It simply ceased to function. We were all more than a little spooked as we wrapped the film and hoped to do a "B" camera insert as we were getting the actors cleaned up and could not shoot. Our still camera has also packed it in that day (you did not break it, Alden) and we took it as a sign that we were finishing just in time. After getting some much needed sack time, I examined the HD camera from top-to-bottom and found a switch that I had never noticed in the eight weeks we filmed (nor throughout the testing periods before). After adjusting the camera, was able to coax it back to life and all appears well. With 24 fps shooing in HD available, the Canon Vivia Models (HV20) and above now) are truly fantastic and I recommend them highly. Am thrilled my camera is back online as I already have my next film in mind for Summer 2010.

Kara Continuity

The normally shy (and photo averse) Kara has been an invaluable associate throughout this film. On the 2nd last day, she saved my bacon big time when after shooting for 16 or 18 hours I forgot a key shot (it happens... I must be getting old). She was learning on the job with this gig and I am thrilled at how thorough and patient she was throughout the production. Thank you for putting up with me and for making this picture all that it is.

Thank you ny FIENDS! (I mean, friends)

We were blessed to have the beautiful and talented stars of "The Defiled" throughout this production. Through thick and thin, cold, wet or burned alive - we are indebted to them for their graciousness and hard work. I have so many memories of making this film work despite the odds. Both Brian Shaw and Kathleen Lawlor attacked the material with gusto and were up for everything I could think of. THANK YOU FOR YOUR HARD WORK!!!

"It takes more than caring To be a real friend; The nature of friendship; Requires a blend Of warmest compassion And love deep and true To reach and to comfort The way that you do. Because I can see That your kind of friendship Is priceless to me."javascript:void(0)

That's a wrap!!!!!

After 7 weeks, we are wrapped shooting "The Defiled". Am thrilled with the footage, new found friends and all of the work we have created. What a rush to race off into the wilderness (okay, Gary, IN is not the wilderness...but it is barren) and make a film like this. Am only now coming up for air. Bought a new hard drive today and am cleaning up everything for the edit as needed. Lets give everyone a hand for their hard work. It is well deserved.

Brian Shaw Rules

As we finish up principal photography, I have to thank BS for leading us throughout this journey. Never a complaint, always a willing suggestion and helpful hand and a trooper through-and-through. As we complete this work, I know that the reason that this film will be a success is a large part due to BS. Thank you, my friend.