Back in early 2012, gaffer Colin Smith and I built a wagon light – or Cyclotron, as it was soon dubbed. Alright, Colin did most… all of the building, despite what this video may appear to show.
The dimmer board controlling the Cyclotron sits on the arm of the sofa next to the tungsten avenger itself.
Shooting Coffin Grabber, directed by Claire Elizabeth Alberie, we needed firelight to play on the face of a character called Phil. I asked Col to rig up a bank of eight 100W bulbs, running two of them into each of the four channels on his dimmer board. During the takes he would oscillate the faders in random patterns to suggest the flicker of flames.
In front of the bulbs I hung a sheet of Urban Sodium gel. Given Phil’s character, I didn’t want the sunny feel of a straw colour or the homely orange of CTO (Colour Temperature Orange). I happened to have some Urban Sodium in my gels bin and I felt that had just the right dirty, gritty and a little bit hell-ish look for Phil.
There are many ways to simulate firelight. Check out this blog by Shane Hurlbut about how he built an elaborate rig using gooseneck microphone mounts for The Greatest Game Ever Played. And look out for a forthcoming post from me on simulating candlelight when The First Musketeer is released.
Phil (Ross O’Hennessy) basks in the warm glow of the Cyclotron.
Georgina Sherrington (“Kate”) and Oliver Park (“Dan”) during the weir scene
Thank you to everyone who made Stop/Eject‘s third crowd-funding campaign such a huge success. We set a target of £400, but we smashed through that early on and ended up at £600 when the campaign ended on Sunday. That makes £4,800 raised in total for this little fantasy-drama since 2012. The new funds will pay for entry into another 20 or so film festivals around the world.
It was also an opportunity for the small but loyal fanbase we’ve built up over the last couple of years to get their own copies of the film. I’m now in the process of getting the extra discs duplicated and I’ll be posting them out as soon as they’re ready.
When we shot Therese Collins‘ behind-the-scenes interview for Stop/Eject, back in March last year, it proved … shall we say… challenging to get a sensible answer out of her. Here are some of the surreal and hilarious out-takes. Therese plays Alice, the mysterious shopkeeper who knows more than she’s telling about the time-travelling cassette recorder.
If you want to see the more sensible bits, plus interviews with all the rest of the cast and crew, you need to snap up one of the last few Blu-ray copies of Stop/Eject. They’re loaded with extra material including a half-hour “making of” documentary, featurettes on crowd-funding, the Belper locations and post-production sound, commentaries, bonus shorts, an extended rough cut and an interview with Georgina Sherrington about her time on The Worst Witch.
Go to stopejectmovie.com to get your copy before our campaign ends at 6pm BST this Sunday (13/4/14).
In this featurette, Sophie Black takes us through her production design process on Stop/Eject, from themes and concepts through to execution.
There are just five Blu-ray copies of Stop/Eject still available on the Kickstarter page. Get yours before the campaign ends on Sunday! (Online “rental” of the film is also available.)
As you can see, we had almost £2,000 available to us in post, some of which was left over from production, but most of which came from a crowd-funding campaign. You can read my evaluation of that campaign in an earlier post.
Sound mix
None of the cast or crew were paid at any stage of making Stop/Eject, and indeed I tried not to spend anything at all on postproduction. The VFX artists worked on their home computers, editor Miguel Ferros used his own Mac-based Avid system, colourist Michael Stirling used his company‘s DaVinci Resolve projection grading suite, sound editor and designer Henning Knoepfel used his own Mac for the audio work and pulled in a favour to get a free studio day for the ADR, and re-recording mixer Jose Pereira used the studio at the college where he lectures. Scott Benzie composed the music in his home studio and we recorded it for free with four live players at Worcester Tech College.
ADR
So except for a suite of clock sound effects, which Henning convinced me were necessary to help the audio tell the story, the main costs in postproduction were those incurred by people travelling so that we could be in the same room for some of the work, and eating lunch on those occasions. It’s important to at least make sure people are fed when you can’t pay them a fee. The most expensive of these days was the ADR session, which involved me and two lead actors travelling from Hereford, Birmingham and Bath respectively to the studio in east London.
Even in today’s digital world, some files are just too damn big to send online, and such was the case with the Avid media output by Miguel ready for the grade. I therefore purchased a USB hard drive, which ended up being couriered across London a couple of times to get to where it needed to be. After the film was completed, I used the same drive to archive all of the Stop/Eject assets and project files.
In order to run the crowd-funding campaign, which lasted for most of postproduction, we needed to build our own website and cut a trailer using library music. We also attended several events to promote the campaign and the film in general, one of which charged an entry fee.
Glossy script book
The £79.47 spent on producing the crowd-funding rewards (a.k.a. perks or gifts) was racked up mostly by the hardback glossy script books, costing about £25 each (ex. VAT). The sponsorship level required to qualify for one of these books was £100, and since you also got a DVD, Blu-ray and premiere invite for that amount, there can scarcely have been £60 left of the donation for us to spend on actually making the film! It just goes to show that you should carefully cost up your rewards before you offer them.
DVDs & Blu-rays
That £79.47 isn’t the whole story though, since the next three items listed – the screening venue hire, Blu-ray stock and dupes – were all partly for sponsors as well. (A £10 donation got you an invite to the premiere, £30 got you a DVD and an invite, and £50 got you a Blu-ray, a DVD and an invite.)
£25.61 bought me fourteen blank Blu-ray discs, most of which I got through in trial and error as I authored and tested my first ever BD. The £265.30 spent on dupes got us 60 DVDs and 50 BDs, all with full colour on-disc artwork, inlays and cases. 20 of those discs went to sponsors and approximately 50 to cast and crew, with the rest being reserved for press and festivals.
I deliberately completed the discs in time for the premiere so that I could hand many of them out in person and reduce postage costs. For those that I did post, I used only pre-loved jiffy bags which I had been collecting for some time.
All in all, I’d say almost 11% of the £1,584 raised through crowd-funding was spent on creating and delivering rewards, a little more than I would have liked. Ideally you want to spend no more than 10% of your budget on rewards.
To promote the film at festivals and beyond, we had 50 full colour folders printed, each containing five single-sided monochrome pages of text. We also paid £10 to submit Stop/Eject to The London Film Review, the hope being that good reviews would increase our chances of festival selection.
And that only really leaves the festival entry fees themselves. We’ve entered 25 to date, and the money we’re raising now should allow us to enter another 20 or so. In a future post I’ll provide a list of the festivals entered, their deadlines and fees, and the selection results.
Georgina Sherrington as Kate in Stop/Eject. Photo: Paul Bednall
Stop/Eject, “a charming, fairytale-like film” (Unsung Films) in which Georgina Sherrington “steals the show with an emotional performance of the highest merit” (The London Film Review), is now available to buy from stopejectmovie.com. But hurry, because DVD and Blu-ray copies are VERY limited in number, and will only be available for two weeks.
You can also “rent” Stop/Eject (i.e. get a month’s access to an online streaming version) or Memoirs of the Worst Witch, an exclusive interview with Georgina Sherrington about her time playing Mildred Hubble in the cult ITV series.
Or, if none of that’s enough for you, you can buy the bumper pack which contains a Stop/Eject Blu-ray, press kit and genuine cassette prop used in the film, plus DVD copies of my previous films Soul Searcher and The Dark Side of the Earth: Making the Pilot.
This is being run as an all-or-nothing crowd-funding campaign, so we need to hit our £400 funding target in order for anyone to get their copies. All money raised will be used to enter the film into more festivals around the world.
Stop/Eject DVDs & Blu-rays are available from Sunday March 30th
Since completing the magical and moving fantasy-drama Stop/Eject last year, a number of people have contacted me asking where they can see the film or how they can buy a copy. Great news – from this Sunday, for two weeks only, a limited number of DVD and Blu-ray copies of Stop/Eject will be available to buy. Both discs are loaded with extra features including a 30 minute behind-the-scenes documentary, cast and crew commentaries, and deleted scenes. You’ll also be able to “rent” the film for online streaming.
Praise for Stop/Eject….
‘Sherrington steals the show with an emotional performance of the highest merit. Well-written, well-executed, and a genuine pleasure to watch.’ –The London Film Review
‘It’s rare to see such love towards a heroine, consideration for her pain, honesty and respect towards a short film’s audience. A charming, fairytale-like film with a gentle, sad, but noteworthy message.’ – Unsung Films
‘A very strong, powerful film… A great emotional performance by Georgina Sherrington.’ – The Final Cut
To get your copy, just vist the official website at stopejectmovie.com from Sunday onwards.
There have been a lot of articles going around lately about the representation of women in the media. A lot of the statistics are pretty shameful. A New York Film Academy study of the top 500 films of 2007-2012 found that less than a third of speaking characters were female, there was almost three times more female nudity than male, and the ten highest paid actors made over two and a half times more money than the ten highest paid actresses.
I’ve always considered myself fairly enlightened on this issue. From my first major film project (The Beacon, 2001) I began a deliberate policy of alternating the genders of my leading characters with each movie I made. But before I get a sore arm from patting myself on the back, let’s delve a little deeper by applying the Bechdel Test to my films. To pass this test, a film must have
at least two named female characters
who talk to each other
about something other than a man.
The Beacon
The Beacon is a cheesy action film about Sarah Mayhew (Lorna-Jane Hamer), a council clerk who ends up saving Britain from a biochemical terrorist attack planned to be launched from the Malvern Hills. I switched up the traditional gender roles by making Sarah an action heroine who has to save her useless boyfriend from the terrorists. It easily passes the first two steps of the Bechdel Test, but I had to skip through 55 minutes of it before I reached a conversation between two women that wasn’t about a man.
Soul Searcher
Soul Searcher is a marginally-less cheesy action film about an ordinary Joe (Ray Bullock Jnr) who is chosen to be trained as the new Grim Reaper. While it passes step one, that’s as far as it gets; leading ladies Heather (Katrina Cooke) and Luca (Lara Greenway) never speak to each other. There is a brief exchange between Clubber Girls #1 and #2, but since they don’t have names, and their only purpose is to be put in jeopardy by a man (alright – a demon, but a male demon) and saved by another man, I hardly think this counts. Massive fail.
The Dark Side of the Earth, apart from a five minute sequence shot in 2008, exists only as a screenplay, so it’s the screenplay I’ll judge. The protagonist is a young woman, Isabelle (played in the pilot by Kate Burdette), who sets to out to re-start the earth’s rotation after it shudders to a halt, nearly wiping out humanity. There are brief exchanges between Isabelle and some minor, but named, female characters in which they talk about things other than men, but the one proper conversation she gets with the only other significant female character concerns a man. And at least on some level, the reason she goes on the quest is to impress a man. So technically Dark Side passes, but it’s hardly a glorious victory.
The Picnic
My three Virgin Media Shorts entries have little or no dialogue, but even without applying the test, it’s easy to see how sexist they are. The Picnic is a silent film revolving around a man trying to get revenge on another man for stealing his girlfriend. Woman as prize. Hardly enlightened. (Earlier drafts of the script had the gender roles reversed. I can’t remember why I changed it.) The One That Got Away makes the female character a trophy in exactly the same way. And Ghost-trainspotting doesn’t have any women in it.
Stop/Eject
Stop/Eject, on the other hand, seems well-placed to pass the test with flying colours, with two of its three main characters being women and plenty of conversations between them. Unfortunately, the whole movie is about the death of a man. It does pass the test though, because the final conversation between grieving widow Kate (Georgina Sherrington) and mysterious shopkeeper Alice (Therese Collins) is not about the man. It shames me to recall, however, that Alice was (a) originally written as a man, and (b) not given a name until Therese requested one.
In general, writing this article has drawn my attention to the imbalance in the number of characters of each gender in my films. Even those movies with female leads are otherwise populated predominantly by men. I think I have a tendency, and I’m sure many of you out there do this too if you’re honest with yourselves, to make characters male by default, and to only make them female if there’s a “reason” to.
I know that some people may say, in defense of their own films or actions, that they did not intend to offend or oppress. I certainly did not aim, when making Soul Searcher, for example, to oppress women. But that is no excuse. Everything we do, say or create will be judged in the context of our society, and if – in combination with things said, done or created by others, innocently or otherwise – it contributes to a culture of oppression, then it is wrong. So for my own mistakes, I apologise unreservedly.
As with all of my blog entries that point out my own failings, I record this publicly to burn these mistakes into my memory and reduce the chance of me making them again. I hope too that it might make others out there consider their own work in the light of the important issue of gender representation.
It’s a common dilemma in the UK for filmmakers: do you shoot at 24 or 25 frames per second? Until a couple of years ago, I would have said 25 every time, but with DCPs and Blu-rays now about, and most TVs capable of handling a range of frame rates, the answer is not so clear-cut. Unlike aspect ratio or shooting format, the decision has no discernible creative impact on your project, merely a technical one. And it’s so easy to convert between the two that it often feels like it makes no odds. Nonetheless, to help anyone on the horns on this dilemma, here’s my round-up of the respective advantages of each frame rate.
The Case for 25fps
If you need to record to any kind of tape format at any point in your process, 25fps is what you need.
The same goes for PAL DVDs.
If your film is going to be broadcast on UK TV, it will be transmitted at 25fps.
Since your camera’s running in sync with the UK mains supply’s alternating current, you don’t need flicker-free ballasts for your HMIs. Having said that, pretty much every time I’ve hired an HMI, it’s come with a flicker-free ballast as standard anyway.
If you’ve made a 25fps feature film that isn’t quite long enough for distributors to classify it as a feature, the extra running time you squeeze from exhibiting it at 24fps might make the difference.
The same goes for Blu-rays. (Blu-rays do not technically support 25P, but they support 50i, which can contain progressive 25fps content. However, discs authored to the 50i spec apparently will not play on most US machines.)
If you shoot at 24fps and need to convert to 25fps for any reason, your film will become 4% shorter, making it that extra bit pacier and able to squeeze into a shorter slot at a film festival.
If shooting on film, your postproduction facilities will be much more comfortable with 24fps material. We really freaked out our lab on The Dark Side of the Earth by shooting 25.
Many traditional film projectors will only run at 24fps.
Can you think of any other factors that I’ve missed?
I’d say the balance has tipped in favour of 24fps. However, I think you’ll find that many people in the UK (outside of the celluloid world) are still more comfortable with 25…. for now.
Download the budget here as a PDF (35kb).
