Category Archives: Director

Updating the long-running Ford F-150 campaign

Giving a decade-long very successful campaign a bit of a goose presents unique challenges, including maintaining tone and creative continuity while bringing a fresh perspective. To help with the launch of the new 2018 Ford F-150, Big Block director Paul Trillo brought all of his tools to the table, offering an innovative spin to the campaign.

Big Block worked closely with agency GTB, from development to previz, live-action, design, editorial, all the way through color and finish.

Trillo wanted to maintain the tone and voice of the original campaign while adding a distinct technical style and energy. Dynamic camera movement and quick editing helped bring new vitality to the “Built Ford Tough” concept.

Technically challenging camera moves help guide the audience through distinct moments. While previous spots relied largely on motion graphics, Trillo’s used custom camera rigs on real locations.

Typography remained a core of the spots, all underscored by an array of stop-motion, hyperlapse, dolly zooms, drone footage, camera flips, motion control and match frames.

Premiere was used for editing. CG was a combination of Maya and 3ds Max. Compositing was done in Nuke and Flame with finishing in Flame. 

Mother! director Darren Aronofsky

By Iain Blair

Writer/director/producer Darren Aronofsky made a big splash when his debut feature Pi won the prestigious Director’s Award at the 1998 Sundance Film Festival. He then quickly followed that up with 2000’s acclaimed drama Requiem for a Dream.

But his hot streak and momentum came to a screeching halt in 2002 when Brad Pitt dropped out of his expensive and ambitious sci-fi epic The Fountain just weeks before shooting was due to start. Aronofsky scrambled to completely rewrite and retool The Fountain, this time starring Hugh Jackman and Rachel Weisz.

Since then, Aronofsky has regained his momentum and continued to make visually audacious films as 2008’s The Wrestler, 2010’s Black Swan (he got a directing Oscar nom, and star Natalie Portman took home the gold) and 2014’s Noah.

His latest film, Mother!, is another hard-to-categorize film — part horror story, part comedy, part fable, part psychological thriller — that stars Jennifer Lawrence and Javier Bardem as a married couple whose relationship is severely tested when uninvited guests suddenly arrive at their home, disrupting their tranquil existence and ultimately turning it into a literal war zone.

I recently talked to Aronofsky about making the film, and why he ditched the score.

This isn’t just a horror film. What sort of film did you set out to make?
After Black Swan I wanted to return to the horror genre, and I felt the home invasion genre hadn’t been used well in a while — and we can all relate to having house guests that overstay their welcome. So I felt that was a great starting point, and I also wanted to deal with larger issues — the planet we all live on, as guests in a sense. But I’m not really a genre filmmaker. For me, Pi was a thriller at its core, but I added lots of stuff and it became something else. I think I always do that. When I pitched Black Swan they felt it wasn’t enough of a ballet movie or horror film. It didn’t fit into any one genre. I just do what I think is cool and interesting, and then I start adding stuff.

How tough was it walking the tonal tightrope between the beginning comedy and the increasingly dark, serious nature of the film?
It was tricky, but I think I was just truthful to what I’d written, and the intent of the characters does not change. They’re all very bad guests, and the level of the badness is what shifts, and the pitch changes. It’s like speeding up an old vinyl record — it just gets crazier and crazier, and more and more intense.

What were the main technical challenges of making this?
Technically, it was one of the hardest things me and my team have ever tried to do, because the last 25 minutes — the fever dream — were so demanding to choreograph and to maintain that nightmare fever-pitch for that long and have it build and build needed every department to work together in perfect sync.

The house is like another character. How did you deal with that?
It was vital to me that the film felt realistic and grounded for the first half, at least. I don’t think we could have pulled that off just shooting it on a stage, and we couldn’t find a real house that worked, so we went to great expense and effort to actually build the house up in Montreal where we shot. We actually built the house twice — the first time with just the first floor out in this beautiful field, which allowed us to do all the daylight sequences in natural light, and we shot those all in order. Then we built the full three-story house in a soundstage in Montreal for all the interior and night sequences, and as the house is like another character that morphs and changes, it really had to be a real house with all the plumbing and wiring, so that when it starts coming apart, it feels very real.

Do you like the post process and where did you do all the post?
I love post, and we did it all in New York at Sixteen 19. This post was very difficult and it ended up being 53 weeks – by far the longest I’ve ever done.

You cut this film with editor Andrew Weisblum, who collaborated with you on Noah, The Wrestler and Black Swan, for which he was nominated for an Oscar. How did that relationship work?
Editing was very tricky, because I wanted to pull the audience into Jen’s experience and not give them a chance to breathe, so we shot the film exclusively from her point of view, with hardly any wide shots, which usually allow you to get out of any sticky situations. Basically, the film is either shot over her shoulder, on her face or at what she’s looking at. This gives you incredibly limited coverage to work with in the edit, and Andy was forced to work with that. He began in preproduction, and we did three months of rehearsal which DP Matty Libatique, who’s shot most of my films, shot as a test. We then cut it together so we were able to look at a 100-minute rough version and get a sense of the camera movements and placement and how it would all look and learn from it. That was very helpful.

One of the biggest shocks of the film is that there’s no music. Can you talk about that decision and the importance of the sound design in the film?
It was a shock to me too! I’d hired composer Jóhann Jóhannsson, who’s done films like Arrival and The Theory of Everything, and he wrote a wonderful score, and we worked on it for five months, but it was really weird — every time we played it to picture, it just didn’t do what it was supposed to do, and we couldn’t figure out why. Then he said to me, “The score’s actually taking away from Jen’s performance, and pushing the film in another direction.” He was right. So we decided that the best score for the film was no score at all, which was pretty tough after all that work — and it scared the hell out of me, since I’ve always relied on music to be a major part of my films.

So I then turned to my longtime sound designer Craig Henighan and told him to just go for it, and that then became a huge part of the film. We actually kept some music cues all the way up to the mix stage, which we did at Warners, but ultimately realized we didn’t even need that because they suddenly stuck out.

Can you talk about the VFX, and working again with VFX supervisor Dan Schrecker.
Dan and I were roommates at college, and he’s done all my films. We had a huge number of shots — over 1,200, more than we had in Noah, although not so complex. We had a lot of different houses working on them, including ILM, Hybride, Raynault, and it was a mad rush at the end because the studio changed our release date, so we had to do two months of VFX work in just one month.

How important was the DI on this, and where did you do it?
At Company 3 with Tim Stipan who’s done all my films, and we worked very hard on the look to get this great, warm, lightly burnt butter look, so the DI was crucial.

Did it turn out the way you envisioned it?
It’s always a constant evolution, and the colors a film takes on constantly shift and change, depending on the cast and production design and so on, but I’m very happy with it.

All Photos: Niko Tavernise


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Dell 6.15

Transitioning from VFX artist to director

By Karen Maierhofer

It takes a certain type of person to be a director — someone who has an in-depth understanding of the production process; is an exceptional communicator, planner and organizer; who possesses creative vision; and is able to see the big picture where one does not yet exist. And those same qualities can be found in a visual effects or CG supervisor.

In fact, there are a number of former visual effects artists and supes who have made the successful transition to the director’s chair – Neill Blomkamp (District 9), Andrew Adamson (Shrek, Narnia), Carlos Saldanha (Ice Age, Rio) and Tim Miller (Deadpool), to name a few. And while VFX supervisors possess many of the skills necessary for directing, it is still relatively uncommon for them to bear that credit, whether it is on a feature film, television series, commercial, music video or other project.

Armen Kevorkian
Armen Kevorkian, VFX supervisor and executive creative director at Deluxe’s Encore, says, “It’s not necessarily a new trend, but it’s really not that common.”

Armen Kevorkian (flannel shirt) on set.

Kevorkian, who has a long list of visual effects credits on various television series — two of which he has also directed episodes (Supergirl and The Flash) — has always wanted to direct but embrace VFX, winning an Emmy and three LEO Awards in addition to garnering multiple nominations for that work. “It’s all about filmmaking and storytelling. I loved what I was doing but always wanted to pursue directing, although I was not going to be pushy about it. If it happened, it happened.”

Indeed, it happened. And having the VFX experience gave Kevorkian the confidence and skills to handle being a director. “A VFX supervisor is often directing the second unit, which makes you comfortable with directing. When you direct an entire episode, though, it is not just about a few pieces; it’s about telling an entire story. That is something you learn to handle as you go.”

As a VFX supe, Kevorkian often was present from start to finish, and was able to see the whole preparation process of what worked and what didn’t. “With VFX, you are there for prep, shooting and post — the whole gamut. Not many other departments get to experience that,” he says.

When he was given the chance to direct an episode, Kevorkian was “the visual effects guy directing.” Luckily, he had worked with the actors on previous episodes in his VFX role and had a good relationship with them. “They were really supportive, and I couldn’t have done it without that, but I can see situations where you might be treated differently because your background is visual effects, and it takes more than that to tell a story and direct a full episode,” he adds.

Proving oneself can be scary, and Kevorkian has known others who directed one project and never did it again. Not so for Kevorkian, who has now directed three episodes of The Flash and one episode of Supergirl thus far, and will direct another Supergirl episode later this year.

While the episodes he has directed were not VFX-heavy, he foresees times when he will have to make a certain decision on the spot, and knowing that something can be fixed easily and less expensively in post, as opposed to wasting precious time trying to fix it practically, will be very helpful. “You are not asking the VFX guy, hey is this going to work? You pretty much know the answer because of your background,” he explains.

Despite his turn directing, Kevorkian is still “the VFX guy” for the series. “I love VFX and also love directing,” he says, hoping to one day direct feature films. “A lot of people think they want to direct but don’t realize how difficult it can be,” he adds.

HaZ Dulull
Hasraf “HaZ” Dulull doesn’t see VFX artists as directors as being so unique any more — “there are more of us now” — and recognizes the advantages such a background can bring to the new role.

“The type of films I make are considered high-concept sci-fi, which rely on VFX to help present the vision and tell the story. But it’s not just putting pretty pixels on screen as an artist that has helped me, it was also being in VFX management roles. This meant I spent a lot of time with TV showrunners, film producers on set and in the edit bay,” says Dulull. “I learned a lot from that such as how to deal with producers, executive producers and timelines. And all the other exposure I got in my VFX management role helped me prep for directing/producing a film.”

Dulull has an extensive resume, having worked as a VFX artist on films such as The Dark Knight and Prince of Persia, before moving into a supervisor role on TV shows including Planet Dinosaur and America: The Story of Us, and then into a VFX producer role. While working in VFX, he created several short films, and one of them — Project Kronos — went viral and caught the attention of Hollywood producers. Soon after, Dulull directed his first feature, The Beyond, which will be released the first quarter of next year by Gravitas Ventures. Another, Origin Unknown, based on a story he wrote, will be released later in 2018 by Content.

Before making the transition to director, Dulull had to overcome the stigma of being a first-time director — despite the success three of his short films had online. At the time, “film investors and studios were not too keen on throwing money at me yet to make a feature.” Frustrated, he decided to take the plunge and used his savings to finance his debut feature film The Beyond, based on Project Kronos. That move later on caught the attention of some investors, who helped finance the remaining post budget.

For Dulull, his VFX background is a definite plus when it comes to directing. “When I say we can add a giant alien sphere in the sky while our character looks out of the car window, with helicopters zipping by, I can say it with confidence. Also, when financiers/producers look at the storyboards and mood boards and see the amount of VFX in there, they know they have a director who can handle that and use VFX smartly as a tool to tell the story. This is as opposed to a director who has no experience in VFX and whose production would probably end up costing more due to the lack of education and wrong decisions, or trial and errors made on set and in post.”

The Beyond, courtesy of HaZ Film LTD.

Because of VFX, Dulull has learned to always shoot clean plates and not to encourage the DP to do zooms or whip pans when a scene has VFX elements. “For The Beyond, there is digital body replacements, and although this was not the same budget as Batman v Superman, we were still able to do it because all the camera moves were on sliders and we acquired a lot of data on the day of the shoot. In fact, I ensured I had budget to hire a tracking master on set who would gather all the data required to get an accurate object and camera track later in CG,” he says.

Dulull also plans for effects early in the production, making notes during the script stages concerning the VFX and researching ideas on how to achieve them so that the producers budget for them.

While on set, though, he focuses on the actors and HODs, and doesn’t get too involved with the VFX beyond showing actors a Photoshop mockup he might have done the night before a greenscreen shoot, to give them a sense of what will be occurring in the scene.

Yet, oftentimes Dulull’s artist side takes over in post. On The Beyond, he handled 75 to 80 percent of the work (mainly compositing), while CG houses and trusted freelancers did the CGI and rendering. “It was my baby and my first film, and I was a control freak on every single shot — the curse of having a VFX background,” he says. On his second feature, Origin Unknown, he found it easier to hand off the work — in this instance it was to Territory Studio.

“I still find I end up doing a lot of the key creative VFX scenes merely because there is no budget for it and basically because it was created during the editorial process — which means you can’t go and raise more money at this stage. But since I can do those ideas myself, I can come up with the concepts in the editorial process and pay the price with long nights and lots of coffee with support from Territory – but I have to ensure I don’t push the VFX studio to the breaking point with overages just because I had a creative burst of inspiration in the edit!” he says.

However, Dulull is confident that on his next feature, he will be hands-off on the VFX and focused on the time-demanding duties of directing and producing, though will still be involved with the designing of the VFX, working closely with Territory.

When it comes to outsourcing the VFX, knowing how much they cost helps keep that part of the budget from getting out of hand, Dulull says. And being able to offer up solutions or alternatives enables a studio to get a shot done faster and with better results.

Freddy Chavez Olmos
Freddy Chavez Olmos got the filmmaking/directing bug at an early age while recording horror-style home movies. Later, he found himself working in the visual effects industry in Vancouver, and counts many impressive VFX credits to his name: District 9, Pacific Rim, Deadpool, Chappie, Sin City 2 and the upcoming Blade Runner 2049. He also writes and directs projects independently, including the award-winning short films Shhh (2012) and Leviticus 24:20 (2016) — both in collaboration with VFX studio Image Engine — and R3C1CL4 (2017).

Working in visual effects, particularly compositing, has taught Olmos the artistic and technical sides of filmmaking during production and post, helping him develop a deeper understanding of the process and improving his problem-solving skills on set.

As more features rely on the use of VFX, having a director or producer with a clear understanding of that process has become almost necessary, according to Olmos. “It’s a process that requires constant feedback and clear communication. I’ve seen a lot of productions suffer visually and budget-wise due to a lack of decision-making in the post production process.”

Olmos has learned a number of lessons from VFX that he believes will help him on future directorial projects:
• Avoid last-minute changes.
• Don’t let too many cooks in the kitchen.
• Be clear on your feedback and use references when possible.
• If you can fix it on set, don’t leave it for post to handle.
• Always stay humble and give credit to those who help you.
• CG is time-consuming and expensive. If it doesn’t serve your story, don’t use it.
• Networking and professional relationships are crucial.
• Don’t become a pixel nitpicker. No one will analyze every single frame of your film unless you work on a Star Wars sequel. Your VFX crew will be more gracious to you, too.

Despite his VFX experience, Olmos, like others interviewed for this article, tries to use a practical approach first while in the director’s seat. Nevertheless, he always keeps the “VFX side of his brain open.”

For instance, the first short film he co-directed called for a full-body creature. “I didn’t want to go full CG with it because I knew we could achieve most of it practically, but I also understood the limitations. So we decided to only ‘digitally enhance’ what we couldn’t do on set and become more selective in our shot list,” he explains. “In the end, I was glad we worked as efficiently as we did on the project and didn’t have any throw-away work.”

Shhh film

While some former VFX artists/supervisors may find it difficult to hand off a project they directed to a VFX facility, Olmos maintains that as long as there is someone he trusts on set who is always by his side, he is able to detach himself “from micromanaging that part,” he says, although he does like to be heavily involved in the storyboarding and previs processes whenever possible. “A lot of the changes happen during that stage, and I like giving freedom to the VFX supervisor on set to do what he thinks is best for the project,” says Olmos.

“A few years ago, there were two VFX artists who became mainstream directors because they knew how to tell a good story using visual effects as a supporting platform (Neill Blomkamp and Gareth Edwards, Godzilla, Rogue One). Now there is a similar wave of talented filmmakers with a VFX and animation background doing original short projects,” says Olmos. “We have common interests, and I have become friends with a lot of them. I have no doubt they will end up doing big things in the near future.”

David Mellor
David Mellor is the creative director of Framestore’s new Chicago office and a director with the studio’s production company Framestore Pictures. With a background in computer visualization and animation, he started out in a support role with the rendering team and eventually transitioned to commercials and music videos, working his way up to CG lead and head of the CG department in the studio’s New York office.

In that capacity, Mellor was exposed to the creative side and worked with directors and agencies, and that led to the creative director and director roles he now enjoys.

Mellor has directed spots for Chick-fil-A (VR and live action), Redd’s Wicked Apple, Chex Mix and a series for Qualcomm’s Snapdragon.

Without hesitation, Mellor credits his VFX experience for helping him prepare for directing in that it enables him to “see” the big picture and final result from a fragment of elements, giving him a more solid direction. “VFX supervisors have a full understanding of how to build a scene, how light and camera work, and what effect lensing has,” he says.

Additionally, VFX supervisors are prepared to react to a given situation, as things are always changing. They also have to be able to break down a shot in moments on set, and run the whole shoot — post to finish — through their head when asked a question by a director or DP. “So it gives you this very good instinct as a director and allows you to see beyond what’s in front of you,” Mellor says. “It also allows you to plan well and be creative while looking at the entire timeline of the project. ‘Fix it in post’ is no longer acceptable with everyone wanting more for less time/money.”

And as projects become larger and incorporate more effects, director’s like Mellor will be able to tackle them more efficiently and with a higher quality, knowing all that is needed to produce the final piece. He also values his ability to communicate and collaborate, which are necessary for effects supervisors on big VFX projects.

“Our career path to directing hasn’t been the traditional one, but we have more exposure working with the client from conception through to a project’s finish. That means collaboration is a big aspect for me, working toward the best result holistically within the parameters of time and budget.”

Still, Mellor believes the transition to director for a VFX supervisor remains rare. One reason is because a person often becomes pigeonholed in a role.

While their numbers are still low, VFX artists/supervisors-turned-directors are making their mark across various genres, proving themselves capable and worthy of the much-deserved moniker of director, and in doing so, are helping to pave the way for others in visual effects roles.

Our Main Image: The Beyond, courtesy of HaZ Film LTD.


Director Philippe Falardeau takes on boxing with Chuck

By Iain Blair

On the surface, French-Canadian director Philippe Falardeau — whose drama Monsieur Lazhar was Oscar-nominated for Best Foreign Language Film at the 84th Academy Awards — might appear to be an unusual choice to helm a boxing film. But in his inspired hands, Chuck, the true story of Chuck Wepner, the first man to knock Muhammad Ali to the canvas while he was defending the title, lands a lot of impressive punches. Wepner was the inspiration behind Sylvester Stallone’s Oscar-winning Rocky franchise.

Director Philippe Falardeau

Set in the early ‘70s, Chuck tells the unlikely story of Wepner, who was the heavyweight champion of New Jersey and also sold liquor on the mean streets when he got his big shot to fight Ali. Ultimately, he didn’t win the fight, but he found instant fame as the underdog who lasted 15 rounds in the ring with Ali. That was nothing compared to when Rocky came out. Wepner quickly attained hero status as the real-life inspiration for Stallone’s script and was quickly anointed King of the Jersey shore.

However, just when Wepner thought he was invincible, life set him up for the ultimate K.O. The aftermath of that fight triggered a series of events and numerous legal struggles that led to Wepner grasping to stay in the limelight. These obstacles led to sobriety and redemption after serving five years in prison for cocaine possession.

Liev Schreiber stars as the flawed but charismatic boxer opposite Elisabeth Moss, Naomi Watts, Ron Perlman and Jim Gaffigan. The IFC Films release is also on Blu-ray presented in 1080p HD with English 5.1 DTS HD master audio, and on DVD and digital HD from Paramount Home Media Distribution.

I recently talked to Falardeau — whose films include The Left-Hand Side of the Fridge, which won Best Canadian First Feature at the 2000 Toronto International Film Festival; the Warner Bros. release The Good Lie, starring Reese Witherspoon; and My Internship in Canada — about making the film.

Were you always a big boxing fan?
I was neither a fan or not, but I remember watching boxing at the 1984 LA Olympics and thinking there was something noble to it, and in sports I like duels between two people, like tennis. I don’t know a lot about boxing, and the script first caught my eye because I felt it’s not a typical boxing film at all. The big fight is in the middle of the film, and then there’s no big redemption fight at the end as usual.

Is it true you initially turned this down?
Well, I questioned if I was the right person for it. But as I read it the first time, I realized there was all this stuff I didn’t know about it, and it was a real page turner. It was more about the mythology of boxing and a cautionary tale about fame, which seemed very relevant in our era of social media when everyone wants to be famous.

There have been so many films about boxers, so what sort of film did you set out to make?
I was fascinated watching the actual fight on YouTube, and then I looked at a lot of archival footage since the script allowed for us to use some of that alongside what we had shot. All that really excited me, but the actual fighting sort of scared me. The thing is, the boxing you see in movies isn’t like reality, where it’s slow and messy, and nothing happens and then boom! Something happens.

So I wanted to make a film that showed the reality of boxing, not the movie version. After the whole fun ride of the first act, I think the story gets even more interesting when Chuck gets caught up in his whole new image and all the attention. Chuck really enjoys life. He’s a fun, playful, optimistic guy, sure of himself — really the opposite of Rocky Balboa. So the film had to be very playful — a drama that also didn’t take itself too seriously. So I tried to craft a movie where the rhythms, the editing, the archival footage and the tone all contributed to that feeling.

You got an amazing cast, with Liev Schreiber as Chuck, and Naomi Watts and Elisabeth Moss as his wives. What did Liev bring to the role, considering he looks nothing like the real man?
He brought so much, and he really agreed with my approach — let’s make it messy, not spectacular and just real. He spars a lot and really likes the sport, and he trained hard, so he was a great collaborator on this and he was very into it. And, of course, he’s a great actor, so we were able to explore a lot of levels.

Do you feel more of a responsibility when a film is about real people?
I do. I come from a documentary background, and I left documentary filmmaking because of the difficulty with that moral contract you have with the people you film. You want to make the best film possible, and that might mean making it more dramatic in the edit. That’s why I migrated to fiction.

With this, I met Chuck and his second wife, who are still together, and we all became friends. Chuck still calls me at home and keeps in touch. So it’s tough sitting next to him in a theater watching this, because at the same time you need to tell the truth of his story and shoot him in his underwear, snorting cocaine. But he knows he was no angel and we had to show that side.

Did you talk to Stallone at all about Chuck being the real-life inspiration for Rocky?
No, but the production needed his approval, and we got a few notes from him. We did get his direct help with the statue of Rocky at the end. It’s in his personal memorabilia collection, which he keeps at his LA office.

You shot this on location in New York City and Sofia, Bulgaria. Why Sofia?
That’s exactly what I asked when the producers told me, but in hindsight it was the right decision considering our budget. I ended up having double the time to shoot the Ali fight, three cameras, four times the extras for the crowd scene at the fight and a very competent technical team over there. So in all fairness, when producer Avi Lerner said we’d shoot in Bulgaria, he made the right call. I had to find solutions for the particular constraints, but half our job is always to find a way around new constraints. And, as it’s a period piece, that was a major challenge. For instance, finding old typewriters for some scenes.

Where did you post and do you like the post process?
We did all the post in Montreal at Technicolor, including the color correction. The sound was done partly in Sofia and partly in Montreal. The VFX was done in LA. I love post and always have. I also think people don’t have a clue just how much the success of a film depends on good post production, how much of a story you can build during the editing, and how much you can enhance your film in mixing and color timing.

The color and sound is vital in conveying a sense of intimacy, humanity and emotions. To get it right you need to work with artists in post. That’s why I love it so much. For me, the worst part of post is that first assembly. I always hate it! You can really measure the gap between your vision and your talent. I get really depressed and start looking for a new job outside film.

Can you talk about working with editor Richard Comeau, who’s cut over 60 films. Was he on the set?
No, he doesn’t care about your best takes, and he’s right because that’s completely irrelevant. So he’d start cutting as I shot, and we’d start the assembly. But an editor is not in your head, and to get the right POV and tone on a film you have to get in the room yourself. An editor can really help with restructuring and moving scenes around, but to get that specific tone you have in mind, you have to work on it with the editor.

Can you talk about using all the archival footage and making it seamless.
It wasn’t too tricky because I knew I’d be using archival stuff, and we also used a real 35mm grain in both the color and B&W bits, which also helped. The colorist, Nico Illies at Technicolor, did a great job on the DI. He used Filmlight’s Baselight.

Although it’s obviously not an effects-driven film, it’s a period piece, so you must have needed some VFX?
Quite a few, like the bear he fights, and then we had crowd enhancement at the fight. But all the hits we see on Liev’s face are real. They’re not enhanced.

What’s next?
I’ve got a couple of projects. One is a gold rush film, and the other is My Salinger Year, which I hope to start shooting early next year.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


Agent of Sleep: The making of a spec commercial

By Jennifer Walden

Names like Jason Bourne and James Bond make one think “eternal sleep,” not just merely a “restful” one. That’s what makes director/producer/writer Stephen Vitale’s spec commercial for Tempur-Pedic mattresses so compelling. Like a mad scientist crossing a shark with a sheep, Vitale combines an energetic spy/action film aesthetic with the sleepy world of mattress advertising for Agent of Sleep.

Vitale originally pitched the idea to a different mattress brand. “That brand passed, and I decided they were silly to, so I made the spot that exists on spec and chose to use Tempur-Pedic as the featured brand instead. I hear Tempur-Pedic really enjoyed the spot.”

In Agent of Sleep, two assailants fight their way up a stairwell and into a sun-dappled apartment where their altercation eventually leads into a bedroom and onto a comfy (albeit naked) mattress. One assailant applies a choke hold to the other but his grip loosens as he falls fast asleep. The other assailant lies down beside the first and promptly falls asleep too.

LA-based Vitale drew inspiration from Bourne and Bond films. He referenced fight scenes from Haywire, John Wick and Mission Impossible too. “Mostly all of them have a version of the action sequence in Agent of Sleep — a visceral, intimate fight between spies/hired guns that ends with one of them getting choked out. It was about distilling this trope, dropping a viewer right into the middle of it to grab them and immediately establishing visuals that would tap into the familiarity they have with the setup.”

Once the spy/action foundation was in place, Vitale (who is pictured shooting in our main image) added tropes from mattress ads to his concept, like choosing a warmly lit, serene apartment and ending the spot with a couple lying comfortably on a bare mattress as a narrator shares product information. “The spies are bursting into what would be the typical setting for a mattress ad and they upend all of its elements. The visuals reflect that trajectory.”

To achieve the desired cinematic look, Vitale chose the Arri Alexa Mini with Cooke anamorphic lenses, and shot in a wide aspect ratio of 2:66 — wider than the normal cinemascope. “My cinematographer David Bolen and I felt like it gave the confined sets and the close-range fist fight a bigger scope and pushed the piece further away from the look of an ad.”

They shot in a practical location and dressed it to replicate the bedrooms shown in actual Tempur-Pedic product images. As for smashing through the bedroom wall, that wasn’t part of the plan but it did add to the believability of the fight. “That was an accidental alteration to the location,” jokes Vitale.

The handheld camera movement up front adds to the energy of the fight, and Vitale framed the shots to clearly show who is throwing the punch and how hard it landed. “I tried to design longer takes and find angles that created a dance between the camera and the amazing fight work from Yoshi Sudarso and Cory DeMeyers.”

In contrast, the spot ends with steady, smooth shots that exude a calm feeling. Vitale says, “We used a jib and sticks for the end shots because I wanted it to be as tranquil and still as possible to play up the joke.”

Production sound was captured with a Røde NTG-2 boom mic onto a Zoom H5 recorder. The vocalizations from the two spies on-set, i.e. their breaths and efforts, were all used in post. Vitale, who handled the sound design and final mix, says, “I would use alt audio takes and drop in grunts and impact reactions to shots that needed a boost. The main goal was that it felt kinetic throughout and that the fight sounded really visceral. A lot of punch sounds were layered with other sound effects to avoid them feeling canned, and I also did Foley for different moments in the spot to help fill it out and give it a more natural sound.”

The Post
Vitale also handled picture editing using Apple Final Cut Pro 7, which worked out perfectly for him. Editing the spot was pretty straightforward, since he had designed a solid plan for the shoot and didn’t need to cover extra shots and setups. “I usually only shoot what I know I will use,” he says. “The one shot I didn’t use was an insert of the glass the woman drops, shattering on the floor. So structurally, it was easy to find. The rest was about keeping cuts tight, making sure the longer takes didn’t drag and the quicker cuts were still clear and exciting to watch.”

Vitale worked with colorist Bryan Smaller, who uses Blackmagic Resolve. They agreed that fully committing to the action film aesthetic, by playing with contrast levels and grain to keep the image gritty and grounded was the best way of not letting the audience in on the joke until the end. “For the stairwell and hallway, we leaned into the green and orange hues of those respective locations. The apartment has a bit of a teal hue to it and has a much more organic feel, which again was to help transition the spies and the audience into the mattress ad world, so to speak,” explains Vitale.

The icing on the cake was composer Patrick Sullivan’s action film-style score. “He did a great job of bringing the audience into the action and creating tension and excitement. We’ve been friends since elementary school and played in a band together, so we can find what’s working and what’s not pretty quickly. He’s one of my most consistent collaborators, in various aspects of post production, and he always brings something special to the project.”


Jennifer Walden is a New Jersey-based writer. Follow her at @audiojeney on Twitter.


Director Jon Barber joins Raucous Content

Hollywood-based production house Raucous Content has added trilingual director Jon Barber to its roster. Over the past decade, Barber has worked with agencies such as BBDO, Crispin Porter Bogusky, Leo Burnett, McCann Erikson, Mullen, Publicis, Saatchi & Saatchi, Sid Lee, Taxi and Y&R. He has directed spots for brands as varied as Burger King, BMW, Coke, Chobani, Doritos, FedEx, Mercedes, Timberland and McDonald’s, among others.

Barber fell in love with filmmaking as an Army brat based in Germany, where he spent much of his young adult life. Barber went on to study at the University of Vermont and the University of Salzburg in Austria before ending up in Los Angeles to gain production experience and kick-start his directing career.

In 2006, Barber relocated to Montreal and worked extensively throughout Canada, Europe and the US on everything from commercials to short films and music videos. Joining Raucous means Barber will call Los Angeles home.

Only a year old, Raucous Content has continued to grow its pool content creators. The Raucous directorial roster includes Ben Callner, Keith Ehrlich, Luis Gerard, Adam Gunser, Chris Hooper, Paul Iannachino, Vance Malone, Rob McElhenney, Matt Rainwaters, Daniel Strange and Matt Shakman, who recently helmed two episodes of Game of Thrones, including the bombastic Loot Train fight at the end of the episode “Spoils of War.”


Charlieuniformtango adds director Elliot Dillman to roster

Director Elliot Dillman has joined Charlieuniformtango for national commercial and VR representation. His directorial experience spans broadcast commercials, branded VR content, music videos and multi-camera live events.

He has been at the helm of national ad campaigns for a number of top agencies including GSD&M, CP+B, Leo Burnett, Y&R and BBDO, directing spots for brands such as Kraft, Nerf, GMC and Subway.

Recently, Dillman’s work with Verizon and Momentum Worldwide received two 2017 Clio Awards for the “Virtual Gridiron” VR experience at Super Bowl LI. Also, his short film, “In Harmony,” part of the Oculus VR for Good program, premiered at the Oculus house during the 2017 Sundance Film Festival and was an official selection of SXSW 2017. The film examines the Harmony Project’s work to help Los Angeles kids stay in school through educational music programs. “

Dillman is the oldest son of Emmy-winning director Ray Dillman, so he grew up on film sets. He started working regularly as a PA at age 12 for production companies like Gartner and MJZ. While studying at Loyola Marymount University’s School of Film and Television, Dillman simultaneously began his directing career with multi-camera live concert shoots for the ESPN Summer and Winter X Games. Shortly after graduating, he directed feature film tie-in spots for Sony Pictures, Warner Bros. and Paramount, along with ad campaigns for the Walt Disney Company and Royal Purple Motor Oil, amongst others.


My Passion Project: We Call Her Yolanda

By Anthony Bari Jr.

For the past couple years, I’ve been producing a documentary called We Call Her Yolanda. After volunteering on disaster relief in the Philippines in the aftermath of 2013’s super typhoon, I was taken with the people’s positivity and resiliency even though they had lost everything, including loved ones and livelihoods. I was inspired to go back and start filming a documentary, the shooting for which just wrapped.

While the rest of the world knew the devastating storm as Typhoon Haiyan, Filipinos had their own name for it — Super Typhoon Yolanda. As such, We Call Her Yolanda was an apt title for the film.

Production
For We Call Her Yolanda, we completed four shoots over two years on a mix of cameras and formats. We used two GoPro Hero4 Black cameras (one was mounted on a drone and the other was first-person view), two Canon C300s, a Sony FS7 and a Canon 5D Mark II. We always travelled with at least two laptops for transcoding and media management. We also carried G-Technology hard drives in our backpacks. I relied heavily on software presets for this project, setting up a bunch of them before we left for the Philippines so we could bag and tag all files during the trip.

Just one of Bari’s shooting setups.

For those who are still dragging and dropping hundreds of gigabytes of media from card to drive, beware. That method is wide open to error. ShotPut Pro, Imagine Products’ offloading app, is my go-to tool for safely offloading media. Computers and technology aren’t perfect, so offloading camera cards and making multiple backups is incredibly important. Version 6 has a new interface that looks just like the Finder window on my Mac.

The software’s checksumming capability verifies the integrity of every data transfer and raises a flag if things don’t add up. This feature is not only important for ensuring complete backups, but it also helps pinpoint problems with hardware or systems — and gives me the visual tools to explain the problems to clients.

Rather than just sticking a camera in people’s faces and asking them for their stories during the Yolanda shoots, we spent a lot of time getting to know people and making them comfortable with our team and the technology. Meanwhile, we shot lots of B-roll. Between the relationship building, the filming, the travel and other rigors of the shoot, it was a busy project that kept our whole team going nonstop — which meant I couldn’t always take care of media management myself like I would prefer.

Another critical tool in my data-wrangling workflow also happens to be from Imagine Products — ProxyMill transcoding software, which they recently revamped into PrimeTranscoder. I use this software’s presets a lot. By digging into the tools on the preset menu, flipping switches, or checking/unchecking boxes in the interface, I can program all sorts of functionality and even map certain functions to specific scenarios. For example, I can merge multiple interviews into a single low-res file and program the tool to apply timecode and/or a LUT file to it before sending to a producer or client for review. The fact that I can kick out a low-resolution, color corrected clip that has everything on it and send it off immediately is a big deal. I just dial it in, save it, and it’s ready to go.

Street view of San Joaquin.

The best part about this is that I don’t have to man the station the whole time. I’m ultimately responsible for the data, and I get very nervous when I don’t have control over it, but this workflow lets me delegate the media management duties when needed and trust that it will be done right, even by people with no post experience.

I like to work with native formats whenever possible, but sometimes you have to rely on proxies, especially when some of the footage is shot in data-heavy 4K. With this project, I used Imagine Products’ HD-VU2. This quality-check tool allowed me to preview footage in its native format after a shoot and decide which footage to pull. Then we’d apply ProxyMill to color correct it or add timecode as needed, and then transcode it into one massive ProRes clip using the clip-stitch feature. This capability came in handy when merging all interviews into one file for the translator and when selecting and stabilizing “best-of” drone footage to get it ready for editing later in Adobe Premiere.

Upon returning from the Philippines after each shoot, I made a strict practice of cloning the data from the portable drives onto multiple 4TB G-Technology desktop drives that are more suitable for editing. (We aim never to edit from the portable drives!) During the shoot, there were a handful of moments when we were literally sitting under a coconut tree with a long cable connected to a generator. That made for very unconventional (and nerve-wracking) media management, so I always go for gear with a dedicated power source whenever possible.

Post
Back in Los Angeles working on post for Yolanda, I turned my home into a post production studio. I worked with a carefully chosen team of eight pro editors who operated in rotation at my house, often late into the night. I supplied the food and drinks (you’ve got to keep up morale!), and they showed up and got to work. Some editors brought their own laptops, while others used my two spare MacBook Pros. All computers were equipped with Adobe Premiere CC.

The G-Technology desktop drives each contained the same set of footage, so whenever someone picked up a project, they simply ripped away at the footage from one of those drives. There were also two smaller G-Technology drives floating around with a total of about 600GB of extra footage (such as 4K drone footage) that people could select as needed. I used Basecamp to track the project and assign the work, and CalDigit Thunderbolt stations helped with connectivity.


Anthony Bari is a director/engineer/editor/post consultant. In addition to his freelance and consulting roles, he has worked on major sporting events, TV shows, reality shows and documentaries. He earned an Emmy Award as part of the 2015 FIFA Women’s World Cup on FS1 technical team.

 


Veteran director Michael Apted on his latest film, Unlocked

By Iain Blair

Acclaimed British director Michael Apted is that rarity in today’s cinema — an extraordinarily versatile filmmaker who is comfortable in any genre and equally at home making big-budget tent poles or micro-budget documentaries.

His movies range from Oscar- and Golden Globe-winning dramas (Coal Miner’s Daughter, Gorillas in the Mist) to films dealing with medical ethics (Extreme Measures), corporate whistleblowers (Class Action) and matters of faith (The Chronicles of Narnia: The Voyage of the Dawn Treader). He has also directed political thrillers (Gorky Park), spy thrillers (Enigma), comedies (Continental Divide), music documentaries (Sting’s Bring on the Night) and a blockbuster Bond movie (The World Is Not Enough).

(L-R) Writer Iain Blair and Michael Apted.

Apted even made a feature film and a documentary about the same event (Thunderheart and Incident at Oglala). He has also directed many TV projects, including Ray Donovan, Rome and Masters of Sex. That is one diverse resume.

In fact, the only constant in an eclectic career that stretches back to the 1960s is the “Up Series,” which he first worked on as a researcher back in 1964, and which he returns to every seven years like clockwork (56 Up came out in 2012).

His latest film, Unlocked, is a pulpy, fast-moving spy thriller which, like many of Apted’s films, stars a woman in the lead role — Noomi Rapace plays a CIA agent undercover in London and on a mission to save the city from biological terrorism. She’s joined by an all-star cast, including Michael Douglas as her handler, Orlando Bloom as her unlikely helper, John Malkovich as the CIA spy chief at Langley and Toni Collette as his MI5 counterpart.

I recently met with Apted to talk about his process on this film along with his long career and what’s next for him.

You’ve made a lot of thrillers. What’s the secret to a good one?
On a trivial level, you always need a good pace. Then you look for lots of twists and turns and a script that isn’t quite what it appears to be. This allows you to keep the audience unsettled and never comfortable. The element of surprise is key.

You’ve made a lot of films with women in the leads. What did Noomi bring to the role?
She was already on board before me, so the idea was to have a woman organically at the heart of it; we met and I thought she was perfect for this. I’ve made a lot of dramas with women, as I find their lives are fundamentally more dramatic than most men’s. They have to make major life choices — having kids, marriage, jobs and so on — and men don’t have the same pressures, at least not in thrillers.

Look at a remarkable woman like Gorillas’ Dian Fossey, who pretty much sacrificed her personal life and any chance of romance and children to do what she did. I find those situations very dramatic, while men tend to follow a more routine life. There’s always far more emotion with the women playing the lead in dramas and thrillers. While women can seem more vulnerable, they often overcome that and so there’s more at stake. That’s another key element to a good thriller or drama.

How early on did you start integrating post and all the VFX?
Pretty early, though this only has about 200 VFX shots, compared to the Bond film, where the VFX are the main piece of the pie, and Narnia that had close to 1,400 VFX shots. My early films, like Coal Miner’s Daughter, had no VFX at all, but now almost every movie has some.

Is it true you shot most of it in Prague? How did you make that work?
Yes, we could only shoot six days in London due to the budget, so the rest was Prague. The key to doing it was the Czech production designer, a very clever guy who told me, “When you choose your key locations in London, don’t use the familiar classic sights as I won’t be able to match them. But if you go more modern, I can probably match it far better.” So that’s what I did. I avoided all the well-known locations, and it worked out great.

Do you like the post process?
I do, a lot. It allows you to fix things. It’s the last draft of a film, and as long as you know what you’re doing while you shoot and what scenes you may be vulnerable in — so you have the necessary coverage — you can then play around with it in post. The more films you do, the more experience you have about what scenes are truly important and which ones are not as you shoot. You have to give each one a value, and the crucial ones are where you want to spend the most time and money, so you can then shape them in the edit.

Where did you post?
I worked with editor Andrew MacRitchie. We cut as we shot and then did the first cut and most of the post in London, including all the VFX at Lipsync. But we had a problem with the ending. From the very start of the edit we knew we’d have to reshoot the end, but we ran into more budget problems.

Ultimately, we reshot the end in Munich and did the final post at Arri Post there for about three weeks. It was a bit hair-raising since we had to ship all the final post elements we’d already done in London, like the music and mix, but they did a great job. Arri also did any needed adjustments to the VFX because of the changes. The big VFX sequence was the big football game at the end, which we shot in Prague, and then made it more like Wembley stadium in London.

Talk about the importance of sound and music to you as a filmmaker.
It’s beyond important — it’s crucial. The composer, Stephen Barton, was very savvy about combining a real orchestra with computers and synths, so we could keep chopping and changing it and do rough scores as we felt our way through it all. All the sound design was done in London with some extra work at Arri Sound in Munich.

Where did you do the DI, and how important is it to you?
We did most of it at Lipsync in London, and then went to Arri Post to re-grade and finish it off after the reshoot. The DI was key in getting the film’s overall look, a palette of cool grays and blues.

Did the film turn out the way you hoped?
It did. It’s got some nice twists and great characters, and once we figured out the right end, it came together really well I feel.

Michael Apted on set with Noomi Rapace.

What’s next?
I’m working on a film that we’re casting now. It’s a very emotional story about a father and son, set in Naples, about the son finding his long-lost father. I’ll be doing 63 Up at the end of next year, which will come out in spring 2019.

Do you think of yourself ultimately as a documentary filmmaker?
Yes, I think that’s true because I approach material and all my films in a documentary way. I remember when we did Coal Miner’s Daughter, I insisted on shooting it in the real locations with the local people in it. There’s only three professional actors in the whole film, so that was my documentary voice speaking.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Brigsby Bear director Dave McCary

By Iain Blair

When Emmy-nominated writer and director Dave McCary, co-founder of the LA-based sketch comedy group Good Neighbor and in his fourth season at Saturday Night Live, decided to make his feature film debut, he picked the whimsical, heartfelt and charming comedy Brigsby Bear as the ideal project. It’s easy to see why. It has an imaginative, eccentric premise that ultimately pays off big time emotionally.

The story starts with a young man named James (SNL’s Kyle Mooney, who also co-wrote the script) who lives in an isolated desert bunker with his parents Ted and April (Mark Hamill and Jane Adams), who, we learn, kidnapped him when he was a baby. To keep James engaged, and to ensure he learns important life lessons, fake dad Ted creates a fake TV show just for James, called The Adventures of Brigsby Bear, which stars Ted in a fake bear suit.

Kyle Mooney and Dave McCary

Superfan James is obsessed with the clever if quaintly goofy kids’ show. After all, the bright, sensitive young adult still living at home has grown up with this fantasy series, and the program has grown with him as well — getting more complex over the years. But to say James’ intensely protective parents have kept their son a bit sheltered is a huge understatement, and reality inevitably invades their sanctuary.

One dramatic night, James’ insular world is upended when the police arrive and haul James and his “parents” off into the real one. After arresting Ted and April, a cop (Greg Kinnear) reunites James with his biological parents, and his new world and reality demands a major adjustment — especially when he realizes that his hero Brigsby Bear is pure fiction.

I recently talked to McCary, who began his career making shorts and then directing some 75 “digital shorts” over the last four years at SNL (along with countless YouTube clips with Mooney and the rest of the Good Neighbor sketch group), about making the film and his love of post.

What sort of film did you set out to make?
The most honest version of this very unique story. I wanted it to be emotional and sincere, and we knew that with a story like this, there’d be big comedic moments, but we never wanted to lean too much on them. We wanted audiences to stay with the earnestness of James and the film. So, more of a dramatic film than anything we’ve ever done.

Is it true you dropped out of film school and are largely self-taught?
I didn’t enjoy it very much and I did drop out; I had no interest in learning about all the minutia of every department. In terms of being self-taught, I guess I always felt it was more important to just do it while learning as you went, and making videos and shorts was kind of like my film school. So I learned a lot that way and by putting stuff on the Internet and having to deal with your vulnerability and people commenting on your stuff. And at SNL I’ve had a lot of experience with the shorts. So unlike a lot of first-time directors, I’ve been doing about three films’ worth of shorts.

Plus you have a bunch of very experienced directors and producers who worked on this.
Exactly, we had Phil Lord and Chris Miller, the Lego Movie guys who also did the 21 Jump Street and Cloudy With A Chance of Meatballs franchises, as well as the Lonely Island guys — Andy Samberg and the others — who did stuff like Dick in a Box at SNL, and they all mentored us through the whole process. They loved our vision and voice, and we always felt protected.

You have an amazing cast, including Claire Danes and Mark Hamill. Were you shocked they all came on board?
Not shocked, but very happy such big names wanted to be a part of it. I knew the script was so special, just on the page, because of the great writing, and I felt people would respond — and they did. Pretty much everyone we approached was very positive. Then doing SNL and dealing with big name guests helps you deal with it too. No one is coddled or put on a pedestal. It was fun and everyone stayed loose and knew exactly what our approach was.

You shot this on location in Salt Lake City. How tough was it?
It was just 23 days, so that was tough, and we were on a very tight budget. But we had five weeks of preproduction, and we were pretty organized.

Where did you post, and do you like the post process?
We did it all in New York at Light Iron since I was juggling SNL at the same time. I love post, going through all the material and shaping it, and I love working on all the sound and music in particular.

Can you talk about working for the first time with editor Jacob Craycroft, who’s cut over 20 films including Robert Altman’s swan song, A Prairie Home Companion. Was he on the set?
No, the turnaround was so crazy he began cutting scenes before we finished the shoot, so we sent him stuff and then we sat down together once I got back to New York for about four months. The big challenge was making sure we had the right tone throughout — which was crucial — and picking our spots for the comedy.

The goal was to keep the audience invested in James’ emotional journey, and every time you get too silly it takes away from the realism and the emotional aspects. It all had to be believable. I think the broad comedy version of this film just felt tired — the old fish-out-of-water comedy, so reliant on all the jokes. But I wanted this to be more a story about friendship, closure, nostalgia and falling in love with filmmaking.

Although it’s obviously not an effects-driven film, you must have needed some VFX?
Yes, and they were mostly done by my friend Andrew Sherman, a very accomplished VFX dude, and he tackled most of it. Then we had some help on a few meticulous shots — like the TV screens and so on — by Visual Creatures in LA.

How important is sound and music to you?
It’s one of my favorite parts of post, especially music, and going back and forth with composer David Wingo who’s so brilliant and who really got the tone perfectly. I didn’t want it to sound too whimsical. It’s a quirky film that needed the dramatic moments to be serviced with a sophisticated score, and he wrote this beautiful theme and constantly surprised us with beautiful pieces. I also love working on sound. I could mix forever. I always think there can be improvements, so you have to pick your priorities. Again, the goal was always realism. What sounds correct? So we did the least amount of manipulation.

How important was the DI to you?
To be honest, I just trusted DP Christian Sprenger and the team at Light Iron and colorist Ian Vertovec. They all did a great job with the look. I was very happy. Nothing ever turns out the exact way you originally picture it, and the film gradually evolved, but it ended up the way I hoped for the most part.

What’s next?
I’m reading scripts and trying to find that next special project. I’m also currently working on an untitled TV show that we hope to sell. I definitely want to direct more movies. After 10 years of directing shorts, I’m kind of sick of them.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.