On November 12, 2011 the police were called to an incident at 1701 Marmont Avenue. This film is the story of what happened that night.
This project is one of the first narrative films to showcase the Canon EOS 5D Mark III. Still photographers and filmmakers can see the new features of the Mark III and Zeiss CP.2 lenses in action. The project was developed to highlight the features of the camera and DSLR tools. The film was shot in two days with a below the line budget of under $5,000 a day.
Barry Andersson, director and co-producer, said: “The film was designed to fit a budget that many filmmakers and still photographers can afford. My team tailored our shooting schedule, equipment and techniques to be accessible to all budget levels. My goal was to show that people can get absurdly good results with a DSLR camera with a smaller price tag than they realize.”
Get ready to watch our incredibly talented cast whose credits range from The Artist, Mad Men, 24, Lost, Scrubs, Sin City, Shawshank Redemption and more.
Director: Barry Andersson
Writer: Janie L Geyen
Producers: Mitch Aunger, Janie L Geyen and Barry Andersson
Director of Photography: Julien Lasseur
Incident on Marmont Avenue[tentblogger-vimeo 40762760]
So, what'd you think? Don't be afraid to let us know what you thought down in the comments… we can take constructive criticism and encouragement!
The intent for this short was to create one of the first narrative films showcasing the new 5D Mark III and its long-awaited features. Our team also wanted to do a lower-end below the line budget. Many of the DSLR influencers have been using and promoting some of the latest higher end cameras (C300, Epic etc.) and they are shooting projects that are outside of the budget of most independent filmmakers. We know there is an entire group of filmmakers and DSLR users who don't have the budget for or access to a lot of high-end production equipment.
Additionally, it was important to us to shoot a narrative short film with constraints of time, budget and a script. We wanted to do more than just show pretty shots set to music. While those shots highlight camera features it doesn't accurately reflect what a filmmaker deals with on set. We planned a production that mirrored what real world filmmakers deal with so that this project and information from this short film would be relevant to anyone shooting a DSLR film.
In Depth Behind the Scenes
We aren't just going to feed you funny clips of the cast and crew on set. In the coming days we are going to discuss all aspects of this production from concept to release. Some topics include:
This film was produced for less than $5000 a day for the shooting budget (below the line costs). We will break down our hard costs and how we were able to squeeze the high quality visuals out of the limited budget we had.
Camera tests and New camera features of the Canon 5D Mark III
We received the camera fresh off the truck. Our team spent a few nights during pre-production doing some camera tests. We wanted to make sure we were set going into the shoot with the proper settings, ISO ratings and picture styles. We needed to be aware of all the new features before walking on set.
If you don't have the budget for a Technocrane then our budget will help you. We tried to limit the amount of gear we used to what would fit in the back of a mini van. We will detail our complete gear list and what we liked working with and what we didn't end up using.
Transcoding and Syncing the footage on set
Since we had a tight postproduction schedule we actually started the converting process and syncing the sound while on set. We started the rough edit of the film while still shooting and managed to hand off the entire project to a new editor without any down time.
Editing Workflow from dailies to final edit
See how we started from converting footage on set, to setting up the editing workflow to be able to allow different editors to access and work with the project and completed the edit before doing our color correction and sound mixing.
Everyone says DSLR footage falls apart quick in post. See how the 5D Mark III footage held up and what our colorist thought about any improvements (if any) to the new 5DMKIII footage.
Final Outputs (maintaining your image quality)
Sure it looks great in full resolution in the dark edit bay. We tried many different setups to try and maintain the best quality for the widest variety of viewers. See what we did, what we sacrificed and whether or not it all worked as planned.
Sponsors for this Film
We thank our sponsors! Without the help from them (and many others behind the scenes) we wouldn't have been able to complete this movie – THANKS!