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Central Standard Launches Fiercely Independent Campaign

HI-WIRE, Fallon, Uncle Forehead and others collaborate on fest spots (October 14, 2004)

Central Standard Film Festival

Central Standard Film Festival

Central Standard Film Festival boasts fiercely independent filmmakers, fiercely independent films. So fierce that they can face extreme physical adversity and still go it alone. Really, they dont need your help -- the festivals new spots prove it.

?Ambulance, for example, opens on a women screaming ?I killed him, oh my god! On the ground, surrounded by spilled groceries, lies a young filmmaker who looks up at her and calmly says ?ohShello, and warmly declines her offer of help. While he claims the accident really isnt a big deal, the camera pulls back to reveal his leg is twisted in a wholly unnatural position and he is missing an arm. Two boys, standing nearby, hold his arm in their hands and argue over who found it first until the filmmaker politely asks for it back. In ?Jarts the fun of an outdoor BBQ is marred when a guest is hit by a Jart. He assures everyone that he can take care of it himself as long as someone has pliers. When blood gushes out of his neck wound, he asks, quizzically, ?Is it raining? Finally, ?The Well features a collie who is turned away when she tries to rescue a man who has fallen in a well. ?Isnt the barn on fire? he asks as if she is wasting his time. She leaves, dejected, while the director remains, happily independent, down in the well.

To bring these spots to life, Fallon and Uncle Forehead Filmworks turned to the talents of postproduction company HI-WIRE. Oscar Oboza color-corrected the footage 35mm shot for HD and Tony Mills added visual effects, clean-up and final conform for the commercial campaigns various applications theatrical and television distribution.
 

?My longtime collaboration with DP Jeff Stonehouse allowed for extra freedom when working with the creatives in finding a distinct but subtly off-beat look for these spots, says Colorist Oscar Oboza. ?I think the choice to use 35mm for the project was crucial in achieving this because although we wanted a 'rich' looking feel we still didn't want to be overly contrasty or heavy.

Walking the fine line between horror and comedy was key to these absurd spots, which required visual effects to enhance the accidents the subjects experience. From creating matte paintings and a twisted CGI leg to adding brightly colored blood and an arrow tip, to multiplying bricks in the well to give a sense of depth, Mills took great pleasure in collaborating on this project. He completed the project by back-stepping the spots from 30i to 24p for the film out, and completing standard def commercials for broadcast.

?When I first showed the hero "lawn-dart" composites in ?Jarts to the agency the tip poking out of the filmmaker's neck got an immediate visceral reaction, says Mills. It was a 2D solution to a 3D effects challenge and I was really happy with the way it came off. It looks PAINFUL, but in a Pythonesque way. We tried a color correction on the blood spray to make it thicker, but it just pushed the effect in to a horrific realm that was inappropriate to the humor of the spot. The graphics were created in-house at The Assembly Line which I enhanced in fire with a "projector-like" color overlay.

Ultimately the spots are a great way to illustrate the plight of the struggling indie filmmaker. And we thought the greatest risk was going broke for ones art. The Central Standard Film Festival takes place in Minneapolis from October 14-17, 2004.

For more information about the Central Standard Film Festival visit http://www.ifpmsp.org/centralstandard2003.htm.

For more information about HI-WIRE visit www.hi-wire.com.


Credits:
2004 Central Standard Film Festival Commercial Campaign

Spot Titles/Length: Jarts  :30 Ambulance  :30 The Well  :30

Airdate: Late September, 2004

Advertising Agency: Fallon Minneapolis Creative Director: Bruce Bildsten Group Creative Directors: Scott OLeary & Ryan Peck Art Director: Scott OLeary Copywriter: Ryan Peck Producer: Michael Aaron

Production Company: Uncle Forehead Filmworks/Minneapolis, MN Director: Jon Nowak DP: Jeff Stonehouse Executive Producer: Michael Aaron

Editorial Company:  The Assembly Line/Minneapolis Editor: Brody Howard Assistant Editor: Lisa King

Postproduction Company: HI-WIRE/Minneapolis Colorist: Oscar Oboza Online Finishing & Effects: Tony Mills Online Assistant: Ryan Wheeler Managing Producer: Tammy Kimbler Weber

Audio Postproduction: Aaron Stokes Music/Minneapolis Sound Designer: Jason Almendinger Mixer: Darin Heinis

Music Companies: BWN (The Well) Singing Serpent (Jarts) Extreme Music (Ambulance)

 


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Related Keywords:Central Standard, HI-WIRE, Fallon, Uncle Forehead, Central Standard Film Festival, filmmakers, independent film, Oscar Oboza, Tony Mills, Jeff Stonehouse, visual effects, The Assembly Line,

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