Do A Shot at the New Orleans Film Festival! A free shooting clinic where participants got to borrow a Pro8mm Super 8 camera, and shoot a free roll of Kodak Super 8 Film. All the film was processed and transfered in HD at Pro8mm in Burbank, CA.
For more information about Pro8mm click here: pro8mm.com
2010 New Guy Films
Produced and Directed by David C. Kirtland
Starring Blake Palmintier and Dan Daigle
(posted on my vimeo reel with the producer's explicit permission)
adaptation of Tell-Tale Heart
I was Key Grip and Gaffer on this film.
The central idea for lighting design was BLUE! The DP and I convinced David (the director) to let us kick in some warmth for the murder scene, as I was just aching to “go all Argento on it” and this little touch helped sooth my urges a bit. The rest of the film we wanted to almost wash out the skin tones with bleak blues and some grungy greens, but still keep the red of the blood.
For the scene at the table, I used the blinds design on the key light to convey a break in reality, to show that the Young Man and the Old Man were existing on different planes by the way the light falls.
None of the exterior shots were lit, but none of the interiors used any natural light.
These videos were completed in 2004 and presented as the presentation component for a project in a Humanities class. I studied and produced a paper on the highly influential film pioneers Auguste and Louis Lumière and Georges Méliès. They present, in three parts, narrated versions of classic films by the Lumières and Méliès and my accompanying modern recreations of the films with little touches relevant to my school community.
Shot on Digital8
Edited in Premiere and Windows Movie Maker
2004, shot on Digital8 and edited in Premiere
This is the second video I ever shot, and the first truly personal piece I did. It is experimental work about a spot in my old neighborhood where I went to reflect on a daily basis.
Upon screening it, I realized how utterly personal it was, with audience reaction being muted and generally uninterested (whereas at the screening of my first film 'A Clockwork Orange Unwound', applause at the conclusion of my piece carried into the beginning of the next film-maker's offering) .
A critic said that it lacked kineticism, that I should have shot it using something faster than my feet such as a car. I brushed it off, mentally raging that even had I access to a car, that would not fit what I was trying to do (capture the essential feeling of my late night strolls to my treasured spot). Years later, I took note when the author Will Self said that walking was the most linear activity one could do, and that driving was the language of film, the jump-cut aesthetic of everyday life. Taking that into consideration, I now understand how much this little work bucks with traditional cinematic form.