Rhino Head Turns


Since I have several days while the surround sound audio is being remixed, I decided to add another bit of animation at the start of the film. This scene, set in a dark theater already has a man in an n95 mask turning to look at the camera. I decided the rhinos on either side of him might turn their heads to look at him.

The real trick of this scene will be to get the heads painted so that they blend well with the existing rhino art work. If the paint flickers and crawls too much it will be distracting. I am going to spent the entire day working on these 15 or so cells to try and get them to blend in. The bodies will remain as held cells.

I will need to re-render the film when the surround sound audio mix comes in. There are literally thousands of choices that need to be made to get a render to work. It is not as simple as pressing a button. I wrote down all the settings that worked to get the last several renders of the mp4 movie file. Yesterday I added the credit for the sound designer who is doing the surround sound work. I tried to render the film but the render failed. Vertical lines appeared on the scenes and randomly some scenes would crop incorrectly.

I am not going to worry about it right now. I will tackle that technical issue tonight. I am hoping that my shutting down the computer last night might have corrected the issue. If not, I have lots of research to do and lots of experimenting with new settings.

The only thing different about the movie right now is that cations were added. Perhaps I will need to render the movie without captions. When sending the movie off to the lab to make the Digital Cinema Projection file, it is possible to send the captions as a separate file. That might be what I need to do. The captions can be distracting when each shot is less than a second in duration anyway. People can either read the captions, or watch the film. They can’t do both. Captions only make sense after repeated viewings.

Today is going to be nerve wracking. I hope the audio works and everything falls in place in time.

COVID Dystopia: Burials in Brazil


I decided to vastly reduce the size of the Closed Captions. The next festival which COVID Dystopia will be screened at wants closed captions to make the films more accessible. Films will be screened in a very large theater and also online. I decided that in a large theater the text size could be much smaller. Some scenes are not dark enough for the white text to read, so I put a dark field behind the text. The lyrics for this song come fast and furious so the captions will help some catch some lyrics that might otherwise slip by. The problem is that the scenes change so fast that if you start reading captions, you will not have time to catch the action and details in each scene. There are many pages of submission guidelines so I am going to go over them again. There is an option to export captions separate in the Digital Cinema Projection file that I need to send to the festival. I think captions were requested to be burnt right onto the images but that might just be an aesthetic choice.

At midnight last night I was sending off the sound files to Alan Kirkman, a sound designer in Georgia who is getting a surround sound mix done for this large film festival. Alan has 14 years of sound design experience so my fingers are crossed. I will be on edge for the next couple of days as he works. When he is done I will then have to send off the movie to be made into the DCP for the theater. That process takes three days. Each frame of the film is made into a PNG and those PNGs are then converted into JPG2000s. Other files are also created which tell the theater projector how to play them all back in order. It is important ti actually play the film on a theater projector to be sure it works before sending it off. If it sounds complicated, it it. I have one day to figure it all out.

On March 8, 2024 I can announce the name of this Film Festival. Though accepted, I am betting that some film makers are not able to get the DCP file created in time. I do not want to be one of those few. It is one of the large film festivals  that can qualify a film for the Academy Awards. I am most happy about finally showing COVID Dystopia in a huge theater with over 10,000 seats which can pack in a whole lot more eye balls.

COVID Dystopia: Mass Grave, Closed Captions

COVID Dystopia has been accepted into a prestigious film festival that is Oscar qualifying. When I read the e-mail, I thought it was a prank. I can’t name the festival until March 8 when the film festival program is fully lined up. On a tight deadline, I need to add closed captions to the film and make a 2K DCP file that is used for the high quality theater projectors. Once I have the DCP file, I can use it for future film festivals. The problem is that I keep refining scenes. Those refinements are very small at this point however.

Another film festival near Ukraine expressed interest in the film, saying the already viewed it and wanted it for their program. There is no guarantee that the judges will put it in the program however, and I am wondering if it is an excuse to get me to pay the 30% reduced application fee.

I had created captions on youTube once, and the process was pretty easy, but I pulled that version of the film down so that COVID Dystopia can only be seen at film festivals. Now I need to create captions in Premiere Pro so that the film can be shown with captions or without. I think the closed captions can be exported as a separate file from the movie file itself. Since I have never done this before I have a steep learning curve over the next couple of days.

I have seen closes captions that have a dark field behind them on youTube. I am wondering if that is needed for my captions. In the scene above the captions are easy to read when they are in front of the casket shadows, but harder to read in front of the hazmat suit.

I am also wondering if I am supposed to type out sound effects in closed captions. I need to do a Google search to find the best solution. I have seen cations animate on as the words are said and that might be a solution. I just need to figure out how to do that.

Pam said she would help me create the DCP file. It is apparently an expensive file to create. I read once that it coast about $200, but again I am not sure.

COVID Dystopia: Wins Best Micro Short Film Award

COVID Dystopia was shown at the Berlin Short Film Festival. It won an award as the Best Micro Short Film. Pam and I traveled to Berlin and spent a week exploring the city.

The Berlin Short Film Festival wasn’t the experience I had hoped for. The films were to be shown in the historic Babylon Theater which was build in 1928 which seats about 500 people. It is a gorgeous theater with a huge balcony and large screen. However the festival films were screened in a much smaller room, Kino 2, at the back of the building. Although technically in the same building as the historic Babylon Theater, it was a much smaller space that seated about 80 people. Next to the Berlin Festival screening room was the rehearsal space for an orchestra. They could be heard tuning up through the walls as the Berlin Film Festival films were projected. I am glad my film is rather loud which meant it could drown out the rehearsal.

In the Babylon Theater itself. the classic silent film Metropolis was being shown with a live orchestra. I honestly wish we had gone to that showing instead, which reflected back to the classic early Hollywood era.

Each film maker in the Berlin Short Film Festival was promised tickets for two of the crew members to attend the festival screenings. In Chicago Pam and I sat in on every short film to show our support for fellow film makers. Perhaps we were spoiled by the experience.

COVID Dystopia was to screen on Sunday in Berlin, but the festival started on Saturday. We made our way to the Babylon to meet the Festival organizers in the lobby. I simply introduced myself as the creator of COVID Dystopia. They seemed confused. Since COVID Dystopia was not on the line up for the first night they said, “We changed our mind, you must pay to see the films.”

I would have turned on my heals and left, but Pam stepped in and politely decided to pay. Every film we saw that first night was about death and murder. It was a depressing endless stream of existential dread. I can see how my film fits into the festival’s curated line up. Berliners like dark shit.

Of course Pam and I were the only people wearing N95 masks in the audience.

COVID Dystopia: Burials

It has been an incredibly long day exploring Berlin. Emperors get incredibly ornate sarcophagi in cathedrals while people considered gypsies in WWII were sent to concentration camps and murdered. The site of one of the camps was converted into a pig farm and it took decades to convince the government that this was a desecration.

How we honor the dead says a lot about society. Nothing has been done to honor the millions of dead due to the ongoing COVID Pandemic. People need to pretend that it never happened and that it is not still happening. To honor the dead would be to admit to a horrific injustice and acceptance of mass infection that was and is completely preventable.

COVID Dystopia: Unemployment

With millions dead and millions disabled due to Long COVID, businesses are having trouble finding able bodies workers. The animation in this scene works fine. I could animate someone in the background pulling their mask down, but that would be overkill.

Today COVID Dystopia will screen at the Babylon Theater in the Berlin Short Film Festival. It will not be shown on the large screen in the historic 1920s theater, but on a smaller screen in the back of the theater next to the orchestra rehearsal room.

Charlie Chaplin‘s Modern Times will be shown on the big screen with a live orchestra. I would really like to see that screening but it will be happening at the same time my film will be shown. Pam and I have explored much of East Berlin already and we will be heading to the Museum Island for a day of exploring the museums before going to the film festival tonight.

 

COVID Dystopia: Death Chorus

This shot of the Death Chorus is based on the incident at the start of the pandemic when a church chorus held a rehearsal. They thought they were doing the right things by not hugging and avoiding hand shakes. They didn’t however wear n-95 masks. At the time people were being discouraged from buying masks because health care workers needed them more and there was some worry that supplies might run out.

The two guys in hazmat suits are animated walking forward for a step. They were reworked to keep them high resolution.

I don’t think any other animation is needed. I could open the skeletal jaws to make it look like they are singing but the shot is so short I don’t think such subtle animation would be noticed. Scenes like this don’t seem to fly in America, but Germans seem to love macabre scenes like this.

COVID Dystopia: Blossoms

Trump declared that when the weather got warm COVID would disappear like magic. Four years later and the virus continues to spread and mutate making it impossible to contain. This scene had a subtle movement on the arm holding the cell phone and full animation on the guys in hazmat suits wheeling a body screen right. They are rolling the body head first or backwards which makes me a bit uncomfortable but I am sure it is done all the time.

I could animate the foreground couple moving closer and locking lips or rather clicking teeth, but I think I prefer that they are already locking teeth.

I have a few hours before I start teaching class here in NYC. I think I will start animating several rhinos turning their heads. I considered sketching on the streets of NYC but I don’t have my art stool and I think my hand will freeze as I try and get a sketch done on my iPad. I may at least get a sketch done of the view from the top floor of this brownstone. I tried twice but didn’t finish either of those sketches.

COVID Dystopia: Gone by Easter?

Back in 2020 Trump declared that COVID-19 would be gone by Easter. Now four years later, COVID continues to spread unchecked as we approach yet another celebration of rising from the dead.

I am satisfied with this scene. If I decided to add animation, I might have the skeleton parishioner raise the hymnal a bit. I could have the skeletons who are around the hymnal sing by animating their jaws, but I think that might be overkill.

Churches are back to holding COVID superspreader parties every Sunday. Masking has fallen to the wayside and instead the faithful believe in promoting mass infection. One in four people who have been infected by COVID have developed Long COVID symptoms. Long COVID can leave you bed bound and completely unable to function. Long COVID is a disease that doctors don’t understand and are unwilling to treat. Each repeat infection increases the chances of getting Long COVID and yet people are getting infected multiple times every year. The growing population of people disabled by long COVID is depleting the workforce.

COVID Dystopia: Beached

After using ZOE Depth on the Rush Home Scene, I decided to use it as well on this Beached scene. By using ZOE Depth I was able to zoom in a bit and move the camera downward to shift the focus on the nude on the beach. I then had to add some animation to one of the men in a hazmat suit. His movement leads they eye to the area of the screen where I want the audience looking for the next shot.

There is now much more movement overall in  this scene and it ties in better with the previous Rush Home shot. I am quite pleased that the latest technology is helping me refine shots in this film. Most people probably think that a 4 minute film must be a breeze to complete yet this film has taken over 6 months to animate and I am still finding things that need refining.

I have been told the film is a diversion, but I consider it a shout for sanity in a world gone completely mad.