Did the complete sound for the short film “För de som vågar” (To Those Who Dare) from recording, foley and mix. Also wrote & recorded part of the music and did the post of the film. The film is directed by Hernan Quintero.
The short film has won the Best Director and Best Film at the Hot Shorts Film Festival, London. And also got official selection nominee at the Bucharest Shortcut Cinefest, London IFF and Sweet As Film Festival.
In 2006 I did a 2 day shoot together wth SU-EN Butoh Company. The shoot took place at a scrapyard. The result became an eight minute short film “Scrapyard” that have been shown at Swedish Television, several festivals and workshops around the world. The short film has now been invited to the permanent installation at the Swedish Museum of Performing Arts and is showing there for the years to come.
Just finished the edit of the band Haerdsmaelta´s latest vid “I Kissed Jesus”. It´s a nice little tune that needed some cuts. I used FCPX exclusively. It´s great when you have a six track multicam (ProRes) and is able to to just stretch/re-time the 3 min vid in the multicam-clip to match towards the music. Then do the edit, add the graphics, do the colour. And best of all no rendering needed!
Here´s a link to the piece https://vimeo.com/155055821
So after nearly exact two years in the making, the 24 min film VORACIOUS finally have premiere at the vernissage held at Uppsala Art Museum (2015-10-28). For the exhibition Earthly Powers.
The piece is about hunger, desire and the cycle of life. The film is
made in near collaboration with butoh artist SU-EN and the mini-pig Laban.
It is always such a great feeling to finally finish something. Especially when you have been having it in your system for a while.
So now on to the adaptions of the piece… just kidding 🙂
Have just done the post (audio/picture) of a pilot episode of Pippi Longstocking in Amharic (Ethiopia). It’s actually very amusing to work with a program that I enjoyed watching myself as a kid! Time flies by…
Are finnishing up the edit for a small presentation/doc of Silvio Trevizan and his restaurant. Silvio has been a fisherman whole his life at the Adriatic Sea. Now he has moved to Sweden and is running a restaurant where he serves food from the Dalmatian kitchen. Until the film is finnished here are some pics from it.
Finally I got the adapter for my Vivitar 28mm ƒ2.8 prime! At last can I fit the lens to my BM camera.
I found this lens in a second hand shop sitting on an old Minolta XG1. I have just briefly tried it and so far… I’m VERY HAPPY!
The focus is just music, I can’t describe it better! The focus rolls with the light. It’s sharp and at the same time not sharp, it’s smooth with a triple o-o-o. I write above that the lens is a Vivitar and until I haven´t found out otherwise it is a Vivitar.
“…it’s smooth, with a triple o-o-o…”
I have a feeling that it can be Komine manufactured and I will try to find out. If you have an answer to this question please get in touch. Until then…
Been doing localizations for Hennez&Mauritz in 36 languages. A three minute video for their inter company communications. The job consisted of replacing animated titles and text for the different languages.
At first, I got the question to do it in After Effects but after having a look into it I was thinking that Motion 5 would be perfect for the task.
I knew that the scripts/translations for the different languages would be dropping in one by one or more. And the responce time for me to output the new localized version had to be minimal in time.
So I had to find out a workflow with minimal moments and labour time involved. An “a.s.a.p-workflow”.
After Effects is powerful but many times it shows that Motion will do the job easier and with less effort, with the same result. Since my FCPX would be doing the final output of every language. I simply fired it up and started to prepare everything.
During my prep i realized that I did not even had to use Motion, I could do everything I needed in FCPX! With a even simpler workflow than Motion!! I received a copy of the original in DNxHD and made a project for the text replacement parts.
My strategy was to first output only the parts that needed text/title replacement. This to minimize rendertime in the output. Then I loaded these clips/parts in a master project where the whole program would be output.
The final step was to load the new localized masters in the Telestream and encode the files to H264 files for the web. I use Telestream instead of Compressor. I’m more used to it and I think that I get more granular power depending on what needed to be done with the encode.
The way that FCPX let you design the way, you want to actually work is just fantastic! And by choosing to do this job in FCPX, it saved me a lot of time. Cheers!
Had the great pleasure to deliver the final grade of “Scream Bloody Mosher” by F.K.Ü. yesterday. It´s a music live video shot at Göteborgs Nation in Uppsala, Sweden by Simon Wettervik. The video is aimed for the Napalm Records – YouTube channel.
It was shot in the AVCHD codec but I luckily received the edit in ProRes 422HQ, so that I was able to get some elbow-room grading it. I did three temp grades, two in DaVinci and one in FCPX. Sent these off to the guys in the band to let them choose wich one they preferred. They liked the FCPX version best so I finnished it, and sent it off. Once again FCPX showed that it is a powerful program. Had thou a little trouble with the audio who didn´t wanted to export with the correct level in the final output. I got it sorted, but strange it was. Perhaps a little blog on that later…
Youtube vs Vimeo
Since the final result was aimed for YouTube. A lot of care must be taken in the final encoding for this. YouTube has done a lot lately to supply a higher quality and more pleasant experience, viewing stuff from theirs streams. But still they have some to go, until they have the same pleasant viewing experience as Vimeo.