Menu

Behind the Scene

Rianne's Score (Click post title for review)
Readers' Score (Click the stars to rate)
[Total: 0    Average: 0/5]

My most personal edited project to date; our most personal video collaboration to date. Thanks to our frequent collaborator production designer Joy who made my GoPro bridal bouquet inspired by our “Denim Neo-classic” theme. Like the designs for our wedding, the bridal bouquet used recycled materials as well.

I shot my own wedding and my husband, who frequently collaborates with me on my film and commercial projects as sound engineer and/or scorer, worked on the audio requirements.

For the most part, this wedding film was shot on a first-person perspective, giving a raw, more personal and genuine chronicling of a wedding from the viewpoints of those involved in this special occasion.

Let us share the intimacy of a wedding celebration from the “other” camera perspective — the bride’s. And at some point, the couple’s and the wedding party’s perspectives as well.

Watch the entirety of the professionally edited 29 minutes, 38 seconds of this GoPro-shot wedding or simply give the first 3 minutes a chance, then let’s see if you want to keep up with what’s next…

Best watched in HD (1080p).

Next time, we’ll upload the official wedding video with full coverage of our wedding celebration from the traditional perspective, then there will be a balance between the two points of view.

#riannephilipwedding
#GoPro
#wedding

Click here for:
Rianne and Philip Wedding Facebook Page
Rianne and Philip Wedding Website


Rianne & Philip Wedding Shot with GoPro Bridal Bouquet
Rianne's Score (Click post title for review)
Readers' Score (Click the stars to rate)
[Total: 0    Average: 0/5]
How does technology affect your life?

Shot December 2008, premiered June 2009… 6 years after premiere and 3 years after last award, Technophilia is still getting around. Check it out as “Film of the Day” for Viddsee, curated by Alem Ang.

technophilia 1
Shooting Format: 16mm

Screening Format: HD

Running Time: 7 minutes

Acknowledgments: Colorwheel Media Studios, Korean Film Council (KOFIC), Korean Academy of Film Arts (KAFA), and Korea University (KU), Asian Film Professionals Training Program, Hit Productions

You can check out more about the film via its Facebook page: https://www.facebook.com/pages/Technophilia/178031655605594?fref=ts

Via its film blog: http://www.technophiliafilm.blogspot.com

Via IMDb: http://www.imdb.com/title/tt1459060/

And Viddsee: https://www.viddsee.com/video/technophilia/ls76n

Technophilia Poster
Film poster by Joods Feliciano
Thank you to the KoBiz (Korean Film Council), Korean Academy of Film Arts, and Korea University for the support. Thank you to Seymour Sanchez for the opportunity to know about KOFIC. This is the unplanned, spur-of-the moment film that brought me to places. Thank you so much!
My Film ‘Technophilia’ is Film of the Day at Viddsee
Rianne's Score (Click post title for review)
Readers' Score (Click the stars to rate)
[Total: 0    Average: 0/5]

You don’t shell out thousands, hundreds of thousands, or even millions just to let the film bury itself inside the can, that dusty DVD container, or the inner workings of your dying hard drive.

Whether you intend the film to be watched for commercial purposes or you want it to be merely seen and touch lives of people for non-commercial film screenings, festivals, and other artistic endeavors, you need to let the people know there is something to watch out for.

Creativity and networking are crucial to effective marketing. From PR materials to merchandising items, they play significant roles in making the film better known; while actually earning additional money from sales through branded materials.

Classic examples of a film franchise’s merchandising items include books, shirts, button pins, bookmarks, keychains, bags, caps, paperweights, and school supplies (especially for children’s movies like “Harry Potter”and “Ice Age”) — where the film’s title or its sample art work gets branded into specific merchandise items. Sponsors also receive product placements in movie projects and their logos and contact details can even be placed at the film credits. The major sponsors can even be provided advertisements and write-ups in newspapers, magazines, websites, blogs, and sometimes, even the film’s poster. Events and advanced screenings to further create buzz also become welcome sources of sponsorship goods.

Press people are invited to conferences and advanced screenings. They are provided physical and/or digital press kits containing publicity photos, production notes, poster, bonus articles about the film, film trailers and other media files. There are also fun stuff sold to a number of stores and Internet sites, where more than just merchandising materials, actual props used in films get auctioned or sold. Sponsorships and ex-deals on children’s films are also common in fast food chains and other commercial establishments where merchandise items are sold or given as freebies.

Marketing sounds pretty commercial, but even independent films practice marketing in one way or another. It is quite clear how the marketing arm of a mainstream production goes. Now, taking the idea of marketing in an independent production: a person talks about the film with friends, then friends-of-friends, and so on. The filmmaker and his/her team build profiles of the project in various online networks, create a website, a blog, or a Facebook page, put trailers on video sites like Youtube, and even collaborate with certain musicians for the scoring and coming out of music videos with mutual benefits for both parties. They promote the movie posters or even create memes and even artistic and viral calls to action in as much venues as possible. People get screening invitations through post cards, phone calls, text brigades, emails, e-groups, and social networking sites.

More often than not, a motion picture clings on to reviews and words from those who watched it in advanced/press/block screenings. The idea is, “if the film is really good, people will start talking about it.” With Hollywood productions and even independently-produced films like “Little Miss Sunshine” and “Once,” words coming out from those who initially saw the films affect their box office power.

In the Philippines, the main difference between Hollywood films and most of the country’s local films is how the value of marketing gets practiced and taken into account. To compare, it is still Hollywood and other developed countries with successful film industries that are able to market their films effectively, as they have ample budget and they have the support of their own governments, as well as many private institutions. However, this doesn’t mean that Filipinos should hamper their creativity in marketing strategies. Being creative and resourceful people, Filipinos, whether involved in commercial or independent films, can come up with great ideas and innovations on how to go about it. This also applies to struggling independent filmmakers and small production companies anywhere in the world. In fact, by this time and age, basic marketing strategies abound with or without a big budget. In this era of fast-paced communication and information technology where it is already very feasible to reach the greatest number of people through viral campaigns in the internet, film marketing is just a matter of setting priorities and putting effort and creativity to it.

It is as simple as: “If you have a film, you have to let other people know about it.” You have to reach out and let others share their thoughts about it. It is a storytelling medium anyway… so just tell them you have a story that they may want to check out, and hopefully, they enjoy it and tell more people about it.

Marketing as a Vital Part of Film Production
Rianne's Score (Click post title for review)
Readers' Score (Click the stars to rate)
[Total: 0    Average: 0/5]


Film: A Collaborative Art

Most of the time, the only person who seems to easily get that ultimate right to be called a filmmaker is the director. But come to think of it — film is a collaborative art, an audio-visual medium created out of moving pictures. This means to make a film requires the director to work with producers, artists, artisans, and technicians from varying fields in order to translate the script and the director’s vision into a moving picture. Each has his/her own expertise that becomes an asset for the film project.

The Filmmakers

On a personal note, any person involved in a film production are filmmakers, regardless of the specific work s/he does in the production. Since “filmmakers” are the people behind making films, this supports my conviction that everybody involved in the filmmaking process earns the right to be called a filmmaker: whether the utilityman, the members of the art department, the lighting crew, the production manager, the actors and actresses, the producer, just to name a few. All of them are filmmakers, just like the director.

With advocating the conviction of calling film workers as filmmakers, it’s a matter of perspective and respect. This is not to say that I am making an absolute statement of what’s right or wrong in this culture- and art-driven industry. This particular concern simply means living up to a particular stand in an industry I am part of.

The Profession

Unlike professions requiring professional examinations and getting licenses prior to practicing, the filmmaking profession primarily depends on the outcome of one’s work in order for the person to have the “guts” to say that “filmmaking is my profession — that I’m a filmmaker.” Yet, at this time and age, anybody who has a video camera or even a mobile phone camera can come up with a film and put it up in Youtube… Ergo, “I’m a filmmaker.”

Claiming oneself as a filmmaker is really a matter of perspective and paying respect to the work. Like the issue that anybody who can play the guitar who can easily call himself/herself a guitarist or a musician, there is often that issue of some people branding themselves as a filmmaker in a manner that is more appropriately utilized by serious film students, amateurs, and professionals. Actually, being called a filmmaker is not about being an amateur or a professional. Either way, one can be a filmmaker. It all boils down to paying respect to the craft, being sincere about the profession, and being confident of one’s work.

Film Workers as Filmmakers
Rianne's Score (Click post title for review)
Readers' Score (Click the stars to rate)
[Total: 0    Average: 0/5]

“Clash of the Titans” is a story of the ultimate struggle for power as men fight against kings and kings fight against gods. This cinematic piece centers on the perilous journey of Perseus (Sam Worthington), the mortal son of Zeus (Liam Neeson), King of the Gods. Born of a god but raised as a man, Perseus leads a dangerous mission to defeat Hades (Ralph Fiennes), God of the Underworld, before he can seize the power from Zeus.

Louis Leterrier (“Transporter 2” and “Incredible Hulk”) directs this motion picture based on the 1981 film of the same title. This time, the epic Greek story gets packaged to propel to new heights through a 3D presentation of the mythological worlds of gods and men. Enhancing the looks of larger-than-life mythical beasts and breathtaking vistas spanning from the depths of hell to the heights of Olympus, as well as the battles of men, monsters, and immortals, “Clash of the Titans” brings a more immersive 3D adventure through ancient Greece and beyond.

According to visual effects supervisor Nick Davis, “We were dealing with Olympus and with Hades, so we had heaven and hell, and we had gods and monsters; there were aspects of the fantastical inherent in the story. But at the same time, we wanted it to be photo-realistic. We want people to believe a horse is flying and that harpies are real within the realistic grounding we’ve given the movie.”

The team used a combination of CGI and motion-capture equipment to bring to life the the Kraken, Medusa, Pegasus, the harpies, and a number of other characters. For the scorpiochs fight, they began by blocking out what characters would be involved in the massive battle. Determining the scale of each scorpioch which measured around 25 to 30 feet (from claw-to-tail), the special effects team led by special effects and animatronics supervisor Neil Corbould built a full-scale rig to act as a makeshift scorpioch. This was to give the actors something to interact with during the shoot. Interestingly, Corbould as a teenager worked on the original “Clash of the Titans” directed by Desmond Davis, adding feathers onto Bubo the Owl.

Another critical creature in the story was the majestic flying horse Pegasus. Leterrier said, “Pegasus is a winged horse, he’s the companion of the gods, and no human has ever ridden one. He initially fights Perseus, which is yet another obstacle for our hero to overcome.”

The challenge for Davis and his team was how they should overcome the aerodynamic problems to make a supposedly non-flying horse, given its physique, to look natural when flying. The visual effects team developed a complex system of putting tracking markers and using special cameras to track every motion very carefully. After completing the flying movements, wings were placed via digital imaging.

According to Letterier, the design for the Kraken, the most feared beast in Argos, took approximately five months to finish. The water was a huge element in coming up with a cinematic design as the Kraken would rise from the sea, so it had water cascading off of it within a very massive scale.

Most of the shooting locations were done in vast canvases in Tenerife, Wales, and Ethiopia.

Rounding out the primary cast members were Gemma Arterton as Io, Perseus’ mysterious spiritual guide throughout his journey; Mads Mikkelsen as Draco who would take up his sword to join Perseus’ quest; Jason Flemyng as Acrisius, a one-time king-turned-hideous beast; Danny Huston as Poseidon, God of the Seas; and Alexa Davalos as Andromeda, a princess doomed to lose her life if Perseus would not succeed from his mission.

Warner Bros. Pictures, Clash of the Titans Official Press Kit and Bios. 2010.

Warner Bros. Pictures, “Clash of the Titans.”

Louis Leterrier’s Clash of the Titans: Behind the Scenes
Rianne's Score (Click post title for review)
Readers' Score (Click the stars to rate)
[Total: 0    Average: 0/5]

Direction
Story & Screenplay
Cinematography
Production Design
Sound & Music
Editing
VFX/Animation (if any)
Acting/Voice Acting
Commercial Flair
Average

This concert documentary offers an immersive experience simulating a front-row view and beyond of a U2 concert.

“U2 3D” is a spectacular, musically and visually superb experience simulating a front row view and beyond of a U2 concert, probably the closest you can get to the real thing at this point of time.

This concert film features cutting-edge technology that gives the viewers a better-than-front-row seat experiences as it establishes an uncommonly intimate and occasionally surreal bond between the legendary band and the audience.

Every development in the history of cinema has always been about making the experience more realistic, fun, and amazing. And for over a quarter-century, U2 has been recognized not only for their musical innovation, but for their incomparable gift on reaching to millions of fans through new technology; while keeping up with the band’s decades-spanning catalog of great music.

As the next best thing to attending a real concert with a ticket costing about ten or even a hundred times less, this 85 minutes of closely replicating the feeling of a live gig through 3D glory makes a solid rock experience that’s still quite new to the general film audience. Now, if you could just pipe in the smell of sweat, cigarette, pot, and beer, it would then be like going to a real concert with the bonus of meeting and seeing Bono, Adam Clayton, Larry Mullen Jr., and The Edge performing upfront. Then, you go behind them or on top of them at the most impossible angles.

From the breathtaking close-ups and panoramas to the convincing nature of the latest 3D technology, you get to watch the band members playing from a vantage point 4 feet above their heads. You get to see them face to face while reaching out to the crowd. And you get to see a wave of rocking concert-goers moving in unison inside a massive stadium lit by thousands of cellphones. Add up the 3D shots of multiple band members at the same frame with the final cut with as many as five 3D layers: this dazzling concert film exudes the true spirit of a U2 show.

The 3D visuals and multi-layering effects envelop you with a drift that fuses with the band’s surround-sound rapture. With a sound quality that is no less than impeccable, it creates a full-scale sensory high with the pleasure of its showmanship.

The immersive marvel of the music and sound mix are electrifying. Truly, it transforms a great rock spectacle into something intimate as you become similarly immersed like the crowds filling the South American stadiums of U2’s 2007 Vertigo Tour as they go absolutely mad for U2 music. Their wildly infectious enthusiasm is very much apparent with their hands waving to the every beat. Indeed, marrying advanced 3D imagery and 5.1 Surround Sound with the unique excitement of a live U2 concert makes “U2 3D” such an incredible performance captured in a medium that attains unique aesthetics of immediacy and humanity from the powerful rock quartet. And all these make this 3D film the next best thing to actually being in a live concert as of today.

Directed by Catherine Owens and Mark Pellington, “U2 3D” makes the project more than just a nifty 3D experiment. It elevates itself into a rock solid redefinition of 3D live-action filmmaking. For now, it captures the premier band’s live shows in a way that no other medium could. And it boasts of a truly immersive experience that shows the undubbed and purely live recording performances of one of the greatest rock bands, together with several of the greatest rock audiences of the world.

Shot on a number of stage acts of U2 shows mainly in Latin America, the production employs the greatest number of 3D cameras ever used for a single project. It is the first digital 3D, multi-camera, and real-time production reflecting the band’s longstanding embrace to technology. Produced by 3ality Digital Entertainment, the film comprises footages from seven different concert performances. A massive undertaking, the filmmakers create live-motion collages emphasizing constant, overlapping, and evanescent dissolves as the curving runways allow Bono, Adam, Larry, and The Edge to move far out into the crowd and make more accessible angles for their various movements.

The 3D effects inclusive of the new trick of layering the visuals to simulate shifting your focus from foreground to background is successful in making you feel that Bono and the crew are within arm’s reach. While also offering plenty of footages of the rapturous crowd in a sight of a hundred thousand stoked fans, you get so close that you swoop towards Bono’s face and his outstretched hand surging through the screen and seizing your own. And to keep the 3D engagement for more than an hour of fun movie experience, the filmmakers also add animated versions of U2’s backdrop videos while capturing the ecstatic joy of a massive rock show (most notably a series of icons suggesting that the world’s major religions are one and presenting the Universal Declaration of Human Rights).

In some ways, this 3D concert film is considerably superior to a real concert. This may vary in many aspects and points of view of people. But what mainly makes this a better option is how the sound is perfected in post-production that what you hear from your seat is the best surround sound you can really get. Moreover, you get even closer to the band and even get on stage and beyond as the 3D images bring you to the most impossible angles and the best view of the performers that even the most pricey concert ticket wouldn’t be able to provide. Furthermore, you don’t have to put up with the rowdy drunks who may block your view or you can simply avoid hysterically sweaty and smoking crowds. For those safety points, there would also be less probability of mobs, stampedes, fights, and annoying crowd members in dope and alcohol. And amidst all these, “U2 3D” makes you feel like you’re there in the crowd. And at the same time, you’re as close as you can get to being on stage with U2.

Personally, the strangers on my left while watching the film at IMAX were really enjoying the concert experience with their waving hands holding on to their lit toys and cellphones. And they were standing and moving to every beat while the visuals allow every person watching to see the band floating above the fans and riding their energy. And I found myself singing and shouting like I would probably do in a concert as well!

“U2 3D” is a world-class live act in its finest as of its release. Taking viewers in an extraordinary cinematic journey beyond the traditional concert film experience, it has a top potential in revolutionizing digital 3D technology. The 3D format may go a long way just like how technology has developed the 2D film as of today. And with the living legend U2 pioneering on this new kind of film experience, the epic nature of the U2 songs and stage acts blend them perfectly to this larger-than-life treatment for a band composed of masterful rock performers in their top form.

‘U2 3D’ Film Review: A concert experience for the price of an IMAX ticket
Skip to toolbar