Wednesday, June 30, 2010

Writing 'Dig'

I'm going to keep up with this shovel theme until I run out of a pictures...or until, ideally, I have production photos from the Dig shoot. Either way...

Wow, what a week it's been. I went from researching Dig to having a sixteen page 1st Draft of the short in my hands on Saturday night. It seems...quite fast, in retrospect, while at the time it felt a little like agony trying to get through that first pass.

I had the opening down cold, wrote the shit out of it. What stymied me for a while was what happened after that. I always knew where I was going with it but wasn't sure how to get there. In the end, having gotten to a comfortable place as a writer, I knew that I just had to get something down, let it flow and that the piece would become more polished and get to the level I wanted it once I started rewriting.

And I already know it is. Both Travis and the manager have read it, and where we've discussed taking it is to a really amazing place. So I'm very confident in our ability to get his script where it needs to be and that is only increased by the fact that Travis is now coming into the fold. We thought it best that I get a first draft done on my own, since I've been living with this idea for so long but now that I've done it, I'm wanting to get him on it as early as possible. Already, through early talks about the 1st draft Monday night, we've come up with some great ideas.

The next step for us, following the holiday, is to roll up are sleeves and start digging into this script. Travis is going to be writing out some thoughts, ideas and impressions he gets from the draft and then we'll discuss and find a way to implement them. What's nice is that we have a structure to it. We have a beginning, middle and end and it's all about taking out the chunks that don't work and replace them with what does.

The most daunting task for me, as a writer, is getting through that first draft. I've written about this a number of times before but I can't stress it enough: writing is rewriting. Maybe you're the type who can nail it on the first draft, or one who agonizes over every line until it's perfect before moving on. I think, as a writer just starting on their path, that is a dangerous way of thinking. Rarely, if ever, are scripts not rewritten. As Hemingway said, "The first draft of anything is shit." And thinking too hard about every line is, perhaps, even more dangerous, because it puts you in the position of never finishing the script or it taking forever.

Blast through it! I did. And I'll keep you updated as we progress on the script and the project.

Thursday, June 24, 2010

3Questions: Joel Einhorn - Effects Animator

As part of our continuing 3Questions series, I present Joel Einhorn, an effects animator who currently works at Digital Domain.

The role of an effects animator is thus, "I create effects for feature films. This can vary from clouds, water, fire, smoke, dust and other volumetric effects to particle and rigid body simulations."

HBAD: So, tell us, how did you get your start?

JE: After I finished my college degree (multimedia design with a focus on 3D) my 3D animation teacher helped me get an interview for a 3D tracking job for a Dutch movie that was being made. At that time I was living in Holland, which is where I am originally from. As it turns out, I got job and I quickly fell in love with the industry. Nothing beats the feeling of sitting in a movie theater and watching your own work on screen (and of course seeing your name roll by on the credits).

Afterwards, I freelanced in Holland for a while, working on commercials and music videos, but the market was very slim in the aftermath of 9/11. I then decided to pursue a masters degree in the UK to get my foot into the country (there is hardly any film work done in Holland, most of the big productions in Europe are done in London). I applied at Bournemouth University and got accepted in the "visual effects for film" course. This was a one year master's degree where I was introduced to Houdini, now my 3D package of choice. The main benefits of doing this course is that I got to meet a lot of people that were already working in the industry as well as those fellow students of mine who would be valuable future contacts.

After finishing the course it was pretty hard to find a job but through hard work and of course, some good networking, I was able to land a job in London as an effects TD working on X-men: The Last Stand. When that film was complete they kept me around and I got to work on several other films such as Superman Returns and Underdog.

As luck would have it, during my masters degree studies I met an American girl, fell in love and wanted to spend some time with her. So after the gig in London ended I decided to try and get into the U.S. I got an internship at SideFX software in Santa Monica (they created Houdini) and after a few months I decided to take the plunge and asked the girl to marry me. We got married and after filling out a lot of forms, paying a lot of money and waiting for a long time I finally received my greencard and was able to legally work in the U.S. I quickly got a job working on
2012 where my job was essentially to create a whole bunch of (digital) water using their propietary software.

Following that project I came over to Digital Domain to work on
Percy Jackson and the Olympians: The Lightning Thief (they couldn't come up with a longer movie title). I am currently working on Tron.

HBAD: What are the most difficult challenges you've encountered on your career path?

JE: For me, the most difficult challenge was just getting into the industry. It can be very frustrating to keep sending out your reel of work, making contacts, sticking your foot in every door and not hear anything back.

HBAD: What advice would you have for someone just starting out in this business, looking to get into the position you're in?

JE: First off all, make sure you have the skills. There are so many people wanting to get into the effects industry that you have to make your work stand out. Knowing people that can help you get into a company is a huge bonus. Experience also helps a lot but how can you get experience if you're not in a position to gain any?

So make sure that you have the skills, get a reel together showing off your best work and sell yourself. If you do know anyone at the company you're applying for don't hesitate to get in touch. It helps if someone that works at the place drops of your reel at HR vs you sending it in.

Last but not least: be persistant! Send your reel in and then follow up, ask if they had a chance to review it, etc. Just make sure that you keep on reminding them of your availability. Try to go to events where you can meet with artists/supervisors, etc. Siggraph is a good venue to go to cause all the big companies send their reps and there is a job market. There you can have people look at your reel and get some feedback or even land a job right then and there.

Tuesday, June 22, 2010

In Preparation for Writing "Dig"

I was suppose to write last night but notes on a Dare to Pass project and a half bottle of Casillero del Diablo Carmenere 2008 got in the way. I'm not one of those guys who can write for an hour, nor when drunk from a very good red wine. When I finished the notes at 10:00 PM but couldn't stand up without...enjoying the up and down sensation too much I knew I was screwed. At this point, I've sobered up enough to decide and execute a long-time coming blog. The decision part came easy, we'll see about the execution.

It won't be long and while there is a lot to update you on, that may have to wait until the next post. It's 11:30 PM and I have an early morning as I continue work editing Anthony Zuiker's Dark Prophecy. Tonight's post came to me, in my less-than-full-on-drunk state, while taking my dog, Hadley, out for his nighttime bathroom break. Now, he's empty and laying at my feet chewing on a paw.

As that happens, I'm writing this. So! Based on the arbitrarily chosen title, I thought I throw at you some things I've learned while beginning my latest project, a short film titled Dig. While the title is, in many ways, revealing of its subject matter, I am not yet at a point of telling you what Dig is. Rather, I'll be going over what it's taking to get it there.

Dig is a project that has lived in my project file since, well...(checking my file folder) since at least 2005. At that time, while living in New York, I threw out an ad on Craigslist looking for short film ideas. Now...when you do that, the VAST majority of the ideas/scripts/plays/synopsis' you receive will not be very good. A ad on Craigslist does not typically invite the A-listers out. However, very often, you can find a diamond in the rough. And for me, in 2005, that diamond was a writer named John D. Smith and a short play he wrote called Dig.

In the spring of 2006, Travis and I were making an attempt to turn it into a short. I was eager to shoot something of some maturity, perhaps on 35mm, and thought this to be the perfect setup for it. Then, I won the MTV Movie Award and we both thought it might be better for us to concentrate on features. So we did.

Then, in 2008 Travis and I both began talking about producing a short ourselves. We just needed a script that could be shot on a low-budget. We came back to Dig. We optioned the short play from John, developed and wrote three or four drafts of the script, before another project came up and we had to put Dig in the drawer. In January 2009, Travis took his own stab at the script, delivering a draft to me just before Guy Walks Into A Bar attached themselves to Glory Days. We did three months of rewrites on that and then began working on other mainstream comedy screenplays. (Our manager didn't think it best to go from writing a big, mainstream comedy to working on a very niche, indie drama about two hitmen.)

Now, in 2010, I've returned to Dig. I've wrestled with it over the years, going back and forth on whether it was a short or a feature, on the storyline, on whether there was enough there to put it on film. On a trip back to New York to see family this past winter, in a burst of inspiration, I stumbled on a different way to approach the story. In a call to Travis, he built off of that and responded with an even BETTER way to approach the story. Very, very different from the short play I received from John five years ago. But for some reason, Travis and I weren't connecting to that version. Which is why, I think, we kept stalling on the project, despite having numerous drafts. It worked as a play but wasn't working for us as a film, be it short of feature length.

It wasn't until recently, within the last month or two, that I decided to commit myself to writing and directing Dig. Travis and I had come to the conclusion that in its best form, Dig was a short. And for a long time I was against shooting another short. But technology has changed so much in the last four years, since I shot my last one, and very, very professional looking projects could be carried off for the same money I had spent previously. I am also, now, in a greater position to benefit, potentially, from a very well done short. I have a feature I want to direct, I work for very respected, well connected people who would be willing to watch something I directed and I'm ready to get back into narrative filmmaking.

That said, I've begun the process of writing Dig. I didn't really intend to go this in depth into where the project came from but...whatever. It is what it is. Point is, Dig in its latest conception, is a historical piece, taking place AND referencing a different time period in the past. And this requires a lot of research.

When I began to re approach this project, Travis suggested, since we were essentially starting over and it had been so long since I really spent time with the idea, that I sit down and write, free associating, on why I want to do this project. What is it that attracts me to it? What do I have to say, as a filmmaker, about this subject?

With the free association done (all 11 pages worth) and some minor character history work, I thought that I could dive right into the script. I was both anxious and (even to this day) naive. I was immediately stuck. I emailed Travis, sent him my free association, and solicited his opinion. We got together and our conversation triggered the need for research. Now, I had thought that I did enough of it, but I was wrong. I wasn't looking in the write place. A few keywords from Travis and I was off and running and now I have well over 50 pages of research material and notes on what may be a 10-20 page script.

The point of all this is that, even for a short, my world has become all the more richer and complex and in depth than ever before. My characters are developing before my eyes. I'm building their histories, their stories, something that is so central to this piece.

For many writers, this, perhaps, seems like a no brainer. "Of course you need to research!" Well...1) I thought I had and 2) I thought that I could at least get a first draft done before I really went into the details. Honestly, I was anxious to get into the action of writing the script and even more action to start shooting (even though I know it won't happen until the fall). But, by going to my collaborating, telling him I was stuck, he pointed in the right (and the best) direction and soon, thanks to his thoughts and advice, I was on my way to creating an even better script than I had before, with new surprises, ideas and more.

The actual writing of a script is an incredibly small part of the process. I know sometimes you're anxious to have a script and just write. Believe me, I know. I did it in college all the times (and, honestly, my films suffered for it). Immerse yourself in your world. In school, doing research for your papers was the worst part, I know. But, honestly, with screenwriting (or directing) I've found that doing research is the BEST part. You get to learn and discover new worlds. I think it's really fascinating to dive into these different areas of study as a way of making your project better. More real. More legitimate. You discover things you never knew existed (is that a line from something?), you find little tid bits of info that make your characters richer and more complex.

It seems like a long road to get to get to a lesson you might already know. But I knew it as well. I just didn't put it into practice.

So, that's where I am. Doing research, developing my characters, jotting down notes and gathering material. This serves me two-fold: 1) as a writer, I've stated the reasons for this above, but 2) as a director, eventually, in sitting down with my actors, we will talk about this world, these characters, develop character histories that may be different than the ones I developed as a writer. As a director, the more research I can do, the more I can know about everything from the world to the tiniest detail will only help me create a better film, a richer film, a more complex film. That's all I can hope for but it's a hope based on research. That doesn't happen if I'm trying to guess or make it up as I go along.

It applies to shorts as well. Short doesn't mean one-dimensional.

And speaking of short, I thought I said this blog post wouldn't be long...

Thanks for reading.

Thursday, June 17, 2010

3Questions: Miles Chapman - Screenwriter

As part of our continuing 3Questions series, I present Miles Chapman, writer of the upcoming 20th Century Fox film Protection. Antoine Fuqua and Bruce Willis recently attached themselves to his feature script The Tomb.

HBAD: So, tell us, how did you get your start?

Well, I think like most feature screenwriters there’s no one thing I can point to. I was originally an actor, then switched to playwriting and directing, and finally over to screenwriting. I got my first manager through a friend who passed along my plays to his reps. But that didn’t work out. Mostly because I didn’t really know how to write a movie. So Iturn my attention away from trying to get representation and just focused on learning how to write a commercial movie. The end result was a script that another friend of mine who worked at Castle Rock passed along to some managers whom she liked. That process ended with me hooking up with my current manager. We worked on that script for a few months and then the manager sent it to agents and we got a bite. That’s how I got my first agent. I got my first job when the second spec I sent out was bought by Summit Entertainment, and one of the producers on that thought I might be right for this re-write job at Fox. I then went through what I call the “giving up your first born” process of trying to get that job. I did get it but it took like 5 months of intense work on how I’d fix the script, and then getting my pitch down cold.

HBAD: What are the most difficult challenges you've encountered on your career path?

That’s a good question because there are a lot of them. I’d say the biggest challenge is keeping the balance between being proactive and incredibly aggressive about doing your work and going after the jobs that you want, but then having the patience to wait… wait for meetings to get set, when they get set they then get cancelled, and then get set again, etc. Waiting for deals to get finished, waiting for checks to come, waiting for the next job… cause you never know when you’re gonna get the next one. Figuring out ways not to go crazy while you’re doing all the waiting is important.

HBAD: What advice would you have for someone just starting out in this business, looking to get into the position you're in?

I’d say really hone in on what it is you want to write about. I know that sounds funny but I think it’s really important that a writer feel really passionate about what they’re writing. If you love what you’re writing, all the challenges of the career are that much easier to deal with. And definitely learn as much as you can from reading the books, taking classes, etc. But try to get your hands on current scripts. Scripts that have sold recently. Scripts that are getting shot, or have landed on people’s favorite lists. Read as many scripts as you can. That really opened my eyes to how many creative ways there were to solve script problems.

Monday, June 7, 2010

Shooting with the Canon 5D

[Author's Note: I was neither the director nor the director of photography on this project. As an employee of Dare to Pass, I've had the fortunate opportunity to have Anthony E. Zuiker as my boss and be a part of the Dark Prophecy project since the beginning. In addition to currently serving as the editor, I was also able to operate the second camera on 95% of the shoot as well as play a part in bringing the production to fruition.

That said, what is laid out below is my impression of working with the Canon 5D, both its ups and downs (though there were relatively few downs) and how it impacted what was a very packed production schedule. Enjoy!]

Last week, I was fortunate to be a part of the production of the cyber-bridges for Anthony Zuiker's new Digi-novel Dark Prophecy. (If you are totally and utterly confused by the second half of that sentence, I'll explain in a second.) Basically, I've been fortunate to be part of the project since it's inception a few months ago, serving as an assistant to Anthony Zuiker and Matt Weinberg. In addition to seeing this project grow from a one line idea into what it is now, has been an incredibly beneficial and educational experience. But I'm not here to talk about that. I'm here to talk about what it's like to shoot an ambitious short over the course of six days on the Canon 5D cameras.

The 5D with handheld rig, onboard monitor and
a cine 50mm lens.

When I first started working for Dare to Pass, the first Digi-novel, Level 26: Dark Origins, had already been shot and released. The concept of the Digi-novel is this: the book is a book like any other. However, in Level26, every 20 to 30 pages you're given a code that unlocks a cyber-bridge, or a 3-5 minute movie, within the book. In Level 26, the cyber-bridges act as scene replacements through the novel. Dark Prophecy will take a different approach, one which I can't reveal at this time. The ultimate version of the Digi-novel will be the iPad version we're developing for release this fall.

For the previous cyber-bridges, they had used the RED, which delivered some really amazing looking footage but handicapped them somewhat by the amount of lighting required. (And on the scout for this shoot, having seen where they shot before, they needed to bring in an incredible amount of light.) Now, I'm a huge fan of the RED camera and have used it to great success on a number of projects (even without the new MX sensor, which has much greater latitude and much better low-light performance) but I recognize that you do need to provide lighting and treat it more like film. In fact, I see the RED more of a less-expensive 35mm replacement than a wondercam that can shoot in no light and get an image. It's not that. You have a lot of latitude in post shooting RAW and 4k but you still need to provide an something to work from and that requires light. So, it's no wonder they had to bring in a lot of lights and a lot of lights means a lot of time.

We knew that Anthony was looking to go in a different direction on this one. We also knew that we had some budget concerns, cutting it nearly in half from Book 1. The result: a shorter shooting schedule, five days instead of ten, less money to pay to rent cameras and less money to spend on lights. They wanted to spend more time shooting and less time lighting, which is the dream of any director.

So, we came up with the idea of shooting this project on the Canon 5D. Having used it before on Mateo's Live at Swing House, I was very aware of its low-light capability and amazingly shallow depth of field. By going with the 5Ds we could probably shoot on two cameras, doubling the amount of footage we'd be able to capture, while still staying at a relatively low budget (camera department wise). Also, because of it's low-light capability, we would require less lights, which means less lighting time, which means more time shooting, which = happy boss.

Now, that doesn't mean that you don't have to light. Of course you do. It just means you can bring in a chinaball instead of a 1k, you can use source lighting like lamps and candles and so on, instead of a ring of lights around the set, it means you can shoot on a rooftop in downtown LA, at night, and using only a single kino tube. Lighting is just as much of a tool as set design, camera framing and focus, and the best thing you can do, is use light to sculpt your image. You just don't need a generator to do it.

So, I suggested that we bring in Will Eubank, the DP I worked with on Mateo's video, who recently shot the Angels and Airwaves "Hallucinations" music video on the 5D, which you can see here. I knew he had the know how and experience to see the 5D through this project.

The other cool thing about Will is that he had, in his possession, a set of one-of-a-kind cine mounts for the 5D, letting him use cine lenses, rather than photography lenses. With Will on board we briefly discusses shooting the 7D vs. 5D vs. 1D. We ultimately settled on the 5D for several reason, the main one being the full size sensor (as opposed to the smaller sensors on the 7D and 1D) as well the more video friendly aspect of the 5D.

In the process of doing my own research on the 5D, as I've never used the camera on something of this scale, I came upon Phillip Bloom, his great website, his Twitter account, as well as one of his specific posts about using the 5D on George Lucas' new film Red Tails. You can read that post here.

I was mainly concerned about the camera's "production-friendliness" or lack thereof. I knew that we've be going out to a director's monitor for both cameras and had heard rumor's about losing the on camera monitor when you did so. That was confirmed in Bloom's post:

"The major issue we had with the Canons was the monitoring issue. These cameras are still cameras first and foremost and that causes many issues, one of the biggest is they all use a mini HDMI as it primary video out, which also causes the camera LCD to shut off. We experimented with using powered HDMI splitters to feed both the Marshall monitors for my focus puller and myself but also for video village. This was not very successful at all for our purposes. For a small crew using the excellent Jag35 splitter we used would have been fine but we had to go a different more pro route. So what we ended up doing was using a Blackmagic HDMI to HD-SDI convertor. This required different monitors as our Marshalls were HDMI only but it did mean it slipped into the video village feed so much easier than before. This I have to say is essential in any serious production. Dump the HDMI and go HD-SDI, HDMI is a not a pro connection systems and suffers because of it. It just is not robust enough. The big issue we had with the 5DmkII (the 7D and 1DmkiV were unaffected) was that when you hit record then the image drops from 1080i to 480p making using the monitor for focus a major issue and also caused about a 7 second black image for the director in video village. Not great. The new firmware for the 5DmkII has not rectified this issue." (

Since we would definitely be going out to director's monitors we would now have to get on-boards in order to have an image while Will and I operated.

We decided that this would have to be more than us holding the stock cameras. Alan Gordon Enterprises provided us with a pretty decent handheld rig that included 7" Marshall on-board monitors, Red Rock Eyespy shoulder rigs with follow focus, and HDMI splitters going out to HDMI monitors. You can see several pictures of the rig below.

Dan Figur, Assistant Camera, holding the two rigs. The
one on the right has a cine 50mm, the one on the
left has a cine 100mm.

The one scene where the camera was on sticks.

CU on the onboard and 100mm lens.

Handheld in Venice.

It was an incredibly awkward rig to operate. Very, very front heavy. Because we preferred to not attach the monitor via the camera shoe, we had to use arms to mount it. Only problem was that they were only so long, so the monitor ended up being a little too close to our faces which strained our necks a bit and could get rather uncomfortable on long takes.

Thanks to some "burritos" (rolled up blankets) and some camera assistants to take the rigs off our shoulders we made it through.

We also suffered the same problems Bloom did with regard to the down-rezzing when rolling. When going out to a monitor of any kind, the image is automatically downsized to 480p. For Anthony, this didn't make a huge difference, since the image he was seeing on the monitors was never a final image. But it did hurt Will and I a little bit with focus (though, I admit, Will has much more experience pulling his own focus than I do) but after a day you got use to finding it in the monitor and it wasn't really a problem anymore.

Though we had a Bartek with us and camera assistants, Will and I did almost all of our own focus pulling. And, we rarely, if ever set marks. We certainly never set focus marks, if anything it was for the actors. It helped that the nature of the project, and the shooting style employed, allowed for buzzing focus and handheld movement. It suited the look of the film, so we were never worried about it being perfect. Funny enough, about halfway through filming my monitor only worked in black and white, which actually made it easier to find the focus while shooting.

One of the other issues was that the monitor relay system we worked off of was HDMI. Unfortunately, HDMI can only carry an unpowered signal 25 ft. before it needs to be boosted. Thus, our monitors could only be, at most, 20 feet away from us (to allow for the cables being tied to the rig and monitor stands, as well as the length taken up by the cable running from us, to the floor and then up to the monitor). Fortunately, our sets were fairly small, so we were able to work around it or, in the case of very wide shots, Anthony would check out the image on our on-boards before rolling.

The better solution to this is to go with Bloom's method of using HD-SDI. But HDMI was what Alan Gordon had, so it's what we used.

Perhaps one of the greatest benefits we got from shooting on the Canon 5D was speed. By the end of our six day shoot we had done 387 setups. We were almost never waiting on cameras or lighting. (Of course, that had a lot to do with some pre-rigging, not to mention the fact that we were shooting on pre-lit stages.) Regardless, once lighting was set, we were solid, aside from bringing in a bounce or adjusting a small light.

The majority of lighting was accomplished from sources, usually built into the the sets. The sixth day, however, we shot on Willows Stages in East LA, which pretty much had zero built-in lighting. The day before shooting we had our crew in there pre-rigging and setting up lights. In a number of cases, they had brought in too much light and it had to be scaled back, ironically enough.

At one point, while shooting only A camera, I grabbed an HVX to shoot some behind the scenes footage. The image was pretty much unusable, it was so dark. We had Alex Minkin, a very talented photographer, on set shooting additional behind the scenes stills. Since he was on the 5D as well, I had him shoot as much behind the scenes video as he could. At one point he came to me and said that he needed to go get a faster lens, since the f/2.8 he was using wasn't giving him enough light! Insane!

For a rooftop scene in the middle of the night, we employed a single kino tube, china ball and bounce. In one instance, I was shooting b-roll of our lead actor, Dan Buran, moving through this dungeon-like area. The set was incredibly dark but I managed to get away with it using only one kino tube that was an existing light source in the basement, a practical flashlight and a bounce board.

Our cine lenses opened up to a 1.6 (for the 75mm and 100mm) and a 1 (for the 50mm). We shot wide open the entire time. Our shutter speed, which was often adjusted depending on the lighting, was often set between 60 and 125. Our ISO lived anywhere from 100 (for the outdoor stuff in Venice) to 2500 (for some of the much darker scenes). Having seen the footage as it's being process into FCP, I can tell you I see almost no noise.

Now, obviously one of the things we kept in mind through the shoot was the destination for the material. More than likely, it will live in no bigger form than the iPad. Knowing that, it can greatly effect the settings you decide to use and certainly allows you to get away with a lot more than you could if this were being shown on a big screen.

This camera, to me, feels like such a bigger revolution for the web-series, no-budget short film crowd. While I know people have shot features on it, it's not the most production friendly camera. But it delivers stunning images, without the need for massive amounts of lighting, for very little money. The image really does look amazing. You get a lot of bank for your buck when it's you with a camera shooting in downtown LA at night. (God knows I would have loved to have this available to me on the Underneath the Sky mixtape series.) But it does have a few issues when you start stepping into a more professional production setting. (Hopefully, realizing the impact this camera is having, Canon will address the monitor issue in their next firmware update.)

Ultimately, this camera was the perfect solution for this project. I do not believe that the Canon 5D is a RED-killer. Like all of these cameras, they are merely tools towards serving your needs as a filmmaker. Shooting a no-budget that takes place mostly at night? The Canon 5D might be perfect. Shooting a budgeted short that (you hope) will be shown in theatres? The RED MX might be a better choice. Shooting a Hollywood film for 100 million? Probably shooting on 35mm.

All of them will look good. And ultimately, this is all for us, the filmmakers. The audience could care less. Because it doesn't matter what you're shooting on, it matters what story you're telling and how well you tell it.

Be sure to check out Dark Prophecy: A Level 26 Thriller Featuring Steve Dark available on October 14th, 2010. In the meantime, check out and stay tuned for more on the editing process as well as a trailer and photos.

Friday, June 4, 2010

Short Film: Chrono Trigger

Check out this great action scene done for little money. It's fun, inventive and clever. The effects are great and it, of course, is gaining attention.