The film industry is a amazing, inspirational and often stressful industry to be in no matter what side of it you get involved with. For a single film there can be thousands of crew members and hundreds of unique positions that can be taken on. The question is where do you fit in the film industry and which is the most enjoyable side to be working for: (Pre/)Production or Post Production.

Both sides featuring a huge amount of different positions that are all very different. I have professionally been in the film industry for just over 3 years now, 2 years on the production side and pre production side and 1 year on the post production side.

On the production side I have experienced most of the main positions in varying degrees of professionalism in roles such as: Art Director, Director, Art Dept. Assist, Camera Operator, Clapper, Gaffer, Best Boy, Continuity, Runer, Production Assistant, Stand In, AD Assist and Soundy. On the Post-production side I have filled such responsibilities as Digital Artist (VFX), Editor Assistant and Sound Engineer Assist. However even in covering all these roles I certainly have not had nearly enough experience on either side to truly make a reliable call on what is best, but here is my opinion.

EASE of ACCESS:

Its no secret that the film industry is one of the hardest industries to start a career in. This largely due to the fact that films and TV are an art form that appeal to nearly everybody, it is near impossible to avoid being inspired or moved by the medium. It is also (in my opinion) the funnest industry to work in, you literally get paid to do what you enjoy!

So which side is easier to put your foot in the door of?

I myself started in the production side of the industry managing to worm my way on to the set of Stephen Elliot’s film “A Few Best Men” (2012). This as is usually the case was via whom I knew and luckily winding up at a party with the very producer of the film. However it was not as a result of this that I started to tick off each production role from my list, it was in fact through meeting people my age that had finished or were in film school that knew of all of the student films being shot.

It was when I gained this social circle that voluntary jobs started leading to paid jobs with production companies around Sydney. Being that I didn’t attend any film related education it did mean I was unconnected from this group of future film crew until really searching for it.

In terms of the Post production side of the industry, I found this a much easier area to start in. I gained access via the Animal Logic rotoscope training course which is basically a month of unpaid training which from there the best of the trainees are asked to join the Animal Logic team as I was.

However in saying that, it is very uncommon for companies to have this sort of program so it is not always this simple. Yet again something that the Post side of the industry has which the production side doesn’t is hundreds of websites for finding vfx/post jobs. The best of these for Australians being the DLF (Digital Labourers Federation) which sends daily emails of jobs available. The beauty of this is that there are often unpaid jobs advertised for people just starting out so that they can begin networking and start building there showreels with content, this is something that the on set production world is missing.

WORK ENVIRONMENT:

When it comes to work environments there are some big differences.
As for production it really comes down to two parts: preproduction an production (shooting). During the preproduction phase things are generally pretty quiet and slow moving, however as for when things ramp up and principal photography begins, things start to get very stressful and high pressure. This is because little hick ups can cause big problems, like if your mobile goes off when they are shooting or if you can’t perfect the art of being everywhere and nowhere (not getting in important people’s way) at the same time.

In post production things run a little differently, for starters there’s no need to be at work half an hour early everyday (as the show can go on without you technically) or work weird hours non stop and constantly changing locations. It’s a lot more comfortable in that respect as your always sitting down and have access to the Internet all day.

In post your also always treated as an adult so you can come in and leave when you want, take phone calls when you want and go on lunch whenever you want. In post you can even be sick and take a day off, a luxury you will never get during the height of a production job.

But maybe I am painting a picture of post that is far too pretty. When it gets to crunch time in post, long long hours are required to get your shots finished. In fact when I was working at Animal Logic some people where doing 48 hour shifts without going home.

Another down side to post (which I really shouldn’t complain about) is that you don’t get fed as much but seriously when it comes down to it, on set you are fed everymeal you are at work for, however in post you are only fed for over time hours and if you work through lunch.

In saying that though, with all these factors in play, it really comes down to what you would like most in a job. With all the stress and pressure of on set production work, it does result in you feeling like a really important part of the team. For example if you are a camera assistant and you don’t show up because you are sick or running late. The show literally (well not really literally but almost) can’t begin without you, with post however as I said earlier it doesn’t really matter so much if your late or don’t show up (as long as you make up the work) as there are usually at least another 5 people doing the same job as you.

JOB STABILITY:

A well known trait of the film industry, especially in Australia is the fact that there is very little work and a lot of people looking for jobs, it’s a very small industry that relies on productions occurring (something that is never guaranteed).

The production side of the industry generally has a lot more frequent work happening, however although there’s more work happening then post, it doesn’t mean it’s easier to get a job. The constant work is usually done by the same small crew that floats around from production to production. Most of this onset work is for TVC (Television Commercial) productions that generally last a day to a week, or if a film job is scored this usually would last 2-3 months.

This is where the postproduction industry has a slight advantage. Contracts are a lot longer and more stable, for example a TVC post contract will usually last about 1-2 weeks and a film usually about 1-2 years. So as you can see you have a job for a lot longer. The trouble is, it is much harder to get these contracts as there arnt as many of them.

Protesters out the front of this years Oscars for the “Wheres my piece of the Pi” march

Another advantage of the post side is that there are actually full time permanent jobs for the cool roles like Editor and compositor where as with production the only full time jobs are generally producer and production manager roles (not that theses arnt cool, they just arnt artistic) To be a creative on set it is always freelance work.

However when it comes to vfx work, as you may know, the industry is in trouble as a lot of the work is going to much cheaper countries such as china and India, as well as cities like Vancouver where they have big tax offsets for the work. This really forces post artists to be constantly moving from country to country to be constantly employed. This situation is particularly bad in Australia due to the high dollar value.

PAY:

As for how pay, a lot of people expect that if you are working in the film industry that you must be making the TOP DOLLAH! Unfortunately this is not always the case.

Sure as a director of a film you are getting paid several million per film, however there’s usually several year long gaps between work.

This is where the long contract vs big pay trade off happens and it happens on both sides of the industry. For example if you work a couple of days on a TVC (in both post and production) you will get paid around $500 per day as its such a small contract however if you get a full film contract that goes for a year, you will get paid a much smaller amount like $200 per day.

A lot of people favour working on lots of TVCs and making lots of money with unstable and unforseeable work terms, where as others prefer to work on films instead and have more stability.

However in saying this, due to the state of the industry and the lack of work (especially as a junior) you really got to take anything you can get. This can often cause problems too as you may have a unconfirmed job that has a very lengthy contract that conflicts with another smaller contract that can be confirmed, it is times like these you need to make the tough decisions of whether you should risk losing the short term one in hope that the long term job will get confirmed or if you should play it safe by taking up the short term one.

POLITICS:

Lastly, but most importantly in my opinion is the work place politics of each side of the industry.

When it comes to production there is a very clear political hierarchy. Basically on set the worst of this all emits from the camera department (the head of this department being the DOP), there is an old saying that goes: “what is the difference between god and a DoP? God does not think he is a DoP”. It is this joke that should be taken very seriously when on set. The DoP basically runs the whole set and if you get in his or one of his assistants way then you can cop a lot of shit.

Generally the heads of all departments have very big egos that make it very unpleasant being a jr on set especially when they are under so much pressure. Shit really does role down hill and I have had my fair share of experiences where things that other (more senior) people have done are then blamed on me. In saying that I do understand why it always works out like this, when you have worked so hard to reach a senior position on set (something that takes years of hard work, skill and luck) you don’t want to risk losing it over a mistake so you may aswell blame it on the person with the least to lose (the junior who is only just starting out in the industry).

As for the post production side… None of this occurs… At all! There is no dog eat dog attitude, there is no people looking only out for themselves, there is no “I am better then everyone around me” way of life. In fact it is the complete opposite of this, if you arent a fun, nice and open person to work with that can work as a team player, you wont get more work, regardless of how good you are at what you do.

This is why I find myself to this day steering more towards the postproduction side of the film industry.

So I hope that this gives you a bit of an idea of my pros and cons of production and post production in the film industry.

In March my contract finished with Animal Logic for The Great Gatsby which sent me into a fortnight of jealousy  heartbreak and anxiety as people around me started to get all these awesome jobs whilst I was being left on the back burner. You can read about my job hunting here.

So after a few weeks of job hunting I eventually got two in one day. I have now most recently started working at a VFX house called Cutting Edge, working there as a Rotoscoper once again for the upcoming feature film I Frankenstein. Now as always due to me sigining a confidentiality agreement there really isn’t a lot I can say about.

Check out this video for all the latest info available to the public on the project

Following this job that takes me through to roughly mid may I then start with a company called Resolution Design again as a Rotoscoper doing some TVC work.

Part 3 in a 4 part web series.

Bella – Arabella Edwards
Evil Women – Candida Wickham-Hurd
Boyfriend – Scott Simpson
Scientist – Ayla Darling

Director – Oscar Knott
Writer – Oscar Knott
Editor – Oscar Knott
DOP – Oscar Knott
Visual Effects – Oscar Knott
Special Effects – Oscar Knott

Music
Dead Space OST by Jason Graves and Rod Abernethy
Fright Night OST by Brad Fiedel
Video Copilot Proscores by Andrew Kramer

Part 2 in a 4 part web series.

Bella – Arabella Edwards
Evil Women – Candida Wickham-Hurd
Masked hooded fellow – Oscar Knott

Director – Oscar Knott
Writer – Oscar Knott
Editor – Oscar Knott
DOP – Oscar Knott
Visual Effects – Oscar Knott
Special Effects – Oscar Knott

Music
Dead Space OST by Jason Graves and Rod Abernethy
Fright Night OST by Brad Fiedel
Video Copilot Proscores by Andrew Kramer

Part 1 in a 4 part web series.

Bella – Arabella Edwards
Evil best friend – Amelia Goodson
Masked hooded fellow – Oscar Knott

Director – Oscar Knott
Writer – Oscar Knott
Editor – Oscar Knott
DOP – Oscar Knott
Visual Effects – Oscar Knott
Special Effects – Oscar Knott

Music
Dead Space OST by Jason Graves and Rod Abernethy
Fright Night OST by Brad Fiedel
Video Copilot Proscores by Andrew Kramer

For starters the story was not about banks being corrupt at all but about guardian angels saving the chosen people.

Check out some of these old blog posts through time:

• 7AM New Webseries in Production (07/02/11)
  
• 7AM First production stills (02/03/11)
• 7AM First clip (24/03/11) 
• 7AM Progress report (27/05/11) “About 3 months off completion” 
• 7AM Teaser Trailer (14/06/11) ”Release Date: November 2011″ 
  
• 7AM Well and Truley Back on Track (24/11/11) “Delayed until March 2012″

So as you can see this film has been non stop delayed and you can see how about 90% of the film was finished by May 2011.

The delays were due to

• actors bailing
• Going on a big holiday to Europe
• Being inspired by Europe and a film called Zeitgeist and re-writing the whole story
• Getting very busy with film work
• Getting a job with animal logic
• Giving up on making it because I realised how crap it would compared to the work of my new colleagues
• Deciding I should finish it anyway

Any way I might do a wrap up on it after I release all of them.

Tune in next Wednesday for the next episode!

So far I have literally applied to every single vfx house in the world! Okay well maybe that is a slight exaggeration, but I have applied to over 200 different companies including Australia, New Zealand, UK, USA, Egypt, India, Korea, China, Japan, Amsterdam, Spain and Thailand.

So you would think that I would have a job by now, but nothing as of yet. One of the big problems I have been having is not being able to put anything on my show reel until the studios approve them (which could take months after there release). So this includes The Great Gatsby that doesn’t come out until May and a Pure Blonde commercial i did some roto for a while ago. The problem here as that my current showreel is very unprofessional and I wouldn’t be surprised if they don’t even look past it once seeing how low par my skills are based on my current showreel. There for, no one wants to hire me and there is no way I can prove my skill without that material. In fact see for yourself my roto skills in action in this ad for Pure Blonde I worked on!

Shots I roto’d for come in at 00:09 and 00:32

So anyway check out the new trailer here!

A money shot from the trailer

s

VS

Firstly to compare these programs a distinguished definition of what a roto/prep artist’s responsibilities are is necessary, so i have broken it down into several key points:

- 2D tracking
– Matte extraction
– Rig removal/paint fixes
– 3d camera projections
– Clean plate creation
– Spline based roto creation

So to compare these two packages I have broken down this comparison into 5 categories, layout, rotoscoping, tracking, keying, paint and stereoscopic workflow.

LAYOUT & WORKFLOW

When comparing the layout of Nuke and Silhouette there are two very obvious differences. One is node based (Nuke) and one is layer/node based (silhouette).Immediately this really makes Nuke a clear winner with just this fact alone as the more fundamentally node based a compositing-roto  package is, the less linear it is and there for the easier it is to trouble shoot and faster the program will be. However, in saying that, it would be unfair to immediately declare Nuke the winner based on this alone as we are not talking about these two programs in the context of compositing, but in the context of being a roto/prep artist which really changes the essence of what is important in the layout.

The first thing that you will notice when opening Nuke is its distinctive and simplistic layout, the beauty of this layout is that it can be customised anyway you want and is extremely maneuverable depending on your workflow. It also allows for layouts to be saved depending on what sort of tasks you are performing. However Nuke’s beauty can be a little cluttered and counterproductive without multiple screens, this is only a slight draw back though as you can expand a screen your using (whether its the viewer or node graph) by a simple hit of the space bar.

Now to compare this with Silhouette, on opening you everything is laid out neatly, when beginning a new project it will ask what particular nodes (or functions) you will be using for the course of the project (whether its keying, roto or paint ect.). This is a nice function and its also notable that a single screen setup for silhouette still works really well as everything is ergonomically placed. The down fall of the silhouette layout is its limited customization options which is understandable given its not used for anything other then roto and prep work.

Now for node ease of selection it Silhouette is instantly a clear winner as all the essential nodes for roto/prep are directly available without any need to search for them like in Nuke. This does increase work flow efficiency as you can quickly start using a node without searching for it in a drop down menu like Nuke’s. Of course in Nuke hot keys are available as does silhouette, however the difference here is that all of the essential nodes in silhouette have hot keys available, which is simply not the case in Nuke. However in Nuke it is possible to re-assign the default hot keys, but it is a painful process.

One huge down fall of Silhouette is the fact that you can’t import video files, unfortunately you are limited to only using sequences, now this was an issue with Nuke as well back in the day but they realised the need for video as well as sequences, something the silhouette hasn’t managed to modernize itself with.

Another aspect of silhouette’s layout that rises above that of Nuke’s is the ability to do colour defined roto/key quality checks (e.g. having a red overlay where the alpha is to check that the roto/key is covering whats intended for the duration of the shot) with ease. In the case of silhouette all that is required is the simple hit of a button from number pad to switch between these checks and views. I do realise that this exact thing can be done in Nuke and some would argue is better as you can define what number press effects each of these views, but the difference is this viewing method has to be set up in Nuke prior to being able to do this with the use of several nodes,

but in Silhouette it is ready at startup. However in saying all this, the huge downfall of Silhouette is that you can’t actually create custom channels, you are restricted to RGBA. Ofcourse most of the time that’s all you need, however it can be handy to do multi-channel roto passes when compositors have specific needs for your roto.

ROUND 1 VERDICT: NUKE

So in summary, although Silhouette has a lot of efficient and ergonomic designs for setting up and executing a roto comp. The fact that Nuke is so non-linear and customisable makes it a winner regardless of what hot keys and viewing options Silhouette has to offer.

ROTOSCOPING

Now to judge whats really the most important part of a software package for a roto artist: how well you can roto with it.

Let us start with the roto tools available in each of these two packages. Firstly in Nuke the roto menu has 4 shaping options: Bezier, B-spline, Ellipse and Rectangle. These four are really all you ever really ned for doing your shapes, however there really is no harm

done in having more. Which is exactly where Silhouette comes in where there is in fact an extra type (also found in after effects) called the X-spline. For those not familiar with this it is basically a more maneuverable version of the bspline, with every point you make being a transformable one.

Now when it comes to the actual roto node options for each program, there are some rather large differences, and by this I mean Nuke is so much more flexible and non-linear.  Now these differences start with the blending options for each program. Silhouette features the basic Add, Subtract, Multiply and Difference blending modes, and whilst this is generally all you need, it never hurts to have more options. Nuke on the other hand has the option to do all these, as well as the option to merge: atop, average, colour-burn, conjoiunt-over, copy, disjoint-over, divide, exclusion, from, geometric, hard-light, hypot, in, mask, matte, max, min, minus, out, overlay, plus, screen, soft-light, stencil, under and xor. Although most of these wouldn’t be used often for roto, it is good to have, and I find myself often merging with Stencils, Max’s and Disjoint-overs.

Next up with the roto options, where Silhouette has all the basic shaping modifiers like blur, erode, opacity, invert and channel options. Nuke in fact has all these plus foldering options, multiple layered transform options, shaping options and even the ability to determine the lifespan of a bezier without effecting its opacity.

Lastly the actual performing of the roto and animation of the roto: arguably the most important aspect of this whole review. However when it comes to this, the two programs work pretty much exactly the same, the major difference is with the timeline. In Nuke each key frame that is made for a roto shape appears as a blue mark on the frame in the timeline that the change occurs. In Silhouette it works exactly the same, however with Silhouette the time line shows the key frames for each separate roto shape as different layers, compared to it all being dumped together. This is really helpful allowing you to instantly see which key frames are associated with each different roto shape. Now of course this can be done in Nuke, but for this to be done you either need to have the dope sheet constantly open in some corner or you need to keep flicking between it and your node graph, neither of which are very efficient or ergonomic.

ROUND 2 VERDICT: NUKE

Although for the animating and drawing of shapes in each package is the same, nukes huge amount of modifiers and options make it a clear winner in this category.

KEYING

Regular joe’s often get confused when keying is mentioned for roto jobs, but as any roto artist would know: if you can’t key it THEN you roto it. There’s often times where you can key something out that will give you the smooth animation and edge fidelity that rotoing by hand or with trackers can never provide.

So lets start this comparison by looking at what different options we have for keying in each program. In Nuke, the main keying nodes (and I do say main as there are more) are:

• Keyer: which is the most basic keying node, featuring your different types like: green, blue and luminance.
• Key light: a very advanced keyer that is great for getting accurate edge fidelity, yet lacks in getting the alpha perfect across the whole key.
• Ultimatte: is a very advanced keyer that allows for maximum control without the need for multiple nodes, in fact I believe ultimate has the most options out of any node inside Nuke.
• Primmatte: The easiest and fastest keyer for good results. The beauty of primatte is its ability to add more than one colour to the key. You can basically keep picking more and more colours you want to remove and more colours you want to keep from you footage until you have the exact key your after. It is also very effective for marker removal work.

In Silhouette there are only two nodes for keying, these are:

• Keyer: very similar to that of Nukes “keyer” node and in fact has indistinguishable results.
• Power Matte: is a very cool, effective and simple gem that Silhouette has over Nuke. Silhouette’s matte chops don’t end there. Power Matte puts a little magic in your workflow. It’s similar to that of the Rotobrush in AfterFX’s, but using roto shapes for each area you want to keep and remove instead of painting the areas. However although its like AE’s Rotobrush it really can not be compared, Silhouette then automatically generates a high quality matte even on intricate details  such as hair and fur. What makes this keyer so cool is that you can key frame and animate the roto shapes (being used to key colours and luminance) as the shot goes on for a very effective result.

With all this being said it probably sounds like Nuke is a clear winner for its abundance in keying options, but a very important aspect of keying that has to be mentioned is the combination of keys. It is near impossible to get an effective key of something with only one type of key, even when its a blue screen being keyed it’s often the case that lighting will be different on throughout the blue screen

forming different shades of that blue and thus for the perfect alpha channel, different keys need to be combined.

With Nuke this is done through using different merges like the multiply to combine the alpha channels of each, in fact to get a really good key a lot of different nodes need to be used from time to time. This of course means that its not always fast and simple to get the matte that you are after. However with Silhouette it is very easy to combine keys (to an extent) as it has the option in the keying node for primary and secondary keys as you can see on the picture to the right.

In saying that, the problem with Silhouette is you are limited to exactly that: two passes of keying. Whilst its layout makes it fast and easy, this can be very limiting as you can simply continue to add more and more passes to you key until you have exactly what you are after. Further on this, Silhouette is also limited by the fact that you can’t choose the exact colour you want from your footage, your locked into the basic realms of its standard blue and green screen defaults.

ROUND 3 VERDICT: NUKE

Once again Nuke takes the cake for the same reasons: flexibility!

TRACKING

When performing a matte extraction the first thing to always keying, however when roto becomes necessary the next step is to try and make life easier in any way possible. That’s where these bad puppy’s come in!

2D Tracking:

Nuke has two core 2D trackers:
- Tracker: The tracker is Nukes default 2D multi-point tracker. It does all the basics like Stabilization, Matchmoving, jitter removal and channel controlled tracking.

- Planar Tracker: A plane based motion tracker that uses a roto shape you make to judge a plane and follow its movement. It can provide very accurate and jitter free results in those times when you just cant get a movement right. A very hit or miss tracker.

Silhouette also has the same two and has pretty much all the same features as described for Nuke above. However differences can be seen in the Planar Tracker, where Nukes tracker forces you to sit there and watch the tracked area it captures for each frame in the form of a point, Silhouettes actually allows you to see inside the  roto shape and indicates where areas are being tracked well (green) or could cause problems (red) like that of 3D camera tracker. It then allows you to disable certain points that are considered defective (red).

Putting these two trackers together on the same 26 frames of footage resulted in very similar results. However in saying that, Nuke seemed to handle the point tracker better and smoother (slightly) and had less random pops, also applied stabilization more effectively. But Silhouette masters the Planar tracker with better results more of the time. Although in Nukes planar tracker a separate tracker node can be generated, it still doesn’t compare to Silhouettes often flawless tracks.

3D Tracking:

To a roto artist, having access to camera’s, axis/locators is invaluable, it can literally allow you to do one frame of roto for a very complex large duration stereo shot and have the whole thing animate and correlate perfectly.

This is the biggest reason why Nuke is better than Silhouette:

- Nuke allows you to import camera’s tracked in different programs

- Nuke allows you to perform 3D tracks in the program itself

- Nuke allows you to import and create axis points (Points to 3d)

- Nuke allows you to project roto and paint onto cards

vs.

- Silhouette can not work in 3D space at all or use any cameras.

For such a large and helpful tool to be missing from a roto software package is beyond me but that is why…

FINAL ROUND VERDICT: NUKE

This post is still a work in progress, to be continued…

FRIDAY 7PM

12 hours without sleep…

So with little ability to prepare we attended the opening night, where we signed in and were presented with a hat. The hat was filled with folded slips of paper that each had a unique genre on it, these genres ranges from musical to silent film to western.
Luckily we were fortunate enough to get a relatively linear genre, that being suspense/thriller. As soon as we were given this we immediately shot out of the pub hosting the event and drove back to our production office (being one of our houses) from here we started brain storming, still awaiting a text from the festival about which prop, character and line of dialogue we needed to include.

After about half an hour of brainstorming we got the text..
>> – The prop being: mobile phone (easy)
>> – the line of dialogue being “the world as we know it will end” (could be worse)
>> – and the character being Neil Armstrong (rather difficult)

So with this in mind we came up with a few ideas including Neil Armstrong never actually landing on the moon, alien invasions coming after earth whilst a female protagonist desperately try’s to lose her virginity and a thriller set in a house on the moon.

However after much demise we ended up deciding on it being about Neil Armstrong stealing the moon… With a shrink ray . It was shortly after this our first bump in the road occurred when our Director and Director of Photography pulled out due to unforeseen circumstances. Luckily we managed to rope together another director fit for the job and promoted the camera operator to DoP.

By the time we finished writing the first draft it was about 4am on Saturday where we signed it off and decided to move on. I ventured on not being able to sleep and did some location scouting around Newtown for the scenes.

SATURDAY 8AM

25 hours without sleep…

So the Saturday began with a small breakfast and coffee and not long after we set on our way to start shooting. On set I was looking out for the continuity of the production as Script Supervisor, making sure elements such as props, actors actions and camera moves remained consistent throughout, however with such little sleep under my belt, let’s just say I wasn’t doing the best job.

Getting my continuity on

The rest of shooting went relatively smoothly considering the circumstances, however we did finish up about 3 hours behind schedule at 12am.

SUNDAY 12AM

49 hours without sleep…

So as shooting finished we got straight into the visual effects part of the film which always takes at least twice as long as shooting so as you can imagine we really had to push hard. Whilst me and a team of four compositors and one 3D artist (also being the director) tackled the vfx we had our editor bashing out the cut upstairs. Ofcourse by this stage most of us were zombies often micro sleeping at the computer. At one stage after having and energy drink followed by a coffee I projectile vomited everywhere, which does sound bad but to be honest woke me up more then any drink could.

To add to the stress as we started to get to the finish line our musician bailed on us and as a result we didn’t end up getting the soundtrack until about 10 minuets prior to its deadline (Which is why the soundtrack is a bit dodgy at parts). On top of this a lot of the shots we were doing vfx on weren’t finished until the dead line so it was lucky we made it at all.

THE END: SUNDAY 7PM

68 hours without sleep…

So with the film uploaded and finished about 30 mins late of the deadline, we all finally get to sleep after 68 hours of hell/heaven.

Some of the team

The Judgement – 28/10/12

So about a month after submission of our film Lunatic we all attended the 48 Hour Festival screenings which ran for a good 8 hours showing every film entered. The age groups of the entrees ranged from 13 year olds to very professional 30 and 40 year old which really gave the festival a great vibe.

So finally here is our film that was uploaded for the festival:

I have listed some of the better films here for you to check out…

The above film won the award for best film, however I disagree with this judgment and personally believe this one should have been the winner

So as the award ceremony commenced we suspected that as none of the other films really featured that many visual effects we would get the award for best sfx for sure. However to our surprise we got the award for Best Director and the award for best Graphics (which I assume they intended as best vfx). So all in all did a lot better then expected
Any way let me know your thoughts!