May
Get Me Some Smokes
My man Adam Groves came down last week and he shot a lil’ short film that featured me, him and my sweet lil’ Kelisa who I call Rosalinda…
…and he blew the fuck out of it.
Click here to read his blog post about his visit over. Come back soon, sir!
May
@ameliachn & I going all geeky. VFX courtesy of @adamgrvs. Fun lil’ short film coming soon… (via instagram)
May
Malaysian Games & Comics Convention 2012
If you haven’t noticed from my previous posts, I was at the Malaysian Games & Comics Convention recently and had a helluva time. I bought a shit load of comics, most of which I still haven’t read (though I only bought the ‘Identity Crisis’ set just so I could own it and put it up on my wall since I’d read it already), I met the very lovely cosplay model Alodia and coolest of all, I met two of my heroes in local comics - Dato’ Lat and Gayour.
Above is a video I did for We Are Malaysian Made. There’ll be more to follow - got tons of footage from the ‘con.
May
FINAS, Y U NO REPLY INTERNATIONAL PEOPLES?
So I received this e-mail via the Malaysian Cinema Yahoo Group by Paolo Bertolin:
To everyone in Malaysia: can someone tell me why nobody at FINAS* ever ever ever replies to emails? *(for those who don’t know, National Film Development Corporation Malaysia, or your State-funded organization to support the production and the promotion of national films) http://www.finas.gov.my/
I have been trying SINCE 2007, and I am now a bit fed up. Since this governmental body is run thanks to taxpayers’ money (which is you, not me), I think it would/should be of everyone’s concern there to find out why, and see what is wrong there. Could it be that their server is down for five years in a row? If so, couldn’t some of the taxpayers’ money invested in FINAS be channeled to provide their offices with a new one and a better internet connection? I am working for one of the leading film festivals in the world (and the oldest established one), Venice International Film Festival, as well as with other festivals that have been showing Malaysian films, and I can tell you that for foreigners who work and wish to work more with Malaysian cinema this is a very frustrating situation.
And it saddens me to add that, out of my experience, Malaysia is the one and only country I am or I have been working with where the national film institution supposed to promote local films abroad is not answering emails from international programmers who wish and do want to show Malaysian films…
Sincerest thanks to anyone who could help on this!
Paolo Bertolin
I find this both highly amusing and incredibly embarrassing.
I’ve never done anything tied with FINAS, simply because I’ve gone under the assumption that there’s probably no way a low budget hack like myself could work with them in a mutually beneficial way. Many people have pointed out to me that this is not the case and that there are probably a number of ways I could work together with FINAS for funding opportunities and all sorts of brouhaha.
If anyone out there who reads this works at FINAS or knows anyone in FINAS that can sort this out for Mr. Paolo, please help this brother out. From what little I’ve seen of my own experience in international festivals (sorry, make that just one international festival) and my communications with film scholars outside of this country (I’m pointing at you, Dr. Tilman) there is a very big interest in our country’s films. Paolo’s just one of many who want to get our stuff out there.
Suddenly, I don’t feel so bad for taking forever to reply to them about the box office gross for Relationship Status. In fact, reply to Paolo first, then I’ll send you the gross.
May
Screengrabs from the FS100
Some screengrabs from the on-going documentary I’ve been shooting. I previously posted shots from the interview segments on a variety of cameras but these are from the host segments we shot with the FS100 two days ago to tie all the interviews together.
All the footage is straight from the card, no color correction.
Outdoors at PJLA (natural light) with the Sony Carl Zeiss 85mm f1.4.
SparkyDawg studios with the Sony G series 35mm f1.8.
KLPAC with the Sony E-mount 16mm f2.8.
May
More Screengrabs From the FS100, VG20 and NEX 7
Day two of interviews with the 3 Sony cameras of different types and sizes. Once again, untreated.
LOCATION 1 - The HQ
FS-100, 85mm f1.8 Sony Carl Zeiss with LA-EA2 Adapter
VG20, 50mm f1.4 Canon FD with lens adapter
NEX 7, 16mm f2.8 Sony E-mount
LOCATION 2 - SparkyDawg
FS-100, 85mm f1.8 Sony Carl Zeiss with LA-EA2 Adapter
VG20, 50mm f1.4 Canon FD with lens adapter
NEX 7, 16mm f2.8 Sony E-mount
May
Screengrabs from Interviews Shot on the FS100, VG20 and NEX 7
Will post up a thorough write up about using these three cameras on this shoot once I’ve actually finished shooting and editing everything but for now, here’s some screengrabs from the interview segments of the 1st day of shooting.
All screengrabs are untreated.
LOCATION 1 - Pentas 1, KLPAC
FS-100, 85mm f1.8 Sony Carl Zeiss with LA-EA2 adapter
VG20, 35mm f1.8 Sony G lens with LA-EA1 adapter
NEX 7, 16mm f2.8 Sony E mount
LOCATION 2 - Indicine, KLPAC
FS-100, 85mm f1.8 Sony Carl Zeiss with LA-EA2 adapter
VG20, 35mm f1.8 Sony G lens with LA-EA1 adapter
NEX 7, 16mm f2.8 Sony E mount
May
Shooting with the Sony NEX VG20 & NEX 5N Simultaneously
Since I started using the NEX VG20 and NEX 5N some have asked how well the footage matches together. Some have even asked which they should get since some people have said that the NEX 5N is just as good. The video above was something I shot when I first got the cameras to figure that out as it was one of the first questions in my head too.
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