Final films: Presentation

And here is the final stretch of my degree presented in the form of my two films that I have produced this year:

‘The Sea Room’ (2016): Experimental Documentary


SYNOPSIS: In this poetic documentary set by the shores of the Baltic Sea, Jonas and Aiste, a couple from Lithuania, share and explore their memories from the first day they met and fell in love, through a mixture of archival footage and on-location recordings.

Lived by: Aistė Jucytė and Jonas Urvakis;
Director & Editor: Jonas Urvakis;
Producer: Rita Santos;
Cinematography & Colourist: Sara Roque Peres;
Sound: Zilvinas Puras;
Score: Denis Mikhailov.

 

‘Bad Coffee’ (2016): Mental health drama

 

SYNOPSIS: Violet “Tuck” Tucker, a veteran in a Depression Alliance group, meets Ashley Conway, a troubled young woman, and together go on a journey of love, losing control and acceptance.

Producer: Rita Santos;
Director: Andrija Petkeviciute;
Director of Photography: Nathalie Pitters;
1st ACs: Jonas Urvakis, Filippo Locatelli;
Camera Operator: Katrina Ytteborg;
Sound recordist & Sound design: Peter Williams;
Music composer: Tom Kopca;
SFX Makeup Artist: Iulia Roman;
1st AD: Catarina Ribeiro;
Production Assistant: Amnah Pervaiz;
Set design: Rita Santos; Amnah Pervaiz;
Editor: Mariana Valente;
Ashley SFX: Lucia Gilibert;
Colourist: Dominika Besińska.

 

Evangeline Beaven as Violet “Tuck” Tucker
Roseanna Frascona as Ashley Conway
Simon Christian as Barry

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BAD COFFEE: Post-production and colour grade

Our post-production, as was part of our production days, was filled with adversities thrown at us from various ways.

The first cut of the film took about two weeks to be done and that mixed with the score being composed at the same time, set us off to a good start.

But after the film was locked, for the 12 minute version, the problems with sound design started as our sound recordist, Peter, was nearly always busy with other projects to be able to fully commit to helping us with our sound. This was not his fault, but it meant we had to work around the clock to try and get the sound design worked through as quickly as possible.

After multiple sessions with Peter, we finally managed to get the final design done alongside the score of the film although there were still some technical aspects that we will work on for the longer version of the film, as that will be the one we will send off to festivals in the near future.

In regards to colour grade, our first option for a grader for our project was Jonas, who was our 1st AC on set, but due to last minute commitments he was unable to do it so I had to quickly find a new option. Thankfully, I found Dominika, who is from 2nd year in the BA Film course, and she was available and interested in the project which I was very glad about.

Her showreel proved that she was a good option and we soon started to discuss what we intended the colour grade to be like. The grade took another two weeks and Dominika was a great addition to the team and even though she came into the project late, she still embraced it as if she had been there from the start.

Overall, I had a lot more post-production issues with this film in comparison to “The Sea Room” but I honestly wouldn’t have had it any other way. It’s been quite the ride and I am proud of it and of all the people that poured their love into it.

Namaste,

Rita

THE SEA ROOM: Post-production and colour grade

The post-production stage for this has been a long one. Ever since we came back from Lithuania, in January, myself and Jonas have been deep into working through the archival footage we wanted to incorporate into the film and how best to assemble the images together.

Jonas worked mostly through his computer at home but we would meet up, at firstly. weekly so that I could see the progress he’d done and give my feedback so that he could re-arrange something or simply erase a sequence altogether.

By April, we already had the basis of what our story was and what we wanted it to be: a love story. No matter how cheesy that might sound, it was what mattered to us the most, in a way. We wanted to be truthful and open about what our story was and who the people seen on screen were.

The scene that we kept going back and forth for 3 months was the bed scene where Aiste and Jonas relieve the day and subsequent moments where she tells him she suffered from bulimia. This scene is very raw, emotionally wise and very personal as Aiste is seen crying and choking up with emotion which obviously served a big motive for us to not want to capitalize on her vulnerability in the way we would edit that scene together.

For me, I knew there was a very fine line between showcasing Aiste as a vulnerable person, yes, but as someone another girl or man can relate to in one way or another; but it could also come across as if the Director was using her raw emotion as means to ake the film more successful whilst capitalizing on her openness.

But after speaking with Aiste, she expressed that she was comfortable for myself and Jonas to not only include it in the film but for us to cut the scene together as it seemed appropriate for us. Her vote of trust was something that made us much more comfortable once we were editing it and our mutual decision to include in the film, as the climax.

After the picture was locked, now we moved into the colour grading stage. Jonas and Sara, the DoP and colour grader, have grading the film for one week now and I am very happy with the results. I stayed with Jonas in the colour grading suite, on campus, for a few hours after Sara had left and I am very happy that the grade helped to elevate the visual aspects of the film that much higher.

Overall, the post-production has been a roller coaster of emotions, as the actual production days were, but that was easily overcome by the fact that myself and Jonas remained working very closely together because how we both care deeply about this film and about each other, not only as colleagues but as friends.

Namaste,

Rita

Dissertation project: Production documents

Hello!

In this blog post I have attached all of the productions documents that I have created and used throughout the entire length of pre-production all the way during the actual production days of both of my dissertation films.

Firstly I have attached links to my pitch alongside my dissertation proposal:

MDA 3400: Pitch presentation

MDA 3400: Project Proposal

 

All documentation for”Bad Coffee” (mental health drama):

BAD COFFEE (Production Schedule)

Ethics Board Committee (Bad Coffee)

Bad Coffee: Call Sheet (Day 1 of 4)

Bad Coffee: Call Sheet (Day 2 of 4)

Bad Coffee: Call Sheet (Day 3 of 4)

Bad Coffee: Call Sheet (Day 4 of 4)

Copyright waiver (Director of Photography)

Actors and Extras Agreement

Actors Agreement (cont.)

Bad Coffee (Budget sheet)

Risk Assessment (Sunny Hill Park)

Reel Film Locations – Permit

Filming permission (Room W142)

Audition Schedule (2nd March 2016)

Audition Schedule (4th March 2016)

Crew/Cast/Props/Catering List

 

All documentation for “The Sea Room” (experimental documentary):

THE SEA ROOM (Production Schedule)

Ethics Board Committee (The Sea Room)

Risk Assessment (Transporting equipment abroad)

THE SEA ROOM – Crew and Equipment list

Shooting Schedule: Day 1 of 4 (12th January 2016)

Shooting Schedule: Day 2 of 4 (13th January 2016) 

Shooting Schedule: Day 3 of 4 (13th January 2016) 

Shooting Schedule: Day 4 of 4 (15th January 2016)