Posts by Jentri Chancey, an indie filmmaker relentlessly dedicated to writing and directing independent films, and sharing her film-related experience(s) with you. www.lostinsunshine.com
Showing posts with label Austin film. Show all posts
Showing posts with label Austin film. Show all posts
Saturday, February 22, 2014
Still Photography by Hutch Muselessmine
Actors, Olivia Applegate, Chase Joliet, and Matt Roszak (last) on the set of Visible Noise.
Wednesday, February 12, 2014
Visible Noise
As the writer-director of this short film, I'd like to express my deep appreciation and love for all those who helped us make this project. While it's still in post, the joy that's come along with being able to produce something that my heart is truly invested in is priceless.
I'd like to give a special thanks to our Executive Producer, Sam, who was able to view our vision, excitement and preparedness as a PLUS, and who was able to take a leap of faith with us. While it's not finished, yet, I'm certain, with every fiber, that the end result will be something we can all be proud of.
Screen grab of our beautiful actress, Olivia Applegate in Visible Noise. Courtesy of our DP, Greg Risley.
I'd like to give a special thanks to our Executive Producer, Sam, who was able to view our vision, excitement and preparedness as a PLUS, and who was able to take a leap of faith with us. While it's not finished, yet, I'm certain, with every fiber, that the end result will be something we can all be proud of.
Screen grab of our beautiful actress, Olivia Applegate in Visible Noise. Courtesy of our DP, Greg Risley.
Monday, February 3, 2014
Olivia Applegate and Chase Joliet on set of Visible Noise
Beautiful people - Olivia Applegate and Chase Joliet - making us look cool on set.
screen grab courtesy of our awesome DP, Greg Risley
screen grab courtesy of our awesome DP, Greg Risley
Wednesday, November 27, 2013
Visible Noise Dream Team
This year, even though I'm further away from family, there's so much to be thankful for. In addition to being blessed with a healthy family and good friends, I'm doing what I'm supposed to be doing.
This project, in particular, has formulated a dream team that's been heavenly to work with. These actors are a Godsend. Olivia Applegate and Chase Joliet are two of the most professional and driven actors I've ever worked with. I can't wait to watch them soar even more in the world of entertainment. Anyone would be lucky to work with them, and it just so happens the lucky one is ME this time! ** BIG SMILE **
Our cast and crew has kicked butt in pre-production so we're excited to start shooting Visible Noise next week. Our DP, Greg Risley, even flew to CO to do prep work with me a couple of weeks ago. What we lack in $, we make up for in heart. And I think that can make for an even better picture.
Thank you, team, for making this a wonderful experience for me and everyone you're working with. I can't wait to see you in Austin next week!!
Happy Thanksgiving, Friends!
Actors - Olivia Applegate and Chase Joliet, Photography by Greg Risley
This project, in particular, has formulated a dream team that's been heavenly to work with. These actors are a Godsend. Olivia Applegate and Chase Joliet are two of the most professional and driven actors I've ever worked with. I can't wait to watch them soar even more in the world of entertainment. Anyone would be lucky to work with them, and it just so happens the lucky one is ME this time! ** BIG SMILE **
Our cast and crew has kicked butt in pre-production so we're excited to start shooting Visible Noise next week. Our DP, Greg Risley, even flew to CO to do prep work with me a couple of weeks ago. What we lack in $, we make up for in heart. And I think that can make for an even better picture.
Thank you, team, for making this a wonderful experience for me and everyone you're working with. I can't wait to see you in Austin next week!!
Happy Thanksgiving, Friends!
Actors - Olivia Applegate and Chase Joliet, Photography by Greg Risley
Sunday, November 24, 2013
Visible Noise
It's exactly one week until I land in Austin for our cast/crew meet and greet before we shoot our short film, Visible Noise. I'm elated. Working with my dream team is so satisfying. Equal to that of a Thanksgiving meal.:)
Featuring Olivia Applegate and Chase Joliet. Photography by Greg Risley
Featuring Olivia Applegate and Chase Joliet. Photography by Greg Risley
Thursday, November 14, 2013
Film-industry hyphenates: Questions to ask yourself before making your film
Hi, Film-industry hyphenates!
I've said it a thousand times. A good producer is one that asks you the right questions to move things forward. Same with a script consultant. They don't tell you WHAT to do, they ask the right thought provoking questions and allow you, the screenwriter, to improve your story. Luckily, with Lorie, I have both. Here are some questions that Lorie asked me before my pre-pro weekend with my DP, Greg Risley, working on Visible Noise. My hope is that these questions will inspire you the way they inspired me and guide you in our journey to making the important decisions that will shape and enhance the story you tell on camera.
I've edited the email below so that it will make sense when applying it to YOUR story. :)
1) Do you have a vision or through-line for a compositional, pacing, rhythm progression?
2) Is there a visual progression? What is it? Is it static, smoother shots for the earliest segment, progressing to jumpier, grainier shots by the end...? Or, static-to-moving shots...? ECUs to WSs, or WSs to ECUs...? High angles to low angles, or vice versa? Or, are there any tropes from other movies that you might want to work with?
3) What about blocking within the scenes/compositions? Do you want to/plan to play with focus and/or physical obstacles within scenes?
4) Subtextually, what do you want the difference, or dynamic, to be between the characters in the scenes? Will it start off being his or her POV? Or, will the POV always be the audience's, of the "fourth wall?"
Obviously these aren't all the questions you'll ask, but it's a good place to dive in if you're just starting the process of figuring out which visual direction you want to go... and that will be a matter of style, experience, and interpretation of script.
For me, it's important to be able to experiment with shots, angles, and colors with my DP prior to our shoot.
Here's a bit of what we came up with for Visible Noise:
"It looks like a lot of our movie will be handheld, but we will use tracks and other techniques for select shots, as well as different lenses to achieve our mood. Tone wise, we came up with Requiem for a Dream meets The Notebook.
We will also be moving in slow at times, and getting footage for jump cuts where it feels right. The contrast between the two worlds will shift back and forth between our flashbacks (aka romantic, soft, brown/green) that are shot at a slower rate and Story's "real world" that's razor sharp (when on her). Although her world is increasingly out of focus by the time we get to the last scene. We don't reach levelness and clarity again until she has the moment/dialog with Ryan. We decided that this contrast is our visible noise, along with the sounds that will be over-emphasized along the way. We also are choosing a subtle spiral movement that we'll implement into our shots, and occasional tilt shots (dutch angle) to convey a disorienting effect and Story's spiraling.
All of the noises appear louder and more annoying to Story as she spirals. Our idea was that in addition to her phone vibrating while she's lying on the couch in mourning, we'd also hear a LOUD knock at the door. We cut to a mail guy who's knocking normally with the same rhythm to show the difference in our reality's noise and HER reality."
This was also the first time I was able to video the entire film (24 hour film style, without lights/all the actors) prior to shooting to obtain similar shots we wish to get on set. The video also serves as a storyboard, as it's easy to extract still images (thank you, Greg). This prep work is all a matter of personal preference, but having never used a storyboard before, I'm excited to try it. One thing is for sure - it'll never hurt to be over prepared. But the last thing you want your crew to do is WAIT ON YOU if you're not. And my stick figures were a disgrace to stick figures. That's all we'll say about that.
With doing all of this work in pre-production comes a sense of confidence and that's priceless. I highly recommend it, if you have the option. Happy filmmaking!
xo J
I've said it a thousand times. A good producer is one that asks you the right questions to move things forward. Same with a script consultant. They don't tell you WHAT to do, they ask the right thought provoking questions and allow you, the screenwriter, to improve your story. Luckily, with Lorie, I have both. Here are some questions that Lorie asked me before my pre-pro weekend with my DP, Greg Risley, working on Visible Noise. My hope is that these questions will inspire you the way they inspired me and guide you in our journey to making the important decisions that will shape and enhance the story you tell on camera.
I've edited the email below so that it will make sense when applying it to YOUR story. :)
1) Do you have a vision or through-line for a compositional, pacing, rhythm progression?
2) Is there a visual progression? What is it? Is it static, smoother shots for the earliest segment, progressing to jumpier, grainier shots by the end...? Or, static-to-moving shots...? ECUs to WSs, or WSs to ECUs...? High angles to low angles, or vice versa? Or, are there any tropes from other movies that you might want to work with?
3) What about blocking within the scenes/compositions? Do you want to/plan to play with focus and/or physical obstacles within scenes?
4) Subtextually, what do you want the difference, or dynamic, to be between the characters in the scenes? Will it start off being his or her POV? Or, will the POV always be the audience's, of the "fourth wall?"
Obviously these aren't all the questions you'll ask, but it's a good place to dive in if you're just starting the process of figuring out which visual direction you want to go... and that will be a matter of style, experience, and interpretation of script.
For me, it's important to be able to experiment with shots, angles, and colors with my DP prior to our shoot.
Here's a bit of what we came up with for Visible Noise:
"It looks like a lot of our movie will be handheld, but we will use tracks and other techniques for select shots, as well as different lenses to achieve our mood. Tone wise, we came up with Requiem for a Dream meets The Notebook.
We will also be moving in slow at times, and getting footage for jump cuts where it feels right. The contrast between the two worlds will shift back and forth between our flashbacks (aka romantic, soft, brown/green) that are shot at a slower rate and Story's "real world" that's razor sharp (when on her). Although her world is increasingly out of focus by the time we get to the last scene. We don't reach levelness and clarity again until she has the moment/dialog with Ryan. We decided that this contrast is our visible noise, along with the sounds that will be over-emphasized along the way. We also are choosing a subtle spiral movement that we'll implement into our shots, and occasional tilt shots (dutch angle) to convey a disorienting effect and Story's spiraling.
All of the noises appear louder and more annoying to Story as she spirals. Our idea was that in addition to her phone vibrating while she's lying on the couch in mourning, we'd also hear a LOUD knock at the door. We cut to a mail guy who's knocking normally with the same rhythm to show the difference in our reality's noise and HER reality."
This was also the first time I was able to video the entire film (24 hour film style, without lights/all the actors) prior to shooting to obtain similar shots we wish to get on set. The video also serves as a storyboard, as it's easy to extract still images (thank you, Greg). This prep work is all a matter of personal preference, but having never used a storyboard before, I'm excited to try it. One thing is for sure - it'll never hurt to be over prepared. But the last thing you want your crew to do is WAIT ON YOU if you're not. And my stick figures were a disgrace to stick figures. That's all we'll say about that.
With doing all of this work in pre-production comes a sense of confidence and that's priceless. I highly recommend it, if you have the option. Happy filmmaking!
xo J
Tuesday, March 1, 2011
Indie Artists: The Skinny on Teamwork & Being Good at Doing YOU.
OK, Honey Buns... here's the sweet skinny on those who aren't good at everything... so, if you're the best at EVERYTHING with a cherry on top, this post probably isn't for you. ;)
Our indie lives often require us to wear so many weaved hats that we can't remember which one we should put on to advance our careers.
Over the past few years, I've been blessed to learn a lot about the production business, specifically through my insanely talented partner, Lorie Marsh, working on Lost In Sunshine.
Being a co-producer on a series of (Aether) paranormal documentaries, I've learned a lot about what can be done on the fly, and in the editing room.
And, because I want to inevitably shoot a BEAUTIFUL film, capture details, and solicit talent, I pay attention to what makes pictures beautiful - is it the lens? Lighting? Acting? Textures? Colors? Rareness? Rawness? Landscape? Skyline? Depth of field? The focus pull? All of the above?
But bottom line is, I'm a writer first. I think it's easy for us indie artists to feel lost when we're being pulled so many ways to make things happen. Seems we're now expected to do EVERYTHING to cut cost. Fair enough. Perhaps we even enjoy the entire process (I know I do!).
But remember this: There's wonderful people out there that aspire to be EDITORS, CINEMATOGRAPHERS, CAMERA OPERATORS, ACTORS, SOUND EXPERTS, ETC. You are not alone. You do not have to do everything (well) yourself. If you know you're weak in an area, find someone that has a firecracker of a heart, and snatch them up! They need experience, too, and will love the opportunity to advance their agendas as well!! After all, isn't filmmaking about TEAMWORK? :) I don't know a lot of one-(wo)man shows. And those guys always think they're better at everything than they really are anyhow. ;)
Be original. Be sincere. Don't spend time worrying about what you're not good at. Anyone can practice to enhance skills. BUT, Talent comes naturally, and can't be purchased. Just focus on what YOU do best, you Courageous Beast, and keep getting better.
Bottom line, being well-rounded is necessary, and appreciated by your peers. But we should be the very best version of ourselves at all times, without apologizing for it. Be GOOD at doing YOU, Sunshine!!!
With love & an open heart,
Jentri
Our indie lives often require us to wear so many weaved hats that we can't remember which one we should put on to advance our careers.
Over the past few years, I've been blessed to learn a lot about the production business, specifically through my insanely talented partner, Lorie Marsh, working on Lost In Sunshine.
Being a co-producer on a series of (Aether) paranormal documentaries, I've learned a lot about what can be done on the fly, and in the editing room.
And, because I want to inevitably shoot a BEAUTIFUL film, capture details, and solicit talent, I pay attention to what makes pictures beautiful - is it the lens? Lighting? Acting? Textures? Colors? Rareness? Rawness? Landscape? Skyline? Depth of field? The focus pull? All of the above?
But bottom line is, I'm a writer first. I think it's easy for us indie artists to feel lost when we're being pulled so many ways to make things happen. Seems we're now expected to do EVERYTHING to cut cost. Fair enough. Perhaps we even enjoy the entire process (I know I do!).
But remember this: There's wonderful people out there that aspire to be EDITORS, CINEMATOGRAPHERS, CAMERA OPERATORS, ACTORS, SOUND EXPERTS, ETC. You are not alone. You do not have to do everything (well) yourself. If you know you're weak in an area, find someone that has a firecracker of a heart, and snatch them up! They need experience, too, and will love the opportunity to advance their agendas as well!! After all, isn't filmmaking about TEAMWORK? :) I don't know a lot of one-(wo)man shows. And those guys always think they're better at everything than they really are anyhow. ;)
Be original. Be sincere. Don't spend time worrying about what you're not good at. Anyone can practice to enhance skills. BUT, Talent comes naturally, and can't be purchased. Just focus on what YOU do best, you Courageous Beast, and keep getting better.
Bottom line, being well-rounded is necessary, and appreciated by your peers. But we should be the very best version of ourselves at all times, without apologizing for it. Be GOOD at doing YOU, Sunshine!!!
With love & an open heart,
Jentri
Wednesday, December 22, 2010
Monday, November 29, 2010
Lost In Sunshine seeks spring (2011) intern in ATX
Lost In Sunshine, LLC is searching for a production intern to assist with the following this spring (2011):
*filming/editing Sunny Side Up clips, using our equipment as instructed. These vingettes are related to our film's theme & clips will be posted on our LIS youtube channel/interactive website
*PA a short film (related to our LIS pre-show) in ATX with our talent.
*help with various social media tasks (i.e. familiarity with twitter, facebook, blogging, graphics/web a plus but not required!)
*assist producers with various tasks associated with (mostly promoting) LIS kickstarter campaign and any (possible) involvement with SXSW (interactive).
Good opportunity for RTF student with some experience, a lot of passion, a good attitude, and a willingness to learn. Will obtain film credit, and have the opportunity to work with seasoned crew and cast on short film. Will be working under the direct care of LIS' writer-director, Jentri Chancey, in ATX, and occasionally work (remotely) with producer, Lorie Marsh.
South Austin production studio available, although most hours will be accumulated off-site. Flexible schedule offered. To learn more about our production and its producers, visit: http://www.lostinsunshine.com
All serious applicants, please send me your resume and cover letter explaining why you feel this position is right for you.
email: jentri@lostinsunshine.com
Thank you for your time and consideration. :)
*filming/editing Sunny Side Up clips, using our equipment as instructed. These vingettes are related to our film's theme & clips will be posted on our LIS youtube channel/interactive website
*PA a short film (related to our LIS pre-show) in ATX with our talent.
*help with various social media tasks (i.e. familiarity with twitter, facebook, blogging, graphics/web a plus but not required!)
*assist producers with various tasks associated with (mostly promoting) LIS kickstarter campaign and any (possible) involvement with SXSW (interactive).
Good opportunity for RTF student with some experience, a lot of passion, a good attitude, and a willingness to learn. Will obtain film credit, and have the opportunity to work with seasoned crew and cast on short film. Will be working under the direct care of LIS' writer-director, Jentri Chancey, in ATX, and occasionally work (remotely) with producer, Lorie Marsh.
South Austin production studio available, although most hours will be accumulated off-site. Flexible schedule offered. To learn more about our production and its producers, visit: http://www.lostinsunshine.com
All serious applicants, please send me your resume and cover letter explaining why you feel this position is right for you.
email: jentri@lostinsunshine.com
Thank you for your time and consideration. :)
Monday, October 18, 2010
Aether Paranormal: In pre-production & sharing our filmmaking process with you!
We're currently in pre-production to shoot our next Aether Paranormal documentary. Thought I'd share with you some insight on how we go about making these films happen. With my Paranormal Productions group we definitely go the unconventional route. We try to stay organized with weekly meetings and brainstorming sessions about what might make this movie engaging, and more captivating than the ones before, but there's an element or organic-ness that always prevails.
The dynamics and chemistry between our characters already exists, which is a bonus, but there's always spontaneity that occurs... which hopefully adds texture, rather than problems. Will either of the couples get in real arguments? Will any of our (little!) egos get in the way regarding creative differences? Probably not, but it's always a possibility!
There are three of us (producers) who are fundamental in making this process happen. While Beaux likes to work each scene and include every single camera angle, I can't seem to creatively expand, until I have the story's details solidified. Which works perfectly, since Beaux's an extreme visionary, wanting to know what everything "looks like" while he's hashing it out. Shad's extremely current with his information regarding paranormal events, and generally brilliant when it comes to all things creepy, so we try to film in a way that makes it feel that way for the audience as well - as if they're right there with us.
It takes so much work to pull a quality production together on a low-no-budget, and since we don't have funds to just go buy everything, we have to be EXTRA creative, and pull upon all our resources. What are we going to eat (there are at least 2 of us gals on set at all times that will get extremely grouchy, if hungry!)? Where are we going to get it? Where are we going to shoot first? Which scenes require which crew members? How long will/could it take (investigations are a little different - we can't 'plan' how long it will take to capture evidence!)? Are there any special props needed to demonstrate a scene? What can we anticipate messing up on us? What equipment will be needed? Are there any additional expenses, and if so, how do we collectively pay for them? The list goes on... and it's one of my jobs to ask the questions and figure it out BEFORE production. It's also my job, as a co-producer, to make sure everyone knows what they're supposed to know (location, research, etc.) so they can come prepared.
Even though we're making a documentary, which is factual, we still have to take into consideration entertainment. If it's not entertaining, no one will care, and no one will watch it. It might be ok if we were making home videos, but we're not - we're making them to share, with you - our (most paranormal/sci-fi/horror enthusiasts) audience!
We're scheduled to shoot our film next month. There's nothing more powerfully bonding (in my opinion) than making movie magic together, which is why it's so imperative to work with those you adore.
Happy movie-making!
Jentri
The dynamics and chemistry between our characters already exists, which is a bonus, but there's always spontaneity that occurs... which hopefully adds texture, rather than problems. Will either of the couples get in real arguments? Will any of our (little!) egos get in the way regarding creative differences? Probably not, but it's always a possibility!
There are three of us (producers) who are fundamental in making this process happen. While Beaux likes to work each scene and include every single camera angle, I can't seem to creatively expand, until I have the story's details solidified. Which works perfectly, since Beaux's an extreme visionary, wanting to know what everything "looks like" while he's hashing it out. Shad's extremely current with his information regarding paranormal events, and generally brilliant when it comes to all things creepy, so we try to film in a way that makes it feel that way for the audience as well - as if they're right there with us.
It takes so much work to pull a quality production together on a low-no-budget, and since we don't have funds to just go buy everything, we have to be EXTRA creative, and pull upon all our resources. What are we going to eat (there are at least 2 of us gals on set at all times that will get extremely grouchy, if hungry!)? Where are we going to get it? Where are we going to shoot first? Which scenes require which crew members? How long will/could it take (investigations are a little different - we can't 'plan' how long it will take to capture evidence!)? Are there any special props needed to demonstrate a scene? What can we anticipate messing up on us? What equipment will be needed? Are there any additional expenses, and if so, how do we collectively pay for them? The list goes on... and it's one of my jobs to ask the questions and figure it out BEFORE production. It's also my job, as a co-producer, to make sure everyone knows what they're supposed to know (location, research, etc.) so they can come prepared.
Even though we're making a documentary, which is factual, we still have to take into consideration entertainment. If it's not entertaining, no one will care, and no one will watch it. It might be ok if we were making home videos, but we're not - we're making them to share, with you - our (most paranormal/sci-fi/horror enthusiasts) audience!
We're scheduled to shoot our film next month. There's nothing more powerfully bonding (in my opinion) than making movie magic together, which is why it's so imperative to work with those you adore.
Happy movie-making!
Jentri
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