7 Visions Of Amen

Nesse mês de agosto fui para a Colômbia filmar um projeto chamado “7 Visiones del Amen”, para a Solid Brothers Films de Carlos Osorio.

Trata-se de um concerto para dois pianos de autoria de Olivier Messiaen. Um Francês que compôs essa obra em 1943. Apesar de ser uma obra muito antiga, a música é totalmente moderna e complexa. Olivier Messiaen era também ornitólogo e por isso, suas obras tem a influência do canto dos pássaros e remetem não só a sonoridade mas também às cores, que na visão de Messiaen, os termos tonal, modal ou serial são comodidades analíticas enganosas. Para ele somente existem músicas com cores ou música sem cores.

“7 Visiones del Amen” fala das 7 visões diferentes que a palavra Amém carrega. Como o título já sugere, “As visões do Amén” desdobram a temática espiritual contida na voz “amém”. Se remetemos ao primeiro campo de significação, “Amén” ou literalmente “assim seja”, é a voz que se usa no final de uma oração e que manifesta um vivo desejo para que se tenha efeito o que foi dito. Messiaen dividiu a obra nas seguintes faixas musicais: Amém da criação, Amém das estrelas e do planeta de Anel, Amém da agonia de Jesus, Amém do Desejo, Amém dos Anjos e dos Pássaros, Amém do Juízo, e Amém da Consumação.

O concerto conta com a performance de BdB Duo, com as pianistas Maria Jose Barandiaran e Maria Jose de Bustos. O grupo de dança é da Compania del Cuerpo de Indias (El Colégio Del Cuerpo) e a coreografia é de Alvaro Restrepo e Maria France Delieuvin. Direção de Carlos Osório, produção de Solid Brothers Films. Direção de Fotografia de Justin Talley, Juan Pablo Puentes e Rafael Puentes. Eu fiz a produção e a pós produção.



Budget Forms for indie Producers

Hello dear filmmaker,

if you are puling together a no-budget, low-budget, or high-budget project you need to start with a blank budget. No matter how big or small your project is, you always need to have a budget to keep you in track of everything.

One of the most famous software to create and manage your budget is Movie Magic Budgeting. It is very easy to work with and any person can get the hang of it and learn the ins and outs very easily. The down side is that this software costs a lot of money. I got myself a demo version that only works for a couple of days, then I had to buy.

Another option would be excel budgets. They work just as nice and the good part of it is that they are extremely cheap. You only have to have excel, and if for some reason you can’t afford excel, you can also get open office for free.

I am making available here on my website two excel budgets that will work for most of production needs. I got them from friends and then I changed them a bit for my needs and taste.
They are based on templates from AICP, which stands for Association of Independent Commercial Producers. I just want to emphasize that I created these budgets that are based on existing AICP excel budget, but they were built from scratch, tweaked and modified to meet my own needs. I do not claim copyright on them because I took the idea from an existing excel form. They are not password protected, so if you want to change and modify them, by all means, be free to do it. Also if you want to share your work, send me your file and I will upload here on my website.

Thank you very much for your visit and hope to hear back from you.

Here are the files:
– BUDGET BLANK VERSION 1
– BUDGET BLANK VERSION 2

Tres Mares Commercial

At the end of December I wrote and produced a Commercial for a house complex in Puerto Vallarta Mexico.

The name of the place is Tres Mares. My dear friend and partner Carlos Osorio who brought me to this gig. We worked on the script together and after a couple of treatments, he went to Puerto Vallarta for a couple of days for production. He brought back the footage and we finished together the editing. I also brought my great friend Ryan Bosworth to do the color correction.

Here is the final product.

Thanks for watching.

Chino & Nacho – Sin Ti

This month of October 2012 I was fortunate enough to work in this amazing music video called Sin Ti, by the talented group Chino and Nacho.
Carlos Osorio, producer, brought me to this project where I was the Line producer and Production Manager.
I was responsible for hiring all the cast and crew, renting equipment, getting the location, and managing the shoot and wrap.

This project was the most intricate and rewarding that I’ve done since I am here in Hollywood.
We shot at the Disney Golden Oaks Ranch, in Santa Clarita. We had the Arri alexa, JL Fisher dolly, Techno crane, cooke lenses, 45 extras, 5 ton grip truck, 500 amps generator, 2 water trucks, 1 sports car, 1 full size production trailer, 1 catering bus, 1 picture bus, and about 120 cast and crew.
Everything was shot in one 18 hours day.
It took me 2 weeks to work the budget and one week to contract EVERYBODY and EVERYTHING.

Please watch the final product here.





Please watch a 3 part behind the scenes here (all BTS images by Daniel Lupo).




Thank you.

Producing Black Sabbath

Creative director Ryan Bosworth hired me as 1st AD and Producer of his promo video Black Sabbath.
We shot this video in 2 days using the Arri Alexa.

The slideshow below shows some behind the scenes of this great project.
All pictures taken by Daniel Lupo.
Thanks for watching

Struck – Book Trailer

I am very proud of this work I did with Ryan and Jennifer Bosworth.

It is a book trailer for the book by Jennifer Bosworth called Struck. It tells the story of this girl that has the power of lighting and has to save the life of her loved ones.

We shot with the Red camera in a period of 3 days in 3 locations. We had a crew of 19 people and 6 talents. The last day we had around 30 extras and we had to build a gigantic white tent.

It was a lot of fun and the result speaks for itself.
Please go to the official website for more information about the book and the author.

Documentary Slot Car Racing

I spent 2 months in Brazil including 2011 Christmas and New Year’s Eve. When I returned it was time to get back to work and find new gigs. I bought a 7D and started to look for gigs in the camera department as well.

One of the gigs that I got was with the filmmaker Christian Stoehr. He hired me to work as a second camera for his upcoming documentary about slot car racing. Slot car racing is a fun activity that was huge in the 60’s. In Brazil slot car racing had some presence as well. It was easy to find a friend that owned a “pista de autorama”, which in English means race track.

Back in the 60’s, California was one of the centers for Slot car Racing. There were so many tracks, that one could easily go from neighborhood to neighborhood finding new places to race and never go to the same place twice. There were also national and international tournaments, with sponsors and fans. The industry of slot car would make as much as 500 million a year back in the days. Then in the beginning of 70’s Slot car racing started to decline and today only a few tracks are still remaining.

The track we shot the documentary was in Buena Park. Over there we could meet the racers that were huge in the 60’s. They come from all over the place and meet every weekend to participate in races. They are aficionados about the hobby and are true masters when it comes down to the history of it. It was fun to spend a day there, working with this filmmaker, and getting to know a little bit about a world that I wouldn’t otherwise.

Check out some footage from this day.

Ryan Bosworth creative director

I was fortunate enough to work with the amazing director Ryan Bosworth in 2 great projects as first AD. Ryan is a commercial director that sometimes works on post, and sometimes works for Pistolera (a post production house based in Santa Monica). He has done tons of work in the commercial advertising business and now he is devoting some of his free time to side projects. Because of his background, Ryan is very good with visuals and he can be very organized when it comes down to what he wants to see in the picture.

The first project was called Followers. It is a thriller short film where an internet group is doing some very creepy on line services. We scheduled to shoot in 2 days an 11 page script. We had a very concise and thought out story board and amazing cast.

The whole crew/casting was Jack Brungardt as 2nd AD and sound, one gaffer, one best boy and 4 actors. On the first day we had a company move, with a total of 7 sets. The second day we didn’t have a company move, but we had 5 sets. We got everything we need and wrapped early on both days.

I watched a pre cut of this short film and looks and feels incredible. The story is catchy, the visuals are strong, the acting is spot on, and the scoring is powerful. We shot this project with a hacked GH2.

The second project was a little bit more audacious. We had a more experienced camera crew, we used the RED camera, we had a 1 ton grip truck, we had impressive casting, and we had harder camera set ups. For the second project Ryan hired 2 producers to take care of locations, insurance, craft/catering, and contracts. The crew also had a competent Make up person called David Charles, and also a wardrobe department lead by Terra Brody and Jackie Fanara. The DP was Tristan Whitman, and he brought his crew mattes Iggy, Hillary, Igor, and Tally. We also had help of Jessica Brody who was doing the behind the scenes and Oscar Arvizu as AC.

Both projects were written by Jennifer Bosworth, Ryan’s wife. The second project was called Struck and it was a trailer for the upcoming book of the same name that Jeniffer is releasing at the end of 2011. This trailer will serve for two purposes: One is selling the book and another is selling the film idea to studios that are already interested in buying the rights of the book.

I used scenechronize on line service to manage the schedule on both projects.

As soon as I know more about the book and trailer release I will post something here.

Lost Soul

My friend Nathaniel Nose called me one day asking if I could be a grip for the production company he was working for. Well, I am not the grip type, but I needed an extra cash so I decided to go to the interview in his office. At the interview I realize that they were in need of a production team as well. So I ended up getting hired as 1st AD. I brought my friend ML Wills and Jack Brungardt to work with me. ML was the 2nd AD for 2 days and Jack was the 2nd 2nd.We had a production manager called Jaydine Valencia and we also had a producer called Cyril O’Reily.

The production office was located in west Hollywood inside of a building complex. The owner of this company is called Dana Schroeder and he is also the owner of the building. He is a very nice guy who is starting his career in filmmaking. He has a lot of gear that helped us in the making of this picture. The film is called Lost Soul and stars Dave Vescio, Nick Mancuso and Zadran Wali. It is a psychological thriller where Dave’s character Donald is searching for love using dark magic.  I was hired to do the additional photography for the film that was shot in 2009.

The dp was Pierre Chemaly. We worked together a couple of times before. I also brought Amor Sanchez as the costume designer and Kevin O’Farrell as sound guy. My friend Felipe Borges also helped us one day as an actor. He is my buddy from Brazil and we worked in a lot of projects together.

We shot everything is 4 days at the production office. The last day we had a company move to Hollywood Hills in a Mansion overlooking Los Angeles. It was really cool that night, because the place was amazing, we had a lot of extras, there were a fire going to warm everybody, we had implied nudity in one of the takes, and we got everything we needed, and we wrapped early.

At the production office the hardest part was working with cats. We had to do a couple of scenes with cats jumping the camera, running down the corridor, and being held by the actor. The good part was that the building was filled with cats. I mean, there were at least 20 cats laying around the building. The bad part was getting these cats. We had to come up with a strategy where we had a holding area for the cats, and we would lock all the exits where the cats could leave from. This way the cats had always one path going one way. At the end of the path, we would have a couple of PA to get the cats back and bring to the holding area. Even with this strategy, we had a very hard time dealing with the animals. My suggestion to anyone is to hire a professional animal handler because it will avoid  being scratched all over your body.

Scenechronize and Movie Magic Scheduling to go

There are 2 software that I need to post something about it. Both are for the field of Assistant directors.

The last 2 films that I worked (April Apocalypse and Lost Souls) I used this software called Scenechronize (more information please visit scenechronize.com).

It is based on cloud computing technology, where by all your data is saved and managed on line. It is very user friendly and easy to use. In my opinion it is a Movie Magic Scheduling on line. The advantages of this Scenechronize over Movie Magic is that your data is always available on line on any computer, you can easily manage changes and updates whenever and wherever you are, and it is free for a basic use. I believe that Scenechronize it is definitely a step ahead in the game when it comes down to production of films. The disadvantages of Scenechronize are the fact that it is not yet popular as MMS, your options are still limited, and some feature (like inserting new scenes and creating reports) are not as efficient like MMS.

I strong recommend for every 1st AD to take a look at this software and get the hang of it. If you are on a budget and can’t afford MMS, scenechronize it is your best choice. It is way better than Celtx because it has an interface that it is similar to what the industry uses, like colored stripboards, breakdown elements, and DOOD reports. There is also a call sheet export to excel that is pretty useful.

The other software that is calling my attention is Movie Magic To Go. It’s been quite a long time that MMS doesn’t upgrade their system, and now I understand why. They were developing this App that will be very helpful for the AD on set. It is the Movie Magic Scheduling for Ipad. Like every software delivered by Entertainment Partners, this one is not for free. The good thing is that the price is not as much as MMS. For only 29,99 you can buy the App that will bring all your desktop breakdown to the Ipad. The amazing thing is that you can have all your info with you everywhere you go on set. I think it will look very cool for an AD to show the breakdown on an Ipad for a director or producer. Other than the show off value, this app will also minimize the amount of paper one has to carry while shooting a film. The bad part about this app is that it is not synced with the desktop application, and there is no on line version of it. Which means that every change you do on your desktop, will not sync up automatically with the Ipad version. Also if you have the Ipad version, you still need the desktop version to create the breakdown.

My suggestion for the developers of software focused on the AD field is to create a synced system like scenechronize, with an App like MMS to go, and integrate the call sheet to an online calendar like Celtx. Everybody, everywhere, will be able to see in real time what scenes are being shot, changes, and latest updates. I know that sonner or later, some of the software companies will create something like that.