DORITOS COMMERCIAL “NICE CRUNCH” NOW ON YOUTUBE IN 1080p

Hi all. Just a quick update that our DORITOS COMMERCIAL “NICE CRUNCH” is now up on YouTube in 1080p. Check it out below or WATCH IT ON YOUTUBE to see it in High-Def.

I really am proud of what my actors did here. It has been said many times before and I’ll say it again… if you cast something well, 50% of your job as a director is done for you.

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HARDCORE EDGE TV COMMERCIAL & BEHIND THE SCENES

HARDCORE EDGE – NEW TV COMMERCIAL

We just finished up post on a commercial called HARDCORE EDGE. The commercial’s concept was from the ad agency. My company, TRIPLE E PRODUCTIONS, was brought in to execute the idea. You can view the commercial below as well as the BEHIND THE SCENES. The BEHIND THE SCENES is pretty cool, as it reveals some of the tricks we used to accomplish the concept behind the spot. Enjoy!

Directed by Paul Del Vecchio

Produced by Elke Blasi & Paul Del Vecchio

Editing, VFX, Graphics, & Color by Triple E Productions

HARDCORE EDGE TV COMMERCIAL

BEHIND THE SCENES – HARDCORE EDGE

Any questions, feel free to leave a comment!

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SCARLET YAY! UNTIL THEN, KEEP MAKING MOVIES!

RED SCARLET ANNOUNCEMENT – NOV 30th

Ok, so RED has finally made an announcement about the 2/3″ Scarlet system and the s35 Scarlet. There are plenty of reason we should be excited, and plenty of reasons why you SHOULD NOT WAIT to shoot your film. I can’t decide for you, nor should I. Only you know what you need. Only you can decide. I can only talk about what works for me.

EXCITED I AM

Guys, we’re getting REDCODE 100 for $4750 (fixed lens) or $2750 (maybe more like $6000+ with all the “extras” you need in order to shoot properly) for a fraction of the price of what a true digital cinema camera typically costs. If you have worked with RED footage, you know that the RAW format is awesome for color correction. It would be great to have this accessible to us on a cheap Scarlet.

I don’t want to hear people complaining about the 2/3″ imager. People in Hollywood, even Oscar winners, have been shooting on 2/3″ systems since the beginning of this (soon to be last) decade. You can still achieve shallow depth of field with these systems with a little trickery. Most people overdo this stuff anyways. Obviously, for indies, this option is great, but some Hollywood or “pro” people may hate the 2/3″ size. That’s fine, because when you’re at that level, you can just get a RED ONE (remember that cam?) or any other expensive cam and shoot with that. The Scarlet is not so much targeted toward those people as it is for lower budget indie films. Not for a main cam anyways – B cam, different story.

So basically, what I’m excited about is the REDCODE 100/RAW format and the 3K image size / higher rez. Guys, if you’ve seen Sin City in theaters (digitally projected) you know that 1080p is more than enough (in my opinion) for a great image so 3K is perfectly fine since we’ll be getting high rez, plus a bigger frame size for VFX work. I don’t see a reason to whine about no 4K. 3K is more than I’ll likely ever need, even if a film of mine has a theatrical release. This is all assuming that we’re getting all/most of that resolution instead of the size without the resolution, like the Panasonic HVX200.

So aside from the RAW format and high rez, plus proper monitoring solutions, there’s not much else for me to get excited over. Oh wait, I forgot sync sound 🙂

Just remember who this camera is geared towards. You most likely wouldn’t shoot a typical Hollywood feature on a Scarlet, and whatever “shortcomings” (and I use that word VERY LIGHTLY) that the Scarlet has, I’ll deal with. C’mon guys, we’re indie filmmakers! We’re used to that!

ON THE OTHER HAND, BLAH

I’m NOT dissing RED here, trust me. What they’re doing is amazing. But guys, at the level us indies are at, we don’t need 6, 12, 18, 123432K footage in order to make a good film. Get your grimy little hands on a Canon 7D, a 5D, or the 1D MK4 if you’re willing to spend that much, and GO OUT AND MAKE A MOVIE NOW! Why wait until next summer. If I waited, I would not have the collection of films I have now that I’m currently showing off in order to get MORE WORK and MORE OPPORTUNITIES. Get a 7D/5D/HMC150/EX1, etc. if you have the money and start shooting NOW. The Summer 2010 date on the Scarlet is temporary. Why risk important opportunities NOW?

Brian Ramage shot his film on an HMC150 and he’s (as far as I know) gotten interest from some big names (Brian, if you’re reading this and want me to link to your film, EMAIL or TWEET me with the link and I’ll link it up). I’ve shot stuff on my DVX that’s done some decent things and STILL continues to get work/investors interested in my future projects. I suggest you do the same!

I’m not going to discuss the tech stuff here because you can hit up any message board and read people’s arguments with each other on why one camera is better than another. I suggest that after learning a camera’s shortcomings, make your decision and go shoot. There are plenty of cameras out there that will give you amazing pictures, dare I say Hollywood quality even, if you handle them properly and skillfully. Don’t get drawn in to all that technical debate over which camera resolves 11.5 lines more resolution than the next.

Like I said, if you can’t get one of the current cameras to make your non-techy friends go, “dude, it looks like a real movie,” then don’t expect a “real movie” look from a Scarlet, or even a Panavision Genesis. Leave the numbers and theories to the techs and scientists out there. That’s not you. That’s not your job.

Your job is to have an engaging story and to get enough people to be engaged in your movie so much, that they don’t care about the tech shit or if you edited on Sony Vegas or if you shot on a Sony 1/3″ HD camera.

“It has set the record as the most profitable independent film ever made having earned over $100 million with a production budget of $15,000.”The proof is out there!

Your audience doesn’t care about the tech. Why should you?

You’re a filmmaker. Now go out and make a film.

***FOR DIRECTING, EDITING, COLORIST SERVICES – Email Me Here***

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PAUL DEL VECCHIO PRESENTATION AT AENY

A few months ago, I gave this presentation at the After Effects Users Group. I discussed how, as a Director, I use After Effects in my filmmaking. Here’s the video! Sorry about the shitty audio. We could not get a direct feed. It’s a long video, 30 minutes or so, packed full of little goodies so enjoy!

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COLOR CORRECTION – “King of Paper Chasin'”

My company just finished color correction on a feature length indie entitled, “King of Paper Chasin'” which premiered at the 2009 International Latino Film Festival in New York to two SOLD OUT shows. The response was great and they now have a few screenings set up across the country and a screener request from Variety.

To view some of the work we did on the film, including relighting, advanced blood correction, advanced looks, etc, check out our color correction reel:

http://www.triple-e-productions.net/color.html

For information on our EDITING, VFX, and COLOR CORRECTION / COLOR GRADING services, please check out http://www.triple-e-productions.net or send an email to us at paul@triple-e-productions.net for any information you’d like to receive.

Thanks again!

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HORROR-MOVIES.CA INDIE HORROR IN 2009 ARTICLE

Elke and I got a mention over at www.Horror-Movies.ca in an article on indie horror to look out for in 2009! What a great way to start off the new year! 2009 is gonna kick much ass!

You can read the article HERE.

Big shout out to Luke “Goon” Franklin for writing us up in the article!

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REMEMBER – PEOPLE YOU CARE ABOUT

I just wanted to post this vlog as a reminder about the topic I talked about on New Years Eve.

My brother got a REALLY BAD CASE of double pneumonia. I was told by the doctor that he was the sickest patient in ICU. Just a few minutes ago, I got a call from my mom. She said that by the end of the week, they hope to have him off the ventilator. They took him off the blood pressure medication yesterday and he’s holding his own.

Please keep my brother in your thoughts and prayers. I would greatly appreciate it!

On another note, I really appreciate the support you guys gave me in 2008 and before that and I can’t wait to bring you more films in the future! 2009! We’re going to kick some friggin’ ass!

***FOR DIRECTING, EDITING, COLORIST SERVICES – Email Me Here***

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