So I’ll be honest, this was a very last minute thing. I mean I knew what I wanted to do, Christine and I talked about it for a hot second. I knew it had to get done, but yet again here I was editing late into the night to finish it up.
SO….MUCH……..WALKING……We walked at least 2 miles everyday (I’m not exaggerating). Walking to the train station, walking from the train station to our destination, to our hotel, exploring. Walking everywhere. But hey, exercise so no big deal.
When Richard Brown from the Global Heartbeater Project approached Moth to Flame about developing a corporate video marketing strategy for a new invention called The SuperTrike, we were excited to be a part of it. Working with a new startup that is keen on building a solid video marketing strategy is quite rare because video production tends to take up quite a bit of resources and time that startups usually cannot budget for. Richard, however, is an innovator and he knew first hand that video marketing could help sp
Commercial video production can prove to be tricky. It is easier for companies to follow trends and things that have proven to work. What happens is we end up with a lot of commercial videos that seem suspiciously similar to each other, which makes it difficult for a company to stand out from all of the noise.
Two Roads was a fun movie to work on. First, I did an audition tape. I memorized two scenes—a funny one and a sad one. Then I got to meet Adam and Christine on Skype.
With a slim budget, tight schedule, uncooperative weather patterns and even less cooperative livestock, the making of Two Roads was not destined for smooth sailing. Yet challenging circumstances can sometimes bring out the best in people—especially talented, tenacious people with a shared vision and a passion for excellence.
It’s been crazy crunch time for Moth to Flame as we rush to the finish line with “Two Roads,” our new short for the Louisiana Film Prize. This year has been a bit more hectic in terms of post-production scheduling, because each team member has continued to take on bigger and better projects and we collectively have more projects to juggle on top of this one. In addition, we have two cuts of our film this year (instead of one, like last year’s A Bird’s Nest)… a 15-minute cut for the actual Louisiana Film Prize itself and also a much longer 20 minute version for other festivals.
Christine has been busy getting together the final cut of Funemployment. If you’ve been following our Instagram you may have seen this photo, of our cat helpers working on some inserts.
Last week we had a night shoot out at Dane’s Body Shop shooting some footage for Battle Bold. A group of friendly athletic folks of all shapes and sizes came out to share their techniques for the cameras and show off some of Battle Bold’s lineup. I almost felt bad for them as they had to basically do a workout in front of the camera repeatedly while Christine Chen and David Lackey both captured footage.
After we got through the first 3 days of production, the last 2 days became less stressful. This is the stage that I like to call “Meh.” Basically, after the initial shock factor of dealing with intense work schedules and a variety of temperamental problems, the entire team became so used to (and tired of) solving or accepting these problems that by the last two days any problem ceased to become a big deal. It is going to rain in 2 minutes? Cool. It is pouring outside? Cool. The data dump froze again right before an incredibly emotionally difficult scene to shoot? Okay.