Messages

Thanks, egc
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I'm glad that you like it... They are true artists... really nice acting... I must agree...
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Have a great 2015!

Thank you, Lars. 
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Hello again, rainless. I'm Very happy with it, too...
I've used only .mov h264 regular compressed files...  in a cinestyle flavour with the technicolor official settings...
For shooting, even in dark scenes, i've used iso between 100 and 800, or 160 and 640... only in one moment i've try, and assume in the movie, a 1250/1600 iso... in five or six shots... for compensate some too dark rooms, light was required...
in the timeline, no grain was cleared... all noise is in the movie... i've assume that digital distration was not enough for clearing my footage.. adding 35mm grain in the final project helped me in the consistency that i was looking for.
thanks a lot for your questions...
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João Marco

[cinestyle]

Hello, Rainless...
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Thanks a lot for your comment... I'm glad that you like it as you did...
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That's not an explanation, only the synopsis... But if you think that is a problem, than is my problem and I will think about it... Thanks by that...
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Now about this movie:
this is a two and an half years feature film... and lots of work in it... But, first of all, I must say that the camera is just an eye... the public eye... the director point of view...
That said, for shooting, essays and script apart, I used three lights, my old T2i canon camera and four photo lenses: Tokina 12-24 4.0, Canon Kit 18-55, Canon 50 1.8; and a Tamron 28-70 2.8. I've used PS cinestyle and on camera magiclantern's histogram and zebras. Light is everything... grading is just another way of seeing light.
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I've exposed everything for whites, avoiding cliping it by all means. But to begin I prepared the set with the dynamic range of this little DSLR... not very bright... nor very dark... and, of course, not too dark and too bright in the frame... We must use our cameras for the best they can... not to best of red or alexa... If all our work is done thinking about secreening it, we must avoid bad light, first of all...
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I've used a shoulder rig, a simple one... without focuspull, as I prefer to use my hand directly in the lens.
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Sound was direct. A soundman did it... not me, of course.
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For grading, premiere cs6, three way color corrector, film convert (a colored stock that I desaturated).
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For editing I needed about one year... to compose music, edit sound, edit video, balance the cuts and rhythm...
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As result we are now in festivals...
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I'm available for all questions... :-) Thanks a lot for your feedback.
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João Marco

The 21st Door (2015)
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Feature, 92 minutes (Canon T2i/550d)

Thanks a lot.
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I love this project too... Lots of beautiful people...
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Cheers...
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João Marco

Thanks.
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That was filmed in Mozambique, a magic country. The colors, that people, the sea and all that land...
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It's a road movie... and I'm in love with it...
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Cheers...
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João Marco

DEEP COFFEE NONSENSE | "5 Children"

Filmado em Moçambique | Filmed in Mozambique
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Música| Music - Orblua
VídeoClip - Fury n'Dust
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Fury n'Dust 2014

Hello...
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just to say that my no budget feature film, ALÉM DE TI (The other of us), is nominated for the SOPHIA prizes, the portuguese Oscars... among with ten other professional projects... I cannot be happier...
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I've signed a contract with a distributor for Portugal and some african countries... won two prizes... and was projected in Europe and Brazil...
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That's very nice for a project totally independent... filmed with a 550d with Magic Lantern... a H4n and three light spots...
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Right now I'm finishing my second long feature, A PORTA 21 (the 21st door)...
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Thanks.
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Trailer:

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http://www.imdb.com/title/tt1935074/
https://www.facebook.com/Alem.de.Ti.Longa.Metragem

Thanks...
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seven days of shooting... three days on the desk... ;-)
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An evening with... DROBAN APHERNA
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Stage Camera t2i with ML...
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Videoclip : Deep Coffee Nonsense - "Necromantic" - EP "Glance Moves
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Director: João Marco
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