Some Insights

Phil Velasquez (awesome makeup FX artist) applies some blood to my hand on the set of "Roamer." I was standing in for Chuck Phelps as "Oz" during some sequences. That's right: I do stunt work too, and I love doing it. 

About midway through our "The Hush" fundraising campaign I came across this article: HERE

It's an interview with Director Brad Bird (The Iron Giant, The Incredibles and more) who will be releasing his first live-action flick the new Mission Impossible film. If you don't want to read the entire article, here is my favorite part - a summary of what Pixar does that everyone is chasing:

"Everyone in Hollywood says they wish they could do it like Pixar, but they really don’t. There’s no secret at Pixar, but there is a belief in letting people pursue something with passion and take chances, and most of Hollywood, really, doesn’t like that. It’s too scary. Some studio executives will say they love obsessive creators who take risks, but really most of them would rather play it safe. Projects cost a lot of money and people would rather follow patterns they know and make things safe and accessible. Hollywood wants there to be a math formula for making hit films. To make something really great and different and interesting means taking risks and following these ideas in your head." - BRAD BIRD

To sum it up: what is unique about Pixar films (which I love by the way) is that they are made with passion and risk taking embraced - while Hollywood, no matter what they claim, loves to play it safe. It's one of those things where you can either do something that is different and unlike what people are used to (in order to "sell" tickets) or you can focus in on creating a new experience and allowing the strengths of you film to bring in your audience.

Unfortunately, I feel that even independent film has become cliche'. There are now formulas for films that epitomize "indie" - ingredients that are often just as repetitive as the worst stuff pumped out of the big budget movie making machine. These films now have big money and names involved. What are we to do?

Just listen to Brad Bird: take a chance and have conviction in doing it in new way. Do not let generalized expectations of genre, movie conventions, and so forth, dictate your work.

This reinforces my belief in what I've been trying to do as a filmmaker - cater to the story, as it presents itself. Do not shift it just to make it fit into a box that everyone will recognize. People that get it, will really be moved by it (for many reasons - one of which is you did something unique).

The Hush - DIY Distribution Fundraiser

The Hush is a film. However, to me, it is more than "just a movie." It is an experience. It is a journey. It is three years of my life in 90 minutes. It is close to being another child in many ways. It is hope and lessons learned in life, shown in the context of fictional characters in fictional settings.

My producer Sofia and I have decided to self distribute our film - the times and the technology have aligned so that it is very possible to do so. With companies whose sole purpose is to create a method for us (indie artists and filmmakers) to reach professional platforms, I say why not.

With a handful of public screenings in our history, I have had some amazing reactions from people that have seen my film, both artists and moviegoers. This is all the proof I need to know that I have succeeded in creating the experience I desired, but also proof to me that there is an audience for genre bending film.

Vincent Cortez - Reel 2 - Steadicam and Music

Here is a reel that features Steadicam/Camera Operation as well as some of my work as a soundtrack/music composer. It's funny to make one reel that encompasses both of those skill-sets/jobs but I thought that the visuals and music went well together. Enjoy and contact me if you have any questions.

HomeMade Gear: Light Stand/Accessory Cart

 
Being organized on a set can help things run smoothly. If equipment is scattered everywhere, especially light stands, you can run into trouble: things can slow down, setups become searches for gear, people can get hurt, location's can get messed up, etc.

This Cart was built for nothing, but has been very useful in keeping things isolated and organized. My father was getting rid of an old shelf that had been sitting in a backroom for a while. The best thing is that it is made of real wood and it is sturdy. It was the ideal height for my light stands and had enough room to fit plenty; it also has a divider in the middle for other accessories.

I first modified the shelf by cutting squares at one end of the shelf (if it were sitting vertically) while keeping the support/structure intact. Then, I cut another piece of old shelving (from a pile of scrap wood) to create the middle and bottom brace. A few tough screws and a drill gun, and everything was done. For now, I have placed it on a furniture dolly (which I already own; though they are roughly $10 - $20 depending where you look) to maneuver it around easier.

The picture above shows four light stands (two bare and two with heads/arms) but it could fit about two more. Across the divider rests gel frames and a few rolls of gels.

I could still potentially add handles to the sides and even rubber "caster" styled, swivel wheels for off road and rougher terrain.But so far, so good.

The Hush - Soundtrack

So one of the ways I've been attempting to sustain myself as a filmmaker, has to do with some of the other things I do as an artist. Those who have followed The Hush and it's development have probably seen or heard me mention that I scored (composed and recorded) my own original soundtrack.

The Hush Soundtrack is now for sale on iTunes, Amazon and CDBaby.com! Please feel free to take a listen to the samples, buy a song or two or the album if you dig it, and pass the word along.

Click HERE for a direct link to the CDBaby Artist Page.

Click THIS for an Amazon link.

Check out our page on the iTunes store HERE.

ROAMER - teaser poster + update

Here is the teaser poster for the sci-fi short film "Roamer". I will be releasing another poster along with the first trailer very soon. The post process has been relatively smooth and the film is shaping up to be a very strong piece. Thanks again to everyone involved. Enjoy and stay tuned as there are more exciting things to come.

HomeMade Gear: The Cortez SoftKick

 I was actually tweaking with a really old small light housing and harness for a few years now; the light itself seemed to be a 100W flood light that was for news studio production. For the longest time I could not get "News Light" to work properly. When we finally sliced and diced its power supply and got it up and running, we realized three things: (1) The light itself needed to be plugged in to some type of power grid, that (A) I wasn't willing to buy and (B) why the hell would I buy it. (2) The lamp is this thin 100W lamp that is not even made anymore nor is there a manufactured equivalent. (3) The only thing of real value in the "News Light" was the light housing assembly itself (shape of the housing, the reflective - textured aluminum inner housing, bracket for mounting to stands).

Fast forward a few years later, and here I am looking to add another light that I can have some decent control over to my collection. On a few projects recently I have been using standard clamp on lighting (can be found at Home Depot; uses standard screw-in bulbs of varying wattage) to add variation or 'kick' here or there on an object or person. I won't go into to much technical detail because I think Scott explains it really well HERE.

Store bought CLAMP ON LIGHT (socket, clamp and housing) reference:

The lights themselves are handy. But the drawbacks for me have been: the inner reflector, I feel is very harsh and the clamp mount assembly can occasionally be annoying and flimsy.

I basically took apart the clamp housing and reflector, took the bare socket and cable, did some very minor drilling and cutting on the New Light housing, then transferred the clamp-on harness and secured it into the News Light housing.

NEWS LIGHT HOUSING with high rated internal socket and cable from the CLAMP LIGHT referenced above:

I put in a Reveal 60W G&E bulb (fairly inexpensive with a 'cooler' color temperature) and I am very happy with the results. The aluminum textured inner coating creates a softened yet even light. It is perfect for a slightly off camera rim light or kicker and it can mount to my light stands and adjusts easily. It is secured and functions like I hoped; I'll use it in whatever I work on next. Stay tuned!

UPDATE:
I've been using the 60W CFL light bulbs with a 5.5K color temperature and it works great as rim light and even a soft fill light.

Featured in Black Magic Design's website

The Hush and I have been featured in a case study online at the Black Magic Design 'User Story' section. They had a lot of great things to say and I am honored by their interest; thanks to Black Magic Design for making this possible. You can check it out here: CLICK.

Declaration of Sovereignty

SOVEREIGN - autonomous: not controlled by outside forces; "an autonomous judiciary"; "a sovereign state" - from wordnetweb.princeton.edu/perl/webwn

Today I officially declare myself publicly, though it's taken shape for a while,  as a sovereign filmmaker. Major film powers seek certain things: big names (from actors to producers), familiar people (many of the same "in" crowd), marketability and money. I need none of those things to tell entertaining and intellectual stories for an audience of people. As the film world changes we've gone from exclusivity as one system (Hollywood) to adding Independent film, and now I feel a third division of filmmaking coming in to existence. It is not exactly free media but it is more independent than independent film.

In an environment where major festivals are now only concerned with what films attract and draw in audiences to their 'products' and not the art of filmmaking. We are currently in a world where many independent film festivals claim to seek new voices and visions, only to seek out a specific voice (a friendly and trendy one) that caters to certain demographics. Their claims are false. Independent film has changed with the onset of digital technology: big names are able to step away from their day jobs and for 1/2 million dollars they are able to make an 'independent' film (assuming we use the textbook definition as a movie without major studio backing). The money is still coming from the same place, and their names are bound to draw attention.

Some people who doubt have said "it can't be..." but when you really step back, you can see it. Even if a movie with no names and no real large budget can stand toe-to-toe, pound-for-pound with some big time "independent" film in terms of story, acting, editing, sound etc. that does not mean it will be programmed or received in the same way. Even the old: "if it was really that amazing then people would see it" OR "they would have to program it" are FALSE. If it doesn't meet their criteria of 'indie' film they won't go for it.

I have been making films and storytelling since my youth and I have never needed any aide from any outside entity. As I developed as a filmmaker I both learned to create my own voice but I also learned the skills and craft to create my own piece from conceiving to mastering (and I mean almost everything: just check out the Hush's credits). The Hush itself was made with the contributions of many "no-named" talents who I feel really excelled in their craft; they were driven by creativity and a passion for their art not the draw or market to sell a product. We never once felt the need to change what we do in order to cater to anyone. The money spent came directly from my pocket to make sure that the essentials were there. The most inspiring part of it all was that our creativity was never hindered by our lack of resources, budget or star power, even when making an epic supernatural film noir. I have my own studio and resources that I have either built or collected to be a self sufficient film entity. My films and stories can be told with or without any other entities influence and resources.

The field to catch an audience (in a festival and industry sense), is not even. For as many bad films that get their shot in the limelight, there are many more that are exceptional that never get to see the light of day. Thankfully enough the internet and it's media capabilities are in their infancy, and things are shifting for better or worse.

I am a sovereign filmmaker because I can function autonomously within a system that is around and outside of my existence and not rely, be influenced or have to report to that system. Anyone who relies on certain elements of that outside force are 'independent'.

Stay tuned for updates and don't be afraid to stop being a dependently independent filmmaker.

The Hush - LA Reel Film Festival

The Hush was able to participate in a virtual festival. I was not entirely familiar with a virtual fest outside of the concept that the films are viewed by judges in a venue that is more geared towards awarding and recognizing achievements rather than public viewing.

Now as much as I am looking forward to an official public premier (this fest technically maintains that world premier status), it was great to get recognition for all of the cast and crews hard work.

The Hush received an "Honorable Mention" award in competition which is nice considering our budget was probably a very microscopic fraction of what our competition had. It feels good to have industry people acknowledge our hard work. Stay tuned...

HomeMade Gear: Doorway and Pipe LightJack

Here is a nifty little thing I've been tinkering with. I call it my 'LightJack'. It is a versatile mixture of very inexpensive objects ranging from 2x4s to C-Clamps. I recently came off of some doc style work where I was in charge of carrying out lighting/gripping orders: there is always that point where the stands are to cumbersome or Cardellini clamps can't mount properly.

Cardellini clamps are great. BUT when it comes to surfaces they can't fit on everything and they don't adjust as much as I'd like.  Perhaps the biggest drawback for me personally is the price $65-$85 (depending on where you look).

For slightly under $35, I came up with two distinct lighting accesories than can be used individually or in tandem.

First, we have a "Cortez Clamp" with a 5/8 stud mounted on by small heavy duty tube clamps. It is not welded but could be at some point soon; the clamp can fit on most doors and small trim. The 5/8 stud is also height adjustable due to the thread and socket (you can raise or lower the height from 1 to 6 inches. I made two of these bad boys: one mounts vertically, the other horizontal.

Next, we have the 2x4s which I DID NOT purchase because I have an abundance of scrap wood lying around my home. I cut a 6inch (A) and 5inch (B) piece that have rubber buffers lined and mounted on one side (I try not to destroy things). I used a metal joining bracket (also had one of these laying around) to mount a smaller 2.5 inch board at a 90 degree angle on (A). Then I purchased a large Heavy Duty Clamp that open from 0 to 24inches to connect (A) and (B) to whatever I needed. I also purchased a ratcheting strap to mount (A) to round objects with any depth of width (then I'd attach my "Cortez Clamp").

The LightJack holds lights under 20 pounds easily. If I weld the connection points and reinforce the boards it can easily handle more weight. But then again, most of my lights fall well under that weight.
Overall, the beauty is all these parts (ratchet straps, clamps and boards) can be used for other duties so I have various tools that can be combined or used solo.

Gear: Homemade Soundbooth

Now my goal has been to create a soundbooth for under $300; so far I am 2/3rds the way there. Now the booth as I write this is being slightly redesigned. I am hoping to use this for ADR and Foley work on my film(s). I figure that spending my target amount for something I can use all day, whenever I want and however I want is ideal.

First off, this would not be possible without some resources. My cousins, the Palacios Bros., are contractors and builders. They gave me insight and materials that saved me money (industrial grade plywood and fiberglass insulation). My uncle Carlos donated two quiet cooling fans, the kind you would find in a server room. From there I took a trip to a local depot for homes to purchase some 2x4s and screws.

The Room - This room is about 20 feet from my editing station. It is already isolated from streets and busy areas. The best part is that it used to be a dark room, so there are no windows and it is an ideal size. I made sure we built a shelf for the 13inch NTSC monitor that will be receiving a down converted signal straight from my tower. I purchased enough cable to send a video and audio signal to the talent.

Stay tuned as there is more to come on the Booth.

UPDATE: The booth was completed and used successfully for ADR and Foley work on 'The Hush'. It worked beyond my hopeful expectations and came together very professionally; I used it to create and re-create sounds for nearly 90% of the entire film.