Yep Yep, I FINALLY finished our new demo reels (meaning for Shawn, Keith, and I). They will be for director Micah Moore's newest project, "Beat Down Boogie" which is slated to start production in 2009. He graciously asked us to send footage and demos, so of course I had to update the crew's footage to give out the best! Now you can all see. Hope you enjoy! =D
And if your wondering who Micah Moore is, or what is Dogs of Chinatown, well it stars good friend Eric Jacobus from The Stunt People alongside fellow good friend Ray Carbonel with yet another good friend featured, Paul Dreschler-Martell. Here's the FANTASTIC badass trailer for it:
Here's hoping he likes our stuff! Wish us luck! Also, if y'all haven't noticed the massive amount of pics I recently put up, you should! haha well not really, but it would be nice.
Both reels are definitely some of the better ones that I have seen. The choreography is dynamic and the falls are not bad. As requested, here are a few words of advice from my experiences working in Hong Kong. When taking falls (like the 720 fall that is repeated several times on your reel), make sure it's not forced. By that, I mean a fall should look like it’s induced by the attacker; it should not look like the person being hit is intentionally jumping into the 720. That can be corrected with editing and better acting. This brings us my other point, acting. I can see that sometimes, during the choreography, one actor or the other appears to "expect" a hit before his opponent even initiates a movement. This is because two things, lack of intention (achieved through proper acting) during the fight (the hardest thing about being an action actor is acting and executing the pre-arranged moves simultaneously, though I have to say Shawn had very good intention from what I saw in his reel, as did you) and of a loss of rhythm because you guys are fighting too fast. Make sure the movements are clean and clear (speed means nothing, if movements are not crisp); you can always ramp up and down in post (or under crank on set). Lastly; make use of editing and inserts. I know many choreographers try to do a lot in one shot, but sometimes in order to achieve the illusion of power (and to hide particular mistakes) don’t be afraid to edit in an tight shot to enhance the impact of a strike. Hope this helps, and maybe the next time I visit Chicago, we can all meet up and have a chat!
BLOG評論 (4)