Talking Stone Film

Film Reviews & Headlines

We wanted to try something new and
that’s why we’ve come up with Thread. Storyclock method by Seth Wowley helped me to compose the story. I could easily see how evens they’re connected and where
there were loopholes in the story. The whole film takes place at night in the woods. That’s why we use LED lights that can be powered by batteries. The aperture 300d with blue filter served as the main light, simulating the moon. A part of the film
takes place in a tent. To make such shots without limitation, I’d decided to create a tent. One tent side remained free so that it could easily be lifted. The film includes several visual effects such as hands pushing away from the
ground. This shot is composed of two parts. We made the hands coming from the ground using a board with a hole. To make the footage easily merged in post-production, it was necessary to maintain the camera’s angle and distance in both sections
for the sake of perspective. The teeth were also designed in post-production. I exported a static image of an open mouth and adjusted it to my satisfaction using the liquify tool. In the final composition I mask
the teeth in a static image and the lower jaw in footage because it must cover the teeth
at the beginning of the shot. Simple motion tracker ensured the smooth
movement of the teeth along with the figure. The rest of the figure was created by makeup. We used liquid latex to create wounds
on his face and hands. A twine and eyelash-glue were enough
for the mouth. The complete picture was made into
perfection by the fake blood. I’ve been thinking about
the character’s look for a long time. It was tempting to make it as scary as possible. However, I had to find the limit to make it plausible that someone would want to help him. While directing I tried to talk to the
actors about their character’s feelings rather than how to play them. This allowed the actors to have their own interpretation. In other takes we harmonize everything
to our mutual satisfaction. Sound is an important film component. Since there is no dialogue in the screenplay, we were allowed to record the sound off the footage. This gave us full control over every single sound and allowed me as a director
to direct even during the action. We used Rode NTG-1 together with Zoom H6 for recording. We tried to replicate all the sounds on the spot, including steps or rustling clothes. At the beginning it seemed that we would not be able to make
a large part of the film at all or that it would be very costly. However it is always possible to find a way to achieve the goal. Just find the right creative path.

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