Updated: Nov 7
Another healthy turnout of 22 attendees. We welcomed back Stewart who has rejoined us.
The Brisbane International Film Festival kindly donated 6 double passes which were quickly snaffled up by the members. Thanks to Damien for organising that!
Glenn gave an update on the BMM show case. Although not being run as a competition this year, it will be a celebration of club productions in the past year. There's still time and room for more entries. Peter then gave us tips on one man shoots, with an example demonstrated by the showing of 'A Bad Case of Punitis'.
Paul and Murray then presented 'The Salami Makers'. It was originally meant to be a historical piece about the settlement of New Italy near Woodburn in northern NSW, but evolved into a tale of the Sanotti family legacy of keeping the family together through the act of making salami. Involving 30 family members over 2 days, it is a family gathering of making salami by hand, a tradition that has been preserved over 6 generations spanning 140 years. The video will be showcased in the New Italy Museum. The inspiration of the video was the result of a more interesting story within a story.
Neal acknowledged Glenn for his comprehensive 2 hour drone lesson.
11 Tomorrows Update: David is producing up to 17 videos for the 11 tomorrows. Auditions are underway for some productions. David has found a replacement costume designer, Rachel, and is also waiting for requests for music design and production from film makers.
Heather then presented her pitch for 'Through Gritted Teeth' (not for the 11 tomorrows). Looking for a Director to shoot in February - March. It's a 7 minute long story. Nigel provided some tips in mixing frame rates in your edits. It is possible but you must do it with purpose and intent. Dropping 120 fps into a 25 fps timeline is possible, with the 120 fps being shot for the purpose of slow motion. Conforming 120 fps into the timeline will result in footage that stutters unless you interpret it or adjust the speed of the footage. If done correctly, the result is buttery smooth footage but at the expense of sound. Similarly, bringing 30 fps footage into a 24 fps project will actually result in the footage being slightly stretched out in terms of length. Therefore, shoot your footage with the output format in mind. Even you are presented with 25 fps, 50 fps and 120 fps footage, the best result is achieved by going with the lowest rate fps i.e. 25 fps, for your project settings, and using interpretation or speed ramping to conform your footage, not the effects it will have on your audio. If you choose 50 fps, the NLE will need to create the missing frames for your 25 fps footage resulting in the jitters.