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"Voice
from a Distant Past", by JetSetProdigy, was created in
24 hours for the Austin Film Race 2008 based on a theme assignment
(an invitation)
and a surprise element (pouring something down a
drain).
"Voice
from a Distant Past" took home Best Film
and 3 additional awards in the Austin Film Race
2008.
Film Racing (FR):
Tell us about your team, JetSetProdigy.
Timothy Chew of JetSetProdigy (TC):
JetSetProdigy is a team comprised of Jonathan Lopez
and I. We met this fall at a student film
organization and thought it would be worthwhile to
combine our efforts. Jonathan caught wind of this
24-hour competition and we decided last minute to
take a crack at it. "Voice from a Distant Past" is
the first collaboration of ours, which we co-wrote
and co-directed.
Jonathan Lopez of JetSetProdigy (JL): Someone
sent me an event invite about the competition after
I had just moved to Austin, so I figured it would be
the best opportunity to make a short film. Like Tim
said, we met at the University Film Alliance and
they also held a similar competition, but we opted
to do this one. I believe it was the right choice.
FR:
Break down the production schedule of “Voice from a
Distant Past”.
TC: We spent the first hour and a half
writing, and the next two hours or so taking
pictures for the opening sequence. After a short nap
we woke up to shoot the sunrise field scene, snap
some more pictures, and film the rest up until about
5 pm. About 3 hours were dedicated to the editing.
JL: Things oddly became synchronized,
everything was working, and that made me worry at
first, but that feeling soon lifted as the day went
on.
FR:
What equipment and hardware/software was used during
the pre-production, production and post-production
of “Voice from a Distant Past”?
JL: During pre-production, we simply wrote
down our ideas on pen and paper A Panasonic AG-DVC30
and Nikon N80 for the pictures. We edited on Final
Cut Studio using a Mac Pro,
FR:
What was the most difficult part of the process?
TC: I think I am speaking for our entire team
when I say the most difficult part was at about 3
p.m when fatigue starts to set in. Tempers shorten,
movement slows down, and the film tries to become
just another project. I'd say its not so much an
element of the process as it was the conditions our
film was subjected to. I was proud of our team and
our efforts though, and it was wonderful sleep that
next night.
JL: I definitely agree with Tim on the
fatigue, there was a time when our actors were just
in a deep sleep on the carpet of my unfurnished
apartment. I was so envious of their slumber, but we
had to keep working. I believe the most difficult
part was the very end. The disc drive was not
burning the short film at all, and I had just moved
into my apartment so all the blank discs were
scattered around. The night was a complete mess on
the technical side, but the mac miraculously decided
to function right before the deadline. Matters did
not improve, we had to rush down Guadeloupe to the
drop-off location because we incorrectly read the
directions.
FR:
Any good behind the scenes stories?
TC: There was an unexpected challenge when we
pulled up at 6 a.m to shoot our field scene. Two cop
cars were parked next to some early-morning
troublemaker right where we had intended to film.
They were there for nearly 45 minutes, and I began
to thinking our key scene was about to fall apart.
The sunrise wasn't much more than 10 minutes after
they left, so we had to scramble but we got the
shot. It was fantastic adrenaline boost for all
involved and a great start to a long day of filming.
JL: Everyone was beginning to look
demoralized, but the thrill of that scene carried us
throughout the day.
FR:
How did you shoot the running scene in the field?
TC: This scene was shot by Jonathan,
precariously perched in my trunk as I drove. We
stabilized the camera by attaching it to a folded up
tripod which Jonathan held. This shot was mostly
about timing- catching the sun right above the
horizon, getting Michael running fast but not too
fast, and then positioning the sun behind Michael.
These elements combined with color correction and
cropping in post helped us give the shot more of a
cinematic feel. Michael got his workout pretty early
in the day.
JL: At one point, I held the camera closely
to my chest, and embedded myself into the truck so I
would not toss around. We shot this scene several
times to ensure the best aesthetic moment. We could
not afford to lose this one-time opportunity of a
single day.
FR:
What were some of your favorite films from this
year’s Austin Film Race?
JL: I personally enjoyed the production
quality of
FaceSpace, the editing and cinematography were
great.
TC: I particularly enjoyed
L'Invitation Noir. I thought it was a clever
take on the theme of an invitation and I loved the
ending. A great job with the set design as well.
Backside Story was another favorite of mine. The
filmmakers kept up a great level of energy and the
actors were fantastic.
FR:
What advice would
you give to someone that wants to get involved in
the Austin independent filmmaking scene?
TC: This is the first year in Austin for
Jonathan and I, so we still feel like we are
somewhat learning the ropes. My advice based on
experience so far has been to just get out and sign
up for everything. We are blessed with a very active
film community ranging from local Austin
productions, to SXSW, to a ton of film competitions-
filmmakers have no excuse to not be involved.
JL: Always treat every aspect of the
filmmaking process equally, and if something does
not feel right within the film, don’t let it be, not
even the tiniest bit, a better film will come out of
meticulous effort.
FR:
Do you have any
ongoing or upcoming projects you would like to
share?
TC: As beginning film students, it seems like
a disproportionate amount of time goes to schoolwork
rather than what which we actually love. With that
said, Jonathan and I are in the early talking stages
of a film to be completed in more than 24 hours.
JL: Schoolwork has been preventing us to make
more films, but you’ll definitely see new short
films in the new year. However, I do have an
on-going portfolio of tiny videos on my site:
www.purplepleione.com
FR:
Will you be back to defend your title in 2009?
TC: If I had been asked that in the days
following the submission deadline, I would have
passionately said no. Now, it looks much more
hopeful.
JL: Probably, and with a new team name.
CREDITS for “Voice from a Distant
Past”
Written and Directed by - Jonathan López and Tim
Chew
Man/Radio Announcer - Michael V.
Girl in the Pictures/Radio Announcer - Elizabeth
Walker
Grip - Brain Jeon
Music - Derek Rogers |
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