A Filmmaking Blog | VashiVisuals Blog
In late 2013, David Rimawi (co-founder of The Asylum) told me that they were making Sharknado 2. I responded by telling him I was going to edit it. A very cocky answer indeed…but I really wanted to cut Sharknado 2…so I rolled the dice. I never brought it up again and 3 months later he called me and offered me the job. I accepted.
JAWS was the first film I ever saw. It was at a drive-in theater with my parents in the back of our convertible VW bug. The last 30 minutes, I hid in the backseat under a blanket…scared shitless. Since then I have been obsessed and petrified with sharks. Since beginning to edit film at the age of 13, I’ve always wanted to edit a shark movie. Well…I got my wish and would love to share the process of how I edited Sharknado 2 with you. Read more…
SHARKNADO 2: The Second One really amplified the creative ways in which both sharks and humans could be killed in a movie. The original SHARKNADO was no slouch at gruesome deaths but there was room for improvement. Almost 4 million people watched the sequel on July 30th. The next day it aired in 86 countries around the world. The numbers are not in but I’m sure that The Asylum and SyFy shared their special brand of film with millions more…
In the Super Death Cut below…I’ve condensed every shark and human death into a 3 minute blood orgy that serves no other purpose than to put a smile on your face and a tongue in your cheek. Enjoy!
Next week I will be posting an in-depth breakdown showcasing the edit and post production workflow I employed in cutting SHARKNADO 2. Check back then for an exclusive behind the scenes look into how it was done!
Until next time…
HEADLOCK is the futuristic spy thriller film I’m editing right now.
Written and directed by Mark Polish, it stars: Dianna Agron, Andy Garcia, Justin Bartha, James Frain, D.W. Moffett, Johnny Pemberton, Patrick Bauchau and Mark Polish. HEADLOCK will be invading your brain in 2015.
Editors don’t often spend too much time on set. But I needed some sunshine and to spend time with my filmmaking family. I asked Dianna to pose for this photo during top secret filming in Lancaster, California. It’s 105 degrees Fahrenheit and yet Dianna and her custom Cadillac look quite cool.
Excited to share the filmmaking journey of HEADLOCK with you all. I will be constantly updating my blog with new information.
Tonight is the world premiere of SHARKNADO 2: The Second One. I spent 6 harrowing and insane weeks editing this beast. Tonight…I get to share the final results of all our hard work. Love it or hate it…SHARKNADO 2 is coming! There will be BLOOD! Here’s a sneak peek at the first previs animatic video I received during editorial. On the left side is the previs and on the right side the final completed visual effect as it will look in the film.
There are over 300 visuals effect shots in SHARKNADO 2. As an editor it’s always nice to have an animatic to judge the timing and length of the shot and how it plays with the shots before and after it. Tonight is the Premiere on the SyFy network. Tomorrow it will air in 86 countries around the world.
IT’S A GLOBAL SHARKNADO!!!
Until next time…
FURY is coming. The raw and gritty WWII film directed by David Ayer that stars Brad Pitt will be released November 14, 2014. CREATE Advertising cut this trailer that sets the tone for one of the most anticipated films of 2014.
They used Adobe Premiere Pro CC to cut this spot and all the trailers they edit in their Culver City offices. Here’s the view from their client screening room on their 90″ plasma display. Wicked fucking epic experience to sit in and watch them work. By the way…it’s 25 feet from the edit station to the screen. BOOM!
Until next time…
The last time I hung out with Kiefer Sutherland we were playing hockey together in Los Angeles. He’s the most gracious and sensitive man in real life…but on the screen he is Jack Bauer…the ruthless man of principle who does whatever it takes to get things done. Tonight was the series finale of 24 and this epic TV show went out in a blaze of glory. Jack Bauer exacted ultimate revenge upon an evil foe then sacrificed himself to save a true friend. It was an emotional and logically satisfying end to a ground-breaking TV series.
The rampage that Jack Bauer carries out in the last few minutes of 24:LAD is monumental. Fueled by the loss of his true love…he goes ballistic. It reminded me of playing QUAKE and going shit house crazy upon getting the Quad Damage Power Up.
I decided to merge the worlds of Cinema and Video Games into this 2 minute video. I’m sure that soon…this level of realism will be commonplace and executable by everyone with a gaming device. It’s the years of investment into the characters and story that makes this rampage extra special as 24 exits stage right and into the pantheon of exceptional television history. It’s been a hell of a ride…
Until next time…
John Carpenter’s THE THING is one of my favorite movies. The story, characters, score, location and practical visual effects are some of the most memorable in film history. In this classic horror film, there are several scenes that just DESTROYED me and left me cinematically scarred as a child. One scene in particular was so spectacular that just by saying ‘Chest-Teeth” or “Spider-Head” leaves people shaking their heads in disbelief and sighing loudly. The character of Palmer in the film sums it up nicely with…”You gotta be fuckin’ kidding.”
The visuals of both the desolate Antarctic and the ever-morphing alien creatures in THE THING were envisioned long before the movie was shot. Extensive storyboards were drawn by artist Michael Ploog and Mentor Huebner so that all the departments of the production were on the same page in their preparation for the shoot. This is nothing new…but the similarity between the storyboards and the final imagery shot by legendary DP Dean Cundey is staggering. Storyboards are often only a guide, but in this film they were so specifically rendered that they became gospel. The detail and artistry of Ploog’s work up front, allowed the crew to have clear and defined goals on those frigid shooting days in both Alaska and Canada. Read more…
Today, Apple released a new video codec into the filmmaking post production world. It’s called ProRes 4444 XQ and it’s a mother-scratching beast.
At 4K (4096 x 2160) it registers 1697 Mbps which equals 764 GB/hour of 4K video footage. A single camera large Hollywood production can often shoot 100 hours of footage. That’s 76 TB of 4K ProRes 4444 XQ footage.
The upcoming David Fincher film GONE GIRL crept up on 500 hours of raw footage during its multi camera 6K RED Dragon production. That equates to roughly 315 TB of RED 6K (4:1) footage. Shit just got real for data management and post production workflows. It’s time to embrace the madness! Read more…
John Carpenter’s THE THING came out 32 years ago today. It is an epic horror film that has stood the test of time and plays as well today as when it first screened in 1982. Beautifully shot in Anamorphic by Dean Cundey, it completely captures the claustrophobic environment that encased the scientists in their Antarctic station. What is not often discussed are the massive landscapes and perfectly composed wide shots that are sprinkled throughout the film.
Most of the photo essays that pay tribute to THE THING focus on the amazing creature design by Rob Bottin that set new standards for practical effects. I want to focus on 44 of my favorite Anamorphic shots that are rarely remembered but immediately recognizable and indelible to creating the atmosphere and impact of the horror that terrorized the characters and the audience. Read more…