From writer/director Marion Kerr comes the indie web series Misdirected. Currently debuting its first season, the show centers on Freddie (Lauren Mora) who’s struggling with a recent diagnosis of amnesia. Now spit back in to a world she can’t remember, her friends Josh (John T. Woods), Gerald (Ross Philips) and Cameron (Joel Kelley Dauten) try everything they can to help Freddie remember the life she once had or the life they think she ought to have…
The cleverly edited episodes by Emily Chiu paint a comedic canvas that are engaging and fun to watch. Short. Sweet. And they keep you wondering – a perfect mix for the I-don’t-have-time-for-this web watchers. While the 9 episodes were visually captured by cinematographer Alex Simon, it was Michael Flowe who found himself recording the five days of production audio. He later sat in the post mixing chair to design the sound for the project.
Michael Flowe on set
The Atlanta, Georgia native talked to us about starting out, being a one-man-band, and what it was like to re-record his own production audio work.
What attracted you to putting on a pair of headphones and recording sound? I studied sound design in college and our first project was to create an audio scene of all of our own captured sounds. This experience really put a spark in me that sound can create and mold the way you see a picture. After that, I was working as a sound designer at a production house in Atlanta. Their production sound mixer moved so they asked me to fill in – which began my production sound career.
What is it about sound and being part of the storytelling that you like the most? I enjoy collaborating with people who enjoy the creative process and understand that we all need each other to make a greater product of art.
With smaller budgeted projects like Misdirected, what do you look for so you can say yes to a project? Normally, I always look to the people that are involved in the project. I have a pretty strong discernment when it comes to people and character off of the first meeting, so I use this to help me decipher which projects are worth taking a risk for.
Get comfortable, order a pint of ale, and enjoy the The World’s End. Lens’d by cinematographer, Bill Pope, ASC, this latest film is from collaborative minds of Edgar Wright, Simon Pegg, and Nick Frost - the same awesome guys who smacked us withShaun of the Dead and Hot Fuzz. TWE is known by fans as the closing “Blood and Ice Cream” or “Three Flavors Cornetto” trilogy, since each film shares a scene where the characters purchase an ice cream cone in the midst of a dangerous plot sequence.
The scoop to The World’s End places Gary King (Simon Pegg) as a burnt out 40-year-old desperate to recreate the debauchery of his youth. Twenty years ago, he and his four buddies, Andy (Nick Frost), Steven (Paddy Considine), Oliver (Martin Freeman), and Peter (Eddie Marsan), attempted a legendary pub crawl in their hometown of Newton Haven. The goal was to finish one pint of ale at 12 different locations in a single night, ending at a pub called “The World’s End” – but it never happened.
Gary’s now trying to round up the gang to give the pub crawl another go. With most of his friends living comfortably with families and careers, they’re reluctant to come along. But who can really resist the thought of endless beer? No one. The guys end up making the pilgrimage back home to finish the “Golden Mile” of drunken debauchery once and for all… or will they?
From their first round of pints, a mystery begins to unfold. The locals, once very friendly, are now very unwelcoming. As the night goes on, it becomes more evident that Newton Haven has fallen victim to a: Hostile. Alien. Takeover. Wait, what? Yep, now we know – aliens like beer and taking over shit.
Edited by Paul Machliss and effects being supervised by Frazer Churchill (Scott Pilgrim vs the World) and the team over at Double Negative, the visual escalate to a new level of badass and the story becomes not just about reaching “The World’s End,” but about preventing the end of the world.
From the makers of the Ninja, Ninja-2, and 3 Ninjas Kick Back (kidding) comes their latest creation, the Samurai Blade. Jeromy Young has an inventive mind, and to us, Atomos has put together a formidable portable recorder that shouldn’t go unnoticed.
The 325dpi (1280 x 720) 5″ touchscreen monitor is super bright and its menu system is easy to navigate. The Blade has the ability to record 10-bit 4:2:2 ProRes or DNxHD in S-Log or C-Log. Focus assist, zebra, false color monitoring, trigger REC/STOP functions for the major cameras and ability to record timecode from the camera is just the tip. This HD-SDI camera mountable recorder even has in menu editing so you can set in and outs on clips on the fly. Your media is recorded on either 2.5″ HDD or SSD drives and are hot swappable.
As for audio, you can monitor up to 12 channels of digital and 2 of analog. There’s also a line out and a headphone jack.
The F8 LED Fresnel is definitely next-gen lighting. I remember picking up my first Fresnel a long, long time ago and thinking to myself, I need to hit the gym. I guess Zylight looked at it another way. This fixture is very lightweight and compact. It carries a 5″ width footprint and power is supplied through battery or AC.
It’s a fully dimmable LED light with both wireless and DMX control. The fixture comes in either 3200K or 5600K color temperatures, and can be used with a yoke or handheld system.
The MS-DSLR2 Messener bag is designed to carry your camera, lenses, memory cards and even your iPad. The main compartment can fit a camera and a few lenses with an additional storage area for up to 3 lenses. Made from padded, 1000-denier Cordura material, the bag is durable and light enough to carry without stress. The font of the case there is a fold-out flap to store a tablet that has a built-in anti-scratch screen protector.
In these two videos, we take a look at light fixtures by Fiilex. The Q500 and the P180.The P180 is a dimmable, color tunable ENG light that is built for travel and portable lighting. Approximately the size of a soda can, this LED light if flicker free at any frame rate, tunable from 3000 – 5600k, and is compatible with broadcast batteries.
As for the Q500, it is also dimmable and tunable to 3000 – 5600K and is designed more for studio use. There is also a control knob for hue control (green/magenta) for fine tuning of the color spectrum.
Both light fixtures run cool to the touch, are lightweight and low power consumption. Both units should be shipping soon.