The One Thing Film Students Need

For the past decade, I’ve spent my working life in two areas: education and film.

I’ve got a lot of love for both. With that love, however, comes the knowledge that both areas have some issues. Not just the big ones that make headlines, but smaller issues which undermine all the good stuff.

In the education sector, there’s a real issue with talented students getting the work experience and the breaks that they deserve. The focus on practical experience (for courses in the FE sector in particular) mandates that most students on Film & TV production courses undertake meaningful work experience as part of their qualification. The government has recently doubled-down on this aspect of 16-19 education, with the Chancellor referring to ‘high quality industry work placements’ as being a requirement for technical routes rolled out from 2019/20. Initial indications are that the duration of these placements will be significantly longer than those required already, on a basis of “no work placement, no certificate”.

This would be a great idea, of course, if there were enough good placements available to fulfil the requirement.

The risk here, of course, is that the definition of a ‘high quality work placement’ gets watered down to meet the tick-box requirement, and students who are looking to forge careers as directors of photography on major feature films end up working unpaid in high street photography shops or whatever in order to tick the box. Everybody loses in that equation (well, except the high street shop, I guess), and whether it’s a meaningful experience from which the student genuinely benefits is certainly open to discussion.

There’s also a largely unspoken gender issue at play here. In the majority of graduating classes I can think of over recent years, I’d say that over 50% (and in some cases more like 70% or so) of the very top performing students are female. I’ve been in education long enough to have had the pleasure of seeing some of my former students go on to forge very successful careers in the media, but the vast majority of students who seem to ‘get the break’ after graduating are, for whatever reason, male.

So, the driving need here would seem to be for work experience placements to be a genuine beneficial professional experience (resulting in a recognisable professional screen credit) in order for students to get a foot in the door of the industry, and for those placements to be allocated based on skill and capability rather than any other factor.

Elsewhere, over in the UK film industry itself, there’s another issue in a similar area.

Since the advent of digital filmmaking in general, films as a finished product have been devalued in the marketplace. The middle-tier of independent filmmaking has largely collapsed, leaving only no-budget movies put together on favours and pizza (for which very few of those involved ever end up seeing a paycheque) and massive budget blockbusters of £100 million or more which are incredibly risk-averse and usually based on existing intellectual properties so as to guarantee an audience of a certain size. There are exceptions, of course, but the bread-and-butter mid-level projects upon which experienced professionals relied to pay the rent, largely, no longer exist.

One of our central ideas in setting up Sun Rocket has been to tackle both of these issues. Sun Rocket Films works by having heads of department (experienced specialists paid at standard industry rates) overseeing departments featuring significant numbers of high-performing students, who work on the project to fulfil the mandatory work experience element of their Film & TV production courses. Rather than working unpaid in a retail shop which has precious little connection to their career goals, students get a genuine experience of their chosen specialism (be that cinematography, design, sound, post-production or whatever). The experienced professionals at the head of each department get to do the job they love whilst whilst getting paid a realistic rate for their hard work and expertise (which seems to happen increasingly rarely, sadly).

Hopefully, a few years later down the line, we’d be looking to see those former work experience students coming back as heads of department themselves. It’s a sustainable model for creating strong genre movies with high production values in a changing marketplace.

We’re trying to make things better. We’re genuinely looking for a set-up in which everybody wins.

As someone who loves both education and the film industry, I can’t wait to get started.

FOOTNOTE: Sun Rocket Films are holding a presentation in Southend-on-Sea on September 27th for those interested in film production, business professionals or those looking for tax-efficient investments. Places can be reserved via:

https://www.eventbrite.co.uk/e/film-as-investment-tickets-37731400635

For more information about Sun Rocket Films, please visit sunrocketfilms.com and follow us on Twitter @sunrocketfilms

The Tale of Hellbride II

Our movie Hellbride has been seen by more people than any other Jinx movie, (with the possible exception of TrashHouse, which was torrented insanely upon DVD release in 2006, but figures for that are really hard to accurately find). It was released on DVD on both sides of the Atlantic, with the UK release getting piled high and sold cheap in HMVs across the UK for at least one Halloween special promotion. It was, at one stage, uploaded to YouTube as part of a side deal by a company we’d licenced it to, and racked up in excess of 180,000 views before their licence ran out and we politely asked them to take it down (which they did). On Amazon streaming, it’s been consistently performing ever since it went up last summer. Even the version on Vimeo has outsold our other movies.

Lots and lots of people have seen Hellbride.

The cast of Hellbride - Horror Comedy

That doesn’t, of course, mean we’ve made money from it. Hellbride is unlikely to ever make it into the black as far as cash goes: as far as budget is concerned, it cost ten times as much as The Devil’s Music did. As far as income is concerned, we never saw a single penny of our investment back (for all the usual depressing reasons) right up until the point we got the rights back last summer and stuck it up onto Amazon ourselves. Since then, our decade-old movie has brought in a reliable trickle of cash (but certainly nowhere near the amount we spent making it in the first place)

Regardless, I’m still aware of the fact that a sequel might be a different proposition as far as being a worthwhile investment goes. The way the industry works has moved on a great deal from when we signed Hellbride with a distributor around the beginning of 2008. Indies have got an awful lot more control over their movies and their are an awful lot more revenue streams that are accessible without going through a third party middleman. If, say, half of the people who’ve watched Hellbride in one format or another over the last few years would return to watch a sequel via legitimate channels we could access directly ourselves (Amazon streaming, Vimeo, etc.), then a sequel could make its money back pretty easily without leaving us to remortgage our homes.

Bride Nicole Meadows, bloodied but unbowed

I started pondering options for a sequel back when the film first hit the shelves (and before, of course, we realised that we weren’t actually going to see any revenue whatsoever from it for the best part of a decade). Back then, I scribbled together a treatment for a movie called Hellbride 1985 , which was a retro prequel focusing on the cursed ring’s previous appearance in everyone’s favourite decade. Of course, the 80s are pretty damn hot right now, partly as a result of magnificent shows like Stranger Things. But since the idea resurfaced in my brain last summer, (at the point that Hellbride finally broke the ‘zero’ in the Jinx Media incoming funds column), I started thinking about the sequel rather differently. This was partly due to the one-off audio epilogue called The Ring of Josephine Stewart  that we’d recorded with Cy Henty a couple of years previously. I started thinking about a straight sequel rather than a retro prequel.

HELLBRIDE POSTER FINAL s

And then I wrote a treatment about two kids called Danny and Bronwyn, who were getting married. Nice kids. You’ll like them.

Well, one of them.

I started thinking about how we could learn from the mistakes we made with Hellbride and make something leaner, bloodier and funnier. I started to warm to the idea quite a lot. I pondered whether it might be feasible to run a Kickstarter for the eventual (inevitable) wedding massacre where, as a perk, people could turn up as a guest on the final day of filming. Get killed onscreen and stick around for a wrap party that evening with all the cast and crew. Run that final day almost like an actual wedding, with guest footage from cameraphones and whatnot getting edited into the final movie.

And I came up with a killer of a final scene, which I ended up writing out in full before I’d written another word of the script.

Thing is, we’re at a point where we have a lot of projects floating around right now. We’ve got bigger budget scripts that I work on for third parties, and a couple of smaller scale ones that we’re perilously close to getting decent funding for. I’ve no idea whether Hellbride II (or Curse of the Hellbride as I sometimes cheerfully call it) will make it in front of the cameras.

But I can’t quite stop thinking about it.

Go and watch Hellbride a few more times, and maybe that’ll twist my arm.

 

Filming in a Haunted Asylum

I’m not a believer in the supernatural.

I’m a rational kind of guy. I love writing about ghosts, demons and the possibilities of experiences beyond what we comprehend, but the blunt truth is that I don’t believe in any of it. I’m not a guy to get rattled by dark corridors or abandoned buildings.

With that in mind, I want to tell you a few things about our 2006 shoot for the movie KillerKiller.

We shot in the then long-disused building then known as Warley Hospital. Nowadays, the site is a posh housing development known as The Galleries.

Before it was Warley Hospital, it was known as Brentwood Mental Hospital. Before that, back in 1853 when the building first opened its doors, it was known as Essex County Lunatic Asylum.

Attitudes towards mental illness in 1853 weren’t, of course, quite as enlightened as we’d like to think they are nowadays. “Treatments” included lobotomies and electro-convulsive therapy. Not only that, but ideas of who actually constituted a ‘mentally ill’ person were flexible enough to include an awful lot of people that society would rather just keep out of sight; everyone from unwed mothers to soldiers suffering from PTSD.

So places like Warley ended up having some fairly horrible things happen in them. Over a century and a half, even the recorded incidents make for grim reading. God knows how many worse things went on that nobody will ever know about. If ever there’s going to be a building to store up bad vibes, it’s going to be a place like that.

This wasn’t really something I thought about when I locked down the location, I’m ashamed to say. I was far more concerned about budget; the fee for shooting in the building was pretty huge for a film shooting on such a tiny budget. I was worried about how we were going to afford the location for long enough to get a huge amount of footage in the can. In the end, we did this with a mixture of good planning and dumb luck; we shot with available light rather than lighting set-ups, and the building was so cinematic anyway that the footage ended up looking pretty great now matter how quickly it was shot. We shifted complex ‘kill’ sequences to non-Warley locations where we could take our time a little more and somehow got everything we wanted in the can over a mere three days of filming at the former hospital.

By the end of those three days, however, all those things that I’d never even considered were beginning to get under my skin.

By the end of those three days, quite frankly, I was more than happy to wave Warley goodbye.

Our wonderful photographer Debbie Attwell discovered dozens of torn-off butterfly wings inserted between the bricks in the chapel. We would regularly find scrawled messages or carefully folded pieces of paper with troubling pictures on them tucked away behind radiators or whatever. The phrase ‘I Am Not Alone’ gouged into one of the walls (which can be seen in the first montage of the hospital in the finished film) wasn’t added by an enterprising member of our production crew: it was already there.

And then there was the incident with the footsteps.

KK4small

Like I said, not a superstitious guy, so I’ll stick to the facts.

We were about to call action on a scene, when we heard footsteps in the next corridor over. These were loud enough that all of the crew heard them, and loud enough for our sound recordist to shake his head as a ‘no go’. They got louder until they stopped abruptly on the other side of the door from the room in which we were filming. Irritated, I probably called out something like “You might as well come through now” and we waited.

My lovely DoP Al Ronald went to investigate when nobody came through. As I’m sure you can guess, there was nobody there.

It sounds so Scooby Doo and hokey. It sounds ridiculous. But that’s what happened.

KillerKiller – A Look Back Behind the Scenes from jinxmedia on Vimeo.

I also became increasingly convinced that I could hear whispering voices in the corridors of the building. This was probably an auditory trick caused by the wind whistling through the cracks, but, goddammit, once I thought I heard panting about a foot away from my ear. Enough to make me spin around like I’d been stung.

I’m not even sure what these are examples of. Weird acoustics in an old building? An over-active imagination triggered by the fact that we were shooting a gory horror movie in a location that had seen an awful lot of unhappiness?

Soon after the film came out, a few enthusiastic souls started suggesting that they could see ‘orbs’ in the final film (specifically in the scene starting 31:43 on the special edition, for those interested), which made me chuckle a little because I’m pretty goddamn sure that those floating orbs are dust kicked up by the chair that gets thrown against the wall in that scene. On the other hand, since I’m the dude swearing blind that I heard footsteps with no source that vanished into nowhere, who the hell am I to judge what others perceive?

After three days I was unreasonably happy to be leaving the most cinematic location I’ve ever filmed in. I still don’t believe in ghosts. I still believe in science over superstition, logic over legend.

But if I never hear a panting sound a foot away from my ear again for as long as I live, that’ll be just fine.

– Pat Higgins

 

KillerKiller: The Special Edition is available NOW to rent and purchase on VOD. Click through the trailer below.

KillerKiller – The Special Edition (2014) from jinxmedia on Vimeo.

TrashHouse: The Uncensored Truth

I was born in 1974. Movies were always my love and passion, ever since seeing Star Wars on the big screen on opening night at the Southend Odeon. It was December 1977, and I was three years old. In that same year, my amazing mum also took me to see the rerelease of 20,000 Leagues Under the Sea, which I talked about in this blog entry over here. We also went to see Bambi, because, hey, she was a dutiful mum and that’s the drill. It was the sci-fi stuff and the rubber monsters that stuck with me, though.

From that point, I knew I wanted to make movies. I think I was muddled about the process for a few years; early on, I thought I wanted to act but this was because I believed films were made in real time. I knew it was all fake, but I think I thought that Sam J Jones would receive the Flash Gordon script, memorise it and then turn up at the studio. He’d spend 90 minutes running away from explosions, snogging Melody Anderson and wearing a t-shirt with his own name on it, and then he’d just bask in the glory when the flick got released.

As soon as I realised this wasn’t the case, I knew I wanted to be a film director.

Life gets in the way, of course. After university I ended up in a variety of jobs, from cinema usher through to video shop assistant and then through to being a customer services trainer in an internet company. I punched the clock, but I knew these weren’t the things I wanted to do. I never stopped thinking about directing movies.

Somewhere along the way, I started doing stand-up comedy. Because this was the late nineties to early noughties we’re talking about, no clips of this phenomenon exist online. If the Kickstarter project hits its total, I’ll post one. Anyway, the stand-up part of my life collided with the internet company part of my life, and I set up Jinx Media in 2003 as a company dedicated to delivering short stand-up clips to mobile phones.

The window during which this was a viable idea was incredibly short. One day, it seemed like delivering video to phones was just too hard from a technical point of view. The blink of an eye later, phones could get onto the web and a custom delivery system (let alone one that charged) looked utterly pointless. The idea missed its window, and I was left with a company with no purpose.

And we had a few grand in the bank.

Suddenly, it looked like the time had come to make the movie I’d dreamed of for so long.

Why am I telling you all this? Well, I’m telling you by way of context because of the video that awaits you at the end of this blog entry.

The short version: in 2004, (as you probably know if you’re reading this), I made a movie.

We had a small budget, very little practical experience and no connections. I advertised for cast and crew on the internet. I hired a warehouse, we built sets out of wood and I filmed a ludicrously ambitious script on a mini DV camcorder.

The movie was called Trashhouse.

TrashHouse_DVD

It ended up getting a wide DVD release in the UK. I had the joy of walking into the branch of Blockbuster that I had once worked in, and seeing multiple copies on the shelf.

Kim Newman in Empire magazine said it had ‘Clever ideas but dodgy tech credits’.

While we went about our insane quest, we let filmmaker Mike Borland film everything we did. A cut-down version of Mike’s documentary ended up on the DVD.

What follows, for the first time, is the full uncensored version of that behind-the-scenes documentary.

It’s filmmaking 2004 style; no DSLRs, no video blogs because such things just didn’t exist. No YouTube, no Facebook. Editing footage at home was only just becoming possible. I cut the whole goddamn film on a PC with a 20 Gig hard drive.

There’s a lot of love going on here. For better or worse, this was where it started.

Love,
Pat
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Guest Blogger: Avri Klemer on Spookin’ 2

Pat’s movies are fun.

This does not surprise me in the least, because Pat is fun. Pat and I go way back, back to a time when I had short hair. A time when we would stand around the playground discussing the previous night’s Moonlighting or Max Headroom episode. When we would watch cheesy movies (often starring Judge Reinhold) and play 64k computer games to review in our own photocopied magazine that we sold to our classmates.

When, one afternoon in our preteens, we made a movie.

Spookin’ 2 – written / produced / directed by Patch Higgins (as he was known then) – remains my one and only screen credit. It has never appeared on my CV, never been seen by anyone beyond its stars (all three of us) and our immediate family. But, man, was it fun.

If there was a Spookin’ Part 1, I never saw it, but Spookin’ 2 was filmed on a big old handheld camcorder – I don’t even recall if it held full size video cassettes, or fancy-shmancy minis. The plot is a thing long since lost to drinking, dancing and age. Something about one of us being a ghost trying to scare the others out of the house.

But what I do remember, quite vividly, is the free and easy way we shot what we laughingly called the special effects. There was to be no post production, no editing, just whatever Pat captured behind the camera. In my adult head I hear him yelling “Perfect!” after every take, but I’m sure that didn’t actually happen. When he wanted to film me “phasing” through a wall, this is how it went.

Pat had me run full speed at the wall.. He hit PAUSE on the camera, then waved me out of shot. Then he hit RECORD again. We’d move into the next room where he would shoot the blank wall, press PAUSE again, wave me back into shot and I’d run away from the wall when he yelled “Action”.

The final product looked exactly as good as you imagine it would, but the thing anyone could see was how much fun we were having.

Pat has (somewhat) bigger budgets these days and (waaaaay) better equipment at his disposal. He’s also learned more than a little about his craft. With each passing movie he makes, the plots become tighter, the effects more impressive, with everything in service to the great god “storytelling”.

Not to mention that the quality of performers at his disposal are light years beyond whatever I could conjure up for the camera, even when I could remember the one liners.

What is undeniably the same however, what is visible on the screen that has not changed, is how much fun his actors are having.

I want to see more actors having fun with Pat’s words, his ideas, his sensibilities. Take a look at the recently launched Kickstarter for his new movie, Evil Apps. Throw a couple of pounds, dollars, euros at it if you agree it looks like fun. If it’s not your thing, please share it with those you think might appreciate it.

I don’t want to see another big budget, 3D, IMAX blockbuster in the movie theaters.

I want to see something fun.

—–

Avri Klemer is a published boardgame designer, an unpublished novelist, a singer and a nice guy.
His new blog is an exploration of “1000 Recordings To Hear Before You Die.”
He and Pat have been bouncing pop culture off of each other since 1985.

—–

PS. Pat here again. We’ve never had a guest blogger before, and I’d like to thank Avri for writing for us. I’m so grateful that I’m not even going to mention that he was actually in Spookin’ 1 as well, even if he can’t remember it. I tried to find a copy to pull screengrabs, but haven’t had any luck yet. I’ll keep looking.

 

Werewolves, Cheerleaders and Chainsaws

It’s here! It’s free! It’s NSFW (strong language, gore & nudity)! Full-length video about low budget horror filmmaking! Full of useful information for budding filmmakers about every step of the process, plus rare clips from Jinx movies (including behind-the-scenes stuff). Filmed live at Horror-on-Sea in January 2013.

Filmmaking is now a Democracy. Maybe we need more obstacles.

As I’ve mentioned before, there’s pretty much only one reason that my shot-on-miniDV first feature ended up getting decent commercial distribution (which, in turn, led to me being considered a ‘proper’ filmmaker albeit one on a very, very low rung of the ladder).

I climbed an obstacle.

Cutting footage on a home PC was tough at the beginning of the century. It wasn’t something that the average home PC could do straight out of the box; it required a souped-up kit, capture cards and software that certainly wasn’t standard issue. It cost money, time and patience.

 

 

I cut Trashhouse on a home PC with a 20GB hard drive, (which at the time was a ridiculously huge amount of storage space and cost me a whole load of money). The flick is completely a product of its production context; the average film student watching the movie now would be dumbstruck at how amateurish certain elements of it look. From a technical point of view it’s all over the place; the grade is inconsistent, the compositing is shocking and there are CGI elements that look laughably poor in 2013 (and didn’t exactly look brilliant by 2004). It doesn’t look like the commercially released indies of 2013, which are within spitting distance of Hollywood in terms of visual qualities and technical expertise. But, in 2004, it didn’t really have to. The fact that it existed at all was enough to at least get a few potential distributors to watch it; there were only a tiny number of indie features getting produced in the UK each year.

There are some good things about TrashHouse, which ultimately meant that I got the chance to keep making films. These good things are the stuff aside from the technical stuff. It’s got a pretty decent script and some interesting ideas in it. If people go to it looking for a mainstream horror flick with high production values they’ll be bitterly disappointed, but if they go to it looking for a lo-fi oddity they’ll hopefully still find stuff to enjoy.

It’s a product of the obstacles I had to climb to get it made, and it only found its way onto the shelves of major stores because I had to climb those obstacles.

At the risk of sounding all “Eeh, in my day it were all fields around here”, which is never a good look, (especially when the day you’re talking about was only about a decade ago), I think what the new generation of filmmakers need more than anything else is some obstacles.  Otherwise every brave new voice is competing with EVERYONE who can pick up a camera and produce something that looks perfectly great without really putting in any particular effort. The democratisation of film production comes at a price; if you give everyone a voice, you fast discover that an awful lot of people have got fuck all to say but they keep shouting anyway. The voices that would otherwise have immediately stood out get swept away on the tide of mediocrity. Bark bark bark.

At the time that clerks hit, Kevin Smith was an original voice. The reason that people heard him was because (can you guess?) his movie had to climb huge obstacles to get made. Shooting a movie wasn’t something that guys who worked in convenience stores could easily do, and Smith’s determination just to get the bastard made meant that at least a couple of people watched his flick out of curiosity. The fact that it existed meant that at least a few sets of eyes would be interested in watching it. As it happened, that was enough to set the ball in motion and make sure that the original voice got heard.

 

Pat outside the Quick Stop, where Kevin Smith shot his debut.
Pat outside the Quick Stop, where Kevin Smith shot his debut.

 

Nowadays, there are a hell of a lot of guys who work in convenience stores who are making movies. Some of those movies look close to professional. Very few of them are an original voice waiting to be heard, and my worry is that the ones that are have no way whatsoever of standing out. The average member of the public isn’t just going to keep watching no-budget movies looking for a diamond in the rough; they’ll decide they don’t like ‘them’ as if ‘they’ were a homogenous mass and go straight back to watching Hollywood product. There is nothing inherently interesting about making a 90 minute movie for no money, because it’s literally something that an eight year-old can do.

In the past, there were potential gems that never got made.

Now, they’re getting made and nobody’s actually watching them.

In a way, I think that’s worse.

PS. Despite all this, I still encourage people to go out and shoot movies. Go figure. My hour-long live show Werewolves, Cheerleaders & Chainsaws is full of advice about how and why to do it. It’s a bit NSFW (gore, nudity and naughty words) and is embedded below.

Do we need a Champion?

I’ve been trying a bit of a smartphone detox lately, which makes a lot of sense given that we’re deeply involved in the development process for our smartphone horror Evil Apps. I’ve been attempting to stick the iPhone in a box as soon as I’m home, and to only use it when out and about. This is basically a strategy to stop the goddamn thing sucking every single second of unallocated attention out of my life; I realised that all the little pockets of time that I used to spend thinking (from waiting for a kettle to boil through to taking a crap) had become pockets of time during which I just plunged straight back into twitter/facebook/whatever and I never got the chance to just let my mind wander. If you never let your mind wander, the thing just stays wherever you left it and you never get any new ideas. So the phone goes in the box and I give my brain some breathing space.

A direct result of this is I’ve found myself grabbing books off the shelf, just to dip into them for a few minutes, for the first time in years. Over the weekend, the one I happened to grab was The Greatest Sci-Fi Movies Never Made. It’s a cracking read, and well worth dipping back into. I was reacquainting myself with the story of various failed attempts to film I Am Legend, when I stumbled across a phrase that stuck in my mind a little bit.

The film only finally made its way to the screen because it found a champion (in that case, Will Smith).

The first thing this reminded me of was Harvey Keitel getting hold of the script for Reservoir Dogs, and that being the key to raising the $1.5M the production needed. We’ve never worked that way around. We’ve always raised our budget and then sorted out our cast on that basis. As I mentioned in the last post (well, I hinted it, but I was hardly subtle) we’re currently planning on raising at least part of the budget for Evil Apps through Kickstarter and making sure that it’s the most kick-ass Kickstarter campaign we can possibly put together for you guys. The Will Smith line, however, made me wonder whether changing the order in which we do things would change the nature of the campaign.

EVIL APPS

Evil Apps has two fantastic lead roles and a whole bunch of meaty supporting roles too. We’ve approached the budgeting on the basis that we’ll cast newcomers and people with a bit of genre experience, but it crossed my mind over the weekend that doing this in reverse might be a valid approach too. If we can raise £x amount of money for a movie starring talented people with fairly low-profiles, might we not be able to raise £y amount of money to do the movie in a slightly bigger fashion if we had a ‘name’ attached? We’ve got a decent enough track record at this game now. We’ve won some strong awards, we’ve had some great reviews, we’ve proven time and time again that we can bring in genre movies on time and under budget. I’m tempted to even boast once again that Penny Dreadful in SFX magazine called me “The Tarantino of budget gore flicks, for both style and dialogue”, but that would probably be a bit guache so I won’t. If a higher profile performer than we’ve previously worked with decided that they rather fancied taking a lead role in a cracking indie rather than a supporting role in a tepid larger movie, mightn’t that change the landscape of what we’re planning to do?

I’m really just thinking aloud in the form of a blog post at this point. I haven’t formulated a game plan or even decided if this is genuinely something that we’d want to do. After all, with a higher profile performer a lot of other considerations with the production might change too. But it’s got to be worth at least considering, which is something we’d never done before. After all, money isn’t the only motivating factor for a performer contemplating a role, and our script is pretty goddamn cool. Put it side-by-side with the script to most British movies scheduled to go into production any time soon, and I’m quietly confident that ours can hold its head up high as sharper, funnier and generally more interesting.

In other words, if you’re the sort of person to have people, have your people talk to my people. Except I’m not the sort of person to have people, so I guess your people will just have to talk to me instead.

PS. Needless to say, I’m going to use the end of this blog post to plug my live show again. It’s packed full of anecdotes and advice for no-budget filmmakers, rare clips and a few jokes. It’s not really safe for work, since there’s a bit of nudity, gore and strong language along the way. It’s free, so be sure to let us know if you like it or find it interesting. If you want to give me feedback or ask questions directly, I can always be found on Twitter.

I don’t like the sound of that…

Ah, sound recording.

BeachtekBeen writing this blog since 2005 and think I’ve managed to avoid talking about sound recording at pretty much every step. I think it’s safe to say that it’s not my specialist subject. Not the thing I’d be grilled about on Mastermind.

It’d be an understatement to say I’m ‘still learning’, because I’m still making mistakes all over the shop. I try new approaches with each movie but the simple truth is this:

Sound is amazingly, incredibly important. To get great sound requires skill and TIME. You won’t always have these things, which means you’ll end up with problems.

Ok, let’s break down the kit we’ve used along the way. That way you can learn from the mistakes that I’m apparently still making, despite having been in this game for a good few years now.


TrashHouse has actually got cool sound given the ridiculously echoey environment that it was filmed in. This is down to one man, Danny Lenihan (credited as Danny James) who came along, brought a whole bunch of kit and did an amazing job. He recorded to MiniDisc (which was still the best route in 2004) and we post-synched. He now runs the fantastically funky tripod company 3 Legged Thing, so go buy some of his brilliant kit and tell him I sent you.

Cock-ups I made: Rather than just using the XM1s onboard sound and keeping that as a guide track to lay Danny’s lovely MiniDisc sound over, I got all over-excited and decided to plumb an external mic into the XM1 on the off-chance that I caught useable sound with that too. I figured that I was increasing my chances of getting a decent audio take. What actually happened was that the external mic set-up for the XM1 was forgotten about and only sometimes switched on, and nobody was in charge of making sure that the onboard mic was switched back on when the external wasn’t being used. As a result, I had entire days of filming with NO SYNCH SOUND WHATSOEVER, and, this being our first shoot, our use of a clapper board (or even just having someone stand in front of the camera clapping) was inconsistent to say the least. So I had good sound sitting on a bunch of MiniDiscs and a load of silent video footage, with no easy way of matching them up. A fresh, unusual and exciting mistake to make.

Another wrinkle on TrashHouse‘s sound came about when the inevitable Bittorrent DVD rip (which hit the net on the day of the UK release) turned out to have a massive sound glitch on it, meaning that all the people who’d downloaded it then proceeded to piss and moan about the ‘appalling sound’ on various message boards. This meant that as well as torpedoing our deals in several other territories just by it’s very existence, the DVD rip also ended up giving the film a reputation for bad sound which wasn’t the case on the released version. Aah, the joys of internet.


We went a different route for the sound on Hellbride. We took our shiny new Sony HDR-FX1 HDV camcorder and paired it up with a BEACHTEK break-out box, allowing us to plumb an XLR mic straight into the camera and avoid the post-synch that had given me so many headaches on TrashHouse. Combined with the post-production dialogue sweetening talents of Rich Miller, this wasn’t a bad solution as long as we had a dedicated sound guy checking things out (James ‘Magic’ Mitchell, take a bow) and were shooting in environments without too much ambient sound.

Cock-ups I made: As I said, things usually went fine as long as we had a sound guy there. Unfortunately, particularly on days of pick-ups and reshoots, that wasn’t always the case. When the rough cut of the movie underran rather badly we brought back some of the cast to shoot some additional scenes, which tended to be character-driven and featured such material as romantic autumn walks in the woods. So, two people walking through crunchy leaves. Followed by a couple of other people walking through crunchy leaves, recording some largely unuseable sound. Hellbride is a mixed bag as far as sound recording goes, and the bad stuff is all my fault. The technical set-up was fine, but the practicalities weren’t always handled as well as they could be.

I’ve continued to make a variety of varied and interesting mistakes when it comes to recording sound, but I think that’s enough from my personal hit parade of regrets for now. If there is a deafening clamour for more, I’ll break down my later movies in a future post.

Does that sound good?

Death Tales mini-comic: The tenth anniversary begins here!

Jinx Media has been going for ten years.

Ten years of horror, rock n roll, killer cheerleaders and death tales. Ten years of celluloid and zeroes & ones. Ten years of staying afloat and staying alive while the entire industry reforms around us.

To celebrate ten years of Jinx Media, we’ve got some really awesome stuff coming up. The first big date of the year to put in your diaries is Friday February 22nd, when we’ll give you something cool to watch and the opportunity to get involved in one of our movies like never before. It’s going to be an insanely busy and exciting year for us, and we really hope that you’ll join us for the journey.

As we get ready for all the forthcoming festivities, we’ve been trying to bring together all our various ways of keeping you guys informed. Obviously, this here website is one of our main portals of information, but it’s by no means the only one.

Our wonderful, soaraway, sunshine-filled Facebook page actually contains a load of exclusive photos from our movies that you can’t see anywhere else. So.. Here’s our first little giveaway. The ‘Death Tales’ mini-comic that was published in Southend’s Level 4 magazine earlier in the year has just hit the Facebook page! We’re going to be putting even more exclusives on it over the next few months, so please head over there by clicking the awesome artwork below…

NZDT_Comic_Teaser

And please don’t forget to hit ‘like’ whilst you’re at the page so we can keep you up-to-date about this sort of stuff. I hesitate to even ask if you’d be kind enough to plug it to your friends… Ah, sod it. We just gave you an awesome mini-comic. Please plug the Facebook site to your friends!

Next up is Twitter. I use my Twitter account to share all sorts of bits of stuff. It’s often the first place that I mention big developments. So, while you’re busy ‘liking’ our Facebook page, why not follow me on Twitter too? Who’d have guessed it? There’s a nice big button below making it as easy as possible. Press the button. Go on.

Twitter

You’re already at the official site, but don’t forget to subscribe to this too.

And what will we give you for this care and attention, dear reader?

Well, we’ll keep you totally up-to-date through what promises to be the most exciting year since Jinx started. We’ll give you freebies ranging form that mini-comic through to the hour-long video going up on the 22nd (what could it be? I’m sure that a few of you will be able to work it out..) plus keeping you informed right the way through pre production, production and post production of our latest feature. We’ll do everything we possibly can to make this year as exciting for you guys as it’s going to be for us.

Let’s go…