Post-production sound company Todd-AO today announced it has entered into an agreement to extend the lease for its Todd-AO West facility, located within the Lantana complex at 3000 Olympic Boulevard in Santa Monica.

“Todd-AO West is an important part of our strategic plan to remain the destination of choice for post-production sound services,” said Robert C. Rosenthal, President of CSS Studios.  “This agreement reinforces our commitment to continuing a strong, full service presence in Santa Monica.”

Todd-AO West consists of five mixing stages, one ADR stage, one Foley stage and a number of editorial rooms.

In recent years, Todd-AO West has completed technical upgrades to its mixing stages, converting all five of them to Euphonix System 5 consoles.  Additionally, the facility continues to attract top-tier creative talent and projects, including titles such as the upcoming feature, Prince of Persia: The Sands of Time, the recent feature G.I. Joe: The Rise of Cobra and the HBO mini-series The Pacific.

“Our clients want to work in a creative setting with access to top talent,” said Rosenthal.  “At the same time, our clients demand a high degree of content security, comfort, and privacy, within an organization capable of adjusting to the unique needs of their project.  Todd-AO West is a time-tested facility that has proven capable of rising to those challenges in the service of a highly discriminating clientele.”

Με την ηχογράφηση του τραγουδιού που θα συνοδεύει τους τίτλους τέλους της ταινίας, ολοκληρώθηκε το σημαντικότερο κομμάτι του post production και οι “Οδύσσειες Σωμάτων” οδεύουν για την τελική μίξη και τα εργαστήρια. Στο studio του Σάκη Γκίκα στην Κυψέλη, ο Ηλίας Λιούγκος και η Λίνα Νικολακοπούλου, που υπογράφει τους στίχους, δημιούργησαν ένα μοναδικής ευαισθησίας τραγούδι που η φωνή του Παντελή Θεοχαρίδη πραγματικά απογείωσε. Ο Παντελής ήρθε από τη Θεσσαλονίκη αποκλειστικά για την ηχογράφηση και η ερμηνεία του άφησε το καθοριστικό στίγμα της στη σύνθεση του Λιούγκου.

Ηλίας Λιούγκος και Παντελής Θεοχαρίδης.

Ο Αντώνης Μποσκοΐτης και η Λίνα Νικολακοπούλου παρακολουθούν την ηχογράφηση.

 Οι στίχοι της Λίνας μοναδικοί:                                                                                

Ένα βουνό
μιά θάλασσα
και κάποιο πανηγύρι
όμορφος σαν τον άγγελο
με μάτια θαλασσί
με μαύρο το πουκάμισο
και μιάς ρακής ποτήρι
σαν μέθυσε απ’ τον έρωτα
μιά λύρα αρπάει χρυσή

κι είπε: κόσμε, δεν σου ανήκω
μα αν με θες, με λένε Νίκο

Με το φεγγάρι
τράβαγε
και τ’ άστρα λιτανεία
κι απ’ τ΄άσπρα-μαύρα του Θεού
χιλιόμετρα ταινία
πιάνει φως κι ασβέστη, γράφει
κι όταν δύσει ο ήλιος, βάφει
με το αλάτι των κυμάτων
πλάθει Οδύσσειες σωμάτων

κι είπε: κόσμε, δεν σου ανήκω
μα αν με θες, με λένε Νίκο

Μανώλης Ανδρουλιδάκης και Σάκης Γκίκας στη κονσόλα.

Η ενορχήστρωση του κομματιού έγινε από τον κιθαρίστα Μανώλη Ανδρουλιδάκη που ερμηνεύει σολιστικά  και ένα από τα soundtracks της ταινίας. Σύντομα λοιπόν η πρώτη κόπια θα είναι έτοιμη και το αρχικό ραντεβού με το κοινό δίνεται στο επόμενο φεστιβάλ ντοκιμαντέρ Θεσσαλονίκης τον Μάρτιο.

So I have had a chance to make a Flickr to host some photographs I have taken. I study National Diploma Photography at college and am in my second year, I love to take pictures and am always trying to improve my photographic skill.

Hopefully in the future I will upload many more photographs for you to view but here is my first one straight out of post-production.

http://www.flickr.com/photos/slcorporation/

http://www.flickr.com/photos/slcorporation/4146639937/

Peace

One of the things that we are into is not editing (retouching) images beyond a certain point on our Boudoir and Glamour photo shoots, and with good reason…
Watch this video to find out more..

What kind of body parts do we retouch and what do we do?

Every woman has something they dont like about themselves and this can be a view shared by others or a obsession they have known as body dysmorphia and I think that many people have this in some way or another. But beauty is in the eye of the beholder…

When we look at women and I (Rory) do the retouching I look for real women and who you are, this often means that I do the retouching that I think is right and not what the client thinks they should look like. I should mention that I do not have a distorted view and think that women come in all shapes and sizes or they would all be clones.

There are a few things women want retouched and these are:

• Boob’s
• Bum’s
• Leg’s
• Hip’s
• Teeth

Here is my view on what I would do to photos as listed in the order above.

Boob’s well gravity, children and development can have an effect, and with most, one boob is different to the other so I tend to even them out wheather that is enlarging a small one or reducing  the larger of the pair. I may move them up a little and I may add a little more shadow between them to make them look larger, But I could do this when shooting by using careful lighting. In general there is very little I do with boobs and there is no need to.

I must admit I am a fan of bums and do like to improve on them, Often I shorten the bum. As you will know some bums have cellulite and when clenched it stands out but puts the shape into the bottom. Well rather than  having poses that are uncomfortable, I retouch and shape the bum along its natural lines, this can mean making it bigger and smaller in different places depending on the bum of course.

Legs  can make a lot of difference to people, and I have made legs longer by a few inches and slimmed down the tops normally on the insides, But I still leave the shape there. This is because you need to be in the photo and I know that I could take a photo like that with your legs and not retouch them. Smaller ankles is another thing that I am asked for by clients.
But Sometimes is not always about making things smaller.

Every woman should have some hip’s! Today I find a lot of women to straight with no curves and almost straight down, I think and Know that  pulling in above the hips or pushing out the hips makes a big difference. This can be done within the poses and how the client stands but in all honesty people seldom stand correctly and repeating can become tedious, but the end of a photo shoot Im normally sick of hearing my own voice.

I think that the UK is world-renowned for its bad teeth, I do often spend time on making sure rotten teeth are not show at all, I have done this with the wedding photography and do this on the boudoir and glamour. But it can be a little of removing tea stains etc, but I dont put in white teeth, they will match your colour, or they are lifted to become lighter.

Retouching images  is about adding to what you already have not creating another person. If you wanted photos like this then you would be better off just buying a celeb print and saying its you. there is a vast amount of work that you can have done using a computer, but how much would you do before it’s not you?

This image of Stacey she doesnt like herself in the images, but as you can see there is nothing wrong here.

With some of the images she may not like them or consider herself a model but clients viewing the images think that she is. I think that clients who have confidence show it on the camera and thinking good and being proud is the best way to be..

The above image was retouched.

Stacey has bad lines under her eyes, you can see them faintly in the image but they are not completely gone. You can remove them with make up but most things cannot be hidden from the camera and may show up, this is because of the difference in the lighting.

I think for most Boudoir and Glamour Photo shoots do offer a confidence boost for those in need of one. To others where images are highly retouched, this can lead to dissatisfaction where they may believe that they have been retouched and these points are problems.

I have had clients think they have been retouched when they havent as well, yet she said that the photos didnt look like her.. As you can see, people often have a distorted view of themselves.

… almost non stop to finish 3 FCP projects at the same time
all with deadlines last week (1 Wednesday, 2 friday

so now i hope i can catch up (in the next few days) with some background info’s …

i had some interesting experiences  with codec & timeline settings & filters …
all about this in the next few days

last step now: render out the finale time line with german & english voice overs
for SD DVD (some workflow tips for HD to SD soon)  for the last project.

… ohhh and i will catch up with some interesting vimeo hints too … promise

so stay tuned

Don’t assume anything – ” But I thought ( fill in blank) was going to ( fill in blank).”

Keep an email trail – document everything between you and your client.

Keep a binder – it’s always good to keep a hard copy back up even if everything is recorded electronically.

What to look for on location:
• where the outlets are
• where the windows are and which direction they face
• do the windows have blinds or shades
• what is the ambient lighting in the room
• what kinds of ambient noise is in the location and can it be controlled
• what’s the best-spot for an interview
• where are the bathrooms
• where is the freight elevator
• where is parking
• what is the building contact person’s name and number

When packing for location – don’t leave things behind unless you absolutely have to. It is far better to have it and not need it, than need it and not have it.

Be redundant – bring extra connectors, adapters and cables. If you only bring one – it almost guarantees that one will fail.

Make friends with doormen, secretaries, building electricians, janitors, security guards – you will need these people on locations.

Whenever the call time is – be there early. I’m always the first one on set.

If you don’t schedule a rain day, you will end up needing one.

Always shoot the most important shot first thing of the day.

Maintain an attitude of calm and professionalism – the crew will look to you for the answers. If you show indecisiveness they will go off in all different directions.

Never label a video file or tape “Final” – Whenever you do – there always ends up being another revision.

Always break for lunch – working through lunch guarantees a hungry and cranky crew. Ultimately you won’t get 100% from a hungry crew, thus defeating the time saved.

Slate everything you can. Use the back of the slate for a white balance target. Also attach a printed color bar chart to the slate. This can be helpful in color correction later, matching scenes and/or cameras.

Tape/storage media is cheap. Don’t be afraid to overshoot. That extra b-roll or cut-aways will become valuable assets in post. Get room tone at the same time.

During the mic check for interviews, record a brief statement where each subject states their name, the date and that they are giving permission to be taped. Always make sure your subjects also sign hard copy waivers/releases.

Things always take longer than you think – so estimate more time when scheduling.

In post production back up projects as different versions. Save a clean sub master version without titles and lower-third graphics and where the audio tracks are not mixed down. Most likely you will get a request to change a graphic or a music track and it’s much easier to make those changes on a sub master than to have to redo an entire project.

When a client suddenly takes the project in an unexpected direction, save a version of the project file up to that point.

When editing with a room full of client people – only answer to the guy/gal who signs the checks.

Περισσότερο προκλητικός, υπερεαλιστής και βέβηλος, ο Γιάννης Σολδάτος επιστρέφει στη μεγάλη οθόνη με την ταινία “Βίοι Αγίων“, μια συμπαραγωγή του Αιγόκερου, της Mediavox και του Σάκη Μανιάτη, με την υποστήριξη του Σκάι. Η ταινία αποτελεί το πρώτο μέρος της “Τριλογίας των Εξαρχείων”, που θα ολοκληρωθεί την επόμενη χρονιά, και καταγράφει τα “σημεία και τέρατα” που διαδραματίζονται μέσα σ’ έναν εκδοτικό οίκο με έδρα τα Εξάρχεια και φόντο τα Δεκεμβριανά και τις εθνικές εκλογές, με το “φάντασμα” του ποιητή Μιχάλη Κατσαρού να δίνει σκηνοθετικές οδηγίες  και τον Κώστα Καραμανλή σε ρόλο έκπληξη!

Ο Άγιος Αντώνιος, ο άγιος Σεβαστιανός, η αγία Αικατερίνη, η Παρθένος Μαρία και ο Ιωσήφ με το σκεπάρνι, μία ανδροφάγος φωτογράφος, μερικοί υπάλληλοι εκδοτικού οίκου που πρωταγωνιστούν σε πορνό ταινίες, ένα Αφεντικό που “καταγράφει” τις περιπέτειες της συζύγου του, μία φευγάτη που απαγγέλει Μποντλέρ όπου σταθεί κι όπου βρεθεί, η ΕΛ.ΑΣ. και οι κουκουλοφόροι, η Αλέκα, ο Γιώργος και ο Κώστας σε στιγμές μεγαλείου, λεσβίες πελάτισσες που αγοράζουν όπλα αντί για βιβλία και ένα σωρό άλλα “ακατανόμαστα” συνθέτουν το πάζλ της ταινίας.

Η ταινία έχει διάρκεια 85′ και  τα γυρίσματα έγιναν σε ψηφιακό φορμά HD με την τεχνική υποστήριξη και post production από την Mediavox. Η διεύθυνση φωτογραφίας είναι του Σάκη Μανιάτη και του Κωστή Παπαναστασάτου, το μοντάζ του Μιχάλη Γαλανάκη, ο ήχος του Γιώργου Ράκκου και η οργάνωση παραγωγής της Έφης Βενιανάκη, με βοηθούς σκηνοθέτη τους Βασίλειο Γαλουντζή και Βαγγέλη Νικολάου.

Στην ταινία συμμετέχουν οι Έφη Βενιανάκη, Μαρία Δρακοπούλου, Μαρία Καρακίτσου, Πασχάλης Καραντάς, Νάντια Ανθοπούλου, Θάνος Δεσποτόπουλος, Έλενα Μεντζέλου, Λένα Τσιλιχράνου, Βασίλειος Γαλουντζής, Κατερίνα Τσιρτσώνη, Βαγγέλης Νικολάου, Θανάσης Πατριαρχέας, Λήδα Θωμαΐδη, Αγγελική Πομώνη, Στέλλα Ζινευράκη, Κατερίνα Χατζάκη,  Γιώργος Κοντογιάννης, Μύρια Χόπλαρου, Διονύσης Φραίμης,  Κατερίνα Χατζηκυριάκου, Μαριαλένη Σολδάτου, Ελένη Βάρσου, Δημήτρης Γκιούρος, Βασίλης Χαραλαμπίδης και ο Στάθης Βαλούκος. 

Μετά  το “Αίνιγμα“, τον “Υποβρύχιο Έρωτα” και το ντοκιμαντέρ για τον Θανάση Βέγγο “Ένας άνθρωπος παντός καιρού“, αυτή είναι η πιο προσωπική και ιδιόμορφη ταινία του Σολδάτου που εξακολουθεί να χρησιμοποιεί σαν πυρήνα των σεναρίων του τα φαντασιακά παιχνίδια, που εδώ εμπλουτίζονται από το πολιτικό χιούμορ, και το σουρεαλιστικό “μπάχαλο” του νεοελληνικού βίου.

Η ταινία θα συμμετέχει στο επόμενο Digital Wave  του Φεστιβάλ Θεσσαλονίκης και ήδη έχει δημιουργήσει έναν κύκλο φανατικών cult  θαυμαστών ενώ θα προβληθεί και από την τηλεόραση του Σκάι που βοήθησε ουσιαστικά στην υλοποίησή της. 

Applebox Media are proud to be supporting the new Limerick Premiere Pro Users Group.

Why not visit the Limerick Premiere Pro Users Group page and become a member.

http://groups.adobe.com/groups/6361fdb229/summary

I know I haven’t written anything in about a month. Many things have been going on. First off, I hope everyone had a really happy Thanksgiving. I know I have much to be thankful for.

On the downside post production has been a little scattered but it’s ok as it helped lead to not only some good ideas for music but also the initial planning stages for a big announcement. Before I get to that …

The short film I co-directed and produced, ‘The Interrogation’, is completed which is where some of the time has gone. I wanted to make sure it was done before I moved on from it. Pretty soon we’ll be submitting it to festivals. More information on that coming soon.

Shot from 'The Interrogation'.

Post production is almost done on ‘Distortion’. A few visual effects left to finalize and the music is being completed. Then it will actually be done. Or at least festival ready. I’m sure there will be things I’ll want to tweak but overall it will be done. Hopefully the next post will be the official announcement that it is 100% completed.

Speaking of announcements. I did decide on the next film. Granted many things may happen which could come into play which would delay this but barring that I will make another film summer of 2010 called ‘Killer Talk‘. Unlike ‘Distortion’ which was a very complicated film on several levels this one will be done very quickly and easily. Although I say that loosely since making a film is never easy. However, the new film doesn’t have any visual effects or overly complicated sequences. It’s more of a character based thriller. So it’s mainly finding the right actors. I plan on writing the script very quickly and then start shooting. My goal is to have it done to submit to Sundance next fall. I won’t be stopping for anything. I’ll just go off of instinct and my gut. That’s why I won’t spend two years writing the script or a year in post production. So quickly that I have to go with my first thought and not spend forever debating over every little thing. Should be interesting on every level. If it works I think it will be the best thing I’ve done. If it fails then I know I shouldn’t go off my gut feelings. heh

Here is a quick teaser poster I put together.

Killer Talk Teaser Poster

No more long breaks between posts. I will be updating regularly. And at some point this will become the blog of ‘Killer Talk‘.

“Several other factors, such as subject matter, movement, and the distance of the subject from the camera, also influence when a given defocus becomes noticeable.
The area within the depth of field appears sharp, whilst the areas in front of and beyond the depth of field appear blurry.
For a 35 mm motion picture, the image area on the negative is roughly 22 mm by 16 mm (0.87 in by 0.63 in). The limit of tolerable error is usually set at 0.05 mm (0.002 in) diameter. For 16 mm film, where the image area is smaller, the tolerance is stricter, 0.025 mm (0.001 in). Standard depth-of-field tables are constructed on this basis, although generally 35 mm productions set it at 0.025 mm (0.001 in). Note that the acceptable circle of confusion values for these formats are different because of the relative amount of magnification each format will need in order to be projected on a full-sized movie screen.”
http://en.wikipedia.org/wiki/Depth_of_field

So.. if your final output is 35mm film projection in cinemas or whatever, and the apparent focus of 16mm footage becomes dubious when blown up to 35mm size.. does this then cancel out the effects of using wider 16mm lenses with deeper perceived focus? I mean.. you’re using longer equivalent lenses when shooting on 35mm, but if the tolerance, the margin of error is more forgiving because there’s no blowing up of the image, which format ends up being less forgiving in terms of perceived focus when outputting to 35mm film?

This is where I rush to my nearest film lab, beg for their 16mm short takes, and start testing in my backyard on an ancient, makeshift film camera.. I wish I was old-school.

Tidi roll out their new Large Stand with TV for merchandising, (DVD’s produced by Applebox Media Ltd)

First off, just in case you don’t know – I used to work  for a production company called propaganda (you may remember it).

A I worked as a creative producer, I worked my way up from being a runner in the TV department of AMV.

I had a very close working relationship with all of the directors, we spent hours working on scripts treatments proposals we won probably one job in three which is quite high….

What I found most intriguing & generally very annoying was that everybody on the set from the makeup artists, crew catering, the agency, the client to the spotty teenage runner believed they were the director. Genuinely they felt that every single time they open their mouth they were going to provide wisdom and insight into exactly how to set up the shot and effectively work the storyboard and make a great Ad.

Part of my job on the day was shielding my director from this torrent of unsolicited advice.

One day, I really was working with one of the biggest names in the industry in the Nineties. There we were up at Pinewood Studios spending about £1 million on the day, and many millions in post.

I was very keen to see how the crew would relate to this director but more importantly how the agency and the clients would treat the director.

The suggestion is almost came thicker and faster than ever. Generally dressed up with compliments about other Ads & feature films the director had been chosen by.

Over lunch, the director and I walked up to the back lot and took a sneaky peak at the set of Fifth Element. The director and I were comparing shooting commercials and shooting feature films the studio system versus the client system. What he told me was, “I am paid to be the fall guy on a TV commercial because everybody wants to be the director on the shoot, but when we get into postproduction -  nobody wants to be me,  and certainly not the editor.”

I asked him ~ you’ve got this far how did you do it?

His response was simple and to the point

“I tell them it’s a great idea, but were running short on time and money. – if we have any time at the end of the day we can work on the shot then”

My reply was, “really?”

His reply was “least said easiest to mend”

Three days later we were in the edit suite and not one of the suggested shots had worked their way in and nobody had any interest in the first assembly or rough cut

By the end of week two

Everybody was back with their opinions

So the moral of the story is:

At a point of Genesis with an idea everybody believes they should have their own input

At the point of creation ~ there should only be one voice

At the point of assembly  ~ there should only be one voice

At the point of delivery ~ there should only be one voice

This is just a little bit too ideal, and maybe only Stanley Kubrick achieve this

It’s very easy to have an opinion when actually it’s not going to be counted or realised

It’s even easier to make suggestions comments and have opinions when effectively looking at what is almost the finished article

when you act like this, your not the Auteur ~ your the critique….

~ and you know all too well what they say about opinions

Opinions are like assholes

Everybody’s got one

Well, Well, Well!  We’ve finally posted the teaser trailer.  Check it out under the video tab.  And above, what you see is one of the logos that Gabe put together. Isn’t it lovely?!?!  I like it.  ALOT!  But I don’t want to marry it though :^P

We have an official trailer, which is undergoing some construction. Those who’ve seen it are very excited.  Official trailer coming soon – so, stay tuned!  We’ll resume our editing meetings after the Holiday.  I’ll have more to report on the editing front then.  So, have a great day of giving thanks for all the wonders in your world.  Happy Turkey Day – go, gobble-gobble!!!

With many people being caught in the perfectionism of models and trying to create the impossible look of a model, you should pay heed to these videos.

For some of you wondering how professional photographers can get these super images and you dont seem to be able to, then look no further than here for the answer. We cheat!
If you ever think of how much a photographer is, it it partly due to our opperating costs and its not just point and shoot at all, we carry out what is called post production on the images. You may know this as retouching or air brushing which is what the photographer had to do which was litterally use a paint brush and air brush to correct the images that had been taken, then copying the repainted image and then print from this. As you can imagine this took a long time and now in the digital age, we call it photo shopping.

This video deals with the Eyes only, as you can see.. a picture ALWAYS lies.

One of the more famous videos to do with photoshop makeovers is the Dove video

Now you have to ask yourself how real is this image?

Copyright Rory Witham

i should clean this thing

… well here some first test with the canon xh-a1 footage in magic bullet looks for the producer screening tonight …

it’s cool we had no DoF – adapter available but still, with a “little” adjustments … u can make a cool look

before:

after:

magic bullet looks suite in FCP

It is now 1:54 in the morning and I just finished putting our documentary into tape so we can show it to our Executive Producer tomorrow morning. This past week has been very tiring because we have been working almost every day on the editing of this piece. We originally planed on doing a 15 minutes piece, and at first, we all laughed because we though we would not even reach the 15 minutes mark. Well, all that changed. We got more material than we originally planned on getting and everything together just adds to the message that we are trying to get across with this documentary. Like Alex said, we have a very personal piece in our hands where we get to know about Mauricio and where Jodie lets us get to know her a little bit too.

I can’t believe we are almost done with the documentary. It has been such a gratifying experience that time flew by. Thank you all for sticking with us and for supporting us in this project, you have given us hope so we can give hope to the world through the eyes of Mauricio. Thank you Mauricio once again, and I will never get tired of thanking you, because thanks to your input and enthusiasm in this project, it happened.

Stay tuned for the upcoming premier!

As Karla posted earlier:

FIU Student Film Showcase:

“Mauricio’s Story” and “The Chosen Path”

Date: Tuesday, December 8, 2009

Time: 6:00pm- 7:00pm

Location: FIU BBC- Mary Ann Wolfe Theatre

Admission is free and open to the public!

Mili

Mili, Adri, Mauricio and Luis at Jodie's Interview. Photographed by Jodie!

After all the hard work we’ve put into this documentary, it’s extremely gratifying  reading your comments.  Thank you all so much for sticking with us and leaving us positive feedback. Thank you so much to my crew! It’s been a blessing working on this documentary with you guys and I’m extremely proud of it!

I’m excited to announce the title of our documentary:

“Mauricio’s Story”

We decided we wanted to use the first letters of Multiple Sclerosis and add a positive spin to it. We believe, with all our hearts, that Mauricio’s Story will reflect hope and inspiration. So thank you again Mauricio for making this project come to life!

<3 Karla

FIU Student Film Showcase:

“Mauricio’s Story” and “The Chosen Path”

Date: Tuesday, December 8, 2009

Time: 6:00pm- 7:00pm

Location: FIU BBC- Mary Ann Wolfe Theatre

Admission is free and open to the public!

<3 HOPE YOU GUYS CAN MAKE IT!!!

well it was/ is a short but complex “intro” for this corporate film project …at least 60 setups in 45 sec.

… still 4 min (end time) to go, tho’ !!!

… at least some beauty was involved

A few weeks have past since the viewing of our first rough edit. Our executive producer gave us constructive criticism regarding the flow of our documentary. So, we had a production meeting. We reviewed each clip, tagged and numbered the good footage, and as a result,  it helped us push the story further. After watching our documentary numerous times, we believe this rough edit is 100 times better and more visually appealing.

This is basically what we had to deal with to edit this piece.
I know, it might not seem like much, but for a scripted piece, it was a little overhelming.
We’re looking at roughly 20 hours of pure editing work and close to 6 hours of looking over the footage.

Alejandro E. Mejia

Well guys,
We are really close to finishing the piece we will be presenting tomorrow to our executive producer and the rest of the class.

I finally had a change to look at all the footage we had at hand, including Jodie’s interview, which I missed out on shooting. The interviews came out great. We have way more information than what we originally had planned for, which in turn is making this documentary slighty longer than we had planned for. But it’s ok! Everything is great!

We’re having some interesting timing options since some of the answers are really short and others are really long, but, with that comes the fact that this doc won’t be as scientific as we thought it would be. It took us for a wild ride, but we now have a more personal documentary in our hands.

Soon you’ll have a chance to see the whole piece as we’re presenting the piece along our classmate’s at FIU.
If you cannot attend, I’m sure we’ll have either an online copy or a DVD version for you.

Thanks for sticking with us!
We’re not there yet, but we’re almost there!

Alejandro E. Mejia