Banner by Sean Hartter
Wednesday, April 30, 2014
Tuesday, April 29, 2014
Terror Awaits In The Black Spot
Here's some info on a cool new 3-D horror short film I thought I'd share with you.
The Sussex based film maker Luther Bhogal-Jones invites you to 6 minutes of mayhem, delirium and violence in the short roadside thriller “Black Spot.”
Paul is stranded on a lonely country road when his car fails to start. He walks through a melancholic landscape of missing person posters and floral tributes to roadside deaths, before chancing upon another car, but one which ironically is also broken down. Not only will this car provide Paul with salvation and suffering, but force him to face his own recent past actions and a provide him with a potential chance to redeem himself…
Shot on a miniscule budget, with a £28 3D camcorder a little larger than a Blackberry, Black Spot is another short, sharp shocking ride following the success of “Creak”, Bhogal-Jones’ previous horror short from 2012.
Black Spot was shot in one day in June at the bottom of the South Downs against an increasingly temperamental short lived camera battery life whilst also rallying against constant stop/ start rain showers. Additional shooting was done several months later at a flat in Brighton for the pivotal flashback sequence.
“I’ve always had a love of 3D films even though they’re tarnished with being gimmicky” explains writer/ director Bhogal-Jones “The red/ cyan 3d imagery is such an iconic image from cinema’s history - as well as related so closely with the world of horror and sci-fi - and I’ve always wanted to make a film with that classic look.”
With a relentless soundtrack from Brighton composer Mikolaj Holowko, Black Spot is a 6 minute aural and visual assault with an extra dimension which is sure to stand out from the horror short film crowd.
Black Spot can be viewed online now at www.vimeo.com/fasterproductions
3 versions of Black Spot are available to view – a 3D version requiring the classic red/ cyan 3D glasses, a stereoscopic 3D version for viewing on 3D tvs and a standard 2D version for those who cannot view the 3D – though Luther recommends a 3D version, as that was the main reason for making the film.
Editors – there are several stills available for promotional purposes at http://tinyurl.com/qamxoce
For more information on Faster Productions, please contact us at
fasterproductions@yahoo.co.uk
www.facebook.com/fasterproductions
10 Frequently Asked Questions about “Black Spot”
1. Where did you get the 3D camera?
The camera was a Christmas present for writer/ director Luther Bhogal-Jones from his brother after Luther spotted it online Despite the negative reviews denouncing the camcorder as “little more than a toy” Luther was still curious to see how effective the camera could be in conveying the 3D effect. The size and capability of the camera has been a source of much bemusement from people involved in the film, being that it is only a little bigger than a Blackberry phone.
2. What was the inspiration for the story?
Luther was looking for a scenario that would let him test the device out against landscapes, but also a compact interior. He didn't want to film something entirely set in a house, as it felt somewhat limiting on scope. Luther isn't too sure where the actual inspiration for setting the film around a broken down car came from – possibly as a result of his day job travelling around as an account manager – but also it references back to his previous short film “Stranded” which involved a broken down car in one of the three storylines.
There was definitely a desire to give the film a 1970s horror feel – not necessarily the now cliched grindhouse style but something that felt relentless, grim, trashy...
3. How was the film cast?
As the film was originally planned to be shot in late January of 2013 all casting of the film was done via the internet, with Luther posting in various actors groups on Facebook. Knowing that the budget would have to be kept small, the film was deliberately cast using actors local to Brighton in order to keep transport expenses down. From showreel footage Raine MacKenzie was cast in this manner in the lead role of “Paul”, Brighton performance artist Alexa B was cast in the role of “Mummy MacKenzie” and “Jason Rhodes” was cast in the role of “Junior MacKenzie.”
“Daddy MacKenzie”, played by Andrew Calverley, was cast after Luther appeared as an extra in the Worthing short film “House Trafalgar”, in which Calverley featured and Helen Ball, who features in Black Spot in the emotional role of “Linda”, is a friend of Luther's, but as a member of the successful Brighton improv comedy troupe “The Twitnits” has proved her performing credentials.
With Christmas and New Year “getting in the way” casting was done almost blind, with Luther only meeting 3 of the cast for the first time on the day of the shoot, an experience which could have resulted in some serious miscasting, but luckily all of the cast proved themselves admirably, throwing themselves into their roles.
4. Where and when was the film shot?
Shooting took place in late June, several months later than the originally planned late January shooting date!
Using knowledge and experience of shooting his short film “Stranded”, Luther knew of an almost deserted layby around Fulking, at the bottom of the South Downs. However, it wasn't quite as isolated as he wanted, with a house being nearby and the size of the layby potentially opening it up to other cars parking up during the shoot. Luckily Luther found another smaller layby a little bit further back along the road – it also had a house nearby but was thankfully obscured by foliage. All of Paul's walk to discover the car was shot either side of the layby, with his broken down car simply parked in the same layby but at the front!
Several of the end credit shots were filmed over the Devil's Dyke area, one shot at the bottom of Cisbury Ring in Worthing and the end pub shots at the Dog and Dog in Fulking around the corner from where the majority of the film was shot.
The flashback with Paul and Linda was shot in a basement flat on Brighton seafront several months after the initial shoot due to various scheduling issues.
5. What problems did you face during the shoot?
Although Luther was aware from the reviews that the camera battery life was not that long, he wasn't quite prepared for how problematic this would be. As the camera could be charged from the USB port in Luther's car, the plan was to shoot the exterior scenes, then shoot the interiors with the camera plugged in while it charged However, when plugged into the in car USB port, the camera read this as being connected to a PC and would not switch on for any filming, making this initial plan impossible.
The battery problems immediately reared their head after having only completed the first few opening shots of Paul's walk to discover the broken down car, resulting in a forced retreat to the car to wait at least 20 minutes for the camera to charge enough to continue filming. This would then result in another sprint of shooting, working against the rapidly decreasing battery which would often switch off while in the middle of a take, then cast and crew would have to sit around for yet another 20 minutes to charge enough energy to continue shooting again.
In tandem with this the weather on the day was dreary and wet, which suited the mood of the film perfectly , but the occasional heavy rain shower would also force shooting to stop until it had passed.
As a result of this there was a forced immediacy on the actors to get their performance right before the camera was switched on and shooting could commence.
It's a cliché that the majority of film making is sitting around and waiting, but on this particular shoot that was a very accurate description.
Luther did learn on this film that the easiest way to get away with murder would be to wear a high-viz vest. Aware that cars passing by may misinterpret what they saw happening in the layby, Luther ensured that himself and fellow crew member Mark Tew wore high viz vests during the shoot. This seemed to do the job in avoiding any disturbances or enquiries as to why there were several people covered in blood around the roadside or why there was a knife wielding maniac jumping up and down on the bonnet of a car.
Shooting the final home made road signs for the end titles proved to be a long winded affair, waiting for suitable weather conditions across the bleak wet and windy winter that the UK has endured.
6. How was the film edited?
All editing was done by Luther at home on his aging Mac tower. As there were plans to submit the film to a particular horror festival it was cut mercilessly down to a 5 minute running time which resulted in a fast paced but barely comprehensible film, even to those who knew the script! As a result the film was re-edited, adding footage and breathing space back in to create the finished 6 minute edit.
Grading of the footage and assistance with the conversion to red/ cyan 3D was completed by Darren Berry, who Luther has worked with on several other films.
7. Where did the soundtrack come from?
Brighton film making comrade and friend Terence Drew recommended Mikolaj Holowko having worked with him in the past and having seen a recent sci-fi short that he had created the sound design for. Luther's initial idea for the soundtrack was for it to be created entirely using samples taken from a car – almost like a horror version of The Art Of Noise's pop song soundscape “(Close) To The Edit.” After recording various aspects of Luther's car (the very same car that lead character Paul finds himself trapped in) Mikolaj went away and used them as the backbone for his intense industrial inspired score, moving away from the Art Of Noise starting point to something much more vivid. Ever the professional, having done the sound design Mik then decided the old score wasn't quite right and produced another score!
Luther's intention that the score could stand alone from the visuals, with a view that it can take a listener on a trip without seeing the film, has borne fruit, with a score that is as much as a journey as the film itself.
8. What was the budget of the film?
Removing the “cost” of the camera from the film's budget, Black Spot was made for less than one hundred and fifty pounds, with all cast and crew working for travel and food expenses only. Specific props and clothing were required for the film which was where the majority of the expenditure went.
9. Where can people see the film?
The film is available online at www.vimeo.com/fasterproductions with 3 formats available to view – in 3D with red/ cyan glasses as Luther intended the film to be seen, in stereoscopic 3D for those with 3D TVs at home and, lastly, in a 2D version for those who cannot view the 3D versions.
The film will also be submitted to various horror festivals around the world over the year.
10. What's next for Faster Productions and Sincerely, Psychopath?
“Black Spot” comes under the umbrella name of Sincerely, Psychopath which is used by Faster Productions for the films of a more horror/ fantastical nature. The next film to come under that brand will be “Knock Knock”, which is a short horror showing the mental breakdown of a woman terrorized by a knocking at her door.
The Sussex based film maker Luther Bhogal-Jones invites you to 6 minutes of mayhem, delirium and violence in the short roadside thriller “Black Spot.”
Paul is stranded on a lonely country road when his car fails to start. He walks through a melancholic landscape of missing person posters and floral tributes to roadside deaths, before chancing upon another car, but one which ironically is also broken down. Not only will this car provide Paul with salvation and suffering, but force him to face his own recent past actions and a provide him with a potential chance to redeem himself…
Shot on a miniscule budget, with a £28 3D camcorder a little larger than a Blackberry, Black Spot is another short, sharp shocking ride following the success of “Creak”, Bhogal-Jones’ previous horror short from 2012.
Black Spot was shot in one day in June at the bottom of the South Downs against an increasingly temperamental short lived camera battery life whilst also rallying against constant stop/ start rain showers. Additional shooting was done several months later at a flat in Brighton for the pivotal flashback sequence.
“I’ve always had a love of 3D films even though they’re tarnished with being gimmicky” explains writer/ director Bhogal-Jones “The red/ cyan 3d imagery is such an iconic image from cinema’s history - as well as related so closely with the world of horror and sci-fi - and I’ve always wanted to make a film with that classic look.”
With a relentless soundtrack from Brighton composer Mikolaj Holowko, Black Spot is a 6 minute aural and visual assault with an extra dimension which is sure to stand out from the horror short film crowd.
Black Spot can be viewed online now at www.vimeo.com/fasterproductions
3 versions of Black Spot are available to view – a 3D version requiring the classic red/ cyan 3D glasses, a stereoscopic 3D version for viewing on 3D tvs and a standard 2D version for those who cannot view the 3D – though Luther recommends a 3D version, as that was the main reason for making the film.
Editors – there are several stills available for promotional purposes at http://tinyurl.com/qamxoce
For more information on Faster Productions, please contact us at
fasterproductions@yahoo.co.uk
www.facebook.com/fasterproductions
10 Frequently Asked Questions about “Black Spot”
1. Where did you get the 3D camera?
The camera was a Christmas present for writer/ director Luther Bhogal-Jones from his brother after Luther spotted it online Despite the negative reviews denouncing the camcorder as “little more than a toy” Luther was still curious to see how effective the camera could be in conveying the 3D effect. The size and capability of the camera has been a source of much bemusement from people involved in the film, being that it is only a little bigger than a Blackberry phone.
2. What was the inspiration for the story?
Luther was looking for a scenario that would let him test the device out against landscapes, but also a compact interior. He didn't want to film something entirely set in a house, as it felt somewhat limiting on scope. Luther isn't too sure where the actual inspiration for setting the film around a broken down car came from – possibly as a result of his day job travelling around as an account manager – but also it references back to his previous short film “Stranded” which involved a broken down car in one of the three storylines.
There was definitely a desire to give the film a 1970s horror feel – not necessarily the now cliched grindhouse style but something that felt relentless, grim, trashy...
3. How was the film cast?
As the film was originally planned to be shot in late January of 2013 all casting of the film was done via the internet, with Luther posting in various actors groups on Facebook. Knowing that the budget would have to be kept small, the film was deliberately cast using actors local to Brighton in order to keep transport expenses down. From showreel footage Raine MacKenzie was cast in this manner in the lead role of “Paul”, Brighton performance artist Alexa B was cast in the role of “Mummy MacKenzie” and “Jason Rhodes” was cast in the role of “Junior MacKenzie.”
“Daddy MacKenzie”, played by Andrew Calverley, was cast after Luther appeared as an extra in the Worthing short film “House Trafalgar”, in which Calverley featured and Helen Ball, who features in Black Spot in the emotional role of “Linda”, is a friend of Luther's, but as a member of the successful Brighton improv comedy troupe “The Twitnits” has proved her performing credentials.
With Christmas and New Year “getting in the way” casting was done almost blind, with Luther only meeting 3 of the cast for the first time on the day of the shoot, an experience which could have resulted in some serious miscasting, but luckily all of the cast proved themselves admirably, throwing themselves into their roles.
4. Where and when was the film shot?
Shooting took place in late June, several months later than the originally planned late January shooting date!
Using knowledge and experience of shooting his short film “Stranded”, Luther knew of an almost deserted layby around Fulking, at the bottom of the South Downs. However, it wasn't quite as isolated as he wanted, with a house being nearby and the size of the layby potentially opening it up to other cars parking up during the shoot. Luckily Luther found another smaller layby a little bit further back along the road – it also had a house nearby but was thankfully obscured by foliage. All of Paul's walk to discover the car was shot either side of the layby, with his broken down car simply parked in the same layby but at the front!
Several of the end credit shots were filmed over the Devil's Dyke area, one shot at the bottom of Cisbury Ring in Worthing and the end pub shots at the Dog and Dog in Fulking around the corner from where the majority of the film was shot.
The flashback with Paul and Linda was shot in a basement flat on Brighton seafront several months after the initial shoot due to various scheduling issues.
5. What problems did you face during the shoot?
Although Luther was aware from the reviews that the camera battery life was not that long, he wasn't quite prepared for how problematic this would be. As the camera could be charged from the USB port in Luther's car, the plan was to shoot the exterior scenes, then shoot the interiors with the camera plugged in while it charged However, when plugged into the in car USB port, the camera read this as being connected to a PC and would not switch on for any filming, making this initial plan impossible.
The battery problems immediately reared their head after having only completed the first few opening shots of Paul's walk to discover the broken down car, resulting in a forced retreat to the car to wait at least 20 minutes for the camera to charge enough to continue filming. This would then result in another sprint of shooting, working against the rapidly decreasing battery which would often switch off while in the middle of a take, then cast and crew would have to sit around for yet another 20 minutes to charge enough energy to continue shooting again.
In tandem with this the weather on the day was dreary and wet, which suited the mood of the film perfectly , but the occasional heavy rain shower would also force shooting to stop until it had passed.
As a result of this there was a forced immediacy on the actors to get their performance right before the camera was switched on and shooting could commence.
It's a cliché that the majority of film making is sitting around and waiting, but on this particular shoot that was a very accurate description.
Luther did learn on this film that the easiest way to get away with murder would be to wear a high-viz vest. Aware that cars passing by may misinterpret what they saw happening in the layby, Luther ensured that himself and fellow crew member Mark Tew wore high viz vests during the shoot. This seemed to do the job in avoiding any disturbances or enquiries as to why there were several people covered in blood around the roadside or why there was a knife wielding maniac jumping up and down on the bonnet of a car.
Shooting the final home made road signs for the end titles proved to be a long winded affair, waiting for suitable weather conditions across the bleak wet and windy winter that the UK has endured.
6. How was the film edited?
All editing was done by Luther at home on his aging Mac tower. As there were plans to submit the film to a particular horror festival it was cut mercilessly down to a 5 minute running time which resulted in a fast paced but barely comprehensible film, even to those who knew the script! As a result the film was re-edited, adding footage and breathing space back in to create the finished 6 minute edit.
Grading of the footage and assistance with the conversion to red/ cyan 3D was completed by Darren Berry, who Luther has worked with on several other films.
7. Where did the soundtrack come from?
Brighton film making comrade and friend Terence Drew recommended Mikolaj Holowko having worked with him in the past and having seen a recent sci-fi short that he had created the sound design for. Luther's initial idea for the soundtrack was for it to be created entirely using samples taken from a car – almost like a horror version of The Art Of Noise's pop song soundscape “(Close) To The Edit.” After recording various aspects of Luther's car (the very same car that lead character Paul finds himself trapped in) Mikolaj went away and used them as the backbone for his intense industrial inspired score, moving away from the Art Of Noise starting point to something much more vivid. Ever the professional, having done the sound design Mik then decided the old score wasn't quite right and produced another score!
Luther's intention that the score could stand alone from the visuals, with a view that it can take a listener on a trip without seeing the film, has borne fruit, with a score that is as much as a journey as the film itself.
8. What was the budget of the film?
Removing the “cost” of the camera from the film's budget, Black Spot was made for less than one hundred and fifty pounds, with all cast and crew working for travel and food expenses only. Specific props and clothing were required for the film which was where the majority of the expenditure went.
9. Where can people see the film?
The film is available online at www.vimeo.com/fasterproductions with 3 formats available to view – in 3D with red/ cyan glasses as Luther intended the film to be seen, in stereoscopic 3D for those with 3D TVs at home and, lastly, in a 2D version for those who cannot view the 3D versions.
The film will also be submitted to various horror festivals around the world over the year.
10. What's next for Faster Productions and Sincerely, Psychopath?
“Black Spot” comes under the umbrella name of Sincerely, Psychopath which is used by Faster Productions for the films of a more horror/ fantastical nature. The next film to come under that brand will be “Knock Knock”, which is a short horror showing the mental breakdown of a woman terrorized by a knocking at her door.
The next offering from Faster Productions will be “Pick-Ups”, which is currently in post production, and is a short drama with a comedic sting in the tale about a man gives up everything and travels to Eastern Europe to be with the woman who he thinks is “the one.”
Luther is also developing several low budget horror feature films, including a feature film showing more of the MacKenzies from “Black Spot” – if anyone is seriously interested in these from a financing point of view then please get in touch.
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