NOTE: This sneak peek was posted with permission from the producer.
After 4 intense months, Polycarp visual effects are now finished. I was privileged to be counted alongside many talented artists with such films in their repertoire as Iron Man 3, Jack the Giant Slayer, the Chronicles of Narnia, the Hobbit, Sherlock Holmes: Game of Shadows, The Avengers, Man of Steel, Ace Wonder, Beyond the Mask, Return to the Hiding Place and more.
Wow! Some of the hardest and most enjoyable shots I have ever done. Of the 137 vfx shots, I had a hand in over 34 shots and 6321 frames, ranging from simple set extension and boom removal to intense compositing and particle simulation. I even had fun replacing a character's shoulder to maintain wardrobe continuity. (Don't ask which shot 'cause I'm not allowed to tell.) It certainly was a record breaking time... like 46 hours running on 4 hours of sleep the last two days before the deadline.
I received this kind endorsement from my awesome visual effects supervisor:
"Shad was a pleasure to work with. Very friendly, flexible, and adaptable. During the crazy parts of Polycarp's VFX process, he was able to take on several developing shots at once, as shot elements traded hands and versions. Also, he was able to quickly learn Polycarp's rigid technical workflow and maintain consistency throughout the project. At several points he was able to discover creative solutions to compositing problems we had. A+++++ would work with again!"
- David Heustis, Visual Effects Supervisor for Ace Wonder and Polycarp
Enough of the shameful plug... it truly has been extremely exciting to see how much depth and scale all the vfx shots added to this movie.
Composer, Ben Botkin, announced a few weeks ago the completion of the music. As I write, the film is undergoing its final color grade and sound mix. It's amazing to think that in only a few more days... after nearly 3 years of work... the film will be finally finished. But don't get your hopes up. The release is still a ways away.
One day I hope to post photos, videos, and shot breakdowns from the process, but for now this post will have to suffice.
I want to give a quick shout out to some of the awesome guys who have been key to this final stage in the process. 1) Director, Joe Henline. You'd never guess this is his first feature film. 2) Producer, Scott Eash. Hiring the right people for the right job sounds easy, but if it is not done well, the film could fall apart. Scott is tirelessly working to make the film as good as it can possibly be. 3) Visual effects supervisor, David Heustis. David's enthusiasm puts the "super" in "supervisor." His technical knowledge seems endless and he always had a word of encouragement and solutions when the going got tough. 4), composer, Ben Botkin. I've been a huge fan of Ben's music for years and I absolutely love what he created with the soundtrack. (Rumor has it that a sample will be released soon). 5) Editor, John-Clay Burnett. 6) Sound editor Nathan Ashton.
And the list could go on. In fact you can view them at IMDb.com.
Need a quote for VFX or motion graphics? Send me an email.
It's finally here! The first extensive look at the Behind the Scenes of Polycarp: Destroyer of Gods (Also, check out the new website designed by ShadEash.com).
This BTS video has been in the works, off and on, since September of 2013. In February, I went back to Ohio to film several more interviews including one with Nathan Ham (son of Answers in Genesis founder, Ken Ham).
Right now, we are in the middle of a Kickstarter campaign. There are some great rewards and the deadline is fast approaching. (Remember, Kickstarter is all or nothing.) Check it out and spread the word: kck.st/1rKGohh
Directed and Produced by: Shad Eash
Camera: Shad Eash
Additional Camera: Caleb Hurt, Josiah Einwechter, Joe Henline, David Cook, Nathanial Jacobson
Editing and Post Production: Shad Eash
Filmed on the Canon 6D, Canon 7D, Canon 5D Mark II, and GoPro
Head over to the 3 Young Scientists page to see BTS photos and more!
This third of five videos coming out this December. Subscribe to my channel and stay tuned!
This 30 second spot was by far my most enjoyable directing experience to date. Working with the kids was a blast. It was the first project where Josiah Einwechter and I took full control of the production design. Everything from the scribblings on the chalkboard to the coat rack in the corner, to the Salem Ridge Press book on the table was intended to enhance the image and really set it apart from our previous work. I was very excited to find a stockpile of old blueprints in one of the back rooms of the old fire hall we were filming in, which really added some interesting colors to the brown-colored room. We had a ton of fun with a rented smoke machine that also added a new dimension to the project. And as you can see from the behind the scenes video below, we went through a lot of bread!
Hi everyone! I'm excited to announce that short film we did earlier this year, Wedding Havoc, is now online. This is the second of five videos being released this month. Subscribe so you don't miss a release!
Head over to the Wedding Havoc page to see the film plus BTS photos and video!
This was my biggest directing experience due to the sheer number of people involved and the incredibly short shooting schedule. We shot all the interior scenes on a cold, January morning, until our super-talented Director of Photography, Josiah Einwechter (http://josiaheinwechter.com), had to leave for work. After lunch we went outside to shoot the car scenes with our backup DP, Philip Einwechter. (Did I mention that it was cold?) The cast and crew were great and we were able to pull it off.
A few months ago I got back from doing BTS on the set of “Polycarp: Destroyer of Gods.” My cameras of choice were Canon's DSLRs, and going into this I knew there were a few pieces of gear that were going to make my job so much easier. First of all, the 3” screen on the back of the cameras is not exactly ideal when trying to pull focus.
That's where Ikan's VL5 HDMI Field Monitor comes in. With its 5” screen, I was impressed by its
sharpness and color with an output of 800 x 480 px. Its size makes checking focus on the fly that much easier. I used it on the rare occasion that they needed someone to run B-cam, but it also came in really handy for the sit-down interviews with the actors. This allowed me to sit a few feet away from the camera to give the proper eyeline to the subject while still monitoring the camera view and recording progress.
The monitor comes with a battery plate of your choice. Which meant the same type of batteries that
powered my camera could also be used to power the monitor. The VL5 Kit also comes with a standard AC adapter for plugging directly into the wall, and comes with a shoemount, sun visor, and sun hood. When using it with the Cannon 5D II and the 6D, the screen would turn blue for a few seconds after pressing the record button to start or stop a clip, and it takes a few seconds to switch back and forth between playback and live view. Not sure exactly why that is, but later I discovered that the screen barely blinked with the 7D. So my theory is that this is caused by the camera, not the monitor.
Overall it is a great little monitor that did the job well.
A few months ago I got back from doing BTS on the set of “Polycarp: Destroyer of Gods.” My cameras of choice were Canon's DSLRs, and going into this I knew there were a few pieces of gear that were critical. Since hand-held was obviously out of the question, I needed to find a rig that was very mobile, durable, and comfortable to use for hours at a time. There are no second takes with BTS, and to keep from giving your viewers a mild case of motion sickness, you need a good rig to smooth out those shaky hand-held shots.
That's when I took a look at Ikan's Recoil Camera Stabilizer. It's a very simple and effective design; with a padded shoulder rest and an adjustable chest brace. It also features two mounting extensions and a foam padded grip that elevate and extend the camera so as to more easily view the display. With the mount in place, I attached a shoulder strap (not included) around my back that effectively made the rig hands-free if I needed to change a card or battery. It also brought the number of contact points up to four and I still had a free hand to pull focus. All the contact points meant that normal hand-held shake was eliminated as the rig became just an extension of my body. The downside is that the vertical movement caused by my breathing or walking was exaggerated, but compared to handheld, the footage was super steady and the entire rig gave great freedom of movement.
Pros: Light weight, easy to use, fairly comfortable, and adjustable.
Cons: The rig feels great when you are using it for short periods of time, but the constant pressure of a DSLR with a zoom lens resting on your gut and lower ribs can cause some discomfort if you use it 6 days a week. Also, at first I had a hard time keeping the multiple baseplates tight and in place. They would work their way loose and wobble a bit. The plastic nob on top of the steel bolt connecting the handle to the top plate eventually got stripped from frequent tightening. But I discovered that if you put the bolt through a small steel washer before attaching it to the handle that you completely eliminate this problem and the rig stays nice and tight.
Closing Thoughts: Overall it is a great rig. The mobility allowed me to shoot some great footage in
almost any situation and keep it steady, whereas hand-held would have been completely unusable.
From the back of pickup trucks to high scaffolding, through rain and mud, low and cramped, it served me well. Plus being fully decked out with a mic and Ikan monitor looks good in the eyes of the general public.
More info at ikancorp.com.
Check out some of the footage below: