Eh hem….. AAAAAAAAnyway…….
This is what 48 hours with no sleep will do to a blogger… Why?
Some of the Bloody Cuts crew and I just took part in the SCI-FI-LONDON 48hr Film Challenge, that’s why and it was bleeding brilliant fun.
The challenge is to make a 5-minute (or less) sci-fi film utilizing 3 assets; a title, a prop and a line of dialogue in under 48 hours.
The SCI-FI-LONDON 48hr Film Challenge is the thing that inspired Ben Franklin, Jonny Franklin and I to create Bloody Cuts. We had such an amazing experience entering the competition back in 2011 we felt it was about time we did it again.
We really enjoyed the challenge of working on low budgets and tight time constraints, and the immediate satisfaction from working in such short form, but wondered how far we could push it… In 2011 we had a tank… in 2014 we had a 10 foot robot…
After running the BC Horror Challenge, seeing what fun the competitors were having and the inspiring films they delivered, Ben, Jonny and I had a real urge to give a competition a bash ourselves. So we did… and here’s the result:
‘Machines Stopped Working’ – Shot, edited, graded, VFX’ed, scored, uploaded and watched, all in 172,800.64 seconds (we made Joel count them):
We had already decided that we wanted to cover new ground, tread some action into our repertoire and we’d fortunately secured a kick-ass location to do just that.
So the first of many huge thanks goes to ‘Sibelco’ a Belgian mineral and metal extraction company, who graciously let us run around their sand quarry based in Leziate, Norfolk with a 10ft robot and a selection of automatic weapons over the weekend. Special personal thanks go to Simon Mace who set everything up for us and Tim Mendham for not only being an amazing site manager, for also driving the dolly car and not killing Tom Sawyer.
The second set of thanks go to our dear friends at Millennium FX for loaning us a host of equipment and makeup, including the aforementioned 10ft robot, but also the aliens and the not-so-alien, but totally AWESOME Kate Walshe, who as always delivered above, beyond and then into outer space (quite literally)…
We were also fortunate to make some new friends at Prop Store London, “the world’s leading vendor of original movie props and costumes”. Huge undying thanks to Stephen Lane and Tim Lawes for letting us loose in possibly one of the most exciting warehouses in the universe. With their grace we ran off with a van load of guns, costumes and a prop from the set of Prometheus (Oddly the second connection with that film in BC history).
Talking of friends, we were in great company with some familiar and fresh faces on this shoot with Tom Sawyer, Dominic Kinnaird and Richard Garaghty joining a cast of 5, which also included Paul Jibson and Kate Braithwaite. I have few words to describe how patient, giving, talented and god-darn brilliant these cats were over the weekend, but here’s two, followed by some more. ABSOLUTELY STUNNED at how these very talented actors can turn around such great performances given the time constraints and rather amorphous nature of this style of filmmaking… We’re in bits with Gratitude.
The Crew, O the Crew… ‘Machines Stopped Working’ is the third film that Ben Franklin and I have co-directed and yet again we’ve been hugely spoilt by the talent and commitment of each and every member of the crew… If there is such a thing as “Ultimate Love” it goes to the following people:
- Jonny Franklin – Director Of Photography
- Joel Morgan – Writer
- Patrick Jonsson – Composer
- Rory Harper – 1st AD
- James Hills- 1st AC
- Chris Goodman – Art Director
- Kate Walshe – Producer / SFX Supervisor
- Charlotte Barrett – Costume
- Christabel Franklin – Makeup
- Laura Grey – Makeup Assistant.
- Melissa Franklin – Production Assistant.
- Laurentiu Maria – Lighting
- Ryan Thompson, DAN Symons – VFX Artists
- Harvey Walton – Sound Recordist
- Mark Mountford – DIT
- Roy Franklin, Paul Barrett – Electricians
- Sharon Barrett, Caroline Franklin – Hospitality
- Catherine Harvey, Lucy Lee – Runners
- Emilia Barrett – BTS Stills
A hug of respect goes to Jonny Franklin for being just quite frankly (get it) a bloomin’ genius with photons and glass, making 48 hours of mine and Ben’s eccentric rambling look like a considered and artistic composition of thoughts… Not to forget his Chewbacca, James hills, who dutifully informs me the following equipment was used:
- Arri Alexa XT shooting 2K internal Prores on 4:3 sensor with 2x squeeze
- Lomo Anamorphic lenses (round front) mostly 50mm and 35mm
- Arri WCU-4 remote focus
- Cinema Electronics Cinetape
- Aspect Ratio 1:2.40 Anamorphic 2x squeeze
- We worked solely with Adobe and Red Giant products in Post Production…
Thank you all once again for your generosity and insanity to jump on board for probably the most intense shoot that Ben and I have attempted.
If I’ve forgotten anyone, then my most sincere apologies, I’m probably still hallucinating.
A little side serving of love goes to Ryan Thompson, whom we managed to convince to come and play with us for this comp… Ryan is the director of the 1st place winner of the ‘Bloody Cuts Horror Film Challenge’, we were so impressed with ‘Play Time’ that we asked Ryan to join the team for this film, and he absolutely Smashed it with his VFX skills throughout the long night… Even after the hallucinogenic effect of sleep deprivation created some form of group-shared/Ryan-led laughing fit (we made him stand out side until the phantoms went away)…
And one final and less-least note of appreciation goes to the mind-bendingly talented Patrick Jonsson who worked remotely overnight on the score… we were blown away with the results… Thanks good sir
So yeah, as this shows there were a lot of folks involved in our submission for the 2014 SCI-FI-LONDON 48hr Film Challenge, a lot of love of the craft that is filmmaking, a lot of commitment, a lot of loyalty and a whole load of fun, which in the end is the most important facet of such an endeavor. We all hope that the judges get an opportunity to see ‘Machine Stopped Working’, but if they don’t we know that we’re all winners here as the weekend just gone was an absolute BLAST, A ROBOTIC LASER BLAST…
But the story doesn’t stop there…
More of our beloved Bloody Cuts crew has been out there this weekend just gone making SCI-FI madness… A team led by an important part of the fabric of Bloody Cuts known as the one and only Ben Kent and the eternally affable Rob Jowers have been creating their own slice of sleep deprived filmic brilliance.
Longer Night – “I think it tastes like blood…”
Editing is a vital component in creating a quality, tense and terrifying horror film. It’s a painstaking process, but worth every millisecond of crack-a-jack timing needed to move a short from being good to great.
WINNER: Andrew Hoffman for Dispossessed
JUDGES: Ben Franklin and Anthony Melton
Unfortunately for all the editors out there, these two judges are perhaps the harshest, most critical judges. Actually, they’re the harshest, most critical people in the WORLD. They once told me my pink onesie made me look like a gigantic hideous pig-baby. Cruel, cruel people.
So they ploughed into judging with the same producer-eyes that helped create the Bloody Cuts canon. Informed, judgemental, critical, insightful and intelligent. Which is useful when judging a film, but less so when viewing someone’s choice on indoor comfort-wear.
Anyway… their decisions took them on a journey through dozens and dozens of entries. Having watched ALL of them in the Roy Franklin Cinema and Eatery, they had already picked a number of potential winners from the cavalcade of entries.
Here’s what they had to say…
“Our shortlist ended up with some great entries. We chose:
Don’t Look At Me
Play Dead With Me
Of note is Don’t Look At Me, which is solely driven by it and I think one of the very few that did this.
I think that Dispossessed had the best flow and each shot was well timed, plus the camera stuff was awesome… I’d choose Dispossessed purely on the premise that it is still a film with a larger story and a believable world.”
Please note that all these shorts did NOT include anyone wearing a onesie. Just sayin’…
This concludes our loveable string of Blog posts focusing on the judges’ decisions for awarding the ‘best’ of everything. Unfortunately we didn’t have a category for “Best Horrible Death” or “Best Use of Masturbation”… but maybe next year?
Thanks to all the judges for taking the time to watch all of these shorts and having the epically-hard task of choosing only one winner for their category. And super-special thanks goes to ALL the entrants into the Bloody Cuts Film Challenge 2013 / 2014 – it’s been a damn wild ride. Thank you.
Will we run this again next year? Who knows! Watch this space.
For now, though – if it’s okay – we’d like to collapse in a heap for a bit. But not actually sleep. Not all more. Thanks to all of you and your terrifying collection of horror shorts, we’ll never sleep properly ever again…
Acting in short films. It’s a hard thing to judge. Not much time. Sometimes no dialogue. Little room for character arcs or emotional journeys.
So we got two pro actors to judge this tough category, and two people accustomed to horror shorts, having both worked on Bloody Cuts films before. Rachel Bright appeared in “Don’t Move” and Robin Berry appeared in both “Suckablood” (as Suckablood himself!) and “Death Scenes”.
They sat down and smashed through the shorts, undoubtedly having to wince at some of the acting on display… but also marvel at the skill and genius in others. Essentially, though, there could on be one winner.
WINNER: Lisa Sumiyoshi for Departure
JUDGES: Rachel Bright and Robin Berry
We never asked them to write any feedback, so their feedback is informal and brief. Don’t like it? Write to your local town councilor.
Robin Berry said “I thought she was the most natural and believable performer by far and really brought a great intensity to the role. Really stood out for me.”
Rachel Bright said “She stood out massively for me and I’ve found it difficult to find someone else that comes close, especially in such a short amount of time!”
High praise indeed, and congratulations and thanks to all the actors who spent their time, skill and talent on the hundreds of entries we received.
Amazing work from everyone involved.
Check out all of the entries including the other winners on the official Bloody Cuts Horror Challenge website.
You know those announcements that announce something you already knew? Yeah? This is one of those! Hey, it’s important to Bloody Cuts, so… yeah. Get over it.
We have finally put DARE on the official Bloody Cuts website, complete with full cast and crew details and the awesome Behind The Scenes, which delves into the messy, dirty, dead-birdy madness that was creating our example short for the first ever Bloody Cuts Film Challenge.
Want to know how we made Dare? Check out of the Behind the Scenes! It’s genuinely quite informative.
For those who haven’t seen Dare (get out! Heathen scum!) then check it out below. This set a bar for those filmmakers looking to enter the Who’s There Challenge, and they took a running leap right over it.
Talking of which…
Because we’re not completely egocentrically self-involved the Bloody Cuts Film Challenge page is also dedicated to the quality filmmaking from the winners of the Bloody Cuts Horror Challenge, including the Top 3, the Top 6 and the Awards winners.
Check them out HERE. Go on, you know you want to. Unless you don’t like Horror then… what are you doing on a site called “Bloody Cuts”? No, we’re not a butchers.
Congratulations to all the winners and also to everyone who created and entered a short into our competition. It was a phenomenal response and we caught a solid glimpse of the future of Horror filmmaking. See you in the future, you brilliant bastards.
A final thanks to all of our sponsors, without whom the challenge would not have been possible. The support from the folks listed below is critical in delivering a very tangible and attractive spread of rewards and prizes.
We are currently looking for Sponsors and Affiliates to potentially join and support us on the next Bloody Cuts Horror Challenge.
Fancy it? Get in contact!
This year’s challenge has raised millions of impressions for the brands featured in the competition and we hope with a similar level of generosity that we can put on another BC Horror Challenge later in the year.
Bloody Cuts is still running off the good will and generosity of its contributors and affiliates, and we’ll need that continued support to be able to announce and confirm the next completion.
At this moment in time there are no set dates for the next BC Horror Challenge, but if and when this becomes concrete, we’ll throw it out to the world far and wide, hell.. we might even tie Scullion to a church spire and make him shout about it until his ears bleed…
If you are interested in signing a pact with the devil (In the nicest possible way of course) then drop us a line and we’d love to discuss what may lie ahead for 2014/15. Contact the BC Horror Challenge team here.
Shortly after eviscerating an annoying goat and using her innards for divination, Bloody Cuts writer David Scullion decided to contact Ryan Thompson through the crimson-mist.
After dragging Ryan through the manky blood-portal and wiping off the goat intestines, they sat down (on the bones of the innocent) and had a chat about film, horror and winning the first ever Bloody Cuts Film Challenge.
DAVID SCULLION: Hi Ryan, huge congratulations on winning the Bloody Cuts Film Challenge (BCHC) and ALSO the award for Best Sound and Best Grading for your awesome short ‘Play Time’! Also, thanks for agreeing to this short interview, even if we did threaten you with a plague of zombie badgers if you didn’t respond.
Who is Ryan Thompson? How did you get into filmmaking?
RYAN THOMPSON: I am a horror fan and a film maker! I have been obsessed with horror since I can remember, and I always tried to replicate the genre growing up, either through drawings, or filming with my dad’s old camcorder. I started making shorts at a young age (mainly horror) and just kept trying to create new things every chance I got. Film making is my life, it allows the opportunity to create whatever ideas you have, and make them flesh, to show everyone else how insane you are. Creating something that takes the audience out of their surroundings for even a split second, and have them immersed in a world and situation you have created, is something I will always strive for.
DS: What drew you to the BCHC and how did it differ from the many other similar film competitions running all year round? Have you entered competitions like this before?
RT: I had seen all of Bloody Cuts shorts and loved them, I actually found out about the competition from FilmRiot and as soon as Bloody Cuts was mentioned, I went and checked it out. I thought it was a great idea and loved how open for interpretation and freedom it was, and the fact that it had to be 3 minutes was a nice time frame to work within. ‘Dare’ definitely helped boost my excitement and I quickly rang up the actors to see if they would be up for it.
DS: Why horror? Have you done much in the genre prior to the BCHC?
RT: I’ve actually created a lot of horror projects ranging from slasher to supernatural and the majority of my work so far would be considered horror. I think the horror genre is great to do as it’s themes can be so varied, and it can allow more freedom than other genres. I love the idea of having the audience on the edge of their seats, so if done correctly you can get a great reaction.
DS: How important to filmmakers do you feel competitions like the BCHC are?
RT: I think film competitions (especially ones like this which allow so much freedom to explore ideas) are very important for filmmakers, both as motivation, and as a chance to try something different/new. Everyone learns something new from each project they work on, and it is an extra thing for the portfolio so I would say filmmakers should always check out competitions, you never know how important the finished project might be for your future.
DS: Onto the film, how did you develop the concept and script of Play Time and how much preparation and pre-production did you do?
RT: I was originally going down to Oxford to shoot with the actors involved for a different project, but the night before I left I found out about the Who’s There challenge. After they told me that they would like to be involved, I quickly wrote the concept and made the shotlist. The only preparation needed was to work on the ghosts costume so when I arrived we put it all together with things the actress already owned.
DS: Please tell us a little about production, what was your crew size, how many days did you shoot for, what equipment and cameras did you use?
RT: Our crew included me, the two actors, and one of their husbands who did a couple things when we needed extra hands. We shot for roughly 4 hours one night and a few pickup shots the next morning so it was one of the quickest shoots I had ever done. It was all shot on the Panasonic SD900 camcorder which was mounted on a cheap steadicam for 99% of the shoot. I only used two cheap little LED lights and the rest were the lights in the actual living room. All of the foley and the dialogue were dubbed afterwards, I recorded them with the Tascam DR-40.
DS: Your use of sound was astounding – and won you the Best Sound Award – so how did you approach the audio on your short?
RT: Thank you very much, obviously sound is incredibly important, especially for horror, so I really wanted to spend a lot of time on it and get it right. I was so happy when I found out I won the Best Sound category as it is something I always try to perfect. I also produce music so coming from that background definitely helps but I would say understanding the beats of a script and trying to reflect that with the audio is what makes it work. Towards the end of Play Time when all of the activity around her increases, I wanted the audio to become overwhelming, there are a lot of tracks going on at that point from the lights flickering to the vinyl playing. Actually one of the songs playing is an original of mine that I put in reverse, and another is an original of the lead actress but they are quite difficult to hear.
Obviously the power of sound can allow someone to create tension for the audience, or completely ruin it, so it is about trying things out and seeing if they work until you find something that reflects the style and mood of the piece.
DS: What did the winning of the BCHC mean to you?
RT: I couldn’t believe it when I saw Play Time as the first place, I really did not expect to see it in the top 3! Getting into the top six was amazing and it felt like that was as far as it was supposed to go. The actors actually found out before me and rang up while I checked out the winners. And my parents were the ones that told me about winning best grading and sound too. This is the first film competition I have won so it means everything, it lets me know that I am doing something right so will always serve as motivation for my next projects.
DS: Did you have a chance to watch many of the other shorts? What did you think of your competition?
RT: Yes I watched all of the top 50 and was blown away, there were some incredible shorts and very unique concepts. I also watched a lot of the submissions that didn’t make it to the top 50 and again there were some truly excellent and creative films which would look great in anyone’s credits! I can’t imagine how difficult it would have been to whittle down through all of these amazing shorts but it must be great knowing that your competition was the inspiration and motivation for these films to be created.
DS: What’s next? Following the success of your horror short, do you plan to cut some more slices of horror?
RT: I am currently working on three different projects right now, unfortunately none of them are horror but I will definitely return to the genre again and try something different and new. I started shooting one of the shorts the other week, a sci-fi called Your Future, which luckily I was able to use some of the equipment I won from this competition. Thank you so much for creating this opportunity for the film making community and horror fans alike!
DS: Thanks Ryan! You can go back to your life now…
To read more about Ryan and see some of his other work, stalk him here:
You can watch the film on YouTube or pop on over to the official Bloody Cuts Horror Challenge website, where you can consume it’s terrifying goodness alongside all the other winners including the Judges top 3 choices for 2013/14.
Sound isn’t just music or score. It’s everything. The sinister laugh of a clown. The cackle of a crone. The midnight howl of some otherworldly beast. The slamming of a door or a slicing of a neck. The beat of a heart or the scraping of claws across a wooden floor.
When something sounds wrong it can boot the audience straight out of the movie and back to reality. And no one wants that. Reality? Pah! I’d rather be watching movies.
Bloody Cuts therefore chose two sound experts to judge this category. People who know their stuff and don’t just go “Wow, I like that bit of music. Winner!”
WINNER: Ryan Thompson for Play Time
JUDGES: Phil Lee and Rory Harper
Proving that the Awards Judges weren’t in collusion with the Overall Judges, Phil and Rory chose the overall WINNER of the competition as their Best Sound Award!
What does that say about sound? Like I mentioned above, it can make or break a movie. Having listened to Play Time on my laptop, headphones jammed into my ears and ALSO in the “Roy Franklin Cinema and Popcorn Eatery” it is really apparent that the sound makes Play Time so damn scary.
Phil tells us a little bit more about their decision:
“We have made our decision and we have both agreed on ‘Play Time’ as our Sound Award Winner. This film really stood out in its quality of execution and sonic decisions.
Very well thought-out design, clean, great dynamics, married with the picture and story development perfectly and most of all, had the big scare factor!!
Loved the TV static design with the disturbing screams, could have been really overwhelming and harsh in an annoying way but was shaped and mixed really well.”
A sound judgement.
Using the nefarious international horror filmmaker teleporter hidden away in the bowels of BC Towers, Mr. Stitches was able to summon David Sandberg to attend a grilling interview with Bloody Cuts’ co-producer Anthony Melton.
AM: Hi David, congratulations on winning the Best Director award for the Bloody Cuts Film Challenge (BCHC) with your awesome short ‘Lights Out’, and thanks for agreeing to this short interview. Let’s get straight into it…
What’s your jive? How did you get into filmmaking?
DS: I can’t remember a single day in my life when I didn’t want to make films. My childhood was spent making films with my dad’s camcorder. In 2006 I was about to make a short horror film but things fell through. Instead I made an animated comedy since I could do everything myself. My animation work got me some attention here in Sweden and since then I’ve been a freelance animator making shorts on the side.
AM: What drew you to the BCHC and how did it differ from the many other similar film competitions running all year round? Have you entered competitions like this before?
DS: I was familiar with Bloody Cuts having seen your excellent shorts online and when I read about the contest on nofilmschool.com I felt it was perfect timing since I wanted to make more genre stuff. I’m not really familiar with other competitions to be honest. I’ve taken part in the Scandinavian 48 hour film challenge before, although those submissions were not horror.
AM: What made you want to produce a horror film? Have you done much in the genre prior to the BCHC?
DS: I have always been a horror fan (despite the fact that I think 99% of horror films are terrible). Mostly though I’ve been doing animation and documentary work. It was quite recently that I decided that I want to focus more on what I really want to do, genre films.
AM: How important to filmmakers do you feel competitions like the BCHC are?
DS: I don’t really have any previous experiences but anything that gets you off your butt and actually make stuff is good.
AM: Onto the film, how did you develop the concept and script and how much preparation and pre-production did you do?
DS: I only had my wife and my apartment so I was kind of limited in what kind of story I could tell. I just tried to make the most suspenseful film I could with the limited means I had. I didn’t write a script, I had it all in my head and since there was no crew I didn’t really have to communicate my idea to other people than my wife.
AM: Please tell us a little about production, what was your crew size, how many days did you shoot for, what equipment and cameras did you use.
DS: The crew was me and my wife. We shot it in an evening and then I took about a day to edit and do the visual stuff and then a day to do the sound.
All the sound was added in post. I think sound is probably more important than the image in a horror film so I wanted full control.
I shot it on the Blackmagic Cinema Camera in 2.5K raw with just one lens, the Tokina 11-16 2.8.
Sound was recorded with a Rode NTG1 hooked up to a Zoom H4N.
Lights were a Chinese knock off redhead, a 375w photoflood bulb in the bedside light and some ordinary household tungsten bulbs.
AM: Lotta Losten is great in ‘Lights Out’, how did you work together? Had you worked on previous projects together?
DS: She’s my wife and muse so we often do projects together. She acts and does voiceovers in things I do for hire and we also write and collaborate on our own projects together.
AM: We’ve seen the breakdown of your VFX shot – what software did you use and how long did this shot take? Did you have all of this planned prior to the shoot?
DS: The painting work is Photoshop and the slight movement is actually Blender. I made a really simple mesh, projected the texture on it and animated the vertices basically.
AM: And I have to mention it… ‘Lights Out’ has gone viral! WOW!!! over 2 million views to date… you must be exceedingly proud? What’s the reaction been like? Have you been inundated with emails since things blew up?
DS: It’s crazy! I was hoping that the film would at least be in the top 50 in the competition, and I was extremely happy to receive the ‘Best Director’ award. But I didn’t expect it to go any further than that. My goal has been to keep making horror shorts and hopefully get one of them noticed, but I didn’t expect it already from this film! And yes, there have been quite a lot of emails.
AM: What’s next? Following the success of your horror short, do you plan to cut some more slices of horror?
Absolutely! I’ve been waiting for a couple of weeks to hear from the Swedish Film Institute about a grant for a short horror film I’ve written. My plan was, if that short was successful, to try and develop it into a feature. Now I’m getting contacted by all kinds of people curious about what I have in the pipeline and what I want to do. We’ll see what happens, as long as I get to keep making genre films I’ll be happy.
To read more about David and see some of his other work, check out his personal website here.
You can watch the film on Vimeo or pop on over to the official Bloody Cuts Horror Challenge website, where you can consume it’s terrifying goodness alongside all the other winners including the Judges top 3 choices for 2013/14.
What do you think when you hear the word ‘Horror’?
Scary noises. Screaming virgins. Ghostly figures flitting past windows. Sentient rocking chairs, having a little rock. Darkness…
… but also blood. And zombies. And clowns. And aliens and monsters and lizardmen and demons and ripped spleens and sliced throats and gunk-spewing possessed children.
This is what this award focuses on. Best Effects.
WINNER: Jennifer Dionne, Rémy Couture & Sébastien Montpetit for Invectum
JUDGES: Kate Walshe and Chris Goodman
Kate and Chris, accustomed to the joys and madness of horror film special effects, had a tough journey ahead of them. Lots of choice. Lots of violence. Lots of blood and prosthetics and FX work. Subtle, unsubtle, beautiful, horrible and deplorable.
Good fun, basically.
This is what they had to say:
“And the FX award, drum roll please, goes to…… Invectum!
The reveal on this nasty little number made me feel physically ill and it took a couple of viewings for us to figure out how it was done. Deceptively simple, really effective and such a great pay off at the end of a successfully tense horror short.
Honourable mentions have to go to the following for being expertly achieved, super clever, really gruesome or just plain fun!
- Clown School
- Lights Out
- Sins of the Father
- The Stranger
- Where Lost Socks Go
To everyone who entered: we had so much fun watching the shorts – thanks for all the amazing effort! Keep up the excellently disturbing work!”
Bloody Cuts would like to reiterate Kate & Chris’s wish here: keep up the excellently disturbing work. The makers of these shorts are the future of Horror cinema, and it gives us a lot of hope.
Huge congratulations to David F. Sandberg and his team for smashing the 1 million mark on Vimeo with their excellent horror short ‘Lights Out’, which was applauded with the Best Director award in the Bloody Cuts Horror Challenge.
It’s awesome that the film is getting so much well deserved recognition, hurrah, whoop whoop and well done.
If you like what you see and still have the nerve for more, then please stop by www.bchorrorchallenge.co.uk and check out the rest of the finalists and award winners… and if you haven’t yet opened the Bloody Cuts crypt of fiendish delight, then click your boney fingers right here…. IF YOU DARE….
The generous folks over at MixingLight.com judged the best grading award for the BC Horror Challenge and in our continuing series of The Judges’ Perspective we thought we’d share with you some of their thoughts (originally posted here)
“We had a good time with the 2nd round of judging since we could do direct comparisons between our scoring styles.
Judging the Winner
Robbie’s batch of short films (randomly generated) had the most consistently highest scoring short films – with Dan and myself giving our highest scores to that batch of films. And it was from Robbie’s batch the our first, second and third placed shorts were selected.
In the end, our winner was clear. Sorta.
Two points separated First and Second place. Our #2 selection was scored very highly by Dan and Robbie – but not so much by me. So I went back and re-watched it, then checked my final scoring. I was happy with my judging – giving the #2 film solid 2′s across all the technical categories. Basically, I like the grade but felt they didn’t commit to the Look strongly enough to change my score and add additional points in the Bonus categories to push them over the top.
Winner: Play Time
The highest scoring short film was Play Time. Each of us agreed that while individually we all had our personal favorites from a grading stand-point, this film managed to consistently impress each of us enough that it crawled its way above the other submissions and took the top prize… Best Grade and a FSI CM171 display.
Congratulations to the filmmakers of Play Time. Team Mixing Light feels you did a great job producing a classic looking horror film that also echoed the BloodyCuts style of horror. We didn’t start out to select a film based on that criteria but we weren’t surprised that it was that style of film which won our craft category.”
Once again a huge thanks to all of our sponsors, contributors, judges and entrants, plus a special thanks to MixingLight for their awesome contribution to the Best Grading award… The Full Mixing Light article can be found here.
And for a complete breakdown of the winners and award winners, use your bat wings and fly on over to the official Who’s There / BC Horror Challenge website here.