My role on this project is editor and story collaborator. Accepted into the The 2011 BOSTON INTERNATIONAL FILM FESTIVAL, the short film will screen in Boston, Thursday April 21. The challenge on this project was turning mundane legal procedures and calculations into a story that would keep the interest of the audience. My goal was to provide the technical knowledge needed to understand why the law might actually be bad for creating "affordable" housing in Massachusetts, while letting the interviews and public meetings speak for themselves.
My role on this project was editor. Joe Conforti shot the footage single handedly and asked me, in typical fashion, "whip up a video for my Marine buddies." The challenge for me with this project was to tell a story from what seemed like random shots of a rather large military event at a golf course. I decided to focus on the helicopter pilot and to show his role in this important day. He had to land and pick up Old Glory from the commander in charge of the ceremony. That brief, barely documented event was a pivotal shot, which for me, brought the whole piece together.
I was director of photography on this project and second editor.
I was director of photography on this project and second editor. Working on the set is a great way to learn about production. It gives you a new found appreciation for just how hard it is to make a good product. My belief is if you can tell a great story, then you can survive on so-so production. If you can't tell a good story, then your production has to be impeccable otherwise that is yet one more thing to take the viewer out of the story.
My role on this project has been pretty much everything. My primary function now is editor and post-production coordinator. I struggled with this project. This is my first feature. The first cut is always the deepest. I was depressed for months. Nothing worked. I started to hate the footage and that made me incapable of seeing the story. I was emotionally incapable of editing this film. The director decided to take it to a friend of a friend in Hollywood who did a story cut. That was eye opening for all of us. Not only did this editor enjoy the project but he endorsed it, too. The biggest lesson I learned here was the craft of filmmaking, like all crafts, is in the hands of the crafts person. A great carpenter can make due with crappy tools, a great musician can make a crappy instrument sing, a great editor can make less than desirable production tell a story. I knew we had a story in the can. It just needed the right editor to reveal it.
My directorial debut. I directed and edited this project. The challenge with this film was we never finished shooting the last third of the script. So completing the edit required remaking the story. When I realized while brainstorming with my collaborator, Joe Conforti, that this was a story about unrequited love, the film came together for me. After many months of struggling with how to complete the short, I now knew what I had to do.
I edited this wedding shot by two shooters. I did a deep study on the art form and I can tell you weddings are not easy. I was lost in the obvious and oblivious to the basics. Fortunately, the director had a lot of experience shooting weddings and knew the ins and outs of this, a Greek wedding. I found solace in the director's clear vision. I used a lot of layers and transparencies to show the complexities of the event. Color correction is very important to the art form. Because one of the cameras was too under exposed inside the church, I created an effect to make that reel look aged and timeless. This approach made the product unique. The video is on R. Hudson Photography.
This was my little sister's little wedding in a little church in a little town in Western Massachusetts. I shot and edited this in preparation for a professional project I had on tap.
I edited this one minute short, a reinactment of a cartoon from a series by Joe Conforti called the Golf Guys.
My role on this project was editor and second camera. The director brought this project to me as a rough cut from his collaborator. It was intended to be a tough, gut-punching, crime investigative piece. But it wasn't working. Most of the people interviewed were dispossessed and for the most part sympathetic. The hard-hitting visuals - the jam cuts to front-page news articles spinning ala Citizen Kane and videos of cops arresting people in the city just didn't work juxtapose the characters. My contribution to the story was to make a connection between the beauty of the Boston Public Garden and the unfortunate people who were homeless there. I shot all new b-roll of the park and that's when the edit came together. The film won top prize in a local film festival.