A Match In The Rain

Current Update:

6/17/2002
Nelson Ryland has locked picture on the film. We are now preparing for the on-line editing and sound post. We off-lined the picture using Final Cut Pro 3.0 courtesy of Swete Studios . We expect to do the on-line with the Quantel iQ. Stay tuned for further developments.

Production Photos are available.

Project Description:

A Match In The Rain is a short dramatic narrative shot in high definition video (720p 24fps). The project has two objectives: 1. a creative endeavor on the part of the writer and director, and 2. a technical investigation of "totally digital" film production using the Panasonic AJ-HDC27V camera in production and the DVCPRO HD format in post-production.

The flexibility and economy of shooting on tape and finishing with desktop tools makes high definition an attractive option for independent films, documentaries, industrials, music videos, and public service announcements. A 24fps 720p high definition video master provides a flexible future-proof master that can easily be converted to all existing and proposed distribution formats without serious sacrifice in quality. No format is right for all projects, however, filmmakers wanting more than DV can offer should consider the high definition alternative.

FInal deliverables include: (1) a video master, (2) a 35mm film print, and (3) a collection of short articles discussing the pre-production considerations and recommended practices for using the Panasonic AJ-HDC27V camera in production and the DVCPRO HD format in post-production. The articles will explore both the qualitative and quantitative issues of shooting and posting in high definition as an alternative to film origination for both video and film distribution.

If you are interested in more detailed information about the project, or would like to to be notified when the project and arrticles are complete, please send an e-mail to: rain@kino-eye.com

The producers greatfully acknowledge sponsorship and technical support from Panasonic, Abel Cine Tech, Swete Studios, Tape House Digital Film, and Monitor Films.

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Previous Updates:

5/10/2002
Nelson Ryland has come on board as editor. We are currently in the editing phase of the project. We had some initial delays because the Panasonic Frame Rate coverter was not taking care of the 3:2 pulldown properly (in order to make NTSC 29.97fps DVCAM tapes from the 24p DVCPRO HD tapes for off-line editing). The folks at Tape House Digital Film figured out the problem. The pleasures of living on the bleeding edge. We are editing using Final Cut Pro 3.0 at Swete Studios.

3/19/2002
We completed principal photography on March 17th. Currently reviewing the footage and planning the post-production. Our experience shooting with the Panasonic AJ-HDC27V camera exceeded all expectations. The images are amazing and we liked being able to see the results of undercranking in real-time. Mike Dowling of Swete Studios provided on-set continuity and editing during production. The HD-SDI signal was fed directly to the on-set editing workstation. The Director had the opportunity to quickly review takes, see shots in the context of other shots, and review assemblies during lunch. the Director said of Mike's role on-set, "it gives me more confidence [...] I really like it." Having a separate system for playback allowed the review of takes to go on without disrupting the activities of the camera crew.

3/08/2002
Zak Tucker of Swete Studios suggests we add another experimental component to the production: on-set continuity and editing with a Final Cut Pro editing station and a DVCPRO HD deck. While a tad skeptical at first, the production team's final reply is "bring it on... the more experimentation we can do, the better for everyone involved."

3/05/2002
After careful evaluation of production options, the project team has decided to shoot and post the project in high definition with the Panasonic system. We have secured sponsorship and technical support commitments from key vendors in New York. David Tames will take on the role of Post-Production Supervisor for the technical side of the project and document what we learn. Zak Tucker will provide technical assistance during post production. The producers have secured the resources required for production. All of the pieces have finally come together. Production is scheduled for March 15, 16, 17 with a camera orientation at Abel Cine Tech on March 13th.

02/15/2002
At a pre-production meeting David Tames suggests that the Panasonic AJ-HDC27V camera would be a more appropriate camera and format for the project. With so many unknowns regarding the new camera and video format, Tames suggests morphing the project into a technical research project to explore and document "digital film production" with the Panasonic system. Liza Case and David Chachere and Stephen Jobes are enthusiastic, yet reasonably cautious.

12/07/2001
Liza Case (Writer, Producer) and David Chachere (Producer) approached David Tames (Cinematographer, Post-Production Supervisor) with the challenge of shooting a short film with a classic black and white film look. Originally Tames suggests shooting on PAL DV for the highest quality image at the lowest production cost. Monitor Films has puts the production in motion. The major creative challege at this point is deciding how to affordably make rain in the streets of New York.

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Director and Producer Bios:

Stephen Jobes (Director)
Stephen is a seasoned theater director. He opened Michael Shurtleff’s, Corner Loft Theatre with Pinter’s The Collection, directed From Jail to Jungle (Carnegie Hall), Ketchup (Omni Theatre/NYSCA grant). Other work includes American premieres of plays from England, Belfast, New Zealand for Alexander Racolin. Directed Mike Scott in PAN (American video, Geffen Records), Catherine Mapp, Sheila Jordan Concert (Joseph Papp’s Public Theatre), Steve Hayes, We only Have Brains on Tuesday (MAC award), Julie Flanders, Living in Pieces (One Dream Theatre), and for Tea & Theatre, G.B. Shaw’s piano-comedy, The Music Cure. Day by day, Stephen has the large pleasure of coaching actors who work in theatre and film.

David Chachere (Producer)
David founded and is Publisher of the New York Film & Video Monitor, the only
independent film trade-paper in New York. His film credits include Producer on the independent feature Jose Jones and the short film Destiny, which is currently running on PBS' The Short List and on WE (Women and Entertainment Channel). He was Associate Producer on The Lost Artist, a documentary about New York City subway musicians. David is a graduate of Columbia University.

Liza Case (Producer)
Liza trained as an actress at The London Academy of Music and Dramatic Art and with Michael Shurtleff and Stephen Jobes in New York. She played the female lead in the film No Justice and was featured in Nashville Beat with Garth Brooks, Martin Milner and Kent McCord. Destiny, a short play she wrote, was produced twice in New York. She later wrote the screenplay for and co-produced the film version. She co-produced Joanie and Amalia,a short film directed by Elise Marenson. Liza is the Editor of the New York Film and Video Monitor, to which she contributes regularly.

David Tamés (Co-Producer)
David is a media technologist and cinematographer whose feature credits include Stephen Kijak's award winning Never Met Picasso. He directed Destiny, a short film which has screened at festivals, aired on PBS's The Short List and will soon air on WE. David is a graduate of the University of Florida and completed his graduate studies at the M.I.T. Media Laboratory. His experience includes new media research, customer experience design, technology evaluation, film post-production, and internet business strategy. David's column, "Technically Speaking," appears in the New York FIlm & Video Monitor.

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Credits:

The credit list is in the process of being assembled. We apologize for any omissions, please send corrections and additions to the producers.

.

Director: Stephen Jobes
Writers: Stephen Jobes and Liza Case
Executive Producer: Monitor Films
Producers: David Chachere and Liza Case
Co-Producer & Director of Photography: David Tamés
Production Designer: Daniel Moldanado
Editor: Nelson Ryland

Cast
Woman in Evening Gown - Liza Case
Mr. Underhill - Dorin Seymour
––
Dog Walker - Shuji Toji
Nervous Man - Robert Hancock
Woman and Daughter - Harriett and Lia Trangucci
Man with Box - Danny Cohen
Woman with Packages - LaTisha Redding
Desk Clerk - Christopher Garman
Woman inside Hotel - Wanda O'Connell
Woman outside Hotel - Lorna Jane Brooks

Production
Unit Production Manager: Diana Wolny
1st Assistant Director: Anita Sum
2nd Assistant Director: Colleen Miller
Steadicam Operator: Sergei Franklin
Camera Assistant and Lighting Technician: Maxim Kovalsky
Gaffer: Shuji "ShuG" Momose
Grip/Electrics: Tetsuya Shindo, Makoto Takeuchi
Special Effects (Rain): Rae McGrath, John Frisbie
Art Department: Martha Braunfield, Sara McGovern, Christopher Schneider
Continuity: Mike Dowling
Make-Up: Sonya Watson
Wardrobe: Wendy Winters
Production Assistant: Kelly Miller
Location Manager: Scott Felixson
Still Photographers: Tom Buckner, Nina Schmir
Camera package provided by Abel Cine Tech
Lighting & Grip provided by Xeno
Props by Props for Today
Payroll Services by All Payments, NY
FX Equipment by EFX House

Postproduction
Sound Designer: Dwayne Buckle, Mark Batista
Sound Effects Editor: TBA
Dialog Editor: TBA
Rerecording Mixer: TBA
Online Editor TBA:
Colorist: TBA
Color Timer: TBA
Technical Advisor: Zak Tucker
Postproduction Supervisor: David Tamés
Composer: TBA
Music performers: TBA
Arrilaser film recording by Tape House Digital Film
Prints by TBA

Special Thanks
Russ Walker, Panasonic
Peter Abel, Abel Cine Tech
Zak Tucker, Swete Studios
Alfie Schloss, Tape House Digital Film
New York City Mayor's Office
Screen Actors Guild
Ron Bennett
Jonathan Shoemaker
Derek Tseng
Centre Street
Joseph Corriea
Berkely Caterers
Charles Torres and Family
Martin Edelman
Soldiers, Sailors, Marines and Airmen's Club
Chris De Bono
Ruthie Robertson
Midway Hotel
Dr. Irene Osborne
Zooey Parks
Patrick Di Renna

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Fine Print:

Copyright 2002 David Tamés, All Rights Reserved. Permission is granted to copy this document as long as the copyright notice remains intact and the origin of the document is acknowledged. Images may not be reproduced except within the context of this document.

The producers of A Match In The Rain are soley responsible for the content and technical execution of the production. Mention of sponsors and links to their sites does not constitute an endorsement of the production or it's content on the part of the project sponsors. Links to sponsor sites are provided for rreference and identification only.

The producers encourage you to discuss your specific projects with our sponsors as we have every reason to believe they work well together and are able to provide you with one-stop shopping for production and post-production needs.

Panasonic, Abel CIne Tech, Swete Studios, Tape House Digital Film, and Monitor Films are Trademarks of their respective owners.

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Home > Projects > A Match In The Rain



A Match In The Rain		• Project Description • Previous Updates • Director & Producer Bios • Credits • Fine Print

Current Update:	6/17/2002 Nelson Ryland has locked picture on the film. We are now preparing for the on-line editing and sound post. We off-lined the picture using Final Cut Pro 3.0 courtesy of Swete Studios . We expect to do the on-line with the Quantel iQ. Stay tuned for further developments. Production Photos are available.

Project Description:	A Match In The Rain is a short dramatic narrative shot in high definition video (720p 24fps). The project has two objectives: 1. a creative endeavor on the part of the writer and director, and 2. a technical investigation of "totally digital" film production using the Panasonic AJ-HDC27V camera in production and the DVCPRO HD format in post-production. The flexibility and economy of shooting on tape and finishing with desktop tools makes high definition an attractive option for independent films, documentaries, industrials, music videos, and public service announcements. A 24fps 720p high definition video master provides a flexible future-proof master that can easily be converted to all existing and proposed distribution formats without serious sacrifice in quality. No format is right for all projects, however, filmmakers wanting more than DV can offer should consider the high definition alternative. FInal deliverables include: (1) a video master, (2) a 35mm film print, and (3) a collection of short articles discussing the pre-production considerations and recommended practices for using the Panasonic AJ-HDC27V camera in production and the DVCPRO HD format in post-production. The articles will explore both the qualitative and quantitative issues of shooting and posting in high definition as an alternative to film origination for both video and film distribution. If you are interested in more detailed information about the project, or would like to to be notified when the project and arrticles are complete, please send an e-mail to: rain@kino-eye.com The producers greatfully acknowledge sponsorship and technical support from Panasonic, Abel Cine Tech, Swete Studios, Tape House Digital Film, and Monitor Films. back to top

Previous Updates:	5/10/2002 Nelson Ryland has come on board as editor. We are currently in the editing phase of the project. We had some initial delays because the Panasonic Frame Rate coverter was not taking care of the 3:2 pulldown properly (in order to make NTSC 29.97fps DVCAM tapes from the 24p DVCPRO HD tapes for off-line editing). The folks at Tape House Digital Film figured out the problem. The pleasures of living on the bleeding edge. We are editing using Final Cut Pro 3.0 at Swete Studios. 3/19/2002 We completed principal photography on March 17th. Currently reviewing the footage and planning the post-production. Our experience shooting with the Panasonic AJ-HDC27V camera exceeded all expectations. The images are amazing and we liked being able to see the results of undercranking in real-time. Mike Dowling of Swete Studios provided on-set continuity and editing during production. The HD-SDI signal was fed directly to the on-set editing workstation. The Director had the opportunity to quickly review takes, see shots in the context of other shots, and review assemblies during lunch. the Director said of Mike's role on-set, "it gives me more confidence [...] I really like it." Having a separate system for playback allowed the review of takes to go on without disrupting the activities of the camera crew. 3/08/2002 Zak Tucker of Swete Studios suggests we add another experimental component to the production: on-set continuity and editing with a Final Cut Pro editing station and a DVCPRO HD deck. While a tad skeptical at first, the production team's final reply is "bring it on... the more experimentation we can do, the better for everyone involved." 3/05/2002 After careful evaluation of production options, the project team has decided to shoot and post the project in high definition with the Panasonic system. We have secured sponsorship and technical support commitments from key vendors in New York. David Tames will take on the role of Post-Production Supervisor for the technical side of the project and document what we learn. Zak Tucker will provide technical assistance during post production. The producers have secured the resources required for production. All of the pieces have finally come together. Production is scheduled for March 15, 16, 17 with a camera orientation at Abel Cine Tech on March 13th. 02/15/2002 At a pre-production meeting David Tames suggests that the Panasonic AJ-HDC27V camera would be a more appropriate camera and format for the project. With so many unknowns regarding the new camera and video format, Tames suggests morphing the project into a technical research project to explore and document "digital film production" with the Panasonic system. Liza Case and David Chachere and Stephen Jobes are enthusiastic, yet reasonably cautious. 12/07/2001 Liza Case (Writer, Producer) and David Chachere (Producer) approached David Tames (Cinematographer, Post-Production Supervisor) with the challenge of shooting a short film with a classic black and white film look. Originally Tames suggests shooting on PAL DV for the highest quality image at the lowest production cost. Monitor Films has puts the production in motion. The major creative challege at this point is deciding how to affordably make rain in the streets of New York. back to top

Director and Producer Bios:	Stephen Jobes (Director) Stephen is a seasoned theater director. He opened Michael Shurtleff’s, Corner Loft Theatre with Pinter’s The Collection, directed From Jail to Jungle (Carnegie Hall), Ketchup (Omni Theatre/NYSCA grant). Other work includes American premieres of plays from England, Belfast, New Zealand for Alexander Racolin. Directed Mike Scott in PAN (American video, Geffen Records), Catherine Mapp, Sheila Jordan Concert (Joseph Papp’s Public Theatre), Steve Hayes, We only Have Brains on Tuesday (MAC award), Julie Flanders, Living in Pieces (One Dream Theatre), and for Tea & Theatre, G.B. Shaw’s piano-comedy, The Music Cure. Day by day, Stephen has the large pleasure of coaching actors who work in theatre and film. David Chachere (Producer) David founded and is Publisher of the New York Film & Video Monitor, the only independent film trade-paper in New York. His film credits include Producer on the independent feature Jose Jones and the short film Destiny, which is currently running on PBS' The Short List and on WE (Women and Entertainment Channel). He was Associate Producer on The Lost Artist, a documentary about New York City subway musicians. David is a graduate of Columbia University. Liza Case (Producer) Liza trained as an actress at The London Academy of Music and Dramatic Art and with Michael Shurtleff and Stephen Jobes in New York. She played the female lead in the film No Justice and was featured in Nashville Beat with Garth Brooks, Martin Milner and Kent McCord. Destiny, a short play she wrote, was produced twice in New York. She later wrote the screenplay for and co-produced the film version. She co-produced Joanie and Amalia,a short film directed by Elise Marenson. Liza is the Editor of the New York Film and Video Monitor, to which she contributes regularly. David Tamés (Co-Producer) David is a media technologist and cinematographer whose feature credits include Stephen Kijak's award winning Never Met Picasso. He directed Destiny, a short film which has screened at festivals, aired on PBS's The Short List and will soon air on WE. David is a graduate of the University of Florida and completed his graduate studies at the M.I.T. Media Laboratory. His experience includes new media research, customer experience design, technology evaluation, film post-production, and internet business strategy. David's column, "Technically Speaking," appears in the New York FIlm & Video Monitor. back to top

Credits: The credit list is in the process of being assembled. We apologize for any omissions, please send corrections and additions to the producers. .	Director: Stephen Jobes Writers: Stephen Jobes and Liza Case Executive Producer: Monitor Films Producers: David Chachere and Liza Case Co-Producer & Director of Photography: David Tamés Production Designer: Daniel Moldanado Editor: Nelson Ryland Cast Woman in Evening Gown - Liza Case Mr. Underhill - Dorin Seymour –– Dog Walker - Shuji Toji Nervous Man - Robert Hancock Woman and Daughter - Harriett and Lia Trangucci Man with Box - Danny Cohen Woman with Packages - LaTisha Redding Desk Clerk - Christopher Garman Woman inside Hotel - Wanda O'Connell Woman outside Hotel - Lorna Jane Brooks Production Unit Production Manager: Diana Wolny 1st Assistant Director: Anita Sum 2nd Assistant Director: Colleen Miller Steadicam Operator: Sergei Franklin Camera Assistant and Lighting Technician: Maxim Kovalsky Gaffer: Shuji "ShuG" Momose Grip/Electrics: Tetsuya Shindo, Makoto Takeuchi Special Effects (Rain): Rae McGrath, John Frisbie Art Department: Martha Braunfield, Sara McGovern, Christopher Schneider Continuity: Mike Dowling Make-Up: Sonya Watson Wardrobe: Wendy Winters Production Assistant: Kelly Miller Location Manager: Scott Felixson Still Photographers: Tom Buckner, Nina Schmir Camera package provided by Abel Cine Tech Lighting & Grip provided by Xeno Props by Props for Today Payroll Services by All Payments, NY FX Equipment by EFX House Postproduction Sound Designer: Dwayne Buckle, Mark Batista Sound Effects Editor: TBA Dialog Editor: TBA Rerecording Mixer: TBA Online Editor TBA: Colorist: TBA Color Timer: TBA Technical Advisor: Zak Tucker Postproduction Supervisor: David Tamés Composer: TBA Music performers: TBA Arrilaser film recording by Tape House Digital Film Prints by TBA Special Thanks Russ Walker, Panasonic Peter Abel, Abel Cine Tech Zak Tucker, Swete Studios Alfie Schloss, Tape House Digital Film New York City Mayor's Office Screen Actors Guild Ron Bennett Jonathan Shoemaker Derek Tseng Centre Street Joseph Corriea Berkely Caterers Charles Torres and Family Martin Edelman Soldiers, Sailors, Marines and Airmen's Club Chris De Bono Ruthie Robertson Midway Hotel Dr. Irene Osborne Zooey Parks Patrick Di Renna Copyright 2002 Monitor Films. back to top

Fine Print:	Copyright 2002 David Tamés, All Rights Reserved. Permission is granted to copy this document as long as the copyright notice remains intact and the origin of the document is acknowledged. Images may not be reproduced except within the context of this document. The producers of A Match In The Rain are soley responsible for the content and technical execution of the production. Mention of sponsors and links to their sites does not constitute an endorsement of the production or it's content on the part of the project sponsors. Links to sponsor sites are provided for rreference and identification only. The producers encourage you to discuss your specific projects with our sponsors as we have every reason to believe they work well together and are able to provide you with one-stop shopping for production and post-production needs. Panasonic, Abel CIne Tech, Swete Studios, Tape House Digital Film, and Monitor Films are Trademarks of their respective owners. back to top


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