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  1. 012

    Dreamscapes

    We’re proud to present you a new member of our post-production team: Chris Reinfels is a matte painter and has worked at Pixomondo in Stuttgart on “Game of Thrones” (winning an Emmy for Visual Effects) and the big Tom Cruise sci-fi epic “Oblivion”, where he has created the ice canyon together with other artists.

    As you probably have guessed, I cannot show you the painting he is contributing to our teaser trailer, but I can tell you it looks amazing. Stay tuned!


  2. 011

    Kaleidoscope

    Props in the appartment

    Props in the appartment

    Playing Tetris

    Playing Tetris

    Fits like a glove

    Fits like a glove

    Our shooting location

    Our shooting location

    Cleaning couldn't be avoided

    Cleaning couldn’t be avoided

    Testing a construction

    Testing a construction

    This ain't no candle light diner

    This ain’t no candle light diner

    Brighter boxes

    Brighter boxes

    Patience is a virtue

    Patience is a virtue

    Schedules

    Schedules

    White is the new black

    White is the new black

    Also a good place for a horror film

    Also a good place for a horror film

    First shooting day

    First shooting day

    Godspeed!

    Godspeed!

    Position is everything - Director Huan Vu

    Position is everything – Director Huan Vu

    Image control - Director of Photography Martin Vincent Kolbert

    Image control – Director of Photography Martin Vincent Kolbert

    Supervision - Producer and Lead 3d artist Jan Roth

    Supervision – Producer and Lead 3d artist Jan Roth

    Pulling all levers - Camera assistant Christian Mario Löhr

    Pulling all levers – Camera assistant Christian Mario Löhr

    Daring to dream - Lead actor Scott Chambers

    Daring to dream – Lead actor Scott Chambers

    Back to the Dreamlands - Lead actor Ben Sternberg

    Back to the Dreamlands – Lead actor Ben Sternberg

    Dressing up - Costume designer Hannah Deuss

    Dressing up – Costume designer Hannah Deuss

    Putting the finishing touches - Makeup artist Kristina Pankova

    Putting the finishing touches – Makeup artist Kristina Pankova

    If it doesn't fit, ask him - Production assistant Peter 'Pit' Tillisch

    If it doesn’t fit, ask him – Production assistant Peter ‘Pit’ Tillisch

    Beaming - Gaffer Kevin Wohlmannstetter

    Beaming – Gaffer Kevin Wohlmannstetter

    Levelling and shaking - Production design assistant Denise Kerll

    Levelling and shaking – Production design assistant Denise Kerll

    Witnessing a false sunrise - Gaffer Christopher Caldwell

    Witnessing a false sunrise – Gaffer Christopher Caldwell

    Hearing voices - Sound editor Christian Wiechers

    Hearing voices – Sound editor Christian Wiechers

    Indispensable - Production assistants Ephraim Wörner (left) and Andreas Pagel (right)

    Indispensable – Production assistants Ephraim Wörner (left) and Andreas Pagel (right)

    Preparations

    Preparations

    Preparations

    Preparations

    First shot done!

    First shot done!

    Shooting with the RED camera

    Shooting with the RED camera …

    It's his baby

    … his baby

    Fitting windows

    Fitting windows

    Let the sunlight in

    Let the sunlight in

    Breaking glass

    Breaking glass

    On the dark side

    On the dark side

    Finding the right angle

    Finding the right angle

    New for old

    New for old

    Additional lights

    Additional lights

    Don't try this at home

    Don’t try this at home

    Blackout

    Blackout

    Searching for electricity

    Searching for electricity

    84 and still looking for adventures

    84 and still looking for adventures

    'Well Mr. Vu, could you please repeat and pronounce the name of the god you are supposedly trying to summon?'

    ‘Well Mr. Vu, could you please repeat and pronounce the name of the god you are supposedly trying to summon?’

    That's a wind machine

    That’s a wind machine

    And that's happening if a wind machine is on the set

    And that’s happening if a wind machine is on the set

    Here be VFX

    Here be VFX

    Opening the gate

    Opening the gate

    Seeking warmth

    Seeking warmth

    Even death may die

    Even death may die

    Ready for the final spurt

    Ready for the final spurt

    Change of colour

    Change of colour

    Last adjustments

    Last adjustments

    Observing progress

    Observing progress

    Getting wet for the camera

    Getting wet for the camera

    Storyteller

    Storyteller

    Final moments

    Final moments

    Final moments

    Final moments

    Rich harvest

    Rich harvest

    Shortly before waking up

    Shortly before waking up

    Without sleep but not without dreams - It's a wrap!

    Without sleep but not without dreams – It’s a wrap!

    Back to reality

    Back to reality

    Images © Elisabeth Mochner or © Huan Vu, see filename


  3. 010

    Beyond the Wall of Sleep

    It’s a wrap! The storm is over, sunlight’s crashing through…

    It has been an exhausting three-days-shoot, but also very rewarding. Loved every minute of it and our thanks go to our awesome crew and our talented cast for embarking on this ship and trusting her captain. Our short journey to the other side went pretty well considering the fact we haven’t shot anything since “Die Farbe” exactly five years ago and that we had to antedate.

    On our first shooting day it didn’t look that well, since we started with a delay of more than three hours due to necessary changes to the production design. Many props came out much too dark in front of the white walls, and since we didn’t expect the contrast to be that strong and unpleasant, we had to re-arrange everything, paint some props and use white cloths to create the mood we were aiming for. In the end our first shooting day took much longer than planned and we couldn’t realize two shots, but since they weren’t that important, we could live with that and were happy to get at least a couple of hours of sleep.

    Unfortunately our second shooting day didn’t start much better. Again we had to face a delay, this time over one hour, due to production design issues. Windows with intact glass were discovered in the house and our production design assistants tried to put them into the window frame of the room we shot in. They had to be fitted and it took some time, but again the outcome was worth it. It looked more natural, no additional VFX work was needed and the actor could touch the glass in one particular shot. Despite the delay we managed to shoot all scheduled shots but one, a complex bluescreen shot, though we managed to go back to one of the two shots from the day before. that had to be omitted. It would have even been possible to reach planned target if there wouldn’t have been a special event that very evening… an event called Champion’s League Final…

    Thus, we had to get that bluescreen shot on our third and last shooting day and the scheduled rest in the remaining time – and we succeeded! One could see that crew and cast grew stronger together from day to day. It’s a pity that everything had to end just when we started to really get to that level. Hope we can continue to push beyond the Wall of Sleep again someday soon!


  4. 009

    Future Dreamers

    Tomorrow we will start! We will bring all props and our equipment to the shooting location and prepare the set for the first shooting day on Friday. Our two actors from London, UK, will fly in on the same day:

     
    BEN STERNBERG (to the left)
    In 1945 at age 16, Ben was chosen to play in the British premiere of Morning Star by American playwright Sylvia Reagan, at the Alhambra Theatre, Glasgow. A wise old actor he met shortly afterwards advised him not to embark on an acting career until he was older with some experience of real life, before attempting to ‘mirror’ it. He took his advice and embarked on multi-faceted business activities.

    Aged 45, the ‘Theatre Bug’ started biting hard, so he did a refresher course at LAMDA and achieved their Silver Medal, but Actors Equity (the actors union) was a closed shop at that time and refused to admit him as they had lots of unemployed members. And without an Equity card it was impossible to find work. So back to the commercial grindstone…

    Two years ago when Ben closed his last business, he decided he’d experienced enough ‘living’ and was ready – at 82 years old – to launch his acting career.

    He has participated in six short films since then and has been short-listed for a cameo part in a feature film.

     
    SCOTT CHAMBERS (to the right)
    Scott Studied a BTEC Diploma in Acting, became a member of the National Youth Theatre in 2009 and then in 2011-2012 Scott trained with various acting coaches including Mel Churcher as well as training at The Actors Centre, London. Scott is now signed to Curtis Brown, one of London’s top agencies for actors.

    Scott’s recent theatre credits include: Chicken (Southwark Playhouse, London), Siamese Twins (Theatro Technis, London), Dick Whittington (West Midlands Children’s Theatre/UK&Ireland Tour). Scott begins performing his new play “The Precariat” in July 2013 (Finborough Theatre).

    Scott’s recent film credits include; UWantMe2KillHim? (Andrew Douglas/Bad Hat Harry Productions), Ticking (Chris New), A Place For Us (Tom Hunter). Soon Scott will begin filming for the feature film screen adaption of “Chicken” reprising his role as ‘Richard’, filming begins summer 2013.

     
    SCOTT CHAMBERS will take over our hero character ROLAND, a young orphan struggling with his destiny, and BEN STERNBERG will impersonate THE TERRIBLE OLD MAN, an old sailor living in solitary, feared by the other villagers. In the scene we are going to shoot, you will see both embarking on an unbelievable fantastic journey – a journey to the DREAMLANDS!


  5. 008

    Filling the Void

    Only five days till shooting begins! In the last three weeks more and more props started to fill my appartment. But it wasn’t until last week, when a beautiful auctioned model ship arrived and when we discovered a fantastic old door by chance, that the pieces really began to come together.

    I was struck by the strong symbolic power of a ship next to the idols and artifacts that we have gathered: It suggests and hints that they all have come from for away. It links everything together and it all starts to make more sense now.

    Our old house door is a heaven’s gift: We got permission by Freilandmuseum Wackershofen, where we have shot a big part of “Die Farbe”, to have a look into their archive of museum objects to find a suiting table, bed and door for our purposes. Inside a huge hall that Dr. Henry Walton Jones, jr. would be proud of (somewhere there in a dusty corner, you might stumble upon the Ark of the Covenant) we found a unique door at the end of a dark hallway. We went out to get a normal wooden door, but this surpassed our expectations, it looks really interesting and fits nicely into our planned colour scheme.

    In the next blog article I will present you our two actors that will fly over from London to join us on our trip to the Dreamlands.


  6. 007

    Artifacts

    Shooting preparation has begun. We were forced to move up the date to end of May, meaning that there is less time available for organization than expected. We are casting our actors now and began looking for props. If you’re from Germany, please switch to the German version if this article, where we provide a list of things we would like to use as part of our production design.


  7. 006

    The Third Eye

    We just recently completed work on our previsualization video. That’s a rough animated version of the teaser trailer we are going to produce to check if everything will work as intended, and give us a feeling for the pacing and the mood. It is also a playing ground to try out different layout sound effects and music themes. And last but not least the whole project becomes tangible now for all artists involved, they can see and hear where we are heading towards. All in all it turned out quite well and clocks in at around 3:30 minutes.

    In other news: We have found our shooting loation in the meantime. It is quite close to our home city Stuttgart, located in Böblingen (yes, that’s where the Mercedes are manufactured) – an abandoned rundown building under monumental protection that once has been the entrance office of former Böblingen airport that is just about to be transformed into a new city district. You can see it featured here in this video, surrounded by some new modern buildings that have already been built.

    We also had the option to return to Wackershofen where we shot most parts of “Die Farbe” but despite the full support we would have received by the museum’s administration and much better working conditions there we decided for this building, because of its old wooden walls with peeled-off white paint. We will take one larger room and bring it to life with props – and two actors.


  8. 005

    Steep cliffs

    First Visual Effects Meeting yesterday afternoon with 3d artists Jan Roth and Stefan Hähnlein and 3d & matte painting artist Marco Wilz. Soon the room filled with pure geekiness and ramblings and murmurs of tech talk, that I better do not recite here.

    Marco is a friend of mine since we worked together at Pixomondo in 2006 on the misguided big budget German (anti-)war flick “Red Baron”. It tanked at the box office but it featured great VFX work, thus drew much attention from abroad and placed the young company on the world map. While I finished studies and spent three years to make “Die Farbe”, Marco returned several times to Pixomondo and worked on many high-profile projects, his latest credits feature “Hugo Cabret” (Academy Award for Visual Effects) and “Game of Thrones” (Emmy Award for Visual Effects).

    Stefan and Jan are fellow students from university, while Jan spent three years to co-produce and work on “Die Farbe” (and doing smaller stuff to earn his living), Stefan – apart from helping us by creating the decaying mushroom in “Die Farbe” – did freelance work for companies like Scanline in Munich, where he contributed to two big budget German movies, “Wickie und die wilden Männer” and “Hotel Lux”, and most recently to the international spectacle that is “Cloud Atlas”, directed by Tom Tykwer and the Wachowskis.

    But enough with the namedropping. What did we talk about? Sorry, but I really can’t tell you. You will see and I hope you will like it. Don’t expect too much, it’s a small team (I will introduce the other VFX artists later) and no one can work on this full-time in the coming months. But I’m quite confident that we will surpass the quality of visual effects you have seen in “Die Farbe” by far. After all I have switched from a single core 4GB RAM to a quad core 16 GB RAM machine in the meantime, yes I did ;)

    If you happen to be a VFX artist yourself and you are interested in helping us, please give a shout and provide us some information about your work experience and skills, which programs you use, and also please show us some work examples. We’re especially keen on finding experienced simulation artists for fluids and/or destructions (oops, did I say that?).


  9. 004

    Other Gods – Part 1

    From time to time we would like to share with you where we will draw inspiration from for this project, be it artistically or in terms of production spirit. First entry is dedicated to a unique independent film project from UK that we have stumbled upon last week: The UnderWater Realm

    A group of devoted and enthusiastic young film makers embarked on the incredible task to create five short films mostly playing underwater to showcase their concept for a fantasy film trilogy about the mythical people of Atlantis. Many hours of behind-the-scenes footage show their dedication and hard work in the last few years to make it happen and if you haven’t seen them yet, head over to their webpage and watch the five finished short films that they have published last December. It is truly impressive and for us, as fellow independent film makers being in quite the same boat, a huge boost for our own endeavours.

    We really hope they can fulfill their dream and someone big from Hollywood will call them up to get this started. And let’s hope we can achieve something in that league to reach a similar position. But don’t expect us to go underwater and make five short films in a row – we’re rather bad swimmers …


  10. 003

    A Dream-Quest

    So what is this all about? Here is the whole story: After numerous times that people who had seen and liked our last film asked us what would be next on our list, for the most part of the last two years we didn’t have an answer. For me as the director and writer it was crucial to find another story as fascinating to me as “The Colour Out of Space”, a story with a deeper theme that would resonate within. There are many stories by H.P. Lovecraft that are really great and effective, but many lack such a hidden core, worthwile to be explored and transformed in the form of a motion picture. Among non-Lovecraftian ideas we toyed around with “The Temple” for a while (oh yeah, German u-boats!) but abandoned it in the end. Not so much because of the u-boat and many scenes with water and underwater, which is very hard to do, but more because of the story arc that doesn’t translate too well into a full movie. In typical Lovecraftian manner there is no third act, the idea of “The Temple” is great, the effect is strong, but with no additions to the story you would only end up with a short film with an open end. And that’s just not enough for all the needed effort, we concluded.

    So what else? One day at the start of 2012 a new idea came up: “Celephais” has always been one of my favourite stories because of its sad emotional core and after reading a comic adaptation by the amazing Jason Bradley Thompson as well as his rendering of “The White Ship” and “The Strange High House in the Mist” a seed was planted in my head. In late summer 2012, after completing two other treatments for possible films, and reading “The Dream-Quest to Unknown Kadath” for the first time, I was ready and allowed my imagination to run really wild: a huge epic adventure urged to be put on paper. And so it happened.

    Thus, we’re not talking about an adaptation of a particular H.P. Lovecraft story. This is about a new original story that takes place in Lovecraft’s Dreamlands and there are many elements and themes taken from those stories. Our dream is to bring a whole fantasy world and some of its characters, gods and creatures to life that haven’t yet been portrayed before. Embark upon this dream-quest with us, a quest that will lead us all to a unique film experience.

    But let’s take small steps first: The teaser trailer. Consisting of a full scene that is perfectly qualified to show where we are heading.

    Right now we’re looking for a suiting shooting location – something like this. We need a hut or house with at least one side window, a nicely looking wooden door and enough space for two beds left and right and a table in the center. Its architectural design should be coastal (North Sea, Baltic Sea) or plain neutral. The older the better. But within reach for us, meaning Germany and surrounding countries. It doesn’t matter if it is in the woods, on a mountain or in a town, since we’d only shoot inside of it. Anyone with hints (also if you have seen such a hut or house in another European movie or short film – so that we could ask the filmmakers) please give a shout. Note: A wooden attic could work, too, depending on size and structure and if it would be possible to pull up two side walls.