A GOOD BIT
Without a doubt narrative fiction (cinema) is our greatest passion. We became captivated by film making and the film industry when we put together our first VHS short at thirteen. In those days we painstakingly edited our home movies using two VCR’s hooked up together. How times have changed!
Every good narrative film starts with taking the time to get the script right.
We begin by asking ourselves whether a story is even worth telling. It has to get us excited while we read or write it. We need to connect with the characters; they need to be people worth getting to know for however long they are on screen. We don’t have to like them, but we do have to find them interesting.
We take a structured approach similar to the methodology of many feature film industry scriptwriters and movie production companies. First, we need to be able to pitch the story in a line, encapsulate the story in a paragraph, then convey it in a synopsis followed by a fleshed out treatment (think short story format). We then break down the scenes and key actions in a detailed scene breakdown, all before any dialogue is written. Lastly we draft the script and rewrite until it’s shoot ready.
We find this methodology very conducive to collaboration because our clients have to be satisfied with the direction we are taking at each stage of development before we move on to the next. It ensures everyone is clear on story structure and flow, each plot point, the characters their motives and characteristics, and the overarching style and tone before dialogue starts being written.
Dean and Shane both operate cameras on various projects however over the years Shane has predominantly DP‘d narrative work with Dean directing.
Together they form the core of the Alucinor crew with other key creative’s such as production designers, composers, soundies and costume designers coming on board on a project by project basis. In the realm of branded storytelling & commissioned content we strive to create TV quality productions with a much smaller crew and price tag.
Our work doesn’t have a signature look because we shape our approach and aim for an aesthetic we feel serves each story. Every project is unique.
We aren’t very trendy. We’re happy for films to have ‘style’, but we also want them to look and feel real. Over the past decade with high end colour grading tools becoming unprecedentedly accessible we’ve seen some amazing work coming from colourists and visual artists using digital film. But we feel sometimes less is more, we don’t like images to look so digitally altered that they don’t feel authentic.
For us it’s the techniques that make films powerful today are many of the same ones used to make great movies by film production companies sixty years ago.