Overdue Update!

Boy, a lot has happened since my last blog entry.

Our New Orleans Film Festival experience was amazing. Impeccable hospitality from the festival staff. A gaggle of new friends and filmmaking compatriots. Great audiences and totally pristine projection. We also got some wonderful support from critic Peter Labuza, who covered the festival for RogerEbert.com, including this choice tweet:

Peter even included the film on his list of the Best Undistributed Films of 2014, with SABBATICAL coming in at #3 on his responses to the IndieWIRE and Village Voice critics polls. It was a real thrill and an honor to wind up receiving that sort of recognition from Peter, who wrote insightfully about my work.

A few other folks included us in their favorite films of 2014, including some hometown supporters.  Jim Healy, head programmer of the UW Cinematheque and the Wisconsin Film Festival, placed SABBATICAL on an eclectic list of films -- contemporary and classic -- that he enjoyed throughout the year. Additionally, Jake Smith, who wrote a glowing review of the film during Madison Film Forum's WFF coverage, gave us a lovely shout out in his year-end wrap up, which I'll quote:

"At the time of this year's Wisconsin Film Festival, I said that I had given SABBATICAL more thought than any other film at the festival. I can now say that for the year as well. The only thing this film is short on is the run time. It is long on craft, long on maturity, and long on thoughtfulness. In other words, it is the very definition of what independent cinema should be. Film festivals and art house theaters everywhere, take heed: this is exactly the kind of film you should be showing."

It really doesn't get much better than that! 

No Film School's Micah Van Hove included us in his year-end Top 20, and a few friends included the film on their personal lists -- all sentiments I hold close to my heart.

This past weekend (on Jan. 4th), we kicked off the New Year with an exhilarating screening of SABBATICAL at the Texas Theatre in Dallas (our Texas premiere!). The event was organized by Daniel Laabs, Frank Mosley, and Cameron Bruce Nelson as part of their Family Movie Night film series. We had a large crowd full of folks who really engaged with the film and had a lot to say about it afterward -- all of which left me smiling from ear to ear. It was truly exciting to chat with everyone who came out, to see the emotions, still fresh on their faces. I made a lot of new friends and found a new city to love. HUGE thanks to everyone at the Texas Theatre for helping us put on a great screening. 

Thankfully, our Texas Theatre screening is not an isolated incident. Family Movie Night sort of unofficially kicked off our 2015 "tour" of SABBATICAL to various US cities for one-night screenings and/or limited engagements. We've got screenings in the works for Seattle, Portland, Los Angeles, St. Louis, Knoxville, New York City, and more between now and the end of spring. The great thing is, if you want to organize a screening of the film in YOUR CITY, you can do so by using Simple Machine, where SABBATICAL is now listed for booking non-traditional and traditional public screenings.

Additionally, we'll be releasing the film through various online video-on-demand/streaming services in mid-February. A very limited run of hand-made Blu-rays (approx. 100 copies) will also be available for purchase through this very website! We should get our online store up and running in the next couple of weeks, and you'll be able to pre-order discs at that time.

Phew, that's a lot. And, last but not least, SABBATICAL will be screening at the Beloit International Film Festival on Feb. 20th and 21st. If you're in southern Wisconsin or northern Illinois, you can get your tickets now! 

Love to you all and Happy New Year!

P.S. Check out the photo below of SABBATICAL on the Texas Theatre marquee alongside Frederick Wiseman's NATIONAL GALLERY and the esteemed FORCE MAJEURE!

New Orleans Film Festival!

If you follow us on Facebook and/or Twitter, you are likely aware of this, but for those of you who do not, we're very excited to announce that SABBATICAL will be screening in the narrative feature competition at the 2014 New Orleans Film Festival (Oct. 16-23)!

You can check out our festival page here and the full lineup of competition films listed to the left of the linked page. More non-competition films will be announced soon, including a few that I'm quite excited to see. Here's the press release and the press release as interpreted by IndieWIRE. I'll be sure to let everyone know when we have our exact screening dates and times locked in. Hopefully, we'll see some of you folks there.

Also, be on the lookout for our official trailer, hitting the web in the next couple weeks!


P.S. John Goodman is the NOFF "Festival Ambassador," which means he announced the initial competition lineup during the fest's first press conference. In short, Walter Sobchak acknowledged our film in public, which is super rad.

IndieGoGo Rewards + Current Distribution Plans


We're currently creating and compiling all of the rewards for our generous IndieGoGo backers. Super excited about our posters, custom mix CDs, and other goodies. Here's a little peek at our postcards and buttons (snapped with my iPhone, so please pardon the mediocre quality):

It's almost July, and we're still waiting to hear from fall festivals. After we've made it through the festival cycle, however, we'll be getting the film out there for everyone to see. In all likelihood, we'll be releasing Sabbatical ourselves for streaming and download through Vimeo On Demand/Amazon Instant/iTunes at the end of 2014/beginning of 2015. We'll also be making a very limited run of special edition Blu-rays, which will be available for purchase through our official site. Though still very tentative, we also hope to have a few one-off public screenings in various cities (ideally, with myself in attendance). I'll be keeping you updated as our plans for distribution develop! I'll also be mailing packages to several of you in the coming months!



Wisconsin Film Festival Press Round-Up

We had a blast at our world premiere! And, people liked our movie! Below are various links, Tweets and photos celebrating Sabbatical at the Wisconsin Film Festival, including this glowing paragraph from Jake Smith:

"Sabbatical is a film of stylistic poise, honest performance, and astonighins control. As if these weren't enough, the film is in a 1.33 aspect ratio, which as the film's director Brandon Colvin pointed out, 'is more suited to the human body.' The gorgeous camerawork proves this point, especially in shots where star Robert Longstreet is in close-up. You realize through the course of the film that you just don't reflect on the character in someone's face quite the same way in 1.85 or 2.35. I was surprised by the impact this film had on me. I have probably given it more thought than any other film I've seen at the festival thus far. I know Colvin to be both considerate and deliberate in his thought on cinema, and was immensely satisfied to see how that though translated to the screen. Sabbatical also has one of the single most astonishing final shots you will see this year."

For Jake's full WFF wrap-up, go here.

Here's an interview with Brandon, conducted for the UW-Madison Department of Communication Arts.

To see Brandon interviewed on Wisconsin Public Television alongside other Wisconsin filmmakers, head here. Brandon begins at the 19:30 mark.

Check out this Soundcloud link to hear Brandon (and other festival filmmakers) chat with WORT radio hosts Mel and Floyd. Brandon begins at the 29:07 mark.

The Capital Times dubbed Sabbatical among the "best new indie" films on display at the WFF.

And, here are a few ringing endorsements from fellow filmmakers Amanda Rose Wilder and Jason Sussberg!

Thanks for reading!



Hello! We're incredibly excited to be world premiering the film in TWO DAYS. Our HDCAM tape is hot off the presses. We're also SUPER excited to share our trio of official posters for the film! Some of our IndieGoGo backers will have their choice of poster once we start mailing out our rewards this summer. Hopefully, we'll also be able to offer them for purchase in the future!

These beauties were designed by the great Jenni Dickens. She had this to say about her creative process:

"What really struck me about "Sabbatical" was a disconnect present in all the characters, specifically their desire, yet inability to connect, and the ghosts that are created in that space. I related to the exploration of how we deal with those ghosts; ghosts of who we once were, the people we once knew, and the places we've lived. I wanted to visually depict this internal and external disconnect by incorporating distinct areas of absence, dissolving edges and residues, placing the characters in an almost-abstract world in which they are both a part of and apart from."

Boy, she sure said it! Without further ado, here they are.

There are still tickets available for both of our Wisconsin Film Festival screenings (Friday, Apr 4 @ 7:00 PM & Monday, Apr 7 @ 2:00 PM). Head here to snag your advance tix.


World Premiere at the 2014 Wisconsin Film Festival!

Very happy to announce that SABBATICAL will have its World Premiere at the 2014 Wisconsin Film Festival. Not only does the WFF have a quality of programming that rivals any festival, but it’s fitting that the community that supported the film's production be given the first opportunity to see it. WFF crowds are always large and engaged, which makes for a great screening environment. I’m also excited that we will be playing alongside work by great indie filmmakers like Joe Swanberg, Todd Rohal, Ti West, the Zellner brothers, Robert Greene, Tim Sutton, and Jason Sussberg.

SABBATICAL will have two screenings at the festival:

Friday, April 4 @ 7:00 PM, Chazen Museum of Art
Monday, April 7 @ 2:00 PM, Sundance Cinemas

Tickets go on sale Saturday, March 8. Get ‘em fast! (See the link below.)

Myself, lead actor Robert Longstreet, producer/editor Tony Oswald, and cinematographer Aaron Granat will be on-hand for a Q & A after both screenings.

I hope to see all of you Wisconsinites (and Midwesterners) there. 







We've been very busy with post-production polishes and festival submissions (not to mention our 9-5 lives), hence the infrequency of blogs. I just keep making blog promises I can't keep. Sending files and comments between Madison and NYC means that exchanges and notes go slower, but the work is getting done.

In the meantime, producer and editor Tony Oswald has been developing a beautiful, emotionally powerful narrative, six seconds at a time, on Vine (Tony Besides). Tony is slowly introducing new (now totally autonomous) characters (Katie Besides, Kim Besides, Cord Besides) to his mostly autobiographical (though stylized) universe, forming a complex portrait of modern marriage, family, work, and creativity. It's possible that we'll be shepherding Tony's vision into a feature film as one of Moss Garden Productions' future projects, which is very exciting (here's a sample). Cinematographer Aaron Granat has also been busy making a series of short "video tours" depicting the spectator's encounter with art for the Madison Museum of Contemporary Art's Wisconsin Triennial; check them out here.

I've been thinking a lot about the difference between "major" (large-scale, complicated, "important") and "minor" (artisanal, simple, modest) cinema recently. I see myself as always being very much in the latter camp, primarily because the stories I want to tell and the way I want to tell them calls for such an approach. I would rather make ten movies for $100K each, even twenty for $50K, than one for $1M. My dream is to do what filmmakers like Eric Rohmer, Claude Chabrol, Hong Sang-soo, Yasujiro Ozu -- even Joe Swanberg -- have done: make small films according to my own aesthetic with consistent collaborators (even a steady troupe of actors) as frequently as possible. One feature every 2-3 years for the rest of my life. That would leave me with about 20-25 films under my belt by the time I'm 80. Sounds about right. I'd be tired enough to die then.

As the title of this blog promised, here are the first official images from the film.

IndieGoGo THANK YOUs + Post-Production Update

I became very emotional while compiling this list. It's easy to get caught up in the work of making a film and forget the true extent of others' generosity, the very thing which enabled you to capture the images and sounds that you fret and obsess and lose sleep over. Even in the midst of a crowdfunding campaign, it can be difficult to process how kind and supportive so many people are because you're constantly worrying, strategizing, publicizing (not to mention producing!). It all hit me tonight, and I feel very fortunate. I hope that our backers find Sabbatical  to be worthy of their contributions. We've done our best to make a great film. Without further ado, here are our beautiful IndieGoGo backers. THANK YOU ALL.

  • Christina Aceto
  • Phil Aceto
  • Alex Acquisto
  • Matt Baker
  • Robert Barnett
  • Amanda Ball
  • Benjamin Bell
  • Emily Benson
  • Patrick Brice
  • Nathan Brown
  • Colin Burnett
  • Oren Cantrell
  • Matt Connolly
  • Kelley Conway
  • Eric Curtis
  • John Daigle
  • Leslye Davis
  • Matt DeVore
  • Brian Doering
  • Zach Fleming
  • Meg Friess
  • Jim & Lora Garrett
  • Razan Ghalayini
  • Ray Ginter
  • Kimberley Glass
  • Christina Gomez
  • Nis Grøn
  • Erik Gunneson
  • L. Curtis Hammond
  • James Hansen
  • Courtney Hatley
  • Brian Herrin
  • Arne Hoehne
  • Jonah Horwitz
  • Ted Hovet
  • Kit Hughes
  • Heather Kayal
  • Craig Keller
  • Jenny Keto
  • Mike King
  • Colin & Sage Klein
  • Katie & Steven Klein
  • Rachel Knobelman
  • Leah Kolb
  • Nicolette Krebitz
  • Tish Lawson
  • Jennifer Lee
  • Marta Lively
  • Derek Long
  • Ronald Long
  • Nora Lutyk
  • Daniel McCabe
  • Tristan Mentz
  • Delaney Montana
  • Michael Montes
  • Vanessa Moreno
  • Lauren Munger
  • Preston Nair
  • Ethan Napier
  • Ryan Nethery
  • Jefren Olsen
  • Jenny Oyallon-Koloski
  • Katey Parker
  • Corey Parsons
  • Adam Pennavaria
  • Margaret Rieck
  • Maureen Rogers
  • Blair Rowan
  • Leo Rubinkowski
  • Judy Russell
  • Suzanne Schecter
  • Karen Schneider
  • Byron Seabolt
  • Jacob Shoaf
  • Mike Sickels
  • Kelly Simpson
  • Sierra Sintic
  • Linda Söffker
  • Mary Sparr
  • Taylor Steinbruegge
  • Conor Stratton
  • Chi Chi Thalken
  • Michael Trevis
  • Heidi VanZant
  • Zach Weintraub
  • Mikey White
  • Tiffany White
  • John Whitworth
  • Chuck Williamson
  • Irene Wong

If I happened to miss anyone, PLEASE LET ME KNOW.

We're nearly finished -- a few color adjustments here, some audio work there. Our colorist Alan Dubin and sound designer Matt Baker have been working tirelessly, cramming in as much tweaking and tuning as they can in between their regular TV/commerical gigs. Their work is really helping Sabbatical sparkle. I can't wait to finally see the finished product in a theater with an audience. So far, we've received a great deal of positive feedback, which is exciting. People are connecting with the film emotionally, which makes me very happy.

In other news, I'm working on two new scripts. One is a deadpan comedy about inept biologists in Appalachia. The other is a  disturbing court room drama inspired by extreme pornography and Bresson and Dreyer's Joan of Arc films (The Trial of Joan of Arc [1962] and The Passion of Joan of Arc  [1928], respectively). Here's hoping we get to make them sooner than later.


P.S. I just crafted the mix CD, which some backers will be receiving. Really happy with the way it turned out.

Shooting in Madison

Sabbatical is the second film I've made in Madison -- a city with an active film consumption culture, but not much going on in the way of production. Madison's film community is anchored by the University of Wisconsin-Madison's Department of Communication Arts, where I am a film production instructor and PhD student. UW Comm Arts is the home of esteemed scholars David Bordwell and Kristin Thompson, a world-class faculty, and bright graduate students, as well as the top-notch UW Cinematheque and the Wisconsin Film Festival (both programmed by Jim Healy and Mike King). The affiliated Wisconsin Center for Film and Theater Research (WCFTR) is stationed nearby, housing archival documents, prints, and other treasures from RKO, Warner Bros., Emile de Antonio, Shirley Clarke, and Edith Head (among others). Just last week, Indiewire covered the launch of the Media History Digital Library's Lantern search engine -- a project spearheaded by Comm Arts' Eric Hoyt and bolstered by the work of several of my grad student colleagues. People are watching films, thinking about films, talking about films, and writing about films all the time. Unfortunately, not many are making them.

There are several reasons for this: (1) Chicago, Minneapolis and Milwaukee are larger regional draws, (2) Wisconsin has had horrible/non-existent tax incentives for years, rendering it unable to compete with Michigan and Illinois, (3) because Madison is a college town, young people tend to cycle through and leave, and (4) as a result of all of this, there is very little filmmaking infrastructure. However, there are a ton of folks who are excited about the prospect of Madison filmmaking. It was our task to marshal these wonderful individuals and their resources in order to get this film made. Their generosity proved to be abundant.

Support started in Comm Arts. The vast majority of our equipment was taken from the well-stocked arsenal of the UW Instructional Media Center. Locations and vehicles were provided by faculty members and fellow grad students. Financial support (via IndieGoGo) and social media outreach (via Facebook) from members of the department were incredible. Throughout the entire pre-production and production process, we received constant encouragement and enthusiasm from so many individuals. Making Sabbatical strengthened my ambition to combine academic and artistic energies in my future work and work environments; I've never felt so firmly part of a community.

Outside the department, a bevy of kind Madisonians allowed us to shoot at their places of business at no charge and with no interference. We found that there was a general openness to our production -- numerous proprietors specifically noted their desire to support the arts and facilitate local creative work. This is an attitude that seems to have been (at least partially) developed by Madison's aforementioned film culture -- particularly the Wisconsin Film Festival and Cinematheque. The obvious lesson is that where there's strong film culture, there are opportunities for independent film production.

The most valuable local asset, however, was our young, talented crew. The vast majority of crew members on Sabbatical are products of the Comm Arts program -- either former or current students -- whom I have taught in various film production courses. Equipped with the proper training and steeped in the filmmaking lessons of excellent instructors such as J.J. Murphy, Erik Gunneson and Stew Fyfe, our crew was enthusiastic and marvelous. Sabbatical would not be the same film without them. 

Despite all of this, Sabbatical might be the last film I make in Madison. I plan to shoot my next project back home in Kentucky (hopefully within the next year or two); and, in about three years, I'll be leaving Madison, doctorate in-hand, in search of a university job. I will always bring my future work to Madison for the WFF, and I'm proud to have contributed two films to the Wisconsin cinema catalog, alongside Stroszek, The Straight Story, and American Movie. I had a blast.


Production Complete + a few stylistic principles & choices

First, I apologize for neglecting this blog. I had a really ambitious plan to write a lot during pre-production and even keep a daily log during production, but the stress and exhaustion of prepping and shooting precluded me from such things. My hope is that now that post-production is in its closing weeks, I'll have more time to write and will be better able to reflect on the ACTUAL film rather than offer mere hypotheses. David Lowery's blog posts about Ain't Them Bodies Saints  seem like great models, though I won't be doing exactly what he's been doing (analyzing one frame per day).

Now for a few things about the film: I plan to touch on (1) a few stylistic principles & choices, (2) what it's like to shoot a film in Madison, WI, (3) my experiences with our fantastic cast, (4) the benefits of editing-as-you-shoot, and (5) what's left to do/what our goals are for the film. For this first post, I'll stick with #1. Subsequent posts will deal with the rest.

 (1) a few stylistic principles & choices

Sabbatical consists of 63 shots. When I wrote it, there were 65. It runs about 74 minutes. I guessed the final product would be between 75 and 80 mins in the introduction to the script. So, we hewed pretty closely to the plan. I'm definitely a pre-planning type of filmmaker. I write in shots. I know which shots will butt up against which shots before we get on set. I can't imagine ever working any differently. The narrative comes to me as a series of specific images and sounds. I don't shoot coverage. I storyboard every composition. I added one shot between the script and shooting (while storyboarding).

What this all means, I think is that I create precisely. I don't assume that being precise is any better or worse than being loose. Different filmmakers take different paths to make different films. It's just how my imagination works. When I write, it always starts off as several distinct images -- images imbued with certain emotional resonances. My job as a writer, then, is to tell a story that connects those images and that allows the emotional qualities of those images to enrich and compound one another. This is probably totally backward relative to how many screenwriters work. But, directing what you write makes you write differently, I think. You are primarily communicating with a future version of yourself.

There are two shots -- definitely the two most important scenes in the film -- that are over five minutes long. Most shots in the movie are about one to two minutes long. I like long-ish takes, but not long for the sake of being long. The long takes aren't stunts (though they can be challenging to shoot). They just fit my internal rhythm. When I see scenes in my head, they usually consist of relative stasis being broken up by small changes. I tend to start still, have something happen, then briefly return to stillness. That sort of thing is very compelling to me on a sheer perceptual level, but even more so when contextualized within a dramatic scenario. I like for characters to be feeling several emotions at once. I like to watch them feel those things. I want to inhabit moods. To be done subtly, I think it requires a certain amount of time and concentration. This also touches on the issue of realism. I don't consider myself a "realistic" filmmaker. I make films about feelings. The feelings determine the nature of the film's world.

I also like shots to register as shots and cuts to register as cuts. This isn't for some alienation effect or Brechtian distancing or what have you. I just like observing the shape of an artwork. I derive a great deal of pleasure from formal relationships, and I think this comes through in Sabbatical. I'm also into rules, creating parameters for a work. The main reason is that rules can force me to imagine things or solve problems in a way I wouldn't normally. One of the most important rules for me comes from Robert Bresson -- his suggestion that sound and image should avoid redundancy. If an element can be expressed aurally, let it be offscreen, show something else. Do we need to see who is talking, or can we just hear them? What is necessary? Thinking this way has consistently pushed me in directions I enjoy.

The last stylistic component I'll mention is aspect ratio. For a long while, I was waffling between shooting Sabbatical is 16:9 (1.78:1) or 4:3 (1.33:1). I really love the latter format for several reasons: (1) it is better for shooting human heads, (2) it makes isolating figures or objects in a frame easier by lopping off the excess horizontality, (3) many of my compositional influences (Dreyer, Bresson, Bergman) made use of it on my favorite films, such as Ordet (1955), Pickpocket (1959), and Winter Light (1962) (though, technically, they shot at 1.37:1), and (4) it allows you to shoot at a wide-ish (35mm) angle in a tight space with minimal spatial warping (since the edges are chopped off). I finally committed to 1.33:1 after seeing Carlos Reygadas' Post Tenebras Lux in April. Subsequently, Andrea Arnold's Wuthering Heights  increased my resolve. Having shot and cut the film, I couldn't be happier with the decision.

More to come soon,



Casting Announcements!

I'm incredibly excited to announce that Robert Longstreet (Septien, Take Shelter, This is Martin Bonner, The Oregonian, The Catechism Cataclysm) and Kentucker Audley (Sun Don't Shine, Bad Fever, Marriage Material) will be starring in Sabbatical! Robert will be playing the lead role of Ben Hardin, while Kentucker will be playing his younger brother, Dylan. It's a real honor to have two performers whose work I deeply admire on board. Robert and Kentucker are both champions of adventurous, independent filmmakers, and I'm eager to see what they will bring to the project. We're still in the process of casting the other roles in the film, so more updates will be coming soon.

Additionally, on May 1st, we'll be launching our IndieGoGo project for the film! More updates to come regarding that. Locations and crew are all coming together. Getting more and more excited every day. So ready to make this movie.


Robert Longstreet

Kentucker Audley

Pre-Production in Full Effect

We're three months out from shooting. There's a lot of work to do. Casting decisions are nearly finalized. Location scouting has begun in earnest.  The crew is being selected piece-by-piece.

Next month, our IndieGoGo project for the film will launch. As has become conventional wisdom, crowdfunding efforts are a ton of work. Tony will be taking the lead on that bit of pre-production, while I manage casting and locations. Sabbatical has been sponsored by Fractured Atlas, an organization that enables artists to attain non-profit status for their projects. This means that all donations to the film's IndieGoGo project will be tax deductible (donors may deduct donated monies from their taxable income, as permitted by law). We're quite excited about this and hope it will incentivize donors.

In other news, Tony and I (and Nora Stone, Sabbatical's art director) had a great time at the True/False Film Festival in Columbia, MO earlier this month. We caught a number of magnificent films -- highlights being Northern Light, Computer Chess, and Leviathan -- and interacted with some really exciting filmmakers. Perhaps our most memorable encounter was with Dustin Guy Defa (Bad Fever, Family Nightmare), who approached us and told me how much he loved Frames. I was shocked and honored. It was a proud moment and one that left me with an even deeper appreciation of what getting on No Budge has done for the film (650 total views!). Huge thanks to our friends Mike Sickels and Mike King for making True/False extra awesome.


No Budge Premiere + other developments

This was a really fantastic week for us here at Moss Garden Productions.

We made crucial additions to our technical personnel on Sabbatical. We got a huge boost to our fundraising endeavors for the film (keeping the details a bit under-wraps for now). We're prepping for audition callbacks with a really promising set of possible actors. And, most notably, Frames debuted on Kentucker Audley's NoBudgeFilms.com! The film has received a lot of really great attention as a result. Over 400 views between Vimeo and YouTube. A great cover story in Ace Weekly. The kind of review every filmmaker dreams of from Don Simpson. Also, we joined Twitter

I couldn't be happier with the way things have worked out. And, I couldn't be more excited about how things are coming together for Sabbatical. Many people have been super generous and encouraging. It's all very much appreciated!



This first post will be a brief one, basically a preview of what's to come. During the pre-production phase, this blog will be used as a venue for me to discuss some of the important aesthetic ideas informing Sabbatical, especially my thoughts on acting, rhythm, mood, and realism. Once the site gets going at full speed, I plan to create posts about the following:

-Vilhelm Hammershøi & Carl Dreyer
-Robert Bresson & Chantal Akerman
-Casting & Rehearsing

I'm sure that more topics will come, but these are the subjects I will definitely cover.

Once production begins (or at least once things really get swinging), I'm going to use this blog as a sort of production diary. Daily notes about how shooting went. Photos, etc. In the post-production phase, Tony and I will be blogging about the editing process, sound mixing, color correction, and the like.

Should be fun. Stay tuned.