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Tim Bradstreet

Dark Country

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ok gang here's the skinny.

There are only 10 (maybe 12) copies.........

This will be done on a first come first serve basis there isn't another way to do it with the limited number of copies plus Tom's time to arrange. I will let everyone know once I have everything set up within the next 24 hours or so. Given the way this has to happen the information will not be put up on the forum.

Once I've given to go ahead anyone who wants to rush a copy though will need the message me privately. I will then pass on via message the details you will need.

This is not to be shared openly. 

Sorry for it having to be done this way but hopefully you can all read between the lines here and understand there is clearly a reason for doing it this way and I wish there were more copies to get out to everyone but alas this isnt the case. 

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48 minutes ago, Geoff said:

ok gang here's the skinny.

There are only 10 (maybe 12) copies.........

This will be done on a first come first serve basis there isn't another way to do it with the limited number of copies plus Tom's time to arrange. I will let everyone know once I have everything set up within the next 24 hours or so. Given the way this has to happen the information will not be put up on the forum.

Once I've given to go ahead anyone who wants to rush a copy though will need the message me privately. I will then pass on via message the details you will need.

This is not to be shared openly. 

Sorry for it having to be done this way but hopefully you can all read between the lines here and understand there is clearly a reason for doing it this way and I wish there were more copies to get out to everyone but alas this isnt the case. 

Gotcha - poised like a coiled spring..........

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Bear with me folks, still working on this. 

Short version as that with changes in import/export custom rules mean its no longer as simple as a SASE with your own details on (for those of us outside the US) and I've tried several way's to get around it (I even registered myself with USPS to trying and do one internal shipping and then an external one way shipping from inside the US and that aint working to well either.

However I have a cunning plan that Im working through but may need a few days.

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12 hours ago, Geoff said:

Bear with me folks, still working on this. 

Short version as that with changes in import/export custom rules mean its no longer as simple as a SASE with your own details on (for those of us outside the US) and I've tried several way's to get around it (I even registered myself with USPS to trying and do one internal shipping and then an external one way shipping from inside the US and that aint working to well either.

However I have a cunning plan that Im working through but may need a few days.

We are totally in your capable hands Geoff, and I'm sure it will be worth the wait however long!  In the meantime I'm virtually glued to my phone and iPad waiting for the next update..........red tape -- pah! 🙄

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Sorry to disappoint everyone on this one but its going to be too hard for me to facilitate with all the moving parts within different countries and shipping issues. Inside the US I think will be fine, outside im afraid its a bit of a mine field with current import/export laws and Thomas cant exactly just wander down to the Post Office and stick a load of stamps on things weigh it and ship it.

With only very limited copies too were going to be disappointed anyways, so I think these will be kept back for appearances where they can be given in person. 

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Hmmm. Too bad. Your answer contains two parts though: within US ok? Or is it better to give them personally away no matter the location?

Just asking because I have colleagues and friends travelling back and forth that could help.

Considering the amount of work, passion and energy it was to shoot Dark Country, I can understand that it's Thomas's baby and he prefers to have a personal link to each copy. I just wanted to clarify. 

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1 hour ago, Geoff said:

Sorry to disappoint everyone on this one but its going to be too hard for me to facilitate 

And The Grinch just stole Christmas!  Joking aside, I understand if the logistics are just proving too difficult, disappointing but I’ll get over it, thanks for trying Geoff.  

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1 hour ago, Enaira said:

Just asking because I have colleagues and friends travelling back and forth that could help.

What I meant here is to help all non US people. Not just me.

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To answer  this properly will take a while as for anyone outside of the US it will requires import and export documentation and dealing with customs in the US.

A very simple thing is actually very complicated and has become quite frustrating for all parties involved, trust me.

Anyone inside the US will be able to send a SASE to RAW and be lucky enough to hopefully receive one of the very limited copies as its internal within the US so no customs involvement.

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Ok understood. 

Never would have thought that customs on a DVD was so important. 

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1 minute ago, Enaira said:

Ok understood. 

Never would have thought that customs on a DVD was so important. 

Nor me. It's not the item. It's the process that's so ridiculous.

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So over the weekend I was in fact lucky enough to watch Toms cut of the film.....

The following took place over email.

My email to Tom:

Much better pace to yours. Its shorter isn't it by some good few minutes?

 I never thought about a black and white version but since reading your notes that would have been brilliant!!!!

Still have all the key elements, the lighting is still as amazing in the car. You always in the dark and Lauren always in the light (is there a reason for this?)

It almost feels as thought you've kept in the more obscure or obtuse angles and shots to keep the whole piece just slightly more off center. More noir, Twilight Zone, more kind or O Henry.

Gonna re watch my original now to compare better. 

Toms response not five mins ago:

Thanks for watching! Yes the original version was always meant to be under 80 minutes, but I didn't know that Sony had a minimum length requirement of 85 minutes before credits. 

So I had to add in more than a few minutes of footage I would have otherwise cut, and it killed me!

So the DGA has a rule that as a director you're allowed to supervise the television cut, most directors ignore this, but I took it as an opportunity. I worked with the editor at a tiny editing bay at the studio and I was finally able to cut out all the crap. The chances of Dark Country running on television are slim to none, but he was kind enough to burn me a copy. I made about 100 copies and would put them in the Dark Country graphic novel when I sold them at ComicCon. 

Tim and I think Dave Allcock also made up some really cool DVD covers, which we also sold with the directors cut. All those are gone now.

This version is the closest I could get to my version of the film. Yes Lauren German is always shot with light on her, while I am in shadow whenever possible. 

The film actually does go to black-and-white for a short period of time before the cop (Ron Perlman) shows up on the road. 

Most of the angles I stole from old Noir films. Me and Allcock storyboarded the entire film, then Ray Zone and I color-coded each frame to work in 3-D, from yellow for shallow to dark red for deep. This way we could track the strength of the 3-D throughout the film, varying it so that the eye did not get burned out. Ray was a master 3D artist. 

Originally I had a black border on the top and bottom of the frame during certain sequences so that I could "break the frame" with images to make it appear even more 3-D, but the post production supervisor made me take these out. He said I couldn't change the aspect ratio of the film in the middle and then go back to another aspect ratio. But of course, I saw this trick done in a 3-D film starring gerbils not long after I finished Dark Country. 

I'm glad you enjoyed it, Geoff. Feel free to share these notes on the forum. 

Best

TJ

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1 hour ago, Geoff said:

So over the weekend I was in fact lucky enough to watch Toms cut of the film.....

The following took place over email.

My email to Tom:

Much better pace to yours. Its shorter isn't it by some good few minutes?

 I never thought about a black and white version but since reading your notes that would have been brilliant!!!!

Still have all the key elements, the lighting is still as amazing in the car. You always in the dark and Lauren always in the light (is there a reason for this?)

It almost feels as thought you've kept in the more obscure or obtuse angles and shots to keep the whole piece just slightly more off center. More noir, Twilight Zone, more kind or O Henry.

Gonna re watch my original now to compare better. 

Toms response not five mins ago:

Thanks for watching! Yes the original version was always meant to be under 80 minutes, but I didn't know that Sony had a minimum length requirement of 85 minutes before credits. 

So I had to add in more than a few minutes of footage I would have otherwise cut, and it killed me!

So the DGA has a rule that as a director you're allowed to supervise the television cut, most directors ignore this, but I took it as an opportunity. I worked with the editor at a tiny editing bay at the studio and I was finally able to cut out all the crap. The chances of Dark Country running on television are slim to none, but he was kind enough to burn me a copy. I made about 100 copies and would put them in the Dark Country graphic novel when I sold them at ComicCon. 

Tim and I think Dave Allcock also made up some really cool DVD covers, which we also sold with the directors cut. All those are gone now.

This version is the closest I could get to my version of the film. Yes Lauren German is always shot with light on her, while I am in shadow whenever possible. 

The film actually does go to black-and-white for a short period of time before the cop (Ron Perlman) shows up on the road. 

Most of the angles I stole from old Noir films. Me and Allcock storyboarded the entire film, then Ray Zone and I color-coded each frame to work in 3-D, from yellow for shallow to dark red for deep. This way we could track the strength of the 3-D throughout the film, varying it so that the eye did not get burned out. Ray was a master 3D artist. 

Originally I had a black border on the top and bottom of the frame during certain sequences so that I could "break the frame" with images to make it appear even more 3-D, but the post production supervisor made me take these out. He said I couldn't change the aspect ratio of the film in the middle and then go back to another aspect ratio. But of course, I saw this trick done in a 3-D film starring gerbils not long after I finished Dark Country. 

I'm glad you enjoyed it, Geoff. Feel free to share these notes on the forum. 

Best

TJ

This is great reading Geoff, thanks so much for posting  (and thanks to The Boss for sharing) 🙂

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