Cross Channel Film Lab

CCFL4---Your-3D-Frame.jpg

Gaëlle, Chris and I are back from the Cross Channel Film Lab in Brignogan this week where we spent a fascinating week of lectures, presentations, and workshops in preparation for our 3D test shoot for La Fille De L'Estuaire, the feature project Gaëlle has been developing with Le Groupe Ouest.

It was quite a long trip to get there, we spent pretty much all day on the Eurostar, the TGV & TER trains to get there, which gave us time to work in the trains, meet with Nathalie Algazi (French producer on Once Upon A Time in the South project), drop off screeners for Cannes submissions in Paris and prepare for the next day's presentations.

CCFL1-Journey-To-Brignogan8.jpg

We got there quite late, and our house was lovely but had no internet. Chris and Gaëlle settled into the café du port down the road and worked until the café closed.

CCFL2-Internet-Cafe-Du-Port800.jpg

The workshops the next day kicked off with the presentations of the 4 projects selected to participate in 2014 which are: DOME (France - VFX) writer-director Luis Briceno, producer Jérémy Rochigneux; LA FILLE DE L'ESTUAIRE (UK - Stereo 3D) writer-director Gaëlle Denis, co-writer: Chris Andrews & producer Ohna Falby; THE INCREDIBLE VOYAGE OF DULLWICH-ON-SEA (UK - VFX) director Jamie Stone, writer Joe Barton, producer Bec Cubitt; TRO FAÑCH (France - Stereo 3D) writer-director Giil Taws, co-writer Christophe Briand.

CCFL3-Present-and-plan800.jpg

The week was filled with lectures, presentations, screenings, workshops, recces and prep work for the test shoots that need to take place in three weeks. Joséphine Derobe (3D stéréographe) who worked on Wenders' Pina amongst many other things, showed us all sorts of work she has been involved in and with the help of all the other speakers and mentors, presented research results which go to underpin the idea that 3D is better suited to slower, more reflective auteur films than to big budget action movies. The question really is though, whether this medium can be used at affordable budgets, as of course 3D or no 3D, slow moving auteur films don't usually attract big budgets!

The projects were also overseen with the help of the 4 project script consultants, 2 from the UK: Pippa Best and Mary Davies and 2 from France: Antoine Le Bos and Yann Apperry. We also had the opportunity to hear from and discuss areas such as sound and music with amazingly talented composer and sound technicians. As well as start recceing for our test shoots. Basically we had a great time out there. It has been a great opportunity for us to think of this film in another dimension and after our tests (when we hope to be reunited with our Crocodile DP David Ungaro!) Chris and Gaëlle can sit together and see how this element will transform our script.

CCFL4-Recces800.jpg CCL5-Everyone800.jpg



Find out more

We're in production and development so things are always changing. Ohna will be keeping the news page & twitter feed up to date. But if you want to know more please do get in touch!

Recent Entries

Films in LFF2019

This year my highlight of the festival was going to NFT1 to listen to an interview with Céline Sciamma, fabulously talented French writer director of Water Lilies, Tomboy, Girlhood (writer of the animated My Life as a Courgette) and in this year’s festival - her period piece Portrait of a Lady on Fire.

First Time Directors

I have been thinking about the stigma and the draw surrounding this title. All my feature projects - and I guess my shorts too in terms of “feature status” - are pretty much with first time directors. Sometimes I long to be at the stage where I can be working with more established directors – albeit them also being the first-timers I’m working with, only them (and me) having MADE that first feature!!! –. Get me out of perpetual development please…

Experimental Film Award - CURTAS Vila do Conde

Suspended Island wins Vila Do Conde Parliament