VF48Hours Lockdown Forum

Joel_Tempero
From: Christchurch
Since: May 2018
Posts: 17

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Judging this competition

I've always found the judging is a hot topic that people have very colourful opinions about - usually spoken behind closed doors or while you're walking out of the theatre to your mates.

This Lockdown competition directed a lot of that conversation online (conversation? Cat fighting?) and I figured instead of putting my two cents on the fb page I'd throw them here in hopes of attracting some veterans/top dogs who could shed some light on a question I have. It's a given in competitions such as this that the audience feedback ranges from 'I knew they'd win and they totally deserved it' to 'man so and so was ripped off!' And there's always a conspiracy theory going around about teams that have ins with the judges blah blah blah

Now, all you have to do to get answers to this stuff is go to the judging page, where they very clearly discuss favouritism, and give some general comments about how the process works and what judges are looking for, so that's good.

I'm just a little uncertain whether it's enough detail? I guess that's my question, any chance we could get a little more? particularly post the finals?

After seeing some of the comments bashing films they thought weren't good enough, I wondered whether there could be some benefit to having an article ready to post after the screening - highlighting the finalists and winners achievements, why they made finals, what made them stand out among the rest, comments from the judges. Everyone has their point of view, but I feel it would be particularly important for audiences to have the point of view of the judges given to them.

Last year AJ made sure to give feedback to every single film in ChCh once they were out of the competition, and this on it's own not only tied the community together and gave us some connection, but because it came from a judge, it gave a unique insight on why some films didn't quite make it even though they should have, and why the finalists did make it and deserved to.

Now I'm not suggesting you get a bunch of AJ's to go through and do thorough feedback on every film that's made, but particularly for finalists and shortlisted teams, the more information people have from the point of view of the judges, the less likely they'll kick over everyones sand castles.

Maybe things like this is just too much work to have prepared in time for finals? I know with this competition in particular the time frame was crazy tight so super mad respect to those who worked so hard to make it happen, perhaps this is a thought for future competitions?

Any insight or opinions would be nice to hear, more info the better!
My greatest thank you and big hugs to everyone involved in making this event happen every year, you're all legends!

rip focus
Lockdown - "qk" (Urban Fantasy)
2019 - "a nipple in time" (Time-Travel)
2018 - "A Slice of You" (Anti-Rom Com)
2017 - "A Ripple in Time" (Sci-Fi)

Bus Stop Studios (School Team)
2016- "Knitting, Crochet & Embroidery" (Puppet)
2015- "Harper's Curiosity" (Mystery)
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Andrew Todd
From: Christchurch
Since: Apr 2011
Posts: 680

These are my personal thoughts, not representative of the competition, etc etc etc:

When I was Chch manager I didn't do what AJ did. Partially because of the insane time commitment required (I literally don't know how AJ manages it), but also because the moment you start publicly discussing the judging decisions, that immediately opens them up for debate and discussion. In my experience once that door opens, it's almost impossible to shut it. It's just cleaner to go "the judging decisions are final and no correspondence will be entered into" than to start getting squirrelly with explanations. Then after that it's on a case by case basis.

Furthermore:

It's hard to make statements as an individual judge/manager when the judging panel collectively might have a vastly different opinion to you. God knows some of my favourites missed out on finals placings over the years. We did get quotes from judges a couple times for when awards were given out, but they ended up creating more problems than they solved - basically, people got angrier about the explanations than they did about the decisions themselves. Easier to nitpick when you have nits to, er, pick.

There's also the issue of if you get too specific with your feedback, teams can sometimes take that to heart in the wrong way and start trying to match it point-for-point. Anything from the mouth of the manager is read as gospel by a lot of teams (particularly emerging ones), and I always tried to err on the side of not pointing teams in any particular direction, lest I stifle creativity or contribute to creating some sort of monoculture within the comp. The first year I ran the competition I screened the previous year's winner while we were waiting for launch, and I ended up getting several very similar films from teams that obviously thought it was some sort of guaranteed template for success.

Ultimately the sad truth of the matter is, it makes no difference how well you explain the judging decisions - many of the people demanding those explanations will usually reject anything you say anyway. They'll believe whatever conspiracy theories they want to believe. It's often driven by dismay that their team's film didn't do better, and ultimately nothing's going to heal that wound except time and reflection. Obviously some teams will be a bit more genuine, but you can't rely on it. Finals-night bitterness is a hell of a drug. I know; I've been on it many times myself.

Since I've been back in competition, I've certainly had issues with the judging, but I've also seen behind the curtain enough to know that the judges very rarely agree on their favourite films, and it's all subjective anyway, so the trick - as T.E. Lawrence would say - is not minding that it hurts. Shrug it off, make a film you think is better next time, and try to have fun.

In summary: feedback would be great if we could rely on people's ability to hear and process feedback and respond maturely. Sadly, that's one of the toughest, rarest, and most complex skills in the creative world (I know I could be better at it), and experience has taught me, at least, that it's best to limit feedback to "these films got into the finals, and these others didn't; look closely and draw your own conclusions."

GHOST SHARK 2: URBAN JAWS available for download or stream
Senior Contributor at Birth.Movies.Death

2020 Lockdown - "The Quiet Moon" - Science Fiction
2019 - "Schism" - Science Fiction (National finalist; Chch 3rd place + Best Cinematography; Toronto After Dark and Morbido Fest 2019, Chattanooga Film Fest 2020)
2018 - "Utka" - Wish (National finalist; Chch winner + Best Script + Best Animation; Kiev International Short Film Festival 2019 and Abycinitos 2020)
2011-2017 - Christchurch 48HOURS City Manager
2010 - "I Am Single" - Rom-Com (Chch finalist + Best Art Direction)
2009 - "New Fish" - Musical (National runner-up + Best Score, Chch winner)
2008 - "Übermensch" - Horror (Chch finalist)
2007 - "Pain Killer: The Sick Sense" - Superhero (Chch finalist)
ALSO - "As Of Yet Unfinished" (2012, unofficial); "The Contender" (2010, finals intro)
Reply

Rastinha
Since: Mar 2014
Posts: 113

Yeah I agree that more feedback would be both better and worse, haha. It's a complicated kettle of fish, and definitely, I think, exacerbated this year by people not getting to vent on the way out of the cinema as Andrew said. Plus everyone's a little tightly wound from being in lockdown!

Judging is always very subjective, and you'll never please everybody. But I think people get most frustrated when ones get through that don't line up with the judging criteria we ARE told about. Not all finalists always fit into story is king, and clever/good use of all the elements and their genres, and that can be a bit frustrating. Something can be a really good short, but only have a slight nod in the direction of their genre and slap the required elements on top, which seems not quite in the spirit of the competition.

However, everything said and done I'm stoked we got a bonus 48 hours this year, and it was free, and the team worked so hard to put it together in a short time frame, so thank you everyone! I would have loved to see nominations for the award categories, and a shortlist even released afterwards, so that it will be easier to find the gems in the screening room, as having it all in one big feed makes it hard to know where to start (apart from at the top, lol).

P.S. @Andrew Todd, loved your film "The Quiet Moon", just sneaked a peek from your signature :)

2020 Lockdown: "Tonight On Extreme Quickfire Trivia" - Unwanted Guest - Pastafarian Productions (Solo, animation)
2019: "DopeMonkey Live" - Gross-out Comedy - Pastafarian Productions (Solo/ULTRA/Animation)
2018: "Heist School Musical" - Heist Movie - Pastafarian Productions (Regional Best Door Slam)
2017: "ESP" - Alien Movie - Pastafarian Productions (Regional Finalist)
2016: "The War on Error" - Cat & Mouse - Pastafarian Productions (Regional Finalist)
2015: "Us... But Mainly You" - Black Comedy - Pastafarian Productions (Regional Finalist)
2014: "Sphere" - Horror - Pastafarian Productions (Regional Finalist)
2009-2013: MIA
2008: "I Adore" - Drama - Conspiracion de las Palomitas
2007: "The Hazel Princess" - Fairytale - Conspiracion de las Palomitas
2006: "All Ur <3 R Belong 2 Me" - Romance - Popcorn Conspiracy
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TheRealClose
From: Christchurch
Since: Sep 2017
Posts: 16

I'm less interested in the judging decisions as I am in the judging process. I would be very interested to know how the shortlist was made and how many people saw each film. eg. was a single person solely responsible for the fate of 100-200 films?

I understand the turnaround was insane this year, but I think it's crucial in this competition that every film has multiple sets of eyes on it, even before the shortlisting.

As for the finalists, to me they all felt like Peter Jackson wildcards, which seem to be whatever entertained or surprised him the most, as opposed to the remaining finalists which tend to showcase the most creative and well made films from New Zealand. It felt like the judges perhaps didn't take the competition as seriously as they should have, and just voted for whatever made them laugh the most.

I think with all the high-class judges and the high production value TV broadcast, I was just expecting to be a little more blown away by the choice of films.

2020 LD // ken blose - Just Genes
2019 // rip focus - a nipple in time
2018 // rip focus - A Slice of You
2017 // rip focus - A Ripple In Time
2016 // Bus Stop Studios - Knitting, Crochet & Embroidery
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Mista Teas
From: Christchurch
Since: Apr 2011
Posts: 554

OK, I'll play. I've managed to get myself offside with judge(s) over the last few years & my personal ambitions in this comp, outside of completing a film in 48HRS and it being what I want to make instead of some prescribed 48HR film or what the judges might want me to make (Andrew details the problem with this aspect nicely above), are close to zero.

Last year AJ made sure to give feedback to every single film in ChCh once they were out of the competition, and this on it's own not only tied the community together and gave us some connection, but because it came from a judge, it gave a unique insight on why some films didn't quite make it even though they should have, and why the finalists did make it and deserved to.

I think you've giving a bit too much credit here. AJ certainly takes a lot of time putting these together and the feedback is from his toasty bosom but that also clouds things a little. He often says that a film was one of his picks but he got voted down - does that make someone feel better about him and worse about the judging panel? Who does that serve? And what does it really reveal - that there's a vote? The feedback is usually just what AJ thinks and not what the panel thought, so again it's not really giving a wide insight. Almost the worst thing to read is "Your film was so close to making the finals". As others have said it can and has raised more questions about exclusion from finals for some teams. The stock line is that the standard was "Just so 'effin high" this year." or the like. Don't get me wrong - I like AJ's reviews. (Love ya, big guy!) I'd just prefer he kept any reference to judging panel commentary out of it.

The reality is that the judges will apply their own lenses to the films that are selected in the first instance by the city manager for them to watch. (some do go to all the heats in larger regions but it's not typical). I don't believe any judge is intentionally bias but again, lenses they apply to their viewing, agendas they like seeing in films, teams they look forward to seeing all counts (at some level) & adds to the subjective nature of it. There shouldn't be any pretense otherwise.

I've said this many time before the 48HR Finals/Grand finals are more a showcase of films than the oft promoted "Best of the Best". They will contain a couple of stand-outs which mostly win but the reason for excluding films 16 to 30 of equal technical quality could be as simple as an acting performance or particular moment or societal commentary. There will be one or two outliers. A school team might get in because there's a place held for a school team.

The Lockdown final was actually a bit different. Still a showcase of films rather than THE BEST films made in lockdown. That is clear from what we saw from The Spin-off's (self-serving) but higher quality shorts that actually had some story/structure/tech and a lot of what we've already got in the Screening Room. People had been hoping that the finalists on TV weren't all industry/kiwi celeb heavy etc films. On the surface, it seems that they weren't. I saw Ant on 7-Sharp respond "Very rank" when asked if a rank amateur could win 48HRS Lockdown. I admit I called bullshit when I heard that but I actually think it was true of this event (not normal 48HRS) after seeing the finalist films. I know Squint Eastward (Sam) is an animator but it seems he was as shocked as anyone at taking it out, let alone being a finalist.

The Lock-down finalists were a real mixed bag. People knowing little of 48HRs and tuning in must have wondered what the hell was going on. I know some people I was with, who know 48HRS through me, were scratching their heads at what they were seeing. But that's how 48HRS chose to showcase this event, so that's what it is. All power to the organisers for putting it together and I hope it encourages more regos for the next event. The focus/chat etc for the weekend is always that it's about having fun and making the film but that gets lost so very quickly when the "competition" actually starts post-weekend. Some Teams get so easily butt-hurt due to a sense of entitlement and feeling above criticism.

Go review the films in the Screening Room. That's better than hearing from judges.

NOW SCREENING: Shed - Science Fiction; LOCKDOWN48
REVISIT: End - Real Time; CHCH25s

Everything Sticks since 2008
48Hr Films 2008-2020 48Sec Films 2008-2016

Mista Teas (Stu Gilpin) NATIONAL WINNER "Best/Most Prolific Reviewer" 2011 REVIEWS ARCHIVE
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Mista Teas
From: Christchurch
Since: Apr 2011
Posts: 554

in reply to TheRealClose:

I'm less interested in the judging decisions as I am in the judging process. I would be very interested to know how the shortlist was made and how many people saw each film. eg. was a single person solely responsible for the fate of 100-200 films?

Surmise - from snippets of insight, reading between the lines, wild assumptions & what is officially published the judging might go like this (in a normal 48) also known as the "The Assorted Ravings of A Looney".

- City Manager(s) watch all the films, vetoing some based on their personal likes, lenses & what might hurt the competition. They create a shortlist(which could be larger than 25) based on this which they take to the city judges. So this is the first layer of exclusion, which is natural. (obviously this is the case in larger regions but worth bearing in mind)
- City judges view the shortlist. A few judges attend the heats but we know they don't see all the films unless they go every night.
- City judges & the city manager debate the short list either in a locked-room or by some digital vote and from that we get their finalists/winners.
- City shortlists may go to the National Managers but more likely just the finalists.
- National Managers then shortlist for the Grand Final judging panel. So another layer of personal lenses is applied which can exclude. (this is natural) This shortlist is actually the 12 to 15 finalists. Regional managers may be asked for input; some have watched all the grand finalists & there is certainly cross over as Ness & Ruth are also the Wellington managers. Peter Jackson may or may not watch a few more but these have again been selected by the National Managers for him. If he's too busy as was the case a couple of years back the National Managers select the wildcards.
- If there are too many of "the same" type of film/genre etc then a further veto takes place to make sure the GF is a good fit/feel of films to showcase the competition.
- Grand Final judging panel view the 12 to 15 finalist films (and maybe anything else for the technical prizes) which is now just a snippet of the films that were entered.

For the lockdown? 1200 films. I doubt one person watched all of them. Perhaps regional managers helped out. Skimming of entries probably occurred looking for recognizable Teams/Names. Remember the wrap-up included thinks like solo/family so some narrowing down was done. National managers created a manageable short-list based on their preferences to send to the high-profile judges. This was all done pretty quickly really - less than a month.

Things have to be manageable. I'm sure a lot of new people probably thought that Edgar Wright & Co watched 1200 short films, including their entry. Common sense suggests not.

I think again, the more we know, the less we'll wish we did know.

NOW SCREENING: Shed - Science Fiction; LOCKDOWN48
REVISIT: End - Real Time; CHCH25s

Everything Sticks since 2008
48Hr Films 2008-2020 48Sec Films 2008-2016

Mista Teas (Stu Gilpin) NATIONAL WINNER "Best/Most Prolific Reviewer" 2011 REVIEWS ARCHIVE
Reply

themorgan
From: Auckland
Since: Apr 2011
Posts: 664

The Lockdown final was actually a bit different. Still a showcase of films rather than THE BEST films made in lockdown. That is clear from what we saw from The Spin-off's (self-serving) but higher quality shorts that actually had some story/structure/tech and a lot of what we've already got in the Screening Room.

That's a great way to look at it.

Most of the shorts were pretty good, but some didn't feel like they had much of the spark that I'm used to seeing in finalists. That je ne sais quoi that some of you talented bastards seem to just have on tap.

But I think you've nailed it. It was a showcase for Lockdown, not really a national final as we usually understand it. That explains a lot.

It was bloody great that they pulled Lockdown together, I really didn't think it would happen. I like a lot about this different approach. Number one: digital delivery. That drive to the finish line should be a thing of the past forever.

3 minutes was great too.

And no ultra. Do away with ultra. It sucked. Simplify everything, just like it was in Lockdown. Maybe more than 6 genres, but that wasn't too bad either.

Only change that I'd really like to see with the finals is to have listed (but not played) 3 or so nominees for each category. But that's probably just making the mistake of thinking about it like a normal finals again.

The judging is going to keep being a problem while they keep weighting it for big names and especially for overseas names. I'd really like to see it change to being a big panel of former category, region, and national winners. Like an Academy of Motion Picture Arts and Sciences of 48hours folks. People who've been in 48hours a lot, who've watched a lot of heats and finals, who actually know how close to impossible it is for some of these teams to pull off the absolutely extraordinary things they do. Rather than a bunch of "big name" people who have no real idea about 48hours or even in some cases no idea about NZ.

Frauleins, oh frauleins
2020 | The Scary One with the Kid in the Photo | Unwanted Guest | LOCKDOWN | ...
2019 | Frank & Beans | Buddy Movie | ULTRA48 | DQ :) | Auckland Winner: Best Disqualified Film
2018 | MUST LOVE BOTS | Anti-RomCom | ULTRA48 | Heat 4 Audience Fav, Auckland Short List, Auckland Finalist: Best Script
2017 | I am ball 2 | Survival | ULTRA48
2016 | The Littlest Punk | Punk | Auckland finalist: Best Original Song
2015 | Crumbs | RomCom, Animated | DQ & Very bad!
2014 | I am ball | Musical, Animated | Auckland finalist: Best Use of Prop
2013 | Crybaby | Race Against Time | Boring!
2012 | S.U.L.A. | Urban Legend | Puppets
2011 | Kill Therapist | Revenge | Writer, Director, Actor | Notorious
2010 | Action Manu | Biopic | Writer, Director | Boring

Fractured Radius
2009 | All's Fair | Musical/Dance | Co-Writer
2008 | The End | Drama | Co-Writer | Auckland winner
2003 | F.I.T. | Cop/Crime | Peripheral
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Rastinha
Since: Mar 2014
Posts: 113

in reply to themorgan:

I'd really like to see it change to being a big panel of former category, region, and national winners. Like an Academy of Motion Picture Arts and Sciences of 48hours folks

This! I would love this! Every year there are people who can't compete for various reasons, and if they're seasoned folks they would make a great judging panel. Especially regionally where the smaller regions struggle to get people who have really even got any connections/experience with the industry or comp.

I prefer the 5 min films though, 3 mins is nice for this competition, but I wanted a bit more meat on the bones of the stronger teams films. There are still a lot of excellent films, but they're really no more than simple vignettes. 3 mins is a great length for new teams though, much more manageable in 48 hours, and to watch. Maybe Ultra could become, once you've had 5 year's experience or won something locally or nationally you're allowed an extra 2 mins in your film, haha :)

2020 Lockdown: "Tonight On Extreme Quickfire Trivia" - Unwanted Guest - Pastafarian Productions (Solo, animation)
2019: "DopeMonkey Live" - Gross-out Comedy - Pastafarian Productions (Solo/ULTRA/Animation)
2018: "Heist School Musical" - Heist Movie - Pastafarian Productions (Regional Best Door Slam)
2017: "ESP" - Alien Movie - Pastafarian Productions (Regional Finalist)
2016: "The War on Error" - Cat & Mouse - Pastafarian Productions (Regional Finalist)
2015: "Us... But Mainly You" - Black Comedy - Pastafarian Productions (Regional Finalist)
2014: "Sphere" - Horror - Pastafarian Productions (Regional Finalist)
2009-2013: MIA
2008: "I Adore" - Drama - Conspiracion de las Palomitas
2007: "The Hazel Princess" - Fairytale - Conspiracion de las Palomitas
2006: "All Ur <3 R Belong 2 Me" - Romance - Popcorn Conspiracy
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TheNimbleMarmoset
From: Christchurch
Since: May 2012
Posts: 209

Agree with most of what's been said here. I would also add that I think this 48HOURS Lockdown experiment (and to be clear, I love that they had the balls to just take the leap and try a slightly different format out) demonstrates some of the strengths of the main competition format, by showing a contrast of what is missing.

Right now, I think a lot of us are feeling a sort of whiplash, due to leaping from 1,200-odd eligible entries to 10 finalists and announcement of winners, all in the space of one hour. So in effect that's a one-stage competition, whereas what we're used to is a five-stage competition: 1) heats, 2) city finalists announced, 3) city finals event, 4) national finalists announced, 5) grand final event. (And with the additional of city shortlists now, I suppose technically it's actually six stages...)

Although it obviously requires more organisational complexity, one of the key benefits of a staged competition is that it allows time and space for everyone to process the decisions that are made, and in smaller increments. In some cases that's a grieving process of sorts, coming to terms with what happened. And so by this framework, what we saw last night was everyone experiencing five/six phases of processing all at once, if that makes any sense.

SABINA COLADA
2020: "Basket Case" (Whodunnit)

SOUTH JERSEY GHOST RESEARCH
2019: "Catman and Robyn" (The Secret Identity Movie)
2018: "Cushy: A Pull Story" (The Film That Spans More Than Ten Years)

TBALC
2017: "Down 2 The Wire" (Thriller, ULTRA: Sequel)
2016: "Down To The Wire" (Bechdel), "Windows" (Mystery)
2015: "The Silent Man" (Mystery)
2014: "The Ex" (Rom Com)
2013: "Quarrelsome Heat" (Action/Adventure)
2012: "Nicky + Eve 19/5" (One Shot)
2011: "Band Of Bullies" (Quest)
2010: "I Am Single" (Rom Com)
2009: "New Fish" (Musical)
2008: "Übermensch" (Horror)
2007: "Pain-Killer: The Sick Sense" (Superhero)

EVIL GENIUS LABS
2005 - "Bruised Gold" (Documentary)
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Mista Teas
From: Christchurch
Since: Apr 2011
Posts: 554

Great discussion here. Some excellent ideas, thoughts & reflections. Ahh, the civilized 48HR forum.

NOW SCREENING: Shed - Science Fiction; LOCKDOWN48
REVISIT: End - Real Time; CHCH25s

Everything Sticks since 2008
48Hr Films 2008-2020 48Sec Films 2008-2016

Mista Teas (Stu Gilpin) NATIONAL WINNER "Best/Most Prolific Reviewer" 2011 REVIEWS ARCHIVE
Reply

Rastinha
Since: Mar 2014
Posts: 113

in reply to Mista Teas:

Great discussion here. Some excellent ideas, thoughts & reflections. Ahh, the civilized 48HR forum.

I guess the forum is kind of like the best of the commentary, while the FB group is like, a showcase of it ;)

2020 Lockdown: "Tonight On Extreme Quickfire Trivia" - Unwanted Guest - Pastafarian Productions (Solo, animation)
2019: "DopeMonkey Live" - Gross-out Comedy - Pastafarian Productions (Solo/ULTRA/Animation)
2018: "Heist School Musical" - Heist Movie - Pastafarian Productions (Regional Best Door Slam)
2017: "ESP" - Alien Movie - Pastafarian Productions (Regional Finalist)
2016: "The War on Error" - Cat & Mouse - Pastafarian Productions (Regional Finalist)
2015: "Us... But Mainly You" - Black Comedy - Pastafarian Productions (Regional Finalist)
2014: "Sphere" - Horror - Pastafarian Productions (Regional Finalist)
2009-2013: MIA
2008: "I Adore" - Drama - Conspiracion de las Palomitas
2007: "The Hazel Princess" - Fairytale - Conspiracion de las Palomitas
2006: "All Ur <3 R Belong 2 Me" - Romance - Popcorn Conspiracy
Reply

Mista Teas
From: Christchurch
Since: Apr 2011
Posts: 554

in reply to Rastinha:

Ha! People tend to take their time in here a bit more; that's for sure.

NOW SCREENING: Shed - Science Fiction; LOCKDOWN48
REVISIT: End - Real Time; CHCH25s

Everything Sticks since 2008
48Hr Films 2008-2020 48Sec Films 2008-2016

Mista Teas (Stu Gilpin) NATIONAL WINNER "Best/Most Prolific Reviewer" 2011 REVIEWS ARCHIVE
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Ant Timpson
From: New Zealand
Since: Mar 2011
Posts: 341

The lockdown was a very different beast than normal.
Everything was simplified but at the same time amplified.

The 48 finals broadcast on network TV were always an unusual. And this year in many ways was the weirdest of all of them. Not just for the lockdown but for the show itself. The live energy the old ones had with hosts, special guests, text voting and more - created something that a static reduced show could never compete with. Some smart decisions were made tho to make the show work at all - the reduced running times helped a lot. Imagine only 5 x 7m films playing instead! But it was always a shock to see some guerrilla style shorts playing sandwiched 'tween a $50m movie or series. It's the real world clashing with the 48 bubble that has always existed. I've always said that the truely great 48 shorts are the ones that can easily exist outside of the bubble the competition operates in. I still stand by that. Out of context and outside the comp - the mainstream public will always be bewildered. But guess what - those guys would be bewildered by any short playing on TV.

I used to control the overall comp by micro-managing the big picture stuff and letting the wonderful city managers create their own distinct communities and support structures. I think it's worked well but a part of me always thinks (like all of us) I could've chosen a much stronger final than that. And I'm the bloody guy who started it. It's just what it is. We love all the robust feedback and many changes have occurred from this feedback so don't feel like it falls on empty ears. It doesn't.

Especially from all you long timers - you're the backbone of the comp and I've never forgotten it. So thank you for your service. I really mean it.

And to all the new entrants - thanks so much for making this lockdown one so wild. I hope you had fun and hope you come back for more. I promise it'll get easy next time.

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themorgan
From: Auckland
Since: Apr 2011
Posts: 664

Thanks Ant, that sounds really promising.

I promise it'll get easy next time.

Oh yes. Easy.

Frauleins, oh frauleins
2020 | The Scary One with the Kid in the Photo | Unwanted Guest | LOCKDOWN | ...
2019 | Frank & Beans | Buddy Movie | ULTRA48 | DQ :) | Auckland Winner: Best Disqualified Film
2018 | MUST LOVE BOTS | Anti-RomCom | ULTRA48 | Heat 4 Audience Fav, Auckland Short List, Auckland Finalist: Best Script
2017 | I am ball 2 | Survival | ULTRA48
2016 | The Littlest Punk | Punk | Auckland finalist: Best Original Song
2015 | Crumbs | RomCom, Animated | DQ & Very bad!
2014 | I am ball | Musical, Animated | Auckland finalist: Best Use of Prop
2013 | Crybaby | Race Against Time | Boring!
2012 | S.U.L.A. | Urban Legend | Puppets
2011 | Kill Therapist | Revenge | Writer, Director, Actor | Notorious
2010 | Action Manu | Biopic | Writer, Director | Boring

Fractured Radius
2009 | All's Fair | Musical/Dance | Co-Writer
2008 | The End | Drama | Co-Writer | Auckland winner
2003 | F.I.T. | Cop/Crime | Peripheral
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Mista Teas
From: Christchurch
Since: Apr 2011
Posts: 554

Thanks, Ant. As usual, great stuff.

The 3-mins max was tough. I actually really like it but it was tough. My 2 page script was 4 minutes on an early edit. Great lesson in being forced to trim away the unnecessary. Some of the films still feel really long though!

NOW SCREENING: Shed - Science Fiction; LOCKDOWN48
REVISIT: End - Real Time; CHCH25s

Everything Sticks since 2008
48Hr Films 2008-2020 48Sec Films 2008-2016

Mista Teas (Stu Gilpin) NATIONAL WINNER "Best/Most Prolific Reviewer" 2011 REVIEWS ARCHIVE
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TheNimbleMarmoset
From: Christchurch
Since: May 2012
Posts: 209

in reply to Mista Teas:

The 3-mins max was tough. I actually really like it but it was tough. My 2 page script was 4 minutes on an early edit. Great lesson in being forced to trim away the unnecessary. Some of the films still feel really long though!

The difference between 5 minutes and 3 minutes might not at first seem like much, but it turns out there are a ton of stories that can be told in the former but not the latter.

One interesting thing I've observed from watching a lot of entries is that the passage-of-time montage is a technique used an awful lot in this competition. Hell, the films I've been involved with over the years have probably used it more often than not. Which makes sense, since you're trying to efficiently tell a story in a small run-time.

However, this time round, in the vast majority of cases, I've found that a montage in a 3-minute film feels unearned - you've just gotten to know this character or characters maybe 60-90 seconds ago, and so there is no investment in the intended character change which is usually the purpose of the montage. As a result, they often end up feeling forced and rushed, as if there were maybe a few extra scenes originally scripted that got condensed into a montage for time (which probably literally was the case with a few films).

I guess there are lots of ways to show the passing of time in the edit, but the montage is the most obvious and easy-to-understand, so it's the blunt instrument that gets used most often.

SABINA COLADA
2020: "Basket Case" (Whodunnit)

SOUTH JERSEY GHOST RESEARCH
2019: "Catman and Robyn" (The Secret Identity Movie)
2018: "Cushy: A Pull Story" (The Film That Spans More Than Ten Years)

TBALC
2017: "Down 2 The Wire" (Thriller, ULTRA: Sequel)
2016: "Down To The Wire" (Bechdel), "Windows" (Mystery)
2015: "The Silent Man" (Mystery)
2014: "The Ex" (Rom Com)
2013: "Quarrelsome Heat" (Action/Adventure)
2012: "Nicky + Eve 19/5" (One Shot)
2011: "Band Of Bullies" (Quest)
2010: "I Am Single" (Rom Com)
2009: "New Fish" (Musical)
2008: "Übermensch" (Horror)
2007: "Pain-Killer: The Sick Sense" (Superhero)

EVIL GENIUS LABS
2005 - "Bruised Gold" (Documentary)
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ruth
Since: May 2011
Posts: 157

Ah judging - always a hot topic in 48Hours. As Ant has noted sometimes we can't even please ourselves.

This mini comp has been quite different - Ness and I usually have 4 months of the year to run the competition, with a quarter of the entries. For this lockdown version we had 3.5 weeks from announcement to finals, with 1203 eligible films. Running the lockdown comp has been like doing the shoot weekend for a whole month for us lol. We've really enjoyed it though.

It did mean that the comp needed to be a lot simpler, lest awards, no noms and shorter run times.

There are definitely some amazing films that didn't make it to the finals, and even in the main comp, there are always films we love, that just get beaten by other films. One thing I have learned running this comp is that once teams are in the top group, it's less what is wrong with a film, and more that there is another film that the judges like slightly more.

As noted on the judging page, the main judges get a shortlist which is developed by Ness, Ant and I. We take this VERY seriously, watch a lot of films and take care to make sure that every film is given a chance. The judges also take the comp seriously. They are filmmakers themselves and always comment about how impressed they are, how amazed they are at what people can do and often offer to judge again next year. We like to have a range of judges - people who are local, and understand an NZ context, international who don't know any of the teams and we do like to throw in people who have competed as well and especially in the city finals we have past winners on the panels.

Its good to hear your thoughts on judging, and we do tweak the process each year.

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Mista Teas
From: Christchurch
Since: Apr 2011
Posts: 554

One interesting thing I've observed from watching a lot of entries is that the passage-of-time montage is a technique used an awful lot in this competition.

Yeah, and even given the short runtime for lock-down people STILL managed to squeeze in a "getting-ready-for-the-day-toast popping-jam spreading-jug boiling-tomato slicing" montage at the start.

NOW SCREENING: Shed - Science Fiction; LOCKDOWN48
REVISIT: End - Real Time; CHCH25s

Everything Sticks since 2008
48Hr Films 2008-2020 48Sec Films 2008-2016

Mista Teas (Stu Gilpin) NATIONAL WINNER "Best/Most Prolific Reviewer" 2011 REVIEWS ARCHIVE
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Mista Teas
From: Christchurch
Since: Apr 2011
Posts: 554

in reply to ruth:

Its good to hear your thoughts on judging, and we do tweak the process each year.

You do great work & it is appreciated! We only see a slice of what you do and as an entrant our job is easy.

NOW SCREENING: Shed - Science Fiction; LOCKDOWN48
REVISIT: End - Real Time; CHCH25s

Everything Sticks since 2008
48Hr Films 2008-2020 48Sec Films 2008-2016

Mista Teas (Stu Gilpin) NATIONAL WINNER "Best/Most Prolific Reviewer" 2011 REVIEWS ARCHIVE
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Rastinha
Since: Mar 2014
Posts: 113

in reply to Mista Teas:

"getting-ready-for-the-day-toast popping-jam spreading-jug boiling-tomato slicing" montage at the start.

Haaa haaaaa I did this in 2014 in my first year back in since 2008. 2006-8 were uni days, random teams, made all kinds of crazy stuff so 2014 was the year Pastafarian Productions was born and the first year I had a DSLR and 50mm lens to film with so I had fun with those shots! Have since learned everybody has fun with those shots, lol.

2020 Lockdown: "Tonight On Extreme Quickfire Trivia" - Unwanted Guest - Pastafarian Productions (Solo, animation)
2019: "DopeMonkey Live" - Gross-out Comedy - Pastafarian Productions (Solo/ULTRA/Animation)
2018: "Heist School Musical" - Heist Movie - Pastafarian Productions (Regional Best Door Slam)
2017: "ESP" - Alien Movie - Pastafarian Productions (Regional Finalist)
2016: "The War on Error" - Cat & Mouse - Pastafarian Productions (Regional Finalist)
2015: "Us... But Mainly You" - Black Comedy - Pastafarian Productions (Regional Finalist)
2014: "Sphere" - Horror - Pastafarian Productions (Regional Finalist)
2009-2013: MIA
2008: "I Adore" - Drama - Conspiracion de las Palomitas
2007: "The Hazel Princess" - Fairytale - Conspiracion de las Palomitas
2006: "All Ur <3 R Belong 2 Me" - Romance - Popcorn Conspiracy
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