Blogcritics.com, an online magazine covering the arts, culture and society, interviewed me about my feature film, “Soldiers of Paint.” It was a nice opportunity to be able to discuss some of the decision-making that went into the making of the film. A snippet is posted below. You may read the full article here.
“Q: This world’s largest paintball event also became the closest scored contest in the history of the event. How did you create the helpful color schemes, map animations, specialized paintball gun explanations, slow motion and text captions for audiences so this historic score would have a lasting impact on the film?”
“A: Filmmaking is mostly about problem solving. And we had a lot of problems with ‘Soldiers of Paint’. How are points scored? What are the rules? We had to be cognizant that most of our viewers would not be familiar with paintball. We needed to find a way to have them understand what was taking place so they could become invested in the outcome, but not bog them down with too much minutiae.
Filmmaking is a visual medium so we solved these issues visually with the help of some really cool map graphics (designed by Matt Nagy), title cards that froze action to relate a game rule when appropriate, and subtitles so viewers would not miss what was said. In most films the viewers is able to see mouths move when people speak, which helps for understanding words that can sometimes be hard to hear. Our characters wore masks through most of the film, so subtitles simply became a necessity.
The color scheme device (in which all Allied footage is toned blue and all German footage is toned red) was borne out of a need to distinguish the two sides visually. In dramatic war films, as in life, two opposing sides wear different uniforms. The players at Oklahoma D-Day do not, so there is no way to tell on side from the other. So the red and blue toning helps with that but also ended up looking really cool! We’ve gotten a lot of great responses to it.”