Stills
Drie jonge makers gaan VIRAL met een videoclip. Hoe beïnvloedt identiteit hun kansen?
NINA (26 jaar) en haar vriendinnen gaan viral met een videoclip en staan plots in de schijnwerpers van de mainstream media. Ze maken zich gedurende de dag klaar voor de live-uitzending waar ze voor zijn uitgenodigd. Nina heeft twijfels: moet ze genieten van haar minute of fame of deze unieke kans pakken om een statement te maken als ondervertegenwoordigde zwarte maker? In deze BRUTALE, KLEURRIJKE film laten wij zien hoe het is om als jonge zwarte vrouw je ambities na te jagen.
Viral is een afstudeerproject van de Nederlandse Filmacademie en wordt ontwikkeld in samenwerking met de NTR. Er studeren 13 studenten af met deze film. VIRAL gaat onder andere over intersectionaliteit, wat aan de hand van het hoofdpersonage Nina in beeld wordt gebracht: hoe is het om als jonge, zwarte vrouw je dromen na te jagen en wat kan de weerstand die daarbij speelt met je doen? Samen willen Shriejan en Ashanti een ander perspectief te belichten en de stem te laten horen van de mensen die te lang genegeerd zijn. Omdat zij het verdienen om op een eerlijke wijze geportretteerd te worden en om een verhaal te vertellen over een milieu dat te weinig aandacht krijgt in de Nederlandse filmindustrie.
April 2021 - Present
Managing the post crew while they used 4 months to put together the film.
24 maart -10 april 2021
Being on set as a producer, being able to assist any department with trouble on set, while taking care of the responsibilities I had so far.
December 2020 - April 2021
Shooting in Covid-times makes the location scouting very difficult. Together with the production designers we had to find locations that worked both creatively and logistically. After several months, we managed to get all the major locations we wanted.
Together with my co-producers Idris Bakker & Thomas Spiekhout, we split up the tasks. I was responsible for all locations and the legal side of our project.
Starting in pre-production, I worked to make a workflow that combined all the ideas. We had to shoot a videoclip seperate from the film, shoot multicam at the studio scene and tested it.
Taking care of the locations contracts, cast quitclaims and license for the music used.
Everything that happened after shooting, was according to my planning. Every member of my post crew and our coaches knew to contact me to either provide of gather information on the status of our film.
This project came from 2 creatives who want to set diversity and cooperation first. So in terms of style we decided to use different camera's for different points of view.
This resulted in us using 6 different types of camera's to achieve our film's look. This variety in camera's took quote some testing to set up but gave us some happy surprises as well. Since we needed to deliver an HD version for Television, we used the camera's at full resolution when we wanted to, helping the viewer understand the different points of view one can take.
On set I made sure to keep an eye on our VFX Supervisor, to make sure that this greenscreen-heavy and tracking-heavy scene filmed by multiple camera's at the same time was filmed according to plan. This combined with the fact that we had 80 people on set made it the most intense day of the shooting period, but one to be superproud of.
After the shooting days, we entered the editing phase, which took the exact 5 weeks that were planned for it, in this time we made arrangements with ShoSho for the titles, counted the vfx-shots, instructed the composer and got coaching from the amazing support group this film had!
This video was made by the Cinematographer Yavuz Selim Isler to show all the different kinds of camera's we were using. All of this footage had to be tested, since we expected VFX work in nearly all of them.