Ice Merchants of Huandoy: a documentary film

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steve hyde
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Ice Merchants of Huandoy: a documentary film

Post by steve hyde »

....here is a personal announcement for my film Ice Merchants of Huandoy along with some technical information about it. Questions and comments are welcome. Sorry I don't have clips ready to show yet, but will soon. See the stills at the bottom of this post.

I hope there will be some interest. I am really pleased with the way it has turned out. Feels like I made the film I set out to make. Thanks to everyone here for your support and encouragement over the past couple of years and a special thanks to forum member Justin Lovell who let us sleep at his place in Toronto when we were in transit and also loaned me some camera lenses to take to South America!! The moral of that story is if you are going to shoot Bell and Howell Filmo don't forget your viewing lenses.. I did. I know Justin is on the road in Europe right now and I hope he is receiving the same hospitality that he gave us when we were in Canada. Thanks Justin.

Steve



[synopsis]

Ice Merchants of Huandoy is a short, linear narrative documentary that offers a rare glimpse into the ancient Andean tradition of extracting glacial ice for trade and subsistance. It is a tale told in the voice of Maji, an 82 year old grandmother who has walked the same ancient mountain trail with three generations of family. Photographed in classical 16mm, this color film offers insights into the sights and sounds of life in the high Peruvian Andes in vivid cinematic detail.

[Production Notes]

[Pre-Production]
The project began as a dream in a cinema café in Huaraz Peru. I propositioned my friends that own and operate the café to work with me on producing short documentary films based on a South America palette. Ice Merchants of Huandoy was the idea of Jim Sykes. He learned about the ice merchants and pitched a scenario to me in an email. That email was our script.

[production]
Production was completed in one month. In September 2006 my colleague Stan Dunster and I traveled to Peru to meet up with Jim Sykes and Gladys Jimenez to make the film. After spending a few days acclimatizing to the high altitude environment, we began making trips up to the valley where the mountain climber had seen the ice merchants at work. On our first encounter with them we immediately expressed our interest in the work they were doing and explained that we wanted to make a documentary film about why they do what they do and how they do it. We negotiated a contract with the ice merchants and then the actual filming took place in about 12 days.


[post-production and technical]
Ice Merchants of Huandoy was shot using two cameras. The (a) camera is a 16 mm Bell and Howell Filmo DR with Angeniuex 10mm F1.8, 15mm F1.8 and 75mm F1.8 The (b) camera is a Beaulieu 4008ZMII with a Schneider 6 -66 F 1.8 lens all footage was shot at 24fps using Kodak color negative film stocks. The bulk of the film was shot on Kodak 7201 50D with some scenes shot on 7205 250D. S8 footage was shot on Kodak 7217 200T, with a daylight filter. Film processing and preparation for telecine was done at Alpha Cine Labs, Seattle. The film transfer and color correction was done by Eric Rosen at Flying Spot Film Transfer, Seattle. The transfer was mastered on Digital Betacam 4:2:2 for 29.97. Dubs were made to DVcam for off-line editing. Field audio was captured at 48khz with 16bits on a Marantz PMD660 (solid state) and a Sennheiser MKH 60 P48 that was well protected from wind noise. Voice recordings were made on a mono Nagra tape recorder. Sound was engineered by Mark Clem at Soul Kitchen Studios, Seattle.



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[Film Credits: a partial list]


Producer, Director, Camera, Editor: Stephen J. Hyde
Location Sound: Stan Dunster
Colorist: Eric Rosen, FSFT
Music: Jim Sykes, Stan Dunster
2nd Unit Director: Jim Sykes
Translators: Gladys Jimenez, Carlo Zinzani, Jim Sykes
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Post by Bjarne Eldhuset »

Looks very interesting, and professional, look forward to seeing it!

I guess I might find out by watching your film, but what do the companies/persons who buy the ice use it for?
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Post by gianni1 »

Great Work, well done!

Bravo, Bravi, Bravissimo!

Gianni 8)
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Post by steve hyde »

....thanks. The ice is sold to "heladeros" who set up "raspadilla" (Spanish for shave ice) stands in front of the cathedral in the central plaza of Mancos beneath the mountain Huascaran. There they are swarmed by school children hungry for raspadillas. This is the climax scene of our film. The ice itself is really one of the central characters of this film. This short film is about the transformation of glacial ice into a colorful delicacy and about the relationship a specific society has with their natural environment. Implicitly the film is also about small scale economies, childhood and parenting practices in the high Andes.

Thanks for your interest. I hope it gets good showing and is well received in the film festival circuit. Time will tell.

Cheers,

Steve
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Post by Blue Audio Visual »

Wow - Shooting a documentary on film is rarely done these days. What sort of ratio did you manage to achieve? Was economy a major factor in deciding what -and who- to shoot? I know its only 17 minutes long, but I'd be interested to know how much you shot in total.

Glad to see that you used a Nagra for voice rather than opting for the 'easy option' of the PMD660. Quite a weight to lug about at high altitude. Nagras and speech seem to have an almost magical synergy.

Did you take a tripod up the mountains, or mostly rely on hand-held? Those Bell & Howells always struck me as tricky to hand-hold, although I haven't handled one for a while.

The Beaulieu seems like a curious choice of camera to take to a remote location. What made you choose that over something which you could just reload with AA's?

Bart
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Post by steve hyde »

...the ratio was approx 8:1. We had a shot list that was never written down. We knew we wanted character focus so we only worked with one family even though there are about 20 families in the area that work in the ice business.

One reason we wanted to shoot on film was because we knew it would provide a welcome creative constraint. We had to economize, as you say, and that forced us to think carefully about what to shoot and how to shoot it.

We also wanted the film to feel timeless and cinematic. I knew that I could not achieve this feeling with a video camera under the bright Andean sun. We shot about 2 hours of footage and from that 2 hours I would say that 90% is usable good footage. The only junk footage comes from a roll that got mucked up in the camera.

The Filmo DR is pretty nice for hand-held actually. The key is to press the body of the camera against your forehead and then use the left eye in the finder. This makes for stable hand held shooting. I wanted some movement in the hand held stuff anyway so I would often take one or two steps during a hand held shot.

The Beaulieu 4008ZMII was used for two things: slow motion photography at 70fps and also some telephoto photography. The colorists, Eric and Sam at FSFT did a nice job of matching the S8 and 16mm. You can see the difference if you look, but it's not really distracting.

We carried the tripod everyday. One of our locations was above 4000m.
We used it a lot.

The location sound was recorded on the PMD660 and the voice over interviews were recorded on the mono Nagra with a ribbon mic.

Thanks for your interest,

Steve
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Post by Blue Audio Visual »

steve hyde wrote: The voice over interviews were recorded on the mono Nagra with a ribbon mic.
Was the ribbon mic chosen because the figure of 8 pattern works well for interviews (mic placed between interviewer and interviewee - Ideal for a mono recorder), or was there some other reason? Which mic was it, just out of interest?

Bart
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Post by steve hyde »

.....good question. I'm not an audio expert, but I can tell you that it was the best mic available at the time of the interviews, which took place just a few weeks ago while I was here in North America. The Sennheiser was not available so the recording team used the ribbon mic. That mic is used primarily for music recording. In this case it is a case of best mic available and I'm pleased with the results - very warm with grain in the voice. It rendered a beautiful voice recording of the gregarious 82 year old woman who gave us some amazing stories in her own language, Quechua.

Steve
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Post by timdrage »

Looks nice, congradulations!
Tim Drage
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Post by dagman »

Sounds like quite an effort Stephen... I'm looking forward to seeing the results. If you need a hand with the graphic design for the DVD, let me know. Good on you for taking teh S8 and 16mm up the Andes! Cold didn't effect the cameras' operation at all I hope?
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Post by Blue Audio Visual »

dagman wrote:Good on you for taking teh S8 and 16mm up the Andes! Cold didn't effect the cameras' operation at all I hope?
One of the often quoted advantages of NiCad batteries (as commonly used by the Beaulieu) over Alkaline or even over NiMh is that they perform comparatively well in cold conditions. You often see figures of 20F/-6C being quoted before NiCad performance is significantly degraded. I know that you do have a winter in S. Australia, but I doubt that these concerns are as pressing for Super 8 users Down Under as they might be in Scandinavia, for example.

I've got no real experience personally as in London it rarely gets very cold, just grey, wet & miserable, but I have taken photos with a stills camera with electronic shutter & metering in the past at an altitude of approx. 5000M/16000FT.

The Bell & Howell being clockwork typically ceases to operate properly when your fingers do!

There is an interesting account online of an IMAX shoot on Mount Everest.

http://www.soc.org/opcam/12_jd1998/mg12_everest03.html

Steve, your film looks really interesting, I look forward to having the opportunity to see it some day.

Bart
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Post by woods01 »

After seeing your S8 Cities film I'm sure this film is great, the subject
sounds very interesting. I take it you have a digibeta master of the
finished piece but any plans to seeking funding for a film print?

Your publicity material looks very nice, are those photos frame grabs
or did you shoot stills?

As mentioned a 16mm doc is rare these days and you mentioned being
cautious in shooting. Where there any specific strategies that you used?
Did you stage some scenes because of light availablility?
kentek
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Great story and stills

Post by kentek »

Steve,

My only neg comment is that I'm having problems reading the text of your pages. The combination of the script font and dark background make reading difficult.
I'm reading on laptop set to 1280x1024 resolution.

We are all looking forward to release of your film.
ken wood
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camarillo, ca
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Re: Great story and stills

Post by aj »

kentek wrote:Steve,

My only neg comment is that I'm having problems reading the text of your pages. The combination of the script font and dark background make reading difficult.
I'm reading on laptop set to 1280x1024 resolution.

We are all looking forward to release of your film.
Click the images and you will get it in a separate browser window. There you can max it to 100%. If still not good then there may be something wrong beyond the computer screen 8O
Kind regards,

André
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Post by greg_8mm »

how can we watch the documentary when it's released? Online? DVD? Let me know, I'm very interested..
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