By now surely you already know the boys Malviviendo . . Just a year ago, this group of youths decided to create their own online series and with only 40 € and talent launched its first chapter online. Word of mouth did the rest and a year later and eight chapters later, is a true revelation of the Spanish audiovisual, with numerous awards under his belt and thousands of fans eager to see the adventures of The Black and Lefty.
de la serie. Today we interviewed Javi Leri, responsible for editing and post production of the series. The techniques of "guerrilla", its low budget and especially the talent look also at the post in the series, always careful with his personal touch. . It can be said in this sense are the Stu Maschwitz Spanish therefore have much to say here in EfectoHD. Without more, this was the conversation we had with him:
- y cómo llegó a ser encargado de la edición de Malviviendo? EfectoHD: Who in Javi Leri and how he became responsible for editing Malviviendo?
y tras terminar mis estudios audiovisuales conocí a David Saínz montando un documental en el que él era el director allá por 2006, tuvimos un “flechazo” profesional y desde entonces siempre hemos hecho muchas cosas juntos hasta que surgió la idea de Malviviendo . Javi Leri: Well, I have 23 years, I'm from Seville and after completing my studies I met David Sainz audiovisual mounting a documentary in which he was the director back in 2006, we had a "crush" professional and ever since have done many things together until the idea of Malviviendo.
- EHD: What you describe recording equipment and in what format is recorded Malviviendo?
, que es con la que se ha grabado toda la serie, menos nuestro último capítulo en el que ya nos hemos pasado al HD con una Panasonic HVX200 y por fin hemos podido olvidar las cintas para grabar en tarjeta P2 . JL: Well Malviviendo we had two cameras, a Panasonic AG-DVX100 in miniDV, it is with which he recorded the whole series except our last chapter in which we have already passed to the HD with a Panasonic HVX200 and we have finally able to forget the tapes to record onto a P2 card.
- EHD: Any special reason why you chose this format?
JL: Well the truth is that at first we had no choice, was the only camera that we had, but always think to make the jump to HD from the start, we have finally done.
- - cost usáis ? EHD: What other technical resources for low - cost you use?
JL: From the beginning we have always had to look for life in that sense .. de sonido y como no, la típica tela verde sujetada con pinzas para hacer nuestros cromas. disco lights illuminate with borrowed, used as a boom mic sound and of course, the typical green cloth secured with clamps to make our cards.
- en la postproducción y edición? EHD: What software or platform you use in post production and editing? Pros and cons of this choice?
, sudando mucho y teniendo interminables problemas… editando en Avid y After Effects para la post . JL: Well, for the first six chapters have used PC for editing and post, with a computer rather normalito, sweating profusely and having endless problems ... editing in Avid and After Effects for the post. en la edición . But from the seventh chapter we have been able to get a good Mac assembling station, switching to Final Cut editing.
- en postproducir un capítulo? EHD: How long you delay a chapter in post product?
en apenas dos días. JL: It usually takes a week or ten days, sometimes even less, for example chapter 5 was edited and post product in just two days. más en ese sentido, introduciendo efectos 3D cuando lo requiera el guión con el consecuente aumento del periodo de postpro . It also depends on whether the chapter requires more or less effect, although it is true that we are trying currarnoslo ever goes in that direction by introducing 3D effects when required by the script with the consequent increase in the postproduction period.
- realizado? EHD: What has been the most complex VFX you have done?
y disparos en la escena del Kaki , hasta los cromas en todos los viajes en coche de la demás historias, y bueno más la cabecera de Expediente X que es la mayoría en Motion Graphics . JL: The more work so far as to post has been Chapter 6, all the stories chapter required a lot of work post, since the death of zombies and shooting at the scene of Kaki, to the chroma in all car trips of the other stories, and well over the head of X-Files that are most in Motion Graphics. , más que nada porque me resultó bastante difícil que un triángulo negro gigante absorbiera a Bill sin que quedara cutre. But the most difficult has been the absorbing black triangle Bill in Chapter 8, mostly because I found it quite difficult for a giant black triangle Bill absorbed without leaving a tacky.
- resuelto de una forma artesana y barata? EHD: Can you tell us some interesting VFX you've settled in a craft and cheap?
JL: There are stories rather curious, as that kills black fly in your arm in a parody of the head of Dexter's first chapter. After several failed attempts to make a realistic 3D fly I managed to catch a fly that came into my room when I was desperate and burn it to a chroma for hours. Unfortunately the fly died in the shooting. Also, our sound engineer likes to be seen and there is no chapter that does not have to remove a few poles and some reflection in crystals.
- : ¿ Usáis algún plugin , alguna referencia en la que os baséis …? EHD: Color correction and effect filmlook: You use a plugin, any reference in which baséis you ...?
, cuidando y retocando cada plano. JL: We have always wanted to give a cinematic touch to bad housing, and that from the beginning we gave great importance to grading, caring and touching up each level. , hemos querido desde el primer capítulo hacer uno propio, un retoque cálido que creemos que le pega al mundo malviviendo y que David Sainz define como: “Retoque Malviviendo” Although there are several plugins such as "Magic Bullet" we wanted from the first chapter to make your own, a warm touch we think that hits the world own citizens and that David Sainz defined as: "Touch Malviviendo"
- que no podéis resolver en grabación os ayuda a resolver la posproducción ? EHD: What obstacles you can not resolve recording helps you to resolve the post-production?
en coche en condiciones, así que el croma nos esta sacando de muchos apuros. JL: We turned a lot of chrome on car trips, we have the technical means to record a conversation in the car in shape, so we are removing the chroma of many troubles. Also, the grading has saved us many times when the light was not enough.
- alguna intención de grabar con nuevas tecnologías tipo RedOne o 5D?¿Qué opinión te merecen esta nueva manera de filmar vídeo? EHD: Given the success of the series and the possibility of increasing the budget Do you have any intention to record with new technologies such RedOne or 5D? What do you think about this new way to shoot video?
a este tipo de formatos. JL: The truth is that we are willing to do something with the RedOne, is being the revolution in digital cinema and for a price "affordable" so we hope soon to jump to such formats.
última que habéis puesto, sois unos cracks ” Of course I already knew your site and is super interesabte, very good the last reel that you post, you are some cracks 
. I have enjoyed the questions! is the first interview I do as well as specific and made me hope and more coming to you!
haciendo las cosas así de bien y entrevistaros dentro de 8 capítulos más, con muchos más premios a las espaldas. Javi Thanks for your time, we hope that you continue doing things this good and be interviewing within eight chapters, with many more prizes to the back. Do not miss the freshness!
