SLASH FILM - TOP 10 Trailers of 2012

SLASH FILM just put us on a list of top 10 trailers of 2012. A lot of us at Dimeworth read slash pretty religiously, so this is kind of a really cool moment for us. Especially since our little film is up there with AVENGERS, DARK KNIGHT, and MAN OF STEEL. Pretty rad if I do say so myself. ;)

Here’s the article: Slash’s TOP 10 trailers of 2012

Thanks to Christoper Stripp for putting us on this. He’s clearly a very cool breed of human. Ahem.



here’s the teaser trailer from my first feature film, TO OUR BRIGHT WHITE HEARTS. a tale of anxiety, heartache, family, and the collisions between strangers.

REALLY proud of this thing. submitting to festivals at the moment.

a glimpse into “TO OUR BRIGHT WHITE HEARTS.”

more stills available at the FACEBOOK PAGE:




Hey guys — you can also follow updates for the film at the following pages. Big news will be coming in the next month or so.





Todd Brown, over at Twitch Film, just posted an article about our teaser trailer. Such a nice surprise as I quite love Twitch, to say the least. Go check it out HERE

progress report: 

almost there…..

coloring the film. work in progress.

My DP, Kevin Rasmussen, wrote a post on his tumblr regarding the rear projection process we used on TO OUR BRIGHT WHITE HEARTS. It took a lot of convincing on Kevin’s part to get me to even consider the idea, as all I could think of were bad examples of the process. I have to give it to Kev, as it was a bit like pulling teeth with me, trying to sell me on our only real viable option. In the end, he not only pulled it off but the sequences are pretty cool.

Moral of the story? Always trust a Rasmussen

Read below on how he approached this wild animal of a process. Also follow his tumblr and his twitter.


Rear projection process for To Our Bright White Hearts

When director Ayz Waraich and I were well into pre production, we settled on doing the half dozen driving scenes with rear projection poor mans process. No one on the crew including myself had ever done this, so it was a leap of faith on his part, letting me convince him we could make it look great. 

Martin Wisniewski our acting Production Manager rented us a 20’ rear projection screen, sourced a 2K DLP, and set us up in a half empty shipping ware house in Mississauga that we could drive our various picture cars directly into. If your on a budget, you can make this work without a massive 2K projector. You can also go with a smaller screen if your willing to live in the medium/tight profile world (which we weren’t). 

I shot the back ground plates on the RED ONE-MX out the passenger seat of a VW Jetta on the Gardiner in Toronto. We ended up using clips shot at 4k, 24 fps, 180 degree shutter and I think the motion in the final shots looks completely real and natural so all my stressing and hours of shooting plates at various speeds and frame rates was for nothing! 

I was advised to shoot the plates in focus and de-focus the projector until it looked right in camera, but I was worried about this looking MORE un-natural since we were shooting Anamorphic so I shot half the plates at various focal distances to help make it seem like the passing buildings were further away then they were. 

We had to turn the PJ down to 1 bulb, it was way too bright. It still wasn’t right, it was looking like BAD rear projection, like 24. Being tight on time we couldn’t re-grade/re-render clips so in Quicktime Pro we turned the brightness all the way down and the contrast way up. We tweaked those levels depending on the lighting gags we were doing for that scene or shot. 

We also found that by ‘misting’ exterior car windows it helped sell the gag.

We mixed up the lighting, fading 3 different front key lights all with different ranges gel color up and down, had passing over head ‘streetlights’, back 3/4 edge lights fading up and down, we basically tried a ton of different stuff. Something different for every character and scene. 

For a first attempt I’m pretty happy with the results. Rear projection always looks better than green screen process to me, and is astronomically cheaper than a process trailer and allows you to retain absolute control of your lighting. It was a great learning experience and I can’t wait for a chance at a 2nd attempt.

To Our Bright White Hearts nears completion, gunning hard to make the Cannes deadline in a few weeks! 


when i started this blog, i was hoping to update constantly and guide people through the process. 

my intentions were pure. 

what i didn’t take into account though was how getting an indie film to the finish line takes a lot out of you, and updating a blog is mostly the last thing on your mind. for this i apologize. the film is getting closer and closer each day, and i’m starting to get anxious about sharing it. impatient even.

we’re doing ADR this coming week, and will be finalizing score / sound in the next month or so. i’ll try and post some more music soon for you guys. i promise.

thanks for bearing with me on this, and for caring about our film…


80 plays

So, I thought I’d share some music that Casey’s been working on for the film. Here you go.

To Our Bright White Hearts (Demo) - Casey Clark

sometimes i can’t believe we actually pulled this off together

nearing the finish line…

first cut

there is now a cut of bright white hearts. it’s somewhere in between a rough cut and a final cut. i have a strange way of working, where my first cut is usually pretty refined but also really rough at the same time. 

i will say the film is going to be really good. i’ve never been as proud of anything i’ve directed. can’t wait to show everyone who wants to see it. :)

gettin’ there…



to our bright white hearts

so… we’re still quite in the RED financially. we’ve raised about 3K via paypal, and could use all the help digging ourselves out of this hole, and finish the rest of the film. there are still a lot of post costs that we need to cover, and all your help has been greatly appreciated.

please donate at the top of the page using the donate button. if you email me, I’ll even send you a copy of the script so you can see what you’ve gotten yourself into. ;)

in the meantime I’ll keep the pics / videos / updates coming.  some great stuff still on its way.


my good friend MIKE AMBS posts these 7x7 video diaries on vimeo, and since he’s been on the set of bright white hearts recently, his last one is mostly in relation to the film. I thought it might be a fun fly on the wall glimpse into our day to day behind the scenes.

Random fact: “Where the hoes at?” might be my favorite misunderstanding of all time.

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