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Eric Mofford Produces Some Unconventional Media
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MM: As video games tend to be very detailed, what was the set design process like?
EM: I really credit director-production designer Joseph Hodges with the set design and getting the most out of it for the budget. EA wanted the gamers to feel like they were in different places, even different cities, and just like his work on “24,” they wanted to move out of the foreground and around different areas of each location. The sets had to feel real. Joseph’s biggest creative challenge was to develop something that was seamless with the game’s look, and keep it fresh. He decided to make a Translite backing of the city where the game is set. It is most prominent in the hotel-room set, but Joseph wanted us to use it on almost every other set, too—sometimes just as a reflection in a car window or mirror. It was a brilliant idea, because that became the unifying element to the entire game.
There were a lot of locations in the script and I knew as a producer it was unrealistic in our shooting time frame to be able to move from location to location. I knew about this group of warehouses in downtown Los Angeles that have a bunch of different looks all at one place. Joseph conceived some great set designs that we had built in the warehouse space and then used the raw warehouse space as is, and suddenly we had over a dozen different locations all without loading and unloading trucks.
The original script was not cinematic. Lots of scenes had the characters talk directly to the gamer—looking straight at the camera. Joseph changed it so the characters are talking to you but also talking to other people. That brings you more into the scene, more like a film. Between the set design and Joseph’s blocking of the scenes, it really gave the project a much bigger feature film feel.
MM: What’s in store for Unconventional Media next? What are you working on now?
EM: Well, the whole concept of Unconventional Media is to approach film and video in a new and different way. We’ve opened an office in Nashville to do a series of music projects that are about building audiences on the internet and with viral videos—since these new bands can’t seem to get airplay anymore on the radio. They just play the same 12 songs over and over. Our plan is to shake up the music business like we’ve done with video games. I’m also partnered with a paranormal museum that is opening up in New Orleans in January. The PARAPLEX Annex is already open in the French Quarter. There are a wealth of true supernatural and ghost stories in that city that we’ve begun documenting for DVD and web releases.
I’m also trying to get a feature film into production entitled Press>Play, which is about the manipulation of media and trying to distinguish between reality and erotic fantasy in this virtual age. It fits right in with what we are doing at Unconventional Media.
For more information visit www.unconventionalmedia.com or www.PressPlayMovie.com.
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COMMENTS | POST A COMMENT 
- Comment by jim Matlosz on 11/11/08 at 11:58 am
while the RED states it does capture a RAW file, its not a true RAW file by definition, its more like shooting reversal rather than negative. Its good and it does work well, but there is image manipulation going on. Bottom line do you homework with any digital acquisition, especially when it comes to post, they all have pluses and minuses.
- Comment by Jonathan on 11/19/08 at 2:33 pm
If you want to find a RED ONE DP go to http://www.OneStopRed.com
- Comment by Jim Matlosz on 11/19/08 at 3:12 pm
and what if you want to find a Qualified DP, who is flexible enough to work with all formats :)
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