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Evan Mather

Los Angeles, CA

Evan Mather is a Los Angeles-based independent filmmaker and landscape architect known for his short films spanning multiple genres – including animation, documentary, essay, music video, and film title design. His work explores issues of landscape, p... view more

  1. on March 11
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    Evan Mather
    Posted project update #18

    "Telly" Premieres at Cinequest 22

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      1. 798.ft.maddydrag05edit albumcover.thumb
        Maddy Mann on March 15

        Good luck and break legs in Atlanta!


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  2. on December 31
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    Evan Mather
    backed a project

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    ROOM 237 by Tim Kirk

    ROOM 237 is a subjective documentary feature exploring numerous theories about Stanley Kubrick’s “The Shining” and its hidden meanings.

    • 108% funded $5,426 pledged
    • 28 backers
    • Funded Dec 31, 2011
  3. on December 28
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    Evan Mather
    Posted project update #17

    "Telly" Film Festival Premiere Set

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  4. on September 30, 2011
    Funded!

    Telly by Evan Mather

    A 10-minute bedtime horror story about a girl who watches too much television - written, directed and animated by Evan Mather.

    • 108% funded $1,625 pledged
    • 45 backers
    • Funded Sep 30, 2011
  5. on September 29, 2011
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    Evan Mather
    Posted project update #16

    Ye Olde Film Looke

    Special thanks to everyone who has contributed to make this project a success - this project reached the 100% mark on Monday afternoon – and are now at about 104%. Thank you everyone! In a few days, you will be contacted for the proper spelling of names for the end credits - and if applicable - the name on the grave markers in the cemetery sequence. Right now I am currently finalizing the color timing of Telly. As previously stated, the film is based on an analog aesthetic in a digital universe. One way to achieve this is by applying a film-look to the assembled piece, which I am doing by using Magic Bullet Looks 2.0 by Red Giant within Final Cut Pro. The following series of frames show a progression from the original frame, with Magic Bullet Looks applied, and then with both Looks (color timing) and related plug-in called Misfire (film scratches, grain, etc.) applied as well.

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  6. on September 26, 2011
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    Evan Mather
    backed a project

    Revelation Trail: A Western Horror Film by John Gibson / Revelation Trail

    A preacher's life is destroyed when a gruesome power consumes the land. Now, he must find new purpose in the fight against the undead.

    • 139% funded $13,050 pledged
    • 172 backers
    • Funded Oct 12, 2011
  7. on September 23, 2011
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    Evan Mather
    Posted project update #15

    "2001" Cut Sequence

    This Kickstarter campaign is winding down: 87% funded with 7 days left. Thanks for everyone for your help, please continue to tell your friends. Following are some stills from a "2001"-inspired sequence I cut – but only after putting a few hundred hours into it. Enjoy!

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  8. on September 20, 2011
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    Evan Mather
    Posted project update #14

    Inspiration: "The Coffin Factory"

    Thanks to all for your support - with 10 days left, I am at 79% of my goal. Please continue to tweet and spread the word. In the meantime, here is one of the short films that directly inspired Telly: Czech filmmaker Jan Svankmajer's The Coffin Factory aka Punch And Judy. I caught this as part of an installation at London's Tate Modern in May 2004 and fell in love with the analog hand-crafted look. (Which goes without saying, since the piece is from 1966.) Enjoy!

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  9. on September 18, 2011
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    Evan Mather
    Posted project update #13

    Maps, Maps, Maps

    Thanks to everyone for supporting my project – with 12 days left, I am at 75% toward my fundraising goal. Starting with the TripTik maps in Fansom the Lizard, I have maps in most all of my films – often for no particular reason – how could I not have one in Telly?

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  10. on September 17, 2011
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    Evan Mather
    Posted project update #12

    Digital Story in an Analog Universe

    Telly is purposefully set over 40 years ago - as television finally superseded radio, cinema, and literature as a primary entertainment medium. One of the subtexts of the story is this conflict between the future – digital, and past – analog. As is part of the nostalgic aesthetic I have been using since Fansom the Lizard, and before that when filming in Super-8, the production of Telly uses digital tools to create this analog (paper, film, vinyl) universe. (Basically, I'm spending a lot of time and money to make something look as cheap as possible.) One way to strengthen this is via scene transitions - i.e. the needle on the record scratching the film and vice versa. An example:

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