My name is Sergio Carvajal and you have reached my music EPK and overall TEMPORARY GHETTO Site.
I'm a Venezuelan-American performer, composer, show maker, filmmaker, actor, entrepreneur and frustrated poet.
I am a firm believer in the power of Mixed media. LIfe is not narrow, art shouldn't be either.
With that being said, I am known for combining music, film, shows, visual art, performance, etc, in most of the stuff that I do.
On this very simple EPK you'll find three main things:
1.- Songs from the last batch I recorded as a solo artist(march 2008)
2.- Event dates on the Calendar Page; including the screening dates of some of my last films such as
Cal Express, Un dia De Anibal, Lo que Daria por Volver and Ojos de Javier which are still in the "festival circuit."
3.- Pictures. Do with them as you wish.
Like what you hear, what you see? want to know more? drop me a line.
Sergio Carvajal: Vocals. Programming, Songwriting
The Carabelas Collective:
John Diaz: Vocals. Guitars
Aldo Ramon: Vocals, bass
Jonathan "Mickey" Madrid: Percussion, Showmanship
Carlos "Espiritu" Espinoza: Percussion
Scott Hofheins: Drums
Joseph Serrato: Sax, Keyboards
Plus the collaboration of a live horn section which varies
As Sergio Carvajal:
- Carabelas Collective presents.. Sergio Carvajal (2008)
4 song demo that is uploaded on this EPk.
- Brown Album (2002)
- The Jungle Science Ep(2004)
- Promise Land (2006) Cardinal Zen Records.
More relevant FILMOGRAPHY as writer/director:
El Camaleon (2007)
Ojos de Javier (2007)
Retrato de un Amigo (2007)
The Box (2007)
Un Dia de Anibal (2008)
Lo Que Daria Por Volver (2008)
Cal Express (2008)
Ojos de Javier (me as a filmmaker)
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Austin Filmmaker / Musician Sergio Carvajal Talks About His Short Film “Los Ojos de Javier.” Film...Austin Filmmaker / Musician Sergio Carvajal Talks About His Short Film “Los Ojos de Javier.”
Film: Los Ojos de Javier
Writer: Sergio Carvajal
Director: Sergio Carvajal
Location: Austin, Texas
Q: Where did you get the idea for the Los Ojos de Javier? Was it an original idea or based on a tale once told?
A: I suppose you could say it’s loosely based on “A Christmas Carol” in the sense of having three wisemen that come and teach the main character a lesson. The first wiseman is “the passive,” then the “active/aggressive,” and lastly “the unexpected.”
The rest I just made up.
Q: How did you get involved with the Coalition of Texans with Disabilities?
A: I guess, you could say that I never really got “involved” directly with them. The Coalition of Texans with Disabilities (CTD) has a little festival called Cinema Touching Disabilities; I think they have been doing it for a couple of years now. The problem with the festival is that it doesn’t look too appealing for the regular filmmaker. First, it’s really expensive to enter (since it is a collaboration/donation more than an entry fee), second it doesn’t really guarantee that much exposure, since nobody really knows about it, and third, it doesn’t have the most attractive prizes, if you weigh it against the cost of entry.
Q: Obviously none of that deterred you from making the film. Why?
A: I felt that this was a good opportunity to create something for a cause… something that if it was shown, could somewhat teach people at the screening that “Disability” really lies in the soul, and sometimes the people with true disabilities are the so-called “normal” people. I like to believe that art can always serve some type of purpose.
Q: Do you normally shoot your films in Spanish or was this decision based on something else?
A: Spanish is my first language; however, this film just needed to have it. If you pay attention to it, the story could also be seen as a story about a man/immigrant dealing with his loss of identity. That’s the reason why the last wiseman speaks English. The man/immigrant usually underestimates the American, thinks he has it all and doesn’t care about anyone but himself, yet it is the American who helps him remember who he really is. Yeah, it’s a story about loosing your eyes, but it’s also a social commentary targeted to the immigrant himself, saying “Okay…You are the one you can blame for forgetting who you are…no one else.” People have to learn to take responsibility for themselves.
Q: Who were your actors and crew?
A: Well, one of the other things I wanted to do with this short was make a film both about my friends and with my friends. Though, I obviously exaggerated their traits in order to fit a somewhat Fable/Charles Dickenish/3 Wiseman/ kind of structure, the entire cast and crew was made of my non-acting friends. They are, in no particular order, Travis Benn, a really talented kid who has worked with me on all of my shorts, my friend Javier Martos, and my brother Victor Carvajal. I also used another friend, Hunter Hill, who helped out as the homeless/driver, and my cousin Mickey Madrid.
Q: What did you shoot and edit on? Any likes or dislikes about the equipment?
A: We shot it with a JVC GY 100 and edited it on Final Cut. I also used Photoshop to do frame by frame animation while Travis used After Effects to finish compositing the eyes walking downtown.
In my opinion, the JVC GY 100 was a piece of crap. No offense meant to people who love it but I would never buy this model. The HDV post production flow was somewhat of a nightmare.
Q: What happened in post production?
A: I was lucky in that some very helpfuly people at the University of Texas gave me a hand figuring out how to deal with the JVC cameras’ incompatibility with Final Cut. I had to do some crazy “capture now” in order to get all the footage, and it would only capture take by take, droping the first and last 5 seconds of each take.
The lessons learned here: pre-roll, post roll…and either don’t use JVC cameras or just get a Post Production genius to help you out how to over come the JVC jinx!
Q: There were several visual effects throughout the film…had you used them before?
A: No. It was my first attempt to do something like that. I was going for a simple, “old school” look and have mixed emotions about the outcome. Shots like the eyes walking required stop-motion mixed with compositing. It was pretty challenging for me. I think some effects worked better than others. I had to touch more than 5000 frames in Photoshop to get what I wanted (the eyes-TV, the Black and white people on color background, etc). It was all very time consuming to say the least.
Q: You talk about money and time constraints at the beginning of the film. Were you under pressure of a deadline? Could you have spent more time and money or was it just a personal decision?
A: Very much a personal decision based entirely on the fact that my ass is broke. We only had 50 bucks to make it, but I really wanted to make it…so we did! (We also have to thank Philip Goetz who gave us a sweet deal on the camera, otherwise it wouldn’t have happened.)
Q: You shoot several scenes on city streets in full traffic…how did you pull that off?
A: Basically, you round up your people, you talk about the scene, and you do it. I don’t know if it’s the most legal way to do it, but it’s how I like to do things…sometimes. It made for an amazing filmmaking experience. If you’re having a good time then I think that shows on the screen and we definitely had a good time.
Q: How long have you been making films?
I’ve been making films for almost two years now. I did a lot of music and visual work before moving into film. I probably would have made films earlier but I just never had access to a camera. The first time I ever spent more than 20 minutes with a camera was Fall 2006 and I absolutely loved it.
Q: Are you working on anything now? What’s next for Sergio Carvajal?
A: At the moment, I’m in San Francisco interning for the biggest founder of independent documentaries in the United States, Independent Television Service (ITVS). I’ll be doing that until August and then I’ll be working on three film projects, including my debut Long Play. (In both Austin and L.A.) My last short film “Lo que Daria Por Volver” will also be playing in some festivals this summer and fall.
Check out some Sergio Carvajal’s music at:
Facundo's Night Out (me as a Concert Promoter)
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Sergio Caraval, the leader of the local politico-industrial rock machine known as Balistica, came to...Sergio Caraval, the leader of the local politico-industrial rock machine known as Balistica, came to me a few months back w/ a concept: I want to have a carnival-like atmosphere to bring together Austin artists of all kinds in a club setting. Well, here you have it. The last two have been great…I can’t wait to see what he has up his sleeve here. Bands, poets, painters, etc.
Balistica's Jungle Science Ep (me as a Songwriter/Recording Artist)
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Balistica The Jungle Science e.p. In a gag audio clip on Balistica's debut EP, an interviewer descr...Balistica
The Jungle Science e.p. In a gag audio clip on Balistica's debut EP, an interviewer describes these Austinites as "a sonic, punk outfit." Then comes the kicker: "Why did you guys leave the sombreros at home?" One only hopes that was a gag! In any event, the name Balistica says it all – insolent, urgent, snarky as necessary, and urban in an architectural rather than cultural sense. Aching limbs of steel, the hot shudder of concrete, the false sparkle of glass, and every once in a while, the sweet breath from a patch of green all emanate from The Jungle Science's 20-minute run time. "Rag" opens the disc with a deceptively mellow riff that leaps into an industrial grind churning with rock & roll rhythms. The kiss and slap lyrics ("Your adoration sets me free. It's like a razor, it cuts me deep ... you know I want it so") end in a raw punk rant, strangely lightened with a familiar Arab-world vocal riff sailing over it all near the end. The previously mentioned audio clip follows, slipping into the liquid, Dick Dale-like guitar opening of "Hard to Swallow," where relentless punk rhythms tumble with a ripped vocal driven beat. "Racer" is the most popilicious of the disc, amazingly elevating the timeless pop phrase "doot-dooty-doot" to a tolerable level. An insistent brew of punk-driven, moody rock rhythms demanding to be heard finish off the disc. The demand is well worth heeding. Sombreros? Balistica don't need no stinkin' sombreros.
Balistica Show Review (me as a Performer)
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Balistica were the first band of the evening and were easily the most eccentric. Smartly dressed in ...Balistica were the first band of the evening and were easily the most eccentric. Smartly dressed in black shirts with a single bright pink letter (and for their drummer, a luchadore mask), the band tore through their set of alternative dance rock mixed with hint of Latin and funk influences. Sergio, lead vocalist and sometimes bassist, was clearly the one to watch as he shook and leaped and danced across the stage, as if possessed by the music(or perhaps, life itself). At set’s end he shared an explosive rap duet with another member of the band who apparently watched the majority of the set with the crowd.
The following is a list of some of the main songs i have written in the past couple of years. I rarely play any cover material
Lo Que Daria Por Volver
Silence of The Turkeys
At least it's not me
Cada Vez Que Te Ame
Con Su Permiso
Olvidame, No me dejes
Perdiendo La Cordura
Gone, long Gone
A mano Alzada
There are no upcoming dates at this time.