Oct 25

Some­thing that I found on the inter­net… It’s funny stuff…

Oct 25

clapper

As with any career out there, film­mak­ing train­ing, to be effec­tive, need not be of the for­mal kind. Film school is not the be-all and the end-all of a career in film. There are other sources of knowl­edge, such as first­hand expe­ri­ence, befriend­ing a film­maker, join­ing work­shops, read­ing a how-to book, mak­ing your own movie, or get­ting a job as a movie extra.

All these will rack up expe­ri­ence points in the film­mak­ing indus­try. All you need is a recep­tive mind and a will­ing­ness to learn. Through­out these diverse ways of get­ting a good train­ing expe­ri­ence, the 12 basic lessons that any aspir­ing film­maker will have to learn can be enu­mer­ated here:

  • How to rec­og­nize a good story
  • How to trans­late it into a script
  • How to look for a distributor
  • How to scout for locations
  • How to choose the right crew
  • How to cast properly
  • How to direct actors effectively
  • How to shoot good scenes
  • How to record sound
  • How to edit a rough film
  • How to add a soundtrack
  • How to release a movie

These 12 lessons can be grouped into the 5 processes of mak­ing a film. The first is the devel­op­ment stage, the sec­ond is the pre pro­duc­tion stage, then there are the pro­duc­tion and post pro­duc­tion stage, and the last is dis­tri­b­u­tion and exhi­bi­tion to an audi­ence. Com­pre­hen­sive film­mak­ing train­ing will take one through all the aspects of this process.

The film is a very pop­u­lar medium, and one of the hard­est to do of all the art forms. It requires the involve­ment of a lot of peo­ple in dif­fer­ent fields. It requires months and even years of work. A big bud­get is the norm, although inde­pen­dent film­mak­ers have been doing more and more good movies on a low bud­get. This new devel­op­ment in the field of film­mak­ing has made pos­si­ble the entry of rel­a­tively untrained or infor­mally trained artists. It has also given rise to a new cat­e­gory, the indies, and there­fore the need for addi­tional lessons in the art of movie making.

The lessons in the art of inde­pen­dent film­mak­ing start from the con­cept of the story itself. A script has to fol­low a low bud­get for­mat. Less night­time scenes and less spe­cial effects are the first rules in a low bud­get film. These are not ele­ments that lessen the qual­ity of a film. In fact, a pared down script will some­times work won­ders for a film. It is all in the han­dling. The other lessons in this new field in film­mak­ing will have to do with tech­ni­cal know-how. Dig­i­tal film­mak­ing requires dif­fer­ent han­dling. It lessens the over­all bud­get, it requires a lesser film crew, but it also requires a per­son to have more knowl­edge on the oper­a­tion of the equipment.

The con­cept of film­mak­ing train­ing is thus out­lined. From the dif­fer­ent sources you could go to, to the gen­eral ideas of film­mak­ing, to the mod­ern trend in this excit­ing field. A film­maker is thus made.

http://filmschoolondemand.com/ founder and inde­pen­dent film­maker David Basulto teaches new film­mak­ers how to make and sell their movies.

Arti­cle Source: http://EzineArticles.com/?expert=Dave_Basulto
http://EzineArticles.com/?Filmmaking-Training—Where,-What,-and-How?&id=3097817

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Oct 24

By Angelina Merkel

How tech­ni­cians use movie tran­scripts for dif­fer­ent processes?

Time was when movie mak­ers used hand-written scripts for movies, but times have changed and screen writ­ing has become an orga­nized pro­fes­sion, it is a cre­ative process. The movie screen­plays need for­mat­ting, so that actors are able to read the script and play their part assigned to them.

Many tal­ented peo­ple, the tech­ni­cians, artists, pro­duc­tion executive’s work as a team for mak­ing a movie, all of them require a prop­erly for­mat­ted script, a screen­play can­not be used for movie mak­ing unless a for­mat­ted script is not avail­able. The process of con­vert­ing a screen­play into a for­mat­ted script begins with first break­ing down the screen­play into a time sched­ule that includes the num­ber of days and nights of film­ing required.

The film may have dif­fer­ent sequences, a for­mula that experts use is one film script page will require one minute of film, and this cal­cu­la­tion helps them to sched­ule the film­ing accord­ingly. The movies have a rhythm of story telling that have a blend of action, cam­era tech­niques, music and sound effects and dia­logue. The for­mat­ted movie script allows the pro­fes­sion­als involved in the pro­duc­tion to fore­see the direc­tion the movie will follow.

The screen­plays con­sist of 110 to 130 pages when for­mat­ted, and after film­ing the script, the run­ning time of the movie is close to two hours, this is where for­mat­ted scripts play an impor­tant role in movie mak­ing. The stan­dard­ized script for­mat­ting allows movie mak­ers to han­dle mul­ti­ple projects simultaneously.

The for­mat­ted screen­play printed copies are on white paper with black ink. The fonts used are 12 point Draft Courier or 12 Point Courier New. The rewrit­ten parts of the printed script are on col­ored paper, and every time new con­tent added to the scripts is on a dif­fer­ent col­ored paper, the tran­scripts start with white fol­lowed by blue, pink, green, yel­low, gold­en­rod, and salmon. There are tran­scrip­tion com­pa­nies that spe­cial­ize in prepar­ing for­mat­ted movie scripts.

Movie scripts tran­scrip­tion ser­vices for Hol­ly­wood film, doc­u­men­tary film tran­scrip­tion @ 40% less $USD cost, for more queries visit http://transcriptionsservice.com/movie-script-transcription-service.html or call toll free 1–877-323‑4707 and get free trial offers

Arti­cle Source: http://EzineArticles.com/?expert=Angelina_Merkel
http://EzineArticles.com/?Movie-Script-Transcription-Services&id=3060480

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Oct 23

A friend sent me these links to Adult Swim’s clips of Robot Chicken. So it is very early in the morn­ing and I had to share.

Oct 22

cupic-1

We had a suc­cess­ful shoot this past Sun­day for the CUPIC series. This par­tic­u­lar shoot involved the Johanna char­ac­ter ( April Espinoza) being inter­viewed. Although it seemed like a sim­ple indoor shoot with one actress, talk­ing into the cam­era, it was an exer­cise for us, with our new record­ing tech­niques.  There will be sim­i­lar shoots with the other CUPIC inves­ti­ga­tors in the near future and full pro­duc­tion of the first five episodes will begin early next year.

Soon, we will post cast­ing notices for the fol­low­ing characters….

Inves­ti­ga­tors

  • Janet Raphael
  • Cyn­thia Young
  • Mikhail Bar­tov

And we will also post cast­ing needs for eye­wit­nesses… Stay tuned

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Oct 20

Equip­ment For a Free­lance Video Edi­tor
By Ran­dal Stevens

If you want to become a free­lance video edi­tor, one of the most impor­tant aspects of the job will be hav­ing the proper equip­ment to pro­duce pro­fes­sional qual­ity work. At the same time, when you are a free­lance or self-employed worker, you want to cut down on equip­ment costs and other expenses that eat into your profit. So how do you find the bal­ance between get­ting top of the line equip­ment and not spend­ing too much money? This arti­cle will high­light some impor­tant points to con­sider when buy­ing hard­ware and soft­ware as a free­lance video editor.

The first main piece of equip­ment you will need is a com­puter, but this is a very impor­tant choice, as it will deter­mine what soft­ware pro­gram you will be using. It comes down to whether you want a Mac or a PC. The advan­tages of the PC are that it will cost a lot less. How­ever, the Win­dows video edit­ing soft­ware costs more than the Mac’s main video edit­ing soft­ware, so the prices might even out more in the end. It is also a fact that Win­dows com­put­ers are more of a has­sle with things like viruses and bugs, but I do not want to get into a big Mac vs. PC argu­ment here. Lets just say that Macs will allow you to use Final Cut Pro, one of the best video edit­ing plat­forms to have right now.

Final cut pro will give you the abil­ity to make pro­fes­sional qual­ity videos and films. In fact, along with most inde­pen­dent and smaller stu­dios, some Hol­ly­wood film­mak­ers use Final Cut Pro. The fact that many smaller film and video stu­dios are using Final Cut is impor­tant because you want to be using soft­ware that is com­pat­i­ble with what other peo­ple in your field are using. You might have to share work with them at some point and hav­ing the exact same sys­tem makes that no problem.

Final Cut comes com­plete with every­thing that you need to make videos and DVDs with pro­fes­sional sound and visu­als, and being an expert with it will open up oppor­tu­ni­ties to work for stu­dios that use it if you decide to take that path at some point.

Once you have your com­puter and soft­ware there are just a few more things to con­sider. You will need some type of cam­era or Mini DV deck to import footage off of Mini DV tapes, the widest used for­mat at the moment. This may not be com­pletely nec­es­sary if you plan on only hav­ing dig­i­tal files sent to you to edit. You will also need some decent audio mon­i­tors. Your com­puter speak­ers or head­phones will not get the job done when it comes to pro­fes­sional audio edit­ing, which is part of the free­lance video edi­tors job. For around $300 or less, you should be able to find some nice stu­dio mon­i­tors that will let you hear the detailed and accu­rate sound that your cheap com­puter speak­ers will not.

Being a free­lance video edi­tor is about mak­ing your money go far to get you the best pos­si­ble equip­ment. After that, its up to you to make high qual­ity edits.

Look for more infor­ma­tion online to find out how to become one of the many free­lance video edi­tors and how to make a free­lance video edit­ing website.

Arti­cle Source: http://EzineArticles.com/?expert=Randal_Stevens
http://EzineArticles.com/?Equipment-For-a-Freelance-Video-Editor&id=3072155

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Oct 18

film_canistersGet­ting to Hol­ly­wood Just Got a Lit­tle Eas­ier For Wannabee Film Direc­tors
By Mich Andrews

Becom­ing the next big thing in the movie world just became a whole lot closer thanks to the amaz­ing leaps in image tech­nol­ogy of the last few years. With the advent of high def­i­n­i­tion record­ing devices, ama­teur users can now access equip­ment that will give them the abil­ity to near enough match Hol­ly­wood for movie looks. Of course they are not going to be able to com­pete in terms of the mas­sive bud­gets, not even pro­fes­sional inde­pen­dent film mak­ers can do this. How­ever, the play­ing field is start­ing to level out.

The prob­lem for wannabee film mak­ers in the past was that their efforts always looked pretty poor. They were rel­e­gated to the lower league of film mak­ing and only able to access a crude and unglam­orous video cam­era or cam­corder from a fam­ily mem­ber or a local col­lege. Even with this lim­i­ta­tion, it didn’t stop cre­ativ­ity. There have been some fan­tas­tic movies made for low-budgets on every­thing from mobile phones to pixel vision cam­eras. And of course, there was always super 8 and super 16mm film and some­times 35mm too. So yes, peo­ple have always been able to make films but usu­ally a cin­ema wouldn’t touch them; more impor­tantly the pub­lic don’t really enjoy watch­ing a grainy, blurry and all in focus film.

What’s dif­fer­ent today? At the moment, there is a rev­o­lu­tion going on in the media world. High def­i­n­i­tion images are avail­able at an inex­pen­sive price. There are an incred­i­ble range of rea­son­ably priced gad­gets and giz­mos that can pro­duce great images, with sound, that will usher in the next gen­er­a­tion of movie mav­er­icks. You only have to look at hand­held cam­eras from Sony and Kodak or the new flip cam­era which are the size of mobile phones and yet give you an almost full HD image for $100–150. Some mod­els even come with their own edit­ing soft­ware built in. Put this together with the avail­abil­ity of post pro­duc­tion tools that you can put on your PC or Mac and you pretty much have every­thing you need to shoot and cut your movie at home!

The next decade is going to throw up an incred­i­ble range of vision­ary films from a diverse range of indi­vid­u­als from all over the world. There will be seri­ous issues, global issues, come­dies, dra­mas and more. It is almost like the early Twen­ti­eth Cen­tury when lit­tle, inde­pen­dent stu­dios began to estab­lish them­selves in the heat of the Cal­i­forn­ian sun. It will hap­pen again only this time we won’t be going to the cin­ema; we will be busy down­load­ing the new flicks onto our hard drives.

Prob­a­bly the best pocket cam­corder around at the moment is the flip cam­era. Click here for more info on where to buy flip cam­eras.

Mich Andrews

Arti­cle Source: http://EzineArticles.com/?expert=Mich_Andrews
http://EzineArticles.com/?Getting-to-Hollywood-Just-Got-a-Little-Easier-For-Wannabee-Film-Directors&id=3072221

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Oct 05

What Are Film Pro­duc­tion Ser­vices?
By Dave Basulto

clapperThe art of mak­ing films requires a com­pli­cated process. In order to achieve some of the effects in film, tech­ni­cal know-how is a must. Access to props and instru­ments is needed, and buy­ing these will need­lessly inflate a film bud­get. It is impos­si­ble for one per­son to do it alone. This is where film pro­duc­tion ser­vices play a big role. Hir­ing the ser­vices of such com­pa­nies will make your project a lot eas­ier. These com­pa­nies offer a wide range of ser­vices needed for a film project. Equip­ment rental ser­vices will allow you access to cer­tain appa­ra­tus, with­out the need of buy­ing your own. These include the basics such as 16mm or 35mm cam­eras, grip and light­ing pack­ages, film props, stock footage, cos­tume and wardrobe, even the use of stu­dio and stage facil­i­ties. Much needed ser­vices that the com­pany can pro­vide are those of skilled pro­fes­sion­als in their own spe­cial­ized fields such as a trained film crew, ani­mal han­dlers, makeup artists, stunt men, set design­ers, and ser­vices in music pro­duc­tion, music edit­ing, sub­ti­tling and dub­bing, spe­cial effects, cin­e­matog­ra­phy, as well as loca­tion ser­vices. Some­times, these out­fits even offer insur­ance services.

The rea­son why film pro­duc­tion ser­vices have become a nec­es­sary sta­ple in the film mak­ing indus­try is because of the nature of the job. There are five major stages in a film project. These are:

–the devel­op­ment stage; where the script will be worked on, the ideas and con­cepts threshed out, the story adapted to the medium of film, and a dis­trib­u­tor found

–pre pro­duc­tion; where loca­tion shoots are con­ducted, a crew and cast hired, and many more aspects of film mak­ing are prepared

–pro­duc­tion; this entails the actual shoot with all its atten­dant pro­duc­tion details

–post pro­duc­tion; the edit­ing, sound mix­ing, and other such processes are made, in order to make a final product

–dis­tri­b­u­tion; sales and dis­tri­b­u­tion is the last phase of the process. The fin­ished prod­uct is cir­cu­lated to an audi­ence. There is usu­ally a dis­tri­b­u­tion com­pany with a world­wide reach who adopts a film for release.

All of these stages in the film mak­ing process require the ser­vices of dif­fer­ent indi­vid­u­als with quite diverse skills. The movie indus­try has solved this dilemma quite nicely by hir­ing out. As a result there are now spe­cial­ized com­pa­nies who offer the needed ser­vices. A film out­fit is then saved a ton of trou­ble and expense.

The world­wide pop­u­lar­ity of film mak­ing and movies has made this a prof­itable busi­ness. Aside from cast­ing fees for actors, there are big bud­gets spent on the pre-production, pro­duc­tion, and post pro­duc­tion phases. An excep­tion is for a cer­tain way of mak­ing movies called indie film mak­ing. In this case, a movie is made on a very low bud­get. Some­times, dig­i­tal processes are employed instead of the more tra­di­tional meth­ods of film. Although this cuts the bud­get con­sid­er­ably, some film pro­duc­tion ser­vices might still be needed. These are in the processes of dig­i­tal edit­ing and the entire gamut of dig­i­tal abil­i­ties and exper­tise in the tech­no­log­i­cal age of film making.

http://filmschoolondemand.com/ Film School On Demand founder and inde­pen­dent film­maker Dave Basulto teaches new film­mak­ers how to make and sell their movies.

Arti­cle Source: http://EzineArticles.com/?expert=Dave_Basulto
http://EzineArticles.com/?What-Are-Film-Production-Services?&id=2976311

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Oct 01

Film Terms and Movie Speak
By Andrew Michael Brown

It is almost as if there is a whole other lan­guage when it comes to the film and movie busi­ness. There are an awful lot of film terms that seem designed to keep out all but the most per­sis­tent cinephile and wannabee artist who dreams of some­day direct­ing a film themselves.

Granted, there are many indus­tries who oper­ate under the own arcane gob­bled­gook. ‘Man­age­ment speak’ is often touted as an exam­ple of lan­guage gone loopy. Movies, how­ever, are a very pub­lic affair and if you have the slight­est inter­est in get­ting under that glossy and glam­orous sheen to see how they are really made, then you will soon come across some very mys­ti­cal incan­ta­tions which will befud­dle your brain and murk your mind. Read­ing like some­thing out of “The Lord of the Rings” are words, phrases, job titles and tech­niques from “Gaffers to gobos, dol­lies to dough­nuts, apple­boxes and auteurs.” Were you aware that if you are at all inter­ested in look­ing through the cam­era then, one day, you may have to put your face against a “teddy bear’s ass­hole”? I’ll leave you to find that one out for yourself.

Any­one get­ting to grips with film mak­ing terms and movie ter­mi­nol­ogy should be rewarded with a cer­tifi­cate of achieve­ment and a badge. If you have ambi­tions to study film tech­nique, make films your­self or just appre­ci­ate the art and craft of movie mak­ing, then at some point you will begin to encounter these obscure and eso­teric nuggets of mouth­ery that are found nowhere else. They are mys­te­ri­ous and strange and, like some ancient Masonic code, designed to act as a bar­rier to those who are merely curi­ous and of the fair­weather variety.

To the com­mit­ted seeker though, they rep­re­sent the first layer of ini­ti­a­tion into the movie world. They are the first test of wor­thi­ness which you must con­quer before those who have trav­eled before you will even con­sider look­ing down upon you and let­ting you fetch them a cup of coffee.

Writ­ten by Andrew Michael Brown

Visit my site for more tips and info on all aspects of film-making and film direct­ing as well as how to write a screen­play and all those film terms.

Arti­cle Source: http://EzineArticles.com/?expert=Andrew_Michael_Brown
http://EzineArticles.com/?Film-Terms-and-Movie-Speak&id=2953746

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