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The would-be filmmakers thread - Page 12

post #551 of 637
Quote:
Originally Posted by SmellsLikeNostalgia View Post
Does anyone have any advice for casting films? I tend to use my friends as actors, and though I get good performances out of them, I tend to be very forgiving when it comes to scheduling conflicts. The film I'm working on right now is very behind schedule because I've been letting my friends slide by on days when they don't feel like shooting. There also tends to be a lot of goofing off during shoots.

Is it better to cast people whom you don't have close relationships with, or does that just lead to more conflicts?
You can cast friends, but when they're on the set you can't look at them like friends. They're actors and you're all there to work.
post #552 of 637
Quote:
Originally Posted by Jacob View Post
We had a great DP/cameraman and focus puller. Aside from being good at what they do, they're some of the nicest guys I've worked with. If anyone's ever looking for camera crew in Toronto, let me know.

How're things in Alberta, Ryan? And Mr. Nixey? How's the world treating you?
Alberta's pretty rugged right now. We're waiting on the sound stage but with the Wildrose party starting to gain ground it may die before we ever see it. The PCs are trying to tighten the purse strings to take back the mantle of fiscal conservativism.

I'm making ends meet by teaching high school kids film history and scriptwriting. It's kinda fun but who knows what will happen when education gets slashed again.

I'm also getting some money from scripting a pro wrestling company in Lethbridge. Good gig but hardly something you put on a resume.
post #553 of 637
Well, Halifax is Halifax. I've been schlubbing from one production company to another the last few years, all of them either struggling or flat-out going out of business. They're usually run by 'office' people with no grasp on how to advertise/work with tv/film mediums.

I finally decided to finish my feature though, four years in the making now. We're running and gunning to get the final fake interviews done. My buddy Jay did one a few nights ago, and the DP put online one of the bloopers, I figured you guys might like.

http://vimeo.com/8628874
post #554 of 637
A fun short movie I worked on. So much fun.

Edit: This is a legitimately great film, a barometer of taste.
post #555 of 637
An Open Letter to Young and New Filmmakers,

If you are shooting at two separate locations that you intend to cut together so they appear to be one location, it helps if they look reasonably similar. Secondly, it really helps if they're intended to be isolated, that I don't hear cars driving by in the background. It helps even more if said cars aren't tromping all over your actor's lines.

Oh, and before attempt those beautiful push-in shots, or that amazing dolly shot (maybe your boom guy should have worn slippers instead of cowboy boots for that as well), how about you try and master the Over/Over/Two? It's cliche but it's a really good way to start and you can learn from there. I'm not saying don't try once in a while but how about you have some coverage other than that shot for safety.

Yours,

Ryan S~, a pissed off dialogue editor.
post #556 of 637
Movies are about the big picture, Ryan, not the little details. Sheesh.
post #557 of 637
Remember, Ryan...

Wicked... creative... safe!
post #558 of 637
Haven't updated in a while, but FilmRogue.com just reviewed "In Aggression" and they have a clip for everyone to view from the film.

Review: http://www.filmrogue.com/index.php?o...d=140&catid=13

Clip: http://www.filmrogue.com/media/podca...ression256.mp4
post #559 of 637
Quote:
Originally Posted by mcnooj82 View Post
Remember, Ryan...

Wicked... creative... safe!
*points at self*
post #560 of 637
1 week until I shoot the thesis film I've been building up to for 4 years.

Anyone have a gun?
post #561 of 637
Thread Starter 
Here, have the one I used for mine:

post #562 of 637
Carnotaur, let me know if the film comes to Toronto. I'll definitely check it out. Congrats on the positive review!

Quote:
Originally Posted by Renn Brown View Post
1 week until I shoot the thesis film I've been building up to for 4 years.

Anyone have a gun?
I'd give you one if I wasn't so keen on watching the final product. Good luck, man! Enjoy it!

Quote:
Originally Posted by Troy Nixey View Post
The world is great! In post on DON'T BE AFRAID OF THE DARK, out to actors for SIMPLE MACHINES and working on a new script.
That's incredible. Been spreading the word on the former; we're excited out here in Toronto!

EDIT: Figured, I'd bundle all of my replies into one post.
post #563 of 637
Quote:
Originally Posted by Jacob View Post
Carnotaur, let me know if the film comes to Toronto. I'll definitely check it out. Congrats on the positive review!
Thanks, Jacob! I will let you know. Sending the dvd screener and application on Monday. Was going to do it today but alas... fucking snow!
post #564 of 637
I probably already know the answer to this but I've signed up for createspace in order to sell my short film. What I want to know is, is it worth telling the producer of my film as a courtesy. there was no official contract between us, at least not that I can remember.

I guess I was concerned that the producer might stumble across the film or something and want a share of the profits.
post #565 of 637
Little tease of (v.) To Augment

post #566 of 637
REALLY cool, Renn! Are you shooting the flick in black and white?

Nathan, it's a question of ethics. Troy's right, you can't be talking about a lot of cash (unless you are, and then I'm going to ask you what your secret is) and the one thing you don't want to do in the industry - in my limited experience - is burning bridges, advertently or inadvertently.
post #567 of 637
Fair enough. I haven't gone through with it yet. I've sent an email to the producer in any case. Thanks for the advice.
post #568 of 637
Like the Tragically Hip?
I made a 8-min short with my brother in Kehewin Lake, Alberta about 5 years ago, set to a few Hip songs. Took us 1 day to shoot, 2 to edit. Rip it up or critique as you will.
http://www.youtube.com/watch?v=Hl21O1Sa5u0
post #569 of 637
I already posted this in Shameless but I figured it would be a good idea to post it here as well. I wrote and directed a couple short war films and I'm holding a premiere this coming Saturday. I figure it would be a good excuse to meet any fellow chewers that also happen to be filmmakers and also happen to live in Hampton Roads.

The thread is down YONDER.
post #570 of 637
That film EARTHLING that has its trailer up on the main site is soliciting completion funds via this website:

http://www.kickstarter.com/projects/...-for-earthling

No takers so far, but an interesting way to cover the costs of color correction and studio time for the score to be recorded.

Along those lines, Pepsi has a program giving out 1.3 million in grants every month. 5k, 25k, 50k and 250k. All you have to do is put in an application and get people to vote. You can vote for 10 projects every day of the month.

Thought everyone should know.
post #571 of 637
could anyone recommend a good handycam for shooting short-films?

I was looking at this one: http://www.amazon.com/Canon-VIXIA-Me...8387356&sr=1-4
post #572 of 637
Found this video I directed about 9 years ago on youtube (it's crazy what you can find there). I'm kind of embarrassed at how bad it is now, but I figured I'd share it with you guys anyway.

http://www.youtube.com/watch?v=gI_4_O6KzO0
post #573 of 637
Thread Starter 
So I don't want to say too much, since it's a long ways out and I don't want to jinx it, but there's a very real shot that I'm going to be on the crew for a film shooting both here in Austin and then Taiwan. We're talking next summer, but it's the best news I've had regarding my film career in a few months.

Wednesday I get to screen the rough cut of the movie I produced last November. The director is a bag of nerves right now, so I'm trying to ease into this screening-and all the notes I'm more than likely going to have-while reassuring her that we'll be able to fix the problems.
post #574 of 637
Congrats, Greg!
post #575 of 637
That's awesome, Greg! Good luck with the screening.
post #576 of 637
Awesome Greg.

I know this is about still photography, but thought maybe it might give some of you some ideas/info: BBC Masterclass on Nature Photography.
post #577 of 637
My friend filmed behind the scenes footage of my senior film, Nazi Dinosaurs from Planet X, and we're just now editing it together. If you ever wanted to see behind the scenes of a student film, and I'm sure everyone that ever lived does, then look no further!

First we take you step-by-step in explaining an impressive effects shot we did!

http://www.youtube.com/watch?v=oZZUoG0KyHo
post #578 of 637
Getting ready to read Painting with Light by John Alton. Also have Cinematography for Directors to read. Any other books I should pick up or add to my Amazon list for cinematography books? Remember, I am not a camera guy; but I do want to learn more about it so I can help you dp's, cam ops, and ac's more.
post #579 of 637
The 1992 documentary Visions of Light: The Art of Cinematography is a must-see, with interviews from Gordon Willis, Michael Chapman, Vittorio Storaro and others. However, it's out-of-print and hard to find.
post #580 of 637
Anyone ever made a documentary? I have an idea for one and I am working outmy proposal for it (just as a way to make the ideas clear).

But I had some practical questions for anyone who has done one.

How did you shoot it? Was it over a single frame of time like a normal movie, or was it more mismatched as to when you and/or your subjects had time? Did you narrate it or did you seek someone else out to narrate it (and if so, where and how did you get them)? What was your crew like (size? professional? friends?)?

I am sure I will come up with more questions, and yes I will be doing more research and thought on my own. But, I wanted some info from any of you who have worked on or made documentaries.
post #581 of 637
We did a doc on graffiti a few years back. Small crew of about seven doing everything. We had an idea about the story we wanted to tell so we interviewed our subjects by using very specific prepared questions.

The interviews were shot over a three week period. Each subject was interviewed twice. We had about ten-twelve hours of interview footage and the same amount of B-Roll. That was for a half hour doc.

No narration needed but believe me you want a professional to narrate if you're going to do the film circuit with it. It's worth the money.
post #582 of 637
Quote:
Originally Posted by Ryan S~ View Post
No narration needed but believe me you want a professional to narrate if you're going to do the film circuit with it. It's worth the money.
Agreed. And I think if you ask some local audio post houses, they may be able to recommend some narration guys.

Ryan's way of shooting a doc, I think, the most economic way of shooting one. Write out everything you want to know, get the questions prepared well in advance, GET your answers (or at least find an interesting alternative), and shoot a lot of B-roll while you're on location.

I know guys that just went out and shot stuff, and did this for years before finally being able to put something together. They eventually put something together, but unless there's a purpose behind it (ie: documenting the life of a tree, from seed to saw)... it's usually best, in my opinion, to approach it as if you were approaching any other film: script it, schedule it, and shoot it. Stick to your deadlines.

As for crew, I think it completely depends on your subject matter and what tone you're trying to create. Personally, I'd hire a professional sound guy, and will spend money on a cinematographer depending on what camera we're using (and how much money we've got!)

But that's my take. I'm sure you'll meet some people who have had very different experiences, and have made it work in completely different ways. That's one of the things I love about working in film.
post #583 of 637
On an unrelated note... Any lighting techies out there used LED lights on location yet?

http://www.youtube.com/watch?v=ym0XFkfpzhA

I'm curious to know how they perform in comparison to traditional lamps.
post #584 of 637
Quote:
Originally Posted by Jacob View Post
On an unrelated note... Any lighting techies out there used LED lights on location yet?

http://www.youtube.com/watch?v=ym0XFkfpzhA

I'm curious to know how they perform in comparison to traditional lamps.
Holy shit! Those are awesome. Hopefully the lack of colour shift is exactly what he says.
post #585 of 637
Quote:
Originally Posted by Ryan S~ View Post
Holy shit! Those are awesome. Hopefully the lack of colour shift is exactly what he says.
Yeah, that's one of the things I was curious about.
post #586 of 637
post #587 of 637
Thread Starter 
Quote:
Originally Posted by Jacob View Post
On an unrelated note... Any lighting techies out there used LED lights on location yet?

http://www.youtube.com/watch?v=ym0XFkfpzhA

I'm curious to know how they perform in comparison to traditional lamps.
I did a shoot about a year ago with a guy who had made his own LED light kit. Shooting on two HVXs, I couldn't tell the difference. Granted, we were just doing corporate interview stuff, so the look was very studio and flat, but for a one day setup it took all of 15 minutes to get up and break down. Used normal power cords, no risk of breakers being switched. I was impressed. I'd be real interested testing them for more cinematic, dynamic setups.
post #588 of 637
Drew at HitFix pointed out this article on indie film distribution and finance. There is your ice water in the face for the morning.

I think indie films are really going to have to be the ones to figure out the new model and lead the way for the studios, yet again. But, I think we keep on working ot get our movies made and shown, by any means possible, even if that means driving from town to town and theater to theater.

Also, I really like this quote from comic book artist Rob Guillroy:

Quote:
Good measure of a young creator is how sad they look when you tell them it took a decade to achieve anything close to resembling success.
Yes, I am Mary Fucking Sunshine today. That said, keep making movies. I was up till 1 AM writing.
post #589 of 637
I remember someone linking a video about how it takes about 12 years of focused effort/practice/trying to become successful at all. Sounds about right.

Love this quote from the interview because we all know it's true.
Quote:
But when it comes to movies everybody thinks they’re an expert. Not in literature, not in architecture, not in music. It wouldn’t happen in any other business.
post #590 of 637
Yeah, and it can be even worse on a set when you have people second guessing the director. I love when people on the street though try and tell me how a movie should be done.

10 years. I have about 5 more.
post #591 of 637
Here's that video I mentioned:

Compare your life to Pixar
post #592 of 637
Thanks. That is a nice pick me up for the afternoon.
post #593 of 637
Power through those 5 years!
post #594 of 637
This thread is definitely a nice place. I live near Baltimore, and the talent pool there is pretty small, but passionate. I'm not a West Coaster or anything like that. I run with a pretty nice set up based around the 7D, and I'm just about to graduate from Towson University.

I don't know what I'm going to do with my degree. But I'll be damned if I stop trying.
post #595 of 637
Quote:
Originally Posted by Casey Moore View Post
Yeah, and it can be even worse on a set when you have people second guessing the director. I love when people on the street though try and tell me how a movie should be done.

10 years. I have about 5 more.
That reminds me of this cinematographer I was talking to not long ago who mentioned he's working on this film that the producer has been trying to get off the ground for the last 67 years.
post #596 of 637
I listen to exactly zero of what Drew says. The guy has a horribly skewed perspective on how the industry works, particularly indie stuff. Is this a tough road to walk down? Of course it is. But Drew's shit always seems to be trying too hard to talk potential competitors out of the industry.

ETA: I like the 12-15 years thing. Overnight sensations like Tarantino happen because they have raw fucking genius. They are once in a lifetime writers and directors.
post #597 of 637
Quote:
Originally Posted by Ryan S~ View Post
I listen to exactly zero of what Drew says. The guy has a horribly skewed perspective on how the industry works, particularly indie stuff. Is this a tough road to walk down? Of course it is. But Drew's shit always seems to be trying too hard to talk potential competitors out of the industry.

ETA: I like the 12-15 years thing. Overnight sensations like Tarantino happen because they have raw fucking genius. They are once in a lifetime writers and directors.
But even Tarantino wasn't a literally overnight sensation, right? He didn't work directly in the industry, but he was out there trying to get things made with his friends or something. At least, that's what I recall in an interview.
post #598 of 637
Thread Starter 
Tarantino sold the screenplay that would become True Romance in 87, I think, and from there got consistent work as a script doctor until Harvey Kietel ponied up the core funding for Reservoir Dogs in 91. So it took about four years for him to make his first real move in the industry to getting his name lit up in a corn field, letting his enemies know that he's coming for them, so even by normal standards that's damn near "overnight" comparatively.
post #599 of 637
I posted this in the screenwriters forum, but I know some don't read that so hear you go: Walt Disney letter on Animation training.

Some good stuff in there for whatever kind of filmmaker you are.
post #600 of 637
Thanks for that, Casey. Terrific stuff.
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