American Doc: Five Tips for Nonfiction Filmmakers

13 Jun

Documentary or Narrative… Everything should point towards the story you’re telling. A good doc has the ability to immerse the viewer in a world of; heros and villains, drama and comedy, life and love. Here are few tips from Filmmaker Magazine on how to improve your next documentary project.

1) Talking heads should be used as spice – not as the whole meal. Unless your protagonist is Slavoj Žižek or Speed Levitch-level entrancing, your characters’ spoken words are probably what’s most riveting. So show us images onscreen that are equally fascinating, that will add to those words and broaden our understanding (rather than merely giving a visual repeat of what we’re already hearing).

2) Dispense with narcissism. For the activist doc-maker, realize that an “important issue” is important – to you. Universalize and personalize so that your film can reach beyond the converted. (The Invisible War is a deft example of doing so. Why should I, a civilian, care about rape in the military, when there are so many other issues closer to my experience? Because, according to Kirby Dick’s exceptional film, these rapists who get off scot-free eventually return to civilian life – and into my and your metaphorical backyard.)

3) Just like with fiction work, the directing must serve the story. This means that if your subject is a punk rock band, for example, the filmmaking should be equally “punk rock.” (See tip number one.) The style should give us an entire sensory feel for the subject or subjects. It’s not enough to point and shoot – and expect your characters to do your job for you.

4) Realize that doc-making has entered the mainstream. Michael Moore discovered decades ago that the more you entertain, the more eyes and ears – and hearts and minds – your message will reach. View your film as competing against the latest Hollywood blockbuster, not the latest TED Talk.

5) With this in mind, know your market. Theatrical release has long been regarded as the holy grail – yet most docs just can’t fill a 21st-century screen. Better to be big on the small screen than small on the big screen. (Not to mention the small screen is where the future is at.)

American Doc: Five Tips for Nonfiction Filmmakers | Filmmaker Magazine.

7 Tips for HD Color Correction and DSLR Color Correction

11 Jun

Another really great article on Shane Hurlbut’s “HurlBlog”. The amount of education available for free over the internet from is astounding. Especially when it comes from such a great resource as Shane Hurlbut ASC. This article covers an in depth look at color correction using tools readily available to DSLR Filmmakers.

Color correction is just one step of the entire filmmaking process…but oh, what a difference it can make. You can take average footage and really make it pop, sing and enhance the viewing experience of your project. If you have excellent footage, then the sky is the limit. You can also make images look garish, ugly and destroy all the hard work the crew did to capture those images on the day of the shoot. The challenges and choices are many and it comes with great responsibility if you are the one applying the Color Correction and Color Grade. In the indie film world, jobs are more often merged and unified and Color Correction is more and more falling into the hands of the Editor. The smaller the budget and tighter the deadline…the more often this becomes true.

7 Tips for HD Color Correction and DSLR Color Correction

7 Tips for HD Color Correction and DSLR Color Correction.

Apple Announces the new Mac Pro at WWDC

10 Jun

The wait is over. The new Mac Pro has been announced and it looks to be a beast in processing power.  From an expand-ability standpoint losing the desktop case is a little worrisome but with the addition of Thunderbolt 2 and the ability to connect up to 6 Firewire Devices I hardly believe it will be an issue.

Check out these specs:

  • New Intel Xeon Processor
  • Dual Integrated AMD Workstation GPUs (This means you’ll need to use OpenCL with Adobe)
  • Have up to three 4K displays on built-in workstation graphics
  • Expandable through the newly announced Thunderbolt 2
  • HDMI-Out
  • Motion-sensing ports that light up when the machine is rotated (to make plugs visible)
  • Available later in 2013
  • No price yet

mac pro

More info at: http://www.apple.com/mac-pro/

 

How Jeremy Saulnier Went From Corporate Videos to Premiering ‘Blue Ruin’ at Cannes

6 Jun

There is an overwhelming amount of doubt in the ability to get into film festivals like Cannes and Sundance. Its too easy to tell yourself that it’s not possible or that you aren’t good enough and maybe that’s true. But everyone loves success stories of filmmakers who against all odds made it.  This is one such story.

In early April, Brooklyn-based cinematographer and filmmaker Jeremy Saulnier was en route to shooting a corporate video in Cleveland when he learned that his movie had been accepted to the Cannes Film Festival. It was quite the validation: To make the tense, violent crime drama “Blue Ruin,” the first feature Saulnier directed since his scrappy horror-satire “Murder Party” in 2007, Saulnier relied on financing from his wife’s retirement fund, his own Amex card, and a last-minute Kickstarter campaign. But Sundance had rejected him and he had started to think the movie might not get out there for another year. Instead, Cannes’ esteemed Directors Fortnight section catapulted “Blue Ruin” to international attention at the biggest film gathering in the world. 

How Jeremy Saulnier Went From Corporate Videos to Premiering 'Blue Ruin' at Cannes | Filmmakers, Film Industry, Film Festivals, Awards & Movie Reviews | Indiewire

Read the full article here:

How Jeremy Saulnier Went From Corporate Videos to Premiering ‘Blue Ruin’ at Cannes | Filmmakers, Film Industry, Film Festivals, Awards & Movie Reviews | Indiewire.

Stanley Kubrick’s ‘Napoleon’ Script Available

28 May

Run out of things to read on the way to work? Well a script for Stanley Kubrick’s ‘Napoleon’ has surfaced and is available online.

Read Stanley Kubrick’s ‘Napoleon’ Script

100 Films | 100 Behind the Scenes Photos

19 May

A fantastic collection of Behind the scenes photos has been gathered and posted HERE.

Let’s take a moment to honor the men and women behind the scenes that bring our favorite films to life!

Boris Karloff

Boris Karloff

Shoot Your Friends Film Challenge – Update 004

17 May

After a four month delay we’re back on track and going to finish the first annual Shoot Your Friends Film Challenge!

We’re shooting the final scenes tomorrow and Sunday and hoping to wrap post production by the second week of June.

Check back tomorrow night for updates and stills from tomorrow’s shoot.

20130517-222354.jpg

J.J. Abrams: On Filmmaking

17 May

More important to learn what to make movies about, than how to make movies.

J.J. Abrams has always been a great interview, but this time I felt he offer a bit more insight into this thought process. He speaks to film making as a profession, the respect required to get a film made on time and under budget as well as offering advice for would be filmmakers.

Adobe After Effects to include CINEMA 4D Lite

7 May

Adobe is once again looking to change the motion graphics industry for the better. Not only did they announce that they are switching to an subscription model, but they will also now include Cinema 4D Lite with After Effects. Making 3D motion graphics workflows one step simpler all around. Check it out!

After Effects CC includes a Lite version of MAXON CINEMA 4D. Learn how to edit a native Cinema 4D model and how to start a new project file from scratch. Chris Meyer compares features of the various versions of Cinema 4D in the video linked below.

http://adobe.ly/ZGj9Iv

Steven Soderbergh’s State of Cinema Address

30 Apr

Steven Soderbergh’s State of Cinema Address was not to be recorded but got out and Im glad it did. Take a listen and tell me what you think.

First of all, is there a difference between cinema and movies? Yeah. If I were on Team America, I’d say Fuck yeah! The simplest way that I can describe it is that a movie is something you see, and cinema is something that’s made. It has nothing to do with the captured medium, it doesn’t have anything to do with where the screen is, if it’s in your bedroom, your iPad, it doesn’t even really have to be a movie. It could be a commercial, it could be something on YouTube. Cinema is a specificity of vision. It’s an approach in which everything matters. It’s the polar opposite of generic or arbitrary and the result is as unique as a signature or a fingerprint. It isn’t made by a committee, and it isn’t made by a company, and it isn’t made by the audience. It means that if this filmmaker didn’t do it, it either wouldn’t exist at all, or it wouldn’t exist in anything like this form.

Follow

Get every new post delivered to your Inbox.

Join 337 other followers

%d bloggers like this: