GETTING HELP for your FILM PRODUCTION

I heard a heartbreaking story this morning.

I do not want to bore anyone with the details but PLEASE, PLEASE check out the people and/or the company you are dealing with BEFORE you send anyone money.

Get Bank References and also ask for personal references. Make sure that they have the knowledge and expertise to do the job you want them to do. DO THE RESEARCH FIRST!!! It's called "DUE DILIGENCE" and it's better to spend some time now investigating and be safe, rather than be sorry later.

If someone tells you they "only need a few thousand dollars" or any amount of money up front to put in an account and that they will use this as "seed money" to show other people there is some secured financing to get them to invest in your film project, find out exactly who they are and what they have already financed in this manner.

Once you freely give anyone your money, don't expect to get anything back. This isn't how film projects find funding. Goggle them or post on the boards to get information, but don't learn the hard way.

Most of you are already aware of this but for many of the younger filmmakers who are anxious to make their film and are blinded by the prospect of getting quick funding to shoot with, don't sign anything without having another person (preferably a lawyer) look it over and don't send money until you are sure it will be used for what you want. There are now as many film funding scams as there are filmmakers.

Better still, check everything out first and know who and what you are getting involved with. If it seems too good to be true, you have been forewarned. - Editor

MOVIE DISTRIBUTION PREDICTIONS: 2008

ONE DOZEN PREDICTIONS for the FILM and VIDEO DISTRIBUTION INDUSTRY in 2008!

1.) MORE MOVIES! As more and more independent filmmakers pick up digital cameras and editing equipment, more films will be made and more films will be seeking distribution. Everyone can be a movie maker today and everyone will start looking for their fifteen minutes of fame.

2.) NO NAME STARS! Many more independent films with no name or lesser known stars will be acquired by U.S theatrical distributors setting the stage for anyone in any country or location to become a movie producer or an actor.

3.) INDIA LEADS THE WAY! With over a thousand digital cinemas and over another thousand under construction, the largest producer of feature films in the world is demonstrating the technology of the future today. Look for digital cinemas to start appearing in many US cities right next to traditional cinemas.

4.) DIGITAL CINEMA HOUSES! As large and small digital cinemas appear, look for them to also hold video game tournaments projecting the games and the play on large screens and via the Internet. Also look for digital cinemas to start projecting films where the audience can control how the film plays out and how it ends.

5.) DIGITAL DISTRIBUTION VIA THE INTERNET! Digital Movie Distribution of independent films will continue to gain in popularity and become a viable platform for many smaller filmmakers. Many sites already exist for movie makers to get their work seen and discovered and many more will spring up as demand for long and short films soars.

6.) MAKING MONEY WILL BE EASIER! Digital Distribution will find it easier and easier in 2008 to make money as more advertisers spend their budgets online and more consumers go online searching for all forms of entertainment. More and more, short movies will be downloaded for playback on cell phones.

7.) OPPORTUNITIES ABOUND! New U.S theatrical distributors will continue to spring up with radical new distribution ideas and techniques. More than a half dozen new "boutique" theatrical distributors rushed into the business in 2007 and there will be many more in 2008 as everyone looks to profit from the digital revolution. More and more films will find distribution as deals are made at film festivals and outside the festivals.

8.) ARTISTS AND FILMMAKERS! As individual artists and filmmakers create production companies and sales companies they will devise new ways to keep more control of their assets while getting their movies into theaters and online without having to rely on the major studios. Expect many more start-up companies with their own distribution systems.

9.) SELF DISTRIBUTION COMES OF AGE! Self Distribution for filmmakers who cannot recoup their investment will become easier and more viable for independent producers as many avenues of Internet distribution open up and as printed ads begin to fail.

10.) THE INTERNET! With the vast resources of the Internet and its ability to target niche audiences online, filmmakers will soon discover that they do not need traditional distributors. More and more will be recouping their entire budget through self distribution.

11.) MICRO BUDGET MONEYMAKERS! As micro budget productions get noticed and make larger and larger profits, raising money for low-no-micro-budget independent films, especially SLATES of films will become easier and the business will become more profitable.

12.) MORE MONEY! As the financial market looks to diversify its investments from places like the sinking real estate and stock market, private equity will flow into the hands of experienced producers, directors and production companies. Everyone will be seeking new markets where they can make profits.

THAT'S IT!

No, these things will not all happen immediately in 2008, but it does look like they will happen sometime in the immediate future. The market is growing and those who see the possibilities will be positioned to benefit as it changes.

Happy New Year 2008 and welcome to a shrinking brave new world.

(c) 2007, Stanley Lozowski. All Rights Reserved.

VERY SHORT MOVIES FILM FESTIVAL

Save the date: March 14 to 15, 2008 - Hollywood, California

The VERY SHORT MOVIES FILM FESTIVAL (VSM), fostering careers of emerging filmmakers and celebrating the art of short filmmaking is for VSM shorts (30 minutes or less).

VSM supports the promotion and exhibition of short films through unique competitions and film festivals, which lead to alternative distribution platforms supported by new technologies. VSM also provides industry exposure for emerging short filmmakers looking to move into the feature film arena.

This year, films will be streamed online in hi-resolution and full-screen format, allowing viewers to watch, vote and then leave their feedback. VSM Cinema provides filmmakers an instant worldwide audience, industry exposure and unparalleled promotional opportunities, plus compensation for the web traffic generated by their film. VSM 2008 also launches a new online competition, where a winner out of the Festival's 48 finalists will be chosen by viewers and a jury who view and vote online.

Filmmakers from all corners of the globe will also gather at VSM where they meet and mingle with industry professionals, and attend special events such as the Opening Night Gala and the Awards Ceremony. A few VSM filmmakers received a major honor when members of the Academy of Motion Pictures Arts and Sciences who attended the Festival encouraged them to submit their films for Oscar qualification. Other past VSM attendees have gained both agency and distribution deals as a result of the Festival's introductions and heavy promotional efforts.

VSM filmmakers compete to win cash prizes totaling $5,000 USD; a $2,000 USD prize is awarded to the Jury Award winner, and a $500 USD award will be given to the winners of each category of competition.

Late Deadline January 15, 2008 - WAB Extended Deadline
VIEW LESTIVAL LISTING at WITHOUT A BOX

http://www.withoutabox.com/03film/03t_fin/03t_fin_fest_01over.php?festival_id=4556
Copyright © 2000 - 2007, Without A Box, Inc.

Audio Podcast: Errol Morris on HD

Oscar-winning documentary filmmaker Errol Morris will release his newest film in early 2008. The film, is called Standard Operating Procedure (S.O.P.). It examines the incidents of abuse and torture of suspected terrorists at the hands of U.S. forces at the Abu Ghraib prison and looks at the circumstances behind the infamous photographs that exposed the Abu Ghraib detainee abuse scandal during the Iraq War.

the film is a complex and layered work built out of reams of material originating in formats ranging from 35mm and 16mm film to a couple of different forms of HD all the way down to cellular phone-originated video footage.

Robert Chappell shot all the interview material for the piece in HD, using Sony HDW-F950 cameras. Robert Richardson filmed elaborate visual re-enactments of various events at Abu Ghraib using a combination of 35mm, 16mm, and HD imagery. The HD material shot by Richardson was stylized, high-speed imagery captured with a Phantom V9 ultra high-speed camera system (from New Jersey’s Vision Research).

Sequences of iconic images in the documentary, from an unexploded mortar falling to the floor of the prison to dripping blood, a blasting shower head, and the face of a snarling police dog, were shot using the Phantom. Morris was extremely pleased with the results—one of the first uses of extensive high-speed, digitally acquired imagery that will be seen in a major theatrical release. Morris was also pleased with his team’s use of HD cameras for lengthy interviews. He no longer had to stop and change film magazines allowing the interviews to proceed uninterrupted for hours.

Given his positive experiences with HD technology on the project and the stylized nature of his work, it seemed reasonable for Millimeter to ask Morris if he would ever consider shooting an entire documentary in HD.

Senior Editor Michael Goldman of Millimeter recently had a lengthy chat with Morris while researching Millimeter’s upcoming cover story on the making of S.O.P.

CLICK HERE to hear a portion of their discussion to learn how Morris feels about shooting an entire documentary in HD and look for a detailed story on the project in the January/February print issue of Millimeter.

Read more by Michael Goldman
(c)2007 Penton Media, Inc.

My loony bun is FINE BENNY LAVA.

Traditional Bollywood Indian films are best known for their romantic stories and elaborate music and dancing.

See this hilarious Indian Music Video with added English subtitles that take the language and phonetically translate it. Some fine filmmaker over at Funny or Die has taken an Indian music video and added SUBTITLES THAT SAY WHAT HE THINKS THE LYRICS SOUND LIKE IN ENGLISH!!! So simple. So effective.



"My loony bun is fine Benny Lava." - Crazy Indian Video...Buffalaxed!
http://www.youtube.com/watch?v=ZA1NoOOoaNw

A BAD INDEPENDENT FILM?

There was a lot of excitement surrounding "The Forbidden Kingdom" when it was learned that the independent film would star both Jackie Chan and Jet Li.

SYNOPSIS: Based on the Chinese legend of the monkey king, the story revolves around an American teenager [from South Boston] who accidentally discovers the king's legendary stick weapon while visiting a pawn shop. He is transported back in time to ancient China, where he joins a crew of warriors fighting to free the imprisoned king.

All the ingredients were there for a great film but now that the trailer has hit the web...the excitement seems to have vanished...

Feature Film Distribution Via Internet

When “Purple Violets,” had its premiere at the Tribeca Film Festival last April, Edward Burns’s latest romantic comedy drew positive reviews, but only lukewarm offers from movie distributors.

Mr. Burns, who directed the independent hits “The Brothers McMullen” and “She’s the One,” but whose latest movies have not done as well, knew from experience how that story would end. He noted, “Not enough money to market the film, not a wide-enough release to even make a dent in the moviegoing public’s consciousness.”

After spending $4 million making “Purple Violets,” he and his partners are now gambling any chance of recouping their investment on a distribution deal that does not involve a single theater. On Nov. 20 the film went up for sale exclusively on iTunes.

This is the first time a theatrically made feature film had made its commercial debut on Apple’s digital download service. It’s also Apple’s latest deal aimed at winning attention for the iTunes movie category.

On Sept. 25, iTunes began distributing a 13-minute short film, “Hotel Chevalier,” a prequel of sorts to Wes Anderson’s “Darjeeling Limited,” as a publicity vehicle for the Fox Searchlight feature. Offered free, this short has since been downloaded almost a half-million times and has helped drive the early box office performance of “Darjeeling,” the studio says.

A year ago the Walt Disney Company became the first major studio to offer its movies on iTunes. Facing stepped-up online competition from rivals like Amazon Unbox, Netflix Watch Now, Jaman and GreenCine, Apple admits that iTunes is struggling to achieve the critical mass in film content that it has long held in field of music.

Excepting Disney, most of the other major studios have balked at Apple’s refusal to work with them on things such as flexible pricing or to accede to their demands for piracy countermeasures. NBC Universal recently decided not to renew its contract to sell its TV shows on iTunes. (NBC Universal and the News Corporation have also announced plans for their own video portal called Hulu.com.)

New methods of distributing independent films via the Internet could very well cut the major studios (who have the power to dictate to many of the theater screens in the country) out of the distribution chain entirely.

Brandon Ruckdashel stars as Jeremy in the new film “MISSING” from Crimson Screen. About a mother (Barbara Keegan as Anna), who never gave up hope that she would find her lost son, catching sight of him, now a teenager, in a crowded subway she desperately renews her search. Michael Koerbel & Camila Tanabe directed the film with scenes shoot on location in the Los Angeles Subway and in Union Station.

Thanks to the University of Southern California School of Cinematic Arts,
CLICK HERE and you Can Preview “MISSING” Free (Until December 27) https://scacommunity.usc.edu/video/index.cfm?vid=b16e1ceb-c3a7-4f4f-ba95-fb608d2852a9

And of course, if you want to see an entire brand new first run film via Internet distribution check out Ed Burns’ PURPLE VIOLETS on iTunes.

http://ax.phobos.apple.com.edgesuite.net/WebObjects/MZStore.woa/wa/browserRedirect?url=itms%253A%252F%252Fax.phobos.apple.com.edgesuite.net%252FWebObjects%252FMZStore.woa%252Fwa%252FviewMovie%253Fid%253D267924264%2526s%253D143441%253Fsr%253Dhotnews

Director Edward Burns wanted his fans to be able to see his films when they are released, and not face the same issues with limited distribution that he has dealt with in the past. Online film distribution eliminates many heavy printing and distribution costs. The success of many future films might be limited by this form of distribution.

The vice president of iTunes reveals that while the most popular movies have sold "hundreds of thousands" copies each, no single iTunes movie has broken the one million download mark.

The LA Times noted that this digital-only distribution experience may take some getting used to:

"As the first full-length feature to premiere exclusively on Apple's iTunes store -- not in theaters -- your date would have to be cool with coming over to watch the movie on your laptop. Or desktop. Or even on the gorgeous little 3-inch by 2-inch screen of your iPod Touch -- since nothing says romance like sharing ear buds."

The Declaration of Independents

With this revolutionary suite of online tools, Withoutabox declares all members of the film community to be free from restrictive distribution channels.

Withoutabox grants the power to simply and economically manage the entire process — from production to festivals to distribution to connecting with fans — and the inalienable right to enjoy all artistic and financial rewards to which one is entitled.

CLICK HERE to Go Forth,

http://www.withoutabox.com

Hiring and Paying Cast and Crew

Is it possible to hire SAG actors for 100$ per day and not be tied into a payroll company, taxes, insurance, payroll company fees, etc...because it seems that indeed the cost will be quite a bit more than the 100$ per day. (we're talking 100-200k budget here, MAX).
I know there is a fine line between doing it "legitimately" under the table and having it work legitimately above board, how much lee-way is there really for an ultra-low budget? I would love to hire a payroll company, and to pay all actors and crew something, even a bone, (even the lowly PA).
- slhdavis@yahoo.com
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IRS regulations specify that anyone who is a union member must be paid as an Employee and can not be paid as an Independent Contractor. SAG does not require you to use a payroll company, but does require that you pay performers working under their agreements in accordance with the law. In particular, for their members and your protection, they require proof that you have Workers Compensation Insurance coverage. You can register as an employer, purchase workers compensation insurance and do all the required filings and reporting that is involved. This approach will cost less than using a payroll service, if you do not count the cost of your time and effort.

FYI - A realistic examination of IRS regulations makes it clear that though your crew may not be covered under a union agreement, few if any of them actually qualify as Independent Contractors...

Carl Zucker, VP Marketing & DGA UPM/1AD
Media Services
30 West 22nd St, 5th Floor
New York, NY 10010
-----------------------------------------------
Independent Contractors vs. Employees

Before you can determine how to treat payments you make for services, you must first know the business relationship that exists between you and the person performing the services. The person performing the services may be -

An independent contractor
A common-law employee
A statutory employee
A statutory nonemployee

In determining whether the person providing service is an employee or an independent contractor, all information that provides evidence of the degree of control and independence must be considered.

It is critical that you, the employer, correctly determine whether the individuals providing services are employees or independent contractors. Generally, you must withhold income taxes, withhold and pay Social Security and Medicare taxes, and pay unemployment tax on wages paid to an employee. You do not generally have to withhold or pay any taxes on payments to independent contractors.

Caution: If you incorrectly classify an employee as an independent contractor, you can be held liable for employment taxes for that worker, plus a penalty.

Who is an Independent Contractor?
A general rule is that you, the payer, have the right to control or direct only the result of the work done by an independent contractor, and not the means and methods of accomplishing the result.

Example: Vera Elm, an electrician, submitted a job estimate to a housing complex for electrical work at $16 per hour for 400 hours. She is to receive $1,280 every 2 weeks for the next 10 weeks. This is not considered payment by the hour. Even if she works more or less than 400 hours to complete the work, Vera Elm will receive $6,400. She also performs additional electrical installations under contracts with other companies, that she obtained through advertisements. Vera is an independent contractor.

How should I report payments made to independent contractors?

You may be required to file information returns to report certain types of payments made to independent contractors during the year. For example, you must file Form 1099-MISC, Miscellaneous Income, to report payments of $600 or more to persons not treated as employees (e.g. independent contractors) for services performed for your trade or business. For details about filing Form 1099 and for information about required electronic or magnetic media filing, refer to information returns.

Who is a Common-Law Employee (Employee)?
Under common-law rules, anyone who performs services for you is your employee if you can control what will be done and how it will be done. This is so even when you give the employee freedom of action. What matters is that you have the right to control the details of how the services are performed.

To determine whether an individual is an employee or independent contractor under the common law, the relationship of the worker and the business must be examined. All evidence of control and independence must be considered. In an employee-independent contractor determination, all information that provides evidence of the degree of control and degree of independence must be considered.

Facts that provide evidence of the degree of control and independence fall into three categories: behavioral control, financial control, and the type of relationship of the parties. Refer to Publication 15-A, Employer's Supplemental Tax Guide for additional information.

Who is an Employee?
A general rule is that anyone who performs services for you is your employee if you can control what will be done and how it will be done.

CLICK HERE to LEARN MORE...

http://www.irs.gov/businesses/small/article/0,,id=99921,00.html

5 Reasons Indie Films Are Better than Hollywood Films

During the mid-1960s, a young, bold, New York actor started working with a student filmmaker named Brian De Palma on a series of innovative, in-your-face political satires (The Wedding Party, Greetings, Hi, Mom!) that thumbed their nose at the American and Hollywood establishment.

Influenced by the French New Wave irreverent cinema, the films offered the up-and-coming performer juicy spontaneous moments in which to swagger and light up the screen. By 1972, another student writer-director, Martin Scorsese, snapped up the actor for his breakthrough film Mean Streets. That same year when Hollywood officially came calling, Robert De Niro's mainstream acting career was born.

For almost every A-list star -- Julia Roberts, Jack Nicholson and Brad Pitt, to name just a few -- there were a couple low-budget or B-movie flicks -- Mystic Pizza, The Little Shop of Horrors, Johnny Suede – that helped kick-start their careers. Since Hollywood always needs to find a fresh face, little indie movies have become the garden for growing and cultivating new talent. Where would America's dream factory be without alternative, independent and iconoclastic films and actors to add to its rosters?

Just look at the performances and you'll see why these actors aren't just practicing for the big leagues; they're playing an completely different and far more daring game. In her breakthrough film 2002's Secretary, Maggie Gyllenhaal bared body and soul as an ugly ducking assistant who found her inner swan through a relationship with her sadistic boss (James Spader). First glimpsed crawling across an office floor, handcuffed and carrying a letter in her mouth, the apple-cheeked darling conveyed not simple subservience, but a far more complex state of bound bliss.

Paul Giamatti's career would have been nothing without the independent films brave enough to cast the balding 36-year-old bit-player (long associated with a character named "Pig Vomit" in Howard Sterns' Private Parts) as a leading man. With the hit alternative movies American Splendor and Sideways, a schlumpy middle-aged downbeat fellow became the anti-hero of the moment, and throngs of people began shunning Merlot in favor of downing Pinot Noir. Now, we can also enjoy Giamatti in a host of higher-profile roles, from Cinderella Man to The Illusionist. Thank you, Indiewood.

From Vera Farmiga's achingly stunning depiction of a drug-addled single mom in Down to the Bone to Terrence Howard's Capra-esque portrayal of a pimp who just wants to be a hip-hop star in Hustle & Flow to Catalina Sandino Moreno's memorable turn as a steely and scared Columbian drug mule in Maria Full of Grace; the list goes on and on. These recent talents stunned audiences with refreshing, bold and astoundingly real portraits that no Hollywood star could achieve.

For one thing, stars rarely play drug addicts and pimps. Independent films focusing on character arcs and emotional beats rather than three-act structures and tidy resolutions, allow for a more full-bodied interpretation of the human condition. These are fictional stories imbued with gritty, true-life authenticity, allowing actors the time and space to get deeper into their characters and bring out a palpitating lump of living, breathing humanity onscreen.

Not only have indie films launched the careers of unknown talents, but they also have offered seasoned veterans the chance to take risks, up-end expectations and change the direction of their careers. Case in point: Charlize Theron's ferocious, nearly unrecognizable performance as lesbian serial killer Aileen Wuornos in Monster. It's become nearly a cliché at this point: Beautiful actress turns indie, becomes ugly and wins Oscar, just as Halle Berry in Monster's Ball.

This year's transformation prize could easily go to Angelina Jolie. Though she's still attractive, with slightly darker skin and a pronounced French accent, as Daniel Pearl widow Marianne Pearl in Michael Winterbottom's tense political thriller A Mighty Heart, she delivers a sturdy, anguished performance that culminates with a volcanic eruption of grief that's anything but pretty.

With male thespians, consider Kevin Bacon's psychologically rattling turn as a pedophile in The Woodsman, or Bill Murray perfecting his late-career laconic act in any number of offbeat films (Lost in Translation, Broken Flowers, Rushmore).

Also look at the recent resurrection of Pierce Brosnan, formerly of James Bond fame.
Replaced as 007 by the younger beefier Daniel Craig, Brosnan quickly bounced back from would-be retirement with a pair of memorable performances in two slick indie dramedies, as a weathered hitman past his prime in The Matador and as a rakish charmer in the upcoming Married Life. In both roles, Brosnan boldly subverts his own type, taking the suave U.K. gentlemen from his early years in TV's "Remington Steele" and turning it upside down.

CLICK HERE to READ MORE by Anthony Kaufman - Curator Emeritus

http://www.filmcatcher.com/member/413/blogs/216/
All Content Copyright ©2007 The FilmCatcher Company

One Smooth Pen

The Pentel Energel Deluxe is as fluid as your imagination.


For more videos, rollmio.com

Remapping Time

Changing the speed of any shot is easy... but, unless you're looking for a Keystone Cop's effect, controling that shot takes a lot more than just accelerating or slowing it down.

8mm, Super 8mm and 16mm camerss all used to have variable speed controls. with video, time remapping, or its not-as-sexy textbook name, variable speed, was all the rage in music videos, commercials and edgy films during the past seven years. It was such a trend that editing software developers seemed obliged to create specific Time Remapping tools, as Apple did with Final Cut Pro 4 (2003 release) and as Adobe did with Premiere Pro CS3 (2007 release).

Before this tool was included as a standalone effect, many computer editors accomplished the effect with some degree of success by using the Razor tool and Speed effect. The results were choppy, as the clip would instantaneously cut from 100% motion to, say, 140% and then to 75% and finally back to 100%. One of the great advantages to the variable speed tool is its ability to ramp up or down to the altered speeds. In other words, the change is smoother than the sudden changes with the razor/speed method.

There are two important differences with the variable speed effect that might surprise those who use the razor/speed method. First, this effect doesn't alter the length of the clip. This sounds irrational, but not after it's explained in more detail a little bit later. Secondly, it doesn't affect the audio, meaning the sound associated with the clip does not speed up or slow down as you alter the speed of the visual. Some editors wish the audio would speed up or slow down in sync with the video.

A more accurate way to think of time remapping would be to envision the repositioning (either by extending, reducing or removing) of a single frame in the succession of frames to a new location. When that single image is moved, frames on either side must compensate by repeating themselves or skipping frames, causing the image to speed up or slow down accordingly. By "remapping" that one frame in "time," you can alter the speeds of different parts of the clip.

The time mapping tool in most of the video editing programs is amazingly similar. Adobe's Premiere Pro CS3 and Apple's FCP 5 & 6 all have a built-in Time Remap tool. You can remap a clip and change the speed of sections of the clip by selecting the tool, clicking on the desired frame you want to remap on the timeline and dragging it to the desired location to the left or right of its original space. This sets a keyframe at the frame in its new location and alters the speed of the video on either side of the moved frame.

READ MORE...©2007 Videomaker, Inc.

Become an ASA Member

For those screenplay writers who have not already joined as a member of the American Screenwriters Association, now is a good time to join.

ASA exists to serve the largest, most under-represented writer's population today...
the hundreds of thousands of screenwriters who are diligently working to write and sell their film and television scripts, or are currently working in film or television and looking to advance their careers.

ASA (nor anyone else for that matter) should not be confused with the Writers Guild of America (WGA). The WGA is a labor union that represents more than 8,500 professional writers who create your favorite films and television programs. The WGA traditionally is involved with contract negotiations with producers and studios on behalf of all writers. ASA is not a competitor of the WGA.

The ASA has dozens of resources available to screenwriters, depending on the level of your membership. There are four levels of membership (associate, professional, lifetime, platinum) and currently, they are still offering memberships at the Associate level for FREE (listed as a $30.00 fee).

The American Screenwriters Association is committed to providing its members with practical screenwriting benefits such as:

* information on agents or jobs in Hollywood:
As a screenwriter you are probably wrestling with the question of finding an agent (or maybe even a producer) to assist you in selling your script for a million dollars so you can retire. But first you should stop and ask yourself, do you really need an agent? We provide some great tips on reasons why you need OR don't need an agent. Members can access the agent information in the members area of our web site, using your username and password.
* on-line screenwriting courses
* on-line script registration service
* script critique service
* industry respected screenplay competition (with convenient on-line entry)
* ordering screenwriting books and software on-line from the convenience of your computer
* and discounts on scripts consultants, conferences and more!

CLICK HERE FOR MORE INFORMATION & TO JOIN...
http://goasa.com/

All Right Reserved © 1997-2007 American Screenwriters Association

Industry News with a New Media Production Focus

There's a new 3D arts blog over at marketsaw.com featuring motion picture news on everything from a flawlessly rendered (not that we drooled... much) Beowulf to Tim Burton's '09 reanimation, Frankenweenie. (Burton is getting risky this month with a very glittery rendition of Sweeney Todd, which promises his twisted signature surreal touch via Johnny Depp and Helena Bonham Carter.)

Blogger Jim Dorey watches everything from new techniques in IMAX conversion to the latest software and production techniques for original filming in 3D. Included are the complete (and growing) scores of 3D enhanced theaters in the US and which films incite audiences to wear the polarized lenses.

According to 3DGear.com the first 3D motion picture presentation took place right here at the Astor Theater, New York, on June 10, 1915. The first 3D feature with stereophonic sound was Warner Brothers' House of Wax in '53.

Considering this technology was popularized in the fifties as a response by nervous theaters at the increasing dominance of television, it seems fitting that the new wave of streaming digital alternatives would encourage certain mythic genres to explore what can make the theater experience unique again.

Does HD work for theatrical release?

I hear so many different opinions. Some say the cost of HD is so much less expensive but in the end it comes out equal to film when it comes time to transfer to film for theatrical release. And the quality isn't quite as good on the big screen. How true is that? - Cindy Martinez, Urban Indian Films LLC, urbanfilmcasting@yahoo.com

***
HD 35mm blowup is not out of this world. Film out pricing runs virtually the same as finishing on film and the time saved is enormous. For editorial it is also a much neater, easier, cheaper way to go. Even films not shot on HD transfer to HD and never go back. -
"snapple2@earthlink.net"

***
I know it's an emerging technology, but the RED camera is a real thing, the footage is amazing and actually quite cost effective.
Here's some people that have fallen in love with it (for whatever it's worth):
- Peter Jackson
- Steven Soderbergh
- DP of 24 (tv show)
- Jake Starkey - starkey_jake@grouply.com

***
Cindy, please check the FILES (www.producersanddirectors.com) for some excellent write-ups on the cost of HD vs. film. As more theatres go digital, this won't even be a topic in a few years. Meanwhile, quality is based on perception (and how well your projectionist can focus). Some films need to be crisp, others want to look
like they were shot through old socks. Your best bet would be to set up a screening with your transfer house and/or lab. Then, you can judge what's best for your film.
- Norman C. Berns - ncberns@gmail.com

***
I think the real answer to this question can determined by an experienced production person working alongside the DP, director and other creative contributors.
I've heard Tony Kaye turns the camera on and leave it. I've shot 80K feet of film for a :30 commercial. I've also shot 1900 feet for a :60. It depends on subject matter (action adventure sounds like a lot of footage), the DP and how confident the director is. Eastwood shoots only one or two takes. For him it sort of happens in rehearsals.
You might want to consider HD, depending on your finances.
I did a doc for Turner 15 years ago and I insisted on shooting tape. The TBS people thought I was crazy until I showed them the film budget with. They caved immediately.
Good luck. - Michael Deane - mbdeane@yahoo. com

***
Certainly HD works for a 35mm blow-up theatrical.
Take a look at "Zodiac", "Collateral" ...all shot in high end HD. Film is getting to be an expensive proposition. Don't forget, buying the camera load footage is just the beginning. You'll have Dailies, Answer Prints, etc. plus numerous other pre-release prints to content with. A HUGH chunk of your budget will just go for that. So unless you're raising an investment $3 million or more, I'd be looking at HD like most indie productions. ..at 10% of the film costs. Then if you get a distribution deal (Big IF), you can negotiate with the Distributor to pick up the 35mm transfer costs... Frank Casanova, The Studio Center, Sacramento, CA. - fcasanova@foothill.net

***
…Shooting Super 16 to HD cost $0.91per foot including stock processing and HD telecine on a Spirit. Shooting 35mm costs $1.20 per foot for the same. If you shoot Fuji Film the cost of raw stock is about 30% less. The other part of the equation is the cost of the gear. You can get some very good deals on film gear these days. The idea that film is going out of fashion is another myth. - Jonathan Guilbert, Producer/Director, Gandy Dancer Productions LLC, www.gandydancerproductions.com

***
…this will be a non issue in 3-5 years. No one will be spending money shooting Film because there will not be a company producing any film to shoot. Sad to say but when did you stop riding your horse to work?? - B. Sean Fairburn SOC, Digital Cinematographer, seanfairburn1@mac.com

***
"no one will be spending money shooting Film because there will not be a company producing any film to shoot."
Nice quote but I think the projected demise of 35mm film as an acquisition media is a little premature. I have talked to many good DP's, some of them actually still living & breathing, who still prefer the look, texture and various other production advantages of shooting film. Film and film camera technologies have been fine tuned over a very long period of time to capture a wide latitude of exposure under any type of shooting condition. I've worked with HD and digital capture cameras as well and they are great for many applications, but on the cost side there are items to consider with HD and data capture cameras -- a DIT or Data Capture tech to budget at a high rate equivalent to camera operator, a more labor-intensive post production workflow in some cases, and on the high end, more expensive cameras, monitors and archival equipment than you can find in the film chain.

That being said, I think production people, producers and DP's should examine each project for the right format decision. If a film has a guaranteed theatrical distribution, is not hugely dependent upon CGI or other digital effects like 3-D, and is moderately budgeted, film is still definitely the option that (in my experience at least) most directors and producers prefer to shoot on. If a DI can be afforded, shooting 3-perf will cut your film stock by 25%. Or Super-16 can cut that even further if going for a certain look. And Kodak and Fuji will be competitive with independent films.

Call Curtis Brown at Kodak and explain your situation. You can go the reseller route for even cheaper prices. If a film does not have distribution, is independently financed and under a million dollars, I would recommend HD or even HDV. All the major festivals can screen HD these days and audiences are becoming more accustomed to the look of digital and digital projection. If you have a lot of resources and studio backing and a lot of effects, check out the Genesis, Arri D20, Viper -- but do you homework on what post and production issues there are with these cameras.

If shooting on film, don't forget to budget for B and C Camera stock. I find many budgets woefully lacking in their estimates for additional camera (crew, equipment and stock) which are almost mandatory for short schedules and shows with action and effects. I always budget the same amount of footage for B-Camera as A, as I think it's a fallacy to think that your B-Camera operator and camera will not be utilized fully once the director has that resource on set.

I think digital capture HD will be used on the majority of features in coming years but I wouldn't throw film and film cameras out with the bathwater just yet.
- Brent Morris, 505-903-9802 - http://indieproduction.com

***
I think digital capture HD will be used on the majority of features in coming years but I wouldn't throw film and film cameras out with the bathwater just yet.

I agree and I love shooting Film for the Look at the end. But nothing about it is faster easier or cheaper than HD.

3-5 years is still a Good estimate. TV today has a small %age of shows shooting Film where 5 years ago they were mainly shot on Film.

HD works in ALL areas not just CGI and effects heavy movies. The Sony F23 is the most amazing HD Camera available to shoot today and shoots 4:4:4 and can do ramping from 1 sec to 60P frames per sec. Its li’l Brother the F900R is smaller lighter and more Hand held and stadicam friendly; same images in 4:2:2

I Still Shoot 8x10 View Camera (because I love it) but whenever I go to Buy Film there are less options available. All but 3 stocks have been discontinued. At $30.00 per shot (Buy process and make a scan or proof print) it is outrageously expensive compared to my Digital Still Camera (2 GB stick endless number of Shots). Therefore, I shoot Great amazing one time only Shots I shoot on 8x10. Everyday shots I shoot digitally.

I look forward to teaching my Grandchildren how to shoot Motion Picture Film but I think it will be little more than a novelty at that time and I can already hear the complaining.
Why does it cost so much money?
Why do we have to put it in a Magazine in the dark grand-paw?
How come there is only 10 minutes?
Why is it so heavy?
Why do we have to use an air gun to put the film on the camera?
Why can't we see how good the shot is right NOW?
What's a lab and why should we send it to them?
How long it it going to take to get it back on Ultra High Def?
Why can't I see it in 3D?

I like riding horses also.

NOW is the time to begin looking at the costs of shooting and budgeting HD because it will be a much bigger part of everyone’s future than they may want to realize. If you are familiar with the story of Joseph and Pharaoh's Dream I would recommend as he did.

Take a 10th of each Film Project stock and set it aside gathering as you go, so that when you run out from your supplier you will be able to continue to shoot film when everyone else around you no longer have that Option.

Assuming there will be labs not shut down by the EPA (which is why the #1 Film consumer in the USA was forced to switch to digital...the Military). It’s also why AGFA had to get out of the Film business. The EPA may have more to do with the demise of film than the cost of HD. - Sean Fairburn SOC, 818 621 3912, Digital Cinematographer, Louisiana - seanfairburn1@ mac.com - Former Combat Camera Officer USMC

The Mobile Content Market: Getting Paid

The mobile content market is red-hot!!!

But the big question here is which business models will succeed.

Leading companies like Yahoo and Google are trying to drive the agenda with new content platforms and advertising standards. Likewise, startups are aggressively pursuing their own agenda, which includes ad-supported content, gaming, content subscription, and pay-per-view models.

I think it's time for a good discussion on this. On Wednesday, we hope to nail down some of the answers to these questions in a Contentinople Webinar, Getting Paid for Mobile Content, which will take place at 1:00 p.m. San Francisco / 4:00 p.m. New York time. This Webinar is free and open to all.

Yours truly will be your host. I may rant a little and show some slides. There will be some surprise treats as usual!

The speakers will include Rich Wong, Partner, Accel Partners; Jason Spero, Vice President of Marketing, AdMob; and Justin Siegel, CEO and Founder of Mocospace.

See you there. Click here to register.

Host: Scott Raynovich, Editorial Director, Light Reading; Rich Wong, Partner, Accel; Jason Spero, Vice President of Marketing, AdMob; Justin Siegel, CEO and Founder of Mocospace
Date: Wednesday, December 12, 2007
Time: 1:00 p.m. San Francisco / 4:00 p.m. New York
Overview:
How will the content providers get paid in the mobile market? Many mobile content businesses – including video and music – are increasingly moving toward ad-supported business models. Startups and leading companies like Yahoo and Google are innovating with new advertising standards. Others are aggressively pursuing subscription and pay-per-view models. Leading executives from the technology and content markets join us in this Webinar, where we debate how technology is changing the game and which mobile content models are likely to win.

READ MORE... by R. Scott Raynovich
http://www.contentinople.com/author.asp?section_id=430&doc_id=141068
Copyright © 2000-2007 CMP Media LLC - All rights reserved.

Saving Yesterday For Tomorrow

Easy Steps in Saving Personal/Family VHS Videos to DVD

Remember the holidays from three,…five,…ten or more years ago? Birthdays and Family outings? The great times you had with your parents, friends, grandparents or great grandparents?

If you are glad you captured all of those special, precious moments on videotape, you’ve got dozens of taped memories stacked in a cabinet or tucked away on a shelf in closet.

The problem is consumer VHS tape isn’t be best format to use for long-term storage and every time you play one of the tapes you wear away part of the image, you scratch the video, you destroy small portions of the memories. Your precious moments of yesterday are in danger of disappearing.

If you haven’t played the family celebration tapes for years you may be in for a shock. The magnetic film may have aged, turned black and the images may have disappeared. The magnetic coating may mysteriously peel away or flake off when the tape is played.

The special moments, the memories are suddenly…simply memories. Signs of video quality degradation can become apparent after five years or sooner if the tapes aren’t stored properly. Before those precious videotaped moments disappear, you should transfer them to DVD.

Today’s low-cost DVD burners and low-cost, easy-to-use hardware/software products like Pinnacle Instant DVD Recorder or Honestech's VHS to DVD 3.0 Deluxe make the task of transferring your footage to quality brand name DVD discs fast and simple.

Saving past holidays and family events for generations can be a snap and when the job is done you have videos that:
* Won’t deteriorate no matter how many times you play the disc because the laser never touches the media
* Will play on virtually any DVD player, recorder or drive
* Will last 50-100 years
* You can copy them again and again and each copy will be as clear and crisp as the original
* Lets you add menus so you can quickly move from video clip to video clip
* Take up almost no space on your shelf or in your drawer

READ MORE By Miles Weston
http://storage.digitalmedianet.com/articles/viewarticle.jsp?id=252021

© Copyright, 2007 Digital Media Online, All Rights Reserved

THE UNSUNG CRITIC: Champion of Struggling Writers Everywhere

FADE IN:

INT. APARTMENT LOBBY -- EVENING

AN ASPIRING SCREENWRITER opens his overstuffed mailbox. Ignoring the pages of crumpled junk mail spilling all over the floor, he quickly sorts through the various letters in his hands until he sees a SMALL ENVELOPE, with "Hollywood Agency" prominently marked on the return address. The screenwriter rips it open and pulls out its contents:

C.U.: A single sheet of paper with a typed generic message. Beneath the text is an obviously faux-stamped "signature."

INSERT: Quick glimpses of the letter -- "Thank you for your interest...", "...while your script has many virtues and is clearly well written...", "...just not commercially viable at this time."

The screenwriter unceremoniously rips the letter apart and throws it into a nearby garbage pail.

Sound familiar?
Yeah, I thought so. That’s why I, the Unsung Critic started my blog: to help spread the word about quality writing.

***

THE UNSUNG CRITIC is a lone crusader out to champion the work of undiscovered worthy writers everywhere...work that deserves to see the light of day, and not be buried by the usual red tape of narrow-minded publishing companies, of money-minded corporate Hollywood, or of no-minded bureaucracy.

If you have written something that you KNOW is good, but need help getting the word out, The Unsung Critic is here to help.

Perhaps, you have a book manuscript that deserves to be published, but no one is willing to give it a look?

Maybe you have a screenplay that has the makings of a really great movie, but Hollywood producers and agents just don’t give a damn?

FEAR NOT! If you feel that your work measures up and if it is truly worthy in his eyes, then this champion of undiscovered writers everywhere will do his part and tell the world.

THE UNSUNG CRITIC is a single voice in the dark championing the plight of great authors.

TAKE ME TO HIS WEBLOG!
http://theunsungcritic.blogspot.com/2006/08/attention-aspiring-writers-novelists.html

***

For his own safety and well being, The Unsung Critic prefers to remain anonymous. He will, however, indulge you with these four amazing facts:

He lives in Los Angeles, and has been working within the entertainment industry for over twelve years.

He worked for over three years as a professional script reader (at two film studios and one talent agency).

He is the author of three published novels and seven screenplays, three of which have been sold, and another two currently under option.

Sadly, he has yet to see any of his scripts actually produced.

INDEPENDENT FILM: Halo Live Action Short Movie

GREAT INDEPENDENT FILMMAKING: "Halo 3 - Landfall" (Extended Live-Action Short-Film) is directed by Neill Blomkamp. This Live-Action film was made with real humans in the real world!!!

Despite not having a Halo movie to direct, Neill Blomkamp continues to make live action short films about Microsoft X-Box showing the UNSC’s struggle with aggressive Covenant forces in the minutes before Master Chief arrives on Earth.

The combat is close and erratic, and the production value is noticeably improved over the previous two videos, and the violence has also substantially increased.

Most independent filmmakers working outside of Hollywood would find it extremely difficult if not impossible to achieve this level of high production value. This is the "look" that today's youthful audiences clamor to see...



http://youtube.com/watch?v=5BaVb2TlWb0

FREE TUTORIALS for programs to make better films

CLICK HERE to go to a great website for tutorials on programs like After Effects.

http://www.videocopilot.net/tutorials.html

THE KEY TO RESERVA

From a few pages of an undated typewritten script developed for Alfred Hitchcock to direct, Martin Scorsese has produced a champagne commercial/Hitchcock short, THE KEY TO RESERVA.

No one has ever preserved a film that hasn't been made but Scorsese wanted to do just that. The trick to preserving this film was to shoot it as Hitchcock would have shot it so many years ago when the master was still alive.

Thanks to digital cinema, Scorsese was able to accomplish this task a lot easier today by using green screen and state-of-the-art digital filmmaking techniques while still preserving the directorial techniques that Hitchcock became so famous for.

After you've seen Martin Scorsese's film, if next year you had to do another short film, which director would you choose?

NEW YORK CITY 2007 - CLICK HERE TO SEE THE STORY
http://www.scorsesefilmfreixenet.com/video_eng.htm
Web site produced by Vyrtucom, S.L. for Freixenet Group.

WRITER'S STRIKE CONTINUES

The Writers Guild strike continues. The following is excerpted from reports by the WGAW and WGAE presidents. It may help you keep track of progress (and possible price increases).

For streaming television episodes, the companies proposed a residual structure of a single fixed payment of less than $250 for a year's reuse of an hour-long program (compared to over $20,000 payable for a network rerun). For theatrical product they are offering no residuals whatsoever for streaming.

For made-for-Internet material, they offered minimums that would allow a studio to produce up to a 15 minute episode of network-derived web content for a script fee of $1,300. They continued to refuse to grant jurisdiction over original content for the Internet.

In their new proposal, they made absolutely no move on the download formula (which they propose to pay at the DVD rate), and continue to assert that they can deem any reuse "promotional, " and pay no residual (even if they replay the entire film or TV episode and even if they make money).

In the meantime, we felt it was essential to update you accurately on where negotiations stand. On Wednesday we presented a comprehensive economic justification for our proposals. Our entire package would cost this industry $151 million over three years. That's a little over a 3% increase in writer earnings each year, while company revenues are projected to grow at a rate of 10%. We are falling behind.

For Sony, this entire deal would cost $1.68 million per year. For Disney $6.25 million. Paramount and CBS would each pay about $4.66 million, Warner about $11.2 million, Fox $6.04 million, and NBC/Universal $7.44 million. MGM would pay $320,000 and the entire universe of remaining companies would assume the remainder of about $8.3 million per year. As we've stated repeatedly, our proposals are more than reasonable and the companies have no excuse for denying it...

Patric M. Verrone, President, WGAW
Michael Winship, President, WGAE

ACTORS and CASTING FILMMAKERS

When you are a novice film actor, you need to include any and all work on your resume. Student films especially add much needed fodder. When you start to garner work, then the need will arise to limit your growing list to the essentials in order to establish you as a veteran actor and also to fit on the flipside of your headshot.

1. What get's trimmed?

2. What is more essential, a principle role in a student film for Drexel or Temple or work as an extra on "National Treasure" or "Unbreakable"?

3. Is it really necessary to section your actor resume into headings of Film, TV, Industrial, Student? I personally have them all lumped together as a running list.

4. Should an actor resume list in chronological order or according to principle, supporting, cameo, extra?

5. Knowing that resume space is limited, should an Indie film credit list the
"Director" name or just the "Production Company" name?
-Gary Gustin

Personally, I think that a mix of the 2 would be best as there's an upside and downside to both the student film and the big budget film.

With the student film, there can be assumptions made that you didn't have a lot of experience or talent and were just cutting your teeth working for free on a class project that no one but the class saw. But at least you ended up with more experience.

With the big budget - again, it doesn't necessarily mean you have any talent as extras most often don't have any lines and just stand in the background. You could've ended up getting some screen exposure but most likely you don't stand out or your footage hits the cutting room floor.

So, if you can, I would focus less on both and focus more on indy films you've done as well as TV work and industrials. They all have a bit more of a legitimacy to them in terms of talent and exposure.
-Sean McKnight

I think that, ultimately, from my perspective as a director, I want to know if the actor was playing the lead role and if it was in a short or a feature --- I also think that you can do yourself some good by using "short" rather than "student film."

Obviously, if you have speaking lines in a higher profile project, you should highlight that experience, maybe say "featured role" or something that inidicates more than being an extra.

Most people who are receiving resumes are going to have a bit of savvy about them and will be reading between the lines to determine the truth beneath the image.

Remember, film is usually about making people think that they are seeing something that they are not really seeing, it's the business of creating images and illusions. This goes for the actor presenting his resume as well as the filmmaker who touts himself as "award-winning."
-David