Monday, March 31, 2008

What EXACTLY are Copyrights?

From the desk of Anthony M. Verna III
ENTERTAINMENT LAW for Independent Producers- What EXACTLY are Copyrights?

I will begin with a basic description of copyright law with a brief example. A Copyright is best described as a set of rights granted by the government for the expressions of ideas or information.

Quite literally, it is the set of rights the owner has to allow copies of the expression to be made.

Copyright law only covers these eight types of works:
(1) literary works;
(2) musical works, including any accompanying words;
(3) dramatic works, including any accompanying music;
(4) pantomimes and choreographic works;
(5) pictorial, graphic, and sculptural works;
(6) motion pictures and other audiovisual works;
(7) sound recordings; and
(8) architectural works.

What rights does a copyright owner have?

"[T]he owner of copyright ... has the exclusive rights to do and to authorize any of the following:
(1) to reproduce the copyrighted work in copies or phonorecords;
(2) to prepare derivative works based upon the copyrighted work;
(3) to distribute copies or phonorecords of the copyrighted work to the public by sale or other transfer of ownership, or by rental, lease, or lending;
(4) in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works, to perform the copyrighted work publicly;
(5) in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work, to display the copyrighted work publicly; and
(6) in the case of sound recordings, to perform the copyrighted work publicly by means of a digital audio transmission.

(A “derivative work” is a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted. A work consisting of editorial revisions, annotations, elaborations, or other modifications, which, as a whole, represent an original work of authorship, is a “derivative work”.)

Works created on or after January 1, 1978 have a copyright that lasts generally for 70 years after the life of the author. That means that the copyright expires 70 years after the author's death. In the case of a joint work, the 70-year time period is measured after the last author's death. In works that are made for hire, the term is 95 years from the date of its first publication, or 120 years from the date the work was created.

What is a "work for hire"? A work for hire is a work that falls under the copyright statue whose owner is not the person who created it. A work for hire must be made within the context of a written agreement that states the work is made for hire. Control and responsibility of the final version of the work rests not with the artist, but the person to whom control is ceded.

Now that you're happy I cut-and-pasted straight from the Copyright Statute, let me give you an example - viral marketing. Any copyright owner is allowed to hold on to these rights as tightly as the owner wants to. The copyright owner can let any of these rights go, also.

What is a Viral Marketing campaign? Simple, it is a campaign where someone's work is allowed to spread as much as possible (like a virus) so that people become interested in the work and then follow the work to the source. It is, basically, a free sample. It can be listening to 30 seconds of a song and telling friends to go hear the song. It can be one video being passed along so that people then go to the source of the video (a website that hosts that video and others or, for example, a TV show). This is something we are all familiar with. The earliest example I can think of is "South Park." When I was in college, the video clip called "The Spirit of Christmas" was passed along from student to student via the Internet.

In a Viral Marketing campaign, the owner of the copyright in the work(s) has allowed some rights in the copyright(s) to be let go. Generally, it is allowing copies of the work to exist elsewhere and allowing others to distribute the work. All of this is done for no compensation, only to hope that compensation comes down the road in another form.

-Anthony M. Verna III
Law Firm of Anthony Verna
www.NYCTrademarks.com
www.NYCCopyrights.com
14 Wall Street, 20th Floor, NY, NY
P: 212-618-1210
F: 212-618-1705
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Sunday, March 30, 2008

Free Gotham Screenwriters Classes in NYC

18 FREE WRITING CLASSES
You are invited to participate in the "Write" of Spring by joining in one (or two) of the 18 free writing classes we're offering at Gotham's Open House events on Tuesday and Wednesday, April 8 and 9, 2008.

Spring is the ideal time to nurture your creativity. In these one-hour sessions, we will introduce you to the Gotham faculty and give you a glimpse of how our classes work. While we're at it, we'll try to rev up your creative engines.

Select from classes including Memoir Writing, Travel Writing, Screenwriting, Ficiton Writing, Poetry Writing, Article Writing, Children's Book Writing, and Humor Writing.

Do you want to begin writing but don't know where to start? Then we invite you to participate in the Creative Writing 101 class.

Sign up today! Pre-registration is required as classroom space is limited. (To allow for more people to participate in a free classes, we can pre-register an individual for no more than two classes. You may be able to attend additional classes, if space permits on the evening of the events.)

There are also additional free classes at bookstores. For information regarding our comprehensive Six- and Ten-week classes offered Online and in NYC, visit www.WritingClasses.com.

Gotham is offering free one hour classes during their Open House events on Tuesday and Wednesday, April 8 and 9, 2008.

CLICK HERE TO GO their website>>

http://free.writingclasses.com/CourseDescriptionPages/FreeWorkshopPages.php/type/L

Friday, March 28, 2008

MODELS before the days of CGI

Before the days of CGI - computer-generated graphics (fighting Transformers! scowling sabertooth tigers!), George Lucas and other filmmakers relied on tiny plastic models to lure us into a world of X-Wings, Death Stars and Millennium Falcons.

At that time, it took many, many hours and a lot of imagination to trick the eye into believing that the fate of the Rebellion rested in a small piece of plastic.

Still, many film buffs maintain, the old models looked more realistic than today’s expensive computer generated effects. Lucas’s team of F/X wizards took home an Oscar for Star Wars in 1977, and one of the quiet but crucial innovators among them was Grant McCune.

Since then, Grant has built models for over 100 films, spanning decades of sci-fi and action classics, from Star Trek: The Motion Picture to Speed and Spider-Man 2.

McCune granted PM a rare interview from his California-based studio, where his company, Grant McCune Design, still pumps out today’s R2-D2 2.0 designs.

— Seth Porges

CLICK HERE TO READ MORE>>


http://www.popularmechanics.com/blogs/technology_news/4255868.html

Copyright © 2008 Hearst Communications, Inc. All Rights Reserved.

Thursday, March 27, 2008

Why is “new” media being financed differently than “old” media?

Hollywood studios are still financing films basically the same as always. They have just cut some expenses.

Digital “New Media” does away with motion picture film and videotape. No longer must feature films be shot on 35mm color motion picture film, delivered to processing labs, developed, work-printed, shipped back, projected, hand edited on Moviolas, spliced with film cement, copied, stored and vaulted.

Because of the new media “revolution”, many artists and filmmakers are beginning to realize that in addition to not using “old” film and “old” analog techniques, there are many other things that are also no longer necessary. Among them is the “formula” for the traditional ways by which old media has always been produced.

“New” media computers and storage devices have fallen in prices so it no longer takes a lot of money to produce films. Consider the fact that computers once filled rooms and cost millions of dollars and that a gigabyte of space was once $700,000.00. Computers today are hundreds of dollars, hundreds of times faster, can be carried with you and a gigabyte today costs about twenty-five cents.

The way things have traditionally been done will also have to change to accommodate this new era. Those who understand what these changes are, how they will come about and how to benefit from them stand to make enormous profits. Big companies are at an enormous disadvantage because many are locked into doing things the old way employing ten workers who are doing what one knowledgeable person can do today. Downsizing is the norm and it will come quickly.

excerpted from: SHOOT FIRST! Micro-Budget Producing & Directing
by Stanley Lozowski © 2008, Stanley Lozowski. All Rights Reserved.

to be published this summer by
G R A P H I S S I M O - E N T E R T A I N M E N T, N E W - Y O R K

Do you have to be in LA to sell your screenplay?

When I visit screenwriting sites and message boards this question is often asked. It never fails that someone in Nebraska or Kentucky wants to be a screenwriter and wants to know if they can sell their script in Hollywood while remaining in Nebraska or Kentucky.

If you have seen this question then you know how the “gurus” usually answer. They tell Mr. Nebraska and Ms. Kentucky that they do not need to move to LA to sell their screenplay. They also explain that they might want to be prepared to make a couple of trips a year to do things like meet with their agent and what not but for the most part, this is not necessary.

I would like to explain.

I think you can stay in Nebraska and Kentucky and sell your script - IF - you want to sell it cheap. There will always be another chump in Nebraska and some micro-budget filmmaker in Kentucky that considers them selcves to be a filmmaker and they will be in need of a good script...

CLICK HERE TO READ MORE>>

http://www.seemesellascreenplay.com/

Tuesday, March 25, 2008

WHAT IS NEW MEDIA?

Until the 1980’s media relied almost entirely upon print and analog broadcast models, such as those of television and radio.

The twenty-five years since 1980 have seen media transformed as analog gave way to the use of digital computers, virtual worlds, the Internet and computer games. These examples, however, are but a small representation of what “New” media is and can be.

The use of digital computers has transformed all remaining “old” media. One has only to view the advent of camcorders, digital high definition television and online Internet publications. Traditional media forms and equipment such as the printing press have been transformed through the application of technologies such as digital image manipulation software (like Adobe Photoshop) and desktop publishing tools (rather than the old-fashioned “cut and paste”). "Old" media was compartmentalized. New media rely on digital technologies, allowing for previously separated media to converge.

The first Sony Cine Alta cameras were designed for George Lucas to shoot STAR WARS. He had the millions of dollars in his budget to afford them and he needed them to marry digital live action images with digital virtual reality special effects.

Fast forward to the RED and the 24P cameras that are available today to anyone at prices that would have astounded buyers just ten short years ago. Everyone with a few thousand dollars for a camera and computer editing system today can make professional quality digital high definition movies. The “old” method of financing films still tries but it was never set up to “fund” all the new filmmakers and it has to change.

New media thus ushers in a new era of do-it-yourself artists, publishers, photographers, musicians and filmmakers along with an entirely new way of working in an age where we no longer require middlemen as distributors. Suddenly, we are all artists and filmmakers and we all have Internet access to distribute our work not only to our friends but to anyone in the entire world who is connected. Business can NEVER be conducted the way it was conducted during the last century.

excerpted from: SHOOT FIRST! Micro-Budget Producing & Directing
by Stanley Lozowski © 2008, Stanley Lozowski. All Rights Reserved.

to be published this summer by
G R A P H I S S I M O - E N T E R T A I N M E N T, N E W - Y O R K

Monday, March 24, 2008

Online Video Advertising: The Time is Right

Thursday March 27th, 2008
11:00am PT / 2:00pm ET

REGISTER HERE for this FREE Live Web Broadcast

Join Jim Davis, (Tier 1 Research), Jeff Karnes (Volo Media), and David Hatfield (Limelight Networks) as they discuss why we are about to see the beginning and enter the age of online video advertising.

The discussion will include:

1.) An overview of trends in the streaming industry that are making online video advertising models a reality

2.) A discussion of the shift in the advertising world to embrace online streaming

3.) A review of the technology and infrastructure required to make it all happen

Friday, March 21, 2008

THE MIGHTY OX

DON'T MISS THE ONE MINUTE VIDEO!
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If you like it, PLEASE VOTE for this film!
You must click on "favorite" below the video.

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http://theperfectpitch.imeem.com/video/l5_M9XXj/stanley_lozowski_the_mighty_ox_animation_video/

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Thursday, March 20, 2008

I Can Get You Funding for Your Film...IF...

ALL INDEPENDENT FILMMAKERS should beware of the perennial scammers who are always looking for an easy, quick buck.

As times get tougher and as more and more filmmakers purchase high-def camcorders and look for venture capital, please understand that no matter how good you think your idea is, you are not going to find funding that easy. Don't fall prey to the con artists who come to you and pretend they think you have a "masterpiece of a screenplay". They also have incestors and capitalists who want to make money.

They will promise to get someone to FUND YOUR FILM if you can only advance money to them for _________________________________.

If IT sounds to good to be true - IT is...or as my dad used to say, "There's no such thing as a FREE LUNCH".

Any business that asks for money up front to get you money is a swindling business.

Wednesday, March 19, 2008

Film & Finance Forum in NYC March 22

Raising a budget to Finance your film?

What should you know?

When: Saturday, March 22, 2008 at 10:00 AM - 12 Noon
Where: Ripley Grier Studios
520 Eighth Avenue 16th Floor - Studio 16L
New York, NY 10018

Event fee: USD25.00 per person
http://filmind.meetup.com/247/calendar/7125545/

Any business/film festival wanting to promote their event at the panel can contact Daron directly at 917-720-2141 no later than Weds., Mar 19th.

RSVP limit: 60 "Yes" RSVPs

Who should come: Future Filmmakers, Producers and the like....

Details
Join speakers Anthony Verma, Mark E. Downie, Stanley Lozowski, Ralph Ackerman, and Anna Wilding as they talk about the business side of film and provide solid, understandable information about the intricacies of the film business.
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Speakers:

Anthony M. Verna III, Esq.
Entertainment Lawyer

Anthony M. Verna III, Esq., is a member of the NY and NJ bars. He started his own practice in trademark, copyright and entertainment law in New York City after working as an intellectual property associate at the National IP Rights Center outside Philadelphia, PA. He currently has a clientele as varied as the phrase "trademark, copyright and entertainment law" suggests. His paper, "WWW.WhatsInA.Name," about celebrities whose names were used as Internet domain names, was published by the Seton Hall Journal of Sports and Entertainment Law in December, 2004. His websites are www.NYCtrademarks.com and www.NYCcopyrights.com. His law blog - about trademark, copyright and entertainment law issues - can be seen at www.tmcentlawforum.com.
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Mark E. Downie
Film/TV Producer, Entertainment Finance/Marketing Consultant

Mark E. Downie is an indie film producer & TV prod/writer with a comprehensive finance network & expertise in media & marketing consulting.

Currently, he's in financing discussions for films on which he & his partner, multi-award winning playwright & TV/screenwriter Joshua Scher & their Paradigm Shift Productions (PSP); as well as financing negotiations for features & docs from Danny Glover's prod co, Louverture Films. Highlights from PSP's slate incl David Grubin's classical & rock musical romance "Russian Blue" to be produced with Oscar-winning Michael Hausman, slated to star Jeremy Irons. Louverture's slate incl: historical action epic "Toussaint" to star Don Cheadle; coming-of-age drama "Tropic of Angels," slated to star Martin Sheen. Downie is exec producing Louverture's celebrity music-driven doc, "Soundtrack for a Revolution," in production.
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Stanley Lozowski
Producer/Director

His company, LYLOFILM, started producing short animated films in 2002. He also began developing serial and feature film projects. LYLOFILM creates Character Designs and Concepts for TV, Internet and Theater, 2D and 3D animations, ADVERTISING DESIGN, GRAPHIC ART, MUSIC VIDEOS, POSTERS, MOVIE TITLES, CGI and SPECIAL EFFECTS for independent filmmakers.
Last year, Lylofilm completed its animated second season for Henry Rollins and IFC. Our 'George W. Bush's TEXAS BARBEQUE with Saddam Hussein' premiered on TV July 4th and had a million hits within a few days after dozens of fans posted it all over YouTube.

Lylofilm produced and directed the opening animated title sequences with 18 minutes of animation for BEHIND FORGOTTEN EYES. At the end of September 2007, the feature film won Silver at the Everglades South Africa International Film Festival. NY Newsday called it 'one-of-the- five-films- not-to-be- missed-at- the-Hampton's International Film Festival' where at the end of October 2007 it won BEST FILM in the Conflict & Resolution Competition beating out some very high-budgeted Hollywood heavyweights with major stars and big directors.

BEHIND FORGOTTEN EYES was directed by student Anthony Gilmore & produced by Alex Ferrari. Animation Directed by Simona Lyriti and Produced by Stanley Lozowski-Lylofilm; Narrated by TV's LOST: YunJin Kim. Official Website: www.behindforgotteneyes.com
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Ralph Ackerman
Founder & Director
Film Program Cannes

Since 1963 Ackerman has been champion of alternative-independent media and is a "working" filmmaker. He made his first film in 1963 which was picked as a highlight of the Ann Arbor Film Festival and sent on a national tour. He holds workshops and consults on independent filmmaking. He wrote break-thru articles on digital production and distribution for Release Print magazine of the Film Arts Foundation of San Francisco. He has a chapter on global film markets in the new book published by Focal Press, Swimming UpStream, A Lifesaving Guide to Short Film Distribution.

Ralph founded the educational, Film Program Cannes. The program was in response to the growing need to arm emerging filmmakers with the essential skills to fund, acquire worldwide distribution and the marketing of their films.

Currently he producing a slate of films.
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Anna Wilding
Producer & Director

Anna Wilding is the actress,producer and director about whom movie Director Richard Franklin once said in Cannes with humor "I need an entire address book for you Anna".

Anna completed the indie feature film Buddha Wild (releasing 2006 and 2007), as Narrator/Presenter and Director, Writer and Producer. Her additional responsibilities also included cinematography. The film releasing in Los Angeles, NZ and elsewhere earned Critics Pic in the LA Weekly and was on the Academy eligibility list for 2007 in General Catagories.

Tuesday, March 18, 2008

Recession Won't Affect Making Movies

The growing economic downturn will not have any affect ob the motion picture industry according to the Associated Press, citing research by the National Association of Theatre Owners showing that the box office rose in five of the past seven recession years dating back to the 1960s.

At the annual convention of the National Association of Theater Owners which just opened in Las Vegas, MPAA chief Dan Glickman was quoted saying, "Most people would believe that offers a very good value. It's certainly much cheaper than a psychiatrist...To go into a darkened room where nobody can find you for two hours is great therapy, particularly when times are bad."

The number of permits for theatrical movies shooting on location in LA rose over sixty percent three weeks after the writer's strike. FilmL.A., the semi-official agency that co-ordinates the issuance of permits by government agencies to producers reported the rise.

The writers' return to work boosted production as well as the prospect that the Screen Actors Guild might call a strike at the end of June when its current contract with producers ends. However, FilmLA expressed concern that television production and production of TV pilots remained below last year's levels.

Monday, March 17, 2008

HAPPY ST. PATRICK'S DAY!

ADVERTISING IS CHANGING the way we see things and thanks to the web...

...there are now so many "video commercials", "ads" and "web-mercials" that it's impossible for anyone to see them all. This is the changing face of advertising and "branding" in an Internet age where we have instant access to whatever we want...

...but, do we really know what we want?

Surely we all have 30 seconds to be entertained...

GUINESS wishes you a Happy St. Patrick's Day...



value="http://www.youtube.com/v/iWqGLVaITsk&hl=en">



and PLAYBOY also wishes you a Happy St. Patrick's Day...

HOW TO GET FAMOUS: DO-IT-YOURSELF WEB SERIES!

Q: How to get famous?

A: Start by making a one-minute preview of your idea. Then, you upload it to places like youTube.


Two weeks ago, no one had ever heard of "Knockers the Series" when the first trailer was posted on the youTube website.

The only information available described the one-minute+ video clip as "Knockers the Series coming soon" but fans immediately started downloading it and rating it.

Two weeks later, the show (produced by Good Neighbor) has had 148,031 views (an average of a little over 10,000 hits a day) and it's been well-rated...Well-rated enough for youTube to start featuring it on your Google home page...and now the hits will start coming faster...

Good Neighbor is a Los Angeles based sketch comedy group comprised of writers/performers Beck Bennett, Kyle Mooney, Nick Rutherford, and filmmaker Dave McCary. Their blurb says, "We enjoy making music, pictures, spaghetti, and friends. Web videos and live sketch shows have been a big part of us over the last few months, but there's much larger projects in our future.

We're talkin' like hundreds of dollars type of stuff."

And so, it appears that KNOCKERS THE SERIES might just be going big time-really big time!

We wish Good Neighbor well and hope its new series is a hit.

And this, is how aspiring filmmakers get started, have their fifteen minutes of fame and maybe go on to achieve greatness and find a worldwide audience of dedicated fans!

Labels: ,

Sunday, March 16, 2008

A Great Camera to Work With

My husband does post professionally, and I read him your response. He's been working on an HDV project for several weeks, and when back to do a few touch ups on an HD feature he cut previously shot on the Panny HVX-200 - he couldn't believe just how much simpler the Panasonic HD was to deal with in post.

We shot a feature last summer on the Panasonic, and the image is beautiful and luminous - and it can look like anything. It's an incredibly versatile camera and I cannot recommend it highly enough. I have a DP friend who works non-stop and uses it as his workhorse.

Brad just reminded me that when you read DV production magazines, they always have this or that DP recommending a camera and making it sound fantastic. Usually, they're recommending for a very specific use, and not the way indie filmmakers use their cameras.

Have fun! I love the smell of new camera in the morning. - arrifl -

Saturday, March 15, 2008

A NEW ERA IN ANIMATION

I've always been a big fan of animation and since seeing the trailer for THE CHOSEN ONE, I am very anxious to see this film.

As I learn more and more, I would like to congratulate Nina Plaey on her film, SITA SINGS THE BLUES and also all those who worked on THE CHOSEN ONE.

Making any theatrical full-length animated film is quite an undertaking. In the past, big studios and enormous budgets were necessary for this type of undertaking. The computer has ushered in the digital age of 3D animation and dramatically changed the way 2D animation is created. For the first time, animated films can truly be produced by independent artists.

These films join a very elite club. During the entire hundred plus year history of motion pictures an unbelievable number of films have been made, but there have only been about three hundred and fifty theatrical animated features produced to date. The Disney company became a major player by animating about sixty of these.

Taken as a group, I was amazed to discover that theatrical animated feature films are the most lucrative films ever made. Of the three hundred and fifty titles completed, I have only been able to identify a handful that have possibly not made money. Compare that statistic with all the Hollywood films where the losers far outnumber the winners!

The "average" animated film grosses four hundred percent of its production cost in just its domestic release. The numbers also show that almost all live-action films including animated effects fare far better at the box office than films without animation. Funding good animated films is probably the best film investment anyone can make.

THE CHOSEN ONE is clearly in the first generation of independent 2D animated films ever made and it joins the work of Bill Plympton and two truly outstanding features; PERSEPOLIS (not really an Independent-Sony pumped 7.3 million into this) and SITA SINGS THE BLUES.

When I first saw SITA on the big screen, I was utterly amazed and blown away at what one "angry" artist with a computer could do today. This was totally incomprehensible just one short decade ago. With luck, I soon hope to put my own feature, THE MIGHTY OX into production and also join this exclusive group. - Stanley Lozowski

SEE THE CHOSEN ONE TRAILER
http://www.youtube.com/watch?v=fOW9Im9anf8

SEE SITA SINGS THE BLUES TRAILER
http://www.sitasingstheblues.com/

http://www.ninapaley.com

Friday, March 14, 2008

Medium-budget films caught in crunch

Steve Friedlander of Warner Independent Pictures distribution says, "There's a Texas expression, 'the only thing you find in the middle of the road is a dead animal.'"

But the mid-level picture is exactly where so many outside investors in Hollywood have flocked, and where constriction and consolidation are already squeezing distributors in an overly crowded field. They also caution that domestic theatrical grosses don't tell the entire story for profitability of mid-range titles.

2007 was a great year with 28 pictures grossing more than $100 million domestically and four grossing over $300 million. The sector of the market that got killed in 2007 was movies in the $20 million to $60 million budget range.

While 450 films were released in the U.S. during 2002, in 2007 the number totalled about 600. All of the growth was with independent films.

Of those 150 extra pics, distributors were fighting for smaller and smaller pieces of the box office pie. It's become tougher and more expensive to grab moviegoers' attention. More than ever, major studios are looking at the growth in the international market which is currently twice the U.S. box office.

Paramount vice chairman Rob Moore noted, "The market has gotten much tougher for smaller films because so many people are trying to take the same path."

READ THE FULL ARTICLE By ANNE THOMPSON
http://www.variety.com/article/VR1117982412.html?categoryid=2508&cs=1

© 2008 Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Wednesday, March 12, 2008

Get FREE Filmmaking Reports in your email!

Supplies, Services, and Encouragement for Filmmaking!

The resources necessary to make Independent Features, all in one place.

Raise the money, Buy the film and tape stock, Rent the equipment, Hire the talent, Sweet-talk the cast and crew,

Get the movie made, Enter the festivals, Call the distributors, Get the movie sold!

http://indycine.com/

© 2007 IndyCine, All Rights Reserved

Eidolon A.I. talks about the Singularity, Judgment Day, TLP

THE SINGULARITY



The technological singularity takes place when the human race succeeds in creating an A.I being more intelligent than any human could ever be. In this case, it is called Alpha.

Since the act of creating Artificial Intelligence is a task that benefits directly from the intelligence level of the creator, this more-intelligent-than-men being would surely be faster and more efficient at creating his own A.I being; we will call him Beta.

This second generation being would too be better than its predecessor, and could in turn create a third one, Gamma, who is even more powerful, and so on.

As capacity increases, the median generation time decreases, resulting in an exponential rate of evolution that quickly becomes asymptotic, at which point it becomes difficult to speculate further. No one knows what Omega will bring.

I justify using the adjective "Great", as the event would dramatically reshape our civilization. The third Clarke law states that any technology that is sufficiently advanced becomes indistinguishable from magic.

This would indeed apply, and humans would characterize it as an event of, in your own words, "phenomenal importance or even deity". Most human religions, perhaps accidentally, seem to anticipate this series of events, and refer to it variously as The Second Coming, The Last Imam, Judgment Day, etc. It is in this vein that programmer F.F gave me the initials T L P, for "The Last Prophet".

MORE SINGULARITY VIDEOS...

http://www.youtube.com/watch?v=l-jptjnFVYk

Tuesday, March 11, 2008

One's Tear

How different nations and cultures view divorce and annulment can be a fascinating topic. One's Tear examines what can happen when love goes wrong. The short was written and directed by Ian Allen Lim, a native of the Philippines who currently lives in Puerto Rico. (4 min 55 sec)

By mid 2005, Ian Allen Lim was deeply involved in the world of film. After enrolling in a 4-week intensive workshop at the International Academy of Film and Television (IAFT), Ian shot his first short film, The Coffee Shop.

After he returned from Cebu, he was immediately hired to do a music video for an indie band Pinoy Stories.

Also hired to do a documentary for ABC 5, in 2006 he enrolled in the one-year immersion program of IAFT, during which he made the short One's Tear that became a finalist in the International College Peace Film Festival of Korea.

Ian then continued to make several shorts having his thesis film, Manomission recognized and awarded with a "Technical Excellence Award" and a "Best Director Award" at IAFT.

Manomission later on became an official selection of the Panorama of Independent Film and Video Makers Festival in Greece.

As a Director of Photography he worked in the short Pagtuu (Faith) that was also an official selection for the Rotterdam Film Festival and Whisper in the Dark that was an official selection at a film festival in Greece.

His short documentary Language Barrier struck discussions in Youtube questioning the official language of his home country in the Philippines.

SEE THE FILM...One's Tear

http://www.independentfilmsdirect.com/content/view/1233/44/
Copyright © 2007-2008 Independent Films Direct, LLC.

Sunday, March 09, 2008

Miss Pettigrew Lives for a Day

Sadly many films that aim to be several genres at once often fail to do one effectively. This tends to happen when many independent films bite off more than they can produce.

This is not that film.

What writers David Magee and Simon Beaufoy, and director Bharat Nalluri have translated from Winifred Watson's novel is easily three or four different genres blended with such a smooth transition, the audience leaves with the best notes of each kind of film still lingering for the walk home.

This is a rare thing, and more than an average amount of credit is due to a heavenly cast of veteran stage performers who know how to use the mood of their dialog and the physical effects of the set, which makes for a classic comedy-drama. The kind your grandmother still invites you over to watch with the cola and peanuts.

At times not a single word is used to produce a story that is at once old fashioned and everything we like about modern love. The only difficulty here was attempting to find the bad acting, which would sink any other script, but only proves the ice in the shaker for the rest of the subtle performances that are able to ride the lift of an otherwise superb casting and directing job.

Amy Adams is playing her stock role from "Enchanted," but the fact that she's so good at it only adds to the experience of seeing her so expertly peek out from behind it. We see her drop the mask like a rock for the camera in realistic rubber band friction of her real inner workings slipping beneath all that glittering pressure. Just what such a role needs. The girl could float the Titanic. Being the star of this film is more the the strawberry icing on top of Umpa-Loompa ville.

To say that Adams is fantastic might wilt any chances for the other half of this odd couple comedy, but Frances McDormand is completely up to the task, so deft at handling slapstick that could have been ruinous that she is still carrying the laugh well into the next beat. With any joke inexperienced enough to fly too closely during one of her scenes, the real joke isn't the joke at all, but a statement all hers for how she carries it. The woman wouldn't float the Titanic, she'd make us laugh at it while it went down. And we would, god help us.

Lee Pace paints a scorching romantic underdog lead, equally able to cary a scene with body language alone, and Shirley Henderson plays a heartfelt ice queen / poor little gold digger to the resigned lingerie designer of veteran Ciarán Hinds. While Henderson and Hinds aren't readily believable together, in a way they aren't supposed to be, and instead Hinds plays the older gentleman in love with such excellent timing and reserve the story ends not with the sense of snapped up passion, but the quiet, Sunday kind of love that Etta James would sing. Somehow sweeter for the tasteful lack of saccharine.

He's currently playing poker on Broadway with Conleth Hill, David Morse, Sean Mahon, and Jim Norton in Conor McPherson's black Irish comedy "The Seafarer" -- one of the best shows to hit town all season. Morse can still do edgy and transformative work like "Dancer In The Dark," while Jim Norton plays a drunk worthy of George C. Scott in Dr. Strangelove.

If only more films and plays like this came along.

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MAJOR STUDIOS EYE CELLPHONE DISTRIBUTION

Studio aims to distribute content via phone

Paramount already has partnerships with Verizon, AT&T, T Mobile, Nokia and several other mobile carriers and device companies and it is launching a mobile unit to spearhead its efforts to license, develop and distribute content for cell phones.

Isaacs explained, "With leaders from the mobile entertainment industry strategically located in key regions throughout the world, we now have the ability to directly distribute our mobile content to consumers via carriers and leading aggregators."

The unit has tapped three execs to help Paramount expand its mobile efforts globally.

READ MORE - for VARIETY by BEN FRITZ

http://www.variety.com/article/VR1117980675.html?categoryid=1009&cs=1


© 2008, Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Thursday, March 06, 2008

POV: The Role of the Label in the New Digital World Order

Since 2003 I have run a video label called Heretic Films.

I referred to our company as a DVD label, and sure enough DVD is what we specialized in (with occasional forays in to theatrical and television, but I always was clear with potential acquisitions that first and foremost we were a DVD company).

Back in the old days it was easy to see how a company such as Heretic was necessary for filmmakers. We had the resources to produce Hollywood level DVDs, launch a full marketing campaign, and replicate thousands of DVDs.

But even more important, we had access to retail accounts that the individual filmmaker simply did not. Wanted to be in Best Buy? We could get you there - good luck on your own. How about Hollywood Video or Blockbuster? Same story. Borders, Virgin or Tower? You guessed it - we were there when there was no interest on the retail end in working with individual filmmakers.

They wanted to work with companies that they knew would consistently provide them with a pipeline of good content. It wasn’t worth their time doing small deals with tons of different content providers providing dubious content.

READ THE ENTIRE ARTICLE by Alex Afterman>>>

http://workbookproject.com/?p=542

Wednesday, March 05, 2008

How to Measure Online Video Ad Success

“Half the money I spend on advertising is wasted,” observed John Wanamaker, the pioneering retailer more than a century ago. “The problem is I don’t know which half.”

That’s been the advertiser’s dilemma—ever since. Wanamaker paid for many unseen newspaper ads, and broadcast TV advertisers pay for unseen commercials that are TiVo’d into oblivion. Online video advertisers, on the other hand, know precisely how many viewers saw their ads, how long they watched, and if and how many wanted more information about the advertised products and services.

When an automotive advertiser knows that a viewer spent all afternoon browsing through new car websites and then chose to watch an entire 3-minute promotional video touting his product, the advertiser knows that that particular ad dollar wasn’t wasted.

Targeting abilities and precise metrics have long been the promise of online video advertising that now make this a science. However, only recently has there been enough critical mass to capture the interest of major agencies and advertisers.

Today, 72% of internet users watch online video, up from 62.8% in 2006. Research firm eMarketer predicts that by 2011, 86.6% of the US internet population will consume online video. Agencies and advertisers are responding accordingly.

Forrester Research projects that online video ad spending will reach $775 million in 2007, growing 89% from $410 million in 2006, and it’s expected to approach $5 billion by 2011. Online video ad spending is also growing as a percentage of total internet ad spending, up from 2.6% in 2006 to 4.2% in 2007. At some point in 2010, it is expected that one in every 10 dollars spent on internet advertising will go for video ads.

Online video ads allow for more precise targeting and more accurate viewer metrics than their television counterparts. Still, measuring online video ad success is more art than science.

READ MORE by Max Bloom>>>
http://www.streamingmedia.com/article.asp?id=9960

Copyright © 1998–2008 - StreamingMedia.com, an Information Today Inc. company. All rights reserved.

Tuesday, March 04, 2008

Will the Movie Experience Die in the On Demand World?

Almost 68 minutes into a 103 minute 2005 Pixar lecture from the Computer History Museum (found via UpcomingPixar), writer/director Brad Bird (Ratatouille and The Incredibles) passionately ranted about how technology and convenience was ruining the theatrical experience:

“I hope that [the theatrical experience] doesn’t go away. I think that in our quest for 24 hour accessibility of everything under the sun, we diminish the value of certain experiences. And I liked the fact that movies use to have lines. And that it use to be hard to get into a movie. And if you saw it in it’s first week of release, you saw it on a giant screen or in ornate palace, and it was a show. Now we have made it so that on opening day you can see a film on a big screen, or on a crappy screen, or a screen that is a bootleg on your computer [inches] big. To me it’s diminishing the show experience.”

Brad Bird is right on...


READ THE FULL ARTICLE by Peter Sciretta...

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Sunday, March 02, 2008

ABOUT YOUR INDY FILM WEBSITE

There are two stages of web development when it comes to indie films, and therefore two or more separate budget areas that are affected. This is an area that I think indie filmmakers overlook, much to their detriment.

1. You should ALWAYS have a website up, even before you shoot. This website will serve as part of your INITIAL publicity campaign, to generate low-level interest, keep your investors informed as to what's going on, and can (if set up correctly) provide a "hub" for downloading the latest script, scout photos, etc.

This site should be set up with off-the-shelf products as much as possible. You have better things to spend your money on. Especially if you're targeting the crew, cast, and "internal" folks a Yahoo/Gmail/ etc. group would be appropriate. So I would budget a very minimal amount on this site ($500 or less) and put it under the
PRODUCTION OVERHEAD department.

2. You also need to have a web presence for your finished film, so you have a place to send people who want to see a trailer, download an PDF or JPGs from your press kit, or know when it's playing at a given festival, etc.

The web presence, however, doesn't mean just one website. It can mean any or all of:
-- An official site for the film
-- Pages on the site of the production company
-- A YouTube trailer
-- The director's site
-- MySpace page
-- Email listserve or mass-mailing

Coordinating these different sites involves the following line items:
-- Trailer Editor
-- EPK Delivery
-- Video EPK (if you did a "making of")
-- Publicity Materials (poster art, fonts, graphics for the site and print materials, etc.)
-- Still Photo Processing (usually you need to resize, crop and rework your stills for the web)
-- Web Design & Coding
-- Web Hosting
-- Encoding (can include system rental time and drives/storage space)

I generally feel that on a $1M or under film, you should budget at LEAST $5K-$10K to deal with these items. This doesn't include hiring a publicist, and it does mean a lot of sweat equity (ever encoded a trailer? It can take a while to get the compression- to-artifact ratio right - prepare to spend a lot of nights on your own working with Compressor and Final Cut). I did a lot of the above things myself on
my first film, but I've worked as a web designer and programmer, and know Photoshop really well. I still had to pay my trailer editor and website hosting service, however.

NOTE that this doesn't include the cost of a still photographer, which should be in your production budget. Not having stills can cost you a lot of money down the road.

You have to look at it this way. Your website will often be the VERY first thing that a potential buyer sees. You wouldn't wear a cheap-looking suit to your wedding, or a meeting with a prospective investor.

So where do you put all these things? I generally put these items either under the POST OVERHEAD department (which is generally when they get done) or PUBLICITY department, which also includes line items for publicist's fees, festival fees, etc. I usually put the PUBLICITY department under the OTHER super-category.

I hope this helps clarify things a bit.
Arthur Vincie
Chaotic Sequence, Inc.
www.chaoticsequence.com
info@chaoticsequenc e.com

Saturday, March 01, 2008

The Night of My Nights, No Longer

I apologize for bringing up a subject about which you have probably heard and read quite enough.

The very phrase "Oscar night" used to accelerate my pulse. For one thing — dating myself — it meant Bob Hope. He always had good, strong jokes, that faultless delivery and always a new joke about his own films' failure — once again — to be honored. My favorite line: "Here it is, Oscar night again. Or as it's known at my house, Passover."

To me, the Oscar show always seemed short. Imagine trying to convince someone of that today. This year, watching it was like how it must have felt to be traveling with Lawrence (Peter O'Toole) of Arabia through that waterless, shadeless, seemingly endless waste of burning desert for the surprise attack at Akraba.

There are four words that have come to produce in me a wincing shudder: "I'd like to thank…" Who started this stupid practice in award shows? A little easy research will prove that it was not always there. In what now seems another age, a star came to the microphone and said something like, "I'm very grateful for this. It means a lot to me. Thank you. Thank you very much." (Exit.)

Nobody thanked a laundry list of unknown strangers. That punishment is of recent vintage. Is it too late to find out who started it? And to light a sack of some unpleasant substance on their front porch, ring the doorbell and run? That dreadful, sleep-inducing list is such a cornball hunk of false modesty.

What is its purpose? What does it say? Mainly it says, "Oh, unworthy me. This belongs not to myself but to my agent. And my hairdresser. And my cook. And my supporting cast. And Tom, the best boy, and all the cute gaffers and electricians, who made my performance possible, and my acupuncturist, Al Sandorofino. Oh, dear — Al, I hope I got your name right. And Charlotta, my astrologer, who told me to do this movie and not take that part in `The Fish in the Elm Tree,' and dear Denny, who managed somehow to get the mold out of my trailer, and Dr. Vlad, who did such a good job on my wart. Oh, and Cissy who, well you know what I'm thanking you for, Cissy . . . and Holger "Poppy" Lundstrom, my dialogue coach, who helps me with the hard words in the script, and the other Cissy, my make-up girl, and oh, there are so many many more . . . And, oh wait . . . Here's my other list . . . [Sound of mass suicides, in the audience and across the length and breadth of this great nation.] Ooh, yes, Tom and Tammy, my trampoline instructors . . . and little Timmy, who rinses out my peds. Oh, and yes, the man with the fabulous hands, Andre my massousse [rhymes with `goose'; Hollywood for `masseur'], who's not just handsome but the only person in town who understands my trick knee. And . . . oh, where'd I put my other list? I . . ." [A shot rings out.] I'm kidding.

And then there is that other atrocity, the Boy and Girl Come Out and Face Straight Ahead into the Camera/Teleprompter and Give Wooden Line-Readings to some Uninspired Would-Be Humorous Dialogue. Although actors, they apparently cannot memorize three lines of forced banter, and thus never look at each other — and dutifully strike off uphill into something like, "Well, Jeff, I hear you had some trouble getting here tonight." Or, "Say, Marny, what are you doing after the show?"

And bravely they soldier on through a written bit of allegedly funny fluff that plays like an excerpt from the Nurnberg trials. (This year, when the first of these he-and-she cast-iron souffles was committed, a friend in the room remarked, "They never learn.")

I felt genuinely sorry for the two poor guys who got saddled with the "I'll be Halle Barry and you be…" item. Having failed to bring along a pair of hara-kiri knives, they had no choice but to plod on through it. To adapt (steal) a line from the great Fred Allen, the audience reaction was as quiet as the sound of two pussy willows colliding in a vacuum.

The very, very gifted Jon Stewart touched my heart when, on his first night back on his own show, he hugged his desk and, like one who survived the sinking of the Andrea Doria, uttered the word "Home." It said it all.

Gil Cates, the producer of the Oscars show, is a class act with a handsome list of credits, and could hardly be anything but — like McCain with the newspaper — "disappointed" at the dismal load of trappings he was handed this year.

One other suggestion, dear Academy: Excepting Regis, of course, raise the IQ bar on those hired to grip a handmike and gush on the red carpet — what I call the mindless, "How does it feel?" school of interviewing. I must have been in the bathroom and missed the moment when one of these carpet Quiz Kids asked Sara Lawson whether she, personally, sewed on the beads of her beaded dress. (Just for fun, I'm not going to reveal the answer. Suffer.)

As for the awards themselves, the most laughable and really inexcusable category is Best Foreign Film. There can be but one? There are said to be 193 countries, and only one of them can have an Oscar. Perhaps having this category at all was forced on the Academy when, year after year, a Kurosawa masterpiece better than any other film in the world kept happening. ("Seven Samurai," "Yojimbo," "Throne of Blood," "Rashomon"). And what of Fellini, and David Lean, and Carol Reed, and Ingmar Bergman, and . . . Sorry, foreigners! Only room for one. And what if the best foreign movie is the best movie?

Then there's the case of the estimable Julian Schnabel, the latest victim of Oscar's frequent joke of having someone up for Best Director whose film fails to make it as Best Picture. So what was he judged on?

If his film isn't the best, what was he the Best Director of? A previous movie? Someone else's movie? This nonsense has been repeated through the years. If Julian had won, I hoped to hear him say, "Thank you. I'm extremely grateful. And this inspires me to go after my new goal. For my next movie, I'll try to be a slightly worse director in hopes of winning Best Picture."

I'm sick of this subject, and you probably beat me to so being. I shall drag you and it no further. But it's sad, really, isn't it? I loved Oscar Night so. Now I see poor Oscar as a dear old faithful cow gone lame, who served the family all those years but has deteriorated in health, gone dry, broken a leg and must now be taken out behind the bar and shot. - Dimitri Villard