Filmmaker Joshua Caldwell made his feature film Layover for just $6000; he cast his friends, borrowed a Canon 5D, and now it’s competing for the New American Cinema award at SIFF, and he has decided to share what he has learned about maintaining high production value while keeping costs down.
At the beginning of 2013, inspired by seeing several articles about Ed Burns making sub-$10,000 films, I set out to do the same. It had taken me a while to get there. I spent a lot of time and energy developing and writing projects that required other people to give me money and a greenlight, instead of creating a project I could do on my own terms. It took me lifting my head up, looking around and saying, “I have everything I need to make a movie for very little money: access to cameras, actors, crew, post-services. So why am I not doing it?”
So, I took an idea that I had floating around in my head about a girl stuck on a layover in L.A., developed out the story and wrote the script. Then, with my producing partner Travis Oberlander, we raised a little bit of money from a family friend (enough to pay the cast, rent a few locations, and food), cast the film with actor friends whom I knew spoke French, borrowed a Canon 5D, set the schedule and over the course of five weekends, shot the film, and then spent another eight months or so editing (off and on).
And now, this little film that I just decided to go and make will be having its World Premiere at the 2014 Seattle International Film Festival in competition for the prestigious New American Cinema award. Immediately following SIFF, Layover will have its California/Los Angeles premiere at the Dances With Films Festival as one of only 16 films chosen to screen in competition.
No Film School | Read the Full Article
Lucy V. Hay covers five key points to keep in mind with writing the next big creature feature.
It’s really easy as writers to say, “story is everything,” but we only need to look at huge CGI blockbusters like GODZILLA to realise that’s not always what audiences sign up for. And that’s not because they’re dumb, either. And sure, we can say why not have BOTH: big, epic arenas, scary monsters AND a story and great characterisation? **Why Not** indeed … But fact is Hollywood has been churning out these things for some time now: whether they add a great story and characters to big monsters fighting and/or chasing and eating humans, it doesn’t really make any difference to Box Office revenue. In short, people like what they like and that’s spectacle and awe – and on that front, GODZILLA delivers, whether you thought it was a weak story or not (hey you still watched it, right? Here’s some Godzilla – thoughts, reactions & pics I’ve collected in this last week).
Creature Features are never going to go away and I get a LOT of them at Bang2write, both from private clients and production companies. Some of them are excellent; some of them are in the middle and some of them are just plain drek. Interestingly however, I noticed a long time ago the ones that DON’T work on the page have many things in common, whether they’re about gigantic Godzilla-style monsters; gargantuan robots; acid-dripping extraterrestrials; satanic demons or something else. Here’s a rundown of things to consider then in trying to get your own creature feature on the page and in front of Industry Pros:
1) Hook Us. The obvious, yet I can literally count the great Creature Feature hooks I’ve seen in the past ten years on ONE HAND. Seriously. I cannot stress the importance of a great hook enough in all screenwriting, but in Creature Features it’s a “make or break” thing at pitch or submission level because it’s one of the first things someone will ask: “Okay, it’s a monster, but how is it different to X?” If you don’t know, no one else knows either. Ipso Fatso, as Bart Simpson would say. MORE: 4 Reasons Concept Counts, plus What Is A Genre Busting Screenplay?
Script Mag | Read the Full Article
Check out this behind the scenes look at the making of “The Price is Right” from how directors select camera angles to how producers select contestants.
The show’s producers have pulled away the curtain, though, by releasing a video showing all of the behind-the-scenes work that goes into a single episode. It’s a fascinating watch, from Drew Carey’s crowdwork during commercials, to the discussions between producers about which contestants to select, to the way the staff in the production booth play along with the pricing games. The overwhelming sense is one of calm competence, even as the staff work to amp the contestants to the maximum level of camera-friendly energy. If you’ve ever wondered, say, how they get the cars out on stage, or what the backs of the show’s signature gaudy doors look like, here’s your chance. Of course, the video doesn’t cover some of the show’s less convenient aspects, but it’s still an interesting look at just how much work goes into what can often feel like “disposable” television.
AV Club | Read the Full Article
This supercut features films lenses by long time Quentin Tarantino collaborator: Robert Richardson
Bon on the Fourth of July
A Few Good Men
Natural Born Killers
Snow Falling on Cedars
Bringing out the Dead
Kill Bill: Vol. 1
Kill Bill: Vol. 2
Shine a Light
Eat Pray Love
World War Z
Angelina Jolie stars in Disney’s new Maleficent, featuring a forest world of detailed visual effects. Mike Seymour delves into how facial movement experts Digital Domain, worked to re-create realistic, fully digital counterparts to the story’s three fairies.
Have they successfully crossed the Uncanny Valley?
If you’re seeing banding in your DSLR footage, the solution may be to add a bit of noise – a trick been used forever in low color gifs.
8bit DSLR codecs get quite a lot of bashing for banding, and it is something we’re well used too… A sky or a wall taking up half the shot with only 4 or 5 shades where there should be a silky smooth gradient with thousands of tiny steps in-between darker and slightly lighter areas of the image.
However one of the first things I noticed with the Panasonic GH4 was that banding was greatly reduced and it looked like my 10bit Blackmagic footage, even though it was still an 8bit codec (internally with 4K). Why such a turn-around for an 8bit codec? It turns out the 4K mode on the GH4 holds the key to hiding this banding… yet it is something we can apply to all DSLRS…
EOS HD | Read the Full Article
7 days of filming, 2 days for still photography, 9 locations, 6 camera units, 7 captains, 5 production support boats, 45 crew members…shooting with Arri Alexa, Red Epic, Phantom Flex, Phantom Miro, Sony F3…Techno Dolly, Cineflex (boat and helicopter), Underwater Phantom, 360 degree dolly track setup…all in all, one of the most involved, most complex and most fun shoots I’ve been lucky to be a part of. Thank you to the team at Evolve IMG, and the NGC Creative Team for one incredible production!