Here’s a cheap and easy way to make 3D plastic forms like Stormtrooper costumes and tons of other things. Cost: around $20.
Manicho over at deviantART designed these cool DVD cases and was nice enough to release them to the public. You only need Photoshop to open it and tweak the layers. You can fully customize both artworks and other stuff. If you want to change the box color, look on the “dvd case” group and tweak them with Hue/Saturation.
Eric M. Greenfield of Flowtv discusses the real legal facts filmmakers and producers must consider for “Based On a True Story” dramas and “Reality TV.”
Networks love to market a telefilm’s roots in actual events and real people. A production can be more compelling when the audience believes that the story really took place. Never mind that the films often depart so far from the events that inspired them as to better be considered fiction. Verisimilitude is rarely a goal. Entertainment always is.— Flowtv.org | Read The Full Article
PingMag a Tokyo-based magazine about Design has some great examples of storyboards which were used for actual projects. As of December 31, 2008, PingMag and sister site PingMag MAKE are both on extended hiatus, and will not be updated for the foreseeable future, so check it out while they are still up.
…Ever wondered what the original ideas and skribbles to your favorite trailor or music video would look like? No? Well, sadly most of these precious drawings end up in the garbage once the movie is completed anyway and it is hard to hunt them down again(unless the directors were planning to publish a big “making of”-section anyway). We thought that these storyboards should get some more attention, so we asked around and gathered a few different examples and styles as to how to visualize the production process. Here are our storyboard designs in cooperation with 5 different directors/artists around the world. Enjoy!— PingMag | Read The Full Article
Charlie Rose has a conversation about the film “Is There Anybody There?” with actor Michael Caine and director John Crowley.
1. Buy Final Draft or another industry standard screenwriting program, and learn how to use it.
To be taken seriously, you have to write seriously. That means your script must look like a pro’s. A script typed in any font other than Courier 12, Courier New 12 or Courier Final Draft 12, automatically tells the reader you’re an amateur. This gives the reader carte blanche to knock your script, whether he’s read your work carefully or not.
But don’t just buy the program: Learn how to use it. Just because you can bounce with a keystroke from scene heading to action and back again doesn’t mean you understand what you’re doing.
The program doesn’t format your screenplay for you; it makes it easier for you to do it. To understand screenplay formatting, you need to:
2. Read lots of scripts.
The best way to learn about screenwriting is to read the scripts of successful movies and then watch the films made from those screenplays. This will not only help you with formatting and understanding the look of a motion picture script, but also give you insight into film story telling.
But, and this is a big but, don’t spend a lot of time with Quentin Tarantino or the Coen brothers’ scripts. This isn’t because these aren’t good screenplays; these guys win Oscars! It’s that they are too idiosyncratic. What successful writer/directors like the Coens and Tarantino can get away with, you can’t. You’ll be held to a different standard because no one knows who you are.
Take a look at screenplays like Little Miss Sunshine, Erin Brockovich, American Beauty. If you like action movies, look at The Dark Knight or Die Hard. From these you’ll learn not only how to format your script, but also the archetypal structure of story.
3. Give your protagonist a problem and make him act!
I’m not talking your every day problem. I’m talking BIG PROBLEM! It has to be life or death for the character, if not literally, then figuratively. I’m talking really important.
This problem isn’t just to create dramatic tension to hold your audience. The problem your protagonist struggles with will not only define the action of your story for your audience, it will define her and tell us whether we should care about her or not.
A dramatic problem leads the protagonist to face hard choices and decisions about her goals. These allow you to dramatize through action who your protagonist is and what she stands for.
4. Know what you’re selling.
This is just another way of saying, what is your story about and why will anyone care? If you can’t answer these two questions simply and clearly, it may mean you need to go back to the drawing board.
One way to figure out what you’re selling is to be clear about your genre. If it’s a love story, you’re selling romance; if it’s a comedy, laughs; a thriller – thrills. You can’t call your story a thriller if the only thrilling action comes at the end.
5. A famous screenwriter once said, “Mastering screenwriting is like mastering the ancient art of Ty-Ping.”
That means write the script. Don’t talk about what you’re going to write. Write and type (in the proper format!).
If it’s hard going, create a ritual to get you to the keyboard. Understand your process and work with it. Then give yourself deadlines. Scripts don’t write themselves. Writers write them.
About the Author:
Linda Cowgill is a screen and television writer who teaches at Loyola Marymount University and the Los Angeles Film School. Her feature film, “Opposing Force,” was released by Orion Pictures in 1986. She has written for such shows as “Quincy,” “The Young Riders” and “Life Goes On,” for which she won a Genesis Award. Most recently, she optioned her script “Honor Student” to World International Network. She received her MFA from UCLA where she won a Jim Morrison Award for best short film. Ms. Cowgill is the author of the popular film school textbook Writing Short Films and Secrets of Screenplay Structure.
Actor Tommy Lee Jones broaches a wide range of discussion points at the Oxonian Society. Jones touches on such diverse topics as his most recent films to his days at Harvard with Al Gore.
“Gospel John” Hess reviews Observe and Report a new comedy written and directed by Jody Hill, one of the creators of Foot Fist Way.
Directed and Written by: Jody Hill
Release Date: April 10, 2009
MPAA Rating: R
Distributed by Warner Bros.
Autodesk Maya is one of the premiere 3d animation software packages used in Hollywood and special effects houses and of all the tools available to the filmmaker, Maya has probably the steepest learning curve around.
Which is why we’ve put together this list of 606 Maya Tutorials to help you learn one of the industry’s leading 3d programs. Whether you’re a fledgling beginner overwhelmed by the vast array of buttons or a season pro, there’s something here for you.
What are you waiting for? Start learning Maya now!
Forum Regular Travis gives us his review:
Dragonball:Evolution is based on the 1980′s anime series Dragonball. It is the story of Goku, a young boy raised by his grandfather in the ways of fighting and using his “ki” for energy attacks. The evil Piccolo is scouring the earth for the 7 Dragonballs which he’ll use to make a single wish- to rule Earth. Goku must find a way to stop this menace accompanied by kung fu legend Master Roshi, adventurer Bulma, thief Yamcha, and Goku’s love interest Chi-Chi.
This movie is, in a word, “GARBAGE!”
This disappoints me very much to say, as I’ve always been a huge fan of the Dragonball franchise (Dragonball, Dragonball Z, Dragonball GT). I love the anime, I love the video games, I love the manga…. I even own the ENTIRE Dragonball GT series on VHS, as well as VHS copies of several of the animated Dragonall Z movies. I’m absolutely addicted to the anime, and despite the trailer for this live action movie being as poor as it is, I still had hopes for the movie. Those hopes were destroyed.
This has been a total bastardization of the anime! First off, in the anime, when Goku first encounters the evil Piccolo, he’s still a kid! Like… 10! In this movie, he’s turning 18.
In the anime, young Goku had a tail because he is actually a member of the alien race called Sayians… in this movie, no tail.
In the anime, Chi-Chi is a decent fighter who’s father is the legendary Ox King… in the this movie, Chi-Chi is a totally badass self trained fighter and nobody knows it.
In the anime, Master Roshi is an old and very perverted white guy… in this movie he’s a kindof perverted middle-aged Asian. WRONG! In the anime, Shenron is green… in this movie, he was kinda gold.
In the anime, Oozaru is a giant 100+ foot tall ape… in this movie, he’s maybe 8 feet tall.
In the anime, Grandpa Gohan died of old age/heart attack (if I remember correctly)… in this movie, he is killed when Piccolo seems to use The Force to crush the old man’s house on him.
In the anime, the Saiba-men were creatures that grew out of the ground from seeds planted by Nappa… in this movie, they were created from Piccolo’s blood. WRONG This movie didn’t have Krillin.
And don’t get me started on Piccolo’s make-up and costume!
Ok… so let’s IGNORE the fact that this is supposed to be following the Dragonball story since it’s done an annoyingly bad job at it, and just look at it as a stand alone film.
The dialogue was corny, cheap, childish, bad, and in many parts it seemed to tell you what was about to happen then tell you what is happening then tell you what just happened! WHAT?! Bad story telling right there! And in many places, it was so blatently obvious by the dialogue that they were trying so very hard to make this movie seem “dark” while still scoring a PG rating. That’s right, not PG-13… but PG! Sorry, Hollywood, you just can’t have a DARK PG movie! Doesn’t work that way!
The acting was pretty bad. Yun-Chow Fat was pretty good, I’ll give him credit. And I think James Marsters might have been a decent Piccolo if they would have had him in the movie for more than 10 minutes! Everyone else though was rubbish! Even Emmy Rossum, who I typically enjoy… her performance in this was just as bad as Christina Ricci’s performance in Speed Racer! Yeah, that’s right! I said it! And this Justin Chatwin guy who played Goku? Who the crap is this guy?! I’ve seriously never heard of him before, and after seeing this movie I now know why! He’s very much without either talent or even a commanding presence. I mean, Vin Deasel is a terrible actor, but he’s got this aura to him that makes him a great action star… this kid? Not so much!
The special effects were… decent. I guess. But none of it had anywhere NEAR the intensity of the DB/DBZ/DBGT animes! Even the Kamehameha blast looked WEAK!
This Jamie Chung, though… the chick who played Chi-Chi? Ok… she’s honestly the first Asian chick I’ve EVER seen that I thought was hot! So seeing her in a low cut blouse was a plus!
The camera work was average.
The story was ok, but iffy.
BASICALLY… As an official Dragonball live action movie, it was a complete and utter failure. As a standalone movie with no attached franchise, it’d still be a terrible movie!
So on the FilmmakerIQ scale of intellect, where a 10 is pure genius and a 1 is having the self induglent dialogue of “DBE? Great name!”, I give Dragonball: Evolution a 2.5. It scored points for Chi-chi being hot.
Screenplay by: Ben Ramsey
Release Date: April 10, 2009
MPAA Rating: PG
It is by turns side-splittingly funny, tragic, upsetting, stupid, side-splittingly funny, touching, poignant, beautiful, life-affirming, side-splittingly funny and above all, brilliant.
At 14, Toronto school friends Steve “Lips” Kudlow and Robb Reiner made a pact to rock together forever. Their band, Anvil, went on to become the “demigods of Canadian metal,” releasing one of the heaviest albums in metal history, 1982′s Metal on Metal. The album influenced a musical generation, including Metallica, Slayer, and Anthrax, that went on to sell millions of records. But Anvil’s career took a different path – straight to obscurity.
Picking up on their story 26 years later, director Sacha Gervasi has concocted an achingly touching and often hilarious account of Anvil’s last-ditch quest for elusive fame and fortune. Not since Metallica: Some Kind of Monster has such an incredibly raw, candid, hearbreaking and truly inspirational story been captured on film. At its core, Anvil! The True Story of Anvil is a timeless tale of survival and the unadulterated passion it takes to follow your dream, year after year. Anvil rocks – it has no other choice.
In the words of Rolling Stone: Some of the scenes in Anvil are so outrageous, it feels like this must be a Spinal Tap sequel. It isn’t. These guys are for real.’
Sundance acclaimed filmmaker/director Eric Escobar discusses the production process – scouting locations,casting, lighting, filming, and how one needs to plan for post production during these earlier steps.
Via: Red Giant TV