Here is your front row ticket to The Oscars as you’ve never seen them before. Watch a young Steven Spielberg lose out in his first of many nominations to be Best Director.
Over Kickstarter’s first two years, Film & Video has been the dominant category, accounting for $50 million of the over $140 million pledged. This year, 31 Kickstarter-funded projects will screen as official selections at SXSW 2012.
Check out a few of the projects below:
Save Blue Like Jazz
“Would You” short film w/ Dave Franco & Chris Mintz-Plasse
JEFF – A Film About The People Around Jeffrey Dahmer
LA CAMIONETA: The Journey of One American School Bus
Indie Game: The Movie – The Final Push
“KID-THING” – a zellner bros. film
Finishing Brooklyn Castle (Formerly Chess Movie)
TRASH DANCE, the movie
PAVILION: WORLD PREMIERE SXSW
LEAVE ME LIKE YOU FOUND ME – Finishing Funds
Girl Walk // All Day
Nothing Can Hurt Me: The Big Star Story
The Last Fall – SXSW Film Festival Official Selection
WONDER WOMEN! The Untold Story of American Superheroines
Booster: SxSW World Premiere
DAMELO TODO (GIVE ME EVERYTHING) FINISHING FUNDS
Welcome To The Machine
Bay of All Saints
A Short Film About Ice Fishing
Boxcar Fair a Puppet Production
Caldera – Animated Short Film
CHRISTEENE is making two new videos haaaaaay!
“TUMBLEWEED!” Completion Funds!
“What It’s Like” – a short film
See the Rest of the Projects here.
After shooting a bonus feature for “Terminator: Salvation” on the Canon 5d, Director of Photography Shane Hurlbut was asked to implement the camera in a project that would become “Act of Valor”. Their purpose was to reinvent the action genre and the popular Canon HDSLR played a pivotal role being used exclusively in the action sequences:
When Scotty Waugh and Mike “Mouse” McCoy, the incredible directing team at Bandito Brothers, asked me to shoot Act of Valor, I was excited, especially after listening to their unique vision for the making of this movie. I was ALL IN. The idea of reinventing the action genre was our mantra. To be able to immerse an audience in a 3D experience that was shot 2D; to capture POVs that felt like you were in an intense first person shooter video game; to move a 2.5 lb camera in ways that you have never seen before. These were the ideas that started to swirl in my head after our initial meeting…
What is so inspiring about Scotty and Mouse is that they’re fearless; they go for it and believe someone will be there to catch us. This fearless quality was what brought out the highest level of creativity. Scotty’s role is to remain true to the story, and we worked on a shooting style and a visual landscape that would last and hold the audience’s attention. When the Seals were hanging with their families, shooting the breeze, or getting briefed, we shot 35mm motion picture film. When the bad guys were planning and conniving, it was also film. When the SEALs went into operational mode, we were all 5D, no matter whether it was a wide shot or a close-up. Aerials were going to be a huge part of the scope of this film. Together, we chose what would be best for the story, and that was the Sony F950 with Cineflex housing. It would give us hours of shooting time without having to reload every 10 minutes and provide the ability to showcase the Navy’s impressive assets.
We had unprecedented access, which made the movie extraordinary. Mouse was all about the back-stories, what got the characters to this point. He was very conceptual, and I truly believe helped get the best performances out of the active duty Seals. He is also an incredible action shooter. He is a DP is his own right, and we divided up to take on the huge work load in Stennis, MI as well as El Centro, CA. Mouse and Scotty just inherently know where to put the camera when shooting action. We collaborated together in this unique hybrid of action storytellers, and I think the film’s beauty is just that, STORY. Without this, our action would just be a lot of M4 fire.
Hurlblog | Read the Full Article
Amanda Lin Costa explores the new methods of distributing films and the myriad of strategies that filmmakers use to get their product to the masses.
But everything has changed. The digital online world has opened up new avenues of distribution including video on demand, live streaming, and mobile and tablet applications.
Indie filmmakers are harnessing these digital forms of distribution to increase their audience and maintain control of their film, but the “how and where” their film is viewed, the financial recovery of production costs, and their eligibility for awards all factor into their choices.
“Every film has its own path,” said director Tiffany Shlain, remembering something she once heard that stuck.
Today, choosing that path is more complicated then ever.
PBS.org | Read the Full Article
“Show it, don’t say it” is a good mantra to follow. But sometimes, for economic or timing sake, you have to get the audience up to speed and the only way to do that is to just have a character say it. That’s called exposition and it can be bad filmmaking if its overused. Here are five techniques to deliver exposition while making it not look like exposition.
The first scene of the movie features Roger Thornhill (Carey Grant) dictating instructions to his secretary. This scene, which moves from the lobby to the street and to a cab, is the only part of the film that “sets up” his character.
Thornhill’s double-talk is so rapid that we have a hard time knowing exactly what he’s talking about. But there’s a sense of urgency coming from his need to dictate a lot of instructions to his secretary despite being late, and it pulls us along even though we don’t really understand the specifics. It’s obvious that he’s some sort of very successful businessman, but beyond that it is hard to follow on first viewing.
We also get several clues as to the lack of depth in his relationships. First, he pretends to be friendly with the doorman by the elevator, but he obviously doesn’t care enough to know that the man’s relationship is in trouble. Then his secretary has to remind him that he sent the same note to his lover before.
The Script Lab | Read the Full Article
Need some inspiration? South by Southwest Film and Music Festival released a list of the finalists in the Title Sequence Category from Film and Television productions. The final awards will be present on Tuesday, March 13 at 8pm.
Which one of these is your favorite?
205 – Zimmer der Angst
Director: Rainer Matsutani
Title Design by weareflink/weareflink GmbH
What happened in Room 205? Why has no one lived there for over a year? Katrin couldn’t care less: the 19-year-old student has landed a room in the dorm, and that means freedom! Freedom from home and her over-protective father. The semester is just beginning, and it’s time to make new friends, go to parties, have sex, and, of course, go to classes. Then, strange things happen in her room, and she begins to understand why no one wanted to move into Room 205 before.
The Adventures of TinTin (Unofficial)
Director: Steven Spielberg
Title Design by James Curan
After discovering directions to a sunken ship commanded by Captain Haddock’s ancestor, Tintin and his friends decide to go on a treasure hunt.
American Horror Story
Director: Ryan Murphy
Title Design by Kyle Cooper/Prologue Films
A family of three move from Boston to Los Angeles as a means of reconciling their past anguish. They move to a restored mansion, unaware that the home is haunted.
Les Bleus de Ramville
Director: Derek Diorio
Title Design by Jay Bond/Oily Film Company Inc.
Les Bleus de Ramville follows the members of a small but fanatical senior hockey team’s fan club. For Gordie, Julie, Maureen, and Christian, the fan club represents more than just a promotional tool for the Ramville’s hockey team. It’s their passion – their way of life.
Director: Gus Van Sant
Title Design by Angus Wall/Elastic
A juxtaposition of Chicago’s inhabitants, reflective illustrations and hand-drawn lettering with an indifferent urban landscape and dispassionate sans-serif typeface. Together, these elements serve to introduce audiences to the oppositions and contradictions that drive the show.
Director: Guy Moshe
Title Design by Guilherme Marcondes/Hornet Inc.
A young drifter’s quest for revenge leads him into a bigger fight than he expected.
Director: Kike Maíllo
Title Design by Dvein
It’s 2041. Alex, a brilliant and irreverent machine designer, returns to his hometown to complete an unfinished project: create a boy robot. There he reunites with Lana, his old love, now married to his brother David. Eva, David and Lana’s daughter, winds up captivating Alex, who uses her as a model for his daring project.
Game of Thrones
Director: Angus Wall
Title Design by Rob Feng/Elastic
A Da Vinci-inspired map constructed on the inside of a sphere– each location a mechanical gear-works model fabricated as if by hand. At the sphere’s center a burning hot sun housed in a spherical astrolabe engraved with the history of Westeros serves as an introduction to familiarize the audience with the world they are about to be thrust into.
The Girl with the Dragon Tattoo
Director: David Fincher
Title Design by Tim Miller/Blur Studio
The Girl with the Dragon Tattoo is a 2011 English-language thriller film directed by David Fincher, written by Steven Zaillian from the novel of the same name by Stieg Larsson. The film stars Daniel Craig as Mikael Blomkvist and Rooney Mara as Lisbeth Salander and tells the story of a man’s mission to find out what has happened to a girl who has been missing for 40 years, and who may have been murdered. The film is nominated for five Academy Awards, including one for Rooney Mara for Best Actress.
Hell on Wheels
Title Design by Mark Gardner & Jeremy Cox/Imaginary Forces
AMC’s new original series, Hell on Wheels, tells the compelling story of the construction of the Union Pacific railroad across America… a process that irrevocably changed our nation.
Director: Alexander Curtis
Title Design by Eric Dies
Hephaestus is an outdated, aging soldier. He was built to destroy, but he has found a new purpose in the care and protection of a young girl, Kaylee.
Directors: Florian Eidenhammer & Patrick Gündera
Title Design by Clemens Wirth/Clemens Wirth Motion Design
First World War Drama about love, friendship and loyalty.
A History Of The Title Sequence
Director: Jurjen Versteeg
Title Design by Jurjen Versteeg/Synple
This title shows a history of the title sequence in a nutshell. The sequence includes all the names of title designers who had a revolutionary impact on the history and evolution of the title sequence. The names of the title designers all refer to specific characteristics of the revolutionary titles that they designed.
Director: Alex Gibney / Alison Ellwood
Title Design by Karin Fong/Imaginary Forces
At the advent of the psychedelic 60′s, Ken Kesey took an LSD–fueled bus trip with his friends the Band of Merry Pranksters and caught the whole thing on film. Magic Trip documents this wild ride that defined the 60′s counter-cultural revolution.
The New Girl
Director: John Priday
Title Design by Veva Burns/Framework Studio
After a bad break-up, Jess, an offbeat young woman, moves into an apartment loft with three single men. Although they find her behavior very unusual, the men support her – most of the time.
Director: John Wells
Title Design by Erin Sarofsky/Sarofsky Corp.
“Shameless” Showtime Original Series that revolves around a loving, but dysfunctional, south-side Chicago, lower middle class family. Frank Gallagher (William H. Macy) is the proud single father of six kids… However, his excessive drinking and minimal financial contributions to the family put the majority of the caretaking responsibilities on Fiona (Emmy Rossum), the oldest sister.
Sherlock Holmes: A Game of Shadows
Director: Guy Ritchie
Title Design by Danny Yount/Prologue Films
Sherlock Holmes and his sidekick Dr. Watson join forces to outwit and bring down their fiercest adversary, Professor Moriarty.
La Última Muerte
Director: David “Leche” Ruíz
Title Design by Maribel Martínez/diecinueve36
Dr. Alexanderson finds an unconscious young man by the doorstep of his cabin. He will try to piece together the mans broken memory without knowing the dangers his family and friends will be exposed to in this psychological revenge thriller.
Wer rettet Dina Foxx?
Director: Max Zeitler
Title Design by weareflink/weareflink GmbH
This TV thriller kick starts the cross-media event “Rescue Dina Foxx!”, which combines TV and internet to highlight the dangers of digital identity theft. The film introduces the story of Dina who is arrested for murder but claims her world has been manipulated by a digital doppelganger.
X-Men: First Class
Click on the image below to see the sequence and making of:
Director: Matthew Vaughn
Title Design by Simon Clowes/Prologue Films
In 1962, the United States government enlists the help of Mutants with superhuman abilities to stop a malicious dictator who is determined to start world war III.
In case you missed the original broadcast, College Humor recapped the 2011 Student Film Awards. There’s still some major controversy over the “Hands Deepest in a Hoodie” category…
In this tutorial Tom Antos explains how to build a professional style camera dolly for a $120 that not only rides the camera but the operator as well.
Why should DSLR shooters have all the toys? Mark Wallace from Adorama TV covers some of the gadgets in the Adorama iPhone Toolshed that can add traditional functionability to your iPhone 4 or 4s.
In part 2 of his series (see part 1) Chris Weaver dives into the essential skills you should hone if you want to be a proficient camera operator.
Seems to me there’s a new camera launched onto the market every other day! (Well maybe not, but you get my drift!)
TV Producers and Directors can, and do, dictate which cameras we use, it’s their prerogative. It’s your job is to be proficient with a variety of cameras, not just one. Being able to operate with at least 4 different types of camera that are commonly used in the industry will give you flexibility, and that flexibility gives you a tremendous advantage over your competitors. Call Hire Companies and ask if you can go and familiarize yourself with a few different cameras.
*Hire companies will normally be ok with this as they would rather know that you can competently use one of their cameras rather than try and work it out on a shoot and change all the settings! So long as you eventually hire camera kit from them they will be more than willing to help, but never exploit their good will.
Film Camera Course | Read the Full Article
The Nikon D800 has a lot of things that filmmakers have been clamoring for for years – things like uncompressed HDMI out and low light capability beyond compare. Is this high-stakes DSLR game, it looks like Canon’s rival may start siphoning off HDSLR filmmakers.
Here’s a more indepth look at the capabilities of Nikon’s latest offering: