Arnold Schwarzenegger laments his inability to kill in the aria “To Kill Someone Again” from Terminator 2: The Opera.
A sample of some of the earliest color motion picture film you will see. This color footage was filmed even before movies had sound, and 13 years before a color feature film was released.
George Eastman House is the repository for many of the early tests made by the Eastman Kodak Company of their various motion picture film stocks and color processes. The Two-Color Kodachrome Process was an attempt to bring natural lifelike colors to the screen through the photochemical method in a subtractive color system. First tests on the Two-Color Kodachrome Process were begun in late 1914. Shot with a dual-lens camera, the process recorded filtered images on black/white negative stock, then made black/white separation positives. The final prints were actually produced by bleaching and tanning a double-coated duplicate negative (made from the positive separations), then dyeing the emulsion green/blue on one side and red on the other. Combined they created a rather ethereal palette of hues.
See how to turn spoken dialogue into searchable text either by synchronizing content with your Adobe Story script, or by using reference scripts that are optimized for your content. Accelerate editing by marking in and out points in the speech analysis text to speed production time.
Here is the master Alfred Hitchcock explaining what editing really is, and how does it effects the film.
Here is the timelapse dolly stage zero prototype. Dynamic Perception’s mission is to provide low-cost and easy-to-use photographic motion control systems.
Horizontal, inverted, diagonal, upside-down, and even sideways the setup possibilities are only limited by your imagination. Quick release and ability to use as a slider to preview and adjust your track position before starting your timelapse move. Easy to use and VERY flexible motor controller. Available in 4′ or 6′ lengths.
The bottom line? Entire six foot rig (you supply the sticks and camera head), motor and controller for: $795 (four foot rig $745).
You’re a hot writer! Already you can see your name on the front page of Variety and the Hollywood Reporter. But to make the magic work, you need an agent.
Or rather, you think you do.
Like a savvy cat who’ll only agree to come to you when cream is forthcoming, an agent worth his or her salt is the same way.
I was an agent trainee at ICM in what had to be the kindest office on the seventh floor. My boss, a woman, took pains to write ‘nice’ thank-you notes to writers who didn’t make the cut. She did find some great writers (notably a TV team) and turned them into a ‘name’ in feature writing.
But that was then and this was now.
The reality is that no one is going to discover you, or work hard on your behalf for a ‘promise.’ Like a cat, they need to see evidence of the cream before they’ll come your way.
And the ‘cream’ isn’t necessarily the words on the paper of your script.
I’m not suggesting agents they don’t know quality when they read it.
They’re intelligent beings. They’ve been to Stanford and Harvard and many have law degrees.
But, great words aren’t the only thing being a writer is about. Here’s a story. One agent, well connected through his family, got his start when he took some screws out of a big agent’s chair and ‘fixed’ it before the gratified agent’s eyes. As a result, he was promoted out of the mailroom and is now one of the town’s top agents.
So if it’s not just about the words, then what is it all about?
The ‘cream’ agents want to see is how you’re promoting yourself without his or her help. Have you won festivals? Have you even applied? Do you work for some big shot whose name will help the agency sell your script?
Or are you just writing away on a mountaintop someplace, hoping the magic of your words will sell.
If you are on a mountain, relax. Script sales happen all kinds of ways, and for you, writing from a remote mountaintop might be one of them.
But the subject is agents, which is a different topic entirely.
First, realize that they won’t be interested in you until they need you. Most often, this has nothing to do with their reading your script over the weekend and determining that you’re ‘hot.’
Usually, they want you when another agent wants you and you’re enjoying a certain buzz around town. So it’s great in the sense that all top agents will want you all at once. But then again, when no one wants you, the world is a pretty lonely place.
So, how do you get an agent’s interest?
Obviously, write a great script, but don’t expect words alone to propel you!
Here’s some ways to get buzz! Good luck!
1. Win a festival. But not ‘any’ festival. Only spend money and time applying to ones that will get you ‘buzz.’ Don’t be shy to try for the top ones (i.e. Sundance).
2. Apple polish. Try to get to know influential people who teach Hollywood-related courses who have pull in the industry. Be shameless!
3. Get a job in the industry that will plug you into the network.
4. Keep writing. Agents want to see a factory.
5. Compile a list of ‘dream agents’ by tracking their deals and clients.
Keep the faith! And don’t expect an agent to do anything more than sell you for big bucks. Like a cat, they’re all about getting the cream.
Marisa D’Vari, former studio executive, story consultant, sought-after speaker, and author of five books, is committed to helping authors and screenwriters tap into their creativity and manifest success. She divides her time between Hollywood and Boston.
Source with permission: The Writers Store
Being a filmmaker is like starting your own business and you need to think of it that way. The role and responsibilities of a filmmaker can be abstract and over glamorized for many starting out. They only see the artistic or technical aspects, but when it comes to the business side they don’t have a clue.
When faced with the business realities they either throw their hands up in frustration of their ignorance or they will just ignore it hoping it won’t matter or someone else will do it for them. Sure you can (and must) hire professionals such as lawyers and accounts, but you must also have some basic knowledge otherwise you can’t instruct or verify. Business knowledge also goes far beyond contracts and ledgers. You need to know sales and marketing, strategy, management skills and more.
There is so much to know you don’t know where to start. First take a deep breath. You can learn this stuff. You don’t need a Harvard Degree or be Warren Buffett. All you need is patience, persistence and a positive attitude.
Lets start by making the profession of a filmmaker less abstract by creating an analogy. We could choose lots of different bushiness to compare it to, but opening a restaurant shares many of the same motivations and obstacles.
The Restaurant Analogy
Lets say you love to cook and you want to make a living doing it and share your food with the public, so you decide to open a restaurant. Soon after looking into the prospect you discover the cooking part of owning a restaurant maybe the smallest aspect. Just to get the doors open you need to find financial backing, which requires knowledge financing. If you get past that you will need to deal with all sorts of legal aspects, accounting, licenses, permits, employees, marketing, sales and on and on. And, even if you have a business degree you still don’t know anything about running a restaurant.
The best place would be to get a job working at someone else’s restaurant. Even a fast food place would give you a basic understanding of how the business is run. As you move on to fancier eateries work on expanding your knowledge; ask questions, try and get a position in the back office, learn to manage workers, find out who they do business with (wholesalers, banks, law firms, etc.) and above all else network. Build lasting relationships with your employer, their employees, customers and business contacts.
There is little that can prepare you for being out on your own. Freelancing is a good middle ground to work from. Working for someone else is a good starting point. You need to walk before you run. Start off with some small catering jobs. You are working off of someones else’s instructions, but it should give you enough artistic licence to show off your talents. Freelancing is also a great way to network (you see a pattern here). The people that hire you can be a great source for financing down the road, always be professional and don’t burn bridges.
Build Your Name
Now you need to widen your exposure. Start building a name for yourself by entering cooking contests. Attend trade-shows and other industry events. Give out food samples at local fairs. Think of other creative ways to get your work in front of the public and industry.
Hire a Lawyer
I don’t care how much business experience you have you need outside legal advice. Even if the best business attorney in the country was opening a restaurant he would still want a second opinion. It’s hard to see all the legal forest fires through the trees.
Create a Business Plan
A business plan is like a blue print of how you are going to open your restaurant and how you plan to be profitable. No bank or investor is going to consider loaning you money without a well thought out business plan. Projections, every number you give them is just more for them to pick apart. The numbers part of your business plan should only serve to show them you have some business sense, anything more and you are just supplying them with reasons to say no. Trust me, what looks good in your eyes more often than not will backfire.
Money is the biggest roadblock between potential owners and their restaurant. It is very hard to get bank financing unless you have collateral, so your best bet will be private investors. You should start with that network you have been building. Go to those business owners that hired you for freelance work. Ask your old (or current) employer where they got their funding. REFERRALS, REFERRALS, REFERRALS. Even if you are turned down ask them if they know others that maybe interested. Let your investors do the work for you.
Nobody is going to invest money they need to rely on for income. They will however invest money that they would have spent in Vegas or on a new sports car. Restaurants are risky investments. If your main sales pitch is big returns, you need to rethink it. You should be selling dreams, and the fun of owning part of a restaurant, having their own table, etc..
Don’t ever guarantee them anything and don’t ever lie to them…ever. Work on building a good personal relationship with them that will last for a long time. Even if your restaurant is a failure if you where honest with them and have a good relationship most of the time they will double their bet with you.
Opening the doors
I’m not going to spend time describing this part because if you followed the steps above you should have good foundation to build on.
…. End Analogy.
There are countless books, websites, forums, etc., filled with “advice” on how to break into filmmaking. They talk about who you need to know, what you need to write, how to talk, walk and shit. But while (some) information is always a good thing, they don’t really tell you what’s truly needed. Yes you need some talent, but the true filtering process is all about how much an individual is willing to give up/risk to become a filmmaker.
You’re not competing with other filmmakers, only with yourself, and that’s the hardest competition there is. No one is ever kept from making it as a filmmaker. They only give up or die trying.
Make sure and check out all these articles: Pre-Production
If you have any business related question please ask them in our Business School Group.
Robert Rodriguez has put together a series of “Ten Minute Film School” segments on several of his DVD releases, showing aspiring filmmakers how to make good, profitable movies using inexpensive tactics. We have gathered them together for you here, including his “Ten Minute Cooking School” series, plus a few other extras.
I would also recommend checking out his book, “Rebel without a Crew: Or How a 23-Year-Old Filmmaker With $7,000 Became a Hollywood Player.
Sliders have caught on in popularity recently with the lightweight DSLR camera explosion. Some say that the effect is overused – perhaps it is, but in my mind adding some slight subtle camera movements to your shot adds a tremendous amount of production value. And when it comes to subtle movement, sliders deliver the most bang for the buck, both in terms of cost and ease of setup and use.
I’m going to demonstrate how to add a crank mechanism to an existing slider such as the indieSlider which I’m using here. A little bit of ingenuity and you should be able to adapt this to any slider.
But like all things on this earth, everything good thing comes with a drawbacks. A basic slider’s lateral movement is based on the human’s ability to smoothly push the slider carriage back and forth. Having done this a few million times, it’s not always so easy to get a great take out of the box. Fatigue, and angular physics all play into how smooth your shot will be.
So I wanted to take the human element out of it – or at least change the way the slider is powered. I wanted to centrally locate how the carriage is moved.
The following diagram lays out how I mechanized my indiSlider – this technique can be reworked to apply to any slider you have.
Here is a list of specialty parts you’ll need:
Tools you’ll need:
Here’s a really quick and basic run down of the process to assemble the mechanized slider.
First thing you need to do is drill a hole for the drive shafts on both the powered and the none powered ends of the slider. See the diagram above for the placement of these holes. The hole should be slightly larger than the 1/4″ shaft and enough to accommodate the nylon collar bearings.
Now you can remove both end blocks and remove the carriage sled. Using the diagram above drill two holes for screws and install screws so they hang just below the carriage but not low enough to hit the floor of the slider. You may need to inset the screws slightly if you have a big pan-tilt head on the carriage as the screws can interfere with the head.
Place the carriage back on the slider.
Next, assemble the shafts as shown in the diagram and fit them into the holes that you drilled earlier. Assemble each end so that it looks like the diagram above (note that only one side will have the handwheel – the other side will be free spinning).
Now that your ends are assembled, it’s just a matter of installing the timing belt. The neoprene timing belt listed above does not have much give but it works very well without any noticeable slipping. Make a loop on one end of the timing belt and hook it to the screw on one side of the carriage. Run the belt over the pulley, back under the sled, over the other pulley and attach the other end to the other screw under the carriage. I use a combination of tape and staples to keep the loops in place.
As a note – the hand wheel listed above has a bore of .24″ – you’ll need to widen the bore to .25″ to get the drive shaft to fit. You’ll also need to drill a hole for a locking screw so that the hand wheel doesn’t slip while in operation.
And that’s it…Having the mechanized slider opens the doors to all sorts of possibilities – including adding a step motor for controlled timelapse photography.
If you’ve priced out the items above you notice that this mod is a decent investment. At around $120 or so, it’s still far less expensive then $1000 crank sliders out there.
If you attempt this project – leave a comment below on how it worked out of you!
This is a tutorial on how to eliminate the shakiness in videos. The programs and files used are VirtualDub, ffdshow, and DeShaker v2.4 Image Stabilizer.