 Print This Post
|
|
Reading time: < 1 minute
FreshDV had a post the other day talking about how to get crane or dolly like shots on the cheap.
The Original Post:
http://www.freshdv.com/2008/06/tripod-pseudo-dolly-crane.html
The Video:
Video Cam Super Trick! – video powered by Metacafe
Print This Post
|
|
Reading time: 5 – 8 minutes
What do you call an “A-Grade” lecture?
In an ideal scenario where money, equipment, and human resources are not an issue you may be able to produce something along the lines of what multi-million dollar studios produce. A speaker who can hypnotize and move people with their words. A setup where you have multiple professional grade cameras facing both the audience, and the speaker. Elaborate lighting that is setup in a way that is not uncomfortable to either the speaker nor the audience, and at the same time is able to set the right mood. Technical directors and editors on hand that can switch from one angle to another with such finesse that you hardly notice the fact that there is a whole crew of people behind all of this…
…delivering an experience that is both exciting, inspirational, entertaining, and beneficial as a whole…
…but the layman doesn’t have all that at their hands…or does he?
The last two weekends of January I spent my time in Houston attending an AlMaghrib seminar with Qabeelat Hosna on the topic of Thematic Tafsir. I was invited by Eman Rush to help with the production of the DVD for the seminar. Although we had to cancle production on the second Friday of the seminar due to a location change that was unsuitable for recording there were many lessons learned that can be applied by anyone to produce a true A-GRADE lecture.
I’m a firm believer…
…in the fact that the technology and equipment doesn’t define the production, rather its the passion that drives the producer. That passion will lead the producer to come up with creative ways of meeting the deadline and keeping to a standard at the same time.
- — -
Leadership & Character
- — -
Originality is Golden
- — -
Tie Your Camel
- — -
InshaAllah this is of MASSIVE benefit to you, leading you to amazing RESULTS. I’d love to see the product of your efforts.
Print This Post
|
|
Reading time: 1 – 2 minutes
Life hacker has an excellent post on shooting with a camera. Below is an excerpt from the post:
Nothing brings out the camcorders like the holidays, which is why this is the perfect time to admit an ugly truth: You suck at making home movies.
No, really. I’m sure you’re a nice person and all, but there’s more to videography than just taking the camcorder out of the box and pressing Record.
As with photography, good videography requires a bit of know-how. Luckily, I know how, so here’s my list of ways you can improve your home movies. You won’t come out Soderbergh on the other side, nor even Singer, but your Uncle-Henry-dropped-the-turkey-on-Aunt-Edna’s-head submission to America’s Funniest Home Videos will look a lot better.
Check out the entire post: 8 Ways to Shoot Video Like a Pro
Print This Post
|
|
Reading time: 8 – 14 minutes
FreshDV had an awesome post earlier this week. They had video interview featuring Jerome Courshon on the topic of film distribution. He conducts an 8-hour seminar called Distribution 101 where he teaches his students about the reality of distribution. I’m planning on attending the March 8th seminar in Los Angeles. If you’re planning on going, give me shout out.
Below are my notes from the video interview that was posted by FreshDV.
- — -
What is current movie distribution methodology?
–
People think you make it and put it on the net or DVD. its not a viable way. Tradition is to sell it to companies that do theatrical, cable and they pay you and put it out in the market place. We’re the little guy, and they are the big guy.
Do studios sell to other distribution companies?
–
Nope. They are their own distribution companies: 20th century Fox, Disney, Timewarner, NBC-Universal — they control the distribution system, and have the most power and the deepest relationship with the market place
Instead of moving 5-10K units (copies that a indy distribution does), a major studio can do 15-20K units. More money involved. There are some indy distribution companies that can get it out in a small way or somewhat large way.
How are rights negotiated with a distributor?
–
DVD home video for example; making a deal with an indy distribution…everything is negotiable. There are things that both sides will not backdown on. Some distributors will ask for lenth of terms. some will ask for 15-20 years (unacceptgable, not needed), 7 years is common. First 2 years are the most profitable.
Domestic deals=US&canada. International rights=all nations outside of US&canada. — most home video companies in the USA are domestic dealers.
Are those rights considered to be exclusive?
–
Yes. Almost always an exclusive contract. Some companies do do non-exclusive contracts, its not impossible.
What some have done is: Make a deal with a small distributor who’s ability is limited, and you make a deal where you also work. You sell and promote too and you buy from them at cost+10%. Most dont to this.
What are different models of distribution?
–
8 basic distribution ways: Many want a theatrical release. you feel good and someone has put money into your project. If you do that then you cannot sell cable rights first. You cannot sell internet rights, etc. A theatrical company will want ALL rights for US&Canada. — When amovie goes into the theater (even if its going to lose money) it raises the value of it in other distribution areas. Thats when retails and subchains will want to buy it.
What is a specialty arm?
–
A term used to describe the different parts of a studio. ie “fox searchlight” is a specialty arm of 20th century fox.
How are profits shared with a distributor?
–
When its a theatrical release, a distribution company will want many more than 5-7 years, in some cases forever. If a distributor wants to pickup a movie at sundance then you wont own the negative anymore.
Does a filmmaker get residual income after selling a film?
–
In theory they should. Typically when a filmmaker gets money upfront, that is probably all the money they will ever get. They can possibly make money from the international rights.
What should you expect to earn after the original payout?
–
On home video market there aren’t a lot of large amounts of advances being paid upfront.
What are common terms for distribution deals?
–
There are three somewhat standard deals between distribution and filmmakers
What accounting pitfalls should I be aware of?
–
When makin a deal with home video and theatrical, filmmakers should get an entertainment attorney who knows distribution, not says it, but really knows it. If you get a general practice entertainment attorny then they may miss certain things that should be in there. — If they have worked for sales company or a distributor, then they will know their stuff.
What kind of returns can an independant filmmaker realistically expect to earn?
–
Say you made a movie for 100,000 bucks (probably dont have any big names in it.) and its a drama, romantic comedy, or comedy — it probably not going to sell. It’s a case by case situtation. If its only home video and didn’t have theatrical release then it probably wont be sold for much if at all.
If it did have a theatrical release, the artwork was kickbutt, the presskit was awesome and the title is catchy then it may make money, especially if it was a hit. — these genre’s are hard sells. You probably aren’t going to get an advance either.
If you have big names then you are looking well into the six figures. Big names mean a lot. Can you get big names for a $200,000 movie? Probably not. If you are making a million dollar plus movie then you better have some big names in it.
If you have no big names in the movie then you are not going to make much in the forign market, and maybe some in the domestic market.
If you are making a $5000 digi movie, can you make money on it? Probably. Make sure you have some good artwork and a presskit. Will it make you the next speilberg, probably not. Can it happen? it can, but unlikely.
How do broadcast and cable markets compare to theatrical?
–
Things shift every few years. HBO may go on a shopping spree one year, and not purchase for another.
If you have no names, or if you are a noname, and you have no theatrical release then it will be difficult to get a deal. If you have no names but have a theatrical release, then you can get a deal without too much difficulty. If you had names and a theatrical release then it should be fairly easy to get a deal.
Does network TV have a higher payout than cable?
–
With broadcast you will probably need a movie with some known names on it.
Is aquisition format a consideration for distributors today?
–
If you shot 35mm, then its worth using that in your promotion. It puts you a cut above the 2000 others who are shooting in digital. Does it look better? in theory yes.
If you shot on DV, dont tell people. If they ask, then tell them, but don’t put it out there. Most movies in that “Shot on DV” category are precieved as movies that are no good. In most cases they are no good.
So how do i go about securing a distribution deal?
–
There are 2 categories; dramas, comedy/romantic comedy.
You have to build a pedogry. You have people in the press and festivals that say that your film is good. Put that into your press kit. You need this pedogry to get your film be of interest.
If you make a thriller, horror, adventure…then you dont need to be so precise b/c people want to see these types of movies anyway. Give the impression that you know what you’re doing on the bussiness side of things.
If you made the latter but festivals aren’t that importnat. Make sure you have good artwork, title.
How can I locate distributors?
–
there are several directories: Hollywood creative directory, there is a book hollywood distribution directory published by them. Its not a complete book for homevideo distributors.
I give out a list as part of my seminar.
If you get a subscription to video business magazine, home media retail magazine, and get free email subscription, then you get to know who the real players are. — Filmmakers should be browsing this.
Isn’t filmmaking an art form? Do need to earn money?
–
Its also a form of business. If you want compensation for making your movie then realize that its a business.
The most successful producers know the business and have become businessmen. If certian people have had bombs in hollywood, thier career is over for a while, unless they know the business.
Is there a good way in today’s market to earn money through alternative distribution channels?
–
Generally, no, but nothing is absolute. Every couple years a movie comes along and a filmmaker is able to bypass typical distribution and make a dent. — a movie like that was “reversal” and was able to generate $25,000 a year in sales. He had a niche audience. If you have a niche audience then you can make money.
If its not a niche audience, get a vial campaign to work…it doesnt work. The only one that really worked was blair witch project. Its harder for things to go viral these days since the internet has matured.
Movies for download, and iTunes? Will people go there in large numbers? Eventually…maybe? A large part of the nation still doesn’t have high-speed internet access. A lot of people are still on dialup. They will most likely do video on demand or video rental.
Time will tell if people can really make money by selling videos online.
Currently is mainstream Hollywood considering any alternative distribution for thier films?
–
Absolutely. They are probably a little worried as more people get broadband internet, they can easily download. The audience that can do that is pretty small relatively.
Will it grow? yes. Significantly? probably not. What will probably happen is studios will try to control the pipeline.
Distribution Seminar:
–
Secrets of distribution. Get your movie disributed. Its an 8 hour seminar and people learn how to get thier movie out there. www.distribution.la
Advice:
–
If you are contacted by a producer rep, be cautious. Many producer’s reps are not effective. They are like salesmen. Most of them you don’t need. Don’t sign with them. — – Do your due diligence. Sales agents are different. They try to sell your movie to different markets. Its important to have one of those.
Print This Post
|
|
Reading time: 7 – 12 minutes
The article…or should I say “class transcript” was found on: http://www.exposure.co.uk/makers/minute.html
Good Morning Class!
Now a famous film-maker a while back said something about ‘Everything you need to know about film you can learn in a week.’ He was being generous. You can learn it in 10 minutes.
Set your watches we will be out of here in ten kids.
Okay, so you wanna be a film-maker?
(Class choruses ‘YES’)
Wrong! You ARE a film-maker. The moment you think about that you want to be a fillm-maker you’re that. Make yourself a business card that says you’re a film-maker, pass them out to your friends, soon as you get that over with and you’ve got it in your mind that you’re one you’ll be one, you’ll start thinking like one. Don’t dream about being a film-maker, you are a film-maker. Now let’s get down to business.
Let’s Play!!
What you need to learn is that being creative is not enough in this business. You have to become techinical. Creative people are born creative – you’re lucky. Technical people however can never be creative. Its something they’ll never get. You can’t buy it, find it, study it – you’re born with it. Too many creative people don’t want to learn how to be technical, so what happens? they become dependent on technical people. Become technical, you can learn that. If you’re creative and technical, you’re unstoppable.
Experience – Do you have experience in movies? You do, right – you WATCH movies. Now you need to have movie experience – you’re not going to learn from just watching movies, you’re learn some things, you’ll learn more picking up a camera, making your own films, your own mistakes – mistakes don’t have to be mistakes, everything is subjective – a mistake to one person is actually a piece of art to someone else. Hide behind that, tell everyone its art, you can get away a lot.
Start with a screenplay. Does anybody here know how to write? No – good. Everyone else writes the same way. Start writing your way. That makes you unique. You can take writing classes, that’s good, but don’t bother to go to film school or you’ll be making films like everybody else. We want to see your film.
How do you write a script? Well, you obviously don’t have a lot of money or you wouldn’t be in my class. So you wanna make a movie but you don’t want to spend a lot. You’re gonna come up with problems everyday on your set. You can get rid of the problem one of two ways – you can do it creatively or you can wash it away with the money hose. You got no money, you got no hose. So let’s make a screenplay for a movie you can actually make without having to make your parents poor. Let’s make a cheap movie.
How do you make a cheap movie? – Look around you, what do you have around you? Take stock in what you have. Your father owns a liquor store – make a movie about a liquor store. Do you have a dog? Make a movie about your dog. Your mom works in a nursing home, make a movie about a nursing home. When I did El Mariachi I had a turtle, I had a guitar case, I had a small town and I said I’ll make a movie around that.
How do you visualise a movie? With storyboards, you can do that. You can previsualise your movie and draw them out, but what you should really do is make a blank screen for yourself and watch your movie. Close your eyes and stare at this. Imagine a screen, imagine your movie. Shot for shot, cut for cut. Sit there, close your eyes and get rid of everybody, get rid of all your thoughts in your head except your movie and watch your movie. Is it too slow? Is it too fast? Is it funny? Does it make sense? Watch it and then write down what you see. Write down the shots that you see. And then just go get those shots.
Equipment. OK let’s go over the equipment. The worse the better. You don’t want anything too fancy, remember this is your first movie – you’re not Spielberg yet. I used this one for El Mariachi, almost the same one, I used a 16M this is a 16S, this is exactly what I had. It helped me move fast because it was light, it was very noisy so I could do the sound in a wacky way, but this thing here would cost you about $2000. Don’t spend that kind of money, find some monkey that own’s one. I found somone who had one of these sitting around, he wasn’t using it. I borrowed it from him, I shot my movie.
(Points at what look’s like a damn heavy tripod) Look at it, this is a nice stand, its a very solid stand, y’know what’s gonna happen? The camera is gonna stay on the stand, you’re just gonna keep it there, ‘cos its so nice, meaning your movie’s gonna look…stiff. Take it off of there, sit in a wheelchair, push yourself around, get some energy in your film. That’s the great thing about first films is that they have so much life and so much energy. Big productions can’t even duplicate that energy, because they’ve got too good a stand and too much crew and everything is really smooth and polished and its lifeless. Add life to your film by getting rid of the fancy stuff. (Points at the tripods) Too good, too heavy, too good – just use your hands.
Here’s a lightmeter, this isn’t the write one, I broke my other one. This is a spotmeter, that’s OK but it’s too fancy. You just need one with a little white dome on it, point it to your subject, read the light, look at the number on your lightmeter – remember your lightmeter is your friend – feed that into lens and the iris, and then you’re set. Start shooting.
Don’t overlight. On Mariachi I had two lights, regular lightbulbs, they were balanced for indoor film, so look fine. In fact everyone said the lighting looked moody because there was very little light . Your mistakes, your shortcomings suddenly becomes artistic expression.
Finally, postproduction. When you’ve finished shooting your movie what do you do? (Picks up video mixer) These are your friends my friends. Video editing systems, computer editing systems, anything like that, its immediate, its easy, its cheap. Do not cut on film. Film is your enemy. You may be shooting on film but don’t cut on film. If any of you want to cut on film get out of my class right now. Go spend $20,000 on a real film school and do that. You’ll never get a job though – believe me.
Everything is on computers or video these days. Film is slow, film is expensive, film is not creative – film take’s too long. Cut on tape that’s what I do. I shot Mariachi for nothing. I edited on video. I had a three-quarter inch master that looked beautiful because the negative was transferred right to tape. There was no middleman so it looked like 35mm – clean, pristine. I made VHS copies of this, sent them out all over Hollywood. I never made a film print. (Picks up film strip) Waste of money. You have to string them up, they get worn out. They’re expensive. They’re copies of your negative. You don’t want that, you don’t want copies of your negative, you want your negative…on tape. Where people can duplicate it and watch it and get you work.
OK so you’ve made your movie, you’ve cut it, you’ve got it out, people want you. What do you do? The first thing you want to do is get an agent – right away. Hollywood is full of sharks, you need a shark working for you. These guys go and get you the best deals, they get you the best prices, they get you the best movies.
What you’ve learnt is what no one else has. How to make a movie dirt cheap. No one else in Hollywwod knows how to do that. You guys can make them cheap, you guys can make them better, don’t get swallowed in the system, take advantage of your position.
Now I make movies that are still low budget but they look like big budget movies because I learnt the techniques that I just showed you today.
All right I’ve got to go back and do my own films so I hope you guys learnt something today, I hope you grab some of these cameras and go shoot something of your own, I hope you write down the ideas that you have, the dreams that you have.
Stop aspiring, start doing.
See you in Hollywood – be scary!
|
Leechon, Inc. is a marketing company focusing on marketing and branding strategy with a concentration on social media and online marketing. We see video as an essential tool in marketing. We've produced promotional videos, commercials, trailers and social media content for clients. We also have independent projects of our own. If you want to learn more about what we do, see the about page. |
