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LLC for the production. I don't know your particular situation, but probably a good idea for the company as well.
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Aug 23, 2014 22:15
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Welp I produced a feature this week. What have you guys been up to?
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Sep 1, 2014 06:39
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EnsGDT posted:Welp I produced a feature this week. What have you guys been up to? I can't beat making a feature in a week!
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Sep 1, 2014 07:36
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EnsGDT posted:Welp I produced a feature this week. What have you guys been up to? Congratulations! What's it called? Cast and director? Budget? When you say finished is that shoot, or are you delivered? I'm helping the producers of Joachim Trier's (JOACHIM TRIER IS BEST TRIER) next film, which is shooting in NY, close their financing. It's quite tricky. therattle fucked around with this message at 08:25 on Sep 1, 2014 |
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Sep 1, 2014 08:16
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Still hashing out boring production company business stuff.
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Sep 1, 2014 18:31
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therattle posted:Congratulations! What's it called? Cast and director? Budget? When you say finished is that shoot, or are you delivered? In order, "As It's Remembered" first time feature director classmate of mine Dustin McLean starring Jas Sams (who was in v/h/s) $3700 to do 75 pages finished principal in 7 days editing starts tomorrow. Hoping to make the Slamdance cutoff!
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Sep 1, 2014 19:17
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therattle posted:Congratulations! What's it called? Cast and director? Budget? When you say finished is that shoot, or are you delivered? Wow, Louder Than Bombs? I really hope it goes smoothly. I'm so looking forward to more stuff from Joachim. Are you a norwegian abroad or a local helping out?
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Sep 1, 2014 20:20
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EnsGDT posted:In order, "As It's Remembered" first time feature director classmate of mine Dustin McLean starring Jas Sams (who was in v/h/s) $3700 to do 75 pages finished principal in 7 days editing starts tomorrow. Hoping to make the Slamdance cutoff! This probably makes me come across as an rear end in a top hat, but you haven't produced the film - yet! You've shot it. Once it's edited, graded, mixed and delivered, THEN you've produced it! Shooting that many pages in 7 days on that budget is pretty drat amazing. I hope it turns out well! Greenplastic posted:Wow, Louder Than Bombs? I really hope it goes smoothly. I'm so looking forward to more stuff from Joachim. Are you a norwegian abroad or a local helping out? I am based in the UK. I got the job through a chance meeting with the US producer in Cannes. Being in the UK means I am well placed to try and reconcile the European co-production way of producing and financing with the more rigorous paper-heavy Anglo-American way. The film is too big and complex to be financed in the same way as most co-productions are, but there is a light touch and reliance on funders that the Americans aren't that familiar with. We are trying to marry the two methods (both of which have their strengths and weaknesses). Nobody had really taken charge of the multi-currency aspect of things either, and all it affects. I pushed hard to get the job because I loving LOVE Joachim's films. therattle fucked around with this message at 20:31 on Sep 2, 2014 |
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Sep 2, 2014 20:25
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therattle posted:This probably makes me come across as an rear end in a top hat, but you haven't produced the film - yet! You've shot it. Once it's edited, graded, mixed and delivered, THEN you've produced it! Haha, it does, but I live in LA so I'm used to it. Besides I love my fellow industry goons dearly, and I agree and understand with your point :P Editorial starts today, coloring to follow, and our mixer was hired last night at our Labor Day party. I'm gonna deliver the poo poo out of this movie. Literally the only thing that kept this doable was me yelling at the director about scope. He's one of my best friends and this is his seventh or eighth feature length script, but none of them have been doable by our means, until now. Three locations, four actors, and a crew of our friends and classmates is the only thing that kept it doable. I'm proud of it and I'll be prouder when it's done and at festivals. It'll be good.
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Sep 2, 2014 20:32
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How exactly does permissions and rights work for a film like Under the Skin, specifically related to brands and locations? At the start Scarlet is walking through a packed mall, with lots of people, shops, brands and logo's seen. Also, there's a lot of footage of her driving down high streets with shops in shot. How does this work? The film has such a small budget and from all the behind the scenes information I don't think they got permission to film everywhere and everyone.
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Sep 3, 2014 01:04
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I believe they use Crowd Releasesquote:CROWD RELEASE FOR TV/FILM PRODUCTION As for logos and stuff, it usually falls within fair use, right?
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Sep 3, 2014 01:52
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Filming in a large environment where you have little control will usually involve contacting councils and other entities beforehand and placing signs near and around the environment informing you that you may be filmed should you go past this point. Branding in a film environment usually falls into two categories product placement or incidental use. Placement is when it's been paid for by the company to appear as a featured item, e.g Heineken for James Bond. This is done to secure production funding and is more common than you may think, it even includes the guns. In this instance an agreement is set to show logos or products prominently in a shot for X amount of seconds, usually in isolation from other branding. Or, in most cases, it's classed as "incidental" - there's no way it could have been avoided in the background as you can't afford to close the streets, cover up the shopfronts or spend thousands in post. This also includes actors appearing on camera who are wearing branded products (which can also be a sponsor deal) or pulling out a packet of smokes during a live, which would usually be a breach tobacco advertising laws. On some situations, such as TV stations where you can't show items for commercial conflicts or for the fact you are non commercial, you have to find a way to avoid as much branding as possible. So this means making sure nothing obvious is in the background, like a Starbucks, or if they're wearing branded clothing, frame it so you can't see the logo, remove caps or sunglasses or at worst blur it out in post. Incidental also covers the use of items seen in the background or as props, such as eating Dominos or drinking Coke, it's not featured prominently in shot or a focus of the script so it's not regarded as a breach of trademark as it's not being used to directly sell a product - it falls under fair use unless it's seen as being detrimental to the product's image. Trademark breaching is usually for look-alike branding that may mistakenly confuse someone to buy a competing product. Conversely artwork is allowed to be filmed as it's classed as being incidental or related to the subject at hand.
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Sep 3, 2014 02:18
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You'd be amazed at how few people that should know this actually do. I did a vanity project with a brit comedy actor turned director who was HYPER fearful of clearance issues. He would put gaffer tape over car badges, wipe all dressing from a set in case there was even a hint of a logo in the background. He was convinced this would scupper him from being able to sell his film in the states. On a feature that was shot in 10 days, I spent 3 days of prep just making bottle labels. The most interesting set in the film was to be an old man's study, filled with rows of bookcases, until right towards the end he announced that no book spines could be visible, and that all books were to be turned around to the page edges were showing rather than the spine. I came in one morning and found him wrapping books in brown paper to disguise the spine. We weren't allowed to hire books from the prop store unless they wrote a guarantee that they were 100% cleared internationally, which of course, they wouldn't do. It was maddening. Production couldn't find a written straight answer as above - no idea how hard they tried - so the film ended up looking utterly bizarre. Waste of a month.
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Sep 3, 2014 08:45
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I know when I worked at the House of Mouse they'd replace brand logos with generic sew-ons. Some reality shows would obsessively take photos of all artwork and ask contact the original artist...despite a location permit almost ALWAYS carrying incidental artwork display. (It'd be in the artist-to-owner contract).
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Sep 4, 2014 06:14
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I don't know if anyone else watched Southcliffe but I remember spotting a bodge cover up on the steering wheel of an action vehicle someone was driving. They'd not covered up any vehicle logos at all up to that point - and I'm pretty sure that the cars were AV hires rather than placement. The character drives the car up to a bridge so they can jump out and commit suicide - would that be enough reason for a caution production to strike the emblem? I have noticed American reality shows always blur logos on shirts/bottles which is very distracting as that's not something we do here (or didn't used to...)
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Sep 4, 2014 17:15
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echoplex posted:I have noticed American reality shows always blur logos on shirts/bottles which is very distracting as that's not something we do here (or didn't used to...) If you're meaning stuff like American Idol with the judges all rocking Cokes/Pepsi on the desk or whatever, I was under the impression that that's only blurred in other territories because of no-advertising rules/different licensing deals and is absolutely shown very deliberately front and centre (sorry, center  ) in the US.UK chav-baiting shows like Jezza Kyle putting a big wonky bit of gaffer tape over somebody's baseball cap logo is always amusing though (apparently they can't convince Biffa to just not wear his prized hat?). It feels like the spiritual successor to Blue Peter shoddily applying masking tape to
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Sep 4, 2014 19:10
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franco posted:UK chav-baiting shows like Jezza Kyle putting a big wonky bit of gaffer tape over somebody's baseball cap logo is always amusing though (apparently they can't convince Biffa to just not wear his prized hat?). It feels like the spiritual successor to Blue Peter shoddily applying masking tape to I've worked on Jeremy Kyle and they definitely encourage Biffa to wear that hat.
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Sep 4, 2014 19:19
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echoplex posted:I don't know if anyone else watched Southcliffe but I remember spotting a bodge cover up on the steering wheel of an action vehicle someone was driving. They'd not covered up any vehicle logos at all up to that point - and I'm pretty sure that the cars were AV hires rather than placement. The character drives the car up to a bridge so they can jump out and commit suicide - would that be enough reason for a caution production to strike the emblem? I apologize for not being helpful, but I watched Southcliffe and loved it.
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Sep 4, 2014 19:48
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HUNDU THE BEAST GOD posted:I apologize for not being helpful, but I watched Southcliffe and loved it. I thought by the end the absurd levels of misery were getting a bit much, but overall, I really enjoyed it. It went out as a TV show here, but I think it was abridged into a film for festivals overseas. How did you see it?
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Sep 4, 2014 20:10
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echoplex posted:I thought by the end the absurd levels of misery were getting a bit much, but overall, I really enjoyed it. It went out as a TV show here, but I think it was abridged into a film for festivals overseas. How did you see it? Netflix picked it up and presented it as a Netflix Original, presented in four parts. First of all, it's beautifully shot, second, I love Anatol Yusef (who Americans know as Meyer Lansky in Boardwalk Empire) and Rory Kinnear, and third, I actually thought it didn't lay it on too thick. Sure it's a story about grief and misery (and god knows there's enough of those), but I appreciated the elliptical storytelling.
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Sep 4, 2014 21:41
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therattle posted:This probably makes me come across as an rear end in a top hat, but you haven't produced the film - yet! You've shot it. Once it's edited, graded, mixed and delivered, THEN you've produced it! Following up, submitted our rough cut to Sundance. Fingers crossed!
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Oct 16, 2014 19:37
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Oh shi- finally my knees are saved! http://vimeo.com/107176410
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Oct 21, 2014 21:42
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BonoMan posted:Oh shi- finally my knees are saved! This is awesome, but all I can think of is how the "traditional" way that takes a few minutes and some labor takes around $1 of tape and the new way takes 10 seconds and $14 of tape. That's a shitload of tape to use.
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Oct 21, 2014 23:17
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Slim Killington posted:This is awesome, but all I can think of is how the "traditional" way that takes a few minutes and some labor takes around $1 of tape and the new way takes 10 seconds and $14 of tape. That's a shitload of tape to use. We always do full coverage of the cord (without it the cord can still be a trip hazard) anyway so it uses the same amount for us.
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Oct 22, 2014 01:11
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We fully cover for long-term setups, but anything under a week or so and it just gets enough to make it safe.
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Oct 22, 2014 01:27
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Oh hey by the way, if anybody is looking to tap into the next "emerging market" in Hollywood South, Mississippi is about to loving explode. Lots of jobs popping up down here!
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Oct 25, 2014 02:16
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Someone asked about sound/foley a couple of pages ago, but just wondering generally. If there's a big sound base and it's usually people on the crew or a few older dudes who do most of it, what's the best way to get involved? Is making a soundreel (I have no idea if people do this for sound jobs) and just hitting people up to help them out the way to go? I've done it for games, music and friends little movie projects etc and it's something I really enjoy. Just have no idea how to do more of it (outside of messing around).
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Nov 2, 2014 13:25
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What aspect of sound are you hoping to concentrate on? Saying "I'll do anything!!" doesn't win the old timers over. I guess to start off, figure out what area you want to focus on (I suspect you're looking at post/mixing) and find a way to advertise this, are there any indie or emerging film hubs where you are? Elsewhere, Mandy.com is a reasonable place to start looking, the loop.com has some - else find some trade magazines and figure out who is shooting what and where and be a squeaky wheel. And yes a showreel demonstrating what you can do in sound will help. LinkedIn usually has groups of like minded practitioners who can give tips. If possible, find some workshops or something you can attend to learn a bit more on how it's done. All the YouTube videos about whatever you're using can't really solve creative problems - there's more creativity to sound than "apply filter and crossfade". Enthusiasm and drive will generally win over being a tech wiz robot. And if anything you'll end up knowing a bunch of people and if the person teaching you is reasonable get some potential contacts to buy beer for.
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Nov 2, 2014 13:52
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WebDog posted:What aspect of sound are you hoping to concentrate on? Saying "I'll do anything!!" doesn't win the old timers over. Post-production (especially foley, but I'm not experienced in it. I do a fair bit of mixing in a few different areas) is what interests me the most and would realistically be what I'm good at. Thanks for the post, appreciate it. It probably seems silly to have to tell someone that but it's very difficult to narrow the view when you're looking at giving something a crack. I think a specific workshop is the first thing I should jump on, I'll just keep putting my hand up for any opportunities that come my way apart from that and try to get a reel together. I wouldn't exactly call my city a hub but it's full of universities and plenty of movies get shot around here, I'd say I really just need to be a bit more proactive if I want to be more involved going off what you said.
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Nov 2, 2014 14:08
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Say you're on a low budget film (£250k area) where the department heads are on between £800-£1000 a week - what kind of wages are 3D/VFX people on? Is it comparative to the art dept or camera? Or lower because they're just nerds at their bedroom desk with pirated copies of Maya*? Do they have major expenses, do they charge kit hire, etc? Is it a buyout or a weekly rate? What are the rates for a VFX Supe on a similar budget? I know nobody in Post-land and would like to, but knowing where to find people with experience rather than being bedroom modellers is a worry. I suspect that I'd be after a one/two man band sort of deal rather than going to a full on posthouse, but am I wrong? *I kid
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Dec 4, 2014 11:18
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echoplex posted:Say you're on a low budget film (£250k area) where the department heads are on between £800-£1000 a week - what kind of wages are 3D/VFX people on? Is it comparative to the art dept or camera? Or lower because they're just nerds at their bedroom desk with pirated copies of Maya*? Do they have major expenses, do they charge kit hire, etc? Is it a buyout or a weekly rate? What are the rates for a VFX Supe on a similar budget? I know nobody in Post-land and would like to, but knowing where to find people with experience rather than being bedroom modellers is a worry. I suspect that I'd be after a one/two man band sort of deal rather than going to a full on posthouse, but am I wrong? We found an experienced one man band who did all our agreed VFX for a flat rate. It's a full buyout. PM me for numbers. He was pretty good for the amount we paid.
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Dec 4, 2014 12:14
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Here's a massive spreadsheet detailing all sorts of fields and wages. The average hourly rate people tend to quote is around $25 - $30 an hour. There's an ILM sequence supervisor listing at $47 an hour. For firms like Double Negative, they'd likely only accept jobs that have a considerable budget to go with it as they're allocating people and resources to be able to work on it. The BECTU suggests. quote:The recommended minimum rates for a 10-hour day are: Special Effects Trainee £112 Special Effects Assistant Technician £252 Special Effects Technician £325 Senior Special Effects Technician £370 Special Effects Supervisor £1,077. If you do your research well you'd likely find some people who've worked for sizable houses who are happy enough to do some quick jobs. Get someone who has the chops, not a post-grad who will almost always end up costing you more as you hire someone to fix their problems.
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Dec 4, 2014 12:18
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therattle posted:We found an experienced one man band who did all our agreed VFX for a flat rate. It's a full buyout. PM me for numbers. He was pretty good for the amount we paid. I will PM you At Some Point (or we can get that drink you keep teasing me with). What did he do? Touchups or full on CG work? Am reasearching a personal project that requires a fair bit of modelling and digital mattes (because I'm a dickhead) and I just want to know what's doable and what's not. WebDog posted:Here's a massive spreadsheet detailing all sorts of fields and wages. BETCU can bloody do one - I saw their rate card for Art Dept and they are taking the piss. I wonder if the Post wages on there are similarly below acceptable (that's a good call, though, I didn't think of checking that). I think your US one and converting from there is a better option actually - thank you. I used to live with someone who was a compositor at Framestore and from what he said they were always inches away from bankruptcy, and constantly letting people go, but I don't think they take anything without a massive VFX budget. Maybe smaller post houses would be interested.
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Dec 4, 2014 12:45
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echoplex posted:I used to live with someone who was a compositor at Framestore and from what he said they were always inches away from bankruptcy, and constantly letting people go. On top of that many companies go for an equity stake to secure the contract, expecting a return on the film's performance as it's cheaper than the studio paying the full fee. In part it's what sunk Digital Domain as Ender's Game (and others) didn't recoup the company's extravagant expenses in the hopes they'd pick up more acclaim and be the next go-to for major blockbusters. Which in part leads to horrid underpay and sub-contracting work to India for peanuts as the execs struggle to keep the negative zeros sinking the ship. For more info; google John Textor. One interesting thing with the Sony leak is that it's revealing wages of who gets paid what and the gradual realization of what you're earning as a post-grad is causing enough disquiet that there's now little notices on "student guides" to not discuss what you're earning. Also leaked was a massive Animation and Visual Effects Survey done by Croner, which could prove interesting within the various lawsuits around wage fixing, poaching and collusion within the industry.
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Dec 4, 2014 14:15
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I don't know if I've ever asked this before, but since becoming a parent its bugging me more and more. Why don't DVDs offer a PG version option, where you can choose to watch a version of the movie that could basically air on network tv? I'd love for my kids to be able to see Guardians of the Galaxy or Avengers or Spider-Man but some of the violence and language I'm not too keen on exposing them to. You can already get director's cuts, behind the scenes, etc etc etc. How hard would it be to do something like this as an extra?
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Dec 10, 2014 21:39
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Oracle posted:I don't know if I've ever asked this before, but since becoming a parent its bugging me more and more. Well, in terms of storage space you're basically doubling the required space for a movie. I think also the studios don't actually make the PG version, it's contracted out. Couple that with low demand and there's not much reason to do it.
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Dec 10, 2014 21:45
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computer parts posted:Couple that with low demand and there's not much reason to do it. It's really more this than anything. There's no incentive to do it for distributors, or for the production company, since the number of people who would buy that kind of item wouldn't make up for the costs it would take to produce it. Especially not when you can just wait and see it on network television eventually. I have kids but I'm a bad parent because I let them watch pretty much anything that's not horribly inappropriate. I watched poo poo as a kid I shouldn't have, it doesn't ruin them.
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Dec 10, 2014 22:01
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Edit: never mind.
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Dec 10, 2014 22:03
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Oracle posted:How hard would it be to do something like this as an extra? Such a market exists but a very very limited one that's on the decline as it's a very very specific niche (hello Utah). The only thing that seems to exist is Clearplay and look what it has. From what I can gather it drops or mutes chunks out of the timeline based on what the company's censors think and what you toggle on, i.e violence, sex, language etc etc. Plus depending on what is going on, chunks of the film will vanish.
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Dec 11, 2014 02:01
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computer parts posted:Well, in terms of storage space you're basically doubling the required space for a movie. I think also the studios don't actually make the PG version, it's contracted out. Couple that with low demand and there's not much reason to do it. It could be done with minimal extra space by just adding a PG soundtrack & using alternate chapters for any scenes that should be cut. Afaik some of the Memento DVDs have the chronological film as an option where it just reorders the chapters, so presumably you could do a similar thing with just the regular chapters, sans the gory ones. It's the demand vs. effort, though, for sure.
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Dec 11, 2014 07:26
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