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TrixRabbi posted:I'm not sure if this is what you meant by what kind, and while I understand they got by on A) A shitload of talent and B) A shitload of luck and determination, I'd like to make films like the Coens or David Lynch. Essentially art films or other off the beaten path style stuff. I guess this leads me to my own question: I graduated from an animation school, where, if you're good enough and have a demo reel or short film on Youtube, chances are LA will ask you to come out to them. Obviously for most people it doesn't end up that way, but for us, it seems like people are very impressed if you can show them a product you have managed to complete all by yourself, that also demonstrates that you can do pretty much every task required to make a complete animated narrative (storyboards, layouts, animation, sound effects, editing, compositing, etc). How does this work in live-action? Is it just so saturated out there with student films and whatnot that just doing the film itself is not likely to turn heads? Maybe it's because animation is a relatively small world, but it seems like if you demonstrate something that someone else wants and the timing is right, everything else kind of falls into place. I guess I'm a little bewildered that so many people want to start talking immediately about producers and distribution and agents instead of thinking of a nice, solid idea that can be made for very little money, and just going out and doing it. Is it just a cruel fact that such an activity would be unlikely to get you anywhere, career-wise? I have kind of a jack-of-all-trades technical background and an independent mindset, so obviously my approach wouldn't work for someone who wanted to specialize, but I imagine a small-scale project demonstrating your resourcefulness would be a good indication that you have the chops to both write and direct yourself (assuming it's done well). IMHO, if you want to do things your own way, it's always worth knowing how much you can get done by yourself with the amount of resources you have, and then seeking out components as the need for them arises. I have a feeling some of what I'm saying would be applicable in the live-action world, and others not so much; maybe others in this thread can help me sort out which is which. I don't know if my "just do cool poo poo on the cheap until someone notices, maybe while earning money and getting to know people on the side if you can" attitude would actually fly outside of Toontown. Also here is a response to your question about how to get a PA gig, from a couple pages back.
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Jul 3, 2011 04:27
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This goes to both TrixiRabbit and Automatic Jackquote:I'd like to make an animated show with the vibes of Twin Peaks. My method of doing so would be to try and make a little pilot....I know people from school who are working at Pixar and Blue Sky and wherever, but sometimes just having the contact isn't enough; they're happy animating dogs... I bolded half of that to show you something, you say your friends at Pixar are having a "lovely time" animating dogs when they "really should be creating the next Fantasia", but they are actually doing far more than you are in the pursuit of that goal. Every major animator started out tweening bags of sugar to start out with, not sitting alone in his room creating some technically great but self important piece of fluff. It is important to have an understanding that at points in your careerer you have to wear the assistants hat, and be bloody good at it. If you treat it like some low-rung ladder job on your path to greatness then don't be surprised that you don't get calls returned. You can have the best personality in the world, but if you cannot perform the basics of your craft, you're not in it for long. Having a project written, directed, filmed and scored by the same person isn't really screaming "talented virtuoso!" it gives an impression that you are too locked into your vision and you are unable to communicate this well to other people. Telling me "It's like Twin Peaks, but with a talking pie!" gives another clue that you don't know what you're doing or what you want to achieve it. I get asked questions like "how do you see this doco ending", it's a way of asking "have you thought this through". My other concern is you appear to be looking down at producers and much of the rather important aspects that go into orchestrating a project and actually giving you the equipment to work with. My advice, go back to animating dogs, pester your mates at Pixar to get you to chat with someone who could give you a lead into some day job, it's a better start than sitting on your arse.
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Jul 3, 2011 06:10
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WebDog posted:This goes to both TrixiRabbit and Automatic Jack It's funny you should mention the bags of sugar and all that; my school actually did stress humility, and that we would all be cogs in the machine at some point, and I don't really mind that at all- as long as I have time to do my own thing every once in a while, and be noticed for it. Sorry if my earlier post didn't reflect my actual attitude towards things, and made me come off as know-it-all and rude. I am pretty confident with how my career is going at the moment, but I should probably stop trying to give advice when I don't know what I'm talking about. I'll get back to you ten years from now. (I'll probably be a producer... I hear that's where women in the animation industry usually end up :<) I would actually love a little studio job in some commercial house, and currently have some minor leads on acquiring one (sending in portfolios, knocking on doors, etc), but I feel like if you eventually want to make your way up to full creative control, there's nothing stopping you from doing it now. But yeah, if I was in live-action, I would definitely go for this PA thing. quote:Having a project written, directed, filmed and scored by the same person isn't really screaming "talented virtuoso!" it gives an impression that you are too locked into your vision and you are unable to communicate this well to other people. EDIT: Okay, here's an anecdote that might actually be helpful. One of the aforementioned Pixar mates made a classical 2D film about a dog trying to retrieve his stuffed toy in a sort of steampunk futuristic industrial city. It was incredibly well-acted, the backgrounds were superbly painted, the music and timing were great (I colored and did like two seconds of inbetweening)... Sure, these were all factors in Pixar's hiring him right out of school, but here's another reason: They were working on Up and really needed animators who demonstrated knowledge of how to animate dog characters. Now, Brave is coming out. Apparently he's animating the dogs. I didn't even know there would be dogs in that film. Now THAT is a solid gig. quote:Telling me "It's like Twin Peaks, but with a talking pie!" gives another clue that you don't know what you're doing or what you want to achieve it. Automatic Jack fucked around with this message at 08:27 on Jul 3, 2011 |
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Jul 3, 2011 08:16
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WebDog posted:This goes to both TrixiRabbit and Automatic Jack He didn't say or imply either of those things in your fake quotes.
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Jul 3, 2011 08:58
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Automatic Jack posted:They were working on Up and really needed animators who demonstrated knowledge of how to animate dog characters. Here's a fun question; you're an assistant to a DOP and the director rocks up and asks you "what do you think of the lighting?" What do you say? A: "The man's a genius!". To suggest any alterations would put you on the spot as competition. The average age of anyone getting regular work in this industry is 40. And usually by then you have to somehow prove you have an independent style that's marketable and desirable. Also I pointed out the Twin Peaks with talking pies because both Automatic Jack and TrixRabbit mentioned Lynch in their posts as some sort of influence.
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Jul 3, 2011 09:16
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Automatic Jack, nice posts. I have seen numerous directors get their first feature from a great short. A good idea that is within your abilities to complete and is executed well is about the best calling card you can have, in my experience.
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Jul 3, 2011 23:29
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Been following this thread for a while, and finally have something to share. I wrote a book for HarperCollins back in 2009 that got optioned by Katie Jacobs (excec producer of House) last year. Well, we finally have a production company and a writer (so pumped - Sayles was actually required reading for me in film school), so the official announcement was just put out. I'd be happy to chime in and answer any questions folks had from a different angle of the industry. I've been through VFX testing, early screenwriter searches with Jacobs, and of course all the paperwork that goes along with trying to negotiate moving book to picture. Cinema Blend posted:
Link: http://www.cinemablend.com/new/Kevin-Michael-Connolly-Memoir-Double-Take-Coming-To-The-Big-Screen-25574.html
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Jul 7, 2011 19:33
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^^^You're that dude? The skateboarding photographer? Cool, man. I just read this press release on some other movie site, too. I haven't read your book but is the film supposed to be just about that photography project or more of a biography?
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Jul 7, 2011 20:38
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Holy poo poo! You're an impressive dude. How much input have you got on writer, director and actor selection? "Meaningful consultation" or some kind of qualified approval right?
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Jul 7, 2011 21:35
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therattle posted:Holy poo poo! You're an impressive dude. How much input have you got on writer, director and actor selection? "Meaningful consultation" or some kind of qualified approval right? I meant to ask this, but modified: is creative input negotiable in general (eg. saying that you'll take less money in exchange for creative input), or only if you're a relatively-powerful author? I assume that I've already--at least partially--answered my question, but I'd like to know for sure.
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Jul 8, 2011 03:27
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Obstacle posted:I'd be happy to chime in and answer any questions folks had from a different angle of the industry. I've been through VFX testing, early screenwriter searches with Jacobs, and of course all the paperwork that goes along with trying to negotiate moving book to picture. Best advice: Don't get excited until a camera is rolling. But that's awesome, I hope that it gets made!
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Jul 8, 2011 05:27
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mojo1701a posted:I meant to ask this, but modified: is creative input negotiable in general (eg. saying that you'll take less money in exchange for creative input), or only if you're a relatively-powerful author? I assume that I've already--at least partially--answered my question, but I'd like to know for sure. It's very variable. Obviously if you are powerful or have a relatively desirable property you have more influence. It also depends on the attitude and the funding of the producer obtaining the rights. If you have little money to buy an option then one way you might be able to persuade an author to grant rights is by offering more creative rights than someone else might. In short, yes, creative rights are negotiable. In the film business, almost everything is negotiable. That's why when a film financing eventually closes, one is left with reams and reams of contracts, all of which will differ to some degree from contracts created for previous films.
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Jul 8, 2011 12:08
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NeuroticErotica posted:Best advice: Don't get excited until a camera is rolling. Ha - absolutely. It took me 18 months to get to this point. Fully aware this could stay in development hell forever and never get made. Funny though - this world still feels so much easier to operate in than the publishing world. Guess going to film school sometimes DOES pay off! However - I've got another iron in the fire that I didn't mention in my original post. I began development on a series with Travel Channel in December and we've finally got our crew together (and gently caress me we had some amazing folks volunteer for the job - current DP is this guy - http://www.imdb.com/name/nm0550065/ ) and began filming back in June. Filming the second half of the pilot in early September and then going to focus groups till December when we find out if we made the green light or not. mojo1701a posted:I meant to ask this, but modified: is creative input negotiable in general (eg. saying that you'll take less money in exchange for creative input), or only if you're a relatively-powerful author? I assume that I've already--at least partially--answered my question, but I'd like to know for sure. Yes and no. Talking to my lawyers and agents, it sounds like I've got an unusual amount of creative input. If you were say - a fiction writer - your property could get optioned/developed/filmed without much consultation. However, when you're a legless dude who can physically do things that no actor, much less indie-budget-CGI, could pull off (http://www.youtube.com/watch?v=8XVJT1bHm2c -  ) you're kinda required to consult more than most. Been down to LA a few times for VFX tests as well as canvasing writers - and I have to say - I was totally blown away by the amount of input I was asked for by Katie. After VFX testing, we all kinda realized how difficult it would be for an actor with legs to pull off. Not only on a VFX level, but also on a liability/insurance level. Walking on my hands from day 1 has created a very strange set of muscles and ligaments. Basically, my bone mass in my upper body is twice that of a biped's, and my joints (rotator cuff, elbow, lumbars, etc.) can handle waaaaaaay more stress than most. That said - even with a good amount of training, a Jake Gyllenhaal cat would probably pop their shoulder the first time the tried to flip up onto a barstool the same way I do. Even Katie acknowledged this, and my first VFX test ended up turning into an impromptu screen test. Katie mentioned wanting me to play myself. Cinema Blend recommends it as well as the shitload of folks that have responded to the articles popping up. I havent committed to anything but I am required on contract to have first screentest for the role of me. That said - I haven't had any real input on writers/actors/creatives yet, and don't really expect to. And poo poo - Sayles and Groundswell? I've been pretty happy with the decisions made so far, anyway... If everything plays out, things could get quite surreal in the next couple years trying to manage hosting duties while reenacting events from the 25 years previous to the tv show. I'm nervous as hell about the prospect of having to play myself, but it seems like such a unique predicament to be in, I feel I'd have to do it for  . Plus, who wouldn't want to have the opportunity to recast an ex-girlfriend? therattle posted:
You said it better than I did. Just want to heavily emphasize the amount of paperwork and lawyering you go through en-route to development. The past 18 months since the option have been anything but static... Happy to talk more about this, though I might not be able to answer some stuff for legal reasons. EDIT: with the stuff I just mentioned, I'm happy to also answer any questions about acquiring/managing agents, lawyers, and all the business stuff that goes with having to manage yourself as a business interest/commodity. Happy to talk about TV show stuff, too (again, within legal constraints). DOUBLE-EDIT FUN-FACT: Not certain what your religious beliefs are, but I can assure you that there IS some deity out there, and he/she/it has a pretty sick sense of humor. Katie's production company? Heel and Toe Films. The production company I'm working with for Travel? Crazy Legs. Obstacle fucked around with this message at 20:02 on Jul 15, 2011 |
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Jul 8, 2011 13:57
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Obstacle, I've always dug your self-shot vids! Are you going to have a New York unit for your movie? I will harass you until you get me hired!
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Jul 16, 2011 10:15
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So I'm about to start film school in October, but I've been working on a couple screenplays over the summer. I guess my question is whether it's better, from a career standpoint, to activly pursue directing my screeplays or to try to shop around the scripts. I know that it's really early and I'm brand new, I'm just curious. The "dream" is to be a writer/director and I have a lot of interest in directing, but writing is my main interest at the moment. (although that could all change from going to school)Anyway is it more do-able to make a career out of screnwriting, or am I in for the same sort of battle either way?
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Aug 30, 2011 07:40
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Screen writing's pretty drat tough as you can't really do anything practical on your downtime so be prepared to have a day job lined up. "Written and Directed by" usually eeks of pretentiousness, unless you can learn how to step out of your mindspace and see your writing in a purely objective view and notice any odd quirks that someone reading it for the first time would notice. As a director your challenge is to understand your script's strengths beyond "I know what's happening, I wrote it" and interpret it on a completely different level that isn't as it appears on paper. If you want your script to sell, really learn about the importance of themes and how to write a script that introduces the story's theme then plays with different permutations of it. Read a screenplay for The Departed. It's been dubbed as "A film with no plot" as it carries the basic theme of identity incredibly well; how does it work with sexuality, their job, their covers and so on. An overblown example is John Sayles' Limbo; he wrote and directed it, where every scene or so is a direct reference to the idea of Limbo. It's like having the answers to a test the whole time you're watching. As for making cash; movies or TV writing? At the least you can get a script optioned, that is a studio somewhere will buy the rights and hold on for it for a few years in case a gap appears in the market. If it does there's not a 100% guarantee that you will be called in to alter it.
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Aug 30, 2011 08:06
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On the subject of Screenwriting, I just watched "Tales from the Script" on Netflix instant the other day, and it was wonderful and hilarious. It would definitely scare the crap out of me if screenwriting was my highest aspiration, though.WebDog posted:As a director your challenge is to understand your script's strengths beyond "I know what's happening, I wrote it" and interpret it on a completely different level that isn't as it appears on paper. This is well said. In my beginning filmmaking class we weren't allowed to put dialogue in our films; the focus was on how to convey ideas visually. It's an entirely different skill set than writing, and often you need to sacrifice things that look great on paper because they don't translate as well to the screen. As a writer/director you really need to be your own worst critic.
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Aug 30, 2011 08:26
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huntersan posted:So I'm about to start film school in October, but I've been working on a couple screenplays over the summer. I guess my question is whether it's better, from a career standpoint, to activly pursue directing my screeplays or to try to shop around the scripts. I know that it's really early and I'm brand new, I'm just curious. The "dream" is to be a writer/director and I have a lot of interest in directing, but writing is my main interest at the moment. (although that could all change from going to school)Anyway is it more do-able to make a career out of screnwriting, or am I in for the same sort of battle either way? If you want to be popular at film school and work on a lot of sets, study sound recording. You'll see a lot of people make a lot of mistakes, and have a few moments of genius and that is worth its weight in gold. If you want to write, then focus on the craft of writing, its cheaper to sit at your computer and learn structure and character than it is scraping together budget, food, and crew for directing. Mastering storytelling is applicable to other disciplines. If you're going to study directing- make a lot of mistakes. Try a lot of things. Do not make the mistake of trying to make the perfect short/calling card. (If you happen to do something great, more power to you) Use it to develop your unique eye and to learn the craft. Study acting, get in front of the camera as much as you can. You learn a crap ton from bad directing. Being on set in any capacity will let you learn from others, and everything is always better when someone else is paying.
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Aug 30, 2011 09:10
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huntersan posted:So I'm about to start film school in October, but I've been working on a couple screenplays over the summer. I guess my question is whether it's better, from a career standpoint, to activly pursue directing my screeplays or to try to shop around the scripts. I know that it's really early and I'm brand new, I'm just curious. The "dream" is to be a writer/director and I have a lot of interest in directing, but writing is my main interest at the moment. (although that could all change from going to school)Anyway is it more do-able to make a career out of screnwriting, or am I in for the same sort of battle either way? Which is easier - doing one job or two? Essentially that's what you're asking, for two jobs. And if you don't really love the second one, it's not going to be worth it to shoulder the load of it. Writer/directors are really difficult to work with at the beginning levels, because they're unwilling to take input and make changes to their work - this often leads to self sabotaging as they're so willing to get THEIR VISION on the screen that they can't take a step back and realize their vision isn't what's needed. That said, go to school and give it a shot, who knows. But unless you're really, really loving it and talented at it, just go with what you're interested in and have your main passion. Taking on directing is shouldering an order of magnitude more in tasks and responsibilities. TheBigBad posted:If you want to be popular at film school and work on a lot of sets, study sound recording. You'll see a lot of people make a lot of mistakes, and have a few moments of genius and that is worth its weight in gold. I want to expand on these two. 1.) Study every last thing you can - audit classes, work on sets for free, go to screenings, do everything you possibly can. Even if you just want to be a writer, knowing what can be done and can't be done with sound (for instance) can lead to some techniques down the line or appreciate other things in finished movies. Go until there is nothing to learn. Check out the studies classes of films you're not in to. I know the guy gets derrided a lot, but at Wesleyan, Michael Bay took a class on Musicals. He totally wasn't into it and thought it was gay and all (his words paraphrased from my memory), but after being exposed to it he totally started to get it and appreciate just how utterly cinematic they are, and they began to influence his style and he was all the better for it. 2.) Film school is your place to gently caress things up. Seriously. Make a lot of loving mistakes. Try new things and fall flat on your face. The whole "You don't need film school" crowd misses out on this the most and gets to make their failures public. Film school is a safe environment to try new things, see if they work, and to see if you like them or not (come to think of it... so are the dorms). Find your voice. What you think it is now is a start, but after writing shorts and seeing them get made and seeing them suck (and dear Based God they will), you can see that maybe your first ideas weren't the best.
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Aug 30, 2011 10:41
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A couple of other film school tips. For starters watch Operation Filmmaker and wince at the many opportunities squandered. Don't be this guy. Yes your YouTube short has 500,000 views and lots of likes and you got an A in media studies at school, but it's a long way ahead from where you'll end up. Use past experiences as a sounding board to understand what works and what doesn't. Understand you are here to learn, not show what you know, which is barely anything. Expect to forget batteries, tapes and mic connectors as this is the time you can get away with it and not be fired. Expand your taste in film. Ditch the top 100 films and watch stuff at random. Ask yourself "what is this scene wanting to tell me?" and if it's not making sense, think why? Conversely don't be a film snob and cite "La gloire de mon père" or stuff from the 30's as "pure cinema". Understand why a film was popular, look at the political and social aspects behind something like Citizen Kane as a starting point. Creating a film is a team effort. While you might not be working as a boom operator all your life, understanding how sound is recorded is crucial so you don't do something like have your characters walk on gravel and then have none of the dialogue audible in post because you ignored the recordist's advice to lay down the carpet he'd brought. A good director has an understanding on how the many elements of film work and isn't afraid to ask his crew for any suggestions. Demanding "Why isn't that looking like I told you to!!" is a mutiny away from "Mr DOP, what do you think we can do about that light?". There's a fine line between working well as, say a camera assistant, and challenging your DOP as you'd fancy his job. Never think of a crew role as another rung in the ladder. A job well done, even if it's labelling the tapes all day, will get you more jobs.
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Aug 30, 2011 15:13
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Anyone who is studying directing should be absolutely FORCED to take a full course in sound recording. The amount of ignorance at my level is astounding and frustrating and probably ten times worse than ignorance for any other department. At least in the NYC area. It seems like none of these schools up here teach sound with any level of seriousness.
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Aug 31, 2011 16:41
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Writing a webseries to get my SAG card. I came from a very DIY background (tv journalism) where one or two people can research, interview, light, shoot, VO, star and edit. I've been on a range of film shoots (from 700+ person spectacles to 4 guys in the woods). My question is, what is NEEDED on a very small shoot, what is gravy, and what can double up?
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Sep 25, 2011 10:14
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Golden Bee posted:My question is, what is NEEDED on a very small shoot, what is gravy, and what can double up? Given it's a way to show off your acting chops at least have competent lighting, makeup, with a decent sound and camera operator on hand as nothing is worse than someone saying poorly recorded lines that are bouncing off the garage walls with poor lighting that makes you look sallow on screen.
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Sep 25, 2011 10:58
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Golden Bee posted:Writing a webseries to get my SAG card. I came from a very DIY background (tv journalism) where one or two people can research, interview, light, shoot, VO, star and edit. I've been on a range of film shoots (from 700+ person spectacles to 4 guys in the woods). Take a look at Louis CKs show, he does all this stuff by himself on a pretty amazingly limited budget compared to other shows. There's a bunch of interviews with him about how he does it, but the point as WebDog made is pretty much: Lighting, shot framing, and sound. If it looks amazing, it makes the acting so much more amazing.
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Sep 25, 2011 14:52
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Golden Bee posted:Writing a webseries to get my SAG card. I came from a very DIY background (tv journalism) where one or two people can research, interview, light, shoot, VO, star and edit. I've been on a range of film shoots (from 700+ person spectacles to 4 guys in the woods). Sound guy. Sound guy. Sound guy. Then for lighting depends on the shoot. And are you buying or renting? Bounce cards and a joker kit works well for small shoots.... And some kinos with diffusion. And a shiny board.
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Sep 25, 2011 16:29
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BonoMan posted:Bounce cards  .https://www.youtube.com/watch?v=aH7bEytedtE
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Sep 25, 2011 16:35
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WebDog posted:Oh and don't forget the gravy The gravy would be a couple of 1200 hmi's!
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Sep 25, 2011 16:45
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I've followed this thread a bit but not with a fine-tooth comb so I apologize if a question like mine has been addressed. I went to a small liberal arts school and decided while there that my film hobby should be my film career. I was majoring in math, and since the film program didn't have a major, I finished my math major and minored in film and media studies. I have experience on student shoots, wrote/directed/edited a short film with a few actors and crew members, and have a good deal of experience with FCP 6&7. I just graduated and I'm trying to eventually be working in the industry. I was mostly wondering what the best path into the business end (specifically producing) of the film and television industry. Should I be trying to get more editing experience or is there a better way into producing? For more background, I want to stay in the northeast, so New York is where I'm looking.
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Sep 27, 2011 05:27
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Lao Tsu posted:I've followed this thread a bit but not with a fine-tooth comb so I apologize if a question like mine has been addressed. If you can find a really good internship that could help I guess. I know a few people who progressed from internships to paid positions with TV production companies. The best way to start making money is to prove that you can do a given job. The only way to prove this is to actually do said job. So prepare to not make money for quite some time as you start networking and building experience by working on student films and other people's pet projects. Then prepare to be paid trash for some time after. It might be different going down the producing road, especially if you are in NYC and get sucked up into the whole reality TV/web/promo world. I can only speak from a more technical position. You probably have a long road filled with PA jobs ahead of you. My advice for a PA/Internship is this: Always be on time. Actually, just be a little early. Always ask what you can do to help anyone if you aren't already busy with a task, but make sure you are asking whomever your boss is first. If you do not know how to do what you are being asked, please let the person know, and ask if you can be taught (this is specifically an internship thing.) Please don't keep quite, take forever to carry out a task, and then gently caress it up, thereby ruining poo poo for everyone else. I hope you like driving, especially if you are going down the producing path. I hope you can handle vans and occasionally small trucks. Always be prepared. Carry extra poo poo with you like various kinds tape, work gloves, pens, sharpies, dry erase markers, anything really that might come in handy for someone else. People WILL take notice. If you are doing the Office PA thing, I hope you can type fast and enjoy working phones. And to reiterate, never be late. For editing, uh.. learn Avid as well?
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Sep 27, 2011 06:02
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ToastyPotato posted:If you can find a really good internship that could help I guess. I know a few people who progressed from internships to paid positions with TV production companies. The best way to start making money is to prove that you can do a given job. The only way to prove this is to actually do said job. So prepare to not make money for quite some time as you start networking and building experience by working on student films and other people's pet projects. Then prepare to be paid trash for some time after. It might be different going down the producing road, especially if you are in NYC and get sucked up into the whole reality TV/web/promo world. I can only speak from a more technical position. You probably have a long road filled with PA jobs ahead of you. Well, for example, I've met an alumnus of my college who's an executive producer in HBO's marketing department. From what he's told me, his job sounds like a dream. He's involved in every part of producing promos for the shows he's attached to from beginning to end. I'm in a tight spot loan-wise so income and job security are important to me. That said, my biggest goal is being involved in the industry in a position more creative and intelligent than accounting.
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Sep 27, 2011 06:33
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Can anyone tell me how the hell they did this amazing camera work in this scene? http://www.youtube.com/watch?v=0zLuqKNKOqs&feature=player_detailpage#t=180s
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Sep 27, 2011 07:00
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fredor posted:Can anyone tell me how the hell they did this amazing camera work in this scene? Spidercam. http://spydercam.com http://www.spidercam.net/ Lao Tsu posted:
Absolutely the wrong field for those priorities. TheBigBad fucked around with this message at 07:09 on Sep 27, 2011 |
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Sep 27, 2011 07:05
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Agree. As a producer, for the most part, your biggest concern is going to be money, and how it relates to the overall logistics of whatever project you have. You are going to spend most of your time doing that kind of stuff. The only way you'd have creative control is if you had financial control of a project, but as I said, TV is kind of different and there are a whole bunch of different positions that I probably don't even know about at production companies and networks, etc. But I am pretty sure that even being the head of development or creative services or something will have you spending most of your time at your desk or on the phone. I still say you should inter/PA if its what you really want to do, so you can get a better feel for what is going on. If money is your concern, you need to pick a technical position and do whatever is necessary to rack up experience and buy whatever gear/equipment you need ASAP, especially in NYC. At lower levels, people don't want to rent ANYTHING, except for possibly some camera stuff. As an editor, you are going to want to separate yourself from every college kid with a Macbook that calls themselves an editor.
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Sep 27, 2011 16:40
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BonoMan posted:Sound guy. Never stint on your sound. If you do, you find out why you shouldn't.
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Sep 27, 2011 19:52
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NeuroticErotica posted:2.) Film school is your place to gently caress things up. Seriously. Make a lot of loving mistakes. Try new things and fall flat on your face. The whole "You don't need film school" crowd misses out on this the most and gets to make their failures public. Film school is a safe environment to try new things, see if they work, and to see if you like them or not (come to think of it... so are the dorms). Find your voice. What you think it is now is a start, but after writing shorts and seeing them get made and seeing them suck (and dear Based God they will), you can see that maybe your first ideas weren't the best. I'm currently a film production graduate student and Amen to this. I just happened on this thread. I'm specializing in cinematography which I really enjoy, but if I could wake up every day and know I'm going to work to pull focus, I would die happy  .
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Sep 28, 2011 03:10
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If any of you are over the age of 25, you can enter this short film contest. If you win Kevin Spacey will star in your short. http://www.firstshowing.net/2011/jameson-first-shot-competition-make-a-film-starring-kevin-spacey/
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Oct 5, 2011 23:36
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Figured this was as good a thread as any to ask. Are there any programs out there that are considered good for industry standard script formatting? Or perhaps a template for word? I have three scripts I've written over the years in various notebooks and although I have a pretty good understanding of the technical terms and general formatting I've seen thru various screenplays I was looking for something to streamline the formatting a bit when I make the move to finally typing them out.
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Oct 20, 2011 02:44
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Kithyen posted:Figured this was as good a thread as any to ask. Are there any programs out there that are considered good for industry standard script formatting? Or perhaps a template for word? Final Draft is the ubiquitous one that most people use. Celtx is a decent free version that I've seen folks use occasionally.
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Oct 20, 2011 02:50
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Useless Rabbit posted:Final Draft is the ubiquitous one that most people use. Celtx is a decent free version that I've seen folks use occasionally. Thanks for the quick response. Was looking into final draft but I'll be short on funds til next month. I'll check out Celtx and see how it goes.
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Oct 20, 2011 02:54
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When submitting a script, always send a PDF, never your FDR or whatever Celtx uses. Hopefully Celtx has incorporated PDF exports... but last time I checked it didn't.
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Oct 20, 2011 02:57
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