Keeping apace with camera technology is like running a race where the finish line keeps on moving. Just as the next generation of games consoles go on sale boasting the ability to display 4K images (although for the moment only those with the salary of a pro-footballer can afford screens able to make use of all those pixels) Japanese broadcaster NHK has started to film and broadcast events in 8K. NHK are so excited about the technology that they have commissioned filmmakers to make short films showcasing 8K, which were screened at the recent Tokyo International Film Festival. I went […]
Pre-awareness — in studio parlance, it usually refers to viewers' recognition of a film property before its release. In today's crowded landscape, it's considered an important factor when greenlighting Hollywood tentpoles, and it's why you see so many remakes, reboots and franchise films. In the indie world, there's pre-awareness too. It can be created by everything from grassroots publicity before a film's release to the ability of successful crowdfunding campaigns to stoke interest in a project. And, if the folks at Prefundia are right, there's crowdfunding pre-awareness — buzz preceding a project's launch on Kickstarter or Indiegogo that can help […]
Today, Blackmagic Design announced the release of the first and long-awaited software update for their Blackmagic Pocket Cinema Camera. The 1.5 upgrade adds a 12-bit Log CinemaDNG RAW recording file so users can capture extensive dynamic range — the brightest highlights and darkest shadows — in a single file. The new addition will allow for lossless quality when images are decompressed, and greater flexibility in the color grading process. Further, users can begin editing or color correcting directly from an SD card, which will facilitate the post-production workload. A nice function for a camera that runs under $1000. The Blackmagic […]
George Orwell claimed in his 1946 essay “Politics and the English Language” that English was in a bad way: common consensus (which he was satirizing) held “that any struggle against the abuse of language is a sentimental archaism, like preferring candles to electric light or hansom cabs to aeroplanes.” His own opinion was more that “the decline of language must ultimately have political and economic causes: it is not due simply to the bad influence of this or that individual writer.” Thus it could be resisted: “Modern English, especially written English, is full of bad habits which spread by imitation and […]
1961 — I drove up to the gate of 20th Century Fox studios and hesitantly gave my name to the guard. I had an uneasy moment watching him look at a pad before he greeted me with “Good morning, Mr. Baron” and waved me forward. I steered my car under the elevated train set of Funny Girl and passed several soundstages to a parking area with my name in large white letters written on it. I got out of my car and paused to look at the surrounding studio activity, and the question. “How the hell did I get here?” […]
Filmmaker contributor John Yost recently joined forces with Alexander Berberich to launch Fifth Column Features (FCF), a boutique independent film studio and online distribution company. Though the concept may sound familiar, FCF boasts the industry’s first pay-as-you-wish content model, which Yost likens to a barometer for audience commitment. Filmmaker spoke with Yost about what FCF is doing differently, and how, as filmmakers themselves, they are able to prioritize their colleagues’ best interests. Filmmaker: Why do you feel the industry was lacking a pay-as-you-wish platform? Are you operating from a standpoint that audiences are the most valuable entity to an independent filmmaker? John Yost: Pay […]
In parts I & II of our interview with Gez Medinger, the co-director of AfterDeath, we covered finding the story, script development, and the difficulties of finding locations and cast. In this final part of the interview, Medinger talks about co-directing a feature, offers some advice for first time filmmakers, and attempts to explain what it’s really like to make your first movie. The film is currently in post-production, and is expected to be released in early 2014. Filmmaker: You and Robin Schmidt are co-directors on the movie. How does that work? Medinger: Robin and I have both directed […]
“Distributing is easy, marketing is hard.” With that statement, moderator Ryan Koo kicked off the discussion at ScreenCraft’s recent Digital Discourse panel on the future of content creation and releasing. Nestled in the WGAE suite of a Tribeca high rise, the participating panelists included YouTube’s Amy Singer; Erica Anderson, Chief Marketing Director at Seed&Spark; Erick Opeka, SVP of Digital Distribution at Cinedigm; @radical.media’s Adam Neuhaus; and BOND 360 Founder and CEO, Marc Schiller. Chances are, you’ve heard it before: with so much of the independent film world unspooling in a viral sphere at a hair-raising pace, filmmakers must be prepared […]
Childhood friends Bernice (LisaGay Hamilton) and Fontayne (Yolanda Ross) have been out of touch for a few years. When they reconnect, during an early sequence in John Sayles’ 18th feature film Go For Sisters, it is over a desk. Bernice, a parole officer, sits before folders of rap sheets to one side; Fontayne, a former junkie and criminal, fidgets on the other. It doesn’t take long, however, for the circumstance to turn from professional to personal. When Bernice’s drug running son vanishes near the Mexican border, she calls on Fontayne to help track him down. The two women head South, […]
My journey as a filmmaker has had its share of ups and downs. I am both Asian American and queer, and both identities are often contained in niche boxes in the film world. Right after receiving my graduate degree in screenwriting, I co-wrote and produced an indie film that premiered at Sundance, was acquired and theatrically released — a groundbreaking event at the time for an Asian American-themed film. The following years were a blur of studio rewrites, a spec sale, and many near misses. The successes were few and far between but it was enough to keep me afloat […]