6568 Results for “production”
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Sony Vegas
I’ve been editing commercials and longform programs with Sony Vegas Pro since 2005. Our latest feature documentary, They Wore the Red Suit, was edited, color corrected and mixed totally in Vegas. Why Vegas? The editor I brought in for this project was experienced with Avid and FCP but had never used Vegas before. I asked him to try it for a few days, and if he wasn’t happy, I’d bring in the system of his choice. After a week, he said he couldn’t have made as much progress with either of his old “favorites.” My initial decision to use Vegas […]
by Larry W. Peter on Oct 22, 2013 -
Adobe Premiere Pro CC
The first project I used Adobe Premiere Pro on was a short film called “Masterpiece” that I created for Filmmaker Magazine at Sundance 2011. Prior to that, I’d been a Final Cut Pro devotee for a decade — and even reviewed the two previous generations of Final Cut Studio for Filmmaker. My history with digital editing goes back to late 2001. I was working on a short film, shot on 16mm, which I’d initially intended to cut on an old school Steenbeck. But when that fell through, I tracked down and installed a bootleg copy of Final Cut 2 on […]
by Jamie Stuart on Oct 21, 2013 -
The Happiest Place on Earth
The memories of our childhood are owned, their copyrights controlled by giant multinational corporations. Whereas the fantasy figures of the 20th century hail from centuries-old sources — the Brothers Grimm, Greek and Norse mythology — their contemporary incarnations, found on T-shirts, lunchboxes, mugs, iPhones and in video games, constitute precious intellectual treasure, their value diligently upheld by World Trade Organization rulings. Or, to phrase things a bit differently: If you’re an independent filmmaker, make sure your lead actor isn’t wearing a Mickey Mouse T-shirt you haven’t cleared! Despite the forces aligned against pop culture-deploying media artists in our mash-up, remix […]
by Scott Macaulay on Oct 21, 2013 -
Burn Self-Distribution Resource List
DIGITAL PRINTS Different By Design (Los Angeles) (310) 689-2470 http://www.dxdproductions.com/ Feature film DCP master: $10/minute + $50 setup fee + $150/drive Duplicates (on USB hard drive): $150 each Feature film Blu-ray master: $250 Duplicates: $25 each Trailer DCP master: $10/minute + $50 setup fee + $25/thumb drive Duplicates (on USB thumb drive): $25 each Trailer Blu-ray master: $250 Duplicates: $25 POSTERS & POSTCARDS U Printing www.uprinting.com They’re in Los Angeles, so you can pick up directly from them and avoid shipping costs. Posters (27×39 100-pound glossy) $1070 for 2,000; postcards $420 for 10,000. WEBSTORE Shopify http://www.shopify.com/ Prices vary […]
by Tom Putnam and Brenna Sanchez on Oct 21, 2013 -
Primal Direction
Meaning. The craving for meaning. Art and its ability to create experiences of meaning. Whether they seem all too prosaic or winsomely sincere, these words nevertheless constitute the unabashed core of an intensive, 17-session filmmaking lab series housed in a large, high-ceilinged studio in Hollywood and led by an impassioned woman named Joan Scheckel. In practical terms, the lab sessions are dedicated to helping filmmakers clarify their vision, hone their craft and develop a functional set of tools for the production process, which is all well and good. But what makes the lab sessions extraordinary is Scheckel herself. Over the […]
by Holly Willis on Oct 21, 2013 -
Out of the Ashes
The term “immersive storytelling” is being heavily used at the moment, but it describes something that has been around for more than just the last few years. For evidence of this, you only have to look to the work of the innovative theater company FoolishPeople, founded in 1989 by British writer/director/actor John Harrigan. “We’ve watched as immersive theater and transmedia has grown in popularity,” Harrigan says, “and audiences have become more receptive to our work as their vocabulary of immersive theater and interactive experience increases.” Through his work utilizing early storytelling techniques, Harrigan developed what he calls the Theater of […]
by Nick Dawson on Oct 21, 2013 -
Editor’s Letter
Finishing a film — it’s a lost art. Back in the days of celluloid, there was a sense of finality once you received your cut negative from the negative cutter and completed your mix. Sure, you could open up your picture again — and depending on your distributor, you probably did — but the cost and hassle involved were real disincentives. Things started to change when festivals began screening works off HDCAM. I remember a celluloid-shot film I produced back in 2006. “You mean you’re going to cut the negative and screen a print?” the director’s agent asked in horror. […]
by Scott Macaulay on Oct 21, 2013 -
Bad Metrics
Even if you don’t know baseball, you probably know the term “batting average” (or BA), which is widely used as the best measure of a batter’s prowess. Defined as the number of hits divided by the number of times at bat, it’s reported as a decimal number (i.e., .300 refers to the praiseworthy remark “batting 300”). The three all-time BA leaders are Ty Cobb (.366), Roger Hornsby (.358) and Joe Jackson (.356). But some baseball insiders have criticized the metric because it doesn’t account for the quality of those “at bats.” For many, it’s a shortsighted statistic that elides the […]
by Anthony Kaufman on Oct 21, 2013 -
A Speck in the Ocean
At sea — we have all felt it, paradoxically unmoored even in our hyper-connected age. In only two pictures, that sense of disconnection, emotional confusion and fear is the metier of New York-based writer/director J.C. Chandor. His 2011 debut film, Margin Call, was a tightly focused drama about Wall Street traders fighting for their financial lives amidst the economic meltdown. Unfolding over 24 hours, Margin Call is a talky and claustrophobic movie plumbing the specific ethical quandaries of our current political moment. Assuredly directed and extremely well-acted, it would seem to have set Chandor up to make any number of […]
by Scott Macaulay on Oct 21, 2013 -
Super 8
1. Elevision Currently in beta, the short film download site Elevision (elevision.com) is the brainchild of former Wholphin creative director Malcolm Pullinger and Vimeo founder Jake Lodwick. It has a highly curated slate, with quirky titles like Quentin Dupieux’s Wrong Cops: Chapter One and The Arm, co-written and co-directed by Brie Larson. There’s also an embarrassment of riches from “25 New Faces” alums, including Palimpsest (Michael Tyburski and Ben Nabors), Rougarouing (Donal Mosher and Michael Palmieri), A Chjàna (Jonas Carpignano), Pioneer (David Lowery) and Life and Freaky Times of Uncle Luke (Jillian Mayer and Lucas Leyva). 2. Marmoset Portland’s indie […]
by Filmmaker Staff on Oct 21, 2013
