“How do I find a producer?” It’s a question asked by many first-time independent writer/directors, and there’s good reason this seemingly simple query is so vexing. Screenwriters selling commercial screenplays and directors seeking employment on Hollywood pictures are guided by standard, usually market-based protocols. But it’s not so easy for budding independent auteurs — those without agents, managers or box-office track records. For them, partnering with a producer is as much about building a personal relationship as scoring a business transaction. At least, that’s what a number of producers interviewed here likened it to. Mary Jane Skalski (Very Good Girls, […]

The last few years have seen a rise in filmmakers who are extending the stories they tell beyond a single medium. At the same time, festivals, schools and organizations are starting to nurture work that mixes story and code. Tribeca has a program called Storyscapes, which highlights new trends in digital media and recognizes cross-platform approaches to story creation. While Sundance’s New Frontier section has highlighted experiments in storytelling since 2007, they recently added a Story Lab to help incubate forward-thinking, platform-agnostic projects. At Columbia University, where I teach, we are in the process of developing a digital storytelling lab […]

Once life was simple. NLEs were NLEs. They did offline editing of conspicuously compressed picture with unmixed audio tracks and limited titling. Maybe it started with the MiniDV revolution 15 years ago, but over time low-end NLEs competed with high-end NLEs in tools and feature sets, becoming today’s desktop online systems and sealing the fate of many midlevel post facilities. Along the way several NLEs became suites of applications called “studios.” Back in 2005, for instance, Final Cut Studio arrived as FCP bundled with DVD Studio Pro, Motion, LiveType, SoundTrack Pro, Cinema Tools and Compressor. Two years later, Color, for […]