The project entailed utilizing a few assets provided by Marvel, such as the X-Men logo, a couple poster stills, and their trailer. My goal was to make something palatable for social networks (:15 for Instagram & :30 for Twitter & Facebook), and so we pulled the Apocalypse character into the mix, breaking his still image down to animatable sections in Photoshop, then giving him some life in After Effects.
I was recently contacted by a young person searching for advice as a writer looking for ways to grow as a writer into directing and producing in the film industry. Since this is a somewhat common trend, I figured it’s time to post my reply to be of help for others on the filmmaker journey!
Here it is…
The Canon C100 was a weapon of choice for a project I shot nearly a year ago in Guatemala (documenting poverty and the impact on children & families by charitable giving) and then recently in Peru where small form factor and a filmic image were desired. Also, shooting with a documentary format would require both location sound via a shotgun mic and interview sound from a couple lapel mics. For those who have done run-and-gun work with a DSLR, they know that it can be a struggle double-checking to be sure that the sound recorder is functioning properly and that the resulting separate audio and video files stay organized. Likewise, constantly changing locations can have a significant impact on the ability to set the correct aperture, shutter speed and ISO for accurate imaging on a DSLR in extended lighting ranges. While still of concern on the C100, the 4K imager provides the shooter with a broader range, allowing significantly more flexibility to record images that will be adjusted and color corrected in post. Here are some of my thoughts on the gear and how it performed.
Call me a skeptic, but I’m guessing that most people out there are really cautious when it comes to dropping some cash to watch many of the Christian films that have been put out in recent years. Shot on low budgets with limited crew and low-to-no name talent, these will obviously impact the viewers’ experience.
Moms’ Night Out is a mix of a couple of the faces that have been seen in prior projects by Sherwood Pictures (Alex Kendrick & Robert Amaya), but executive producers Patricia Heaton & David Hunt apparently saw the need to bring in some bigger guns to achieve the level of expression necessary for a comedic experience from start to finish.
Some time ago, I read Mike Sessler’s article “Do a Good Job,” and I was reminded that it’s rare for most church tech guys to get what they feel they need in order to perform their jobs as well as they think they should. Mike’s bent is more on the fact that doing well will result in growth and an increase of tools – a biblical model that effective stewardship results in greater trust, reward, and added responsibility. Yet, the current scenario in the local ministry where I serve has found us milking as much as we can out of our gear, pushing for excellence, yet still seeing a reduction of output. Here are my thoughts on the matter…
After all the footage is captured for a film/video project, the video editor holds the most powerful set of tools to set the tone, create interest, and to move the story forward in a logical format. Shot angles are chosen, bad shots are tossed or fixed, and the sequence of events are adjusted to retain viewer curiosity and build through the climax to conclusion.
I’ve found in working with editors that they bring their own sense of perspective to the table, and a director must acknowledge that.
Most people think of the bottom line when it comes down to purchasing new equipment, and cost is certainly a consideration. However, if cost is your only connection, you are likely a bit short-sighted. Trinity’s Media Department has been recommending the benefits of newer camera technology for years, noting greater creativity and enhanced connection of online & TV viewers to the captured shot. Obviously, this doesn’t pay the bills…
Every year, thousands head to Los Angeles, CA with the hopes of becoming icons for the film industry. Those that are in the mix will you tell you it’s certainly not as easy as one would think. Overnight success is a rarity, and very few find the gleaming lights of public notoriety and stardom. If one wants to navigate properly through the maze of connections he or she can find help from those who have already found some success in the business.
Enter, Hollywood Connect. Hollywood Connect (HC) exists to “[equip] creative artists and professionals to thrive personally and professionally in the arts, media, and entertainment industries” (HC website). HC hosted a well-attended Q&A with Mr. Mark Atteberry recently, and in this gathering, Shun Lee Fong led discussion and then fielded several questions from the audience to get Mark’s responses. I took notes feverishly and thought to share the wisdom – with Mark’s approval, of course.
I ran across a great podcast/audio blog post on JohnAugust.com regarding cutting pages in the screenwriting process and thought to take notes on it for those who prefer the reader’s digest version.
Most screenwriters spend their days creating multiple pages, adding them up until they find out that they have so much more to tell beyond their typical/average 120 page (feature-length) allotment. Likewise, for television, guidelines are tighter, since time constraints for each episode are impassable. Obviously, the tempo is important,