Coffee and Celluloid

Crew Call - The Cast Behind the Camera

Posted November 29th, 2008 at 10:21 pm by C47

One big problem Undercover has presented that I haven’t had to deal with before is finding a crew. Normally set is considered a class, so having people to show up and work isn’t a concern.

However, since this is an extra film not part of the curriculum, we’ve had to scrape together a crew. It’ll come together, but it’s just one extra thing to add to a long to-do list.

People are usually surprised at how many people it takes to make a film, especially at how specific some jobs are (”All they do is move the camera? They just turn a knob to adjust focus?”).

A lot of jobs on a film set come down to time and quality. Yes, you can do most of these jobs with a few people - you hear of a few friends making a movie all the time. But when one person covers many areas, the quality suffers. And in order to get that high production value that you see in Hollywood films, you need highly trained people in highly specialized jobs.

When it’s one person’s job to focus on just one thing, that thing will be done perfectly. And it will save time, and time is money.

Compared to a large production, our crew is extremely small, with just the basics for each department.

To break it down, here’s what our crew looks like: More »

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Posted in Moviccino, Production | No Comments

Coffee Break - Blue is the New Red Huge Roast of Links

Posted November 5th, 2008 at 2:16 pm by C47

So a while back I used to post cool links each Wednesday for a Coffee Break series. For many reasons (mainly time and laziness), I haven’t posted cool links in a while. But I still have a bunch saved up.

So in the spirit of new beginnings, I’m just going to offload everything I’ve had stored up and start fresh.

And just to recap why yesterday was one of the greatest days of my life: Voted in my first presidential election, free Starbucks, free Krispy Kreme, got an iPhone(!), ScottDobie thought my tweet “I feel like today is the day Frodo tosses the ring into Mount Doom” was wittier than both Leo Laporte and John Hodgman, watched the election results at the Democrat results party with all my friends, and the good guy finally won!

The best part - Obama robot at Disney’s Hall of Presidents!

Now enjoy the links.

The company now offers celebrity wannabe packages, including the A-List—Ariel’s choice—which gives clients four personal paparazzi for 30 minutes and a mock-up of a high-gloss tabloid magazine cover with their picture, for $730. The Superstar package ($990) lasts for an hour and the Megastar ($3,000) provides clients with six paparazzi for two hours, limo service, a publicist and a bodyguard. And for customers who hope to get into places like the Waverly Inn or La Esquina just because of the scene they’re setting, it’s priceless, says Drew Tinnin, Celeb 4 A Day’s New York manager. “We’ve gotten people past the velvet rope. Restaurants and clubs usually like the attention we get them when we show up with our clients.”

15 Minutes of Fame, On Sale Now | Page Six Magazine | The New York Post.

Objectified: A Documentary Film by Gary Hustwit - On seven years in the indie film business

From the director of my fav Helvetica on how he’s made a living doing small documentaries.

The Gentleman’s Guide to the Calling Card | The Art of Manliness (via Chic and Charming)

Documentary Club - If you like documentaries

Hi-Res Star Trek Comic-Con Posters - Movie News

Day 1, Chip Heath on Flickr - Very cool illustration explaining the must-read book ‘Made to Stick‘

Full List of Stuff White People Like « Stuff White People Like - Very funny. One of the fastest Blog-to-Book examples

indieWIRE: FIRST PERSON | Film Department’s Mark Gill: “Yes, The Sky Really Is Falling.” - I plan to write more about this, but if you haven’t read it - do so

Channel 4 recreates The Shining to promote its Kubrick season | Media | guardian.co.uk

2008 Design Trends - Very cool designs for inspiration

Metropolis « Finding Some Direction - The missing reels from Metropolis have been found. This is so amazing.

The Steady Approach Part 2 | B&H Photo Video Pro Audio (via Coudal) - Interview with Garrett Brown, inventor of the Steadicam

The Media Equation - Little Movies, Big Problems - NYTimes.com - Indie films not doing so hot

Filmmaker Magazine | Spring 2008: NO VACANCY - The Visitor, the only indie film that did pretty good this year

Typeface - Documentary on Typeface. I have a feeling I’ll like this film. Helvetica and Typeface box set coming soon? Wingdings as a special feature?

The Simple Dollar » How To Write an Effective Thank You Note for Any Occasion

The Ira Glass Guide to Link Bait | Copyblogger

Cat got your tongue, follow these tips — Young Go Getter

What Does A Stylish Man Look Like?

Grocery List: Never Forget an Item at the Supermarket - These two links good for craft service shopping

grocerylists.org | FREE DOWNLOADABLE GROCERY LIST

Mastering the Informational Interview - Shifting Careers - Small Business - New York Times Blog

russell davies: how to be interesting

the media artist: Are You Interesting?

Prepping for Warren Buffett: The Art of the Elevator Pitch (Videos) | The Blog of Author Tim Ferriss

johnaugust.com » Scripting a short film

johnaugust.com » Rethinking motivation

From the Heart Productions :: The Roy W. Dean Film and Writing Grants

Ultimate Video Relay | How it Works

south by southwest festivals + conferences

The Best Places to Watch Documentary Movies Online | MakeUseOf.com

2008 Animated Shorts Nominees — OZOUX.COM

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Posted in Budgeting, Cinematography, Coffee & Celluloid, Equipment, Pre-Production, Preparation, Production | No Comments

Editing Makeover

Posted September 20th, 2008 at 10:46 pm by C47

I remember back when I interviewed to get into the Film School, I said I was interested in writing and directing because that’s where the story is shaped. The head interviewer added the editor to that list, though in a condescending way (I’d later learn that the guy is indeed a prick, and fortunately is gone).

But, he was right, and lately this has been coming back to mind, mainly during the editing of my thesis (my Gossip Girl-esque hyper-real one, not the documentary).

During the first cut screening the beginning was fantastic and exactly what I wanted (going back to why it’s important to see the end film in your head), while the end was a disaster. It just didn’t work. Partly this was due to some acting by a tough-to-cast mom role, but ultimately it’s my film and my doing. Going back to knowing what you want, the beginning was very clear in my head while the end was not, and thus, this happens.

Back in the edit room, we did what now makes perfect sense - match the tone of the two halves. What was once a lame, melodramatic torture scene is now an exaggerated awesomeness-taken-to-an-11 torture scene.

A total makeover with no tears involved.

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Thoughts on Directing After Directing

Posted September 1st, 2008 at 10:41 pm by C47

Pensive Directing

I’ve only briefly mentioned the production of my thesis (the fictional one), and after having about a month to think it over, and finally seeing the dailies four weeks after filming (monthlies?), I have an idea of where I stand with the outcome.

Mainly, as directing goes, I had a blast. I know, it’s a cliche, film school was supposed to make me realize I truly love cinematography or editing, but sorry, directing still does it for me.

This film spent months in my head, whether actively thinking about it or just letting it sit in the back. So when it finally came to shoot it it brought a strange high seeing something that had been in my head so long transfer to reality.

Of all the films I’ve done, I knew what I wanted the end result to be the most with this film, which I think is very important.

My impression with directing is you have this vision of what you want the film to be - edited, scored, and all - and the challenge is to dissect it and figure out what you need, frame by frame.

Quick cuts? It’s not going to be quick on set. Suspenseful scene? It’ll probably feel so weird the actors will laugh.

In the midst of all the chaos on set, and an AD telling you you’re behind schedule and need to go, you have to keep referring back to that vision and checking. “Am I getting what I need? Will this work?” I think I got 90% there.

Of course it wasn’t all euphoric play time. There were a few hiccups. Minor things, you know, such as numerous locations falling through and having to rewrite a third of the script.

Or breaking one of the cardinal rules (no kids or animals) and getting a chihuahua for the gold-digging mom. Somehow we managed to find the chihuahua from hell. Little re-write to dog-less, gold-digging mom - problem solved.

After spending an entire day shooting the rewritten third and watching it, it now seems like the final scene was always supposed to take place in the school, where we shot, instead of the original living room.

The night before, when the suburban community banded together to keep me out of their living rooms, I said when the film is done and screening, we’ll say, “remember when the end was supposed to be in a living room.” And we’d all erupt into laughter. At least in my mind.

I think it’ll still happen. It’ll just be me who says the line.

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