Sunday, September 7, 2008

CHROMA KEYING

Ten Tips for a better Chromakey
One - Buy a darker background When buying your material for your Chromakey Background, whether it's paint or cloth, buy one or two shades darker than a "True Blue" or "True Green". Since you are usually putting lights on your background, you will find out that the lights wash out your background and you find it suddenly too light for a good Chromkey.
Two - Try Shooting Outdoors The Sun (especially on an overcast day) is the world's biggest Soft Light. If you want a nice even and evenly lit background for keying, try to put your ChromaKey background outside.
Three - Try some Backlighting In most cases, Chromakeying is done inside. If you are able to place a light source behind your Chromakey Background (sorry, this will only work with a pretty evely transparent cloth material), you will find a nice even background with no shadows.
Four - Light Background and Source Independently Light your background and your subject individually to avoid shadows
Five - Soften your lights That doesn't mean turn them down but rather try to use wax paper in front of your lights or bouce your lights off an umbrella (the special photo kind) or white sheet. A softer light means less shadows.
Six - Use RGB Key Instead Most Non-Linear edit systems expect an absolutley perfectly even background for good results when using the "Green Screen" or "Blue Screen" Chromakey option. Try RGB Key or Color Key where you can select the color you want to key on with a color picker.
Seven - Blue Better than Green? The ancient question is, which key color is better, Blue or Green. In most cases, you will find Blue working better since there is much more green content in skin color than blue content
Eight - Buy an old real time keyer. These days, you can find old chromakey units for very cheap. TV Stations are discarding their old Composite keyers and you can pick them up at auctions or from equipment brokers. These units are Composite only so you may not like the quality for your final product but they can be a great tool to monitor your keying efforts while you are recording, allowing you to make adjustments whithout having to render and check back footage.
Nine - Take Notes If you are doing a lot of keying, you'll want to carefully record the settings you use, the lighting position and everything else that you may need to know to quickly re-create that perfect key you had during the last taping.
Ten - Buy Some Virtual SetsOf course....Now that you have that whole chromakey thing down, you can save tons of money by keying your subjects over one of 3DVideoBackgrounds.com 's Virtual Studio Sets. You can find them on the web at
http://www.3dvideobackgrounds.com With these inexpensive Virtual Sets, a bare wall, some decent lighting and your trusty keying function is all you need to create a production that looks like a million bucks.

HDV FORMAT

There's no doubt that HDV has made an impact on our industry. However, HDV is not DV. In fact, there are significant differences to working with HDV, especially when compared to the video we've traditionally worked with.
The big issue is that HDV uses a compression system called Long-GOP MPEG-2. What this means in English is that a group of images, generally 15 for NTSC video, are all grouped together and treated as a single frame (a GOP, or Group-of-Pictures). So, instead of one picture per frame, which we are used to in DV and film, we have 15 pictures to one frame. This makes for really great compression, but it's almost impossible to edit. The reason is that MPEG was designed to only allow edits at the start of one of these Groups of Pictures. This boundary is called an "I-frame."
DVD's use a similar compression structure, which is why it is often difficult to edit video which has been compressed into MPEG-2 for DVD use.
However, Apple has figured out a way to edit HDV natively, without converting it into a different file format. However, this native editing is not without trade-offs. So, here is a list of the ways HDV is not the same as DV:
HDV needs serious CPU power. You need a minimum 1 GHz processor and 1 GB RAM.You can’t monitor HDV thru FireWire while editing, you can only watch HDV on your computer screen.You can only output to tape using Print to Video. You can't Edit to Tape.You can't up-rez HDV to HDCAM using FireWire, though you can do so using a capture card, such as an AJA Kona card.The native resolution of HDV is 1440 x 1080. However, HDV only outputs at 1920 x 1080 interlaced using line-doubling, or 1280 x 720 progressive using down-sampling.HDV takes significantly longer to render than DV, because the image size is four times larger.FCP only renders HDV frames that changed during editing. A frame is changed if an edit occurs anywhere within the GOP, except on the I-frame boundary, or if you've applied an effect or transition.There are timecode accuracy and frame-rate issues in capturing and outputting HDV.When capturing HDV, you can't control the deck or camera as precisely as you can with DV. So, in general, capture with larger handles than you would normally use.HDV only supports 2 channels of audio in or out.If you want to export an HDV sequence to include on a DVD, be sure to export it using File > Export > QuickTime Movie and make it SELF-contained. Reconform all I-frames to match the HDV compression structure. Remember, exporting puts it into an MPEG format.To help with some of these problems, Apple has created an Intermediate codec which converts HDV from it's long-GOP MPEG-2 structure into a frame-based video format. There are several benefits to using the Intermediate codec and one disadvantage:You can monitor the results of your editing using the intermediate codec thru FireWire.The intermediate codec is less resource intensive and better for editing on slower computers.The intermediate codec creates files that are four-times larger than native HDV.There are reported quality issues with the intermediate codec.Converting between HDV and the intermediate codec is not loss-less, however, Apple says it's testing shows that the conversion quality is better than competitive products. Look at the results and judge for yourself.

joke

If ladies were banks: The tall slim ones are called --Skye bank;The robust and spacious ones--Oceanic bank;The ones that move from one relationship to another--Intercontinent al bank;The silent but dangerous ones are--Firstinland bank; Those who are not cute yet they love being heard-- Bank PHB;Those who stick to one man--Fidelity bank;Those who seems caring yet debit you massively for every affection--UBA;Those that go to any extend to make you sad--Zenith bank;Those who are old yet they don't realize they are no more in vogue--Union bank;The brief and summarized ones--Micro Finance;The huge ones that ''stand gidigba for ground'--Firstbank;The beautiful, reserved and homely ones--Diamond Bank;The ones that must spend their annual vacation abroad even when the husband is broke -- GTB

evon cares to know which one u belong

Non linear Editing system tips

It's here. It's affordable. It's reliable. It's high-quality nonlinear digital editing. Finally, the frustrations of linear editing are gone, right? Well, sort of. Whether you just bought a digital nonlinear editing system or have had one for some time, chances are you've discovered that digital nonlinear editing has some frustrations of its own.

Not to worry, though, because with practice, patience, and creativity, nonlinear editing will not only be faster and better than tape-based editing; it'll be a whole lot more fun. And for all of the lost frames, system crashes and searches for more hard drive space, there will be times when you'll wonder how you ever got along editing the old-fashioned way. For most short video projects, digital nonlinear editing is just the thing to help you create a fast, fun, flexible and creative editing experience.

If you're new to nonlinear editing, or if you're thinking about involving yourself in this exciting new technology, chances are you could use a little help from someone who has worked with nonlinear editing systems before. Not to worry; we're just about to begin an editing project, so take a seat and we'll walk you through it, step by step.

The Same (But Different) 
Although the technology has changed and you now use a keyboard and a mouse instead of an edit controller and a jog/shuttle, the fundamentals of editing remain the same.

Organization is the key to efficient editing. Your pre-production organization will determine how fast you can edit. So before you shoot, write a script and make a shot list to help you take advantage of your nonlinear system without getting bogged down in disorder.

When you begin editing, your shot list will remind you exactly which takes to transfer to the hard drive. Since hard drive space is at such a premium, you'll want to capture only the scenes you are going to use. You can preview your footage on your VCR or camcorder beforehand to help you decide.

Don't Waste Space 
It's best to capture all of your scenes as individual clips. It may seem like a good idea to just capture one long clip and break it up later, but it's usually much easier--and certainly less space-consuming--to capture clips one by one. One of the great advantages that nonlinear editing has over linear editing is the random-access capability of the hard drive (see Edit Suite Linear or Nonlinear, in the May 1998 Videomaker). This means that the order in which you shoot or capture your scenes doesn't matter. Once digitized and on the hard drive, you can change the sequence any way you want.

When it's time to capture video, you'll notice that there are usually a large number of settings available to choose from. Some settings refer to the pixel resolution of the video (such as 320x240, 640x480, 720x492, etc.), while others refer to the amount of compression applied to the video (5:1, 7:1, etc.). The choices you will make for these settings depend on three crucial factors: the quality of your hard drive, the quality of your source video and the medium of distribution you plan to use.

Generally, as the video resolution goes up and the compression ratio goes down, the required data transfer rate of your hard drive increase. For example, capturing 320x240 video at 12:1 compression requires considerably less than one megabyte per second sustained data transfer rate from a hard drive. Up the ante to 640x480 at 6:1 compression, however, and you're looking at the four to five megabyte per second range.

Before you begin making such demands on your hard drive, however, you'll need to consider the quality of your source footage. If you're working with poorly-lit VHS, chances are that 640x480 (or perhaps even 320x240) at 10:1 will be sufficient. If you demand DV quality from your DV capture card, however, your choice has already been made (720x480 at 5:1 compression).

The quality you'll need also depends on how you're going to distribute your video. If you're going to output your video onto a CD-ROM or on the Internet, you can digitize at a fraction of the size and frame speed (240x180 and 15 frames per second).

Get Organized 
If you're running out of room on your hard drive, you can split your project into small segments, edit each segment one at a time and output them back to video. Then dump the footage from your drive, capture your next batch of footage and repeat. It takes a little more time, and once you've finished editing that sequence, you can't go back, but it does help make the most of hard drive space.

If you are using a system like Adobe Premiere, you can experiment by capturing a very small image (160x120, for example) at 15 fps. This will save you space and valuable rendering time while you are trying out the 75 different transitions or the 50 or so different filters you can apply to your clips. Then, when you're doing more serious work, this initial trial-and-error period will provide you with the experience you need to choose just the transitions and edits that are best for your production. If you are working with a Casablanca or Video Toaster/Flyer you can only capture images at full screen. But not to worry, the Casablanca renders effects very quickly, and the Flyer performs effects without the need for rendering.

Depending on the system you are working with, your computer will create a picture icon or a graphical icon to represent each video clip that you digitize. These clips are then stored in a work bin, directory or project folder. Regardless of which method your computer uses, it's important to name each shot with a short, recognizable name so that when you have fifty video clip icons you'll know immediately which shot is which. Identifying each shot with a little description saves time. Suppose, for example, you're editing your daughter's birthday party. Shot 1 might be a closeup of the birthday cake, Shot 7 could be a wide shot of the family singing happy birthday and Shot 30 might be a tracking shot of the birthday girl riding her brand new bicycle. Wouldn't it be much easier to rename those shots Cake, Family and Bicycle?

Editing on a Timeline 
Now for the part that we've all been waiting for: actual digital editing. First, whip out your handy edit decision list and script and drag the clips in the order that you want them to appear onto the timeline. What's a timeline? Well, you can think of it as a yardstick measured in frames and seconds (or minutes or hours). You lay a series of clips out on the timeline in the order you want them to appear. If you want to change the order of the clips, at anytime, you simply click and drag or cut and paste the shot to the place you want it. Most nonlinear systems use a timeline as the main editing interface, but a few do not. The Casablanca and Video Toaster/Flyer systems, for example, use storyboard interfaces instead.

In nonlinear systems that use timelines, you'll have at least two tracks for video, each of which has its own audio track. In between the video tracks, you'll have a transition track that allows for special effect dissolves, wipes or fades. Below these, there is usually a track where you can superimpose images or create backdrops, the same way the weather person appears to be in front of the satellite screen. The number of tracks may at first seem limiting, but you can layer tracks (in some systems up to 100 or more) together so that you virtually have an unlimited number of images and sounds to work with.

While we're looking at the timeline, note that there is usually a way to change the scale of the timeline. You can change the value of each unit of measurement on the line from a single frame to one or several minutes. This is very helpful, because you can zoom in to a particular spot for fine detail work or zoom out to view the project in its entirety.

Transition Tips 
When it comes to creating effective transitions, the best methods of discovering the exact kind of effect you want is to experiment, play, be creative and have fun. In most digital nonlinear editing systems, you'll have more transitions and special effect options than you'll know what to do with. So go through all of them, try them out and then when your head stops spinning, pick your transitions and special effects with care. Have a reason for each effect that you use. If you're working on a video version of a children's story, then the page peel as transition may work fine. Resist the urge to use an effect over and over, no matter how impressive it may look. Remember, these effects are there to help you tell your story; they are not the story.

Rendering Right 
Rendering is the process of allowing the computer to implement all of the audio, video and effects changes you've made on a frame-by-frame basis. With an ordinary computer, a large project, and/or a high-resolution clip in real time, this can certainly be the most time-consuming part of nonlinear editing. If you've captured your video in high resolution and at a fast frame rate, you can save rendering and hard drive accessing time by using smaller-sized copies of your full-size captured clips while you edit. Using this method, the clips are really only thumbnail representations of the digitized footage. Then when you're ready to output your project, you can re-access the full-sized clips and implement the decisions you made at a lower resolution.

Making Titles 
Most nonlinear systems have titling capabilities. In most cases, the process involves creating a title first, then importing it into the nonlinear timeline on one of the superimpose tracks, just as you would do with any other digital still image.

However, some of the titling features found in nonlinear editing packages lack the sophistication and power that high-end graphic programs like Adobe Photoshop offer. The good news is that you can use a program like Photoshop to create fantastic titles and then import those files into your nonlinear editing program. One good method for creating an overlay with a video background is to create a title with a white background, then use the Alpha Channel settings in your graphics program to create a invisible background to overlay onto your video. Failing that, you can use a colored background (like chroma-key blue) and adjust your nonlinear software's overlay settings to match. There are many ways to achieve the same goal--which one you use will depend on which kind of graphics program you're working with.

3D animation programs are excellent for creating titles as well. If you want to incorporate computer animation in your video, you can do so with most nonlinear editing software packages. Simply create an animation (in either Video for Windows or QuickTime format) then import the animation into your timeline like any other video clip.

Editing Audio 
On most nonlinear timelines, audio tracks are represented as integrated elements of the video clips. In other words, when you digitize a clip and import it to the timeline, you also import the audio portion of that clip onto the timeline. Like video, new audio clips can be overlaid onto existing audio clips in multiple layers to incorporate sound effects, background music, narration, etc.

When working with audio on a nonlinear system, remember to take advantage of the software's ability to adjust the volume of an audio clip up or down anywhere along the timeline. This is a truly great feature, because it allows you to control the audio level with great precision (much more so than with a linear system).

Be creative and explore your audio options. Get music and sound effects from CDs, or use some of the sounds that came with your computer. If you feel inspired, you can become your own foley artist and make up your own sound effects. Record them directly into your computer or use your camcorder's mike and then digitize the tape. 
It's also a good idea to keep your ears open for sounds you might be able to use. If you're looking to recreate the sounds of the wilderness, for example, go on a hike and record some of the wildlife sounds you hear.

There are also many stand-alone audio editing programs like Cool Edit or Sound Forge that you can use to edit your audio tracks and then import them onto your timeline. You can perform some simple audio edits in your nonlinear video editing system, but these audio editing programs have a lot more power and flexibility.

The End 
Actually, this is only the beginning. Digital nonlinear editing can open up a world of possibilities for you. Space and cost limitations will continue to be less of a factor. Soon, you'll be able to create a feature-length video with film-like quality, distribute it over the Web and become your own Cecil B. Demille. Just keep in mind that it all comes back to the same techniques that film editors have used throughout this century: good footage, revealing transitions, pacing and intuitive creativity.
MORE TO SHOW...... I  WANT YOUR INTEREST..... Evon cares

SECRET OF NLE SYSTEM

The Home Computer as Editor:

The home computer as an aid to video editing has pushed the envelope even more in the area of video creativity. Some of these computer editing tools give results that were attainable only in production houses a few years ago.

The basic concepts and rules of the video editing process are the same, but working in a digital environment allows the editor more creative freedom at each step in the process, such as being able to preview and correct each edit decision without having to go to tape or disk first. The video editing process, then becomes similar to putting together a document or graphics presentation where the user cuts and pastes the segments together adding effects and titles. Even audio editing is available. Once the video is finished it can be "dumped" back onto video tape and then viewed or duplicated.

Computer Non-Linear Editing is not foolproof however. You must have the right combination of Ram, Hard Drive Space, and Operating System. Often times there are hardware and software conflicts with other elements within the computer, which can result in crashes. Outputing the finished video back to tape can have mixed results, such as jumpy or skipped frames.

In addition, the home PC also has the ability to perform any one of the functions of the individual components in a traditional Linear Editing setup. In other words, if you have a PC and don't have all the requirements to perform the entire editing process, you can still use you computer simply as an edit controller, titler, or sound mixer with the proper software. In fact, using a computer in a hybrid Linear Editing configuration is fairly standard in many professional and amateur editing suites.

The three basic ways to connect a video source, such as a Camcorder or VCR to a computer are:

Video Capture Board --

Probably the most common way to intregrate video with a computer. Video capture boards are bundled with software for editing and other functions and are usually inserted into a computer PCI slot. These boards are usually equipped with S-video or Composite video inputs. Many boards also have video outputs, to allow you to copy your finished video back out to tape, but not all of them have outputs. If you need this capacity, read the specifications and connections statement on the box carefully before you buy. Also, make sure you check the system requirements for the board. Make sure your computer has the reccomended requirements, not just the minimum. By adhereing to this, you computer will be less likely to crash during the editing process. Internal video cards can be obtained from companies such as ATI, Pinnacle Systems, Broadway, and others.



SECRET OF VIDEOMAKER

Tips For Young Filmmakers
Cody Agenten was a young a teenager from Northern Wisconsin in 2001. He was planning on going to the University of Wisconsin(Milwaukee) and then to USC School of Cinema. He contacted me and asked if he could share his filmmaking journey with others. I asked him a few questions and he then wrote this series of nine articles for The Director's Chair called "Tips for Young Filmmakers" between May 2001 and July 2002.

"My name is Cody Agenten, and I am a young filmmaker from Northern Wisconsin. I have been interested in all aspects of filmmaking from as early as I can remember. I have made numerous short films, and plan on continuing to do so throughout my film career. My genre interests range from horror and sci-fi, to comedy and surreal. The one thing that I would like to pass on to all the young and budding filmmakers out there is to never lose your passion. Filmmaking explains us as a civilization, and must never be lost. So never put that lens cap on, and never lose your dream."
 
1) Tips From a Young Filmmaker
2) Picking the Right Film School
3) Shaping Your Own Style
4) Hollywood vs Non-Hollywood Film Schools
5) Dealing with Difficult Professors
6) Working With a Non-Union Film Crew 
7) It's Not What You Know, But Who You Know. Truth?
8) Is This (Directing) For Me?
9) I'm Here. Now What?

1 - Tips from a Young Filmmaker

1) Where do you find the resources? (camera, editing, talent)

Quite often when I shoot a film, I do A LOT of borrowing. My school owns a Panasonic VHS Broadcast camera that is usually used for shooting school performances, etc. It's the same for the editing equipment. My school just has some VERY simple Avid editing stations that they bought on a whim, so I use those. As for talent, it really boils down to whoever I can find. Friends, teachers, etc. The problem here is that these people usually have busy schedule's, so you end up working on their time. When it comes to things like this, never get discouraged if something doesn't work out in the way of equipment, talent, etc. If you don't have the money to buy the equipment, find someone who has what you need and see if their willing to loan or rent it to you. Get it anyway you can, (legally of course).

2) How do you pick locations?

When it comes to locations and sets for films, the same technique as above applies. BORROW, BORROW, BORROW. First check if your living area is good for a shoot, or you or your family owns something that will work. That is the easiest. If you don't have a location that will work, ask your neighbors, friends, etc. If they don't, drive around and look for the right place. If you end up finding it, and you don't know the people who own it, ask them for permission to use the area. More than likely they will with little or no money value attached. If you need a soundstage, you may want to ask the local music venue or performing arts theatre. These places are great, as they come with equipment too. The only problem is that they USUALLY won't let you use it unless you rent it. And the costs for renting stages is not cheap. But it may be your only choice.

2) How to divide up the crew? (director, cameraman, AD)

This is an easy area for one main reason; you as the film artist will end up doing most or all of everything. On a shoot, you may only have two or three people who actually know what's going on. The other people are actors, etc. This means that you need to be aware of what's going on at all times. YOU need to be the lighting engineer, YOU need to be the cameraman, YOU need to be the director. Build up your skills in every aspect of the art.

3) Where do you find actors?

As stated before, use people you know. At this point, don't worry about acting abilities. Teach your actors on the spot, show them what you know. Just keep going over and over the script if they can't act out a certain part. They should get it eventually.

4) How much does it cost to produce a 5 or 10 minute video?

Cost all depends on what you want to do. First, check out what you have, and then look at what you need. My philosophy is that if you're shooting a 5-10 minute video, your expenses should NOT go over $50. Use what you have. If you don't have it, get creative. Remember, it just needs to look good on camera, it doesn't matter what it looks like in real life. This applies to everything from wardrobe to props. BORROW, BORROW, BORROW!!

5) Where do you get the money to make your videos?

All the money you use should be out of pocket. Don't take out a bank loan or anything like that. Like before, GET CREATIVE! Every so often, you may want to find a sponsor if you're doing a BIG film. Somebody who will pay YOU for displaying or using their product. This may come in very handy, but sponsor contracts often have a lot strings attached. Just don't spend more money than what you have to.

6) Where can you show your film/video?

Once you are done with your film/video, you want people to see it! This can be done in a few ways. The first and easiest idea is to show a bunch of your friends, and have them spread the word about it. Before you know it, more and more people will be wanting to see your piece of art. Another way to have it shown to the world is to enter it in a traditional media art exhibit, (like paintings, drawings, etc). You may need to pull a few strings to get it in, but people love to see non-traditional media art mixed in with traditional. And this way, your art get exposed to a whole new range of people.

Another way to get your name out there is the internet. Capture your film on a computer and hand it out all over. Atomfilms.com is a great place to start. They are very stringent on their choices for films, but if you can get in there, you're going to be exposed twice as fast. If your short film is REALLY good, you may want to look into getting the film on the Sci-Fi channel's show, Exposure, (http://www.scifi.com/exposure/). This is VERY hard to get into, but if you do, your phone will be ringing off the hook with new contacts.

Remember, NEVER turn off that camera!

2 - Picking the Right Film School

If you are reading this article and you're a budding filmmaker, chances are you want to go to school for it, if you're not already there. If you're not there yet, but want to get a great film education, there are a lot of choices to choose from, some better than others. I will give you my insight into what I found when searching for a Film School.

First and foremost, you must decide what realm of film you want to work in. If you're a die-hard artist and want to work in the independent film scene, or just as a film artist, there are a lot of choices for you. In this situation, I'd start by looking in New York. They have the most developed art scene for film, and great schools to boot. Do some research into the schools, and see how they are rated against others in the field you're looking at. Chicago and Milwaukee are also good choices if money is a large factor in your decision. But remember: a good film education will cost you, it's just a fact of life.

Now, if you're like me and want to direct your skills towards Hollywood, there's really only one place to go if you really want to make it: Hollywood. Los Angeles and surrounding cities have hundreds of two-year film schools for you to take on. They don't cost a lot, and you can get lots of hands on training and project work. However, usually you won't get too far with a two year education, you often need a 4+ year education.

The two best schools that I know of in LA for this kind of in-depth film degree are offered at USC School of Cinema - Television, and Art Center College of Design, (of which I'm attending starting in fall 2002). USC is easier to get into, but you don't even get to touch a camera until your junior year,
while Art Center is VERY hard to get into, but you start film work right away. There is really only one problem with these schools too: they cost an arm and a leg. But they also have numerous contacts with LA based studios to help you get a job right out of school.

I hope this article gave you a little insight into choosing the right film school for you. Picking a film school can be a very hard decision, and since filmmaking is often very expensive, not a cheap decision either. If you have any further questions, you can e-mail me at mailto:phorsaken@mailvision.net. 

Keep those cameras rolling!

3 - Shaping Your Own Style

All filmmakers, whether it be Hollywood, Indie, or Art, all have a distinct feature that makes them different from every other film artist. Take, for example, the director Tim Burton. Anybody with eyes notices instantly that his style is different than anybody else's. All directors and filmmakers have their own style, though some are harder to see. To be a successful filmmaker, you need to develop your own style and flairs. If not, you'll be stuck copying other people's ideas for the rest of your career.

When I first started off in film, I made a huge mistake. I KNEW the kind of style I wanted, and tried to go for it. The films I made were good, but I didn't feel a connection with them. Finally, after a series of "failed" films, I decided to try something different: I just let myself "flow" behind the camera. I was amazed by the result. Not only had I made a film that I was truly happy with, but I felt a connection with this one. This is how I started to develop my STYLE.

And this is what you need to do. You, as the budding filmmaker, need to stop trying to copy all the styles that you see. When you're behind the camera, just let your feelings flow. Know your scene, let it come from your gut, and shoot it. You'll be amazed. I know that even after a good four years of trying to do this, I still haven't cemented my style, but am well on my way. This process will take time, but it's worth it's weight in gold. When your audience says, "I've never seen anything like that before!" You'll know you've got it.

4 - Hollywood VS. Non-Hollywood Film Schools

Some of you out there who are considering making the move to a larger or more well-known film school have already noticed that there are generally two kinds of schools: Hollywood and non-Hollywood. By definition, Hollywood schools are usually located in or around Hollywood itself, and usually train you for working in the Industry. Non-Hollywood schools are usually scattered across the US, with the best ones' in New York. These schools usually teach you film as an art form, and are considered a medium for art rather than purely entertainment.

I've found many differences when it comes to these different kinds of schools, both in thought and in practice. A non-Hollywood school is usually cheaper and is stationed in a state university. They often don't have the equipment resources at hand that a Hollywood school would, mostly because you're not paying them enough. I've also found that these schools are very "clicky", (people very "stuck on" themselves), and are just a pain to deal with. But there are also a lot of smart people who are willing to help you too.

Then there are the Hollywood films schools. These schools get you battle-hardened and ready for a life in the Industry. More often than not, these schools will cost a lot to attend. But with this cost, you'll often get A+ equipment and A+ instructors. However, most schools only offer a two year program, but the better ones' will offer a 4+ year degree. They teach you in much the same way that a non-Hollywood school would, but the course load is usually more rigorous and hard. These schools can be very "clicky" as well, but more often than not, people as a whole will be easier to deal with.

Keep those cameras rolling.

 
5 - Dealing with Difficult Film Professors

If you have ever attended a film school before, I'm sure you have noticed that, more often than not, the teaching staff are difficult to deal with. Either they grade to hard, aren't personable, or are stuck in their own styles and modes of producing film. This can often be disheartening for young filmmakers as it brutally shows them what some aspects of filmmaking are like. I know I've had to deal with some difficult ones in the past, and I would like to share what I have learned about these dictators.

One thing that many people have had to deal with in film school is the fact that you as the filmmaker has one style, but your teacher wants another or even hates your own style. This can be hard because you may spend a lot of time on a film that you absolutely love, but your professor fails you. Trust me, it happens.

Here's what I have found when it comes to this. I know it sounds odd, but conform to your teacher, don't try and rebel because it'll get you nowhere in most cases. Make what your teacher wants, but also inject your own flares and styles into it, making it stand out and still keeping your GPA high. Many teachers have many tastes, it's best to learn how to mold your work to a specific teacher.

I have a professor this semester that I hope no one has to deal with in the future. He's a great filmmaker, but he hates everybody else's attempts at filmmaking. He doesn't even offer constructive criticism, it's just pure criticism. I got so mad at him once that after I screened a film, and he tore it apart, I threw the actual film at him. I don't suggest that, but I felt better. When it comes to people like this, only listen half-heartedly to them and move on. Filter what they have to say, only taking the good chunks, then move on. And always remember, talk back! Some people like to have provoke confrontations with others, so play their game, fight back. This will, (often), lead to more respect giving to you than before.

I hope this helps at least a little.

6 - Working With a Non-Film Crew

If you're a budding filmmaker, you've probably encountered the problem of finding people to help you with your new form of self-expression. Some people are lucky and have a sibling or a willing parent to help them on their quest. But for others, resorting to your friends and school-mates may be the best solution.

The problem here is that most people you 'hire' won't feel the same way about film that you do. Surprisingly, many people love watching films, but very few want to put out the effort to create them, (I know I have this problem sometimes). Because of this, motivating your new crew may be very difficult. Here's what I suggest for getting your helpers in high gear and wanting to shoot.

First, if you can't afford to pay them for their work, use their stomachs. I know it sounds a little odd, but food is the best way to keep people on your side throughout a shoot. Spend about fifteen bucks to get soda, chips, dip, and small treats for them to snack on during shooting. Why do you think Hollywood spends millions on craft services during a shoot?

Second, let them have a voice. Ask them what they think would work in a particular scene. Ask them how the scene looks visually. Ask them about the story, characters, plot, and setting. If they think that they're contributing to the final product, they'll want to do all they can to help.

Third, don't be a slave driver. People hate being bossed around, especially when you're not paying them. Treat them like humans, and become their equal. You may be the Director, but without your crew, you're nothing. The best Directors are only a member of the crew, not an all-knowing presence on the set.

I hope this will help you out in your quest for finding help on your films. Filmmaking is a social art, there's not way around it. Hundreds, if not thousands, of people work on Hollywood films. When you have as much creative energy flowing through a set, you can't help but create a great film.

7 - It's Not What You Know, But Who You Know. Truth? 

I was once told by an entertainment artist that if you want to make it in Hollywood, it's not what you know, it's who you know. For many, many years, I held this motto close to my heart, and tried to make it a reality by making contacts with many well-known people in the Industry. Because I made all these contacts, I felt assure that I would get where I wanted to be in Hollywood.

Well, I got an e-mail the other day from writer/director Kevin Smith, (Clerks, Mallrats, Dogma, etc...), and he set me on the right path, and I want to set all you reading this on the right path as well. Mr. Smith told me that this philosophy of mine was completely backwards in thought. Many very successful people in Hollywood didn't know a single person when they entered this Land of Unreality, but they knew their stuff and what they wanted from the industry. They had a fresh idea to bring to Tinsel Town, and they were noticed because of this.

What's the moral to the story? Well, just because you know somebody who can get you in the door at your Hollywood dream job, don't slack in the other, more important areas. Don't just assume that they'll help you or that they'll get you a job. Work on your art and make it the best you can, then get it out there and see what happens. Persistence pays off in the long run. Work hard and keep at it. You won't be successful all the time, because if you were, there would be nothing to succeed at. Period.

If he is reading this, thanks to Kevin for putting me on the right path.

8 - Is This (Directing) For Me?

Every filmmaker during his or her career has always asked themselves this question. And if they haven't, something's very wrong. No matter what dream we may have, we are always asking ourselves whether or not this is truly what we want to do with our lives. I know that for myself, I have always been asking myself this question, and here are some things that I have found.

One: Don't corner yourself. Don't be saying, "All I wanna do is direct." There is nothing worse than doing this. No one can tell your future, all you can do is live your life one moment at a time and make the best decisions based on what knowledge you have. Let your life be like a river; ever-flowing in a forward direction.

Two: Don't train yourself for one specific job or career. If you do this, you're doing the same thing as above: Cornering yourself. Learn EVERYTHING you can, whether it has to deal with filmmaking or not. I myself learned this early in life, but I was one of the lucky ones. Most people get so solidified in their day to day passings, that they don't learn anything new or gain any new skills. Don't be one of these people. You won't be a good filmmaker if you do.

And Finally: Don't sweat the small stuff. If you make a film, and the audience hates it, don't sweat it, learn from it. Ask people WHY the film was bad, and gain a general consensus on how it could be made better. Filmmaking is an evolutionary art form. You have to crawl before you can walk, plain and simple. And learning to walk, you're going to make mistakes along the way. But once you learn to walk, the sky's the limit.

Remember, YOU are the only person who can change your destiny. NEVER let anyone tell you otherwise. Life is a journey, not a destination.

9 - I'm Here. Now What?

If you're anything like me, you want to make the Film Industry a large part of your life, both in work and lifestyle. Many young filmmakers start this progression by actually moving out to LA, and if not going to a film school, just start looking for jobs to get their foots in the door. But, a lot of them don't know what to do when they get out here. They don't know where to go, who to see, and how to start their career. I thought I might give some tips on how to start looking, and finding, your niche in a very competitive field.

First and foremost, you need to decide what area of filmmaking you want to specialize in. Don't decide on something narrow, like SOLELY acting, but instead, be broad in you desicion. You can narrow it down later. You've made a huge step just by deciding this. But allow it to be fluid and allow it to change if you need to. If not, you could get stuck somewhere you hate.

Next, get a resume and pitch video together, (if appilcable). The resume is NEEDED to show a studio what you can speicalize in, how well you work, and how much worth you'll be to the filmmaking process. A pitch video is also VERY good to have, depending on what you want to go into. If you want to get into directing, for example, you NEED to have a portfolio of your work that you can show a perspective studio before they even think about hiring you. This will show them originality and passion for your work. Remember, people get paid a lot of money to deduce what they see from filmwork, so they know what they're doing.

Once you have these things together, make some phone calls! Find the phone numbers of the studios you want to submit to, (numbers you need to find are for the PR or hiring centers of the studio). Get an appointment with a hiring expert or just set up a time you can come in and pitch/drop off your resume/video. If you're lucky, you may just get the job!

Now, what I've outlined here is a VERY simple path for finding your niche in Hollywood. There are many different ways to go about this, and many different paths to take. And the main rule is this: Don't get discouraged. One studio may hate your work. They'd much rather have their eyes dug out with red-hot pokers than hire you. But another studio may LOVE your work and sign you on the spot. Hey, it's happened before.

Remember, this is your dream. Live it. evon cares

 

SECRET OF N.L EDITOR

Tips For Young Filmmakers
Cody Agenten was a young a teenager from Northern Wisconsin in 2001. He was planning on going to the University of Wisconsin(Milwaukee) and then to USC School of Cinema. He contacted me and asked if he could share his filmmaking journey with others. I asked him a few questions and he then wrote this series of nine articles for The Director's Chair called "Tips for Young Filmmakers" between May 2001 and July 2002.

"My name is Cody Agenten, and I am a young filmmaker from Northern Wisconsin. I have been interested in all aspects of filmmaking from as early as I can remember. I have made numerous short films, and plan on continuing to do so throughout my film career. My genre interests range from horror and sci-fi, to comedy and surreal. The one thing that I would like to pass on to all the young and budding filmmakers out there is to never lose your passion. Filmmaking explains us as a civilization, and must never be lost. So never put that lens cap on, and never lose your dream."
 
1) Tips From a Young Filmmaker
2) Picking the Right Film School
3) Shaping Your Own Style
4) Hollywood vs Non-Hollywood Film Schools
5) Dealing with Difficult Professors
6) Working With a Non-Union Film Crew 
7) It's Not What You Know, But Who You Know. Truth?
8) Is This (Directing) For Me?
9) I'm Here. Now What?

1 - Tips from a Young Filmmaker

1) Where do you find the resources? (camera, editing, talent)

Quite often when I shoot a film, I do A LOT of borrowing. My school owns a Panasonic VHS Broadcast camera that is usually used for shooting school performances, etc. It's the same for the editing equipment. My school just has some VERY simple Avid editing stations that they bought on a whim, so I use those. As for talent, it really boils down to whoever I can find. Friends, teachers, etc. The problem here is that these people usually have busy schedule's, so you end up working on their time. When it comes to things like this, never get discouraged if something doesn't work out in the way of equipment, talent, etc. If you don't have the money to buy the equipment, find someone who has what you need and see if their willing to loan or rent it to you. Get it anyway you can, (legally of course).

2) How do you pick locations?

When it comes to locations and sets for films, the same technique as above applies. BORROW, BORROW, BORROW. First check if your living area is good for a shoot, or you or your family owns something that will work. That is the easiest. If you don't have a location that will work, ask your neighbors, friends, etc. If they don't, drive around and look for the right place. If you end up finding it, and you don't know the people who own it, ask them for permission to use the area. More than likely they will with little or no money value attached. If you need a soundstage, you may want to ask the local music venue or performing arts theatre. These places are great, as they come with equipment too. The only problem is that they USUALLY won't let you use it unless you rent it. And the costs for renting stages is not cheap. But it may be your only choice.

2) How to divide up the crew? (director, cameraman, AD)

This is an easy area for one main reason; you as the film artist will end up doing most or all of everything. On a shoot, you may only have two or three people who actually know what's going on. The other people are actors, etc. This means that you need to be aware of what's going on at all times. YOU need to be the lighting engineer, YOU need to be the cameraman, YOU need to be the director. Build up your skills in every aspect of the art.

3) Where do you find actors?

As stated before, use people you know. At this point, don't worry about acting abilities. Teach your actors on the spot, show them what you know. Just keep going over and over the script if they can't act out a certain part. They should get it eventually.

4) How much does it cost to produce a 5 or 10 minute video?

Cost all depends on what you want to do. First, check out what you have, and then look at what you need. My philosophy is that if you're shooting a 5-10 minute video, your expenses should NOT go over $50. Use what you have. If you don't have it, get creative. Remember, it just needs to look good on camera, it doesn't matter what it looks like in real life. This applies to everything from wardrobe to props. BORROW, BORROW, BORROW!!

5) Where do you get the money to make your videos?

All the money you use should be out of pocket. Don't take out a bank loan or anything like that. Like before, GET CREATIVE! Every so often, you may want to find a sponsor if you're doing a BIG film. Somebody who will pay YOU for displaying or using their product. This may come in very handy, but sponsor contracts often have a lot strings attached. Just don't spend more money than what you have to.

6) Where can you show your film/video?

Once you are done with your film/video, you want people to see it! This can be done in a few ways. The first and easiest idea is to show a bunch of your friends, and have them spread the word about it. Before you know it, more and more people will be wanting to see your piece of art. Another way to have it shown to the world is to enter it in a traditional media art exhibit, (like paintings, drawings, etc). You may need to pull a few strings to get it in, but people love to see non-traditional media art mixed in with traditional. And this way, your art get exposed to a whole new range of people.

Another way to get your name out there is the internet. Capture your film on a computer and hand it out all over. Atomfilms.com is a great place to start. They are very stringent on their choices for films, but if you can get in there, you're going to be exposed twice as fast. If your short film is REALLY good, you may want to look into getting the film on the Sci-Fi channel's show, Exposure, (http://www.scifi.com/exposure/). This is VERY hard to get into, but if you do, your phone will be ringing off the hook with new contacts.

Remember, NEVER turn off that camera!

2 - Picking the Right Film School

If you are reading this article and you're a budding filmmaker, chances are you want to go to school for it, if you're not already there. If you're not there yet, but want to get a great film education, there are a lot of choices to choose from, some better than others. I will give you my insight into what I found when searching for a Film School.

First and foremost, you must decide what realm of film you want to work in. If you're a die-hard artist and want to work in the independent film scene, or just as a film artist, there are a lot of choices for you. In this situation, I'd start by looking in New York. They have the most developed art scene for film, and great schools to boot. Do some research into the schools, and see how they are rated against others in the field you're looking at. Chicago and Milwaukee are also good choices if money is a large factor in your decision. But remember: a good film education will cost you, it's just a fact of life.

Now, if you're like me and want to direct your skills towards Hollywood, there's really only one place to go if you really want to make it: Hollywood. Los Angeles and surrounding cities have hundreds of two-year film schools for you to take on. They don't cost a lot, and you can get lots of hands on training and project work. However, usually you won't get too far with a two year education, you often need a 4+ year education.

The two best schools that I know of in LA for this kind of in-depth film degree are offered at USC School of Cinema - Television, and Art Center College of Design, (of which I'm attending starting in fall 2002). USC is easier to get into, but you don't even get to touch a camera until your junior year,
while Art Center is VERY hard to get into, but you start film work right away. There is really only one problem with these schools too: they cost an arm and a leg. But they also have numerous contacts with LA based studios to help you get a job right out of school.

I hope this article gave you a little insight into choosing the right film school for you. Picking a film school can be a very hard decision, and since filmmaking is often very expensive, not a cheap decision either. If you have any further questions, you can e-mail me at mailto:phorsaken@mailvision.net. 

Keep those cameras rolling!

3 - Shaping Your Own Style

All filmmakers, whether it be Hollywood, Indie, or Art, all have a distinct feature that makes them different from every other film artist. Take, for example, the director Tim Burton. Anybody with eyes notices instantly that his style is different than anybody else's. All directors and filmmakers have their own style, though some are harder to see. To be a successful filmmaker, you need to develop your own style and flairs. If not, you'll be stuck copying other people's ideas for the rest of your career.

When I first started off in film, I made a huge mistake. I KNEW the kind of style I wanted, and tried to go for it. The films I made were good, but I didn't feel a connection with them. Finally, after a series of "failed" films, I decided to try something different: I just let myself "flow" behind the camera. I was amazed by the result. Not only had I made a film that I was truly happy with, but I felt a connection with this one. This is how I started to develop my STYLE.

And this is what you need to do. You, as the budding filmmaker, need to stop trying to copy all the styles that you see. When you're behind the camera, just let your feelings flow. Know your scene, let it come from your gut, and shoot it. You'll be amazed. I know that even after a good four years of trying to do this, I still haven't cemented my style, but am well on my way. This process will take time, but it's worth it's weight in gold. When your audience says, "I've never seen anything like that before!" You'll know you've got it.

4 - Hollywood VS. Non-Hollywood Film Schools

Some of you out there who are considering making the move to a larger or more well-known film school have already noticed that there are generally two kinds of schools: Hollywood and non-Hollywood. By definition, Hollywood schools are usually located in or around Hollywood itself, and usually train you for working in the Industry. Non-Hollywood schools are usually scattered across the US, with the best ones' in New York. These schools usually teach you film as an art form, and are considered a medium for art rather than purely entertainment.

I've found many differences when it comes to these different kinds of schools, both in thought and in practice. A non-Hollywood school is usually cheaper and is stationed in a state university. They often don't have the equipment resources at hand that a Hollywood school would, mostly because you're not paying them enough. I've also found that these schools are very "clicky", (people very "stuck on" themselves), and are just a pain to deal with. But there are also a lot of smart people who are willing to help you too.

Then there are the Hollywood films schools. These schools get you battle-hardened and ready for a life in the Industry. More often than not, these schools will cost a lot to attend. But with this cost, you'll often get A+ equipment and A+ instructors. However, most schools only offer a two year program, but the better ones' will offer a 4+ year degree. They teach you in much the same way that a non-Hollywood school would, but the course load is usually more rigorous and hard. These schools can be very "clicky" as well, but more often than not, people as a whole will be easier to deal with.

Keep those cameras rolling.

 
5 - Dealing with Difficult Film Professors

If you have ever attended a film school before, I'm sure you have noticed that, more often than not, the teaching staff are difficult to deal with. Either they grade to hard, aren't personable, or are stuck in their own styles and modes of producing film. This can often be disheartening for young filmmakers as it brutally shows them what some aspects of filmmaking are like. I know I've had to deal with some difficult ones in the past, and I would like to share what I have learned about these dictators.

One thing that many people have had to deal with in film school is the fact that you as the filmmaker has one style, but your teacher wants another or even hates your own style. This can be hard because you may spend a lot of time on a film that you absolutely love, but your professor fails you. Trust me, it happens.

Here's what I have found when it comes to this. I know it sounds odd, but conform to your teacher, don't try and rebel because it'll get you nowhere in most cases. Make what your teacher wants, but also inject your own flares and styles into it, making it stand out and still keeping your GPA high. Many teachers have many tastes, it's best to learn how to mold your work to a specific teacher.

I have a professor this semester that I hope no one has to deal with in the future. He's a great filmmaker, but he hates everybody else's attempts at filmmaking. He doesn't even offer constructive criticism, it's just pure criticism. I got so mad at him once that after I screened a film, and he tore it apart, I threw the actual film at him. I don't suggest that, but I felt better. When it comes to people like this, only listen half-heartedly to them and move on. Filter what they have to say, only taking the good chunks, then move on. And always remember, talk back! Some people like to have provoke confrontations with others, so play their game, fight back. This will, (often), lead to more respect giving to you than before.

I hope this helps at least a little.

6 - Working With a Non-Film Crew

If you're a budding filmmaker, you've probably encountered the problem of finding people to help you with your new form of self-expression. Some people are lucky and have a sibling or a willing parent to help them on their quest. But for others, resorting to your friends and school-mates may be the best solution.

The problem here is that most people you 'hire' won't feel the same way about film that you do. Surprisingly, many people love watching films, but very few want to put out the effort to create them, (I know I have this problem sometimes). Because of this, motivating your new crew may be very difficult. Here's what I suggest for getting your helpers in high gear and wanting to shoot.

First, if you can't afford to pay them for their work, use their stomachs. I know it sounds a little odd, but food is the best way to keep people on your side throughout a shoot. Spend about fifteen bucks to get soda, chips, dip, and small treats for them to snack on during shooting. Why do you think Hollywood spends millions on craft services during a shoot?

Second, let them have a voice. Ask them what they think would work in a particular scene. Ask them how the scene looks visually. Ask them about the story, characters, plot, and setting. If they think that they're contributing to the final product, they'll want to do all they can to help.

Third, don't be a slave driver. People hate being bossed around, especially when you're not paying them. Treat them like humans, and become their equal. You may be the Director, but without your crew, you're nothing. The best Directors are only a member of the crew, not an all-knowing presence on the set.

I hope this will help you out in your quest for finding help on your films. Filmmaking is a social art, there's not way around it. Hundreds, if not thousands, of people work on Hollywood films. When you have as much creative energy flowing through a set, you can't help but create a great film.

7 - It's Not What You Know, But Who You Know. Truth? 

I was once told by an entertainment artist that if you want to make it in Hollywood, it's not what you know, it's who you know. For many, many years, I held this motto close to my heart, and tried to make it a reality by making contacts with many well-known people in the Industry. Because I made all these contacts, I felt assure that I would get where I wanted to be in Hollywood.

Well, I got an e-mail the other day from writer/director Kevin Smith, (Clerks, Mallrats, Dogma, etc...), and he set me on the right path, and I want to set all you reading this on the right path as well. Mr. Smith told me that this philosophy of mine was completely backwards in thought. Many very successful people in Hollywood didn't know a single person when they entered this Land of Unreality, but they knew their stuff and what they wanted from the industry. They had a fresh idea to bring to Tinsel Town, and they were noticed because of this.

What's the moral to the story? Well, just because you know somebody who can get you in the door at your Hollywood dream job, don't slack in the other, more important areas. Don't just assume that they'll help you or that they'll get you a job. Work on your art and make it the best you can, then get it out there and see what happens. Persistence pays off in the long run. Work hard and keep at it. You won't be successful all the time, because if you were, there would be nothing to succeed at. Period.

If he is reading this, thanks to Kevin for putting me on the right path.

8 - Is This (Directing) For Me?

Every filmmaker during his or her career has always asked themselves this question. And if they haven't, something's very wrong. No matter what dream we may have, we are always asking ourselves whether or not this is truly what we want to do with our lives. I know that for myself, I have always been asking myself this question, and here are some things that I have found.

One: Don't corner yourself. Don't be saying, "All I wanna do is direct." There is nothing worse than doing this. No one can tell your future, all you can do is live your life one moment at a time and make the best decisions based on what knowledge you have. Let your life be like a river; ever-flowing in a forward direction.

Two: Don't train yourself for one specific job or career. If you do this, you're doing the same thing as above: Cornering yourself. Learn EVERYTHING you can, whether it has to deal with filmmaking or not. I myself learned this early in life, but I was one of the lucky ones. Most people get so solidified in their day to day passings, that they don't learn anything new or gain any new skills. Don't be one of these people. You won't be a good filmmaker if you do.

And Finally: Don't sweat the small stuff. If you make a film, and the audience hates it, don't sweat it, learn from it. Ask people WHY the film was bad, and gain a general consensus on how it could be made better. Filmmaking is an evolutionary art form. You have to crawl before you can walk, plain and simple. And learning to walk, you're going to make mistakes along the way. But once you learn to walk, the sky's the limit.

Remember, YOU are the only person who can change your destiny. NEVER let anyone tell you otherwise. Life is a journey, not a destination.

9 - I'm Here. Now What?

If you're anything like me, you want to make the Film Industry a large part of your life, both in work and lifestyle. Many young filmmakers start this progression by actually moving out to LA, and if not going to a film school, just start looking for jobs to get their foots in the door. But, a lot of them don't know what to do when they get out here. They don't know where to go, who to see, and how to start their career. I thought I might give some tips on how to start looking, and finding, your niche in a very competitive field.

First and foremost, you need to decide what area of filmmaking you want to specialize in. Don't decide on something narrow, like SOLELY acting, but instead, be broad in you desicion. You can narrow it down later. You've made a huge step just by deciding this. But allow it to be fluid and allow it to change if you need to. If not, you could get stuck somewhere you hate.

Next, get a resume and pitch video together, (if appilcable). The resume is NEEDED to show a studio what you can speicalize in, how well you work, and how much worth you'll be to the filmmaking process. A pitch video is also VERY good to have, depending on what you want to go into. If you want to get into directing, for example, you NEED to have a portfolio of your work that you can show a perspective studio before they even think about hiring you. This will show them originality and passion for your work. Remember, people get paid a lot of money to deduce what they see from filmwork, so they know what they're doing.

Once you have these things together, make some phone calls! Find the phone numbers of the studios you want to submit to, (numbers you need to find are for the PR or hiring centers of the studio). Get an appointment with a hiring expert or just set up a time you can come in and pitch/drop off your resume/video. If you're lucky, you may just get the job!

Now, what I've outlined here is a VERY simple path for finding your niche in Hollywood. There are many different ways to go about this, and many different paths to take. And the main rule is this: Don't get discouraged. One studio may hate your work. They'd much rather have their eyes dug out with red-hot pokers than hire you. But another studio may LOVE your work and sign you on the spot. Hey, it's happened before.

Remember, this is your dream. Live it. evon cares

 

NON-LINEAR EDITING SYSTEM TIPS


Like most computer-based activities, nonlinear editing delivers a rich set of opportunities, frustrations, and peculiarities, all of which generate a gaggle of ad-lib tactics for dealing with them. A complete collection of nonlinear tricks would include obscure secrets and arcane workarounds, but the fundamental strategies are based on simple common sense.

So without further ado, here's a look at 10 basic tips for success in nonlinear editing.

1: Invest in the Best
Or if you can't afford the best, invest in the pretty darn good. Mortgage the dog if you have to, but scrape up enough green to buy a competent editing system.

This isn't the place to talk hardware specifics, but in general, you should pay as much as you possibly can (plus maybe 20% more that you can't) for:

 a brawny chip, board, and power supply--like a Pentium II 450 setup;
 cavernous storage with lightning throughput (which means an entirely separate SCSI or Ultra-SCSI drive to be used solely for video capture);
 beaucoup RAM, like 64-128 MB at least;
 a premium display card for the computer monitor.
Most importantly, invest in the best video capture card you can afford. Under-$1000 cards are available, and will work well if you don't mind the occasional frustration that comes with a crashed system; however, if you have the funds, consider purchasing a product one step up from this level. The increase in reliability will be well worth the investment.


2: Dedicate the System to Video
Why not just upgrade the system you probably own already? Because you can't run your dental group accounting package on the same machine without creating internal conflicts that will drive your computer into myocardial infarctions and similarly lethal stuff.

So if you don't want to hang your system every 20 minutes, set it up from scratch as a dedicated editing tool and play Quake II on your daughter's machine.

3: Match Software to System
Most video capture cards come bundled with editing software like Adobe Premiere or an Avid package or Ulead's MediaStudio, and these programs all let you specify the technical characteristics of your programs.

In general, the higher the quality of each and every setting (such as compression, frame rate and image size), the more demands it makes on your system. Push your computer too hard and you'll see everything from jagged lines to dropped frames to fuzzy images to picture snow. So it's worth a lot of patient experimentation to determine which combination of settings works best for you.

And while you're tweaking software, don't forget all the other packages that mysteriously appear when you install operating systems (like Windows 98) and editing packages and audio cards. Which ones you use with which other ones can become a complicated question, as you'll discover when you digitize incoming audio with your video card, but audition it through speakers attached to your computer's sound card.

4: Do Your Housekeeping

Disk operating systems strew data like a teenager dropping clothes in his room, and a hard drive can quickly resemble, well, a teenager's room. Why should you care? Because the more fragmented and dispersed the data stored on a hard drive, the longer it takes to find and assemble it for use.

Fragmented data quickly reduces hard drive speed, and the three most important aspects of a video editing system are speed, speed, and speed. To keep data throughput as fast as possible, defragment your drive even if the system says you don't yet need to. To remind myself to perform hard disk housekeeping, I've placed a shortcut to the defragmenter utility right on my desktop, where it stares at me accusingly.

MORE TIPS ON FILMMAKING

Select the right camera for your goal and your budget. A 3-CCD DV camcorder, such as the Canon XL-1 or Sony VX-2000, is best for optimum color and sharpness but the new 1-CCD models, such as the Canon Elura or Optura Pi, offer wonderful image quality at a price that won't break the bank. If your production is intended for television, a 3-CCD camera is highly recommended. However, if you are aiming for the Web, a 1-CCD will do nicely. The camera you select should offer manual focus and exposure control, in addition to manual white balance for tricky lighting situations.


2. In addition to your camcorder, a few other accessories are invaluable. First would be a decent tripod, preferably one with a fluid head that allows smooth panning. Manfrotto-Bogen, in my opinion, make some of the best low-budget units that offer sturdy support and decent performance. Next would be an external microphone, such as a short shotgun and/or wireless lavalier. These will allow you to get better sound than the built-in microphone that came with your camcorder. A lavalier microphone, preferably a UHF model to limit signal interference, is useful for interviews and for allowing you to capture sound when your subject is a distance away from your camera. The shotgun microphone will allow you to do the same but can be more tricky to master. Good models are made by Sennehiser, Audio-Technica, Sony and Samson. A wide-angle accesory lens is useful for when you have to work in tight confines, and an on-camera video light for low-light filming situations. Finally, always carry extra batteries for everything and plenty of videotapes.


3. Some of you will already be familiar with using a still camera. Using a video camera is somewhat similar, except that your subject moves within the frame. One of the hardest things for a newcomer to digital filmmaking to do is getting used to the new camera, and what it can do. My foremost tip is once you get the camera in your hands, before you start filming you should go over the unit carefully and figure out exactly where and what the function of each button is. Read the manual from cover to cover. Most of the people I know don't like to do this but it makes no sense not to. Learn about your camera thoroughly. Only then can you begin to work with it instinctively. There is no time when you are filming something important to start figuring out what to do next because of unfamiliarity with your equipment.


4. OK, so now that you know how to make your camera function, the next step is actually filming. Firstly, until you are more experienced, leave your camera in all the automatic modes, like exposure, focus and white balance. Later on you will probably desire to control all these functions manually but for now go ahead and depend on your camera's auto systems. The most important thing you will learn is to hold your picture steady. Most people, when they get a video camera in their hands, end up recording a picture that when you play it back almost makes you dizzy. Forget about zooming and panning. Compose a picture in the viewfinder carefully, then hold the shot for a minimum of 10 seconds. Let the action happen inside the frame. While filming you should already be thinking about your next shot. Next, pause the camera and reframe. Stay away from the zoom button if you need a close-up. Leave your lens at its widest setting. Instead, walk over to your subject and compose your shot. When your lens is at wide-angle your focus is not as critical as when you zoom in tight on telephoto. Your shot also will be much steadier. Nothing is worse than jiggly video, unless done on purpose for aesthetic reasons, but usually only by people who know what they are doing (remember the TV show Homicide?).


5. Shoot wide, medium and tight. A variety of shots at different focal lengths are necessary to make an interesting production and for editing. Your first shot should be a wide view of the scene, then most of the rest should be of medium and close-up range. Vary your position and angle.


6. If you are trying to capture sound with your camera's built-in microphone, remember to stay close to the person who is speaking and not to move the camera until they are finished talking to avoid sound drop-outs and inconsistency.


7. Once you are finished filming your project, the next step is editing it into a finished production. In the past, the ability to do this was limited to only those who could afford to spend the thousands of dollars necessary to build an editing station. Thanks to computer makers like Apple and their revolutionary products like the G4 and the iMac DV, editing your DV project is now affordable and easier than ever. If you are just starting out, my recommendation would be to buy an iMac DV computer, which comes bundled with iMovie editing software. Editing your movies is as simple as connecting your Firewire-equipped DV camcorder to the iMac and transferring the footage to the computer's hard drive. The tape can be logged and edited into a simple production with only a few hours practice. Once you have learned how to edit and have some experience under your belt, it is then possible to move up to Apple's more advanced, professional level computer and software, the G4 and Final Cut Pro.


I hope the above information will be helpful to some of you. This is just a taste of what you need to learn in order to be able to produce high-quality digital video productions. For those of you who wish to take your skills further, more extensive training is available by attending the Platypus Workshop. 
...Please EMAIL me if there are any questions. I wish you well in your chosen career.... 
Evon cares...

filmmaking tips

ENJOY THE TIPS AND REPLY ME WHAT YOU LEARNT....
1.Write or obtain a great screenplay

The story is vital and is at the top of this list for a reason. Without a good story all your filmmaking efforts will be fruitless. Beautiful lighting, creative camerawork and smooth editing are pointless if the story isn't compelling. Why else would anyone want to watch the movie? Read more about screenplays.

2. Film lighting

The way you light your film significantly affects how your audience perceives it. Using moody lighting with dark shadows in a teen comedy is not advisable; by the same token, your film noir is unlikely to work if there are bright colors and flat lighting. Imaginative and tonally appropriate lighting is crucial to successful filmmaking. Read more about film lighting.

3. Good camerawork

There is good camerawork and there is poor camerawork. Your filmmaking will suffer if your camerawork is poor. Good framing techniques will work wonders for your film. I am convinced - and there is evidence of this in every film - that imaginative camerawork will increase the connection between the audience and your story, whereas weak, bland or unmotivated camerawork will actively hamper the story. There is so much mediocre camerawork around that you may as well err on the side of unusual angles - just make sure that your choices are motivated by the characters and the scene, not by a self-defeating lust for wacky camera angles. Read more about camerawork.
4. Camera movement

This is closely related to the camerawork issue and is in fact a part of it. As with imaginative camera angles, camera movement should be used to draw the audience into the story. This means that camera movement should be motivated by the action and by the characters, not simply by whether the actors are moving or not. Read more about camera movement.

5. Using zoom lenses

Zooming has been much maligned in recent years, but in my opinion this is an over-reaction to its excessive or incorrect use. There is still plenty of use for zoom shots in filmmaking and they are far from obsolete, as demonstrated by the masterful zoom shots of Ridley Scott and Steven Spielberg, among others. Read more about the use of zoom lenses in filmmaking.

6. Record good production sound

Poor sound is a major weakness - maybe the major weakness - of independent films. Some professionals claim that audiences can put up with poor image quality if the story is good, but they will never put up with poor sound. I am inclined to agree with this. Accordingly, you should take the sound recording issue seriously. Read more about recording good production sound.

7. Casting

Casting is another issue you cannot afford to get wrong. Casting can be a royal pain, but it is worth the effort as the actors are supposed to breathe life into your characters and miscasting your film can irremediably compromise its success. Read more about casting films.

8. Continuity

Continuity refers to static elements (such as an actor's clothes in a given scene) or dynamic elements (such as a cigarette becoming progressively shorter during a scene). Continuity supervisors ensure that these elements are controlled in such a way that they are consistent with the story when the film is edited - this can be a major issue if the film is not shot in chronological order. Read more about film continuity.

9. Production design

The world of your film must be conceptualized in advance, right down to the color scheme, props, furniture and costumes. You don't turn up to a location and put up with whatever's there - you must decide in advance what color everything should be, what style the furniture should be in, and so on, and prepare accordingly - that's real filmmaking. The reason for this is that the appearance of everything in your movie will affect the viewer's perception of it, and tells the world about how you see things as a film director. Read more about production design.

10. Film editing

Editing - the assembly of different shots aimed at creating a coherent sequence - is an artform that is unique to filmmaking. As a film director you should be totally on top of how film editing works, because if you're not, the film will be a nightmare to edit and will be full of inconsistencies, jump cuts and other distracting mistakes. If you don't understand film editing, the way you shoot scenes and move your actors is bound to cause major difficulties in the editing room. Read more about film editing.

11. Technical directing tips

Follow the 180° rule - don't cross the eyeline unless you know what you're doing. Make your actors walk in and out of shots. Make shot sizes match. Read more about technical directing issues.

12. Role of the 1st assistant director

The director cannot worry about temperamental generators, the actor who is stuck on the 405 or the neighbors who are fed up with your generator's noise. You need an ultra-competent 1st assistant director who will schedule the film shoot according to a sound rationale, push the crew to keep its momentum, and manage problem-solving during the shoot. Read more about the importance of having a good 1st assistant director.