http://reduser.net/forum/showthread.php?p=660570#post660570
As I predicted in my last article RED needed to accept their place as a pro camera company & that is exactly what they did! As Jim Jannard's announcement indicates, RED is finally starting to get it and will draw the line better as it comes to what kind of company they are. Which, I think, should help them carve out a better niche for themselves. It was about time they admitted the obvious. My hope is that, now, the company will be finding its footing better and accepting its limitations even more. Then they can start to recognize who their true competition is. here's a hint... it's NOT Canon & Nikon!
My view of the digital camera markets can be compared to some degree with the old film camera markets...
Current Digital Camera Markets
1. DSLR's & prosumer cams ---> 2. Panny & Sony Broadcast Professional HD Cameras ---> 3. RED, ARRI, Panavisions & Studio developed experimental cameras.
As compared to the Film Camera Markets from back in the day...
1. Standard 8 & Super 8 ---> 2. 16 & Super 16 ---> 3. 35mm & other experimental studio tech.
Of course there are sub-markets within these as there is more experimentation and innovation (just like with Red) but these smaller markets will only flux temporarily.
This all makes sense because each of these markets are meeting distinct needs in the marketplace. Lots of filmmakers including Spielberg & M. Night back in the day started with a Super 8 shooting family events & small shorts films in their back yard- then they moved up to 16 in film school and then by that time they understood how the whole theory works and all the ensuing implications with lighting, developing, camera moves, etc. They could realistically handle the Panavisions and could deal with the greater responsibility of that. The same is now true with the DSLR's all the way up to RED, ARRI etc.
So, as you can see, my beef with RED is that they are acting ridiculous by making fun of DSLR shooters. Panavision would never be ridiculous enough to making fun of Ricoh, Rollei, Bolex or Canon back in the 70's or 80's because they shot on a smaller format and their sync-sound wasn't as good... or they weren't as smooth running... or they were too noisy to be used for proper filmmaking purposes... that is really only going to make you look like an idiot.
They, hopefully, will continue to admit they are in a different market & then they will stop making noise in the back of the classroom like annoying little brats. RED has to learn to not sling mud and to stand apart as a different kind of company. Let it be a plus that your cameras will be undercutting other cameras in your market... that is a good thing! And try not to make the Spielbergs of tomorrow feel bad for starting their careers with DSLR's...
By the way- HDR isnt that much of an advancement, RED. In many ways, no more advanced than 3D. Here's a Canon 5DmkII shooting HDR video on vimeo. Just get us a new camera that continues the next big thing in pro filmmaking... thank you very much! aaahhhh. LOL. Im just kidding!
But, all kidding aside, I do appreciate every bit of new filmmaking tech out there from your company and from ANY of these other great companies, so thank you very much Mr. Jannard- just please learn to respect your peers sir- Canon, Nikon, Panny... these other companies are still just as relevant as your company (even Panavision!). In some ways, more so. They have a more vibrant, colorful and profitable history than yours. You're the next big thing- but don't think the old guard are gone- they are just as relevant as ever.
I'm still hoping that there will be advances in digital screening technology with the help of RED at some point-- we need a slew of new high res theaters out there. IMHO it will help continue the resurgence of the theater experience for the film exhibition industry as well... then we will SEE the evidence of RED's advanced tech better as compared to the competition. Can't you see that this better screening environment will also greatly increase the amount of sales for your cameras? hmmmmm. That this isn't discussed concerns me. The screening tech must flux WITH the camera markets at some point- but, as most of use realize in this industry, there is not much innovation in the exhibition markets. LOL.
Good luck to you & congratulations on finding your niche RED!! In the meantime- I just got my hands on a Canon 60D and will be shooting what I can as a beginning director (no longer just a producer, scripty & videographer)- I'll be learning to work within the limitations of the tech & doing what I can to still tell stories. Whatever piece of equipment I can get to help me make better films... that's what I will buy. Wish me luck and hopefully by the time you come out with Scarlet- I'll be able to see how all this extra time working on it paid off! Or maybe by then you will deserve the ridicule & scorn you have heaped on others.
Monday, October 4, 2010
Thursday, June 17, 2010
Finally some Scarlet talk... but what can RED do about the new DSLR Revolution?
Is RED & Jim Jannard all talky talk no action? Will the Scarlet stand up to the HD-SLR's? Should HDSLR shooters be 'ashamed'?
http://www.eoshd.com/content/255-RED-quot-DSLR-shooters-should-be-embarrassed-quot
My opinion is that there are two Revolutions & two Markets going on here... they are being formed presently & they are represented by (1) an indy filmmaking revolution using existing avenues of distribution technology -the HD-SLR Revolution and (2) a revolution in cinema technology standards with the 4-6k RED cameras (said to also include a much higher resolution with the Epic sensors) -the SHD Revolution, which still has a work to be done (and that work ISN'T 'knocking down' the Canon/Nikon/Panasonics of the world because we are talking apples & oranges here). "How so?" you say...
Since the RED cameras represent a much more substantial change to the totality of filmmaking & screening technology it is simply more time consuming (& therefore costly) down the line as this technology comes into use more (but it is a revolution that is worth it in the long run).
But the HD-SLR revolution utilizes already present technology not just in use in homes- but on the web & on your smart phone... in other words it is cheaper and easier for a filmmaker to create content because he doesn't have to be involved in revolutionizing the entire process cradle-to-grave the way RED is going to have to do- he just plugs into an already established technology.
But this issue with RED is all unavoidable because of the implications of this newer technology- I mean, it truly must be a huge, no doubt, beautiful picture at such a high res!... Now, where can we screen it? Can it even be screened? Can it be broadcast? Can it be viewed online or at home? Of course distribution has to be considered by everyone involved. In contrast, it is much more financially sound to shoot in 1080p with a $2k rig with less crew requirements and still be able to distribute!
Getting down to brass tax I think RED & their reps still have a work ahead of them to make this technology practical- to put this technology in theaters- to make it practical for consumers to consume, etc. They started this mess & they need to finish it (or rather, get the ball soundly rolling in the right direction). Admittedly, much of that great work has been done & is actively being done by many filmmakers, distributors & the studios. We just need to make sure we are on the right track & solving the right questions. We need to make sure the consumers out there can 'see the difference' between 2 and 6k & that it is worth the extra coin & worth the extra hype because they haven't even seen 6k yet & still don't even know what it is yet.
Not that RED shouldn't continue to compete on a professional filmmaking level with the HD-SLR's in order to draw that line-in-the-sand. What RED has to do is solve the problems the HD-SLR's have and assist the move towards a more cinematic experience by making 'the quintessential professional SHD-SLR run & gun shooter' in the Scarlet. But this time do it without blowing smoke at the users.
I mean, listen, it is obvious RED dropped the ball this year. Use me as an example (& this is true for so many other current or beginning filmmakers) -this is me in a nutshell... since last year I was going to buy a Scarlet earlier this year so I could start shooting my own stuff (instead of hiring out) but now I'm investing in a Canon HD-SLR rig with LED lights, Zoom sound & portable power supply instead... because of all the obvious financial reasons... doing all this costs the same amount that a Scarlet was supposed to cost this year. Isn't that great?
Well, also, as filmmakers we need to recognize (& RED needs to remember this), ART doesn't wait to get made- when the inspiration hits, MAKE IT & MAKE IT NOW! DON'T WAIT! I understand RED can't just follow this principle as a camera & software development company that has to be regulated & has to meet certain standards- you can't do what you want... but as filmmakers we have to live by this principle... we kind of can't wait for the next big thing... we have to go out & shoot our story right now & fix it later (maybe shoot it again but next time on a Scarlet- nothing wrong with that). But any business needs to remember, just like RED, if any company makes promises it can't keep, it is in danger of failing.
The PAYOFF for RED or... (for whoever makes that connection):
So, again, IMHO RED's current work is that it needs to assist the digital cinema side of the business by doing some research & making a clear path for cinemas to follow in the path they've blazed... so they know how best to utilize their technology so the consumers go back to the theaters. If they do that they will ensure the relevance of their product for years to come. After all, almost all of the major studios in Hollywood started in the 1st half of the 1900's by the distribution side of the business- like the nickelodeons, etc. and that is how the the new players in film & cinema distribution can come into their own- through the distribution side of it- of course, by following these new standards that RED has pioneered! So, whoever teams up with RED to do this on a larger scale may just end up with the big payoff. But, who these people will be in the future is still TBD! Sadly, though, the movie business has been traveling as fast as its slowest ship, which is the internet. Of course this is obviously because of the incredible potential for distribution ("What? Movie distribution pipe-lined straight to every consumer? Yowsers!"), but it is also potentially the movie businesses' worst enemy as it represents the easiest way to rip-off the industry through piracy... or is it free advertising? I'm confused! What a conundrum!
Puttin down the sauce:
My prediction on the Revolutions? Well, eventually what might happen is that (1) full HD would be the standard internet video res so consumers can get everything on the internet on their screens at home... & (2) RED's 4, 5, or 6k (what i call SHD or Super-Hi-Definition & I believe Steven Soderbergh called it that too) could be the new cinema standard that the big studios utilize IF it can finally be brought to theaters successfully(?). Pretty please? :)
The other factor is home theater. It's the gap-factor. What home theater does is in the hands of these LCD & computer manufacturers... nothing less, nothing more. They can charge massive coin to get 4k at home if need be...
But, to re-iterate, if this is achieved (internet on one end, theaters on the other) there would be a clear cut difference between these markets (2k res made by indy filmmakers with prosumer HD-SLR's for the internet/TV & 4k up to ?k resolution (SHD) made by the Major Studios with RED, ARRI, etc for the digital cinemas).
This division between technology is actually desirable for many reasons... First of all, it simplifies things for the consumer and therefore justifies a higher cost for certain products. Secondly, it simplifies things for the studios & filmmakers- since there's too many problems to solve right now as it comes to standards in technology... filmmakers & content-makers have now been engaged in this endless debate for years since the indy filmmaking surge in the 90's, since HD has come to all the networks & now the gap grows larger since the advent of this new camera technology. Currently, its all just techno-chaos for the studios so they don't know how to relate to their audience as well. In order for the studios to continue making money they have to standardize and control some niche just like any business tries to do. So do they go to 3D? Do they spend money on servers & internet distro sites like iTunes/hulu/Netflix, etc? Do they upload their product to theaters with all the new digital distribution models being touted around in that industry? What about the resolution discussion and all the new technology? How do the studios require the indy filmmakers to hold up to certain standards of filmmaking when we are all over the map here?
As it comes to the big digital cinema distribution discussion Hollywood can control its own by helping to make 4k, 5k, 6k theaters and selling the hi-res beauty of that... if they can 'sell it' good enough, people will want to see the theater version of it & will not accept a 2k pirated version as 'the real deal'. It's too large of a file to pirate (at least for most) it might even be able to be uploaded to digital theaters but obviously it would cost too much for pirates to upload it- they wouldn't be able to screen it in full 4-6k glory even if they found some way to pirate it- but don't see that as some lame excuse to let people pirate it because you think "it doesnt matter". As editing suites get better in order to edit this 4-6k content we will need to make these monitors more affordable for editors. At that point there will be pirating that will begin to make sense again because then they can view the content. But, if you control the technology, you control the doorways to the content. Problem solved. As it comes to the editing- editors will edit a low res version & then send it to a 4-6k render house to be 'developed' (sound familiar?) and in this case utilize the meta-data to help make it what it should be in its full 4-6k glory or whatever res can be offered (I keep assuming 4-6k for some silly reason). Then it can be screened for the final pass at the render house's digital theater with the producers, director & editor -etc etc.
As it comes to the original discussion of HD-SLR vs. RED... the fact is, RED was on track to keep the revolution brimming- but Canon, Nikon & Panasonic got it right by undercutting them (which is what they should do to compete). After all, it's these prosumer camera companies that started this revolution in the late eighties/early nineties because it brought the tech down to the consumer- but RED really isn't a consumer or even prosumer cam & it really shouldn't try to act like it competes in that market. In fact just the word 'cam' and RED don't belong in the same paragraph except to make the distinction. It just don't sound right... *snicker* :P
As it comes to the Scarlet- you can try to talk the talk, RED- but the caveat is that you have to buy that right by first walking the walk... So until the Scarlet hits the stores- it is the HD-SLR Revolution for me. Hopefully something of mine gets sold & then, with that happening, maybe afterwards I can afford what RED is cooking up. But I wish all of you some good testing, manufacturing & product reviews. Til then, a little more action- a little less talky talk. At least for now. But please, RED, let us know when you have something to show... we can't wait much longer... because the street cred is starting to wither a bit.
Jon
http://www.eoshd.com/content/255-RED-quot-DSLR-shooters-should-be-embarrassed-quot
My opinion is that there are two Revolutions & two Markets going on here... they are being formed presently & they are represented by (1) an indy filmmaking revolution using existing avenues of distribution technology -the HD-SLR Revolution and (2) a revolution in cinema technology standards with the 4-6k RED cameras (said to also include a much higher resolution with the Epic sensors) -the SHD Revolution, which still has a work to be done (and that work ISN'T 'knocking down' the Canon/Nikon/Panasonics of the world because we are talking apples & oranges here). "How so?" you say...
Since the RED cameras represent a much more substantial change to the totality of filmmaking & screening technology it is simply more time consuming (& therefore costly) down the line as this technology comes into use more (but it is a revolution that is worth it in the long run).
But the HD-SLR revolution utilizes already present technology not just in use in homes- but on the web & on your smart phone... in other words it is cheaper and easier for a filmmaker to create content because he doesn't have to be involved in revolutionizing the entire process cradle-to-grave the way RED is going to have to do- he just plugs into an already established technology.
But this issue with RED is all unavoidable because of the implications of this newer technology- I mean, it truly must be a huge, no doubt, beautiful picture at such a high res!... Now, where can we screen it? Can it even be screened? Can it be broadcast? Can it be viewed online or at home? Of course distribution has to be considered by everyone involved. In contrast, it is much more financially sound to shoot in 1080p with a $2k rig with less crew requirements and still be able to distribute!
Getting down to brass tax I think RED & their reps still have a work ahead of them to make this technology practical- to put this technology in theaters- to make it practical for consumers to consume, etc. They started this mess & they need to finish it (or rather, get the ball soundly rolling in the right direction). Admittedly, much of that great work has been done & is actively being done by many filmmakers, distributors & the studios. We just need to make sure we are on the right track & solving the right questions. We need to make sure the consumers out there can 'see the difference' between 2 and 6k & that it is worth the extra coin & worth the extra hype because they haven't even seen 6k yet & still don't even know what it is yet.
Not that RED shouldn't continue to compete on a professional filmmaking level with the HD-SLR's in order to draw that line-in-the-sand. What RED has to do is solve the problems the HD-SLR's have and assist the move towards a more cinematic experience by making 'the quintessential professional SHD-SLR run & gun shooter' in the Scarlet. But this time do it without blowing smoke at the users.
I mean, listen, it is obvious RED dropped the ball this year. Use me as an example (& this is true for so many other current or beginning filmmakers) -this is me in a nutshell... since last year I was going to buy a Scarlet earlier this year so I could start shooting my own stuff (instead of hiring out) but now I'm investing in a Canon HD-SLR rig with LED lights, Zoom sound & portable power supply instead... because of all the obvious financial reasons... doing all this costs the same amount that a Scarlet was supposed to cost this year. Isn't that great?
Well, also, as filmmakers we need to recognize (& RED needs to remember this), ART doesn't wait to get made- when the inspiration hits, MAKE IT & MAKE IT NOW! DON'T WAIT! I understand RED can't just follow this principle as a camera & software development company that has to be regulated & has to meet certain standards- you can't do what you want... but as filmmakers we have to live by this principle... we kind of can't wait for the next big thing... we have to go out & shoot our story right now & fix it later (maybe shoot it again but next time on a Scarlet- nothing wrong with that). But any business needs to remember, just like RED, if any company makes promises it can't keep, it is in danger of failing.
The PAYOFF for RED or... (for whoever makes that connection):
So, again, IMHO RED's current work is that it needs to assist the digital cinema side of the business by doing some research & making a clear path for cinemas to follow in the path they've blazed... so they know how best to utilize their technology so the consumers go back to the theaters. If they do that they will ensure the relevance of their product for years to come. After all, almost all of the major studios in Hollywood started in the 1st half of the 1900's by the distribution side of the business- like the nickelodeons, etc. and that is how the the new players in film & cinema distribution can come into their own- through the distribution side of it- of course, by following these new standards that RED has pioneered! So, whoever teams up with RED to do this on a larger scale may just end up with the big payoff. But, who these people will be in the future is still TBD! Sadly, though, the movie business has been traveling as fast as its slowest ship, which is the internet. Of course this is obviously because of the incredible potential for distribution ("What? Movie distribution pipe-lined straight to every consumer? Yowsers!"), but it is also potentially the movie businesses' worst enemy as it represents the easiest way to rip-off the industry through piracy... or is it free advertising? I'm confused! What a conundrum!
Puttin down the sauce:
My prediction on the Revolutions? Well, eventually what might happen is that (1) full HD would be the standard internet video res so consumers can get everything on the internet on their screens at home... & (2) RED's 4, 5, or 6k (what i call SHD or Super-Hi-Definition & I believe Steven Soderbergh called it that too) could be the new cinema standard that the big studios utilize IF it can finally be brought to theaters successfully(?). Pretty please? :)
The other factor is home theater. It's the gap-factor. What home theater does is in the hands of these LCD & computer manufacturers... nothing less, nothing more. They can charge massive coin to get 4k at home if need be...
But, to re-iterate, if this is achieved (internet on one end, theaters on the other) there would be a clear cut difference between these markets (2k res made by indy filmmakers with prosumer HD-SLR's for the internet/TV & 4k up to ?k resolution (SHD) made by the Major Studios with RED, ARRI, etc for the digital cinemas).
This division between technology is actually desirable for many reasons... First of all, it simplifies things for the consumer and therefore justifies a higher cost for certain products. Secondly, it simplifies things for the studios & filmmakers- since there's too many problems to solve right now as it comes to standards in technology... filmmakers & content-makers have now been engaged in this endless debate for years since the indy filmmaking surge in the 90's, since HD has come to all the networks & now the gap grows larger since the advent of this new camera technology. Currently, its all just techno-chaos for the studios so they don't know how to relate to their audience as well. In order for the studios to continue making money they have to standardize and control some niche just like any business tries to do. So do they go to 3D? Do they spend money on servers & internet distro sites like iTunes/hulu/Netflix, etc? Do they upload their product to theaters with all the new digital distribution models being touted around in that industry? What about the resolution discussion and all the new technology? How do the studios require the indy filmmakers to hold up to certain standards of filmmaking when we are all over the map here?
As it comes to the big digital cinema distribution discussion Hollywood can control its own by helping to make 4k, 5k, 6k theaters and selling the hi-res beauty of that... if they can 'sell it' good enough, people will want to see the theater version of it & will not accept a 2k pirated version as 'the real deal'. It's too large of a file to pirate (at least for most) it might even be able to be uploaded to digital theaters but obviously it would cost too much for pirates to upload it- they wouldn't be able to screen it in full 4-6k glory even if they found some way to pirate it- but don't see that as some lame excuse to let people pirate it because you think "it doesnt matter". As editing suites get better in order to edit this 4-6k content we will need to make these monitors more affordable for editors. At that point there will be pirating that will begin to make sense again because then they can view the content. But, if you control the technology, you control the doorways to the content. Problem solved. As it comes to the editing- editors will edit a low res version & then send it to a 4-6k render house to be 'developed' (sound familiar?) and in this case utilize the meta-data to help make it what it should be in its full 4-6k glory or whatever res can be offered (I keep assuming 4-6k for some silly reason). Then it can be screened for the final pass at the render house's digital theater with the producers, director & editor -etc etc.
As it comes to the original discussion of HD-SLR vs. RED... the fact is, RED was on track to keep the revolution brimming- but Canon, Nikon & Panasonic got it right by undercutting them (which is what they should do to compete). After all, it's these prosumer camera companies that started this revolution in the late eighties/early nineties because it brought the tech down to the consumer- but RED really isn't a consumer or even prosumer cam & it really shouldn't try to act like it competes in that market. In fact just the word 'cam' and RED don't belong in the same paragraph except to make the distinction. It just don't sound right... *snicker* :P
As it comes to the Scarlet- you can try to talk the talk, RED- but the caveat is that you have to buy that right by first walking the walk... So until the Scarlet hits the stores- it is the HD-SLR Revolution for me. Hopefully something of mine gets sold & then, with that happening, maybe afterwards I can afford what RED is cooking up. But I wish all of you some good testing, manufacturing & product reviews. Til then, a little more action- a little less talky talk. At least for now. But please, RED, let us know when you have something to show... we can't wait much longer... because the street cred is starting to wither a bit.
Jon
Thursday, May 13, 2010
Liberty No. 5 Pictures In Development
Here are the projects slated to be shot in the coming months & years in various stages of development as of Aug 2010. The shorts are working up to my Crime Thriller, "Punishment", planned as my first feature. I have been writing and re-writing for the last year or so and have had difficulty finding a good, team oriented, experimental Cinematographer/DP since I have some strong technical ideas and would prefer as little conflict between who I think are "the two most important people on set" during production. Frankly, when you see this kind of conflict on set its always sad because it feels like its like watching your parents fight- its really sad & stupid looking at the same time. And its especially demoralizing to know the Director & DP are more unprofessional & juvenile than I am. So, I want to prevent these things from happening & so, I have put a lot of time trying to find the proper team & proper story working together-- and hopefully it will pay off.
Short Subjects
Features
Of course, I am working on other people's projects as well. Some as a Producer or as an AC (So that I can learn more about camera right now), but I could also stand to get more work as an AD, PM, or Script Sup. I have learned how to do breakdowns better since the last feature I worked on- I might even use my own custom made production strip boards utilizing colored cardstock cut into business card size scene strips... a very practical design. After I use them on this next production I am working on... a short for the Action Film Challenge... it will no doubt become a more perfected system!
There are another 10 feature films or so planned from my own stories but I try not to put too much on my plate at one time. Heh heh...
Short Subjects
"Death Do Us Part" -- Pre-Production Phase -- Sept 2010
"Should I Make A Movie?" -- Pre-Production Phase -- Nov 2010
"4 Corners" -- In Development -- Dec 2010
[Untitled Steampunk Feature Camera Tests] -- In Development -- Jan 2011
"Should I Make A Movie?" -- Pre-Production Phase -- Nov 2010
"4 Corners" -- In Development -- Dec 2010
[Untitled Steampunk Feature Camera Tests] -- In Development -- Jan 2011
Features
"Punishment" -- In Development -- Feb 2011
"Bad Day" -- In Development -- Nov 2011
"Deadman's Caye" -- In Development -- Jun 2012
[Untitled Steampunk Scifi-Western] -- In Development -- Feb 2013
"Bad Day" -- In Development -- Nov 2011
"Deadman's Caye" -- In Development -- Jun 2012
[Untitled Steampunk Scifi-Western] -- In Development -- Feb 2013
Of course, I am working on other people's projects as well. Some as a Producer or as an AC (So that I can learn more about camera right now), but I could also stand to get more work as an AD, PM, or Script Sup. I have learned how to do breakdowns better since the last feature I worked on- I might even use my own custom made production strip boards utilizing colored cardstock cut into business card size scene strips... a very practical design. After I use them on this next production I am working on... a short for the Action Film Challenge... it will no doubt become a more perfected system!
There are another 10 feature films or so planned from my own stories but I try not to put too much on my plate at one time. Heh heh...
Thursday, April 8, 2010
A Little Friendly Competition for the RED??
Check out ARRI's new Alexa... the super high-definition digital cinema revolution continues...
http://www.engadget.com/2010/03/17/arri-alexa-joins-red-to-kill-celluloid-in-2010/
pretty sweet but still pretty expensive! But regardless of the price- it looks like there's definitely a solid market out there for these cameras though!
http://www.engadget.com/2010/03/17/arri-alexa-joins-red-to-kill-celluloid-in-2010/
pretty sweet but still pretty expensive! But regardless of the price- it looks like there's definitely a solid market out there for these cameras though!
Wednesday, March 31, 2010
A Good Use for the iPad!
The good thing about the iPad
~go here for the making of
http://vimeo.com/10204353
~go here for the complete version
http://alexxhenry.com/ipad
I have to say I honestly didnt see the usefulness of the iPad when I 1st heard about it... and I LOVE Apple products! I have an iPhone and I have to admit hearing of the idea of the iPad described as basically a large iPhone kind of conjured up some strange imagery for me. Basically of the iPad being held awkwardly on the side of my ear to try to make a call & looking frustratingly for WiFi hot spots so I could make the best use of the silly oversized phone! I know that there is no phone or camera on the iPad but I kept getting that imagery the more I imagined why I would get an iPad.
My primary frustration with the iPad (& the reason I didn't initially want to buy one) was coming from the sad resignation (after reading about it) that it could not be used to ingest footage shot on set as it has no FW ports & no SD card slots. Also, it has its own OS that cannot operate normal programs- only iPhone apps & apps soon made for the iPad & again distributed through iTunes just as the iPhone gets its apps. Oh well- maybe a mutation between a laptop & an iPad will come sometime soon.???
-Just as a suggestion to the iPad app makers. I do have to say- as a filmmaker who likes reliable mobile technology that can be useful on a film set- goodness gracious... the apps you could make for an iPad to help with on set productivity are endlessly awesome!!!! For example- as a better tool for the AD, Script Supervisor, PM & Camera Loader all in one! So, in effect it could be used as a better clapboard and as a note-taking, breakdown, scheduling, record keeping & budgeting tool all in one! Also it could much more easily synchronize timecode as a more advanced device than simply a device using radio signals as its transmission medium or some other more inefficient system. I would advise Celtx (the open source program) to develop an iPhone app to do some of these jobs & then adapt into the iPad once it has got the coding down. Im sure Celtx would make the best & the most cost effective version of the iPad app if given the chance.
So- there IS a use for the iPad! yayy!!
VIV Mag Interactive Feature Spread - iPad Demo from Alexx Henry on Vimeo.
~go here for the making of
http://vimeo.com/10204353
~go here for the complete version
http://alexxhenry.com/ipad
I have to say I honestly didnt see the usefulness of the iPad when I 1st heard about it... and I LOVE Apple products! I have an iPhone and I have to admit hearing of the idea of the iPad described as basically a large iPhone kind of conjured up some strange imagery for me. Basically of the iPad being held awkwardly on the side of my ear to try to make a call & looking frustratingly for WiFi hot spots so I could make the best use of the silly oversized phone! I know that there is no phone or camera on the iPad but I kept getting that imagery the more I imagined why I would get an iPad.
My primary frustration with the iPad (& the reason I didn't initially want to buy one) was coming from the sad resignation (after reading about it) that it could not be used to ingest footage shot on set as it has no FW ports & no SD card slots. Also, it has its own OS that cannot operate normal programs- only iPhone apps & apps soon made for the iPad & again distributed through iTunes just as the iPhone gets its apps. Oh well- maybe a mutation between a laptop & an iPad will come sometime soon.???
-Just as a suggestion to the iPad app makers. I do have to say- as a filmmaker who likes reliable mobile technology that can be useful on a film set- goodness gracious... the apps you could make for an iPad to help with on set productivity are endlessly awesome!!!! For example- as a better tool for the AD, Script Supervisor, PM & Camera Loader all in one! So, in effect it could be used as a better clapboard and as a note-taking, breakdown, scheduling, record keeping & budgeting tool all in one! Also it could much more easily synchronize timecode as a more advanced device than simply a device using radio signals as its transmission medium or some other more inefficient system. I would advise Celtx (the open source program) to develop an iPhone app to do some of these jobs & then adapt into the iPad once it has got the coding down. Im sure Celtx would make the best & the most cost effective version of the iPad app if given the chance.
So- there IS a use for the iPad! yayy!!
Wednesday, January 6, 2010
Top Ten Rated-Updated
This is my updated top ten list of favorite films...
Blade Runner (1)
Citizen Kane (2)
The Seven Samurai (3)
Star Wars (4)
Lord of the Rings (5)
The Maltese Falcon (6)
Alien (7)
The Empire Strikes Back (8)
Aliens (9)
Raiders of the Lost Ark (10)
Runner-up films (close but no cigar!):
12 Monkeys, 28 Weeks Later, 127 Hours, 2001: A Space Odyssey, Apocalypse Now, Back to the Future, Barton Fink, Brazil, The Breakfast Club, Brick, Casablanca, Casino Royale, Children of Men, Cloverfield, Constantine, The Crow, The Dark Crystal, The Dark Knight, Dead Man, District 9, Donnie Darko, Double Indemnity, Dr. Strangelove, Duel, Dune, East of Eden, The Elephantman, The Empire of the Sun, Eraserhead, E.T.: The Extra-Terrestrial, Eternal Sunshine of the Spotless Mind, Europa, Fargo, Faust, The Fifth Element, Fight Club, Forrest Gump, The Fountain, Give 'Em Hell Malone, Gladiator, The Godfather, The Goonies, Gravity, Groundhog Day, Heat, Hedwig and the Angry Inch, Hot Fuzz, The Hurt Locker, I Heart Huckabees, The Incredibles, Inland Empire, Interview with a Vampire, James Bond Movies, James and the Giant Peach, Jaws, Joe Versus the Volcano, Kick-Ass, Kill Bill I-II, The Labyrinth, Laura, Lawrence of Arabia, Legends of the Fall, The Life Aquatic with Steve Zissou, Life of Pi, Lifeforce, Logan's Run, The Lost Boys, Lost Highway, Lost in Translation, The Machinist, Mad Max, Magnolia, The Man Who Knew Too Much, The Man Who Wasn't There, El Mariachi, The Matrix, Max Payne, Memento, Miller's Crossing, Minority Report, The Money Pit, Moon, Moulin Rogue!, Mulholland Dr, Napoleon Dynamite, The Never Ending Story, Never Let Me Go, Night of the Hunter, Night of the Living Dead, No Country For Old Men, No Way Out, North by Northwest, Nosferatu, Notorious, Once Upon A Time in the West, One Flew Over The Cuckoo's Nest, Pan's Labyrinth, Pandorum, The Petrified Forest, Pi, Primer, Princess Mononoke, Psycho, Pulp Fiction, Punch-Drunk Love, Raising Arizona, Rashomon, Rear Window, Rebecca, Rebel Without A Cause, Red Dawn (original), Renaissance, Reservoir Dogs, Return of the Jedi, The Road, Robin Hood: Prince of Thieves, (Baz Lehrmann's) Romeo + Juliet, The Royal Tenenbaums, Rushmore, Lu Samurai, Saving Private Ryan, Scott Pilgrim vs. the World, Shaun of the Dead, Signs, Silence of the Lambs, Sixth Sense, Skyfall, Sleepless in Seattle, Soilent Green, Spartacus, Spirited Away, Star Trek (J. J. Abram's), Star Trek: The Wrath of Khan, Sunshine, Superbad, Synecdoche New York, Taxi Driver, Tetro, There Will Be Blood, The Third Man, Time Bandits, The Treasure of the Sierra Madre, The Truman Show, Unbreakable, Up, Up In The Air, Upstream Color, The Usual Suspects, Vanilla Sky, Vertigo, The Watchmen, We Are The Strange, Where the Wild Things Are, Wings of Desire, Yojimbo (really- all of Akira Kurosawa's work! In fact I personally believe Mr. Kurosawa to be the greatest director of all time).
Also: I like all James Bond movies (by the way, the Bond franchise and the 22 existing films in the catalog ARE IMHO the best, most successful franchise in movie history- something many people think belongs to other franchises they are enthusiastic about- but they are mistaken), I like Jim Carrey comedies, John Candy comedies, Danny Kaye comedies, Monty Python comedies, Leslie Nielsen comedies, Pink Panther comedies, ANYTHING with Humphrey Bogart, ... & i like some older 80's anime too but I'm not obsessive or a huge anime fan… My favorite genres are epics, sci-fi, fantasy, action, adventure, some art house and supernatural realism movies.
Citizen Kane (2)
The Seven Samurai (3)
Star Wars (4)
Lord of the Rings (5)
The Maltese Falcon (6)
Alien (7)
The Empire Strikes Back (8)
Aliens (9)
Raiders of the Lost Ark (10)
Runner-up films (close but no cigar!):
12 Monkeys, 28 Weeks Later, 127 Hours, 2001: A Space Odyssey, Apocalypse Now, Back to the Future, Barton Fink, Brazil, The Breakfast Club, Brick, Casablanca, Casino Royale, Children of Men, Cloverfield, Constantine, The Crow, The Dark Crystal, The Dark Knight, Dead Man, District 9, Donnie Darko, Double Indemnity, Dr. Strangelove, Duel, Dune, East of Eden, The Elephantman, The Empire of the Sun, Eraserhead, E.T.: The Extra-Terrestrial, Eternal Sunshine of the Spotless Mind, Europa, Fargo, Faust, The Fifth Element, Fight Club, Forrest Gump, The Fountain, Give 'Em Hell Malone, Gladiator, The Godfather, The Goonies, Gravity, Groundhog Day, Heat, Hedwig and the Angry Inch, Hot Fuzz, The Hurt Locker, I Heart Huckabees, The Incredibles, Inland Empire, Interview with a Vampire, James Bond Movies, James and the Giant Peach, Jaws, Joe Versus the Volcano, Kick-Ass, Kill Bill I-II, The Labyrinth, Laura, Lawrence of Arabia, Legends of the Fall, The Life Aquatic with Steve Zissou, Life of Pi, Lifeforce, Logan's Run, The Lost Boys, Lost Highway, Lost in Translation, The Machinist, Mad Max, Magnolia, The Man Who Knew Too Much, The Man Who Wasn't There, El Mariachi, The Matrix, Max Payne, Memento, Miller's Crossing, Minority Report, The Money Pit, Moon, Moulin Rogue!, Mulholland Dr, Napoleon Dynamite, The Never Ending Story, Never Let Me Go, Night of the Hunter, Night of the Living Dead, No Country For Old Men, No Way Out, North by Northwest, Nosferatu, Notorious, Once Upon A Time in the West, One Flew Over The Cuckoo's Nest, Pan's Labyrinth, Pandorum, The Petrified Forest, Pi, Primer, Princess Mononoke, Psycho, Pulp Fiction, Punch-Drunk Love, Raising Arizona, Rashomon, Rear Window, Rebecca, Rebel Without A Cause, Red Dawn (original), Renaissance, Reservoir Dogs, Return of the Jedi, The Road, Robin Hood: Prince of Thieves, (Baz Lehrmann's) Romeo + Juliet, The Royal Tenenbaums, Rushmore, Lu Samurai, Saving Private Ryan, Scott Pilgrim vs. the World, Shaun of the Dead, Signs, Silence of the Lambs, Sixth Sense, Skyfall, Sleepless in Seattle, Soilent Green, Spartacus, Spirited Away, Star Trek (J. J. Abram's), Star Trek: The Wrath of Khan, Sunshine, Superbad, Synecdoche New York, Taxi Driver, Tetro, There Will Be Blood, The Third Man, Time Bandits, The Treasure of the Sierra Madre, The Truman Show, Unbreakable, Up, Up In The Air, Upstream Color, The Usual Suspects, Vanilla Sky, Vertigo, The Watchmen, We Are The Strange, Where the Wild Things Are, Wings of Desire, Yojimbo (really- all of Akira Kurosawa's work! In fact I personally believe Mr. Kurosawa to be the greatest director of all time).
Also: I like all James Bond movies (by the way, the Bond franchise and the 22 existing films in the catalog ARE IMHO the best, most successful franchise in movie history- something many people think belongs to other franchises they are enthusiastic about- but they are mistaken), I like Jim Carrey comedies, John Candy comedies, Danny Kaye comedies, Monty Python comedies, Leslie Nielsen comedies, Pink Panther comedies, ANYTHING with Humphrey Bogart, ... & i like some older 80's anime too but I'm not obsessive or a huge anime fan… My favorite genres are epics, sci-fi, fantasy, action, adventure, some art house and supernatural realism movies.
Tuesday, December 22, 2009
"Filmmaking Hubs" Rated
A change from my former ratings of "film cities" has been warranted since I have to admit I have changed my philosophy on it. The economy has changed quite a bit and it warrants a proper reaction to the situation. I made a large study on different film communities but I have found because of these new factors this study is for the most part pointless. Not in the sense that it is useless information but in the sense that survival is the higher priority than pursuing some sort of utopian filmmaker's & animator's city. Instead, I will explain my change of thinking and then offer some new information.
My humble opinion is that an 'independent' filmmaker should do one of two things. (1) "Dig" into your (or your chosen) community and support it with your whole being until you know everyone & everyone knows you in order to become a permanent fixture no matter how bad the economy is. Or (2) become incredibly independent & mobile and travel wherever work takes you. Find your reliable mode of transportation and a very cheap place to live that you can return to easily and simply grow your funds while staying lean & mean. In your travels find the best locale to invest your business profits and in a few years upgrade either your business or home in that area.
That being said, there will still be film industry hubs that would be better to work at than others and knowing those film hubs would be important. So, I will indicate my preferred film hubs & will let you know why I prefer those over others. Also, I am no longer including animation hubs in my film study because usually those areas overlap with film hubs & where they dont overlap- there will not be enough animation jobs to justify calling it a "hub" at all which no longer makes it enough of an influential area if you really are making film or animation your career.
OK! I have 5 priorities in each of these film hubs. 'Cheap' being relative costs of property, taxes and standard of living as compared to other hubs. 'Industry' being the presence of Film Industry (Infrastructure, Studios, larger Production Companies, Union Jobs, large Film Festivals, big-budget filmmaking resources, Societies, Film Incentives, and a good Film Office). Some have strong animation and not strong film (or visa versa) which can bring down the score. 'Film Community' is the presence of a supportive local film community (such as a tight knit group of supportive fellow Indy Filmmakers, Film Societies, Film or Art Schools, independent film festivals, filmmaking services, Film Incentives favoring Independent Filmmakers, Community Theaters, Micro-Cinemas, Non-Profits, & possibly some local artistic organizations to help build a stronger art-centric or cinema-centric community). An Indy filmmaking spirit really helps here. Also, a right to work state is essential in fostering an indy filmmaking influence in the community. 'Livable' is like the 'comfort index' based on the measure of cosmopolitan, modern, convenient, diverse, and unique things to do in that community. A coffee house culture, walkability & bikeability helps here. Also, the uncomfortability of extreme weather can contribute to very 'unlivable' conditions. 'Family' is the sense of security a neighborhood has because of certain benefits present in that community. I get it from a combination of crime stats, local neighborhood morale, clean neighborhoods, sufficient government services and a neighborhood watch presence or something like it. I combined this rating with the formerly known 'Community' rating which was the sense that not only is crime low but the community is somewhat family friendly and has good schools to show for it. Parks and recreational areas or theme parks are a plus here as well. If you are having difficulty distinguishing between 'Livable' & 'Family' as they are both a sort of 'comfort' index... just think of 'Livable' as a good area for single, career types to live at and 'Family' as a good area for filmmakers with a family.
I have, of course, rated these based on what I know now from these communities.
The Film Hubs (1-10): 1st being good, & 10th being, well... 10th!
Priorities: | Cheap | Industry | Film Community | Livable | Family | Total |
1. NYC Film Hub- 2 - 10 - 10 - 9 - 3 - 34
2. Seattle/Vancouver/Portland Film Hub- 5 - 6 - 7 - 9 - 7 - 34
3. Florida Film Hub- 8 - 3 - 6 - 7 - 9 - 33
4. New England Film Hub- 6 - 7 - 7 - 7 - 6 - 33
5. Texas Film Hub- 7 - 7 - 7 - 5 - 6 - 32
6. Pittsburgh/Cleveland Film Hub- 5 - 5 - 7 - 5 - 7 - 29
7. Georgia Film Hub- 7 - 6 - 6 - 5 - 5 - 29
8. Michigan Film Hub- 5 - 6 - 5 - 4 - 9 - 29
9. Louisiana Film Hub- 6 - 7 - 6 - 5 - 5 - 29
10. Chicago/Milwaukee Film Hub- 2 - 8 - 4 - 7 - 6 - 27
I know- CA is not included... yea I have heard WAY too many horror stories about people 'trying to make it in Cali'... it is exactly NOT where to go to make waves. Its where to go if you are selling out so you can become famous- which is just the smoke being blown at you- don't be stupid- DON"T believe the hype! It is basically a recipe for heartache & a recipe for no artistic freedom or artistic integrity. On the other hand- once you make a good successful team & you can guide your own projects because you have bought your ticket with a good film that the industry respects- you probably could move there & it might even do you good to move there. A lot of successful filmmakers never move there though- they only visit to do business- and they are doing just fine!
About the decision to move or to collaborate, well, let's talk about it! Otherwise its not much of a collaboration, is it? None of this should be taken lightly because it is would be an expensive mistake right now to move to the wrong area. To be honest, like I said earlier, this is REALLY a personal decision... nothing more. It has to also be a win-win situation or I don't want to collaborate with anyone.
Thanx for reading!
My humble opinion is that an 'independent' filmmaker should do one of two things. (1) "Dig" into your (or your chosen) community and support it with your whole being until you know everyone & everyone knows you in order to become a permanent fixture no matter how bad the economy is. Or (2) become incredibly independent & mobile and travel wherever work takes you. Find your reliable mode of transportation and a very cheap place to live that you can return to easily and simply grow your funds while staying lean & mean. In your travels find the best locale to invest your business profits and in a few years upgrade either your business or home in that area.
That being said, there will still be film industry hubs that would be better to work at than others and knowing those film hubs would be important. So, I will indicate my preferred film hubs & will let you know why I prefer those over others. Also, I am no longer including animation hubs in my film study because usually those areas overlap with film hubs & where they dont overlap- there will not be enough animation jobs to justify calling it a "hub" at all which no longer makes it enough of an influential area if you really are making film or animation your career.
OK! I have 5 priorities in each of these film hubs. 'Cheap' being relative costs of property, taxes and standard of living as compared to other hubs. 'Industry' being the presence of Film Industry (Infrastructure, Studios, larger Production Companies, Union Jobs, large Film Festivals, big-budget filmmaking resources, Societies, Film Incentives, and a good Film Office). Some have strong animation and not strong film (or visa versa) which can bring down the score. 'Film Community' is the presence of a supportive local film community (such as a tight knit group of supportive fellow Indy Filmmakers, Film Societies, Film or Art Schools, independent film festivals, filmmaking services, Film Incentives favoring Independent Filmmakers, Community Theaters, Micro-Cinemas, Non-Profits, & possibly some local artistic organizations to help build a stronger art-centric or cinema-centric community). An Indy filmmaking spirit really helps here. Also, a right to work state is essential in fostering an indy filmmaking influence in the community. 'Livable' is like the 'comfort index' based on the measure of cosmopolitan, modern, convenient, diverse, and unique things to do in that community. A coffee house culture, walkability & bikeability helps here. Also, the uncomfortability of extreme weather can contribute to very 'unlivable' conditions. 'Family' is the sense of security a neighborhood has because of certain benefits present in that community. I get it from a combination of crime stats, local neighborhood morale, clean neighborhoods, sufficient government services and a neighborhood watch presence or something like it. I combined this rating with the formerly known 'Community' rating which was the sense that not only is crime low but the community is somewhat family friendly and has good schools to show for it. Parks and recreational areas or theme parks are a plus here as well. If you are having difficulty distinguishing between 'Livable' & 'Family' as they are both a sort of 'comfort' index... just think of 'Livable' as a good area for single, career types to live at and 'Family' as a good area for filmmakers with a family.
I have, of course, rated these based on what I know now from these communities.
The Film Hubs (1-10): 1st being good, & 10th being, well... 10th!
Priorities: | Cheap | Industry | Film Community | Livable | Family | Total |
1. NYC Film Hub- 2 - 10 - 10 - 9 - 3 - 34
2. Seattle/Vancouver/Portland Film Hub- 5 - 6 - 7 - 9 - 7 - 34
3. Florida Film Hub- 8 - 3 - 6 - 7 - 9 - 33
4. New England Film Hub- 6 - 7 - 7 - 7 - 6 - 33
5. Texas Film Hub- 7 - 7 - 7 - 5 - 6 - 32
6. Pittsburgh/Cleveland Film Hub- 5 - 5 - 7 - 5 - 7 - 29
7. Georgia Film Hub- 7 - 6 - 6 - 5 - 5 - 29
8. Michigan Film Hub- 5 - 6 - 5 - 4 - 9 - 29
9. Louisiana Film Hub- 6 - 7 - 6 - 5 - 5 - 29
10. Chicago/Milwaukee Film Hub- 2 - 8 - 4 - 7 - 6 - 27
I know- CA is not included... yea I have heard WAY too many horror stories about people 'trying to make it in Cali'... it is exactly NOT where to go to make waves. Its where to go if you are selling out so you can become famous- which is just the smoke being blown at you- don't be stupid- DON"T believe the hype! It is basically a recipe for heartache & a recipe for no artistic freedom or artistic integrity. On the other hand- once you make a good successful team & you can guide your own projects because you have bought your ticket with a good film that the industry respects- you probably could move there & it might even do you good to move there. A lot of successful filmmakers never move there though- they only visit to do business- and they are doing just fine!
About the decision to move or to collaborate, well, let's talk about it! Otherwise its not much of a collaboration, is it? None of this should be taken lightly because it is would be an expensive mistake right now to move to the wrong area. To be honest, like I said earlier, this is REALLY a personal decision... nothing more. It has to also be a win-win situation or I don't want to collaborate with anyone.
Thanx for reading!
Where have I been?
Ive been lost in a world of filmmaking! A world of my own creation! A world where people need to have confidentiality clauses in their contracts...
Yes, I haven't really been maintaining this blog very well! The LIBERTY No. 5 POST is supposed to be a massive part of my filmmaking research & discovery process into the world of "the Industry". But, since I was involved in making a feature earlier this year I stopped posting, not because I didn't have anything to say but because much of what I was thinking & talking about was basically intellectual property of the company that was formed to make the film I was working on. I also haven't posted very many pictures (of my experiences there) on the internet for the same reason. I have not been given free reign to post them officially, although I doubt anyone would dislike it that much-- it depends on who is using them & for what purpose (ie. do not post pictures on FB!!!). Protecting the production is always important. Anyways, back to the real post here...
I have kept the Liberty No. 5 blog alive (my personal producing/directing company is called "Liberty No. 5 Pictures" by the way) because there are so many great resources I've spent a lot of time gathering on here. Which reminds me, if you are looking for information on filmmaking subjects, etc... you should give some of the side links a gander. Many of them are great sources of info for filmmakers!
I will be posting more again very soon as I am now starting a new project... my own feature film... which isn't really my own (ha ha)!! I always find it interesting the obsessiveness people have about their 'favorite' Directors and that Director's artistry and 'ownership' of 'their' films. Knowing what I know, films are no more the producer's or director's work than the grip's or PA's work... but the Producers & Directors certainly take more risk & bear more responsibility than anyone else involved (to be specific, films are usually the Studio's, Distributor's or Private Investor's property speaking 'factually')... but that's besides the point here.
I have learned then, as it comes to the 'artistic ownership' which is what we are talking about here... that it is really the film's cast & the entire film crew (above & below the line) that makes a film's artistry what it is and that leads many times to a successful film or not. Also, the real ART that producers & directors have is to get the RIGHT cast & crew (and possibly, the right source of funding) together in the RIGHT way! Especially humble, trusted, professional sorts who work well under pressure... these are the sorts that seem to succeed! These are the one's I feel can take responsibility for their jobs & commit to learn & to practice professional arts without bringing in a bunch of drama or slackerdom to the set.
One thing I really dislike is when I see people passing the buck & gossiping about others. When things get rough during filmmaking, and they will... there is always something negative you can say about ANYONE. But film is such a personal face-to-face referrals-based business... one should really be careful what they say about anyone or anyone's production (unless you are a film reviewer or a journalist- then it is your job to do that- if done in a professional, non-slanderous fashion). You are messing with, potentially, someone's livelihood... their entire future- with blacklists & black marks- all of this is at risk on the tip of the tongue of one careless producer/director. But it isn't really a proper representation of that person... it was just something said in anger.
But these humble types... the ones you can trust... they do not pack ship & sail away... or betray those who have worked so hard with them. They can be trusted to help and not hinder the production because they are aware that so much is at stake. When you put your professional reputation on the line- my advice is... "know who it is you are working with... because they may be the last people you work with."
So, for the future... my next adventure appears to be getting the 'right sorts' together to really have an impact on the local film industry! So, stay tuned. There's more to come!
Happy Holidays to all my readers & Thank you!
Jon
Yes, I haven't really been maintaining this blog very well! The LIBERTY No. 5 POST is supposed to be a massive part of my filmmaking research & discovery process into the world of "the Industry". But, since I was involved in making a feature earlier this year I stopped posting, not because I didn't have anything to say but because much of what I was thinking & talking about was basically intellectual property of the company that was formed to make the film I was working on. I also haven't posted very many pictures (of my experiences there) on the internet for the same reason. I have not been given free reign to post them officially, although I doubt anyone would dislike it that much-- it depends on who is using them & for what purpose (ie. do not post pictures on FB!!!). Protecting the production is always important. Anyways, back to the real post here...
I have kept the Liberty No. 5 blog alive (my personal producing/directing company is called "Liberty No. 5 Pictures" by the way) because there are so many great resources I've spent a lot of time gathering on here. Which reminds me, if you are looking for information on filmmaking subjects, etc... you should give some of the side links a gander. Many of them are great sources of info for filmmakers!
I will be posting more again very soon as I am now starting a new project... my own feature film... which isn't really my own (ha ha)!! I always find it interesting the obsessiveness people have about their 'favorite' Directors and that Director's artistry and 'ownership' of 'their' films. Knowing what I know, films are no more the producer's or director's work than the grip's or PA's work... but the Producers & Directors certainly take more risk & bear more responsibility than anyone else involved (to be specific, films are usually the Studio's, Distributor's or Private Investor's property speaking 'factually')... but that's besides the point here.
I have learned then, as it comes to the 'artistic ownership' which is what we are talking about here... that it is really the film's cast & the entire film crew (above & below the line) that makes a film's artistry what it is and that leads many times to a successful film or not. Also, the real ART that producers & directors have is to get the RIGHT cast & crew (and possibly, the right source of funding) together in the RIGHT way! Especially humble, trusted, professional sorts who work well under pressure... these are the sorts that seem to succeed! These are the one's I feel can take responsibility for their jobs & commit to learn & to practice professional arts without bringing in a bunch of drama or slackerdom to the set.
One thing I really dislike is when I see people passing the buck & gossiping about others. When things get rough during filmmaking, and they will... there is always something negative you can say about ANYONE. But film is such a personal face-to-face referrals-based business... one should really be careful what they say about anyone or anyone's production (unless you are a film reviewer or a journalist- then it is your job to do that- if done in a professional, non-slanderous fashion). You are messing with, potentially, someone's livelihood... their entire future- with blacklists & black marks- all of this is at risk on the tip of the tongue of one careless producer/director. But it isn't really a proper representation of that person... it was just something said in anger.
But these humble types... the ones you can trust... they do not pack ship & sail away... or betray those who have worked so hard with them. They can be trusted to help and not hinder the production because they are aware that so much is at stake. When you put your professional reputation on the line- my advice is... "know who it is you are working with... because they may be the last people you work with."
So, for the future... my next adventure appears to be getting the 'right sorts' together to really have an impact on the local film industry! So, stay tuned. There's more to come!
Happy Holidays to all my readers & Thank you!
Jon
Wednesday, January 21, 2009
Building the Florida Film Industry
Very simply we need to start building more infrastructure in Florida & continue to pay it forward to others who desire to help build the industry here as well... regardless of the fact that we can make more money elsewhere. A lot of people complain that productions here dont pay but this isnt a Florida problem it is an independent filmmaking problem due to high risk & lack of liquidity. It is a misunderstanding of where the money comes from & where it goes. Understandably, a union picture will pay more reliably & if you are union you will go where the money is because it is more of a career... but of course this leaves Florida in the same position. Also, indies can be skiddish about working with unions for the same lack of funding strength in Florida. But, of course, since the money isnt here as much as other places people leave... union or not. The unions just offer a different career path for filmmakers to continue growing no matter where you call home.
Injecting temporary funds (like incentives almost always do) represents a temporary injection in the business here. Once the incentives change, stop, or become politicized, the industry will once again revert to a state of inactivity. This is not my objective, nor should it be any of ours who are in Florida & who care about Florida as a state in which we can continue to do business. There is nothing 'bad' about going where the money is- we have to struggle to build our careers- but inevitably it means we're still left with the situation we have here in Florida... not enough reason to consistently stay in Florida.
My solution for Florida includes something for filmmakers & the state to participate in. For film producers... there needs to be a project or a studio (multiple ones really) that builds up Florida as a place to film by actually "making money"... getting good publicity (making Florida look good, not just on screen) and putting the profits back into the infrastructure here. It will need to be well produced & well promoted for this reason... and leaving the project to others outside of Florida afterward should not be done (like many other projects such as the Punisher was done). We should never cut & run if we hope to build something lasting... something that eventually pays to keep here because it pays for us to stay here.
As it comes to the Film Office... I think building a static project in Florida (such as a Studio funded primarily but temporarily by the state, which helps train independent filmmakers) would definitely bring productions to the local economy for an indefinite period of time, even after it changes hands to private industry. A Studio not only represents the greatest potential to maintain profits for the long run, but it represents local growth specifically.
New Mexico and Boston is an example of this. But, New Mexico, I believe, has not just created a studio but has also created strong incentives... so we have a specific case study to build from.
Of course, the competition for which metro area in Florida to break ground it could be INCREDIBLY fierce... it would have to be fairly planned out & would have to represent a long term commitment on the part of a substantial statewide grassroots effort. Possibly multiple studios could spring forth from this great commitment.
I think three locations have maximum potential... Orlando, Tampa Bay, & Miami are growing most consistently... and building studios in that order would be the best I think. I have to say though, Lakeland might help cover both Orlando & Tampa Bay areas if a multi-studio long term commitment cannot be created. Also, if this combination of forces creates a chain reaction of dual efforts... it will help build & spread out more business throughout Central Florida.
Also, the film commissioners need to modify & combine their efforts. They should team up & help put more Florida product out at film markets as opposed to just the fun fests out there... because Markets are really where the money is at. Attending just festivals out of state doesn't necessarily help bring money to Florida... but attending the AFM or Toronto's Market or Cannes' Market or Hong Kong's Market might. We as citizens are just paying them to be over-glorified travel agents it appears. It has nothing to do with the Film Industry. Just redirect money into Travel & Tourism instead of paying them to attend fun festivals to learn about event production... which also has nothing to do with the industry!
I think the citizens need to do more than the state though. The economy is lagging & I want our state to stay "in the black"! Keep building & growing you Florida filmmakers! Every bit of business growth by actually making great movies helps the entire economy!
Jon
Injecting temporary funds (like incentives almost always do) represents a temporary injection in the business here. Once the incentives change, stop, or become politicized, the industry will once again revert to a state of inactivity. This is not my objective, nor should it be any of ours who are in Florida & who care about Florida as a state in which we can continue to do business. There is nothing 'bad' about going where the money is- we have to struggle to build our careers- but inevitably it means we're still left with the situation we have here in Florida... not enough reason to consistently stay in Florida.
My solution for Florida includes something for filmmakers & the state to participate in. For film producers... there needs to be a project or a studio (multiple ones really) that builds up Florida as a place to film by actually "making money"... getting good publicity (making Florida look good, not just on screen) and putting the profits back into the infrastructure here. It will need to be well produced & well promoted for this reason... and leaving the project to others outside of Florida afterward should not be done (like many other projects such as the Punisher was done). We should never cut & run if we hope to build something lasting... something that eventually pays to keep here because it pays for us to stay here.
As it comes to the Film Office... I think building a static project in Florida (such as a Studio funded primarily but temporarily by the state, which helps train independent filmmakers) would definitely bring productions to the local economy for an indefinite period of time, even after it changes hands to private industry. A Studio not only represents the greatest potential to maintain profits for the long run, but it represents local growth specifically.
New Mexico and Boston is an example of this. But, New Mexico, I believe, has not just created a studio but has also created strong incentives... so we have a specific case study to build from.
Of course, the competition for which metro area in Florida to break ground it could be INCREDIBLY fierce... it would have to be fairly planned out & would have to represent a long term commitment on the part of a substantial statewide grassroots effort. Possibly multiple studios could spring forth from this great commitment.
I think three locations have maximum potential... Orlando, Tampa Bay, & Miami are growing most consistently... and building studios in that order would be the best I think. I have to say though, Lakeland might help cover both Orlando & Tampa Bay areas if a multi-studio long term commitment cannot be created. Also, if this combination of forces creates a chain reaction of dual efforts... it will help build & spread out more business throughout Central Florida.
Also, the film commissioners need to modify & combine their efforts. They should team up & help put more Florida product out at film markets as opposed to just the fun fests out there... because Markets are really where the money is at. Attending just festivals out of state doesn't necessarily help bring money to Florida... but attending the AFM or Toronto's Market or Cannes' Market or Hong Kong's Market might. We as citizens are just paying them to be over-glorified travel agents it appears. It has nothing to do with the Film Industry. Just redirect money into Travel & Tourism instead of paying them to attend fun festivals to learn about event production... which also has nothing to do with the industry!
I think the citizens need to do more than the state though. The economy is lagging & I want our state to stay "in the black"! Keep building & growing you Florida filmmakers! Every bit of business growth by actually making great movies helps the entire economy!
Jon
The end of the Tampa Film Review & the beginning of something new in Tampa Bay
Having attended the last Tampa Film Review & working with Dan Brienza & the Guzzo's to try & move the Tampa Film Review to another location has left me empty. I saw the press & their concerns & I saw the need for a film screening venue go unheeded by many people. I have met with quite a few people regarding getting a venue & filling the gap left by the TFR to have a screening in the Tampa area. I have to admit I was discouraged.
Then, when I attended the Pinellas Filmmaker's Society on January 13th, Pete Bradshaw had the same concern for our area but it was a very different meeting this time. In one meeting we made a new name for the film society, found a new venue, built a new film-related social networking site and created a new change of course for the entire group. Now they are called the Tampa Bay Film Society and they are meeting at Coconut's Comedy Club in Clearwater on Friday February the 13th at 8pm to start new screenings. A new determination to do more screenings & invite people to network on the internet has been a refreshing new course! The site is called FILM & I hope the group grows & remains an influential part of the film industry in the Tampa Bay area for years to come.
There is also some good growth being experienced by the former St. Pete Creative Network... now the Tampa Bay Creative Network. In fact there are rumors that Film Forum group on the page might even start their own screenings as well.
As it comes to the group in Tampa... things are not over however. There were plenty of fears that no one would be able to fill the shoes that Pete & Paul Guzzo were leaving open for someone to walk in but Dan Brienza has been working tirelessly & faithfully to effect the film industry in Tampa for some time now. Now he has decided to take up the challenge to do even more...
Amazingly, even with his Weekend Film Crew Productions, his Tampa Weekend Film School classes, his Tampa Bay Film Industry & Actors Network & his Film Crew Cafe website... he is not overburdened! The once defunct Tampa Film Network has now ok'ed a transition for Dan to take over this network & merge it with the Tampa Bay Film Industry & Actors Network & the Film Crew Cafe... calling it the Tampa Film Network. And finally the Guzzo's Tampa Film Review will also be taken over by Dan, who will attempt to keep it screening with the same name!
Dan will continue to have classes under the Tampa Weekend Film School & he will run this network in Tampa and do screenings. All he needs now is a venue in Tampa to help sponsor his efforts! If anyone has any leads-- please email me! libertynumber5@gmail.com
So to sum it up- I am amazed at the Tampa Bay area filmmakers... we are doing more & spreading like a wildfire to build the industry here! I just hope that in March the Film Office in Tallahassee sees our solid resolve & does what it can (without going in the red) to assist our film community responsibly! I guess we'll see if there is more good news to come very soon!
Then, when I attended the Pinellas Filmmaker's Society on January 13th, Pete Bradshaw had the same concern for our area but it was a very different meeting this time. In one meeting we made a new name for the film society, found a new venue, built a new film-related social networking site and created a new change of course for the entire group. Now they are called the Tampa Bay Film Society and they are meeting at Coconut's Comedy Club in Clearwater on Friday February the 13th at 8pm to start new screenings. A new determination to do more screenings & invite people to network on the internet has been a refreshing new course! The site is called FILM & I hope the group grows & remains an influential part of the film industry in the Tampa Bay area for years to come.
There is also some good growth being experienced by the former St. Pete Creative Network... now the Tampa Bay Creative Network. In fact there are rumors that Film Forum group on the page might even start their own screenings as well.
As it comes to the group in Tampa... things are not over however. There were plenty of fears that no one would be able to fill the shoes that Pete & Paul Guzzo were leaving open for someone to walk in but Dan Brienza has been working tirelessly & faithfully to effect the film industry in Tampa for some time now. Now he has decided to take up the challenge to do even more...
Amazingly, even with his Weekend Film Crew Productions, his Tampa Weekend Film School classes, his Tampa Bay Film Industry & Actors Network & his Film Crew Cafe website... he is not overburdened! The once defunct Tampa Film Network has now ok'ed a transition for Dan to take over this network & merge it with the Tampa Bay Film Industry & Actors Network & the Film Crew Cafe... calling it the Tampa Film Network. And finally the Guzzo's Tampa Film Review will also be taken over by Dan, who will attempt to keep it screening with the same name!
Dan will continue to have classes under the Tampa Weekend Film School & he will run this network in Tampa and do screenings. All he needs now is a venue in Tampa to help sponsor his efforts! If anyone has any leads-- please email me! libertynumber5@gmail.com
So to sum it up- I am amazed at the Tampa Bay area filmmakers... we are doing more & spreading like a wildfire to build the industry here! I just hope that in March the Film Office in Tallahassee sees our solid resolve & does what it can (without going in the red) to assist our film community responsibly! I guess we'll see if there is more good news to come very soon!
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