Backyard FX

Erik's Production Vidblog - 10/13/08

Mon, 20 Oct 2008 22:55:40 EDT

Erik's Production Vidblog 10/4/08 from Indy Mogul on Vimeo.

Erik's Production Vidblog - 10/4/08

Sat, 04 Oct 2008 03:41:38 EDT

Erik's Production Vidblog 10/4/08 from Indy Mogul on Vimeo.

Find out what the next BFX project is!

Erik's Production Vidblog - 9/26/08

Fri, 26 Sep 2008 02:32:14 EDT

Erik's Production Vidblog 9-26-08 from Indy Mogul on Vimeo.

Another little teaser video getting you excited about what is coming up for Indy Mogul!

I like these Vidblogs. I might have to do them more regular like. What do you think?

Build Plans: How to plan a fight scene

Mon, 03 Sep 2007 12:19:07 EDT

How to plan a fight scene

Hey, everyone, and welcome to the technical blog for Episode #17 (Kung Fu). I had the honor of working with Justin and John from Westhavenbrook on this one. This will be a very short technically blog considering we didn't actually build anything. I will try my best to write down and organize the wisdom John and Justin bestowed on me. Send in your butt kicking videos and remember you can submit your project ideas here!

Shopping List (what you'll need)

Some friends.
(Preferably in good shape and able to flips.)
Prop weapons (optional).
(Believe it or not the night sticks in our test film were real, DO NOT try that at home.)
A safe place to "fight".
(Backyards are great, but big open fields are even better.)
Plenty of water.
(Don't mess around with this, if you're outside shooting a fight scene BRING WATER!)
Loose or stretch clothing.
(Doing high kicks in tight jeans can be a real pain...literally.)

The plan

The difference between having a successful fight scene instead of 5 minutes of unwatchable crap is a PLAN. Know where your fights is going to start and where it is going to end. Plan out the moves and storyboard if you can. At the very least have a shot list.

Example: "Erik is running at John, who looks bored and unimpressed. Erik throws a right cross at John who dodges it and punches Erik in the ribs with his left hand. Erik doubles over in pain, then spins around and tries to backhand John in the face, but John blocks it."

Obviously, you can simplify this even more. As long as you have some kind of road map to where the fight is going.

The structure

So you're sitting down to plan you fight scene, but need some pointers on what type of moves you should use and in what order. Well, John explained to me that the fight should progress like a story. Be very observant of pacing. Have a beginning, middle and end. Save your coolest moves for the end.

The shoot

Now that you have a plan, some friends and water, it's time to shoot. Shoot it in chronological order and from lots of different angles. We seriously only had a few moves per camera angle. This will assure your finished product is not boring to watch, and require you to only memorize a few moves at a time. Actions scenes are all about movement of combatants and movement of camera. Justin had a great saying, "Have the camera be a third person in the fight". While your actors are practicing the moves have your camera person moving all around, trying different angles and movements. In a way the camera person needs to have there own choreography.

The timing

Out of all the things I learned from John and Justin, I found the counting method the most interesting. So your fight is already broken down to 2-5 moves per camera angle. Assign a number to each move. The director/camera person calls the numbers out and the actors perform each move at that specific beat. This helps the camera person time his movements to the fighters and helps remind the fighters of their moves.

Editing and sound FX

Since you already have this whole scene mapped out on paper or storyboards editing it should be easy right? Maybe not, but just remember that a successful fight scene is just like a successful "anything" scene. It has to have good pacing and substance. The last thing you're going to add in post production is your sound fx. Sound is always important, but IMMENSELY important in a fight scene. Soundtrack Pro and most other sound editors will have a decent library of punching and fights fx's. You can find some free sound fx at The Freesound Project and SpinXpress. Or you can just make your own. Try smacking different things together in front of you camcorders microphone. Maybe that perfect punching sound fx is nothing more then you smacking a cold steak with big wooden spoon. EXPERIMENT!

Conclusion

Just have fun and be careful. The guys from Westhavenbrook are totally self taught. You and your friends don't have to be black belts to make a cool fight scene.

Check out this build in action, from Episode 17 of Backyard FX

Writing descriptions that work for actors and money...

Fri, 31 Aug 2007 03:24:52 EDT

One of the keys to writing a screenplay that you can sell to your money folks and actors is having good descriptions of people and places. Sounds obvious - I know. All screenplays have some text that describes the main characters and important locations. The more scripts that I work on, the more I have come to realize that a good writer must dance a fine line between brevity and (in some cases) poetry. Most times you will only have two lines to "sell" your main character and opening locations. Time and time again I see people describing sunsets, intricate clothing and in general stuff that has no place in screenplays. Everybody knows what a ‘beautiful sunrise’ looks like. It takes ONLY two words to describe it. Any more than those two words is a waste and ultimately will add needless bulk to your story.

One of my favorite commercial screenwriters is Brian Helgeland - mostly because of his adaptations L.A. Confidential , Mystic River and Man On Fire. Regardless of whether or not you like these movies - there is always a lot to learn from working writers like Helgeland. In many respects he is the master of the lean and mean description. His prose is sparse and evocative. He writes locations with an incisive brevity, but his character descriptions are perhaps his most skillful display of the craft…

Here is how Helgeland describes CREASY - the mercenary/bodyguard in Man On Fire (played by Denzel Washington)…

"As a 747 is towed by in the background, a MAN strides at us. CREASY. Even in movement, he has a stillness, an air of isolation. He’s set apart from other living things.

He wears dark sunglasses, carries a well-worn leather bag. Inscrutable. Disconnected. A bit frightening. The discipline of a soldier. The independence of a gunslinger."

In my opinion - the four lines above are a paradoxically perfect character description. We learn how Creasy moves, how he looks and most importantly the kind of man he is. Note the use of incomplete sentences and single words to punctuate the description and give it bite. Simple, evocative prose that is lean and mean - at the same time almost poetic.

Similarly in Sofia Coppola’s Lost in Translation, Bob (played by Bill Murray) is merely described as…

"BOB (late-forties), tired and depressed, leans against a little doily, staring out of the window."

Again, lean and mean with focus on an emotional state. No frills here and that’s what you want. No frills descriptions.

Charlie Kaufman writes longer and slightly more involved descriptions, but they still fit that lean and mean pattern. His prose is transparent, yet broad. From BEING JOHN MALKOVICH, I particularly like the description of Maxine (played by Katherine Keener)...

"...his eyes rest momentarily on Maxine. She is in her late 20's with close cropped balck hair. Her eyes are opaque, her face expressionless, her countenance trance-like."

Writing good descriptions distills the essence of character, time and place with the utmost simplicity...

Right now I am reading and re-reading Being John Malkovich to retain my own sense of brevity and the absurd.

Ghostlight Digital

Thu, 30 Aug 2007 13:00:00 EDT

When my eyes met Ghostlight, I knew that I had new friends. With talents ranging from direction, cinematography, editing, graphics/fx and DVD authoring, these two brothers are sure to inspire the inner Indy Mogul inside us all.

As the Internet and the ensuing technologies and information grow, everything becomes more accessible. What 10 years ago would cost millions to create, is now being done with the wave of a mouse (but don't let me discredit the amount of work and talent put forth by Ghostlight and their contemporaries).

Hopefully, this video has left you speechless, but not thoughtless. My intent is to pass on a video that has inspired me to attempt some of this gracious coolness in the same way that it was passed on to me.

So ... WATCH WATCH WATCH ... and learn. Watch Backyard FX and Indy Mogul Extra and learn as much as you can. Watch videos like this to get inspired and discover some cool ways of doing crazy effects on your own. And then when you're ready, create a how-to video and share it with everyone here. Someone will be inspired by YOUR video and the cycle will begin again. And the Internet video community will thrive! Death to Hollywood!

Meet Duplo

Thu, 30 Aug 2007 10:17:40 EDT

Jessica Cameron=Duplo

There's not much you can say about artists that they don't say in their work. Especially when you're writing underneath a video of the person explaining themselves, and why they do what they do. So, I guess all I have left is my humble opinion.

And IN my humble opinion, Jessica's work exemplifies what Vimeo is, and obviously, the people at Vimeo agree. It's off the cuff, it's simple and it's fun. It invites you into a little world free from the imaginary worries of "real life." And as the flagship video artist of Vimeo, Duplo's videos promote an idea that the Vimeo community proudly stands by. I don't think there's a word for it, but it's a good-natured feeling. It's something you won't find on YouTube.

So, make sure you check out Duplo's videos, because maybe you'll be inspired and turn them off to go create some of your own. Or maybe you'll watch a few more and let your mind wander. Or maybe, just maybe ... you'll move to New York City and the rest will be catalogued in Web-browser history!

Get Cultured: This Week's Special Screenings

Wed, 29 Aug 2007 14:24:01 EDT

Summer is winding down and so are all the really great outdoor events scattered throughout the boroughs. While everyone else is going down to "the shore" for the long weekend, celebrate your New York-ness by sipping some brews on a rooftop and catching a great flick.

Everybody's favorite, "The Princess Bride," plays at Empire-Fulton Ferry State Park on Aug. 30 as part of the Movies With a View, Brooklyn Bridge Park series. Mix with the hipsters at the Rooftop Films series this week as it shows the doc "Dan Asher: Near Life Experience" on Aug. 31 and "low-fi narrative freak-out" "La Devocion" on Sept. 1. And for a more cultured outing, head to Long Island City for a night of movies, music and dancing as the Outdoor Cinema 2007 series celebrates Brazilian culture with the doc "This is Bossa Nova" and Istanbul (not Constantinople) with "Crossing the Bridge: The Sound of Istanbul" on Aug. 29.

Don't feel like dealing with the late-August mosquitoes feasting on your tasty blood? Retreat indoors at one of the many art house theaters in the city. Get cultured on cinema's past as Anthology Film Archives screens the absurdist 1941 musical "Hellzapoppin' "on Sept. 1 or visit the Goethe-Institut when they screen Fassbinder's film "Bremen Freedom" on Sept. 2.

And to see where its headed, head over to the IFC Film Center for The World According to Shorts 2007 series (10 shorts from seven countries on Aug. 30) or for The New Talkies: Generation DIY for a slew of flicks from Mumblecore's finest (Aug. 29 to Sept. 4). Got a more eccentric palate? MoMA is screening film schoolers' favorite, "Pi," on Aug. 29, as well as shorts from Miranda July, Laurie Anderson and others and digital works from folks like Cory Arcangel, and Takeshi Murata on Aug. 30.

Reel Q&A: Anish Savjani

Wed, 29 Aug 2007 09:25:41 EDT

Amid the outcry over Mumblecore's overwhelming "whiteness" (until now), it seems as though Anish Savjani has been forgotten. Sure, he isn't one of the lost 20-somethings in front of the camera or the one framing shots behind it, but he has been a big part in making some of these films a reality, as a producer.

In an interview with Eugene Hernandez over at IndieWire, Savjani discusses his past, present and future in filmmaking.

Savjani began his career as a DGA trainee on mainstream hits like "The Sopranos," "Law & Order: SVU" and "The Manchurian Candidate" (which found him working as an assistant to prolific producer Scott Rudin). In 2005, he formed FilmScience, and later worked with friends and busy indy producers Lars Knudsen and Jay Van Hoy on "Gretchen" and "Old Joy."

Now Savjani finds himself in the midst of the mumblecore movement, having produced "Hannah Takes the Stairs" and now working on Joe Swanberg's next, "Nights and Weekends," as well as three other indies. He is also exploring the future of distribution.

"Models are shifting … It would be foolish to say that I am [only] in the feature-film business. We are in the content business."

And distributing and marketing that content to a wider audience via platforms like iTunes and B-Side will be Savjani's next challenge.

Have you created the right package ... ?

Wed, 29 Aug 2007 01:44:57 EDT

The constant issue for the indie filmmaker is the search for cash. You can raise money from equity investors. You can even put the whole thing on a credit card. One way or another, though — it might actually be smarter to find a way to sell your movie before it's made and raise cash against the sale. There are two kinds of people that can help you in that respect: the foreign-sales agent and the producer's rep.

Whether you go with an "agent" or a "rep," they will try to do the same thing — pre-sell your movie at the various markets like AFM in the Los Angeles area in February, Marché International du Film, or MIF, in Cannes in May, and Mercato Internazionale Filme e Documentario, or MIFED, in Milan in October.

Before you get to that stage, however — there will be talk of your "package." This is basically your movie (for want of a better word) in proposal form for display and sales purposes. There are certain ingredients that you will need in your package, regardless of what your movie is about or its genre.

Items that are crucial to your package:

I) THE SCRIPT

When including the script in your package &madsh; no fancy covers or illustrative art &madsh; unless you have had a professional design a poster. And even then, use mock-up posters at your peril. Included with the script should be a punchy one-page synopsis &madsh; written in the style of sales copy (like you might find on the back of a DVD). If you don’t have a character breakdown &madsh; write one. Beside the description of each character, you should include the names of the actors you are considering.

II) FINANCE PLAN

This can be as simple as the "top-sheet" of a budget, or a more detailed breakdown of how you intend to raise finances. By including something of this kind, you will show finance/sales people that you are serious and have considered the financial aspect of your project. Obviously, there is a huge difference between trying to raise $10k and $1M. But going in, the people that you are trying to "sell" will need to know what sort of money you are talking about. So be bold, but realistic.

III) THE DIRECTOR

Include a bio/credentials pitch on the director. If he or she has credits &madsh; great. List them and write up a short description of each, highlighting his or her's value and creativity. If he or she has no credits &madsh; write up a creative bio for this person that details what they bring to the project. For instance, if you are making a movie about house painters, it might help that your newbie director was a house painter for five years. Talk this person up. Give him or her confidence. Make him or her seem like a good choice to people you approach.

IV) THE CAST

Ideally, this might include somebody who has been in movies. If you have anybody of note &madsh; this is a big plus. Include the actor's filmographies, bios and Letters of intent &madsh; if you have been smart enough to get them. The more interesting your cast seems &madsh; the closer you can get to finance and distribution.

V) THE CREW

Do you have a track record as a producer? Does the writer or cameraman or composer have credits? Include details about the behind-the-scenes people. This will bring credibility to your package and re-enforce that you CAN actually make a movie and deliver.

Well there you have it. One through five. It sounds simple &madsh; but there are many shades of gray and levels in packages.

Just make sure it makes sense and that you proofread it.

For further ideas on film finance you might try the following books:

Filmmaker's Guide to Business Plans

Finance for Indie Filmmakers

43 Ways to Finance your Film

30 Second Film School: 3-Point Lighting

Tue, 28 Aug 2007 17:46:48 EDT

Photo from The Complete Eejit's Guide to Filmmaking.

Even if you're shooting on a tiny budget, you should still consider the advantages of using a professional lighting kit. It could be the determining factor in making a good scene look great.

The basic lighting setup for shooting film or video consists of just three lights: a key, a fill and a back.

The key light serves as the primary light source in your scene and is used to simulate natural light. It is usually set up parallel to the camera, elevated a few feet and facing your subject at a 30- to 45-degree angle.

Unfortunately, the key creates shadows across your subject's face. You can soften this effect by using a fill light — a less powerful light placed opposite the key at camera height — pointed at a 30- to 45-degree angle. To make sure the resulting image isn't washed-out and flat, the key is often bounced off a reflector. A handy tool to have on set, a reflector is basically just a piece of silver-white or gold-white (great for warming skin tones) fabric stretched over a frame. Purchasing one will cost around $70, but making one is cheap and easy — just grab a large piece of cardboard and some aluminum foil.

Finally, the back light is set above and behind your subject in order to outline and separate them from the background. To get the correct effect, make sure the back light isn't streaming directly into the camera lens.

From this basic setup, feel free to experiment and explore by adding or subtracting, softening or hardening your lights in order to create different effects and set different moods.

For a more in-depth look on three-point lighting, click here.

For rental houses in your area, click here.

Take the Next Step: DocFest 2007

Tue, 28 Aug 2007 10:14:28 EDT

The Paley Center for Media's annual DocFest returns from Oct. 24 to Nov. 2 in NYC. The venerable fest will boast an impressive lineup of premiere and classic docs from the genre's biggest names, bolstered by an introduction and question-and-answer session with all the filmmakers.

To supplement the screenings, the fest also hosts numerous workshops and special events, notably the Pitch Workshop. Now open for entries, the workshop will bring together TV execs and producers of nonfiction work to discuss creating, producing and pitching a doc. They will also evaluate the concept and presentation of five filmmakers' pitches. The winner of the pitch competition not only gets invaluable advice, but $5,000 toward completing the doc. To be one of the lucky five, submit detailed info on the concept and history of your work in progress, along with a 10-minute DVD of footage, by Sept. 15. For more info on DocFest, go here.

Build Plans: How to make a big f@%king gun

Mon, 27 Aug 2007 15:41:08 EDT

How to make a big, f@%king gun

by Erik Beck

Hey, everyone, and welcome to the technical blog for Episode #16 (BFG laser). Another awesome viewer submitted request. Send in your laser-filled videos and remember you can submit your project ideas here!

Shopping List

Plastic CD rack.
(This cheap, flimsy thing must have made a horrible CD raft, but it made an awesome frame for our blaster.)

Big and little water bottle.
(Check out the video, all these plastic water bottles have interesting textures and patterns.)
Two old plastic thermoses.
(Again, this very cheap, used piece of plastic has cool textures.)
A thermos cap.
(Or so I think. I saw this orange piece of plastic on the shelf at Urban Ore and thought: "That's the barrel tip of my blaster!")
A slide projector.
(I used this, because it has a big lens on one end, and I thought it would look cool as a high-tech targeting computer.)
The pistol grip from an old camera.
(Another lucky find at Urban Ore.)
Spray paint.
(Silver, black and copper.)

The gun

This was one of the quickest and most satisfying builds. What I should have done first was attach the pistol grip to the end of the CD rack frame. I foolishly saved this for last, which made it much harder. So the first thing you should do is screw the pistol grip (which already had mount holes) to the frame.

Next, remove all the straps and handles off the water bottles and thermoses. Wipe them down, because glue doesn't work well on dirty surfaces. Flipping the CD rack over, start sticking the bottles in place. Then using A LOT of hot glue, secure the bottles to the frame and each other.

The paint job is very similar to the Jetpack episode. Start with a base coat of silver. Then do a very light, speckled coat of black. This should create a really nice, textured, weathered-metal look; like a real working weapon, as opposed to a super shiny "Star Wars" type weapon. I also painted one of the water bottles and the projector thing copper, then gave it the same light coat of black.

The last step is gluing the remaining water bottle and the "targeting computer" to the top of the blaster.

The bells and whistles

So as I said in the episode, you're going to need more then a hunk of plastic to make a movie. You're going to need some computer graphics. For muzzles, flares and explosions, check out Detonation Films. For lasers, blasts and other fancy moving graphics you really need a program like Apple Motion, Adobe After Effects or Photoshop. There are lots of ways to make lasers; here are a few links I found with helpful tutorials.

Neat film-strip tutorial on using Photoshop for making lasers

Some good stuff over at Creative Cow

Wow, I couldn't find as many laser tutorials as I thought. I'll keep looking and add them above, but we just might have to buckle down and make a Weekend Extra on Lasers. If you know how to make lasers why not make a video tutorial and send it in. You'll get "mad Indy Mogul cred!"

Check out this build in action, from Episode 16 of Backyard FX

Required Reading: jumping off bridges

Mon, 27 Aug 2007 15:00:00 EDT

There is a great interview with Kat Candler up at The Austin Chronicle. More than a plug of her latest project, the award-winning indy filmmaker gives a detailed account of the trials of touring fests with an independent film and the nightmare that often in distribution.

It began at South by Southwest 2006 with a screening of Candler's "Jumping off bridges."

It drew a standing ovation and the subsequent question-and-answer session was riddled with stories from audience members who identified with the narrative feature's tale of a mother's suicide, a father's grief and the effect it all had on a group of teenagers. But how do you market such a downer of a film?

Distributors didn't know and, thus, wouldn't pick up "Jumping." What followed was a trial-by-fire tour of small theaters and universities with help from local mental-health organizations (the film's most dedicated audience), and self distribution through New Day Films, a cooperative distriubtor specializing in films with a focus on social issues.

With the first DVDs being released October 1st, "Jumping" has become a good model for struggling filmmakers' in distribution hell, and Candler is an engaging guide.

Read the details on "Jumping off bridges" journey here.

A.D.D. Post #2

Mon, 27 Aug 2007 13:37:23 EDT

Documentarian Robert Greenberg has teamed with U.S. Senator Bernie Sanders to launch a viral video campaign against the Fox News Channel. By utilizing video culled straight from Fox News programming, FOX ATTACKS! aims to show that the Murdoch-run news monopoly is, as Sanders states in an article from the AP, "simply a propaganda machine for the Republican Party and the Bush administration." A three-minute mash-up video and open letter are the site's foundations, urging bipartisan news outlets as well as the American public to not be bullied by Fox and follow it down the road to war again as the focus shifts from Iraq to Iran. However, some critics are saying Greenberg and his compatriots are guilty of just as much propagandizing as their enemies. Decide for yourself.

For some reason, I enjoy reading (and writing about) David Lynch even though I don’t particularly enjoy his films. Perhaps it's his ardent dedication to independent film. Or maybe it's the way his sensibilities lie somewhere between quirkiness and eccentricity. For whatever reason, I found Lynch's interview with MTV (of all places) a rather good read. The auteur discusses such topics as his new found love for digital film-making, Hollywood blockbusters (David Lynch saw "Bourne?"), and the DVD release of "Inland Empire," chock full of bonus features — an unprecedented move for the filmmaker. And for an extra dose of Lynch's certain je nai c'est quoi, check out the daily weather reports over at his well-maintained home page.

Speaking of quirk, there is a great article in the September issue of The Atlantic. Titled "Quirked Around," Michael Hirschorn expounds on his feelings on the "odd but not too odd" genre of movies, art, comedy and even radio shows that is captivating our generation. As a self-professed lover of the quirk, I can be protective of the Wes Andersons and Ira Glasses who make up my usual entertainment. However, Hirschorn presents a rather balanced critique, with a thorough, but concise, look at quirk's luminaries and their work. It's worth a read whether you view the whole genre as ironic posturing or think reading McSweeney's Lists are a hilarious way to kill time.

A Producer’s project Vs. a Director’s project…

Mon, 27 Aug 2007 01:43:10 EDT

As an Indy Mogul, or Low-Budget Filmmaker, you might come to a project from a number of angles. Maybe you wrote the script and are trying to attach money and talent. Maybe you're a director who is trying to package a script that you like. If you are a multi-hyphenate writer-director-producer, read no further. However, if like me, you're a writer/producer, then you might reach a point when you are asked the following question …

Is this a producer's project or a director's project?

What the question basically breaks down to is an issue of control; not necessarily who signs the checks. That part will be obvious. What we are talking about is creative control and who is the leader or the spokesperson or figurehead.

In ideal situations you will be able to attach a director who not only has creative vision, but can talk to actors and money people and generally "sell" your project to whoever comes along. In that happy scenario, your movie becomes a director's project. Maybe you're the director anyway, so attaching elements and talking-it-up is no problem.

The flip-side of that is also pretty simple. You are the producer and it is your smart mouth that has managed to attract and sign up a director. You are doing the same with money folks and actors, simply bringing the director out when necessary so that all concerned will be happy to work with him or her. If that is the case, then your movie is a producer's project.

Sometimes you will have no choice in the matter. Maybe a more powerful producer hires you as director, but you know it's his (or her) show. Maybe, as often happens, you as producer hire a first-time director. You know he’ll be great when it comes to shooting and working with the actors on set -– but as far as "closing" anybody and getting their letter of intent -– he's just can't talk good enough of a game. And yes, it is a game. As much as talent and money may be wooed by a great script or a great director -– somebody has to actually sit there and do the wooing.

Back to the question at hand: Is this a producer's project or a director's project? Why is that important?

Well, to make your movie, you will have to spend some money. Usually that means raising money. OK, in Mumblecore that might only be $50. Still, somebody has to put up the $50 and somebody has to talk the actors (or should I say your buddies) into showing up.

You see where I'm going with this? Yes? Regardless of whether you're heading for Sundance or Slamdance or Raindance -- somebody has to take the reigns. Somebody has to take charge, make decisions and talk people into doing what needs to be done. If that's the director -– great. It's the director's project and he or she will not just set the tone of the movie but the tone of pre-production and post-production. If the director, for whatever reason, is ill-equipped or unwilling to set that tone, totally, then the producer must do so and it becomes a producer's project.

I know many of you might be annoyed with where I've gone with this. But if you're honest, you will know or have experienced the reality of it. Yes. Filmmaking is a collaborative art, but there has to be checks and balances for that someone has to take responsibility. So ask yourself now –- is yours a producer's or director's project? Answer truthfully and stick to that answer. Remember -- you need to get your project done. It can't be done in half measure or with unrealistic compromises. Forget the auteur theory or the tyrannical mogul. Be like the Dalai Lama -- formless, yet single-minded. Now answer honestly –- who's in charge of your project, the director or producer?

Some useful literary resources or books you might read:

"From Reel to Deal ... " by Dov S-S Simens

"Independent Feature Film Production ... " by Gregory Goodell

"Rebel Without A Crew ... " by Robert Rodriguez

On The Lot: Episode 16 (The Season Finale)

Sat, 25 Aug 2007 15:35:25 EDT

Well, this is what it finally comes down to. After 12,000 submissions, several cuts and weeks of competition, it’s time for the final cut. The three remaining contestants are: Jason Epperson, Will Bigham and Adam Stein.

After last weeks disappointing first part of the finale, you would have expected this week to step it up a notch. Well, this week did step it up a notch, but if you know anything about turning up the volume, a notch barely does a thing.

The episode started wasting time by playing a bunch of that useless, "look how far they’ve come" mumbo jumbo. We were greeted by the kicked-off contestants, and shown three of their films. Rather than showing the films that got the contestants on the show, or getting to know them more, we were given old films once again. Come on Fox, we all know you shoot hours of behind-the-scenes footage, you have 12,000 short films at your disposal and dozens of other possibilities. Come on Fox, stop recycling and give us something new.

After about an hour of lollygalling, they finally eliminated one of the contestants. It was Adam Stein. Somewhat disappointing, but not all that much of a surprise. It’s best to leave it to Mr. Southern and The Family Boy. Stein got a round of applause, and some praise, so it was not all bad. Of course the final elimination was stretched to the final possible second.

In the end, Bigham ended up winning, which was a nice surprise. Watching Epperson speak to Spielberg just doesn’t seem right. But I can’t help feel sorry for the guy. When it was announced Will won, there was an honest look of shock and disappointment on his face. It got me started thinking that I’ve probably been too hard on Jason. While he’s never really known how to defend his films, and I’ve never been a fan, he’s probably a nice person. Reality shows alter perceptions, and "On The Lot" is no expectation. It’s easy to get caught up in how a show portrays someone over a couple months, but we have to remember that we only see about 5 percent of what they are really like.

After winning, Will hopped in a Ford and headed to "the lot," to be greeted by Spielberg. It was not hard to see that the thing was overly set up and scripted, but still, it was a treat nonetheless.

So that’s a wrap. Now the only thing left to do is wait and see what the contestants do now that they’re not on the show. Whether it’s an Adam Stein Web series, a Will Bigham feature, or even the Kenny Luby-Adrianna Costa sex tape, it’s all possible. Now, it’s important to mention that Will only won a million-dollar development deal. In no way does this certify that he will get a film made or released.

The funniest part of the episode was the constant referral to the episode as the "season finale." For all you filmmakers who are getting your shorts ready for the next season, you may want to forget about it. The show's ratings didn’t warrant the show to finish its first season, so a second would be a suicide mission for Fox. Don’t let this get you down though. Finish those shorts!

All in all, "On the Lot" was a fun ride. From actually hearing about the show to submitting something to the show, to watching it start to finish. While the show ended up something of a disappointment, we’ll probably only see a filmmaking show in this style once, so I suppose we should be grateful. How often do we get to see a new project from a filmmaker on a weekly basis? Say what you want, but the show was fun, and that’s quite a compliment when referring to network TV.

Festivous: Your Weekend Plans

Fri, 24 Aug 2007 13:00:00 EDT

We lucky New Yorkers are usually spoiled with a plethora of options to occupy our weekends. And August 24-26 is no different, with two independent film festivals begging for our attendance.

First up is The Bushwick Film Festival presenting 15 "creepy, stinky, distasteful, offensive, C-line, avant-garde, experimental, saucy" underground features and shorts at several arts-centered venues throughout the warehouse-riddled Bushwick neighborhood. Come for the dialogue between emerging filmmakers of the absurd, stay for the free wine, beer and hors d'oeuvres (or is it the other way around?). For the screening schedule and other info, visit the BFF homepage.

Not a fan of the L train? Head down to the Financial District instead for the American Cinematic Experience Film Festival. This yearly fest aims to distinguish itself by screening only American-made independent films, with a soft spot for oft-ignored video art, and by rounding out its program with live music and guest speaker Caveh Zahedi (I am a Sex Addict). An extension of the River to River Festival, the ACE Fest also donates a percentage of all ticket sales to The New York Foundation for the Arts. You can find tickets and more information at the fest's Web site.

So get out there, New Yorkers, and support your local film festival.

Reviews & News: blip.tv

Thu, 23 Aug 2007 13:38:19 EDT

Everyone take a deep breath and repeat after me: There is life for your films beyond YouTube, and it can be found at blip.tv. Now in its second year, the video-sharing service is enjoying a surge in popularity and it’s about time you jumped on the bandwagon.

Blip.tv was designed for user-generated video with a focus on episodic content rather than the viral video that floods similar sites. What really sets blip.tv apart from its competitors, however, is the plethora of options it offers its users who are serious about getting their work seen throughout the Web, prompting filmmaker Scott Solary to tout the site as “the closest thing to one-stop shopping for your Web uploading and distribution needs.” Beyond free hosting, the site also allows users to upload audio or video in numerous formats (QuickTime, MPEG, DivX, mp3 and more) at a max size of 1GB. Once uploaded, content appears immediately both on its destination site as well as on the user’s personal homepage at [username].blip.tv. Distribution becomes easier and more lucrative for the DIY set with cut-and-paste HTML and RSS feeds for cross-posting your content, and an opt-in advertising program splits revenue 50/50. Named by the Webbys as the Best Broadband Web site of 2007, blip.tv appears to be growing, adding new features such as pro accounts that offer mp3 audio podcasts, Apple TV and iPod compatibility, timed publishing and quicker transcoding.

If you’re looking to get your hours and hours of hard work away from the pixelated dregs of other hosting sites, give blip.tv a try.

Festivous: New York Korean Film Festival

Wed, 22 Aug 2007 11:21:42 EDT

The seventh annual New York Korean Film Festival kicked off yesterday with its biggest program yet (check out the promo trailer below). Running through Sept. 2, the Korea Society has curated a diverse fest with screenings throughout the city and special panel discussions with filmmakers.

If Wong Kar-Wai is the beginning and end of your Asian film education, start out with the four-film retrospective of Im Kwon-taek, the “art-house auteur” who has directed 100 films in the past 45 years. Also worth your time is the Korean Horror Nights series, a two-night marathon of chilling flicks playing at Cinema Village, as well as the question-and-answer session on the Korean Wave of pop-culture films with director Kim Yong Hwa (200 Pound Beauty) on Thursday. And if your wallet is a little too light to check out the 16 contemporary Korean films in the main program, the Short Film section of the fest on 8/30 screens 14 eclectic shorts by indy filmmakers for free!

For more info on tickets, times, venues and more, visit the NYKFF website.

Reviews & News: Moby Morricone?

Wed, 22 Aug 2007 10:14:38 EDT

Even though he was the first artist to have a whole album commercially licensed (not to mention that grating Gwen Stefani duet), Moby has made a move that will likely increase his presence in film. Over on his personal Web site, the electronic music impresario has a section titled “moby gratis” where indie and student filmmakers can find that perfect piece of ambient sound for their project. No stranger to working with film (he has created music for Tomorrow Never Dies, Heat and Joe’s Apartment), Moby has generously posted tracks from his discography as well as unreleased material to listen to and download for free, with no licensing fees for use as long as its "being used in a non-commercial or non-profit film, video or short." And if you do use it for a commercial project, Moby will donate all money to the Humane Society. With more than tracks varying in length, mood and sound already posted, you could have an internationally acclaimed artist score your next flick.

A.D.D. Post #1

Tue, 21 Aug 2007 14:00:00 EDT

I love finding what-if and could-have-been movie lists on the internet. They’re the perfect antidote to sitting in the office and waiting for the clock to run out. Incidentally, I just found a couple gems over at Twitch and Cracked that examine five unfilmable novels and who should direct them and the 10 best films Hollywood put the kibosh on, respectively. C’mon, it’s almost 6 p.m.; you weren’t going to do anything else anyway.

Hannah Takes the Stairs! Hannah Takes the Stairs! Hannah Takes the Stairs! If I read one more thing about "Hannah Takes the Stairs," I think I’m going to scream. Share in my misery and learn more about the indy, produced, directed and starring several members of the Mumblecore crew, before it’s released here on Aug. 22. I’d give you links to notable articles but there’s just too many –- you’re better off Google-ing it.

To be honest, I never thought of Indian films outside the bombastic Bollywood mega-productions. But independent filmmaker Sujewa Ekanayake piqued my interest Wednesday when he blogged about Satyajit Ray, an Indian filmmaker who made more than 36 years for the art-house set. Ray’s films are described as showing "a diversity of moods, techniques, and genres -- comedy, satire, fantasy, and tragedy." Usually, "he made realistic films but he also experimented with surrealist devices and fantasy." Overall, "Ray was deeply concerned with the social identity of his characters. He believed that behavior of people emerges from their existence in a particular place and time in a particular social context. This was and is largely ignored in most popular Indian song-and-dance films." Sounds to me like a search for his films is a worthwhile endeavor.

Take the Next Step: Documentaries

Tue, 21 Aug 2007 13:00:00 EDT

Attention all documentarians: IFP Documentary Rough Cut Lab is accepting entries for its 2007 program, running from Nov. 6 to Nov. 9 in NYC. Now in its second year, the program teams 10 docs and their novice creators with experienced professionals to explore post-production possibilities and prepare the piece for festival submission. The submission deadline is Sept. 10.

Afraid you won’t make the cut? Head down to SoHo House on Tuesday at 6:30 p.m. to talk with the experienced panelists of Industry Connect: Film Fest Strategy. Learn from their advice and personal experiences on how best to strategize your first foray into film fests.

And if you’re still in the planning stages, check out Nick Dawson’s blurb on three docs shown at the Edinburgh International Film Festival. While LYNCH will inspire you with its stylistic journey through the creation of David Lynch’s Inland Empire, the latter two (Run, Granny, Run and What Would Jesus Buy?) will provide some cautionary notes to work from. Good luck.

On Filmmaking: An Interview with Tim Kinsella

Tue, 21 Aug 2007 12:03:22 EDT

Tim Kinsella, of influential indy bands Cap 'n' Jazz and Joan of Arc, has taken time off from the volatile music industry to explore the just-as-precarious film industry. His feature film debut, Orchard Vale (see trailer below), an experimental examination of a band of outsiders after the breakdown of civilization, opened the 14^th Chicago Underground Film Festival (and became popular enough to warrant a second screening).

An interview with Kinsella exploring post production, the difference between songwriting and filmmaking, modern apocalypse, and the importance of keeping your day job to “free up mental space” is an in-depth look at a real DIY film production, and can be found at Movie City Indie. It’s a bit lengthy, but worth reading for Kinsella’s insight into making a super low-budget film happen, as well as for his creative process. For example, on collaboration:

"For me, finding the right collaborators is the single most important aspect of any creative venture. We may both have blind spots that obscure 90 percent of each of our vision, but then focusing on the same thing, even if those blind spots overlap halfway, we’re still both now aware of 15 percent instead of 10 percent."

And on setting the film’s mood:

“Keeping time and space constantly ambiguous seemed vital to any tension we hoped to create. We didn’t want to attempt to show this tension, but more to create a strange time/space hanging there as if the frame were a cage and the tension was creeping in from outside the frame.”

The whole article can be found here.

The trailer can be found here.

Vimeo Vid of the Day, "The Moustache Montage" by Justin Johnson

Tue, 21 Aug 2007 10:30:24 EDT

The Moustache Montage from justin and Vimeo.

A young man finds an idol in one cool gent's facial hair, and is compelled to grow some of his own.

Recently, we found out that our Sony HDV camera does true slow motion. And of course, if anyone suggests we shoot in normal speed anymore, they are promptly told not to interfere with our artistic visions. And rightfully so.

Our first project using this was our "Moustache Montage" created for filmfights.com, which is a Web site where every few weeks, a topic is picked and filmmakers from all around the world send in their videos and review those they're up against. I really think every Indy Moguler should check out filmfights; where Erik Beck, Justin Johnson (director/editor of this piece and driving force behind Indy Mogul), and myself become aquainted with one another, along with tons of other FilmFighters who are all successfully pursuing their dreams of being involved in video/film. And speaking for most, if not all FilmFighters, we really developed our skills through the great community of FilmFights, where unlike YouTube, our videos are given respect and reviewed to help make us better at our skill, not to insult us.

So, I hope you have as much fun watching this and we did making it. And I really hope you visit FilmFights and enter the next fight, you will meet great people and learn a ton!

Build Plans: How to make a fake hand

Mon, 20 Aug 2007 17:07:30 EDT

How to make a fake hand

by Jerry Rizzo & Erik Beck

Hey, everyone, and welcome to the technical blog for Episode#15 (fake hands). Direct from New York City!

Shopping List

16 lbs. plaster of paris.
(8 lbs for the top half, 8 for the bottom. )
BFX ballistics gel.
(Check out this Weekend Extra for more details.)
Liquid latex.
(In a flesh tone.)
Caulk.
(Does not need to be adhesive.)
Petroleum Jelly.
(As a de-molding agent. You could also use cooking spray.)
Duct tape.
(I'm going to stop listing this because you should always have some ready.)
A cardboard box.
(To add some "fleshyness" to the face.)

The mold

This process takes several stages, but is fairly simple. First cut a notch in one end of the box. Then tape up the bottom and sides.

Next mix up half your plaster, which should be about 8 lbs for a hand mold. As mentioned by Jared, use a little more water then recommended. Cover your subjects entire hand and arm (anything going into the plaster) with petroleum jelly. Now pour your plaster into the bo. It should be about 3-4 inches deep. Place the bottom half of your hand into the plaster and rock it back and forth to get it to sink in. Don't put your hand too deep into the plaster.

After about 15-20 minutes you should be able to remove your hand. Shortly after this the mold with start to get very warm. This is normal.

Once the bottom half is dry, you can move to the top half. Apply more petroleum jelly to the bottom mold and your actors hand. Mix up some more plaster and place hand back into mold. Pour the new plaster over your hand and the bottom mold. Wait the some amount of time for this layer to dry.

Now very carefully lift the top half mold. The top half of the mold can very easily crack when being separated. Once your actors hand is free you should leave both halves of your new hand mold to dry for another hour.

The hand

Now that you have a bad ass hand mold, making a hand is pretty simple. You could use this mold to make a fake hand out of anything you want, but I recommend using some DIY ballistics gel. Before you add anything you need to prep the mold. Clean out any debris that is inside you mold. Aplly cooking spray or more petroleum jelly to the inside of the hand mold. Now apply some caulk to the outside of the one half of the mold.

Now seal the mold and, using the some cardboard box, and duct tape close both halves of the mold together tightly. Allow for the caulk to dry. Now you're ready for the fleshy filling.

Pour ballistics gel into mold and refrigerate. If you used enough de-molding agent, after the gel has set you should be able to pull the hand out of the mold in one piece. The final step is to paint on a few layers of liquid latex "skin".

Conclusion

This process may take some trial and error. The good news though, is that the whole thing doesn't cost much money. Also, once you have a really good mold, you can make many hands from the some mold. Another cool thing is that you can use this same process to mold other objects or body parts.

Check out this build in action, from Episode 15 of Backyard FX

All Abuzz: Mumblecore

Mon, 20 Aug 2007 16:13:52 EDT

Wikipedia defines Mumblecore as “an independent filmmaking movement characterized by ultra-low budget production, focus on personal relationships between twenty-somethings, improvised scripts, and non-professional actors.” With lengthy articles appearing in both the New York Times and the Village Voice (as well as countless blogs), I describe it as the unavoidable next big thing (whether the filmmakers themselves like it or not).

The term was first coined by at a bar during South by South West in 2005, the same festival that gave birth to the movement by championing their films, thus forging friendships between the filmmakers. Says Jay Duplass (The Puffy Chair) in an article from Filmmaker Magazine, “It was Joe Swanberg’s first festival ever, I think, with Kissing on the Mouth, and (Andrew) Bujalski was there with Funny Ha Ha, and us and the Four Eyed Monsters crew. Then we spent the whole year on the festival circuit, which meant [Mark and I] never saw our actual friends, but we were hanging out with Joe and Andrew and everyone else every single weekend at a different festival.” From then on, the filmmakers worked together on numerous projects, creating a web so intricate it makes the Ben Stiller and Judd Apatow filmmaking clubs look puny.

Are these films providing an unabashed look at the intricacies of our generation’s relationships or is it another load of hipster B.S.? Find out for yourself at “An Evening with Generation DIY”, a moderated discussion at NYC’s SoHo Apple store on Thursday 8/23 from 7PM-8PM. Then head over to the IFC Center’s film series “The New Talkies: Generation DIY” which runs from this Wednesday through September 4^th. I’ll see you there.

The almost-definitive pictoral representation of Mumblecore courtesy Aaron Hillis' fantastic blog.

Production 101: Film Distribution

Mon, 20 Aug 2007 13:04:40 EDT

Over at Renew Media’s invaluable new blog, RE:Sources, film advisor Rachel Gordon discusses the pros and cons of self distribution in two articles. An important decision that needs to be made by any filmmaker wishing to move beyond YouTube, Gordon shares her experiences working in the “non-theatrical world” and what it entails.

On one hand, independent filmmakers are generally a tight-knit group who “talk on listservs, give each other advice in email rings, program fascinating conferences, webinars and discussions,” Gordon relays. And once you build support within the group, they won’t hesitate to share your information (and movie) and inquire after your next project.

However, self distribution takes a large investment of both time and money. Says Gordon, “getting your packaging together, weighing production quotes of DVDs, creating a website and setting up your fulfillment and payment options can take time, patience and follow up.”

Although it isn’t an exact science, the ins and outs of self distribution can be learned. I suggest reading the two articles chronologically. Self-distribution – when is it the right choice? to start with, followed by Distribution Choices: My Two Cents. It will hopefully give you something to think about, and point you in the right direction when distribution becomes a reality for your film.

A pictoral primer on film distribution from HowStuffWorks.

My Roomie the Bagel

Fri, 17 Aug 2007 16:43:04 EDT

(NJFILMCORE.COM) My Roomie the Bagel TRAILER from njfilmcore and Vimeo.

Now there's Indie filmmaking, and then there's Indy filmmaking. What's the difference? Well, one has an "ie" at the end and the other a "y". And you'd be surprised how big of a difference that that makes. But there's more to it then spelling. "Indie" filmmakers wouldn't touch a project if the budget weren't over $100, 000 (although I doubt they'd do anything for under a million).

Enter Erik X. Raj, Robert Rodriguez for the internet video community. For years, Erik has been making videos and even appeared on MTV's TRL for one of his quick video clips, the style he is best known for under the name of North Awesometon Bears on the kind of budget that could be used to pay rent for a summer vacation at the Jersey shore, and screened it at Stockton College, ironically enough, on the sunny shorline of southern New Jersey.

Now Erik has followed Awesometon with "My Roomie the Bagel", a tale of a rebel Confederate, his bagel of a roomate, Captain America, Death, Jesus, 50 cent, Dr. Information, and tons of other characters from pop culture and others invented by Raj, but all equally lovable. Pulling a cast from all over the internet; Jake Strunk of "On Rye LTD" and Mark from sickanimation.com (who also contributes an awesome theme song) and with support from his great circle of friends, Erik filled the Clearview Cinema in Red Bank, NJ (home to NJ native Kevin Smith).

Doing what NJFilmcore does best, we were all sucked into this magnificent world for roughly an hour, where all the preconcieved ideas of what a movie should be were thrown out and replaced with a surplus of photos of cute kittens. It was great to see a full theatre supporting real independent filmmaking at free screening as opposed to wasting $15 (or how ever much a movie ticket costs these days) on a movie you've already seen a million times over.

On The Lot: Episode 15 (Fox Television)

Fri, 17 Aug 2007 01:21:10 EDT

Maybe it’s just me, but it seems hard to believe that On The Lot is ending. Maybe it’s because everything has come full circle. It’s been over a year since the show was first announced, so I guess you could say it’s finally come full circle. Whatever you have to say about the show, it’s been a good experience nonetheless. No, it didn’t provide the learning experience that HBO’s Project Greenlight, IFC’s Film School, or an audio commentary on just about every film on DVD. Hell, you could even argue that the film’s produced on the show were not any good. But, the show did provide a chance, and a spotlight, unlike anything else. It’s not typical for filmmakers to be put into the spotlight, as they are a hard sell. On The Lot failed because of this. You can profit on many types of people, but a filmmaker is not one of them.

Now, with the show’s terrible ratings, it’s fairly clear we won’t see another season. But then again, television works in mysterious ways. With some re-working, the show may be given another chance. If it does, it’s safe to see that we will probably see a better variety of films and filmmakers. But with time constraints, censors, and necessary ratings safety, a show like On The Lot will never work. Filmmaking is only interesting to one group of people, and that’s filmmakers. Even then, there’s a limit. There’s only a certain amount of anxiety, yelling, and chaos one can withstand. It’s safe to say that with most art, the result is far more interesting than the artist.

All right, so let’s get to the amazing fantastic finale we’ve been waiting for. Well wait just a second, because first, some business had to be taken care of. Yes, one of the four filmmakers had to go home, or wherever one goes after they’ve been eliminated from a reality television show. To no surprise, Sam Friedlander was eliminated, leaving Jason Epperson, Will Bigham, and Adam Stein.

Now that all that drama is over with, we can get to the episode. Fox really must have dug out their wallets for this one, because it’s one you surely won’t forget. I assume all the producers found in their wallets were Kenny Luby’s House Painting business cards, because this was a finale barely worth mentioning. There were no new films, no inspirational tales of how the contestants got on the show, just two old films from each contestant. Oh wait, Jason Epperson cried. Surely that’s worth keeping your television on for.

Considering nobody wants to read another review of each film, I’m just about done here. I suppose I should mention who I think should win the big prize, or who will win the big prize, but I think you already know. Will Bigham should win, and probably will. He’s just too loveable for anyone to say no to. If he’s got competition, it’s from Epperson and the Southern United States.

Considering there was really no reason to read this review, and I feel bad writing about nothing, I’ll give you a treat. Or judging by the reviews it got, a hard to sit through waste of time. Here is the link to the film I submitted to On The Lot. It will probably make me look like a contradicting asshole, considering the harshness I put on other contestants films, but what the hell.

Vimeo Vid of the Day, "Red Iceblock Melting Outside Timelapse" by Jaymis

Thu, 16 Aug 2007 12:10:51 EDT

Red Iceblock Melting Outside Timelapse from Jaymis and Vimeo.

A timelapse of a red iceblock (popsicle) melting in the sun. Shot on a Pentax *ist DS with 50mm F1.4 lens.

Timelapses are always pretty cool. But I like this one, especially, for a plethora of reasons. The first frame you see before you play the video showcases a few of my reasons. The depth-of-field is really mesmorizing and how it plays with the richness of the blue, green, and red...it's as if my eyes are licking the icepop and my mind is tasting it.

And as the first person to comment on the video over at Vimeo mentioned, the translucentness of the icepop at the end is just extremely cool. I could come up with another dorky simile, but I think "extremely cool" works just fine.

30 Second Film School: How To Use a Light Meter

Wed, 15 Aug 2007 17:53:49 EDT

During my tenure at film school I never seemed to be able to fully comprehend taking a light meter reading (thankfully, I became a screenwriting major). While most DIY-ers are shooting digital with internal meters, knowing how to set up a shot using a light meter is a must if you want to move onto professional film making.

First you need to know the terms: “Film speed” is a number given to film stock to indicate its sensitivity to light. The higher the film speed number (or ISO rating) the higher the sensitivity to light, which in turn means the coarser the grain and the lower the sensitivity to detail (and vice versa). Set the ISO number on your light meter so that it will see the light the same as the film in your camera.

Then there is the “shutter speed”, a number that signifies how long the shutter is opened to let light onto the film. It’s measured in fractions of a second because it calculates both the opening of the shutter to expose the film and the closing of the shutter to advance to the next frame – two movements per frame and thirty frames per second gives you a shutter speed of 1/60. Get it?

Once both values are set on the meter you’re ready for the reading. The most basic meter is the incident, which measures the light from the source before it bounces of another surface. You take the reading from the front of your subject with the dome facing the main light source or the camera. Once the button is pressed, the meter takes an average of the light and shadow values giving you an f-stop value which will inform your aperture setting. In the end you’ll have a well-balanced picture that really represents your overall mastery of all things film (or you won’t look like a dork on a film set).

Can't understand my babble? Industry pro Bill Holshevnikoff might be able to serve you better with his in-depth analysis of the subject.

Get Cultured: Outdoor Film Screenings

Wed, 15 Aug 2007 15:12:49 EDT

Fellow New Yorkers, let's bask in our temporary respite from the deadly heat (It’s only going to reach 81 degrees this week!) with a film at one of the cool outside venues scattered around the five boroughs.

Some screens are showing the classics, like Psycho at the 2007 HBO Bryant Park Summer Film Festival, West Side Story at Movies with a View 2007 at Brooklyn Bridge Park and Purple Rain (Yes, it’s a classic!) at McCarren Park Pool. Meanwhile, others plan to pack their park with the allure of flicks like Beerfest and Superman Returns (at Hudson River Park’s RiverFlicks) and free popcorn.

But I would be remiss in my duties as reporter of all things indy if I didn’t encourage you to instead attend a great series put on by Rooftop Films (a nomadic film festival celebrating its tenth summer). This week’s program includes shorts from the Mexican Morelia Film Festival playing at El Museo Del Barrio on 8/17 and the “Home Movies” Shorts Program at The Yard, a lawn along the Gowanus Canal, on 8/18. Each screening is preceded by an indy music act and tickets are only $5 (but the view is priceless).

Production 101: Withoutabox

Tue, 14 Aug 2007 16:18:56 EDT

Launched in 2000, Withoutabox has evolved into a haven for indy filmmakers and the people who love them.

All told, Withoutabox is a compendium of online tools designed to help the independent film community both socially and economically without the need for the all-powerful Hollywood distributor. At its center is the patented International Film Submission System, a tool that saves your film’s information, scours WAB’s exhaustive list of international film fests, and then finds one that matches your film. In the end, all you have to do is hit “submit."

Meanwhile, the Distribution Lab brings film distribution down from its ivory tower and offers indie flicks unheard of opportunities to be marketed and distributed globally by the filmmaker himself. And for those looking to build a fan base for their work, Audience by Withoutabox provides a central (virtual) location where filmmakers can get in touch with industry professionals and a global audience (and vice versa). Through blogging, image and video galleries, message board-type discussions and direct retail purchasing, you can both create a buzz around your newest flick as well as see what others are up to creatively.

And all that is just the tip of the proverbial iceberg. With countless other services, the invaluable connection to over 100,000 members, and the fact that it’s free to sign up, any independent filmmaker should check out Withoutabox and start planning their global takeover.

Reviews & News: Final Cut Studio 2

Tue, 14 Aug 2007 10:50:53 EDT

Filmmaker Magazine recently asked independent filmmaker Jamie Stuart to test drive the new Final Cut Studio 2 on his latest short film. Halfway through post production he wrote up a great piece on the ins-and-outs of the new software suite that can now be found on the mag’s website.

First released six years ago, Final Cut Pro created a new dimension in the world of DIY filmmaking – an intuitive, consumer-grade software that cut out nearly all post production costs. Coupled with the use of emerging digital film formats, FCP took the hobbyist and auteur alike easily into the final frontier of film distribution: the internet.

Now in its sixth incarnation, Final Cut is still delivering as part of a suite with six other apps that let you work easily with motion graphics, animated text, video files, DVD authoring, sound editing and color correction.

Stuart documents his experience with each app in great detail, discussing the pros, cons and upgrades. It’s a must-read for all DIY filmmakers, especially those working in HD and with P2 cards. How you get the funds for the $1,300 software suite, however, is entirely up to you.

Check out Jamie Stuart’s finished FCS2 film.

Get Cultured: A New Kind of Interactive Game Play

Mon, 13 Aug 2007 14:02:44 EDT

Are you ready for a challenging movie-going experience? Channel your inner Thelma Schoonmaker and let ’er rip at Mutable Cinema. Created by Mario Marquez, a Mexican independent producer, Mutable Cinema is a new media installation art piece traveling the globe. Using an interactive software interface, Mutable Cinema challenges players to edit a short film in real time. With several parallel story lines and different points of view at your disposal, along with the ability to implement cross-cutting, voice over, flashbacks and even color correction, the possible outcomes are nearly limitless. It promises a unique “game play” for each player (and audience) and a lot of scrambling to get the next scene assembled before the film hits dead air.

Mutable Cinema will be showing at the 2nd International Conference on Digital Interactive Media in Entertainment and Art in Perth Australia, September 19 – 21.

To learn more about Mutable Cinema and view samples go to www.mutablecinema.com.

Screenshot of Mutable Cinema's interface.

Build Plans: How to make fake heads

Mon, 13 Aug 2007 10:03:09 EDT

How to make fake heads

by Erik Beck

Hey, everyone, and welcome to the technical blog for Episode#14 (fake heads). If anyone noticed I called it "episode 13" in the beginning. Sorry about that, sometimes I get confused. So this build was a lot of fun and I hope you guys enjoy the episode. Send in your fake head videos and remember you can submit your project ideas here!

Shopping List

Styrofoam head.
(Many different websites sell these, but the cheapest I found were at www.valuedisplay.com )
Flesh colored spray paint.
(They don't actually make a "fleshtone" spray paint, so just get the one that looks closest to your actor's skin tone.)
Make-up kit
(Don't you people get it yet? Buy a simple make-up kit with some different flesh tones and reds.)
A wig.
(The foam heads come bald, So unless your actor is bald you'll need a wig.)
Glasses, mustaches, etc.
(Distinctive items like this that can be worn by both your actor and dummy head will help to fool the viewer.)
Fake blood.
(No matter which way you end up "offing" this poor dummy head. You'll probably want some fake blood on hand. Mix Corn syrup, red food coloring and a splash of chocolate syrup for yummy blood.)
Liquid Latex.
(To add some "fleshyness" to the face.)

The creation of the heads

So as you saw in the episode each fake head got the same initial treatment. Two coats of liquid latex, one coat of spray paint, then a make-up session to add details. If your head is not going to be seen up close you can skip the latex. All it really does is help fill in some of the little bumps in the surface of the styrofoam. The make-up mostly consisted of darking the lips and adding powder and a lighter flesh tone to the face. I darkened the eyes and apply eye brows before realizing that glasses would cover all that up. If you could get your actor to sit down next to you when you color the head that would be best.

The destruction of the heads

So really you could rig these up any way you want. There cheap and relativeley easy to cut and modify. I tried 3 different ways to rig the head. The first was to work with a stabbing or impaling effect. All I did was cut a quarter out of the back of the head, hollowed it out and made a tunnel to the right eye.

In this empty space I stuffed a freezer bag full of fake blood, then taped it into place. All someone has to do is puntcure the head and the bag and blood will gush out.

Next I installed the blood shooters from a previous episode into one of the heads. This was a similar process, but instead of of cutting a section out I cut the head in half. Then just tapes in the blood shooter nozzle to line up with a small hole I put in the forehead of the dummy.

Last, but certainly not least, is the "ballistics gel brain" head. This one looked really cool, but in retrospect was maybe too sturdy. Like the rest I hollow some of the head out. This time I made a deep bowl in the head by digging in from the top.

Next I whipped up some DIY ballistics gel. We are going to do a special "Weekend Extra" on how to make this, but basically it's just water and Knox gelatin with a higher ratio of powder to water then usual. So I poured the "brain gel" in the empty head about half way. Then I lowered a glass into the center and taped it into place. When the gel hardens I can pull this glass out and we will have a perfect little pocket to fill with fake blood. Don't forget to spray the glass with cooking spray so you can get it out.

Conclusion

Now that your heads are prepped for destruction you can get to the filming. Remember to have extra sets of glasses and mustaches around, since some will probably get destroyed along with your heads. The key to making this look cool in the end is editing. Fool the viewer by showing the real actor right before and right after you inflict mayhem on your dummy head.

Check out this build in action, from Episode 14 of Backyard FX

Festivous: San Sebastian Film Festival

Sat, 11 Aug 2007 10:00:00 EDT

Opening next month's San Sebastian Film Festival is David Cronenberg's Eastern Promises. The director's second foray into the big-budget Hollywood machine, the film stars Viggo Mortensen as a ruthless killer with mob ties and Naomi Watts as the innocent who uncovers some scary truths about the crime family. With IMDB plot keywords including "sex slavery", "half orphan", "KGB" and "knife fight", let's hope Cronenberg's newest feature is better than his last; History of Violence. (Cue outraged comments)

Located in the Donostia-San Sebastian region of Spain, the fifty-five year old festival is touted as one of the most beautiful and prestigious in the Spanish-speaking world. Closing the festival is Michael Radford's jewel heist flick Flawless, starring Michael Caine and Demi Moore.

Festivous: Dead Channels

Fri, 10 Aug 2007 14:03:21 EDT

As programming director of SF Indie Fest and co-founder of Another Hole In the Head, Bruce Fletcher has recently decided that there may be room for one more film festival in San Francisco. So he created Dead Channels: the San Francisco Festival of Fantastic Film, running August 9 - 16.

SF360.org caught up with the mastermind to discuss the fest and it's impressive lineup of Lynchian surrealism, R-rated animation, Japanese futurism, slashers, spoofs and more. Fletcher also had some very well chose words on the fest's place in the stifling world of sequels and remakes. But perhaps most exciting for fans of the fantastic was the premiere of Postal introduced by the director himself, House of the Dead auteur, Uwe Boll.

To check out Dead Channels' schedule and to buy passes, go to: http://www.deadchannels.com

Take the Next Step: 3rd Annual Filmmaker Conference

Thu, 09 Aug 2007 14:41:42 EDT

Get out of your home studio and meet with 2000 industry professionals at the 3^rd Annual Filmmaker Conference. Promising to “identify new opportunities for independents," this year’s compendium of panels runs Sept. 16 – 21 in New York City. Up for discussion is the financial pitfall of post-production, marketing your film for festivals, packaging your script, the ethics of documentary filmmaking and all the other topics that take four years of film school to explore (and at $30 a panel, it’s much more cost-effective, trust me).

Get your nose out of that Rodriguez book and “learn where the business is at today – and where it's heading next” while you pass out copies of your script and a business card to anyone who will take one. In the end, it really is what you know and who you know.

For more information on panelists, locations and to purchase passes visit www.filmmakerconference.com.

Vimeo Vid of the Day, "REMIND US WHY WE'RE FREE" by JordanDeviance

Thu, 09 Aug 2007 13:26:53 EDT

REMIND US WHY WE'RE FREE from JordanDeviance and Vimeo.

This is my newest visual montage compiled of footage from the past year. Im very proud of this piece and have really looked forward to getting this out. It showcases alot of my talents and im really glad its done for everyone to see. Please feel free to tell me what you think of it, thanks!

I normally don't look at the Vimeo Staff Picks when I search for Vimeo Vids of the Day, because I like to mix it up. And I also don't usually pick 10 minute long videos either. But this video is pretty cool! And I feel you could get a ton of ideas by just simply watching it.

The colors are really great and I especially love one of the early shots when it looks like the sky is on fire. My favorite edit is the street corner with the shrunken box of the same shot.

One reason I really wanted to post this was because this sort of "Compilation of a Year's Worth of Video" is something I'm currently working on. Except mine is only going to be a summer's worth of video.

Very cool looking. So, when you get 10 minutes, take a break from reality and watch this video about the real reality! Also, stop by Jordan's website, aestheticdeviance.com. Fare thee well!

Production 101: Release Forms

Thu, 09 Aug 2007 12:12:47 EDT

Just because you aren't filming for the Weinsteins (yet) doesn't mean you shouldn't cover your butt, legally speaking.

Enter the almighty release form. Once signed, it could help you avoid a lawsuit should an actor, for example, demand payment after your film makes it big – even though they originally agreed to appear for free. Furthermore, most anyone interested in purchasing/showing your film will want those release forms upfront to make sure they're not libel.

Luckily you don't need a law degree to figure out the five basic forms used. General Releases are used for non-actors (such as man-on-the-street interviews and extras). Professional actors and models require a Talent Release that defines the part they will play, their payment, what costs you'll cover (travel, food), etc. A Minor Release needs to be signed by the parent or guardian of each minor actor involved. If you use any copyrighted material in your film that you do not own, a Materials Release needs to be signed by the legal owner. This release can be rewritten to include a car or other expensive machinery legally owned by someone else that you use in the shoot. Finally, a signed Location Release should be obtained at all properties that you plan to photograph or film. You can find basic templates of each release form at Video University.

If you have the means, speak with a lawyer to discover any loopholes. In the end, however, if you get every agreement in writing you and your film shouldn't encounter a problem.

Interview with director Sam Reich (CollegeHumor, DutchWest), Part Two

Thu, 09 Aug 2007 10:19:45 EDT

Sam Reich is the super-talented director behind Collegehumor.com's three-million-view viral sensation "Street Fighter: The Later Years," along with a horde of hilarious films by the group "Dutch West."

He also just directed the soon-to-be-classic "Minesweeper" (which happens to star Alex Zalben, star of The Stack on Pulp Secret).

We had the chance to sit down with him at the CH offices and discuss all sorts of fun stuff. This week he gives some great tips on DIY special effects, and how to use costume shop pieces to their maximum potential.

Check back to the blog every Wednesday this month for the next part of this three-part series.

Check out Minesweeper:

Vimeo vid of the Day, "Timelapse of Pioneer Courthouse Square" by Maria

Wed, 08 Aug 2007 16:34:56 EDT

Timelapse of Pioneer Courthouse Square from Maria and Vimeo.

A timelapse shot in Pioneer Courthouse Square (located in the middle of Downtown Portland, Oregon). I don't have a timelapse setting on my camera, so this was just done by taking pictures and editing them together.

July 4th, 2007.

Link: en.wikipedia.org/wiki/Pioneer_Courthouse_Square
Music: Architecture in Helsinki

I've seen Maria's Polaroid animations before and I'm not sure WHY I have yet to embed one of her videos in our blog. But, now I can rest easy! I love when she's capturing the umbrella-ed business-man statue and the little kid comes up and stands under the umbrella. So funny. It's all so simple, but very fun to watch.

Maria has also compiled footage for a succession called "Accidental Video Clips," where she collects her footage that would normally fall through the cracks of time. She's an artist and she DOES look back.

I really like Maria's work and am very glad that a place like Vimeo exists. Because I've been bogged down by the rat race of YouTube and the lack of community there; the abundance of harsh, empty insults doesn't help either. Long live Vimeo!!!!!

Pujo Makes a Mean Sandwich

Wed, 08 Aug 2007 16:34:42 EDT

When I opened the message from Raleigh of Pujo Productions, I had no idea what I was in for. Not only is this funny, but they used one of our tips in a very well made video and it's for the Heinz contest (which we mentioned in our newsletter, I'm not sure if that's where they heard of it, but you should subscribe if only for the "Contest of the Week"!!!). We really dig the love for Indy Mogul from these guys, but their work stands on its own merit and deserves to be showcased whether they love us or not!

If you check out their videos, you'll see a wide range of styles and will surely be thoroughly entertained. The Amsterdam videos have animation approach, and some videos have random fart noises that will reinvigorate your love for toilet humor.

Anyway, Pujo Productions is serious about filmmaking, and they show a genuine love for making movies. And that's what we're all about here. Hopefully they'll be able to make videos for the rest of their lives, I know I'm trying to. So, here's to our developing community of Internet videographers! Raise your glasses of soda.

Build Plans: How to make a rain machine

Wed, 08 Aug 2007 16:34:11 EDT

How to make a rain machine

by Erik Beck

Hey, everyone, and welcome to the technical blog for Episode#13 (rain machine). All you people who wanted a cheap way to recreate good-looking "movie rain" read below. The coolest thing about this project is you probably have a lot of the parts laying around the house. Remember you can submit your project ideas here!

Warning: I'm using power tools to build this project. Always have adult supervision when using power tools if you are younger than 18. Seriously, people, be careful.

Shopping List

25- to 50-ft garden hose.
(I bought a 50 ft one, but the water only came out about halfway. I'd try a 25-footer)
Some cheap wood.
(I got about 20-ft of 1"x2" beams. If you have some old 2"X4"s laying around, just use those.)
Cable ties.
(I used these to fasten the hose to the frame. You could use duct tape in a pinch.)
Plastic hose cap.
(This was like a dollar and screws on to the end of a hose to cap it off.)
Female-to-male hose adapter.
(This is a simple piece that allows you to screw the end of one hose to the beginning of another. Mine came with a nifty valve.)
Four eye bolts.
(To provide a good place to hang ropes.)
Rope.
(I used some leftover nylon rope I had from the samurai armor, but whatever you get, make sure it is strong enough to support the rig. You don't want this thing falling on your actors.)
Some screws, nuts and bolts.
(Basically something to hold the frame together. I used wood screws.)

The frame

This can really be made out of anything that is reasonably light and will hold our hose in place. I chose to build a simple wood frame and would suggest you do the same. Start with two beams that are 5- to 6-ft long. Using some wood screws, or even better a bolt, nuts and a few washers, secure the two beams in the middle. You should end up with a big "X."

Now add some cross-bracing using more wood and wood screws.

Now add some eye bolts where the cross-braces meet the "X." Four in total. It should look like this when done.

The hose

So instead of using PVC, I decided to try a flexible hose. Rain is a part of nature so it should come from a naturally occurring shape like a spiral. OK, I just made that part up. Anyways, spread your garden hose in an even spiral across the surface area of the frame. Start from the outside.

Once you have it evenly spread out, use the cable ties to secure the hose to the frame.

Right now you have a giant dream catcher. So you need to drill some holes in it to make it a rain machine. Using a very small drill bit, drill holes in the top side of the hose every 4 to 6 inches. Make sure not to make these holes too big. You'd be surprised how much water will spray out of even a tiny hole. You can always drill them bigger later if you need to, so start small.

Last, screw on the plastic cap to the end of your hose (should be in the center of our rain machine) and the valve adapter to the beginning.

The set up

So unless you have a crane, you'll need to hang this rig from a tree. Using the four eye bolts and some rope, hang the rain machine like a chandelier. I figure the higher you can get it, the better, but for our test film we had it about 8 to 9 ft up and the rain looked fine. Now, just connect a second hose to the adapter at the side of the rig and go.

When you hang this thing, you want the holes in the hose to point up. This will make the water spray up and then fall down with gravity. This provides a much better spread and droplet size. The first time we set it up we had the holes pointed down, and it just looked like a big shower head coming out.

Conclusion

This rig provided at least 50 square feet of quality rain. Roughly a 5' by 5' space to shoot in. This is perfect for dramatic scenes between two or three characters. You could always build a few and create a bigger rain area.

Check out this build in action, from Episode 13 of Backyard FX

Vimeo Vid of the Day, "Nighttimers" by shrew

Wed, 08 Aug 2007 16:33:55 EDT

Nighttimers from shrew and Vimeo.

Man, I wish I were in the jungle right now. Mhmmm.

I don't remember how I came across shrew's videos, but I love them. Elephants were my favorite animal growing up, so her video, "My First Vimeo Ever," tickled my fancy.

But the second "Nighttimers" started playing, I KNEW I had found my Vimeo Vid of the Day. It's strange, somewhat depressing, but addictive! The animation is really intriguing and different; and ELO just makes it THAT much better. Maybe she'll make me an animation from a Bob Dylan song!! I sure hope so, oh well … watch this video, OR ELSE!!!!

Vimeo vid of the Day, "La Ruta del conejo Rojo (Red Rabbit Path)" by Lobosonico

Wed, 08 Aug 2007 16:32:27 EDT

La Ruta del conejo Rojo (Red Rabbit Path) from Lobosonico and Vimeo.

The Red Rabbit Path! I'm not exactly sure the significance of this path, but maybe the fine folks of Lobosonico can fill us in. I really like the videos on Lobosonico's page, especially some of his visual effects videos. They blow my mind.

Now, about this video; instead of doing stunning special FX, he was able to capture some awesome shots naturally, and I always find that more impressive. But, if you check out Lobosonico's Vimeo page, you'll get a ton of both!!! Which is always good.

On The Lot: Episode 14 (Fox Television)

Wed, 08 Aug 2007 14:34:30 EDT

Now, I normally don’t get upset when reality shows end up tossing a contestant because of something unfair. But being a Canadian that applied for the show, it was hard to sit still when Zach Lipovsky was eliminated this week. As you all know, only United States residents are allowed to vote. This is strange, considering the show has always been promoted as the search for the world’s next great filmmaker. Ever since that first week I tried to vote, and found out I couldn’t, I knew Zach would have an unfair disadvantage. For a while, I was sure he would ride it out, but that was back when the hometown advantage wasn’t really all that much of an advantage.

To top that bad news off, Epperson managed to avoid the bottom two, even with his terrible film and scathing reviews. What does this prove? No, it doesn’t prove that the audience doesn’t rely on the judges. As we’ve seen in previous weeks, the judge’s reviews are an integral part of the voting outcome. It proves that Epperson has enough people backing him to give him an advantage, even when he makes a terrible film.

This week marks the second last episode of On The Lot. Next week, we’ll get one of those overly long two hour specials that slowly drain the ounces of drama On The Lot has going for it. Anyways, this week we’ll see four new films that all have one thing in common. No, it’s not the fact that those usual actors are in them. It’s that they all have to use the same logline, “a man wakes up and finds he’s wearing a dress”. Let’s see what the contestants can do with this wonderfully original concept.

The Yes Men (Will Bigham)
Bigham returns to the office again, but this time he’s not exploring desk lamp love. This time he’s crafted a fine little satire on office drones. It’s similar to a film former contestant David May made, but Bigham’s is finer tuned. Bigham’s film concentrates on those employees that suck up to their boss at any cost. It’s wonderfully acted, and visually quite vibrant.

Dress For Success(Sam Friedlander)
Another film about office drones, Friedlander’s film tries to do much more. It’s more or less a revenge tale about female workers getting back at their sexist boss. The film switches from a grimy basement dungeon to a bland office off and on. I appreciated the visual switch, but it was really all the film has going for it. The acting is bland, the scenario doesn’t really pan out, and it doesn’t quite feel finished.

Army Guy (Adam Stein)
Stein’s ‘clever’ film isn’t all that clever in my mind. The idea comes off as a lesser episode of the twilight zone, and the result looks like something fit for the Disney channel. With that in mind, there’s some genuine humor here, and Stein manages to make this stale routine work to some extent.

Oh Boy. (Jason Epperson)
Where do I start? Epperson’s film turns the topic of revenge and bullying into an episode of Looney Tunes. Now if this was animated, maybe it would be okay. But as a live action short, it’s just too dumb for me to even somewhat enjoy.

Of this weeks films, it’s fairly clear I liked Will’s the most. Or maybe I liked Jason’s more? Maybe I should think things over again. Anyways, Sam is going home. When someone gets bad reviews, and has been in the bottom two the last couple of weeks, it’s not a difficult assumption to make. This means we’ll see a face-off between Adam, Will, and Jason. Out of those three contestants, I’d say Will deserves to win it the most. He’s showed the most talent, and his struggles are enough to give the guy his chance. Adam deserves a chance too, but he’s young enough to get one on his own. Jason probably deserves one too, but he’s far too unlikable for me to care. Maybe it’s just me, but I like when people can defend their films, rather than just sit there looking stunned.

MAKE (Out) Wednesdays: Soldering

Wed, 01 Aug 2007 12:39:30 EDT

Click To Play

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Every week, on every Wednesday, on every computer that reads the Indy Mogul blog; MAKE (Out) Wednesdays will be around. I'll hunt Make's podcasts for what I feel will be the best tip for YOU, the independent Internet video creator. Because why spend money on prebuilt things, when you can construct them yourself, with love … and hugs … and kisses.

This week's blog post will help you learn how to do something you weren't even aware of. And it's called soldering. People have been soldering in one way or another since the dawn of the metal ages (not the '80s, silly! I'm talkin' back in the B.C.). But with the recent explosion of the consumer-based culture that has flourished in modern day America, most people couldn't even make a peanut-butter-and-jelly sandwich.

Well, that might be a bit of an exaggeration, but watch this video and attain a new talent! One day, you could be soldering the local church's stained-glass windows, and the next day you could be the last man on Earth who knows how to solder, because all the others have been killed by a nuclear explosion. So, take a look.

Interview with director Sam Reich (CollegeHumor, DutchWest), Part One

Wed, 01 Aug 2007 11:35:31 EDT

We had the chance to sit down with him at the CH offices and discuss all sorts of fun stuff.

Check back to the blog every Wednesday this month for the next part of this three-part series.

I actually had the chance to participate in one of his shoots a couple weekends ago. I can't tell you much … except that it was for one of the upcoming episodes of "Street Fighter" … and I got to be a security guard who is punched in the face by a super-pissed-off, somewhat-overweight Guile. So start getting jealous, people!!!

On The Lot: Episode 13 (Fox Television)

Wed, 01 Aug 2007 07:00:00 EDT

At this point, it’s nice, because "On The Lot" can finally breathe. Yes, it does know it won’t return after the final episode, but it at least knows it will make it to the final episode. Does that mean it can give the finger to selling out and let the filmmakers do whatever they want? Hell no. This week’s episode, which calls itself "road’" week is merely advertising for the shows top sponsor, Ford. There’s also the inclusion of a celebrity (sort of) with Jerry O’Connell appearing in one of the shorts.

This week started off with a surprise, well, at least to me it was. The bottom two contestants were Lipovsky and Hunt -- two audience and judge favorites. Now, whether Lipovsky was really a bottom contestant is only something Fox knows, but I’ll pretend like reality TV doesn’t cheat. As I have pointed out before, Canadians cannot vote, which means Lipovsky never has the hometown advantage. Hunt ended up going home, which I didn’t really expect. He’s energetic and likeable, and he’s made a string of good films. Somehow Epperson managed to come out on top. Considering Epperson’s home town, I’m convinced the same people responsible for re-electing Bush were also responsible for Epperson’s victory.

Anyways, in case I didn’t make myself clear earlier, this week is road week. This basically means that every film has to involve a car. It’s safe to assume most of these cars will be the Ford Escape. With its spacious interior, leather seats and affordable price, it’s no wonder why the Escape was featured.

Driving Under the Influence (Adam Stein)
Stein’s return to dancing is a favorable one, mainly because he revolves a charming and relateable story around it. A touch of fantasy helps, along with Stein’s usual unique direction. If there’s any reason to dislike it, one could point out that Stein doesn’t do anything with the interesting characters he introduces.

Back Seat Driving Test (Sam Friedlander)
Boldly directed, with hints of personality, Friedlander’s film didn’t do much for me. Maybe it’s the fact that it seems to lag, or that the entire thing isn’t funny. Friedlander at least gets decent performances out of his actors, which is something he usually manages to pull off.

Bonus Feature 2 (Zach Lipovsky)
Lipovsky pulls a stunt by making a sequel to his unpopular film last week. Whether it’s Lipovsky trying to redeem himself, or prove to Steven that he can direct the next "Jurassic Park," he does sort of succeed. Adding to his characters, rather than everything around them, definitely helps, along with putting them in a fairly entertaining scenario. His actors do surprisingly well, manage to squeeze out a little chemistry, and even make terrible dialogue somewhat work.

The Move (Jason Epperson)
A complete failure in every aspect, Epperson once again offends his audience; this time, their intelligence. What starts as a rather wooden and stiff example of forced dialogue ends up being something even Christopher Nolan wouldn’t do. Epperson throws a curve ball and gives us a twist ending. The only thing is, it’s not an ending, just a terribly unfunny joke.

Road Rage 101 (Will Bigham)
Bigham has slowly become one of my favorite contestants on the show, mainly because he’s showed a regular style, rather than trying to sell out to the audience. His film this week is a somewhat off-and-on experiment, which ends up mostly being on. Exploring road rage, Bigham throws out some metaphors, some fantasy and some life lessons.

Considering I thought Friedlander was going home last week, my confidence has been shattered. Like Lipovsky, I’m going to try and redeem myself by predicting next week’s loser. While Epperson deserves to get the ax, his fan base seems to think otherwise, and will more than likely keep him on. It’s most likely between Friedlander and Lipovsky.

Vimeo Vid of the Day, "Boston 2007 Vidblog" by Jon Devine

Tue, 31 Jul 2007 16:07:46 EDT

Boston 2007 Vidblog from Jon Devine and Vimeo.

While I was on a wild adventure during spring break with my housemates; my friends Max, Alex, Jake and Jon took a trip to Boston. After months of careful editing (and careful breaks), Jon showed us the video. I really like the soundtrack to this and I think it fits the cold Boston scenery and aquarium shots really well. It almost has this spine-tingling effect on you. It feels timeless.

Jon is actually the reason my friends and I started entering FilmFights, which has led to my involvement in Indy Mogul. He has a ton of great videos up on his YOUTUBE page, so check that out.

If you have any great vidblogs you want to share, post a link in the comments page below.

Vimeo Vid of the Day, "Someone Else's Home Movies" by Ian Lucero

Mon, 30 Jul 2007 12:32:59 EDT

Someone Elses Home Movies from Ian Lucero and Vimeo.

There are tons and tons and tons and TONS of film reels and video tapes that no one will ever see again. Maybe they were lost, stolen, or just completely disregarded. But, either way, there is still tons of untapped footage on a cornucopia of family events. And if no one is around to watch this footage, does it tell a story?

Blog Audience Member: "Well...I mean [glasses slide down nose]...it's just a collection of home videos, [pushes glasses up] there's really no story to be told."

Well, my friend. You are wrong!!! Ian Lucero put together this fun mash up of ancient 8mm footage and some good ole Edan & Dagha. It's haunting, in a way. This old footage that the family who shot it, will never see it again. And even thought NO ONE ELSE would see it again. But here it is, years later, mashed with a style of music that has evolved (and evolved our culture) so much in the past 20 to 30 years. I really like it.

There are gigahours of this kind of footage being ignored, floating in the ether of psuedo-real life. So, do the ether a favor, save some space. Start doing some appropriation and play with old footage. You can find it online at archive.org or by keeping your eyes open for film/video tapes lying around the world. Good night.

Build Plans: How to make someone look beat-up

Mon, 30 Jul 2007 10:00:00 EDT

Black eye and bruise make-up tips

by Erik Beck

Hey everyone and welcome to the technical blog for Episode#12 (Beat-up). This is a pretty easy build compared to the Samurai Armor from last week. You can mix and match these techniques to create the "punching bag face" effect of your dreams. Keep all the cool project ideas coming. You can submit them here!

Shopping List

Soft Nose Putty.
(You could use the regular stuff it will just be a pain.)
Make-up Kit.
(Get a decent 5 color kit. Flesh tones and reds and yellows.)
Spirit Gum.
(For sticking stuff together.)
Tooth Blackout.
(There is a wax based kind and a paint on kind. Both work fine.)
Some Fake Blood.
(I always have some corn syrup, red food coloring and chocolate syrup on hand!)

The big swollen eye.

I think I went too far with my fake swollen eye, but it gives you a clear idea of what your going for. Take a wad of your soft nose putty and form the basic shape an eye swollen shut.

Now carefully spread out the edges, and with some help of spirit gum, stick it to your subjects face.

The thinner you can get the edges the better it will blend with your subjects real skin.

The bruises.

Making fake bruises with make-up is pretty easy. Bruise change color and shape depending on the person and how ago they recieved the beating. Therefore you have a lot of leeway in created a "realistic" bruise. What I do is start with a wide yellow base, then add dark purple to the center of the bruise. Then taking a reddish flesh tone or a lighter purple I blend the dark purple to the edge of the yellow until it looks right. Another thing to keep in mind is that blood pools more in certain places. Like under the eyes. That is where you want to add that purple.

The missing teeth.

This really doesn't require that much explanation. It is the same method that they have been using to "black out" teeth for years. I used the wax black out instead of the liquid paint on kind. I'm sure they both work fine, but instinct said go with the wax kind. Less mess and you don't have for it to dry.

Conclusion.

It's good to have the basics of fake injuries down before going into a shoot. You can create so many interesting ailments with just some nose putty, spirit gum and a make-up kit. Another thing which makes any injury (or dinner party) better is some fake blood. I had my subject put some in his mouth and spit it out so that it looked like his mouth was bleeding.

Check out this build in action, from Episode 12 of Backyard FX

Build Plans: $15 Telescoping Boom Pole

Fri, 27 Jul 2007 17:40:06 EDT

So you've got that nice new camera with an 1/8" phono audio in or even XLR ins and yet you still use the shotgun mic bolted to the camera? Time to step up your production value a touch and here's how to do it for dang near no money.

Get yourself a boom pole! Then you can pick up the dialogue you would not usually get and be more equipped against extraneous noises. The method i have devised here is ridiculously easy and cheap and effective. In fact, if you were on a big film shoot out in the middle of nowhere and someone broke the boom pole, you could easily send a PA to the hardware store to pick up these parts and have a new unit ready in no time.

So here we go. First, pick up a telescoping painter's extension pole of whatever length you think you're going to need: 8-12' for indoor work is usually enough for two-shots and master shots, while 12-24' will keep you covered for anything you'll attempt outside. They range in price from $10US to about $30US and are either made from aluminum or fiberglass. Now, this is the most important thing, the threaded end (where you attach the paint roller frame) has to be made out of regular plastic!

An 8' telescoping aluminum painter's pole.

See there, that's PLASTIC.

There's two other items you have left to pick up. First is something called a "hanger bolt", it's basically a half bolt/half lag screw frankenstein crazy thing that looks like it doesn't know what it's supposed to do. You need to ask for this one specific size (it's common, not at home depot or lowes though, because both of those places are foolish. So stick to actual hardware stores), the size to ask for is 3/8" by 2". Where 3/8" refers to the bolt size (technically it's 3/8" - 16, the 16 refers to the threading, 16 threads per inch) and the 2" refers to the overall length. It looks like this:

Print this out and bring it with you, most people at the hardware store won't know exactly what it is you're asking for. They cost around one dollar US or so.

Lastly, you will just need two 3/8" - 16 (or coarse thread) hex nuts. Just plain old regular hex nuts, they're usually less than a dime each.

(I know you've seen these before.)

OK. Now take out the drill (or have someone else do this for you if you're not comfortable or experienced enough to complete this safely) and grab a 5/16" regular drill bit and drill a hole down the center of the threaded portion like so:

Spin the nuts down the hanger bolt thusly:

And then thread the assembly into the paint pole.

Until it stops and snugs down. Do not over tighten here or you will strip out the plastic and be S.O.L.

Now simply bolt on your shockmount and you're ready to go!

Oh wait. You don't have a shockmount. So get this thing for 8 bucks:

It's the OnStage shockmount, model MY-325 (the 25 in "325" refers to the microphone diameter being 2.5 cm, they also make the MY-320, and the MY-330, so measure your shotgun and buy accordingly). You can find it cheapest through these guys.

"But wait! That says that i need standard 5/8" - 27tpi mic stand threading to attach this to my new boomstick! Howzit gonna whirk for me!?" you may blurt out. Whelp, you're correct. so you also have to get one of these bad boys.

WOW! A thread adapter! And it's only like seven bucks!

Now get as much XLR cable as you're ever going to want to use (and an XLR to 1/8" phono or what have you adapter if you need it) and you're set to jet.

I look forward to seeing (and finally hearing) your films!

-Jerkwater

Kaltura, YouTube for Communists

Fri, 27 Jul 2007 15:16:48 EDT

Most of my time on YouTube these days is spent reading through messages from viewers like you! And also viewers NOT like you. One of which was MelisaaJamesons, who gave us a link to her Kaltura page. And my first thought was "What the hell is Kaltura?". And my answer was easily discovered with a quick visit to the land of Kaltura.

As it stands right now, editing videos with footage sent in from all around the world can be a bit painful. What with people having uploading difficulties and blah blah blah BLAH. But Kaltura makes sharing footage as easy as uploading to YouTube, along with all the usual problems of using YouTube compressed footage. It looks like crap. BUT this is still the BETA version and I think the idea is a really good one. If they could somehow make this so you could edit the accepted footage in Final Cut Pro very easily, this site would be great for not only amatuer filmmakers, but also those who make a living from video.

So, until they do, check out my Kaltura and submit your own footage to it!!!

Vimeo Vid of the Day, "Timbervision Clips" by The National Parcs

Fri, 27 Jul 2007 11:20:34 EDT

Timbervision Clips from ccir601 and Vimeo.

After posting yesterday's Vimeo Vid of the Day, I talked to Ian from The National Parcs (Ryan's video was on his Vimeo page). He let me know about the new project he's working on, The National Parcs. It's an audio/video DVD album that they recorded and shot out in the woods. Which I think is especially cool because of the sound these guys produce, which I don't think many people could do if they were given the woods as a studio. I'd probably get eaten by a bear, but the sounds of my limbs being torn off would make a good song.

There's some REALLY great shots in this and the audio is so crisp and clear. I think it'd be cool to get some people to make their own audio/video projects that use video and the sounds in the video to create music. If people send us some Vimeos (wink wink nudge nudge), WE WILL POST THEM here on our blog. Send me a message on Vimeo.

And check out their website thenationalparcs.com.

Vimeo Vid of the Day, "Freeform "GRASS GROWIN' ON CARS" " by Ryan Crouchman

Thu, 26 Jul 2007 15:43:21 EDT

Freeworm "GRASS GROWIN' ON CARS" from ccir601 and Vimeo.

The second I saw the name of this video, I was instantly reminded of my time in Puerto Rico and how I frequently saw abandoned cars on isolated roadways that had been left behind for years and years. They have a very unique presence, especially with the environment eating them up. It's like reverse global warming, the environment is eating away our products.

But anyway, it's not easy to take a song like the ones Freeworm create and match the audio experience with a visual tale that's just as compelling. But this video is really cool looking, not only the original shots of the cars, but the digital extension of real life is really interesting too. It's not every day I find videos that knock me on my feet, but I love it when I do come across them. So, check out Freeform's website and check out Ryan's website.

Meet Craig Stewart of FBN Multimedia

Wed, 25 Jul 2007 15:57:43 EDT

When we first posted our video interview with Paul Del Vecchio, you may have noticed that we didn't actually take part in the interview. BUT, we did send him a list of questions that he gladly answered for us. And since posting the first installment of Paul's interview, we've not only recieved great feedback from everyone, but also great responses from other viewers who love to make movies.

This interview is from Craig Stewart of FBN Multimedia, an independent movie company that produces their own original movies. Watch trailers from FBN and pick up some of their DVDs to help fund the next project over at FBNMultimedia.com.

On The Lot: Episode 12 (Fox Television)

Wed, 25 Jul 2007 13:49:25 EDT

In the final hours of On The Lot, it’s fair to assume we’ll see a change. With eight contestants left, and after tonight, 6, it will soon become the most serious it’s ever been. One of the reasons is that On The Lot is clearly not American Idol, and for the filmmakers, it’s either first place or nothing. That’s not it either. First place ensures nothing. If Project Greenlight has taught us anything, it’s that the development deal is only the beginning. Pete Jones, winner of Project Greenlight’s first season made Stolen Summer, a charming, audience winner, but it has not got him far. So whether Lipovsky, Bigham, or dare say it, Jason Epperson win the final prize, it’s just another opportunity, not the end.

Only one thing is certain at this point, that On The Lot will not be back next season. The sad part is, that it’s hard to find someone to blame. Many claim that the biggest problem is that it’s not what they envisioned. When struggling filmmakers first laid their eyes on the website, and saw Spielberg enthusiastically talking about the show, and the possibilities, excitement was in the air. While the show certainly doesn’t seem to be all that exciting, I can say without hesitation, that it’s everything it promised. So that’s clearly not the problem. The contestants, as lackluster as some of them seem, are not the problem either. They surely show talent, and once in a while, prove some entertainment. Other complaints are that Adrianna doesn’t work as a host, and that the judges aren’t up to par. Well, this may be true in some cases, but I doubt it would make the difference in being a success, and a disaster. It’s really a problem we’ll never know. Why would people rather watch reality shows about singing, dancing, and ice skating? Anyways, enough complaining, because the show must go on.

This week, we’ve got a fresh serving of romantic comedies from the six remaining contestants. One thing’s clear, we can expect Garry’s mouth to stay open more than usual. The guest judge this week is Brad Silberling, who is not exactly an exciting pick, but at least he’s mildly related to the genre this week. Now, let’s cut the romance, because as you know, two contestants were eliminated. As I predicted, Kenny and Mateen went home. It’s not a surprise or a loss, except maybe Luby’s antics, which I’ll be saddened to no longer see. Let’s get on to the films;

Bonus Feature (Zach Lipovsky)
For about thirty seconds, Lipovsky almost had me. His characters were fairly charming, and there was some genuine humor. Sadly, Lipovsky once again abandoned all that for a two minute special effects thrill ride. Although considering the entire thing plays out like a new ride at Universal Studios, it’s not that thrilling for the viewer.

Girl Trouble (Adam Stein)
While it’s not entirely original, and at times too crude for its own good, Stein’s film works quite well as a romantic comedy. His actors are great in their roles, and the use of improv keeps everything feeling fresh. Although the films’ ending is a little too easy to spot at a certain point, it still works, mainly because of the strong acting.

Unplugged (Will Bigham)
Bigham’s film isn’t funny, but it’s sweet and charming, so I don’t mind. As with usual, his direction is superb, as he let’s his story be told visually, rather than with dialogue. While I don’t know how well Bigham could handle a longer running time, he seems to be the master of the two minute mark, at least on the show.

Keep Off Grass (Andrew Hunt)
Hunt’s film isn’t as dumb as the title would lead you to believe, but it’s not exactly a slice of brilliance either. For every good thing, there’s an equal bad thing. His use of superheroes works quite well, but his use of a yuppie lawn obsessed young man doesn’t. The end result is fairly well done technically, but nothing else.

American Hoe (Sam Friedlander)
I appreciate that Friedlander kept it simple, and went for strong writing, rather than just a strong idea. I also appreciate some of his dialogue, which is funny. But the whole thing is ruined by some rough patches, and rather bad performances by both actors.

Old Home Boys (Jason Epperson)
While this short is fairly well accomplished, and does quite a bit in a very short time, there’s a little too much stereotype for me to care. I suppose I should care that he made it personal, but I don’t. In fact, his use of ‘hip-hop’ lifestyles comes off as a rather foolish and juvenile way at creating comedy out of a tired story.

I’d never thought I’d say this, but I think Lipovsky may be in trouble. He’s up against some tough competition, and as we all know, Canadians can not vote. Luckily (for him), Friedlander will probably be going home next week.

I suppose you could say the show was at its most desperate tonight. They kept promoting the fact that Jerry O’Connell would appear in a short next week. Now, I don’t hate Jerry O’Connell, because I didn’t hate Sliders. But is this man really worth advertising? Well, I guess we’ll see, when the ratings come in.

MAKE (Out) Wednesdays

Wed, 25 Jul 2007 13:31:35 EDT

I absolutely love the projects MAKE does and I have been inspired to start soldering! Although this project is probably very expensive and extremely intricate, it is very creative and motivates me to try and make my own flying camera crew. Unlike the still camera, hooking up a video camera seems like it would be easier (streaming capture), and if you use a small camera (such as the $18 camera from Alan K's IndyMogul Weekend EXTRA), you wouldn't have any weight issues (except for those concerning that entire cake you ate last night).

Putting a camera on a remote control plane/helicopter might be cool too. This is the kind of high tech stuff that the government does. And they'll probably throw you in Gitmo for being a terrorist if they catch you flying a plane around with a camera on it (so avoid cities and other sensitive places...but please send me some footage of Area 51).

Well, it's time for me to start looking for a heavy duty, remote control helicopter. If anyone has some footage of projects like this that they've already done or some other ideas on the topic, then send us in the video or post your ideas in the comments box below.

Ciao!

An MST3K Reunion of Epic Proportions

Tue, 24 Jul 2007 12:08:04 EDT

The guys from Mystery Science Theater 3000 are back… well, sort of. Three of the brains from the cult show (including seminal MST3K crewmembers Mike Nelson and Kevin Murphy, with Bill Corbett rounding out the crew) have reformed under the moniker of the Film Crew to carry the torch that MST3K pioneered and parlayed into a rabid cult phenomenon. The original show grew from a public access TV show, to Comedy Central, and eventually Sci-Fi Network where it dissolved after 11 seasons. Rather than produce episodes for television, this time around the crew will be releasing the episodes straight to DVD.

For those in the dark on the subject, MST3K is one of the funniest, most brilliant indie-projects-turned-big in human history. The premise involved a guy and his sidekick robots forced to watch the worst movies in film history, while commenting and joking on the movies all the while. It was a simple premise which was turned into pure genius at the hands of the brilliant people involved in Best Brains at the time. While fan favorites Joel Hodgsen and Trace Beaulieu are not involved this time around, there is certainly enough of the original crew here to send fans into a fit of excitement.

-Kenneth England

Film Crew

Vimeo vid of the Day, "The Make-A-Wish Team" by A-Ok

Tue, 24 Jul 2007 11:22:20 EDT

Make-A-Wish Team from MarklevitzAOK and Vimeo.

Channel101 is an AMAZING resource for ALL filmmakers, especially those working on a tight budget. Not only is it a great place to get your videos out there; BUT, it's also a good place to learn your craft. Why, you ask? Because in order to get through, your film must be entertaining, captivating, and crunched down to an episode that is 5 minutes or shorter. And that's never an easy thing to do right off the bat. But it will help you develop your ideas clearly and concisely.

So, to help reiterate that, this Vimeo Vid of the Day was a Channel101 pilot submission that I feel fits this criteria perfectly. Is that the only reason you're showing it? No! I also seem to find it hilarious and well shot/edited. Everything A-Ok (or any of its members) does has a lot of focus on the production, making it look GOOD. For more great stuff from A-Ok, check out Tim's Vimeo or their website.
I'm still waiting for more Vimeo's from you viewers, here's my Vimeo account, send me some stuff!

Build Plans: How to create samurai armor

Mon, 23 Jul 2007 14:46:34 EDT

How to create samurai armor

by Erik Beck

Hey everyone and welcome to the technical blog for Episode#11 (samurai armor). I have to say I was really excited to take on this project. When I read the viewer request I couldn't wait to start. Keep all the cool project ideas coming. You can submit them here! This project is a relatively simple and cheap one, but very time consuming.

WARNING: I USED POWER TOOLS FOR SOME OF THIS PROJECT. ALWAYS BE VERY CAREFUL WHEN USING POWER TOOLS. GET AN ADULT TO HELP YOU IF YOU ARE UNDER 18.

Shopping List

Foam-core Poster Board.
(You could probably use regular cardboard if you wanted)
String and Rope.
(I used a cloth ribbon for the string and a nylon clothes line for the robe. Both started white so I dyed them black)
Duct Tape.
(Come on of course I used this.)
Spray Paint.
(Hammered Gold and Green.)
Green Fabric.
(Which I used for the under armor. It had an "Asian inspired" pattern.)
Old Hostess shirt.
(My sister gave me this silly looking shirt she had to wear for her job at a Thai restaurant.)
Leather.
(A rectangle of scrap leather, roughly 20"x12".)

The Under-Armor.

So you can't just wear a Volcom hoodie under your armor. That would look stupid. So you need something that will look like what real samurai used to wear under their armor, and that was robes. My solution was a big piece of green fabric (to match my armor) and a restaurant shirt with a collar similar to that of a robe. Using a stapler I made some simple sleeves in the fabric. It looked ridiculous when I put it on, but once covered by the short sleeve restaurant shirt it all came together.

The Paint Job

I found this cool spray paint called "hammered gold". It has some chemical reaction when it hits the surface and creates a hammered metal finish. This took some of the "cheapness" look out of the poster board. I single coat of green on top transformed each piece into a part of the "Jade Samurai's" armor.

The Armor

The chest piece

As I mentioned in the show, armor is broken up into sections. Each section contains lots of string and rope, then each section is bound to the next section with more rope. The front chest piece is the most complicated part. The first thing I did is cut the entire chest piece from a big sheet of foam-core poster board.

Then I cut across so that the chest piece was now 7 slats. At this point I started drilling the many holes that would be used to weave the string and rope through. This is the key to creating the samurai armor effect, the string and rope holding it together. You can weave more or less string through your armor as you see fit. My opinion is the more rows of binding the cooler your armor will look. However the string part is very time consuming, so it's probably better to start with just enough holes and string to hold the thing together. After that you can always add more.

Starting from the top I started weaving my string in and out of the holes to create an interesting pattern. This part isn't rocket science, it takes awhile and is hard on the finger tips. I popped in a "Scrubs" DVD and started weaving!

Here is a close up of the front of the armor so you can get an idea of how I did my weaving pattern. I basically copied and simpflied the pattern I saw on pictures of real armor.

The side pieces

So after the front of the armor took FOREVER, I decided to cheat a bit on the rest of the armor. Instead of actually cutting the side pieces into slats and stringing them together with string. I perforated each side and added the string, mostly as decoration. The larger perforated piece made it much easier to weave the string through. I know not many people would see the side of the armor, so I used a more simple weave.

Here you can see I used both string and the thicker nylon rope.

The back piece

This was done very similar to the side pieces. Using a very simple weave pattern and perforated sections.

At this point I started tying the armor sections together. Using the thicker rope and duct tape I started connecting the pieces together. They formed a shape like a sweater vest that could be slid over someone from the top.

Next I added the top shoulder straps. These consist of a small strip of poster board bend, painted to match and weaved with rope. See the top of the picture.

The shoulder pieces

More poster board cut, bent, and painted. Using rope I attached these to the shoulder straps and the front and back of the armor. This kept them in place, but also allowed them to move up and down with the "samurai's" arm.

The side skirts

"Skirts"? Samurai wore skirts? Well, sort of. These are just the small triangle pieces the hang off the chest armor and protect the lower front and side of the samurai. I knew I wasn't going to shoot much below the waist so I made these super simple. Three perforated triangles, bound to the main armor with ropes.

The arm pieces

Super simple...just painted some scrap leather and strapped them to my forearms with string.

Conclusion

Now this was a build with many steps. So I'm sure I left something out. Please ask question specific to this build on the comment below. I will do my best to answer all of them.

THANKS FOR WATCHING!!!

Check out this build in action, from Episode 11 of Backyard FX

Soderbergh's Guevara Opus Will Be Two Films

Mon, 23 Jul 2007 12:34:18 EDT

Stephen Soderbergh’s ongoing project with Benicio Del Toro playing Argentinian Marxist revolutionary Che Guevara has apparently morphed into two separate movies titled “The Argentine” and “Guerrilla.”

With a rather strange history stretching back to 2005 already behind them, production is set to start this week in Spain. One has to wonder whether the movies will be different takes on the same subject, or a sequential “rise and fall of Che Guevara” affair.

Catalina Sandino Moreno has also been added to the already impressive cast, most notable of which are Franka Potente and Del Toro. Del Toro clearly is the perfect choice for the role, given both his remarkable talent and his uncanny resemblance to the famous, ubiquitous Che Guevara picture.

Catalina Sandino Moreno Joins Soderbergh's 'Che' Films [Cinematical]

-Kenneth England

Vimeo vid of the Day, "The 7th Sense" by One Trick/On Rye Ltd.

Mon, 23 Jul 2007 11:28:29 EDT

The 7th Sense from justin and Vimeo.

A lot of people have been asking me lately if we here at Indy Mogul make any movies of our own. Well of course we do! Erik, Justin, and I all met through Justin's website FilmFights, which is a GREAT place to go for anyone at any level of filmmaking. This video was made in probably a half hour for filmfights one day after work by Justin, our friend Jake, and myself. But it was a lot of fun and I think everyone will enjoy it. PLEASE, send us links to your vimeo videos, while we do like discovering new talented people, we also love to show off what our viewers can do. And I KNOW you guys mke some awesome videos, so let's see 'em!!

Going Around the World (Wide Web) with Indy Mogul

Fri, 20 Jul 2007 11:21:51 EDT

Oft come the day when we recieve hordes of love from our AMAZING viewers and friends. And we do our best to return the love with fun episodes that will help you tons, updating our blog as much as we can, and showing off the AWESOME work that you great Internet Filmmakers put together. Now there are several ways to get your work up on IndyMogul.com, whether you write (blog), draw (fan art), or make videos (Vimeo Vid of the Day, Your Own How-to Tip Videos). Maybe you even sing, and want to write a song for IndyMogul, well, we would love to hear your song. The things that really grabs our attention are creativity and fun, and those things are easy to harness. Take for instance, this fansite by Dysfunctional Films.

When I was in high school (a seemingly long two years ago), my TV Production teacher always had Videomaker Magazine lying around the classroom and I use to love skimming through to get the latest news on equipment and tips for making better videos. And now, an Indy Mogul Blog Post (from a Vimeo Vid of the day) has recieved some love from the Videomaker Blog. Not only is this cool for us, but it's even cooler for YOU. Their post is highlighting a video we found on Vimeo and now it's spread to at least 2 known blogs. Is it too soon to whisper Oscar?

And for the final items of the day, we have some great websites that have been kind enough to spread the Mogul. From the Dead Report, we have been lucky enough to be featured in Episode 1. We also have our videos featured at Impel.tv updated with every new episode.

Vimeo vid of the Day, "Missing Raven" by Billy Pazionis

Fri, 20 Jul 2007 11:02:31 EDT

Missing Raven from Billy Pazionis and Vimeo.

The other day we recieved a message from Billy, on YouTube, asking us to check out his video "Missing Raven", which was made with a borrowed camera and DIY equipment and effects. And needless to say, even if he had a budget for his camera/lights/etc., I would still be impressed. This movie has a really genuine dark and dirty look, and it takes pride in it's creative light design. So, with a little knowledge on how to do things yourself (which you can pick up from IndyMogul.com) and a little creative initiative, you can produce some awesome video. So, send us in YOUR videos. We love to see what you guys can do and HOW you did it...did you use one of our tips or did you create your own? I don't know the answer, but I will find out when you send in some videos! So, send away! Fare thee well!

Hey Mogulers! Here's where you request an effect

Thu, 19 Jul 2007 15:42:49 EDT

We've been getting a lot of requests for effects to create in future episodes, and we love it. The only problem is that they're getting posted on all different pages and in all different places, it's impossible to keep up!

So, now, with the wonder of modern technology, we present the place to plop your problems on our lap so we can make 'em cheap and easy ... but before you do, make sure to read over what we've done, and what we're doing, so you make certain we haven't already answered what you're askin'.

Effects We've Already Done
Click a link and LEARN!

And if you're looking for explosions or muzzle flashes ... we recommend DETONATION FILMS. They offer cheap and free explosion videos that are easy to add to your videos with most basic editing software. Plus you won't risk actually blowing yourself up.

Upcoming Episodes
See into the FUTURE! (subject to change)

Kung Fu
(How to stage a cool fight scene)

Fantasy Horns
(Viewer request, Minotaur and Satyr)

Fake Head (bodyparts)
(Viewer request, making a detailed fake head)

Super Hero Costume

Bullets hitting the ground
(Viewer request!)

Miniatures
(Viewer request, we build a miniature city and then destroy it)

Now that you've read all that, submit your request in the comments box below ...

What the #$%$ is an RSS Feed?

Thu, 19 Jul 2007 13:18:53 EDT

Ever wonder what the hell an RSS feed is? Seen the symbol or come across the ‘subscribe’ button and not know what it was for? Or worse, thought it was some costly feature that would require you to PAY for something that is normally free? Well fear not, the fine folks over at common craft have put together this fun and funky video to tell you how RSS works and what it’s good for. One example that comes to mind is to use RSS to easily subscribe to Indy Mogul videos for free and have them delivered straight to your screen! But no bias here, that’s just an example! Check it out:

Use your newfound knowledge to totally rock these Indy Mogul subscription links!

On The Lot: Episode 11 (Fox Television)

Thu, 19 Jul 2007 12:00:00 EDT

Last week’s On The Lot, which aired Monday rather than Tuesday caught quite a few viewers off guard. Surprisingly though, last week’s ratings were the highest the show’s had in weeks. Now, before you start making your films for Season 2, you may want to know that although the ratings were better, they were still unacceptable for any network show. By normal standards, On The Lot would have been cancelled weeks ago, but luckily because it’s a live format reality show, it’s hard to flat out cancel it.

Well it looks like the next great filmmaker won’t be a female. This week’s two victims were Hilary and Shalini, the two last female filmmakers on the show. What better way to celebrate then to have an action week!

Key Witness (Sam Friedlander)
While it suffers from a few stereotypes, both in the characters and story, as an action film Key Witness does it’s job, and quite well. At a certain point, Friedlander embraces his characters stereotypes and embraces them, making the film quite interesting. He also manages to switch up a few action stereotypes, making the action quite enjoyable.

Sweet (Jason Epperson)
I suppose this is Epperson’s best film, which isn’t saying all that much, considering I haven’t seen a good film from him. Sweet is one long running stereotype, and although at times the film defeats this, by the end it’s back where it started. As I’ve stated before, Epperson’s visual style is rather annoying, although with an action film it’s not all that bad.

ZERO2SIXTY (Andrew Hunt)
In Hunt’s best film to date, he manages to bundle an impressive amount of material into a short running time. It’s funny in the right ways, the actors are impressive, and as an action film, it definitely fits the bill. The films only real problem is the fact that most of the action is compressed into too close a frame. Although, considering the amount of dialogue the film had, it’s understandable why the frame didn’t go all that wide.

The Losers (Kenny Luby)
A typical plot and characters, a rubber lizard, and unrealistic skateboarding all plague Luby’s latest film. That said, there’s something redeemable to the whole thing, and that’s the fact that Luby embraces his main character with a enthusiasm, and the actor does the same. The end result is a rather goofy short, but it at least has heart, which counts for something.

Catch (Mateen Kemet)
Although his plot is rather uninspired, Mateen’s direction of the action scenes is quite well done, especially considering it’s his first time with the genre. As usual, his talent can be seen in the acting. The first thirty seconds or so are probably Mateen’s greatest achievement so far. The biggest problem is the fact that Mateen feels the action genre requires one to continually surprise, even if it’s beyond ridiculous.

While I didn’t expect much, this week’s show was probably the most solid group of films the show has had thus far. So maybe, the audience is making the right choices as far as eliminations go. I wouldn’t go as far as saying it was the best show yet, seeing as how this week’s guest judge, Antoine Fuqua, was as boring a critic as he is a filmmaker. The ever predictable Garry and Carrie didn’t help, especially Garry’s jokes, which are at this point worth covering your ears for.

Another surprise, and a welcome one, was Adrianna. In her wonderfully small dresses, she provides not only something nice to look at, but some great material. Watching Kenny Luby try not to look down at her breasts was quite possibly the best bit of reality television I’ve seen in a while.

This is the only week I’m not sure I know who will be eliminated. If I had to take a guess it would be Mateen and Kenny, but I think the audience enjoy’s Luby as a character too much to let him go.

Bre of MakeZine's 1 Year Anniversary!

Wed, 18 Jul 2007 11:37:32 EDT

Our partner in DIY, 'Weekend Projects,' just celebrated it's one year anniversary. This is especially cool since our podcast is so young, and it's good to see other folks doing the same sorts of stuff as us in it for the long haul. Since birthday candles are soooooo 1994, host and genius Bre Pettis created a 'Jam Jar Jet,' which is like a candle on PCP.

I'm sure there's some way to use this thing in a movie ... maybe if you made a model of a tiny jet and wanted it to look like it was spewing real flame. Regardless, it's fantastically cool.

Vimeo vid of the Day, "Of the now" by Bednarz

Tue, 17 Jul 2007 11:24:17 EDT

Of the now from bednarz and Vimeo.

This is a REALLY awesome video installation; most of the time when people capture their installations on video it comes out pretty crappy (which is especially ironic if it's a VIDEO installation). But this video documentation of the exhibit can stand on it's own as a piece to watch and enjoy. The effect of the wings is AMAZING. The movement is great and the color is very vibrant. I would love to see what those boxes ARE by catching an up-close view of this. And it would be even cooler if this exhibit came to the USA!

Indy Mogul Interview: Paul Del Vecchio

Mon, 16 Jul 2007 17:14:59 EDT

Hello friends! This week we recieved some AWESOME footage from Internet Filmmaker and YouTube Director, Paul Del Vecchio. We posted part one of the interview on our YouTube page and we will be posting a new installment every day. Paul not only produces some really spectacular, special FX-packed movies, but he posts some really imformative how-to-videos to help YOU achieve the same effect! Here's a trailer for Paul's full length feature, "Forever".

Now here's where the best part comes in. We've collected the questions we sent to Paul and have decided to give them out to YOU, so that you can send in your very own Indy Mogul Interview. So, get a shootin' and start a-sendin'...it's Indy Mogul Interview Time. (Enter Tim Allen to do trademark grunt).

INDY MOGUL INTERVIEW QUESTIONS:

How long have you been making movies? Did you go to school for it?

A lot of what I learned was through experimentation, searching through forums, and doing my best imitations of famous filmmakers. Were these things important for you as a developing filmmaker?

How do you acquire actors, are they paid or are they friends?

When you realize you need a special effect for movie, one that you haven't tackled yet, where do you begin?

What's you equipment setup (camera/editing program)?

How has the internet changed the process of getting your movies out?

Are there any other Internet filmmakers who you like?

Is the way you're making movies right now, the way you could see yourself doing it for the rest of your life?

Are there any upcoming projects or a website you'd like to plug?

Do you long to say more? Don't be afraid to make up your own questions or just ramble about a topic you want to speak about! But keep it entertaining!!!