3D Characters - Student Filmmakers Magazine › magazine › SF2010_v5_n3.pdf46 Filmmakers Networking On the Cover Stereographic Project: An actor gets his face scanned by light sensors

2010 Vol 5 No 3 The 1 Educational Resource for Film and Video Makers US$595

wwwStudentFi lmmakerscom Workshops | Forums | Network| Showcase | Tech Focus

RED ONE 3D q Florida State University Stereographic Project q Stop Worrying and Love 3D

Dispatch A True Life Creative Collaboration Steven Sprungrsquos Feature Film Directorial Debut

PLUS4On-Set Convergence 4ldquoWhatrdquo hellipAnd Other Bad Dialogue Writing 4Shooting a Sitcom in One Day4Clearing Music for Your Film4Financing Films via the Kickstarter Method

How To Make Actors into 3D Characters

studentfilmmakers 2010 Vol 5 No 3 2010 Vol 5 No 3 studentfilmmakers

Table of Contents 010 Vol 5 No Cinematography 4 The Close-Up Lens with a Split Personality by Ira Tiffen

Close Up 6 Dispatch A True Life Creative Collaboration

Award Winning Editor Steven Sprungrsquos Feature Film Directorial Debut by Mary Ann Skweres

3D10 First Beg for Two Cameras

The Film Studentrsquos Stereographic Starting Point for RED ONE Users by Hali Gardella

15 On-Set Convergence by Ian Johnson16 The Process Used to Make the Actors into 3D Characters

by Evan Bollig Ian Johnson and Dr Gordon Erlebacher20 How I Learned to Stop Worrying and Love 3D

by William Donaruma

Screenwriting24 ldquoWhatrdquo hellipAnd Other Bad Dialogue Writing

by Christopher Ball

Production28 Shooting a Sitcom in One Day by Scott Essman

Animation30 Create Highly Stylized 2D Animated ldquoSouth Parkrdquo-Like

Cartoons by Sherri Sheridan

Editing32 The Power of Rubberbanding by Jeff Turboff

Music amp Sound34 Clearing Music for Your Film by Steven Ascher

Film Business36 Financing Films via the Kickstarter Method by Larry Jaffee

Commentary40 Bridge Work by Tim Smith

39 Featured Products and Services42 Call for Entries44 Global Marketplace45 Featured Events

46 Filmmakers Networking

On the Cover Stereographic Project An actor gets his face scanned by light sensors The first step in the process of making him into a 3D character Photo by Madeline Eberhard 46

10

6

20

Publisherrsquos Desk

For the first time StudentFilmmakers Magazine features three educational articles written by Film and Scientific Computing undergraduate and graduate students attending university ldquoFirst Beg for Two Camerasrdquo serves as a film studentrsquos stereographic starting point for RED ONE users The three-parter additionally takes a look on-set convergence and the

process used to make actors into 3D characters The Florida State University 3D Project teams researched RED ONE stereographic cinematography with the assistance of Rexford Metz ASC

Also on 3D ldquoHow I Learned to Stop Worrying and Love 3Drdquo written by documentary filmmaker William Donaruma about the basics of what he used to establish a 3D workflow from production to post to presentation for his 3D project

Feature article ldquoDispatch A True Life Creative Collaborationrdquo (Close Up Department) takes a look at award-winning editor Steven Sprungrsquos feature film directorial debut

Excellent articles in this edition also include ldquoThe Close-Up Lens with a Split Personalityrdquo by Ira Tiffen (Cinematography Department) ldquoShooting a Sitcom in One Dayrdquo by Scott Essman (Production Department) and ldquoThe Power of Rubberbandingrdquo by Jeff Turboff (Editing Department) ldquoCreate Highly Stylized 2D Animated ldquoSouth Parkrdquo-Like Cartoonsrdquo by Sherri Sheridan (Animation Department) gives readers eight tips and seven steps for getting started ldquoFinancing Films via the Kickstarter Methodrdquo by Larry Jaffee (Film Business Department) is about the stories of two independent filmmakers who use crowdfunding as an alternative method to raise money for their films Join us in welcoming new contributing writers Steven Ascher and Christopher Ball CSC Turn to the articles ldquoClearing Music for Your Filmrdquo (Music and Sound Department) and ldquolsquoWhatrsquo hellipAnd Other Bad Dialogue Writingrdquo (Screenwriting Department)

If you havenrsquot done so yet we encourage you to sign up for a free networking page in the Film and Video Makers Networking Community at http networkingstudentfilmmakerscom This is a great opportunity for you to get exposure for your films find other productions to work on and be found by productions looking for filmmakers video makers and crew

Enjoy this edition

Truly Kim E Welch Publisher Editor-in-Chief

The 1 Educational Resource for Film and Video Makers

Publisher Editor-in-Chief Kim Edward WelchSenior Editor Jody Michelle Solis

Contributing WritersThomas Ackerman ASC Jack Anderson Laurent Andrieux Anthony Q Artis John Badham Christopher Ball CSC Karl Bardosh Adam Biddle Evan Bollig Heidi Braudenburg Kevin Burke Julia Camenisch John Carrico Steve Carlson Chris Cavallari Pete Chatmon Vicky Collins Michael Corbett Vanessa Daniels Carsten Dau Todd Debreceni Jeff Deel Christina DeHaven William Donaruma Dana Dorrity Pamela Douglas David E Elkins SOC Dr Gordon Erlebacher Scott Essman Bryant Falk Carl Filoreto Jon Firestone Brian Flees Jacqueline B Frost Hali Gardella Daniel Gaucher Fred Ginsburg CAS PhD MBKS Dean Goldberg Todd Grossman Leonard Guercio John Hart David K Irving Larry Jaffee Ian Johnson Catherine Ann Jones David Kaminski Michael Karp SOC Sam Kauffmann Christopher Keane Tamar Kummel Richard La Motte Adam Matalon Robert Marich Matthew Marshall M David Mullen ASC Stacey Parks Mark Sawicki Myrl A Schreibman Dr Linda Seger Sherri Sheridan Mary Ann Skweres Tim Smith Ira Tiffen Jeff Turboff Melissa Ulto Mike Valentine BSC Saro Varjabedian William F Vartorella PhD CBC David Worth Dean Yamada Kevin Zanit

Publisher Editor-in-Chief Kim Edward Welch

Advertising amp Sponsorship OpportunitiesKim E Welch 2122555458

OnlinePrint Classifieds Global Marketplacehttpwwwstudentfilmmakerscomcontactshtml

Subscriptions bulk orders and collections httpswwwstudentfilmmakerscomstore

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StudentFilmmakers Magazine established in 2006 is published bi-monthly in New York by StudentFilmmakerscom Opinions are solely those of the authors Letters article queries photos movie stills film submissions and unsolicited manuscripts welcome but returned only with SASE Submissions are subject to editing for style content and to exclusive rights provisions in this publication Advertising Rate card upon request Copyright 2010 StudentFilmmakerscom (All rights reserved) Printed in the USA Postmaster Send address change to StudentFilmmakers 1123 Broadway Suite 307 New York NY 10010

studentfilmmakers 2010 Vol 5 No 3 2010 Vol 5 No 3 studentfilmmakers 5

Itrsquos all well and good to know to use a close-up lens when

you need to focus more closely on a subject than the lens would

otherwise itrsquos another thing entirely when you need to focus

both near and far in the same shot

Harrumph you say Canrsquot be done you say No way you

say Well as you might by now be starting to suspect in fact

you can You do it with a variation of a close-up lens that we

call the lsquosplit-field lensrsquo

Split-fields are essentially close-up lenses cut in half While

you can get them in exotically-mounted square sizes for film

and television cameras they typically come in round mounts

that allow you to rotate them in alignment with the needs of

the shot They come in the same array of diopter strengths that

close-up lenses do and as far as the lens-half goes they work

in the same manner

Itrsquos a classic case of what is not there being whatrsquos

important The lens half lets you focus up close Itrsquos the other

half without the glass that allows you to focus on things that

are a great distance away since it is exactly like using the lens

with nothing attached So on one side you focus up close on

the other you can focus farther away and you can do both at

the same time

In our picture examples we can see that without a split-

field lens the camera can only obtain good focus individually

on either the background or the foreground but not both at once

With the addition of the split-field in this case a +2 diopter

you can get both sharp together

The Close-Up Lens with a

Split PersonalityGetting to Know the Split-Field Lensby Ira Tiffen

Now using split-fields may seem tricky but Irsquove found that

therersquos a general procedure to follow that simplifies things

greatly Herersquos how to do it

(1) Select a focal length that will give you the overall

framing you want

(2) Select a diopter strength that will allow you to focus

on the subject in the foreground when the lens is set to

focus on the background

(3) Using the split-field in that chosen strength mounted

on the camera align the lens-half with the foreground

subject

(4) Set the lens to focus on the background frame the shot

and then simply move the camera in or out from the

foreground subject the short distance needed to get it

in focus

(5) Record

The idea is that the far focus will unlikely be affected by

the small movement needed to get the foreground in focus once

they are both in focus yoursquore set to go

You may be wondering what happens to the area in the

image that coincides with the cut-off edge of the lens Excellent

thought You will want to align that where possible with

part of the scene that has little or no detail as that will be a

relatively narrow out-of-focus area corresponding to a line from

one edge of the image to the other and angled the same as the

lens is If you have the lens on the lower half of the image with

the edge aligned horizontally then yoursquoll have an out-of-focus

area running horizontally to match

In our split-field example you can see this soft-focus area

running horizontally just above the top of the base it is the

ground detail that is affected most

Changing the lens opening allows you to define the amount

of image softness at the lens edge Closing the lens down will

increase depth-of-field and minimize the softness Conversely

opening it up can enhance the softness

With some lenses and formats closing the lens down a lot

can allow you to get both near and far focus too However you

will want to turn to split-fields when you arenrsquot using such

a lens or format or when you donrsquot have sufficient light or

exposure latitude to allow closing the lens down suitably In

those instances the split-field lens may be your best bet

Split-fields are great in situations where you can readily

define foreground and background in a hallway with

something happening up close and something else going on

farther away with the demarcation line aligned with a door or

corner in the wall for example

CAUTION Be careful not to have action moving between

areas of focus (unless you are looking for that lsquospecial effectrsquo)

An object moving from background to foreground will very

suddenly loom larger in the image than you would normally

expect most unrealistically

When in a tough spot split-field lenses can be your best

friend a pinch hitter so to speak with a split personality

In over 30 years of making optical filters Ira Tiffen created

the Pro-Mist SoftFX Ultra Contrast GlimmerGlass and

others netting him both a Technical Achievement Award from

the Academy of Motion Picture Arts and Sciences and a Prime-

Time Emmy Award Elected a Fellow of the SMPTE in 2002 he

is also an Associate member of the ASC and the author of the

filter section of the American Cinematographer Manual

Cinematography

No Lens Background in Focus No Lens Foreground in Focus

With Split-Field Lens Both in Focus


The common wisdom generally

imparted to new screenwriters is to

write what you know In Dispatch a

story about one night in the life of a

Hollywood limousine dispatcher co-

writers Michael Bershad and Steven

Sprung take that advice to heart Both

came to Hollywood to work in the film

industry and met on their survival job

Michael shares ldquoWe drove limos

together in Los Angeles from this drafty

old airplane hanger oil on the ground

cold and miserable in the winter and hot

in the summer It was very glamorousrdquo

Sprung adds ldquoWe sat on these pull out

seats waiting around dispatch all day

long without getting paid trying to get

these little airport runs that would pay

us about thirty bucks for two hours of

work That would be our whole dayrsquos

work While we were sitting around

Michael and I would just be talkingrdquo

Over that time they discovered their

ldquomutual interestrdquo That interest has

since segued into a multi-faceted

collaboration that draws from the

complimentary talents that each brings

to the partnership

Bershad had been an actor in New

York and was an actor in Los Angeles

Wanting to be a serious actor he often

rejected commercial and soap opera

assignments holding out for classic

stage acting jobs a decision that

somewhat hindered his success in the

acting profession ldquoThat is just the

Dispatch A True Life Creative CollaborationAward Winning Editor Steven Sprungrsquos Feature Film Directorial Debut

by Mary Ann Skweres

death knell for an actorrsquos careerrdquo admits

Bershad

Bershad also did a number of other

jobs in the movie business including

working as a casting director

Sprung dreamed of making films

since he was a teen He first discovered

the magic of entertaining people when he

started performing magic tricks at kidsrsquo

parties ldquoI was fascinated by illusion and

manipulating peoplesrsquo perceptions of

reality Entertaining people with sleight

of hand was an enormous rushrdquo reveals

Sprung ldquoMaking films is the ultimate

sleight of handrdquo Early on Sprung

discovered an aptitude for editing

which was confirmed when he received

a prestigious American Cinema Editorsrsquo

ACE student editing nomination while

still in college Opportunity steered

him into editing but the directing bug

never left He made a number of short

films pretty much doing everything

from ldquowriting to directing to doing the

camerawork to standing on my headrdquo

Eventually Sprung got to the point

where he needed someone to work with

Sprung explains ldquoIrsquod always looked at

Michael as a really strong producer I

called him uprdquo Bershad continues ldquoI

actually remember that day I was taking

reservations at this limo company In

the past we had sort of talked about

it but I kind of backed off For some

reason it now made sense to me I called

him back the next dayrdquo Sprung picks

up ldquoNow mind you he was calling me

from the limousine dispatch office at 11

orsquoclock on one of his night shifts He said

lsquoI want to make movies with yoursquo I said

lsquoGreatrsquo and he said lsquoI have this idearsquo

Then he saidhelliprdquo Bershad laughs as he

elaborates ldquoWell basically itrsquos called

Dispatch ndash big shock Because I was an

actor I originally thought of it as a one-

man show As I started thinking about

it I thought letrsquos make this a movie

Letrsquos bring in some characters and tell

a story hererdquo

A day later the pair started writing

Sprung took notes on a legal pad as

Bershad told stories about things he had

experienced as a dispatcher Although

Bershad quips that they started

writing in ldquo1947rdquo the film actually

took about two years to write working

part time In the course of writing the

team simplified the screenplay cutting

out several characters and story lines

Although some of the events were

things that happened to him Bershad

comments ldquoItrsquos really not my story but

I can honestly say that everything that

happens in the movie was experienced

by somebodyrdquo

The film is an amalgam of different

characters that the writers encountered

during their tenures in the limo

business It is also a character study

about choices and where each personrsquos

Close Up


particular choices lead them in life A

story with universal appeal it often

elicits similar responses from viewers

ldquoThis is an adult movierdquo says Bershad

ldquoSo many people look back on their lives

and say lsquoWhat a bad choice I madersquo I

heard an interesting thing recently that

resonated with me about how when

people come to the end of their life they

never regret the things that they did

They almost always regret the things

that they didnrsquot do Thatrsquos the reason we

made a movierdquo

Bershad brought his strengths

dealing with actors and casting to his

producing role He admits that Sprung

also did a lot of the producing but they

also had a lot of help from the production

manager and line producer that they

hired They went to meetings together

to choose production keys such as the

cinematographer

Although it seemed initially that the

script would be easy to shoot the large

cast added a logistical complexity to the

production that they had not anticipated

ldquoWe had designed it to be very simple

one night one locationrdquo explains

Sprung ldquoWhat we didnrsquot account for

was that in order to keep it interesting

and make it a full story we had to write

so many characters that it ended up

being very unwieldy trying to juggle all

the actorsrsquo schedules and making it all

work in a concentrated period of time

In some ways it might have been easier

if we had written a script that had only

four to six characters and multiple

locations Then we could have spread

it out over weekendsrdquo As it turned

out the film was shot straight through

over an eighteen-day schedule and the

production was locked into having actors

at very particular times

During production the pair wore

different hats once again Bershad took

the lead role of Nick the ldquoliferrdquo limo

dispatcher and Sprung took up the

directorrsquos megaphone In regards to

directing his co-writer Sprung jokes

ldquoIt was great I finally got to push him

aroundrdquo Bershad questions whether he

might have played prima donna asking

ldquoDid I get snottyrdquo Sprung immediately

denies that

Nevertheless Sprung comments

ldquoAs you might expect with any creative

partnership there are definitely points

where tension can get high such as

when we tried to figure out the best

way to execute a scene but really it

was quite fun to work with Michael in

that capacity to put aside all our other

experiences because as far as I was

concerned the writing was in the past

It is a whole different mindset to work

with actors and interpret the script

in a cinematic way I didnrsquot feel like I

had written the script at that pointrdquo

Bershad also acknowledged that the

script seemed like foreign material once

they got into production

One of the traps in independent

filmmaking is being too close to the

material After living with the written

story for years through the development

and production stages once the film is in

post production it becomes impossible

to detach emotionally from the work

that had gone on previously making it

difficult to cut and shape the material

during the editing

This was a peril that Sprung and

Bershad faced when Sprung sat down

in front of his Avid Bershad comments

ldquoIrsquove got to say more than anyone Irsquove

ever known or worked with Steven has

a really clear vision of when something

can be cut If anything Irsquom the one who

says lsquoI donrsquot know That scene is kind

of importantrsquo Hersquos really brutal when

it comes to that Thatrsquos one thing that

actually surprised me a bit because

there was a lot of stuff that we shot that

I thought we couldnrsquot do withoutrdquo In the

end they realized there was material

that they could do without Even

scenes that were difficult to shoot and

brilliantly executed hit the cutting room

floor for the good of the overall story

Filmmaking is inherently a collaborative effort but finding

the perfect partner is not always the easiest thing Wearing

many hats can be a pure necessity under the constraints

of indie filmmaking but finding the unique combination of

complimentary talents is as complex as the different people

who make up the ideal film crew

ldquoMichael and I have a true collaborationrdquo says Sprung

ldquoWe are two halves of the same brainhellipa creative team We

are always checking in with each other Is this working What

can make it better We build on each otherrdquo Bershad adds ldquoIt

sounds like a pat Hollywood feel-good answer to say that we

both agree on the creative choices but I canrsquot think of a time

in the writing or any of it when we fundamentally disagreed

That is one of the reasons it works If we had different tastes I

think we would have a problemrdquo Sprung agrees ldquoWe have the

same tastes and complementary strengthsrdquo

Bershad concedes he has a high-strung nature and the fact

that Sprung has the patience to put up with him is a big factor

in their successful collaboration but he is also sensitive to

Sprungrsquos quieter character If Bershad is on a roll talking about

something in the story and notices that Sprung is not ldquochiming

inrdquo he has come to realize that something about the story is

not quite working ldquoThis whole business about partnership

especially in something as creative as writing is really really

tenuousrdquo concludes Bershad As for a continuing relationship

Sprung admits that the two are ldquojoined at the hiprdquo and Bershad

confirms that they are already working on their next script a

much more commercial paranormal thriller with mostly exterior

locations and a smaller cast

Much like the choices the main character in Dispatch made

that shaped the course of his life Bershadrsquos and Sprungrsquos

individual decisions to work as limo drivers were fateful actions

that ultimately led them into the perfect creative venture Life

imitating art in the true sense

Mary Ann Skweres is an award-winning independent writer

director with over a dozen produced short films under her belt

A member of the Editorrsquos Guild she has edited feature films

documentaries and shorts She writes about the art and craft of

filmmaking for magazines including Below the Line Film and

Video VFX World and Animation World Network She can be

reached at mas4reelaolcom

Close Up

10 studentfilmmakers 2010 Vol 5 No 3 2010 Vol 5 No 3 studentfilmmakers 11

Do not be fooled Proper stereographic

cinematography with RED ONE

cameras on a limited budget is not easy

to accomplish Before putting any money

or time into your 3D movie you need to

make sure you have thought out all of

the details of a two camera production

This will require extensive research but

hopefully this information will be able

to prepare you a student filmmaker

to delve into the realm of stereographic

cinematography

Recently I was the producer on The

Florida State University 3D Project an

interdisciplinary collaboration between

departments at the university (The

FSU College of Motion Picture Arts

The College of Communications The

Department of Scientific Computing

and Seminole Productions) For this

project we would attempt to combine

live-action 3D scenes shot in 4K on the

RED ONE cameras and 3D Computer

Generated scenes featuring video-game

style avatars of our main characters

(made by The Department of Scientific

Computing)

From January to March 2010

our teams researched RED ONE

stereographic cinematography with the

assistance of Rexford Metz ASC an

informed specialty cinematographer

with a wealth of knowledge on RED

shooting We tried to research the correct

approach technically and aesthetically

First Beg for Two CamerasThe Film Studentrsquos Stereographic Starting Point for RED ONE Users

by Hali Gardella

to stereography We found that there was

no single approach In addition it was

hard to find advice geared toward the

film student demographic we had the

cameras needed to make high resolution

images but our budget was far from

that of a professional production

We considered many options for the

live-action portion that we found ideal

such as using a beam-splitter camera

rig A lot of time was spent researching

the use of equipment and practices that

turned out to be completely inaccessible

to us as students It soon became evident

that the cost of a modest production for

RED ONE 3D could easily rise to well

over $10k per day just for equipment

At six days of production that was

unreasonable We had to scale back our

equipment from what we wanted to what

we absolutely needed in order to stay

within a reasonable budget Mainly this

meant that we would be shooting with a

side-by-side ldquorigrdquo really just a plate that

attached two cameras together and that

we would have to adapt our shooting

style to our new equipment limitations

Convergence Distance Lenses

and Filters

When shooting side-by-side with RED

ONE cameras you should be prepared

to work with a minimum interocular

distance (the distance between the

centers of the two lenses) of 7 inches

because the cameras are large and you

will need to have space between them

to connect your cables The interocular

distance between your eyes is 25 inches

Simply what this means is that your

ideal point of convergence (a comfortable

place to view objects in a shot) should be

at least 35rsquo from the cameras (actually

from the camerasrsquo image sensors) When

the interocular distance is at 25 inches

as it is with a beam-splitter rig you can

effectively converge objects 3-5 feet from

the cameras At 7 inches every object in

the shot that is within 35rsquo of the lenses

will show up twice on the screen It is a

similar phenomenon to trying to read a

book that is two inches from your face

You will get a headache

We did a shot in which a football

player ran down the bleachers in our

stadium Two dimensionally it was

a beautiful perspective shot of the

bleachers fading into the distance The

football player was consistently more

than 35rsquo from the camera and his image

converged nicely in post however the

area of the bleachers that fell closer than

35rsquo from the camera began to separate

into two images The most separated

areas were closest to the camera

Remember that foreground elements

must also remain at the correct distance

for proper convergence Depending

on your interocular distance I would

recommend calling the technicians at

3ality and Element Technica to find out

The completed camera rig Photo by Jacob Abrams

Natasha Narkiewicz (1st AC) adjusting the camera Photo by Jacob Abrams

3D


more about your convergence distance

requirements

Shooting a subject at a distance of

35rsquo will require the use of long lenses

in order to get medium and close-up

shots We mostly stuck to the 135mm

and 180mm lenses from two sets of

Zeiss Standard Speed Primes for 35mm

format (because we shot 4K)

Also remember that you cannot

use a traditional matte box around the

lenses because they are designed for

single camera use as a result you will

need to adapt the way you attach filters

We used two clamp-on ring kits that

fit over each lens They include flexible

lens shades and are made to hold 45

inch round filters in place Make sure

you have the correct size clamp-on rings

and filters for your lens size We used

two Tiffen 45 inch round ND filter kits

If you plan to combine filters you may

need four or six filter retainers in your

clamp-on ring kit

Synching the Cameras Genlock

and FIZ

The cameras will need to capture

the image in exactly the same manner

in order to achieve the desired 3D effect

This means syncing the frame capture

and the lens adjustments To sync your

cameras you need to use a genlock and

FIZ

A genlock is a device that is attached

by cables to each camera that will sync

the recording to the exact frame You

will need your cameras to record in

perfect sync to get a cohesive 3D effect

We used the Gen-10 made by AJA It

was a cost effective brand and worked

for multiple frame rates Your camerarsquos

manual will have directions on the

genlocking process

Focus Iris Zoom (Or FIZ) These

are the variable functions of a lens that

will change the qualities of the image

that is captured by each camera In

order to keep both images at the same

focal distance exposure and size you

will need to operate these functions

simultaneously with extreme precision

A FIZ is a wireless follow focus system

that attaches to the lens to adjust the

focal distance f-stop and lens size (if

you are on a zoom lens) from a remote

control or Sender that the AC can

operate while standing meters from the

camera FIZ units are typically used in

single camera shooting but they can be

adapted for stereographic shooting

For simultaneous lens adjustments

you will need to have two FIZ units

One FIZ must become the slave unit

A slave unit is made by programming

the MDR (the computer inside the FIZ)

to respond to the remote control of the

master unit Once you have slave and

master FIZ units attached to each lens

the AC can simultaneously adjust both

lenses with precision using the same

remote control Preston Cinema Systems

manufactures the FIZ and we had them

program a slave unit before they sent

us the units Test your FIZ unit before

production During our shoot we found

that the MDR on the slave unit had

not been properly programmed We

had it replaced quickly still costing us

valuable time

FIZ is a widely used brand but they

are expensive to rent If you cannot

afford two you should look for another

synched follow focus system You can

adjust the iris and lens size by hand if

you do not plan to change them during

the shot I do not recommend making

any manual changes to the lenses during

the shot

Camera Alignment

Your cameras will also need to be

properly aligned so that they are facing

the same direction Simply attaching

them to the rig or plate is not enough

The FSU 3D Project shot with a basic

side-by-side camera plate that had no

motors or mechanisms for aligning

the cameras In order to make sure

the cameras were perfectly aligned on

the plate we used alignment charts to

realign the cameras every time we moved

the camera for a new set up Frequently

we would use the charts to recheck the

alignment if we had spent a long period

of time on a particular shot especially if

the shot required movement like dollies

or pans

Aligning the cameras manually is

time consuming and requires acute

adjustments You will need to have thin

shims to place underneath the camera

to hold it in place To align the cameras

with the chart match the left camera

cross hairs with the corresponding

crosshairs on the chart do the same

with the right camera Alignment takes

time to perfect so I strongly urge you to

practice before your production begins

The chart is expensive to purchase but a

necessary investment for a stereographic

production using this type of plate You

will also save thousands of dollars by not

renting an expensive motorized rig We

used the Fairburn 3D Chart made by

DSC Labs that sells for around $1300

Aaron Hall and Crystal Collins setting up the genlock settings Photo by Jacob Abrams

The camera rig on the Fisher 10 Dolly Photo by Jacob Abrams

Dolly track setup for 3D shoot Photo by Jacob Abrams

Aaron Hall 1st AC holding the remote control (sender) of the FIZ unit Photo by Jacob Abrams

3D


Filming in 3D creates new

possibilities as well as new obstacles

Such things as correct alignment while

shooting can save immense amounts

of time in post-production Certain

cinematographic techniques must be

avoided completely in 3D such as having

foreground objects too close which is

not obvious when viewing in 2D It is

possible that an entire shoot is worthless

if these issues are not addressed

For our 3D film project we did

not have a commercial system for

viewing stereo 3D in real time

designed specifically for film making

these systems cost in the hundreds of

thousands of dollars We were able to

adapt a workstation used for scientific

visualization to make an on-set viewing

station This system cost less than $4000

and is made up of only consumer level

hardware The important components

include CrystalEyes active glasses a

professional grade NVidia graphics card

and Stereoscopic Player software The

stereo rig used for filming consisted

of two gen-locked RED ONE cameras

shooting in 4k resolution We setup a

workflow where editors would convert

the RAW files from the RED cameras

to a compressed Quicktime format on a

MacBook Pro using REDCINE software

This process is computationally intensive

and speed was our primary concern so

we limited our viewings to the first few

seconds of each shot Conversion was

done independently for the data from

each camera creating separate left and

right movie files These files could then

be transferred to our 3D workstation

and opened by the Stereoscopic Player

Once in Stereoscopic Player the crew

could check the alignment of their shots

and analyze the quality of the 3D effect

they were trying for The time it took

from downloading the RED RAW file

to viewing a few seconds of 3D film was

about 10 minutes once the work flow

was established

Ian Johnson is pursuing his Masterrsquos

degree in Scientific Computing at

Florida State University His interests

include 3D visualization programming

math travel and the Chinese language

When he is not online or writing code he

likes to volunteer his time teaching at-

risk youth about computers

On-Set Convergenceby Ian Johnson

Camera Mount for Added Weight

When two RED ONE cameras are

attached together in combination with

two large lenses and other accessories

the weight will be much greater than

single camera shooting You will want

to account for this by making sure to

mount your cameras on a head that can

accommodate this weight We used an

OrsquoConnor head for cameras over 100lbs

The OrsquoConnor head was mounted to a

Fisher 10 dolly

Insurance

Any instance where you are using

your schoolrsquos RED ONE cameras for an

extracurricular project you should make

sure you are still covered by insurance

Check with your administration

because your schoolrsquos policy may not

cover you It is not only wise to insure

your schoolrsquos property but there are

also hefty insurance requirements when

renting equipment from a rental house

Production Constraints

Getting equipment is step one Now

there are new technical constraints that

you will need to have in mind Huge

variables will arise depending on the

type of rig you are using No matter

what it takes much longer to set-up a

shot with two cameras than with one

Do not overlook the time it takes to

align the cameras before each shot Each

morning expect to take at least an hour

to reach camera alignment in addition to

the time it takes to build and mount two

cameras If the cameras are accidentally

knocked out of alignment during a set

up it will take additional time to realign

them The new equipment will be a

challenge to learn Take as much time

as possible to practice before the set It

will take longer to troubleshoot an issue

with unfamiliar equipment

During our production we had the

privilege of working with KT Comkowycz

an FSU Film School alumni who is

currently working in LA as a union 1st

AC She had experience working with

other 3D rigs from 3ality and Element

Technica Still on the first day of our

production we completed only four

shot set-ups There was a huge learning

curve we had to overcome because our

budget was not large enough to rent

the equipment for trial days before the

production Each subsequent day we

added to that number On day six we

got 10 different shots

As a student or novice filmmaker

who is interested in shooting

stereographically with the RED ONE

cameras you will have to conduct your

own research to see what shooting

method is right for your production

This article presents the way we

accomplished it but like I said there is

no one method

Hali Gardella is a filmmaker from

Sarasota Florida who specializes in

independent film production As a

writer director and producer Hali is

very interested in making films abroad

She recently traveled to Haiti to film a

documentary about reconstruction efforts

after the earthquake She is currently a

senior at The Florida State University

College of Motion Picture working on her

thesis film She was the producer of the

FSU Film Project

From left to right Adriel Conde Aaron Hall Crystal Collins Rexford Metz ASC and Patrick Nissim This photo shows the huge amount of cables syncing the cameras and connecting them to the video tap Photo by Jacob Abrams

Patrick Nissim camera team member Photo by Jacob Abrams

3D


The 3D Film project combines

live action stereoscopic film and

virtual reality Virtual reality is used

as a transitionary element between

successive scenes to highlight the

various departments involved in the

film production

Since the film is composed of various

live action sequences capturing one or

more real FSU students performing

actions related to their respective

departments (ie painting dancing

filming etc) and the depicted

departments are somewhat unique and

difficult to quickly transition between a

unifying theme was required to involve

the viewer and make them feel as if

they are part of the video To this end

we portray a ldquovideo game experiencerdquo

for the viewer when the film starts

they are given the impression that

they are playing a videogame similar

to popular titles like RockBand and

Guitar Hero Viewing a mockup ldquoStart

Menurdquo the viewer realizes the player

must choose an ldquoavatarrdquo (virtual

character) for gameplay A long list of

character ldquonamesrdquo (department names)

are provided including the various

departments involved in production

dispersed at random throughout the

list Each ldquoavatarrdquo has a set of skill

levels appropriate to their specialty

For example Art would have high

ldquocreativityrdquo and ldquospatialrdquo skills with

lower (but not too low) ldquomathematicalrdquo

skills The menu is animated as if a

game player were cycling through

names looking for their desired skills

When a character is selected a virtual

human is revealed representing the

chosen department The scene then cuts

to a live action sequence involving that

department specifically

The virtual human is representative

of both the chosen department and the

actor that is the central focus of the live

action scene To achieve this we used a

3D scanner to scan the faces of the real

actors A 3D scan was viewed as more

appropriate than more standard pictures

taken with a digital camera since the

film was in 3D and the elements of the

virtual scenes should be as well The

scanner housed in the Biology Unit

1 building is operated by Dr Dennis

Slice (Dept of Scientific Computing)

and graduate student Michelle Perry

(Scientific Computing) The 3D scanner

uses patterned light projections and a

digital camera to digitize a surface as

a mesh of nodes in a single scan Using

multiple scans (different rotations of the

head to reveal all of the actorrsquos face)

the meshes are merged to construct a

complete digital representation of an

actorrsquos face Merging the two meshes

is achieved by identifying landmarks

common to both meshes such as the

corner of the eyes the tip of the nose

and other easily identifiable points on

the face so the meshes can be properly

rotated and translated into alignment

The complete face scan for each actor

contains upwards of half a million data

points That many nodes is ideal for

scientific problems andor accurately

reconstructing surfaces but is excessive

for our needs Indeed manipulating such

The Process Used to Make the Actors into 3D CharactersKey Features for the 3D Film

by Evan Bollig Ian Johnson and Dr Gordon Erlebacher

a high number of points was taxing the

laptops and workstations we were using

produced irregularities in the face and

the high resolution was hard to control

during additional processing of the face

geometry Furthermore for this film

we decided to forego realistic rendering

in favor of approximate renderings

that would clearly identify the actor

yet convey a sense of a cartoony video

game Therefore each of the actor face

scans were used as a base model and

a simplified version of the face was

modeled by hand The final ldquomaskrdquo

produced by hand contains around one

thousand points

The simplified models of the face

scans are overlayed onto a generic

human body created by MakeHuman

free software available online With

a generic body for all characters

distinguishing features are the face

and clothing that matches what the

characters wear in the live action

sequences The clothing was modeled

using standard 3D modeling techniques

and then textured using reference

images of the actors Each character

has relevant props which were obtained

from Googlersquos 3D Warehouse (http

sketchupgooglecom3dwarehouse) a

free repository of 3D models created

with Googlersquos SketchUp software

To motivate the transition to live

action from the virtual character we

have included a short animation for each

department avatar For example the

virtual film student picks up a camcorder

and films something offscreen The

Dance student does a little bit of the

Charleston dance These animations

are gimmicky but they definitely play

From left to right Ian Johnson Dr Gordon Erlebacher and Evan Bollig Department of Scientific Computing adding textures to a face scan that will become the finished avatar Photo by Madeline Eberhard

An actor gets his face scanned by light sensors The first step in the process of making him into a character Photo by Madeline Eberhard

3D


on the viewerrsquos internal notion of what

a stereotypical student would do in each

department Of course these animations

might not match up with the live action

sequence in which case the viewer is

introduced in the live action sequences

to a broader view of what is possible

as that type of student (ie something

beyond the stereotype) The animations

actually come from a large library of

motion capture files for realistic and

fluid body movement Motion capture

files are digital recordings of sensor

positions with respect to time ndash a sensor

attached to an appendage (eg leg or

arm) moves in real life and the position

is recorded at even intervals (eg 30

every second) to track that movement

Carnegie Melon University recorded

hundreds of simple motions (running

jumping sitting drinking etc) and

provides this data free of charge

Another animated segment within

the virtual world occurs when the

player selects a department avatar

At that point rather than have the

virtual character instantly appear in

its entirety we incrementally reveal

a wireframe mesh of the avatar body

by simulating a laser scan sweeping

through the body The body skeleton

appears in an upward pass followed by a

downward scan which reveals the fully

clothed character which then launches

into a representative animation before

switching out to the next film segment

The runtime for each of the animated

sequences including the avatar selection

building the character clothing

props and motion capture animation

is constrained to between 5 and 10

seconds With 5 (or 6 if we include the

football player) sequences the virtual

reality represents less than one fifth

of the total runtime suggested for the

film (~5 minutes) but is a substantial

contribution to unify the content

All character modeling animation

and stereoscopic 3D rendering for the

virtual scenes was done with free open

source software named Blender (http

wwwblenderorg) Currently used

by over a million people worldwide

Blender offers features for free that

many software titles like Final Cut

Pro Maya LightWave etc would

charge thousands of dollars or more

for Features like a sophisticated 3D

modeling interface a video game engine

complete with a realistic physics engine

and a multitude of others relating to

video editing ray tracing etc Blender

also includes a Python interface for

developer level control of internals so

users can extend and customize the

behavior of the software For example

the avatar selection menu was modeled

and animated by a python script

Another python script creates a virtual

stereoscopic 3D camera rig to record

animations in 3D

All of the virtual character scenes

were modeled animated and sequenced

by Dr Gordon Erlebacher (Dept of

Scientific Computing) and his graduate

students Ian Johnson and Evan Bollig

Their time and effort was entirely

voluntary with the goal of expanding

their knowledge of 3D film making and

design with Blender Although the group

has been working with Blender as a

teaching tool for Dr Gordon Erlebacherrsquos

Spring 2010 course ldquoIntroduction to

Video Game Designrdquo serious character

development occurred in the two weeks

preceding the live action filming and is

still ongoing today The majority of the

visualization was completed in the first

3 weeks but many small details are still

under review

Under the management of Dr

Erlebacher the machines and resources

within the Department of Scientific

Computing VisLab (Visualization

Laboratory) were utilized throughout

the production of virtual content In

addition to volunteering their time

and effort to complete this work Dr

Erlebacher and his students contributed

a stereoscopic 3D workstation from the

DSC VisLab to assist in the daily film

review of live action shots The stereo

workstation was purchased as part of

the NSF grant number NSF 0722782

which encourages interdisciplinary 3D

research and movie making It supports

active stereoscopic 3D (shutter glasses)

and includes software capable of

reviewing 3D movies Due to schedule

conflicts between equipment rentals and

Quantelrsquos variable dates for the visit

the project was only able to film in 3D

before Quantel would arrival at FSU

With no Quantel hardware present the

film crews had no way to verify a 3D shot

was properly focused and aligned for the

optimal 3D effect until after all filming

was complete (ie they were shooting

blind) With the stereo workstation it

was possible to review shots in the same

day rather than waiting until all filming

was complete

Evan Bollig is a PhD candidate in

Scientific Computing at the Florida

State University He holds a Masterrsquos

degree in Computational Science

from Florida State University and

two Bachelorrsquos degrees (Computer

Science and German Studies) from the

University of Minnesota--Twin Cities

Aside from an interest in 3D film Evan

concentrates on programming video

game hardware scientific visualization

and the occasional outdoor pursuit

Figure 3 The stereoscopic 3D video editing workstation contributed the project by the Department of Scientific Computing VisLab

Figure 1 Overlaying the actorrsquos face onto the generic human body within Blender The smooth surface in the top left corner is the handmade mask based on the 3D face scan The coarse surfaces (eg on the forehead and neck) are part of the generic human body

Figure 2 The full body of the virtual actor representing the film department Not shown character props and hair

3D


3D production is certainly the

biggest trend in the past year With the

monumental success of Avatar Alice in

Wonderland and the many animated

features presented in 3D the transition

to digital cinema and the proliferation

of a new trade within the industry has

taken hold 3D television sales sold out in

its first weekend and new manufacturers

are jumping into the fray Pirates of

the Caribbean 4 recently conducted

3D tests at Panavision so as not miss

out on the 3D box office bonanza They

certainly donrsquot want to fall prey to the

post-produced efforts of Clash of the

Titans that ultimately hurt the film

and created a call for 3D standards

When 3D made its first big appearance

at NAB last year I had reported back

to my university that this was the big

new thing in production I was told it

would never happen at our institution

Less than a year later I was charged

with shooting a 3D test as phase one of

a larger project in an interdisciplinary

effort to incorporate 3D This test

would then be presented at a scientific

conference on cyber-infrastructure and

technology in the humanities Phase two

will incorporate live action performance

How I Learned to

Stop Worrying and Love 3DHere are the basics of what I used to establish a 3D workflow from production to post to presentation

by William Donaruma

with 3D projection to create a virtual

space

How to begin Reading the many

articles that seemed to multiply from

the 3D rage gave a simple overview

of either how easy it was to get a 3D

picture or how difficult it was to avoid

the mistakes commonly made to achieve

good 3D None provided many answers

The cinematography mailing list was

strife with information that you have to

wade through as stereoscopic engineers

would weigh in with calculations and

opinions on how you must handle 3D

properly Luckily I am friends with

the person in charge of researching 3D

technology for Disney Studios Mike

Gonzales who helped me lay out the

pieces of the puzzle I would need for my

first test Here are the basics of what I

used to establish a 3D workflow from

production to post to presentation

My only shooting option was going

to be a side by side parallel rig since

we would not acquire a beam splitter

(perpendicular camera rig) for this test

I mounted two Red One cameras on a

GlideTrack as close together as possible

so that each camera recorded the left

and right eye for stereoscopic vision

The downfall of shooting in the side by

side configuration was that I needed to

keep my subject dancer Nejla Yatkin at

least 20 feet away from my camera set

up This has to do with the inter-ocular

distance between the cameras and the

point of convergence which are two

primary considerations when shooting

3D Inter-ocular distance is the gap

between the lenses which regulates the

strength of the 3D effect Human vision

has an average of 25 inches between

the eyes so the wider you go the further

away the subject must be to maintain

comfortable vision It is like bringing

your thumb close to your face and having

to cross your eyes to keep it in focus

which becomes difficult Convergence

determines the position of the image on

the z axis based upon the angle of the

cameras This point of convergence will

place a chosen point in the frame to

be at the plane of the screen allowing

objects or actions in front of this point

to come out into the audience vision and

those behind it to provide depth into

the screen This concept of convergence

must be considered to formulate a ldquoZ

Scriptrdquo which is like a shooting script

in that you must take your shot list and

define how much depth can occur from

Christian Leadership to Change the World

Bachelorrsquos Masterrsquos and Doctoral Degrees

Shape Your CultureYou believe that redemptive positive-value stories are worth telling At Regent University we will teach you to craft your stories in ways that are both compelling and meaningfulLearn to move your audience and leave a lasting impression

8887777729 | wwwregenteducommunication

3D


shot to shot so that the audience doesnrsquot

become sick shifting their vision during

an edited sequence

While my cameras were both set

exactly the same using firmware build

30 4K HD and all of the appropriate

menu and lens settings I had to use

difference zoom lenses for this set up

Optics are of primary importance for

pure cinematic capture and it is often

stressed that you need closely matching

lenses for quality My presentation

would be on a polarized TV monitor and

for this test I could get away with slight

differences I had to be able to match

focal lengths and could adjust to a point

of convergence using an object (in this

case a c-stand) to align my camera lenses

and geometry Because of the difference

in weight on each camera I had to

balance them differently but it was

crucial to maintain the position on the X

and Y axis on my rig for the same field of

view My last pieces to the puzzle were a

stereoscopic image converter (Davio 3D

Combiner) which takes the SDI outputs

from the camera and outputs them to

a monitor for 3D display and a sync

generator The sync generator box keeps

my cameras genlocked together and

helped keep one camera from drifting

in my monitor display Genlock is of

primary importance to 3D production

which is why using small DSLRs is

not an option currently Using both a

small on-board monitor and a large 42

inch monitor I could look at my images

in anaglyph mode (redcyan) to align

my convergence point and check my 3D

effect on each shot

Post-production becomes the next

sticky situation in order to process

and edit two video tracks into 3D My

workflow was established as follows

Shooting r3d files I applied a simple

look and had to adjust a slight color

shift in one camera in RedCineX These

were then transcoded to Apple ProRes

files where I would take them into

Final Cut Pro and sync them up using

a standard slate much like syncing

video with audio tracks as I did not use

a time code generator Having installed

the Cineform codec and Neo3D software

I exported each file as a Cineform file

and imported those into Cineformrsquos

FirstLight program There I can mark

each camera lsquoLeftrsquo and lsquoRightrsquo and create

a stereo file which is then seen as one

video clip and can be re-imported to

Final Cut for editing While in Final Cut

I can go back and forth to FirstLight and

make look adjustments and change my

convergence point in real time within my

timeline Pretty cool I could also check

my 3D on regular monitors by switching

my view in a number of configurations

including anaglyph Once my project was

set I would output the file in side by side

mode so that I could then present it on

a polarized 3D monitor for presentation

This type of monitor combines the

left and right images by meshing

the interlaced scan lines together

Inexpensive polarized glasses then block

each camera eye view providing a crisp

3D effect This however only provides

half the HD resolution since the 1080

lines are split into the two camera views

Active shutter systems are the ones you

find in consumer electronics stores now

with the expensive battery operated

glasses These glasses allow the images

to remain in full HD by opening and

closing each eye in sync with the TV

outputting the left and right signal at

full resolution The shutter is happening

so fast they appear to be like polarized

glasses so there is no flicker effect

The resulting dance sequence was

a success and much was learned about

how to best achieve a 3D image and

effect The next step will be creating

a live dance piece amongst projection

screens with 3D images both live and

computer generated in an interactive

performance Now that we have

established a workflow we will explore

the numerous equipment options that

are hitting the market I am sure much

more will be learned to pull this one

off 3D is certainly here to stay and will

keep expanding as its own industry

Standards for quality control workflow

definitions and stereoscopic roles on set

are quickly being defined Stop worrying

about 3D and learn to love it

William Donaruma has years of

production experience having worked for

Universal Studios as well as a variety

of production companies and major

television networks in film and video

production Returning to Notre Dame to

teach production courses he has won the

Kaneb Teaching Award and was granted

a fellowship at the Academy of Television

Arts and Sciences His website is

wwwwilliamdonarumacom

3D


Before Scene Re-Write

INT BEDROOM DAYJeremy and Emily lie in bed It is late morning

JEREMY

It just seems that you never loved me Ever since you finally left Jamie after those first few years of secrecy yoursquove been really

hard to connect withhellip and I keep wondering why yoursquove been so cold

EMILY

Well yoursquore not so easy to connect with either

When I met you the first time and we went on that cruise down the St Lawrence that was so boring and you spent all night

doing emails on what was to be a romantic evening together I thought there might be a problem

JEREMY

So you donrsquot love me

EMILY

Of course I do itrsquos just thathellip

JEREMY

What

EMILY

Itrsquos just that Irsquove been thinking Itrsquos time for me to move on

We had fun together but I need something new

JEREMY

Yoursquore joking right Wersquove invested a lot in this relationship

EMILY

I didnrsquot want to tell you before buthellipwell Irsquove been seeing Jim

JEREMY

What

EMILY

Irsquove been seeing Jimhellipand I think I need to move on

Jeremy looks at Emily unbelieving

JEREMY

I canrsquot believe this

ldquoWhatrdquo hellipAnd Other Bad Dialogue WritingIncludes a Before-and-After Scene Re-writeby Christopher Ball

Yikes Bad dialogue or what

Scriptwriting is a tough go and good scripts take a great deal

of time to master There is the structure (the beginning middle

end) the motivations the character arcs the reversals the

ldquopoint of viewrdquo (what is the story trying to say) the settings the

details and the dialogue all of which have to dovetail into one

grand masterpiece where every component makes organic sense

and where ultimately everything flows to a masterful logical

conclusion

What makes structure good A coherent story arc with strong

motivations for the characters and plot points that organically relate

to the narrative and lead inexorably to the conclusion Everything

must be there for a reason

What makes characters good Interesting dynamic personalities

we can relate to that have clear motivations that grow organically

out of the narrative and lead them inevitably to the plotrsquos

conclusion

What makes dialogue good Minimal dynamic unpredictable

verbal communication that is an element of the larger picture but

doesnrsquot supersede it

ldquoAs little of it as possiblerdquo might be another good answer I have

read a lot of scripts from short films to small budget independents

to multi-million dollar Hollywood blockbusters where frequently

the dialogue sucks Why There is simply too much of it

Screenwriters especially inexperienced ones often use dialogue as

a crutch to get information out to reveal back-story to make sure

ldquothe audiencerdquo knows what the characters are thinking and doing

and to make sure ldquothe audiencerdquo knows what the storyline is Good

dialogue does not do any of the above

Dialogue should support the story but not tell it Dialogue should

reveal character not describe characters The unspoken is much

more important than what is actually said Dialogue should only be

one part of many clues that make up a complete picture Dialogue

almost always fails when it explains describes gives answers or

repeats known facts Whenever I look at dialogue or edit scripts I

spend a lot of time slashing the dialogue trying to find its absolute

essence I try to think of an action that could replace it or even

better a sound effect piece of music or image that can substitute

for the spoken word

Dialogue should be only one part of the whole structure The

dialogue alone without the image sound effects and music

should not have any meaning Conversely the sound effect

without the dialogue should have no significance and the image

without the dialogue shouldnrsquot tell you everything either Itrsquos the

specific combination of all the elements in concert that imparts

the meaning If you can remove one element and it doesnrsquot change

anything it shouldnrsquot be there in the first place If you can watch a

movie with your eyes closed and you know exactly whatrsquos going

onhellipitrsquos time for a rewrite Itrsquos not a movie any more itrsquos a radio

play with pictures

It takes pretty good actors to make bad dialogue work and even

then itrsquos sometimes hard to rise above it Watch most ongoing

series television dramas carefully and yoursquoll see what I mean If it

werenrsquot for the caliber of the actors the dazzling special effects

and the slick cinematography most TV drama would be unbearable

Screenwriting


because generally speaking the writing is not particularly stellar

and incredibly dialogue heavy

So what do I mean by the ldquoWhatrdquo in the title of this article

Itrsquos the classic moment when one character says something (usually

a piece of back-story or a blatant plot point) that shocks the other

character at which point they look incredulous and say ldquoWhatrdquo I

have never absolutely ever seen an actor of any caliber master the

ldquoWhatrdquo without it sounding just plain bad It never works yet it is

rife in screenplays

I started to think about why that exclamation never works and I

realized that it is a classic example of what dialogue should not

be First of all it is the character telling us what they think and

feelhellip and they should show us not tell us It crudely expresses or

highlights a plot point which we as an audience should already

understand (if we donrsquot then the story is not working and dialogue

wonrsquot help us) Finally it is something people never say in real life

(another thing to think about when writing dialogue) The only time

people say ldquoWhatrdquo is when they didnrsquot actually hear what you

said and want you to repeat it If you were to drop a bombshell

in real life the reaction is far more likely to be speechlessness a

counter-attack a deflection or an attempt to make a joke of it to

ignore it or to move on When I see a script with the inevitable

ldquoWhatrdquo in it I know that there are going to be dialogue problems

Re-read the scene above and try to imagine that ldquoWhatrdquo working

performance-wise without making it sound like a soap opera I

canrsquot

The sample scene which relies entirely on unnecessary dialogue

and is chock full of back-story needs to be mercilessly slashed

Why would Emily talk in detail about the first cruise they took

telling him that it was on the St Lawrence that he ignored her and

did emails on their first romantic encounter He knows all this

Why does Jeremy blab on about their illicit relationship and her

split with Jamie Wellhellip the screenwriter thought it necessary to

get all his carefully planned back-story on screenhellip but it isnrsquot

Back-story is a useful tool that helps the writer formulate and flesh

out the characters and figure out what motivates them emotionally

but it rarely needs to be revealed in the script The only thing

thatrsquos important is the characterrsquos current motivations feelings and

desires What happened in the past (unless itrsquos an actual plot point

within the organic structure of the story itself) is irrelevant to us

ldquothe Audiencerdquo

The characters also repeatedly say exactly what they are thinking

and a character should never say what they are thinking In real life

we donrsquot do that We always hover around what we are trying to

say but we are very rarely direct In fact we usually donrsquot realize

what it is wersquore trying to say or work up the courage and presence

of mind to say what we want to say until itrsquos too late Thatrsquos real

life Thatrsquos interesting unexpected and dynamic Thatrsquos what we

should be aiming for in scripts

So letrsquos re-write that scene and see if we can get it down to its

essence This will only be the second draft so several more drafts

beyond this would probably get it to something thatrsquos actually

ready to shoot but here goeshellip

After Scene Re-Write

INT BEDROOM DAY

It is cold rain spatters on the window The trees outside are bare

Jeremy sits cross-legged on the floor tapping away on a laptop It

is late morning Emily lies in bed awake facing away from Jeremy

staring at the wall there is quite a space between them Therersquos

a chill in the room A cell phone rings Jeremy hesitates on the

keyboard Both sit there for a moment neither making a move

EMILY

Itrsquos mine

Jeremy focuses on his computer screen but his fingers are still

Emily grabs the phone from a pocket in her clothes

EMILY

Hello

Emily glances at Jeremy who does not acknowledge her The

muted male voice on the line is cheery bright She grabs her

clothing and walks out of the bedroom trying not to look as if shersquos

rushing and closes the door

EMILY

Yeshellip Yeah surehellip

Her voice gets muffled Jeremy sits unmoving looks up towards the

window The patterns of water make intriguing designs on the glass

but Jeremy is focused on Emilyrsquos voice Laughter intersperses her

brief exchange

A moment later Emily opens the door

EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door

Itrsquos pretty minimal but it encapsulates what needs to be told Itrsquos an

icy unfriendly relationshiphellip Itrsquos not exactly bright happy timeshellip

They are in the autumn of their relationshiphellip Theyrsquore evidently

not getting along and may not have been for some time (how long

doesnrsquot really matter)hellip Jeremy is focused on his computer not on

Emily and it irritates herhellip Emily is probably seeing someone else

though wersquore not 100 surehellip In the end Jeremyrsquos reaction tells us

that she is The art direction will give us clues as to how long their

relationship has lasted (They obviously live together here could

be some photos on the walls and other memorabiliahellip maybe of

their St Lawrence cruise) The actors will put a lot into this scene

in terms of how they react their looks their posture Therersquos no

need for back-story The narrative plays in the performances in the

sound effects in the mise-en-scene in the lighting the editinghellip

and in the four brief lines of dialogue

Close your eyes and listen to this scene and you wouldnrsquot really get

it Turn the dialogue off and yoursquod get the gist but not the nuances

Turn the sound effects off and you wouldnrsquot know shersquos talking to

another man and you wouldnrsquot hear the cheerfulness in her off-

screen voice The lack of keyboard tapping tells you that Jeremyrsquos

focus is on Emily without him saying anything or looking at her

All the elements are necessary to tell the complete story here so

it works much better than the first draft Itrsquos gone from verbose to

visualhellip from a radio play to a film

Keep it simple Everything in the scene must be necessary or it

goes With some time and thought Irsquod like to take this to another

draft Irsquod like to find something more visual than the phone to

convey the boyfriend plot point Irsquod love to get this down to one

line of dialogue and have everything else told with images and

sounds because I know it would work even better

Christopher Ball CSC has shot eight theatrical feature films

including Stolen Heart (1998) which he shot and co-produced

He has also produced shot assistant directed and directed award

winning dramas TV series documentaries commercials short films

and music videos Christopherrsquos body of work has toured numerous

festivals aired on HBO TMN CBC VISION TV and several foreign

broadcasters and played in theatres worldwide

Screenwriting


In one day I assembled a cast and

crew and shot a spec sitcom I always

thought I could create a classic sitcom

but never thought much about actually

doing one Now with web visibility and

this being pilot season I decided to take

a whack at it So on April 3 at an office

in Orange County California I spent

regular business hours shooting a sitcom

episode on spec Herersquos how we did it

Assembling a CastBefore I did anything else I

reached out to actors with whom I had

worked to see if I could gauge their

interest in participating With a one-

day commitment I wasnrsquot asking for

serious time and with a Saturday

daytime schedule I wasnrsquot encroaching

on anyonersquos typical work or social time

Very quickly I received positive feedback

from a group of top performers most of

whom I worked with before on a variety

of Los Angeles-area projects Previously

I had conceived of and produced several

live events short films documentaries

and other works all of which I carefully

videotaped both for archival and

production reasons

With a team of talent in front of the

camera including men and women of

various ages I then wrote parts for them

all of whom were going to be playing

a host of eccentric types all gathered

together for a one-day mandatory traffic

school In fact the idea hit me in early

winter of 2010 while I myself was sitting

in an endless traffic school surrounded

by people from all walks of Southern

California With my concept intact and

my different performers signed on I

created an initial script of 18 pages

Writing comes very naturally and fluidly

to me and this was no exception Though

I had ldquopre-writtenrdquo many of the scenes

and character situations in my head

tailoring them to the specific actors who

I knew I would be working with I spent

one very late night cobbling together a

script in standard screenplay format

Since I had pre-written many elements

the actual creation of the body of the

script was done between midnight and

4AM on Friday March 27 Why then

Because at 1PM that day I had most

of the actors arriving at my house for

rehearsal We read through the entire

script about three times doing certain

sections a few additional times and it

was infinitely helpful I have found that

rehearsal is most helpful for ironing out

specific line readings with the actors Of

course it changes on the actual shooting

Shooting a Sitcom

in One DayHerersquos How We Did Itby Scott Essman

day but at least you have something on

which you can build

The DayAfter a few re-writes through the

week leading up to production we

were ready to go Work started at 8AM

on Saturday April 3 We had all of the

equipment prepared including four

high-definition Canon XL H1 cameras

plus four camera operators with whom

I had worked on previous projects

plus a sound mixerboom man and a

great team of two makeup artists and a

hairstylist to make sure that everyone

looked good Two script supervisors

logged all of the shots which were done

as to close to sequentially as possible

and I had an assistant director to help

with basic paperwork and organization

After several hours of makeup and

hair my cast assembled in the main

classroom that served as our set We

had pre-lit the set for shooting and had

prepared a minimal amount of props

and basic costumes for the performers

Going through the script and shooting

it with four different angles on the

performers for each take I methodically

got the words from the script down onto

the immortality of videotape We would

do at least two clean takes of every

scene and the script supervisors and I

had broken up the script into roughly

one complete scene per page As often as

possible I like to shoot complete scenes

with multiple performers as opposed to

isolated shots on each performer With

four cameras this was possible We

captured much more this way necessary

in a short shooting period and had the

advantage of on-the-spot performer

interaction

The AftermathAfter four hours of shooting

everything with four cameras we had

975 of the 18 12 pages of script in

the can We will proceed with a few

ldquopickuprdquo shots of different things that

we didnrsquot have time for during principal

photography but that can be easily done

with only one camera and two extra

actors who werenrsquot shot on the main day

Our job now is to put a cohesive funny

well-constructed piece together in post

But I already have an editor on board

to do so and considering that we did

everything in a day I have more than

I need to realize a cohesive spec sitcom

episode Next step after post will be a

sound mix with intermittent music and

effects and only if absolutely necessary

looping or automated dialogue

replacement Otherwise we should be

able to ldquofindrdquo this final project in the

editing room and export the finished

work At that point wersquoll output the

final video for web and DVD It should

tap out at about 15 minutes and be

made available to everyone and anyone

who will have a look And we did this on

an extremely small budget I wonrsquot say

exactly how much but you could not

buy an iPad with my budget But itrsquos

done it worked and wersquore onto the path

of having a finished project See you in

Traffic School

Since the mid-1980s Scott Essman

has been writing and producing projects

about motion picture craftsmanship He

is the author of the books ldquoFreelance

Writing for Hollywoodrdquo and ldquoTim Burton

An American Originalrdquo

Production


What is the cheapest and easiest type of feature film for one person or a small team to make these days I would say a highly stylized 2D animated South Park-looking cartoon Why Because no one can say it does not look right or real

2D animation has always been a very forgiving produc-tion environment where the audience is used to a suspension of belief Animated characters doing things against solid white backgrounds or very simple drawings are accepted as part of the style The cast crew and sets may consist of just one per-son in a room with a computer and a big idea

This style of filmmaking works best for people who already have a good eye for production design Photoshop andor draw-ing The worse the animation looks the better the story and script need to be South Park is never going to win any high animation art awards The silly situations and dialogue keep us watching The crude almost elementary school flat sliding animation style only makes you laugh more

It takes about nine months from start to finish for a team of people to make one Simpsons episode It takes about two weeks to make one South Park show of the same length Why Because of the way the animated frames are created In South Park there are no walk cycles with bending legs angled per-spective moving shots or complicated in between drawing se-quences Traditional 24 fps hand drawn Disney-style anima-tion is obviously not a good choice for a low budget animated film either

What would Avatar have been like as a 2D South Park style film DV HD 2D 3D and film all have their own viewing strengths

8 Tips for Creating Modern Low Budget 2D Animated Films

(1) Use Good Animation Software Programs like After Effects and Flash can be used to make modern animated 2D feature films for very little budget If you know Maya or other advanced 3D programs you will save time by mapping the images onto planes or simple objects Many video editing programs can do simple ani-mation styles too with layers but do not have as much animation controls

(2) Surreal Extreme Visual Realities Anything can happen in 2D and usually does which is an important idea to develop in 2D stories The sky literally rains cats and dogs You need to really push your story idea visu-ally to do impossible things Think of new ways to show things in a clever way

(3) Characters Appear Not To Get Hurt Or Die 2D animation has a history of funny violence and charac-ters with more than nine lives Kenny gets killed each episode in South Park

(4) Superheroes Create original 2D characters who can do unusual things you always wanted to do in an ex-treme and visually fun way

(5) Suspension of Disbelief People will stretch more to get into abstract realities impossible character move-ments abilities or situations

(6) More Forgiving Production Environment 2D is a much more forgiving production environment where simple crude animation techniques are celebrated if

Create Highly Stylized 2D Animated ldquoSouth Parkrdquo-Like Cartoons8 Tips and 7 Steps for Getting Started

by Sherri Sheridan

the story holds together 2D animated worlds are often so abstract that viewers have no expectations about how things should look A sloppy or crude 3D animat-ed character will not play as well One animator took photographs of dead fish at a market animated their mouths up and down and created a whole cast of char-acters What types of simple animation techniques have you seen that might work great for your film

(7) One Person Productions 2D animated characters work for free are always available never late donrsquot need to be fed and do what you want them to do without complaining Actors and crew can take up lots of time organizing If you draw your characters or use ani-mated photographs or dolls you can work on your film anytime you feel like doing a shot Some feature film directors such as David Lynch and Tim Burton started out doing simple 2D animated films How can you begin developing your own filmmaking style in the 2D realm without having to worry about organizing large casts and crews

(8) Multiple Production Environments and Materi-als Modern 2D is a mixed production environment bag encompassing hand drawn stop motion animated pho-tographs digital art vector based Flash style anima-tions DV elements special effects motion graphics 3D and claymation What unique combination of animation materials and production environments could you use to develop a fresh visual style Think of easy production styles like DV heads on hand drawn bodies to save time lip-synching and animating the face

7 Steps for Creating Modern 2D Animations

(1) Hand draw characters (or use Photoshop images or DV cut-ups) with each moving part as a separate layer to animate like paper dolls

(2) Scan and reassemble character drawings in Photoshop as individual layers ready to animate Name each layer carefully (for example ldquoright armrdquo) Make sure the lips or anything else that moves like blinking eyelids are on a separate layer

(3) Add rotation points at the joints to move arms and create walk cycles in programs like After Effects The more joints the harder it is to animate First get the character walking in place in a 10-second loop that looks

good This walk cycle loop then becomes one layer you can slide around setting keyframes over the background drawings

(4) To animate a character walking across a set first cre-ate a keyframe at the start of the timeline shot with the walk cycle layer positioned on the left side of the screen At 4 seconds create another keyframe and drag the character to the other side of the frame When rendered the character will appear to walk across the set during a four second shot

(5) Create background sets using simple scanned draw-ings digital photos Photoshop image collages DV or combinations Think in layers such as cutting out the sky and using DV cloud footage for unique visual styles and to save time while adding movement and depth

(6) Lip Synching can be as easy as scaling a lip layer up and down each time the character talks DV lip synch lips can also be cut out and composited over drawn faces or objects Try planning camera shots where you can-not see the characters lips while they talk by putting things in front of them or cutting to something else

(7) Scan and pan across large photos or drawings to cre-ate dynamic 2D camera shots and sets Create image backgrounds that are about 3000 pixels wide Use the ability to zoom in and out and around large photos as your camera movement Photoshop works great for cre-ating layered background files that can be animated like characters full of moving elements For a city scene you could have layers of buildings cars trains birds clouds fog crowds and blinking stoplights

Sherri Sheridan teaches storytelling techniques to digital filmmakers and animators with her books classes and work-shops Shersquos also the creative director at Minds Eye Media in San Francisco (wwwmindseyemediacom) where she directs produces animates writes and designs projects for a wide range of clients Sherri is the author of the books ldquoMaya 2 Character Animationrdquo (New Riders 1999) and ldquoDeveloping Digital Short Filmsrdquo (New Riders Peachpit Pearson 2004) Recently she created a 20 hour DV workshop based on the books called ldquoWriting a Great Script Fastrdquo available at MyFlikcom

Animation

studentfilmmakers 2010 Vol 5 No 3

How many times have you finished your sequence eager to make that output for the director to watch or to export a Quicktime for all your YouTube fans to check out but then you have to wait for what seems like forever as you render all of your dissolves and other effects If your editing style is anything like mine while you may have layered video effects and graphical builds virtually all your ~dissolves~ are on the audio tracks If theyrsquore not Irsquod suggest you work on your editing style Therersquos a saying if you canrsquot solve it dissolve it ndash meaning more or less you dissolved because you couldnrsquot find the right place to make the cut And if you donrsquot have a lot of dissolves on your audio tracks Irsquod suggest you pay a little more attention to your sound mix Your audience can hear a bad sound edit almost as easily as they can see a jump cut But I digress What Irsquom really trying to get to is this herersquos a tip for reducing your render time cleaning up your timeline getting a better sound mix and avoiding the possibility of accidentally deleting your hard-fought audio smoothing

Your video render time is unavoidable unless you just option to have a sequence with no video effects slowdowns speedups white flashes color washes and what-not But virtually nobody tells a story this way anymore So yoursquore going to have render time on the video side of your timeline Fine What Irsquom here to do is to tell you how to improve your mix and eliminate the render time

on the audio side of your timeline The answer is contained in a concept called rubberbanding Itrsquos available on both Avid and Final Cut Many of you probably already use rubberbanding to ride audio levels to get you to a decent mix but what you may not realize is that same rubberbanding can get rid of entirely the need for audio dissolves This way you canrsquot and more importantly your director who maybe thinks hersquos your co-editor canrsquot accidentally delete all those carefully smoothed audio dissolves Or at least hersquos less likely to

If you donrsquot already use rubberbanding itrsquos no big deal really You really should learn it Itrsquos a very powerful tool Herersquos how it works You find the option that turns it on Now you see a horizontal line at zero You add a keyframe or two or as many as you need You lift the parts of the sound that are low you lower the parts of the sound that are high You hold the Option or Alt key to slide that keyframe left or right Thatrsquos it Major flexibility in improving even well-recorded sound not to mention the ability often times along with EQrsquoing and audio filtering to make bad sound at least somewhat acceptable

Anyway herersquos the trick for reducing your render time Letrsquos say you have a fifteen frame sound dissolve starting at cut First delete the dissolve effect Then extend the outgoing sound by fifteen frames Add a keyframe at the last frame of the outgoing sound and

another at fifteen frames prior to the last frame ie your old outpoint Now lower that last keyframersquos volume as far down as you can Voila A sound dissolve without the need to render an effect But wait Therersquos more Lots more You now have a world of flexibility in terms of how that sound dissolves out and the other dissolves in By using a combination of extending the length of the clips outgoing and incoming moving the keyframe left or right and keyframing the volume up or down at any point during the transition you can fully control how the sound transitions from one to the next

I guarantee if you try this you will find this kind of flexibility to be amazingly powerful not to mention it gives you the added benefit of not having to render So try it then send me praises or copies of your latest masterpiece

Jeff is a freelance editor with credits on many major networks and experience in subjects including war sports fashion true crime food nature medicine music and reality Currently with ABCrsquos Nightline Jeff is also active in narrative fiction having edited the indie comedy short ldquoGet the Script to Woody Allenrdquo the courtroom drama feature-length film ldquoThe Packrdquo starring Lucie Arnaz and has directed shot and edited about twenty short films

The Power of RubberbandingReduce Your Render Time Get a Better Sound Mix and Avoid Losing Your Audio Smoothing

by Jeff Turboff

bull 45000+attendeesfrom 140+ countries

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bull world-classdemonstrationsof groundbreaking technology such as stereo 3D

bull agenda-settingconferencewith 300+ high-profile international speakers

bull NEWConnectedWorldfor IPTV Mobile amp Digital Signage (Hall 9)

bull FREEhands-ontrainingProduction Village (Hall 11) and Post Production (Hall 7)

bull FREEExhibitionBusinessBriefings

bull FREEmoviesscreeningsin the IBC Big Screen

bull FREEentryto the prestigious awards ceremony on Sunday 12 September

wwwibcorgIBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK T +44 (0) 20 7832 4100 F +44 (0) 20 7832 4130 Einfoibcorg

IBCisthepremierannualeventforprofessionalsengagedinthecreationmanagementanddeliveryofentertainmentandnewscontentworldwide

IBC2010Experiencethestate-of-the-art

RAIAmsterdam

Conference9-14SeptemberExhibition10-14September

Registernowat

wwwibcorgregister

Editing


Maybe yoursquove had this experience You know a song that would be perfect for your movie You scurry around trying to get permission to use it After lots of leg work you contact the rights holders and then wait For weeks or months Eventually you hear that the song is not available or if it is the fee happens to be tens of thousands of dollars more than you have in your bank account Welcome to the world of music licensing

Clearing music is one of the thorniest jobs a producer can do It usually requires extensive research long delays and complex negotiations If you ever have the experience of trying to clear many songs for a movie yoursquoll probably never want to do it again Many filmmakers prefer to hire a music clearing service that can shortcut the process with their network of contacts If you want to use a pre-existing recording yoursquoll need to obtain permission to use the musical composition as well as permission to use the particular recording of it Often a publishing company controls rights to the composition and a record company controls the recording itself Sometimes filmmakers canrsquot afford the recording if itrsquos by say a famous rock star They may license the rights to the composition and get someone else to perform the song If you find a song by a lesser known band they may give you a good price as a way to get exposure

To secure rights to a composition start by contacting the publishing company Usually the printed material with a recording indicates which performing rights society the publisher belongs to these include ASCAP (wwwascapcom) BMI (wwwbmicom) or SESAC (wwwsesaccom) If you donrsquot know which one handles the song yoursquore interested in you can do a search on these sites

To include a musical composition in your movie you need synchronization or sync rightsmdashso named because the music is synchronized to the picture To perform the music in public you need public performance rights In the United States public performance rights for theatrical films are generally included in the deal you make for sync rights you donrsquot have to pay for them separately but make sure theyrsquore included

For movies that are broadcast on television the broadcaster usually obtains the public performance rights If you want to put out a sound track album from the movie on CD or other format you will also need mechanical rights If you plan to make significant changes to a song (say to alter the lyrics) you may need to negotiate adaptation rights Some composers or publishers wonrsquot permit such changes

If you want to use a pre-existing recording of the song contact the owner of the recordingmdashusually the record

company (look online or on the sleeve of a CD for the address) Yoursquoll need a master use license to use the actual recording (performance) in your movie You should also ask the record company if any reuse fees are due the performers on the record At one time you would have also needed to arrange to get a copy of the master tape in order to have a high-quality audio dub Today you can get the audio recording itself from a consumer CD or other digital format

Negotiating the Rights Package

For the classic situation of trying to clear a recording by a musical artist you like you will be requesting a sync license with public performance rights from the publisher and a master use license from the record company Both of them will ask you to submit a written or online request that details the nature of your movie how you plan to distribute it and the way the music will be used Yoursquoll pay more if the song is used under the moviersquos titles or otherwise featured you often pay less if it will only be background music in a scene

How the movie will be distributed (by which media) where it will be shown (in which territories) and for how long (for what term) also affect the price of the license fee Big-budget feature films generally clear music rights for all media (theatrical broadcast and free cable TV pay cable TV home video

Clearing Music for Your FilmNegotiating the Rights Package Library Music versus Original Scores

by Steven Ascher

digital delivery and formats not yet invented) in all territories (domestic and foreign) in perpetuity (forever) This buyout of all rights is by far the most desirable in terms of simplifying business arrangements However you may not be able to afford it Getting only the rights you need is usually cheaper For example students often make a deal to acquire just film festival rights Or you might get nontheatrical rights (often including screenings in institutions like museums and universities) or theatrical rights to art houses but not first-run movie theaters You can renegotiate a more extensive rights package later Some rights holders will offer only a limited (say five-year) term In some license agreements the term for home video is ldquoin perpetuityrdquo but an additional royalty payment is made per DVD unit sold The rights holder will usually have a standard contract for you to sign

As technologies change there can be uncertain areas of coverage For example video-on-demand (VOD) could be thought of as relating to cable TV distribution digital streaming and home video distribution In this time of transition not all rights holders will categorize it the same way

Keep in mind that acquiring rights is a negotiation The rights holder will name a price that may take your breath away then itrsquos up to you to come back with a lower price Sometimes theyrsquoll consider it sometimes not If yoursquore poor and struggling and working on a worthy project they may make a special exception If yoursquore too poor (or not part of a reputable organization) sometimes they wonrsquot even talk to youmdashitrsquos just not worth their time If yoursquore negotiating with several rights holders and can find one who offers a lower price sometimes you can get the others to agree to a lower price too Often this is done on a favored nations basis which means that for the

deal to go through no one is favored all parties must agree to the same price One advantage of using a music clearing service is that they know whom to negotiate with and the standard rates being paid for licenses You may or may not be able to bargain for a better deal on your own

Some public broadcasting entities such as PBS have blanket agreements and compulsory licenses that may allow you to use music without clearing it with rights holders This applies only to the television broadcast You may still need other rights if the movie is shown elsewhere

Even if the licensing process goes well it can take months If a song is integral to the movie (say if a character sings it) be sure to start as early in preproduction as you can Increasingly music publishers and record companies are using online tools on their websites to automate and streamline the process of requesting and paying for a license

After the movie is done you must prepare a music cue sheet which details which compositions you used the performing rights society associated with it and how the music appears in the movie This is essential for all parties to collect proper royalties

Library Music

To avoid many of the rights issues mentioned above you can use prerecorded music from a production music library (also called stock music) Numerous library collections are available online and on disc with selections in many styles and arrangements This music is packaged specifically for reuse A library of stock music may be purchased or leased for a period of time by a production facility or

individual tracks may be purchased and downloaded on a laser drop basis (what used to be called needle-drop which is a continuous section of a recording used once) The rights for the piece are provided with the fee

Original Scores

Having an original score written for a movie avoids most of the headaches mentioned above When producers have an original score composed often the producer will own the rights to the music in which case the music is considered a work for hire If as producer you own the music yoursquoll want to set up a publishing entity and register it with one of the performing rights societies (see above) to collect royalties Sometimes the composer will lower his or her fee in exchange for retaining some or all the music rights in which case the producer must have a license from the composer to use the music If the movie is shown widely on television or in non-US theaters there can be sizable royalties paid to the holder of the rights The composer will receive half the royalties regardless of who owns the music

Steven Ascher is an Oscar-nominated filmmaker whose acclaimed work includes Troublesome Creek (Sundance Grand Jury Prize amp Audience Award) and So Much So Fast ndash both made with his wife Jeanne Jordan Their new feature doc is Raising Renee He is author of The Filmmakerrsquos Handbook a Comprehensive Guide for the Digital Age (with Ed Pincus) a bestselling text that the Independent calls ldquothe biblerdquo

Music amp Sound


For filmmakers perhaps the most nerve-wracking step in the long ardu-ous process is coming up with enough money to complete their films This is true for even established Hollywood di-rectors let alone first-time neophytes

Nearly everyone aspiring to put their cinematic vision on the big (or small) screen has tapped out credit cards friends and family

Thanks to the Internet therersquos an alternative place to find funding A year-old website called Kickstartercom allows all kinds of artists to find bene-factors for their creative projects Not surprisingly filmmakers alongside art-ists designers musicians journalists inventors and explorers are raising money through this means

There is one major catch though The person asking for the money must raise all the money within a particular period of time or he or she risks not get-ting a cent As if a filmmaker doesnrsquot have enough problems About half of the projects coming through Kickstarter fail to raise the needed funds

Currently there are dozens of film projects seeking funding through Kick-starter ndash part of a relatively recent In-ternet phenomenon known as ldquocrowd-

fundingrdquo which Wikipedia describes as ldquothe collective cooperation attention and trust by people who network and pool their money together usually via the Internet in order to support efforts ini-tiated by other people or organizations Crowdfunding occurs for any variety of purposes from disaster relief to citizen journalism to artists seeking support from fans to political campaignsrdquo

As it pertains to film financing the folks at Kickstarter stress that money seekers rely on their own networks of contacts to raise the required funds and then funnel all their fundraising and marketing efforts through Kickstarter thus better providing an opportunity for success Facebook and Twitter figure prominently in most campaigns to publi-cize the filmmakersrsquo plight

Financing Films

via the Kickstarter MethodThe Crowdfunding Approach

by Larry JaffeeTrue visitors to the Kickstarter web-

site who are there to support another project might feel benevolent and throw some money the way of an aspiring au-teur or if they like a concept Itrsquos often artists supporting artists and therersquos nothing wrong with that

Despite the considerable risk factor in such an endeavor coming up with the dollars this way could very well mean whether a movie gets finished or not

The way the system works contribu-tors are directed to an Amazon payment system but the financial amount is not charged to the payerrsquos credit card ac-count until the project poster hits their total

StudentFilmmakers magazine spoke with two filmmakers (one animated short one feature) who both hit their targets on April 22

Caldera Animated Short

Within two weeks of posting his project on Kickstarter 27-year-old writerdirectorproducer Evan Viera of Northampton Massachusetts exceeded the $10000 he sought to finish produc-tion on a 10-minute animated short called Caldera The Kickstarter video about the film offers a work-in-prog-ress about individuals struggling with psychotic disorders and venerates the

brilliant minds forged in the haunted depths of psychosis

Viera has worked on several short films as sound designer composer and visual artist Evan graduated from Hampshire College in 2006 his Division III Sycamore Eve was a short animated film that won ldquoBest Animated Filmrdquo in the Scene First Student Film Festival

ldquoWe originally thought about ask-ing only for $5000rdquo says Viera who explains on the Kickstarter site why the project needs the money ldquoIn the past several months the crew has grown and managing the project has happily taken over our lives This critical mass is forc-ing us to leave our part time work and focus on the film until it is done Your financial support will make this a real-ityrdquo In an interview with StudentFilm-makers Viera explains that the Kick-starter proceeds will be used mainly to cover the two years of time hersquos put into the film which is still only about half way completed He explains that anima-tion is tedious work ldquoWhere it gets ex-pensive is the laborrdquo he says

On April 22 Viera went over the top of his Kickstarter goal of $10000 (cov-ering only a third whatrsquos really needed to subsidize his plans for hitting the fes-tivals) with 74 days to go which means he wonrsquot receive the funds until July 6 ldquoWe sort of planned for that [but the up-

side is] we might have far more money by thenrdquo

Caldera has utilized student interns from the University of Massachussetts at Amherst where he teaches anima-tion The filmrsquos chief animator and writ-er Chris Bishop teaches animation at his alma mater (class of 2004) Hamp-shire College from which Viera also graduated in 2006

Once completed Viera plans to work Caldera through the festival circuit in hopes of getting enough attention that will help him eventually mount an ani-mated feature

All Kickstarter participants are urged to come up with creative ways to involve their donors

Ten people have already donated $20 or more to the Caldera cause and in ex-change theyrsquoll receive exclusive access to high quality digital stills Another 18 donors of $50 or more will also receive a DVD including bonus materials Eight people have given $100 or more and will receive in addition a high quality print of artwork from the film Nine people have been assured of a ldquospecial thanksrdquo line in the credits for contributing $250 or more One person has become an ex-ecutive producer in exchange for $2000 To date no one has taken up Vierarsquos of-fer for ldquoan all-inclusive triprdquo to the pre-miere and after-party for $5000

From Evan Vierarsquos animated short Caldera

Caldera team at work

Film Business


Goodbye Promise Feature

For Los Angeles filmmaker David Branin it was touch and go whether he was going to get the $15000 target by April 22 at 11 pm With 14 hours to go Goodbye Promise his feature film about an actorrsquos dream to make it in Hollywood within seven years was still about $4000 short in coming up with the required post-production money Like the fictional story he was trying to tell time was running out but writerdirector Branin wasnrsquot exactly freaking out because he had one Kickstarter backer who indicated that he would make up a shortfall if necessary ldquoWe had a backup planrdquo Branin says referring to the production teamrsquos principals who figured they could come up with a few thousand dollars themselves in an emergency situation so that they wouldnrsquot lose the rest of the Kickstarter money but hersquos extremely thankful that wasnrsquot necessary The end total was $16203

ldquoThe first 50-60 of the people who gave [through Kick-starter] we know utilizing our own network who were connect-ed to us in some way In the final hours we reached people we didnrsquot knowrdquo says Branin who when not working on Goodbye Promise works as a bartender and a care-giver to an elderly woman

ldquoThe crew has already been paidrdquo says Branin who has a laundry list of other people hersquos going to pay from the Kick-

starter proceeds including the filmrsquos editor social media pro-ducer and its web designer as well pay back the loan he took out to pay equity actors Some of the money will be used for color correction and sound design

Goodbye Promise is his second feature the first being Night Before the Wedding which he directed wrote and produced for $40000 and was finished largely due to deferred payments

Branin co-hosts a weekly Internet show on LA Talk Ra-diorsquos ldquoFilm Couragerdquo about making it in Hollywood with Karen Worden who appears in Goodbye Promise He admits the show was helpful in getting out the word about their Kickstarter campaign but they couldnrsquot be so obvious on-the-air about ask-ing for money

wwwkickstartercom wwwcalderathefilmcomwwwgoodbyepromisecom wwwfilmcouragecom

Larry Jaffee is a New York-based journalist focused on the entertainment industry He has been published in The New York Times Rolling Stone and Hollywood Reporter among many publications Jaffee is also the author of ldquoAlbert Square amp Me The Actors of EastEndersrdquo and the publisher of the Walford Gazette (wwwwgazettecom)

Night Before the Wedding SetDavid Branin on set

Carl Zeiss Introduces the Worldrsquos First Set of Cine Lenses for HDSLR Cameras

The Compact Prime CP2 Lenses

Carl Zeiss presented a new generation of Compact Prime Lenses at

this yearrsquos NAB show Why change the mount on the camera when you

can change it on the lens The Compact Prime CP2 lenses deliver great

flexibility by introducing interchangeable mounts that allow the lenses to be

used with a wide range of cameras from traditional cine to HDSLR systems

Available with three different mounts ndash PL EF and F ndash this new family of

Zeiss lenses enables cinematographers to be completely free in their choice

of camera systems while ensuring a high consistency of images The lenses

can be upgraded to any number of existing or future cine and still cameras

while enabling cinematographers to still utilize the same set of lenses The

CP2 lenses are small light-weight and cover a 24x36 sensor size ndash making

them the ideal choice for the owner operator of the current and future

generation RED cameras For more information visit the Zeiss website at

wwwzeisscomcine

The Tiffen Company Announces Two New Diffusion Filters to Award-Winning Optical Filter Line

The SoftFXreg Black Pro-Mistreg and Black Glimmer Digital DiffusionFXreg

The Tiffen Company announced at this yearrsquos NAB show the addition of

two new diffusion filters to their award-winning optical filter line ndash SoftFXreg

Black Pro-Mistreg and Black Glimmer Digital DiffusionFXreg The Tiffen Soft

FX Black Pro-Mist is a combination of the existing SoftFX filter and Black

Pro-Mist filter The SoftFX frac12 is maintained throughout with a range of Black

Pro-Mist densities which produces an ethereal mood to images The filter

provides a wide range of diffusion while toning down excessive sharpness

and creating a soft pastel effect In addition this filter combination reveals

more shadow detail and produces a dreamy glow to subjects with enhanced

but controlled halation The Tiffen Black Glimmer Digital DiffusionFX is

a unique filter that cannot be reproduced by any combination of diffusion

filters Using the same advanced diffusion filter technology as the Digital

DiffusionFX Tiffen has produced a filter ideal for High-definition cameras

producing enhanced beauty while maintaining the richness of colors

and blacks This diffusion filter maintains sharpness and softens detail in

a unique manner brightens all skintones and adds a mild glow and silky

transition to highlights These new filters are now available in sizes 4x4 and

4x5650 Other motion picture sizes are available upon request For more

information visit wwwtiffencom

International Supplies Announces New NextoDI Video Storage Pro 2500

Ideal for the Video Professional on the Go

You no longer need to lug your laptop on assignments in the mountains or

on the streets Whether yoursquore using an S x S or P2 card ndash or any standard

memory card ndash you can secure your footage with immediate backup ndash

anywhere The NextoDI Video Storage Pro 2500 is a handheld on-location

backup device The NextoDI 2500 features a 24rdquo LCD color viewer for

backup verification ndash and accepts both S x S and P2 cards The NextoDI

2500 can backup from any standard memory cards including CF SDHC

SD MMC MMCPlus MemoryStick and more NextoDIrsquos patented X-copy

technology offers exceedingly fast backup speeds ndash in addition to providing

500GB of storage in the palm of your hand The NextoDI 2500 offers bit-by-

bit verification of data so you can be confident that your valuable footage

is secure Since 1984 International Supplies has distributed photographic

and video products worldwide Check out their NextoDI Video Storage Pro

2500 at wwwinternationalsuppliescom

The ikan Elements The Truly Modular Camera Support Solution

Configure Your Camera Rig How You Want It

The ikan Elements line is your affordable continually expanding camera

support solution Whether you need a full pre-configured kit like the

lsquoSuperflyrsquo or just a pair of affordable 15mm rails the Elements line has

exactly the right piece for you And with new parts coming out of ikan

RampD on a regular basis (tripod mounts follow focus kits and more) your

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the rods and a rail mount are for additional accessories such as a follow

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Mount 2 grip bars and 4 handle arms therersquos a top mount plate for easy

connectivity that saves wear and tear on your camerarsquos cold shoe mount

For more information go to wwwikancorpcom

Featured Products and Services

Film Business


At some point in my life my momma said

therersquod be days like this but Irsquom pretty sure she

didnrsquot envision what I had going on this particular

day when she said it It was Friday September 19

2008 and I woke up in Washington DC only

200 plus miles from my home base in New York

City I was two weeks away from completing a

seven week documentary project that saw me

traveling the country and into Canada to visit all

30 MLB ballparks interviewing fans and adding

my own commentary along the way for a film

called ldquoTwice in a Lifetimerdquo You see I had done

this trip in 1998 as well and decided it would be

a good idea to try it again ndash in the same Jeep

Wrangler- but filming it and blogging about it

this time The other main difference between

1998 and 2008 was that in 1998 I was fresh out

of college without a care (or bill) in the world

but this time I was running a major event video

company in New York City with rent to pay

part-time employees to manage and projects to

oversee To say the least it was slightly more of a

challenge this time around

On the morning of September 19 the

challenge increased because I was supposed to

be flying to Minnesota to pick up my car (long

story- read the blog) in order to drive to Toronto

for my third-to-last game of the season Instead

one of my videographers called and told me he

wasnrsquot able to film a New York City wedding

shoot the next day because his mother had fallen

ill and he had to travel to California to take care

of her I didnrsquot count on this happening I had

a precise schedule of ballparks to hit and travel

plans made in order for this to work out and only

four days left in the trip What the heck was I

going to do now

After a few calls I realized I would have

to film the wedding back in New York City

myself The problem was the itinerary for my

documentary I needed to get my car back closer

to the east coast and it was still in Minnesota

I had a flight booked from DC to Minneapolis

via Atlanta (hey- I saved $40 at the time when

I booked this very indirect route) which put

me in Minneapolis at two in the afternoon

I decided that I would drive the 10 plus hours

from Minneapolis to Detroit where I would take

a one-way flight to New York City and leave my

car (so it would be closer to Toronto where I

would need to be in three days to get to my 30th

ballpark)

To complicate matters my friend who lived

in the upper peninsula of Michigan wanted to

join in on the trip so I had to drive to Detroit

through upper Michigan to pick him up so he

could also catch the one way 6 am flight to

New York City which added two more hours

to the drive Along the way from Minneapolis

my GPS went out and I went an hour out of my

way I did a 360 and went into a ditch braking

to avoid a deer in Wisconsin I got pulled over

in a small town in Michigan for driving without

lights on I fell asleep at the wheel for at least

30 seconds at one point but through all this still

made it to Detroit at 500 am just in time to

catch my flight to New York City and prepare

for a 10-hour wedding shoot at one of New York

Cityrsquos top wedding locations

I think I made it through the day on pure

adrenaline and the video turned out great ndash but

I literally fell asleep walking on the sidewalk

after the shoot trying to catch a cab back to my

apartment I was spent The next day a Sunday

was game 28 the final game ever at my beloved

Yankee Stadium ndash and even then ndash I could hardly

keep my eyes open I took a bus to Baltimore

on Monday for the 29th game which was the

Orioles and a one-way flight Tuesday to Detroit

where I got my car and made it to Toronto for

the final leg and stadium of the trip I was done I

had made it and my business ndash the way I pay the

bills and eat every month ndash was still intact

I wasnrsquot sure eight weeks earlier if I was

going to be able run my business and complete

this project at the same time It would be tough I

had guys that worked for me who I had assigned

jobs that I would normally film myself I hired

and trained a new editor and taught him my

editing style so I wouldnrsquot get too backlogged in

projects I bought a wireless modem and e-fax

service I had my mother become my bank with

all funds from clients being sent to her and then

from her to my bank so there was always cash

to pay my employees and fill up the gas tank It

didnrsquot matter though ndash I was determined to do

it The reason I started my video business in the

first place was so that I could do projects exactly

like this

It all started in the summer of 2000 when I

impulsively bought a Canon GL-1 without even

knowing how to use it to film another baseball

related project I had in mind That project never

really took off but the camera was nice and I

kind of liked the things I could do with it A close

friend of mine was getting married soon after I

bought it and I offered to film his wedding for

him I had never even seen a wedding video

but I figured it would be a fun keepsake ndash and

hey I had a $2000 camera On the wedding day

I didnrsquot really know what the heck to do but I

got some good footage and the couple was

eventually thrilled when I gave them the DVD

(Took over a year because I didnrsquot even have a

computer at the time capable of editing video)

I eventually bought the iMac that looks like a

lamp and taught myself iMovie The wedding

was hardly a masterpiece but they loved it A

friend from the same circle asked if I could film

his wedding ndash and then a cousin ndash and it went

on and on After a while I had figured out some

tricks and tips for shooting the wedding day so

it wasnrsquot just a guessing game for me The other

thing was I actually was starting to like filming

weddings Sure I wasnrsquot out making Clerks or The

Blair Witch Project but I was doing something

creative and using a video camera to do it Some

day I would make my moviehellip As I got better at

filming and editing weddings I realized I needed

to start making money too I created a website

with a few clips from the free weddings I filmed

and made business cards to pass out to friends

Bridge WorkldquoWork done to pay the bills that allows you to the time to pursue your true passion and creative aspirationsrdquo

by Tim Smith

My first big break was when a friend in New

York City passed my card along to her friend

who was having an Indian wedding Little did

I know how different and how big of an affair

an Indian wedding was but I gave her a quote

and she hired me They loved their video and

referred me to other Indian friends who also

hired me The ball was now rolling where I was

actually brining money in doing something I

liked Of course I needed better equipment if I

was actually getting paid for the job so I bought a

nice shotgun mic and a lav mic for the vows and

toasts I bought a decent tripod and threw out

the beat up rolling suitcase I used to transport

the equipment and actually bought a pretty nice

camera bag (Which I still have and use often)

I really started feeling like a pro My next big

break was when I decided to actually advertise

on the wedding website the Knot

Inquiries were infrequent but I got a call from

a bride a week before her wedding and quoted

her $2500 which was twice as much as any of

the other jobs I had done at that point Irsquom not

sure why I quoted that high but she booked and

I now had a huge paycheck for doing something

that was actually kind of fun I also booked a

wedding around the same time for about $2000

from a friend of my girlfriend Little did I know

that she would love her video so much that she

referred me to every friend she knew who was

even thinking about getting married I have done

over 15 weddings now that were a direct result

of that bride Things were going well and the

equipment kept getting better and better

I also got involved with wedding professional

organizations to learn more about the craft and

network with others who were doing the same

thing I learned so much from these groups and

it opened up a whole new world for me seeing

that I might actually be able to do this full time

Others were so helpful and so willing to give

their time and advice that my business continued

to grow I was soon interviewed by WedVidTalk

Com a website for wedding videographers and

the exposure allowed my work and views to

be heard by others in the industry I met more

people through this and some actually worked

for me later when business was so busy that I

needed more shooters to cover the days when I

was double or triple booked

I eventually ditched the original camera

and bought a DVX 100A which I loved After

about 18 months with the DVX I upgraded to

HD and bought a Canon XH-A1 I now have four

Canon XH-A1s as well as Canon DSLRs which I

use on almost all of my wedding and corporate

projects

Things were going well ndash business was great

and the money was rolling in But something

was missing Ever since I was in college I knew

I wanted to be a filmmaker screenwriter or

stand-up comedian The problem is that I was

now a full-time businessman whose part-time

aspirations for being a performer and filmmaker

were disappearing By the summer of 2008 my

business had reached a level where I had both

a wedding company and a corporate video

company I was at a point where expansion was

not only possible but probable and logical I

was still doing most of the work alone but had a

network of freelancers who shot and sometimes

edited to help me get things done Now I was in

position to expand and bring in some full time

people to take this business to the next level But

then it hit me Thatrsquos not what I wanted to do I

wouldnrsquot be true to my original artistic aspirations

if I became just a full-time businessman I needed

to break off I needed to make a film What the

hell was stopping me I had some money now

I certainly had built up a lot of great equipment

ndash most of which was the same being used by

filmmakers worldwide I had enough equipment

that I actually rented out my equipment to

colleagues frequently Why the heck wasnrsquot I

making films I needed to make my films not just

films about other peoplersquos weddings and events

The 10 year anniversary of my first trip

around the country to see the ballparks was

coming up and I was itching to do it again I still

had the same Jeep Wrangler I used the first time

and it was possible to do the trip While I was

running my own business and had to deal with

responsibilities there I could make it happen

with proper planning and assignment of shoots

etc I planned out the route and once that was

on paper I was convinced ldquoTwice in a Lifetimerdquo

the movie would be a reality It felt so good

to plan it and then do it ndash realizing that I was

not selling out my original visions and dreams

I was also still managing to run my business and

secure film jobs while on the road I could have

my cake and eat it too Why had I waited so long

to do it

What I learned through a chance encounter

with professional creative coach Joanne Zippel

is that my business is actually what she likes

to call ldquobridge workrdquo or work done to pay the

bills that allows you the time to pursue your true

passion and creative aspirations

ldquoTake the time to identify understand

and embrace all of your natural interests and

talents What do you love What energizes

you at work What types of activities are most

natural to you What is your personal working

style What kind of working environment do you

need to feel whole and engagedrdquo Zippel asks

ldquoWhen you are clear on what these are look

for work opportunities that encompass these

elements Even if you are not doing what you

believe to be your actual dream work you can

be doing work that is authentic empowering

financially rewarding and that frees you up to

pursue your dreamsrdquo

It took me eight years of building the business

and ignoring my passions before I conceived this

project and then actually went out and did it All

along I had been building up a business that was

actually great and parallel ldquobridge workrdquo for me

to pursue my true passions There was no need

for me to expand it really because then it would

no longer be bridge work but just a job Now I

have more than half my week to spend on my

projects while also giving 100 to my clients and

projects In fact last year we were awarded the

Big Apple Award for best NYC Event Video by

the International Special Events Society at a black

tie awards gala at a top New York City venue

When I reached the stage and shook the hand

of the award presenter and said a few words to

hundreds in attendance I couldnrsquot help thinking

of how great it would be if I could achieve the

parallel experience of this in the world of my true

passion ndash filmmaking ndash by one day standing on a

stage in Los Angeles and thanking the crowd for

my first Oscar for documentary filmmaking

wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary


3rd Annual Video Smackdown Win Up to $2000 Cashwwwappsecinccomvideosmackdown2010

Are you a filmmaker looking for a challenge and some extra money If so

join the Application Security Inc (AppSec) 2010 Database Security Video

Smackdown Create an original 2-Minute (or less) video short that mentions

the importance of database security Your video can be a musical comedy

a love story a noir mystery a science fiction epic a spaghetti western or

whatever else floats your boat Upload your films at the AppSec Group on

YouTube no later than 5pm (ET) November 15 2010

SF IndieFest Call for Entrieswwwsfindiecom

SF IndieFest Calls for Entries are now open The 13th San Francisco

Independent Film Festival (Feb 3-17 2011) seeks narrative and documentary

features and shorts plus animation submissions Entry deadline October 9

The 9th San Francisco Documentary Festival (October 15-28 2010) seeks

feature and short docs Entry deadline July 10 The 7th Another Hole in the

Head (July 8-22 2010) seeks horror sci-fi grindhouse and midnight features

and shorts Entry deadline May 14 Check out past festival archives and

entry information on the official website

BIGSTAR Online Film Festival Win $50000 Grand Prizewwwbigstartvbigstar-online-film-festival

The BIGSTAR Online Film Festival (BOFF) is seeking films of five (5)

minutes or less to compete for a grand prize of $50000 cash BOFF accepts

international submissions will be judged by a celebrity panel including

Steve Guttenberg Ian Ziering and Billy Corben and will culminate in

an awards gala with a live screening of the 10 highest rated finalist films

All films submitted to BOFF will be available for instant streaming on the

BIGSTARtv website To compete in BOFF or for more information about

BIGSTARtvrsquos cutting-edge online film festival visit the official website

Champion Screenwriting Competition Win $10000 Grand Prize $500 to Best Short Shortwwwchampionscreenwritingcom

The Champion Screenwriting Competition knows what students need Early

entrants receive the following benefits Feedback the Coverage Category

helps your script advance Access winners choose which producers and

managers read their scripts Education every top 20 writer wins a $1000

prize package that includes entry into the weeklong Champion Lab in Los

Angeles with Jim Mercurio Features and shorts of all genres accepted $500

to Best Short Short (three pages or less) $10000 Grand Prize Sign up for

the Free Monthly E-newsletter Craft amp Career or enter the contest today

ldquoIntracoastalrdquo Trailer Contest $1000 First Prizewwwintracoastalmysterycom

Call for Entries $1000 first prize and other prizes for the Best Trailer (film

video or animation) based on the mystery novel ldquoIntracoastalrdquo being

released October 2010 Submit your 20-second to 120-second trailer on

DVD before July 1 2010 An online film screening is being planned for the

Top 10 entries plus a Youtube dedicated site Multiple entries okay The film

has not been made but the winners will be recommended to the future

production company when the film rights are sold See official website for

details and entry information

The KBBcom $10000 Video Review Contestwwwkbbcomcontest

Kelley Blue Book wwwkbbcom the leading provider of new- and used-car

information announces a new video car review contest offering a grand

prize of $10000 and the opportunity to be an Editor for a day Anyone with

a video camera is encouraged to step up to the plate and show Kelley Blue

Book editors an automotive video review of two minutes or less Entries will

be judged on creativity the ability to capture the essence of the vehicle

cool and unusual visuals overall presentation professionalism and lsquogeneral

awesomeness

$25000 Skinit Spotlight Challengewwwskinitcomspotlight

Think you have the skills to film a nationally-broadcasted TV commercial

Then checkout the Skinit Spotlight Challenge Create a 30-second or 60-

second commercial featuring one of Skinitcomrsquos three product lines for your

chance at $25000 Six semi-finalists will each win $5000 and one of these

semi-finalists will win an additional $20000 Grand Prize All entries have

a chance to be broadcast on national television ndash and you can submit more

than one commercial For details and to watch the videos in the Contest

Gallery visit the official website Get 20 off your next Skinitcom order

with the code SPOTLIGHT20

NYC Filmmakerrsquos Festivalwwwnycfilmmakersfestcom

Four days 48 films ndash awards prizes scholarships and more Indie Features

Docs Shorts Music Videos and Screenplays accepted International

submissions also accepted Awards for various film and video categories

Plus dozens of scholarships and prizes being awarded and given away All

entrants and attendees are eligible to win giveaway prizes June 2010 marks

the inaugural year of the festival Donrsquot miss your chance Be a part of an

incredible experience The NYC Filmmakerrsquos Festival was created in order

to help all filmmakers just like you to become the best you can be and to

give back to the community where ever possible

Featured Festivals and Contests

Open Calls

Sometimes in a documentary the

story and getting that story is really the

most important part of a film not the

camera microphones or lighting you use

to get it

In my case I owned four Canon XH

A1rsquos and two Canon HV20rsquos at the time

of the shoot (I now also own a Canon

7D and 5D Mark II which I would have

probably used had I had them then)

The Canon HV20 is a 3 chip HDV

camera capable of shooting true 24P It

is also very small and the image quality

it captures has been compared favorably

to the A1 in side-by-side comparisons

I decided the access the small

consumer-like camera would afford

me would open more doors and get me

more access to shots or scenes that a big

camera would not be able to get

I would also be traveling alone most

of the time and would need to self-film

while driving so the small size of the

HV20 would again be a plus At the

stadiums if security saw me pull out the

A1 to talk to fans they would have asked

for permits etc that I did not have So

interviews with the HV20 ndash they would

probably think I was just talking to my

friends

Also I occasionally filmed in the

stadium and getting in a big camera

would have definitely not happened

then

The look and feel of the final piece

will purposefully be rough so a little

shakiness and imperfect audio will

actually artistically do a better job

serving my purposes then perfect audio

and completely stabilized shots

I purchased a Canon WD-H43 07 X

Wide Angle Converter lens for the HV20

to allow me to get even closer to subjects

and shoot in even tighter spots (such as

the many times I placed the camera on

my dashboard while driving) Getting

closer also allowed me to get better

audio pick-up from the on-camera mic

thus negating the fact that run-and gun

audio on the non XLR HV20 was going

to be lacking

All and all I used minimal

equipment to tell a major story

Shooting with the Canon HV20

Tim Alan shoots Photo by Jared Charney

Tim behind the camera Photo by Jared Charney


Global Marketplace

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ldquoGet In-Syncrdquo Go to wwwinsyncpubscom Motion Picture Equipment Video

FESTIVALS amp CONTESTS

CALL FOR ENTRIES After Hours FilmSociety Student Film Festival For moreinfo wwwAfterhoursfilmsocietycom

CALL FOR ENTRIES Enter the 2010 Database Security Video Smackdown Win up to $2000 Cash Visit wwwappsecinccomvideosmackdown2010

PRODUCTION MUSIC

MOTION PICTURE VIDEO PRODUCTION

EDUCATIONAL CDs amp DVDs

Global MarketplaceFor print and online classified text and display ads please call 2122555454

All StudentFilmmakers Magazine advertisers accept full responsibility for the claims made by their advertisement StudentFilmmakers Magazine assumes no responsibility for the content of any advertisements

Catch up today on any editions you missed

For immediate delivery order online today at wwwstudentfilmmakerscomstoreKeep track and stay abreast of the ever-changing technologies

Collect All the SF Editions

for Your Reference Library

StudentFilmmakerscom The 1 Educational Resource for Film and Video Makers US$595

December 2007

Lights Guts and GloryA Conversation with Daniel Pearl ASC

HD Lens Adapters

Clearing the Air with FiltersReduce Your Filmrsquos Carbon Footprint4 Tips for Shooting HDM David Mullen ASC Insights Column Time-Saving Techniques for EditorsAudio for the Digital Age

Tech Focus


April 2008

QampA with DP John Seale ASCFormat HD and Digital Technologies

Day-for-Night Herersquos How It WorksShoot Cinematically Regardless of FormatThe Digital Stereoscopic RenaissanceGuide to Running Efficient Effortless AuditionsAudio for Television Mixing the Basic lsquoEventrsquoPlan the Workflow of Your Next Production

SF2008_Aprilindd 1 33008 72657 PM

2010 Vol 5 No 3 studentfilmmakers 5

IBC2010 Online Registration is Now OpenConference September 9 through 14 2010 Exhibition September 10 through 14 2010

Each September leading brands finest minds and wisest investors come to IBC the annual event for professionals engaged in the creation management and delivery of entertainment and news content worldwide Held at the RAI Centre in Amsterdam the event attracts more than 45000 attendees from more than 140 countries worldwide

Attendees can hear some of the most influential thinkers in the industry set the agenda for future developments in the global broadcast electronic media and entertainment markets The IBC Big Screen is equipped with the latest audio and visual technology including 2k 4k and 3D projection as well as 51 surround sound making it the perfect place for exhibitors and film professionals alike to demonstrate the very latest in cinema and broadcast technology and techniques The New Technology Campus offers visitors what is often the first glimpse outside the labs of some of the most innovative projects from top research teams around the world A new area in Hall 9 brings together the rapidly evolving fields of Digital Signage IPTV and Mobile TV to highlight how these alternative distribution techniques are creating new opportunities beyond traditional broadcast for content producers

IBC is at the cutting-edge of new technology in the rapidly evolving electronic media industry It couples a comprehensive exhibition covering all facets of todayrsquos industry with a highly-respected peer-reviewed conference that helps shape the way the industry will develop in the future Alongside this attendees are presented with a wealth of networking opportunities that take place in a professional and supportive environment IBC is one of the largest industry tradeshows in the world showcasing 1300+ exhibitors over 11+ halls of the RAI It is one of the premier events worldwide for the unveiling of new products and cutting-edge technology in the electronic media space Register online at wwwibcorg

Donrsquot forget to stop by the StudentFilmmakerscom magazine stand at IBC 2010

Digital Video Expo 2010September 28 through 30 2010

Digital Video Expo is your event for expert advice on the latest advancements in HD content and creation ndash offering over 40 production | post conference sessions special conference track focusing on 3D technology complimentary lighting master classes networking events and an exhibit hall packed with hundreds of new products Special Discount When registering at wwwdvexpocom use customer code SF10 for your complimentary Exhibit hall pass and an additional $50 off the Digital Video Conference Program

Donrsquot forget to stop by the StudentFilmmakerscom and StudentFilmmakers Magazine Exhibit Booth 429 at DV Expo 2010

Featured Events

wwwStudentFilmmakerscom The 1 Educational Resource for Film and Video Makers US$595

2010 Vol 5 No 1

Unlocking the Hidden Beauty

Cinema H2O by Mike Valentine BSCJohn Bailey ASC on Brief Interviews with Hideous MenA High Fall and a Helicopter Capturing the StuntRainforest Filmmaking Crash CourseLive from New York Itrsquos Alexander SerpicoMixing Panel Techniques for Location DialogueShedding Light on Homegrown Flare Effects



HDSLR FilmmakingszligStill and Motion Imaging CollideszligAudio Solutions

Full HD 3D Camcorder

3D CGI Story Plans

Exclusive Interview

Splice Director Vincenzo NataliDirecting and Writing for Science Fiction and Fantasy

PLUS4Close-up Lenses

4Oliver Curtis BSC on Camera Moves

4Vertical Screen Challenge

4Short Documentary Editing

4SMPTE Timecode in Sound Recording

Filmmakers Networking


Luis VillalonProfile DirectorDPJob Director of PhotographyLocation California United StateshttpnetworkingstudentfilmmakerscomDirectorDP

WorkProjects ldquoIn 1997 I started working with Luis Molina a Puertorican director originally a documentary maker who was in the process of shooting his second dramatic feature Since then I have worked in four of his feature length projects as well as in two shorts His output has been mainly associated with the short stories of Abelardo Diaz Alfaro a Puerto Rican writer whose work has been published in 12 languages His stories deal mostly with the daily lives of the common people sometimes with a lot of tragedy sometimes with a joy of life typical of the person who sees the best in everything

ldquoTeyo Gracia is Diaz Alfarorsquos main character Hersquos a campesino with little formal education but with a lot of natural wit and intelligence In the books he introduces all the stories as a remembrance of things that happened long ago or recently This project was based on a set of 12 stories that had never been published The production was sponsored by the US Department of Education among a group from different states who submitted stories or themes related to their peculiar history or modus vivendi

ldquoI lived and worked in Puerto Rico for many years but mainly shooting high end commercials for national brands in PR in the Caribbean and in the US mainland So I am perfectly aware of the vagaries of the weather and other problems I used mostly a local crew that has worked with me for many years They are veterans of films with the likes of Spielberg Richard Donner Bruno Barreto and Michael Bay Puerto Rico

often doubles as Cuba because as part of the US you donrsquot need visas and there is a sophisticated commercial industry with experienced crews camera grip and lighting equipmentrdquo

Cameras ldquoFor this project we used a Panavision camera with 18 24 35 50 and 75mm fixed focal length lenses as well as a 25-250mm zoom mainly for exteriors We used Kodak Vision 5219 T 500 which we cut down in exteriors with ND filters The reason being that we jumped from INT to EXT constantly and rather than use a different stock we could just keep shootingrdquo

Challenges and Solutions ldquoThe main challenge was that the stories went from the early 40s to early 60s As with any period film you find a great house that looks mid 40s but next to it is a modern drugstore or apartment building Especially in Puerto Rico a small island where progress has decimated most of the old structures A lot of times the art department had to put on fake windows on top of the modern ones This problem also limits whatever camera move you want you can only dolly in or out to a point We found a treasure trove in the town of Guayama where they have tried to save a lot of the wood frames houses besides itrsquos one of the most movie friendly towns in the world you go to the town hall and itrsquos like lsquoHow many streets you want closedrsquo lsquoYou want us to ban parking around the town square the day beforersquo They are great Main problem it gets cloudy almost

every day after 2pm so you better shoot all the wide shots before then

ldquoSunlight is fierce in PR so we had to deal with 12ks and even 18k HMIs to balance shadows Butterflies and every mode of bounce were used every day in EXTs

ldquoMost INTs were shot in studio due to the fact that most old houses were not meant to have movie lights dollies sound grips and cameras milling about This project was a record in the history of filmmaking in PR 36 sets were built in 2 studios 3 at a time on each We finished in one went to the next one while the set building crew dismantled and built the next 3 We were running against time so we could not wait for the lab (Continental in Miami) to tells us that it was all okay Fortunately only 1 CU was ruined and it was easily reshot

ldquoThe interiors were shot looking like sunlight lighting from the outside or like from a few practicals or gas lamps for night shots This was very important because some of the stories took place in rural areas in the 40s where electricity was nowhere to be foundrdquo

Wannithilake Mudiyanselage Suminda WeerasingheProfile Suminda_WeerasingheJob Cinematographer Location Kotte Sri Lanka httpnetworkingstudentfilmmakerscom Suminda_Weerasinghe

Work ldquoI have been working in the industry as a cinematographer since 1980 In this part of the world we cinematographers block the shots with the director light the scene and operate the camerardquo

New Projects ldquoTwo projects currently under pre-production Kusa Jathakaya the historical love story [Pre-Buddha period film] will start soonrdquo

Inspiration ldquoIrsquom inspired by the people folklore temple paintings and the films made by the veteransrdquo

Unique Challenge ldquoIn my recent feature about the struggle between the wild elephants and farmers my director conceived a shot of a farmer

running chased by an elephant a shot with the elephantrsquos head and ears in the foreground to be taken from the top of the chasing elephant This was the most recent biggest challengerdquo

Solution for Challenge ldquoWe didnrsquot have a cable camera Jimmy Jib or steadycam Not even a lighter camera which can be hand-holdable We fixed a big pillow on the back of the elephant [of course the elephant is a tamed one] using ropes and straps Attached the camera [Arri 3] to that rig using bungee cords for the safety of the camera Then I sat behind the camera my focus puller was seated behind me holding me It was fairly dangerous but we did get the shot Took us four hours At the rush projection my director was happy The shot was smooth and nicerdquo

Favorite Camera ldquoRed One Digital Cinema Camerardquo

Technique ldquoAs a technique I use less light less equipment less people By doing that I can achieve more creativity with less problemsrdquo

On HDSLR Movie Making ldquoImages captured from HDSLRrsquos are good Practical enough for commercials or independent low budget movie makers or student film makers For feature filmmakers there has to be more facilities and accessories to be inventedhelliprdquo



Work ldquoI am in charge of the camera light and grip department My job is to help tell the story with light and camera work and to give the film an overall look and visual style I have to make many technical and artistic decisions like what camera film stock filters lenses and lights are to be used I have to know the screenplay very well to understand every mood in every scene so that I can light it accordinglyrdquo

New Projects ldquoMy latest project was a promo video for Air Rescue Luxembourg Due to budget constraints and heavy low light situations we shot the entire project on the Canon 5DMk2 and the 7D

Inspiration ldquoFrom many films paintings photographs and books If I am feeling uninspired I might go to a museum or flip a few pages in lsquoStoraro Writing with Light Trilogyrsquo Normally after that I cannot wait to work out a visual concept for a filmrdquo

Unique Challenge ldquoI once shot a documentary in a Palestinian refugee camp and the production did not have authorization to do so There were several sniper towers around I am not sure if

we were in a dangerous situation or not but I felt very uncomfortable shooting with a camera [HVX plus Letus lens adapter] that looked a bit like a futuristic bazooka from the distance I saw horrible things there and I was happy when we were donerdquo

Solution for Challenge ldquoWe had to do it quick and dirtyrdquo

Favorite Camera Tool or Piece of Gear ldquoI cannot answer that there is no single piece of equipment that is right for every situation On big productions I can have the nicest Panavision equipment but it is heavy so you need a lot of manpower Smaller gear might not give you all the bells and whistles that you want but you might get the shot done quicker Working fast but good is important too you always have to prioritize what gets the job done in the best wayrdquo

Technique ldquoIt might sound simple but it is important come prepared Do floor plans maybe some sketches that you can show around Know what the director wants know your story know where the scene that you are about to shoot is located in the story and what it is about Settle first on the framing before going to the lighting Maybe use a viewfinder if you are not exactly sure what you [or the director] want still better than having to swap camera position several times Have a gafferkey grip that can keep the crew

Giles TimmsProfile gilesTimmsJob Director Animator DesignerLocation California United StateshttpnetworkingstudentfilmmakerscomgilesTimms

Work ldquoAnimated cut-out short films I use history and its motifs to create pop surreal worlds that are grounded in the real - 3D worlds in a flat 2D paper stylerdquo

New Projects ldquoA recent project was with Academy Award-nominated director Jeffrey Blitz on his film Lucky Lucky a documentary about the American Lottery premiered at Sundance 2010 I worked as an illustrator animator and compositor on the project alongside Walter Robot Studios creating animated sequences for several of the narrated factual interstitials within the film

ldquoCurrently Irsquom directing and animating an animated music video for the band Flyleaf through my agency RW Mediardquo

Inspiration ldquoComics Russian animation drawing books games and filmrdquo

Unique Challenge ldquoWhile working on the Lucky project Jeffrey really pushed us to create the most engaging and creative animation for

the narrative factual sequences This meant a lot of rework and edits So it was a challenge as an animator to stay flexible enough to be able to meet Jeffreyrsquos requests and meet all the deadlinesrdquo

Solution for Challenge ldquoWork work workhelliprdquo

Favorite Tool ldquoAfter Effects - it opened up a whole new world to merdquo

Technique ldquoI use a framing guide when I work to help me find the sweet spots in composing my shots Basically I use a grid overlay that splits up the camera plane into thirds This overlay reminds me and helps me to compose my shots and to find continuity between shotsrdquo

On the 3D Revolution or Revival ldquoVery cool and exciting I want to make my own 3D animated shortrdquo

On HDSLR Movie Making ldquoHD FTWrdquo

busy There is always something to prepare and never a reason to be idle on the set Start with the key light and then go to your FX light [like kicker] and do the fill light at the end [only if needed] Always ask to have some tweenies or kino florsquos on standby if more fill or eye light is neededrdquo

On the 3D Revolution or Revival ldquoNot going to happen not this time It was not able to establish itself in the 60s nor will it after the Avatar hype Cameras like the new Panasonic AG-3DA1 with twin-lens system might help to give it a certain popularity Also the new techniques to transform a 2D film into 3D in post production are all interesting But come on what have we learned from over 100 years film history Less the better That is why 24 frames per second looks better then 50 or why too much depth of field looks cheap Same with colors No I am not saying that black-and-white looks better than color film because color can help tell the story but look how a Hollywood color grading is done They keep the skin color and bring every other color more into a bluish or greening look and desaturate the whole thingrdquo

On HDSLR Movie Making ldquoIt is a tool and every DP should take it seriously as such Such a small camera could just allow you that particular shot that would not have been possible with a bigger camera Their low light performances dynamic ranges and organic feel are just mind blowing especially if you consider the price of such gear It can also make it easier to shoot at locations where you do not have permission or if you do a documentary and you have to interview people that would feel uncomfortable if you would point a bigger rig at their faces

ldquoYes there are issues but if you know them you can find ways to work around them Even if you got better cameras for your shoot you should still consider viewfinders It is so quick and easy to show the director how the shot might look like with such a device and it just might speed up your work flow and speed is so important in this industry

ldquoIt is also opening up new possibilities for film students and hobbyists to be able to afford the very same camera with which they are now shooting big production like the new House MD series At times like this talent will matter more than everrdquo

Olivier KoosProfile olikJob Director of PhotographyLocation Luxembourghttpnetworkingstudentfilmmakerscomolik

50 studentfilmmakers 2010 Vol 5 No 3

Many Thanks

For advertising and sponsorship opportunitiesplease contact Kim Welch at 2122555458 or send an email via our online form atwwwstudentfilmmakerscomadvertiseshtml

Larry Jaffee Tim Smith

Ira Tiffen William Donaruma

Mary Ann Skweres Hali Gardella

Sherri Sheridan

Christopher Ball CSC

Summer Shorts 2010Entry Deadline October 15 2010 5pm EDT

No entry feeSubmit your 5 to 10 minute shorts athttpnetworkingstudentfilmmakerscomvideos

Philosophy The goal of the Summer Shorts Awards is to help facilitate the sharing of ideas and techniques within the independent filmmaker community and to showcase the talents of filmmakers by providing them with a platform in the public to advance their careers

For Advertising and Sponsorship Opportunities please contact Kim Welch 2122555458

Open to ALL Filmmakers Videomakers and AnimatorsAll genres and multiple submissions welcomeEligible entries will be showcased online

sponsor

Scott Essman Jeff Turboff

After Hours Film Society wwwafterhoursfilmsocietycom P44Application Security Inc wwwappsecinccom P44BeachTek Inc wwwbeachtekcom P23Center for Digital Imaging Arts at Boston University wwwcdiabucom P9Five Towns College wwwftcedu P27Insync Publications wwwinsyncpubscom P44IBC 2010 wwwibcorg P33Maine Media Workshops wwwmainemediaedu P25Regent University wwwregenteducommunication P21Shelton Communications wwwsheltoncommcom P44Studio 1 Productions wwwstudio1productionscom P44Technisphere wwwtechnispherecom P44Tekmedia Group wwwtekmgcom P44

AD Index

Hands-On Workshops and Networking EventsFor Program Details and Registration visit wwwstudentfilmmakerscomworkshops

Call for Workshop InstructorsWe invite filmmakers cinematographers directors editors sound engineers producers and screenwriters to submit a syllabus and brief biography for considerationReach us at httpwwwstudentfilmmakerscomcontactshtml


Table of Contents 010 Vol 5 No Cinematography 4 The Close-Up Lens with a Split Personality by Ira Tiffen

Close Up 6 Dispatch A True Life Creative Collaboration

Award Winning Editor Steven Sprungrsquos Feature Film Directorial Debut by Mary Ann Skweres

3D10 First Beg for Two Cameras

The Film Studentrsquos Stereographic Starting Point for RED ONE Users by Hali Gardella

15 On-Set Convergence by Ian Johnson16 The Process Used to Make the Actors into 3D Characters

by Evan Bollig Ian Johnson and Dr Gordon Erlebacher20 How I Learned to Stop Worrying and Love 3D

by William Donaruma

Screenwriting24 ldquoWhatrdquo hellipAnd Other Bad Dialogue Writing

by Christopher Ball

Production28 Shooting a Sitcom in One Day by Scott Essman

Animation30 Create Highly Stylized 2D Animated ldquoSouth Parkrdquo-Like

Cartoons by Sherri Sheridan

Editing32 The Power of Rubberbanding by Jeff Turboff

Music amp Sound34 Clearing Music for Your Film by Steven Ascher

Film Business36 Financing Films via the Kickstarter Method by Larry Jaffee

Commentary40 Bridge Work by Tim Smith

39 Featured Products and Services42 Call for Entries44 Global Marketplace45 Featured Events

46 Filmmakers Networking

On the Cover Stereographic Project An actor gets his face scanned by light sensors The first step in the process of making him into a 3D character Photo by Madeline Eberhard 46

10

6

20

Publisherrsquos Desk

For the first time StudentFilmmakers Magazine features three educational articles written by Film and Scientific Computing undergraduate and graduate students attending university ldquoFirst Beg for Two Camerasrdquo serves as a film studentrsquos stereographic starting point for RED ONE users The three-parter additionally takes a look on-set convergence and the

process used to make actors into 3D characters The Florida State University 3D Project teams researched RED ONE stereographic cinematography with the assistance of Rexford Metz ASC

Also on 3D ldquoHow I Learned to Stop Worrying and Love 3Drdquo written by documentary filmmaker William Donaruma about the basics of what he used to establish a 3D workflow from production to post to presentation for his 3D project

Feature article ldquoDispatch A True Life Creative Collaborationrdquo (Close Up Department) takes a look at award-winning editor Steven Sprungrsquos feature film directorial debut

Excellent articles in this edition also include ldquoThe Close-Up Lens with a Split Personalityrdquo by Ira Tiffen (Cinematography Department) ldquoShooting a Sitcom in One Dayrdquo by Scott Essman (Production Department) and ldquoThe Power of Rubberbandingrdquo by Jeff Turboff (Editing Department) ldquoCreate Highly Stylized 2D Animated ldquoSouth Parkrdquo-Like Cartoonsrdquo by Sherri Sheridan (Animation Department) gives readers eight tips and seven steps for getting started ldquoFinancing Films via the Kickstarter Methodrdquo by Larry Jaffee (Film Business Department) is about the stories of two independent filmmakers who use crowdfunding as an alternative method to raise money for their films Join us in welcoming new contributing writers Steven Ascher and Christopher Ball CSC Turn to the articles ldquoClearing Music for Your Filmrdquo (Music and Sound Department) and ldquolsquoWhatrsquo hellipAnd Other Bad Dialogue Writingrdquo (Screenwriting Department)

If you havenrsquot done so yet we encourage you to sign up for a free networking page in the Film and Video Makers Networking Community at http networkingstudentfilmmakerscom This is a great opportunity for you to get exposure for your films find other productions to work on and be found by productions looking for filmmakers video makers and crew

Enjoy this edition

Truly Kim E Welch Publisher Editor-in-Chief

The 1 Educational Resource for Film and Video Makers

Publisher Editor-in-Chief Kim Edward WelchSenior Editor Jody Michelle Solis

Contributing WritersThomas Ackerman ASC Jack Anderson Laurent Andrieux Anthony Q Artis John Badham Christopher Ball CSC Karl Bardosh Adam Biddle Evan Bollig Heidi Braudenburg Kevin Burke Julia Camenisch John Carrico Steve Carlson Chris Cavallari Pete Chatmon Vicky Collins Michael Corbett Vanessa Daniels Carsten Dau Todd Debreceni Jeff Deel Christina DeHaven William Donaruma Dana Dorrity Pamela Douglas David E Elkins SOC Dr Gordon Erlebacher Scott Essman Bryant Falk Carl Filoreto Jon Firestone Brian Flees Jacqueline B Frost Hali Gardella Daniel Gaucher Fred Ginsburg CAS PhD MBKS Dean Goldberg Todd Grossman Leonard Guercio John Hart David K Irving Larry Jaffee Ian Johnson Catherine Ann Jones David Kaminski Michael Karp SOC Sam Kauffmann Christopher Keane Tamar Kummel Richard La Motte Adam Matalon Robert Marich Matthew Marshall M David Mullen ASC Stacey Parks Mark Sawicki Myrl A Schreibman Dr Linda Seger Sherri Sheridan Mary Ann Skweres Tim Smith Ira Tiffen Jeff Turboff Melissa Ulto Mike Valentine BSC Saro Varjabedian William F Vartorella PhD CBC David Worth Dean Yamada Kevin Zanit

Publisher Editor-in-Chief Kim Edward Welch

Advertising amp Sponsorship OpportunitiesKim E Welch 2122555458

OnlinePrint Classifieds Global Marketplacehttpwwwstudentfilmmakerscomcontactshtml

Subscriptions bulk orders and collections httpswwwstudentfilmmakerscomstore

Contact StudentFilmmakershttpwwwstudentfilmmakerscomcontactshtml2122555454 (US and International)

Subscriptions US $3213year Canada Mexico $5213year and all other foreign countries $7213yearGo to httpswwwstudentfilmmakerscomstore

For subscription mailing address change and distribution inquiries go to httpwwwstudentfilmmakerscomcontactshtml

StudentFilmmakers Magazine established in 2006 is published bi-monthly in New York by StudentFilmmakerscom Opinions are solely those of the authors Letters article queries photos movie stills film submissions and unsolicited manuscripts welcome but returned only with SASE Submissions are subject to editing for style content and to exclusive rights provisions in this publication Advertising Rate card upon request Copyright 2010 StudentFilmmakerscom (All rights reserved) Printed in the USA Postmaster Send address change to StudentFilmmakers 1123 Broadway Suite 307 New York NY 10010
















in the same manner







the same time












framing you want






subject




in focus

(5) Record













































Cinematography































to the partnership










by Mary Ann Skweres


Bershad















































a story hererdquo
















by somebodyrdquo






Close Up














made a movierdquo









cinematographer

































denies that



























during the editing




























































Close Up













cinematography















Computing)










by Hali Gardella





























and Filters












































3D



requirements






















clamp-on ring kit


and FIZ







FIZ










genlocking process




































valuable time









the shot

Camera Alignment

















or pans























3D


















































was established





















Fisher 10 dolly

Insurance























































no one method












FSU Film Project



3D








film production


























































































thousand points





























3D








































































animations in 3D



















under review
































was complete
















3D
































How I Learned to


by William Donaruma


space
































































3D




an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index


















in the same manner







the same time












framing you want






subject




in focus

(5) Record













































Cinematography































to the partnership










by Mary Ann Skweres


Bershad















































a story hererdquo
















by somebodyrdquo






Close Up














made a movierdquo









cinematographer

































denies that



























during the editing




























































Close Up













cinematography















Computing)










by Hali Gardella





























and Filters












































3D



requirements






















clamp-on ring kit


and FIZ







FIZ










genlocking process




































valuable time









the shot

Camera Alignment

















or pans























3D


















































was established





















Fisher 10 dolly

Insurance























































no one method












FSU Film Project



3D








film production


























































































thousand points





























3D








































































animations in 3D



















under review
































was complete
















3D
































How I Learned to


by William Donaruma


space
































































3D




an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index































to the partnership










by Mary Ann Skweres


Bershad















































a story hererdquo
















by somebodyrdquo






Close Up














made a movierdquo









cinematographer

































denies that



























during the editing




























































Close Up













cinematography















Computing)










by Hali Gardella





























and Filters












































3D



requirements






















clamp-on ring kit


and FIZ







FIZ










genlocking process




































valuable time









the shot

Camera Alignment

















or pans























3D


















































was established





















Fisher 10 dolly

Insurance























































no one method












FSU Film Project



3D








film production


























































































thousand points





























3D








































































animations in 3D



















under review
































was complete
















3D
































How I Learned to


by William Donaruma


space
































































3D




an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index
















made a movierdquo









cinematographer

































denies that



























during the editing




























































Close Up













cinematography















Computing)










by Hali Gardella





























and Filters












































3D



requirements






















clamp-on ring kit


and FIZ







FIZ










genlocking process




































valuable time









the shot

Camera Alignment

















or pans























3D


















































was established





















Fisher 10 dolly

Insurance























































no one method












FSU Film Project



3D








film production


























































































thousand points





























3D








































































animations in 3D



















under review
































was complete
















3D
































How I Learned to


by William Donaruma


space
































































3D




an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index















cinematography















Computing)










by Hali Gardella





























and Filters












































3D



requirements






















clamp-on ring kit


and FIZ







FIZ










genlocking process




































valuable time









the shot

Camera Alignment

















or pans























3D


















































was established





















Fisher 10 dolly

Insurance























































no one method












FSU Film Project



3D








film production


























































































thousand points





























3D








































































animations in 3D



















under review
































was complete
















3D
































How I Learned to


by William Donaruma


space
































































3D




an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index





requirements






















clamp-on ring kit


and FIZ







FIZ










genlocking process




































valuable time









the shot

Camera Alignment

















or pans























3D


















































was established





















Fisher 10 dolly

Insurance























































no one method












FSU Film Project



3D








film production


























































































thousand points





























3D








































































animations in 3D



















under review
































was complete
















3D
































How I Learned to


by William Donaruma


space
































































3D




an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index




















































was established





















Fisher 10 dolly

Insurance























































no one method












FSU Film Project



3D








film production


























































































thousand points





























3D








































































animations in 3D



















under review
































was complete
















3D
































How I Learned to


by William Donaruma


space
































































3D




an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index










film production


























































































thousand points





























3D








































































animations in 3D



















under review
































was complete
















3D
































How I Learned to


by William Donaruma


space
































































3D




an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index










































































animations in 3D



















under review
































was complete
















3D
































How I Learned to


by William Donaruma


space
































































3D




an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index


































How I Learned to


by William Donaruma


space
































































3D




an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index






an edited sequence





































effect on each shot















































































3D




JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index






JEREMY



EMILY




JEREMY


EMILY


JEREMY

What

EMILY



JEREMY


EMILY


JEREMY

What

EMILY



JEREMY











conclusion








conclusion






















for the spoken word











play with pictures






Screenwriting










rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index












rife in screenplays

















canrsquot





























INT BEDROOM DAY







EMILY

Itrsquos mine



EMILY

Hello





EMILY





brief exchange


EMILY

Irsquove gotta run

JEREMY (unmoving)

Yeah

She closes the door






































Screenwriting




























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index






























production reasons



































Shooting a Sitcom



which you can build







































interaction

































Traffic School







Production















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index

















by Sherri Sheridan














Animation











by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index













by Jeff Turboff













RAIAmsterdam


Registernowat

wwwibcorgregister

Editing













by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index















by Steven Ascher








Library Music



Original Scores



Music amp Sound









Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index











Financing Films




















Film Business



























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index





























wwwzeisscomcine
























































Film Business






































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index








































going to do now















ballpark)















































like this



































by Tim Smith

























































projects














































to do it











































wwwballparktagcom

wwwtimalansmithcom

wwwavenue5filmscom

wwwzipcoachingcom

Commentary






















































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index
























































awesomeness






















Open Calls





to get it

























friends




then

















to be lacking







Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index




Global Marketplace








PRODUCTION MUSIC










December 2007


HD Lens Adapters


Tech Focus


April 2008



SF2008_Aprilindd 1 33008 72657 PM










Featured Events


2010 Vol 5 No 1







3D CGI Story Plans

Exclusive Interview



























































Many Thanks





Sherri Sheridan







sponsor



AD Index























































Many Thanks





Sherri Sheridan







sponsor



AD Index
































Many Thanks





Sherri Sheridan







sponsor



AD Index




Many Thanks





Sherri Sheridan







sponsor



AD Index





Documents

3D Characters - Student Filmmakers Magazine › magazine › SF2010_v5_n3.pdf46 Filmmakers Networking On the Cover Stereographic Project: An actor gets his face scanned by light sensors