Two things to say about this right off the bat are (1) if you’re not bound by any union/guild contracts, present your credits however you see fit. And (2) I’ve somewhat reverse engineered this so if someone can add clarification or note something here that isn’t accurate, please do and I’ll revise the article.
That being said, here are some general guidelines for the presentation of your movie’s credits. If you are left with any questions, pop in one of your favorite movies and analyze what they did.
Continue reading Motion Picture Credits
Here’s is a sample from Down and Dangerous, showing the written scene with the final version in the movie. This one is interesting because of how little changed, although the location of Rafael’s Office was nixed in favor for a larger space. The biggest take away here is how much the actors bring to the scene. In many cases the words are the same, but the performances emerge as their own animal — often turning what had been a statement into a question, or a question into an exclamation! And of course, the magic of Rafael’s mocking laugh was not scripted but capped the scene beautifully.
Continue reading Script to Screen: Rafael’s Silver Hammer
Have questions about using the New Media agreement on a feature-length movie? Want to know what is and isn’t negotiable under this agreement? Is there a bond? Is there a minimum? What happens if I sign with a VOD or Blu-ray distributor?
It’s understandable that you may not want to attract undue attention from SAG-Aftra before you know the lay of the land. Here’s how to get all your questions answered accurately and discreetly.
Continue reading How To Get All Your SAG New Media Questions Answered
We’ve all heard it a million times. Nothing cues amateur filmmaking faster than bad sound. And a good dialogue recording mostly comes down to the proximity of the mic to the actor.
Continue reading Gotta Get Good Sound
It can be a long, anxious walk up to the front of the theater after screening your movie to a roomful of people you don’t know. The anxiety doubles for me when conducting the Q&A myself. But I’ve come up with a little game plan and some rules to follow that make it flow a little easier. Perhaps in the comments you can share some ideas of your own.
Continue reading How to Conduct Your Q&A When the Festival Doesn’t Provide a Moderator
DCP stands for Digital Cinema Package. It functions like a digital film print and is my first choice to exhibit my movies theatrically. At first, this format was out of reach for filmmakers on microbudgets. Even today, the places that will make them for you are, in my opinion, overcharging for it. About a year ago, I had a crime drama playing at festivals. Most were asking for a DCP or blu-ray to screen from. I made a blu-ray that looked perfect on my broadcast monitor, but at the festival, colors were washed out, blacks were elevated, and the projectionist could not figure out how to keep their player from folding my 5.1 mix down into stereo. If you haven’t experienced this sort of thing, and I’m sure you have, it’s a terrific thing to face — after two years of post-production getting the whole damn movie to sing just right, some goofball who couldn’t give a shit about doing their job right mis-projects your movie and is seemingly okay with not doing anything about it.
Continue reading Make Your Own DCP, Part I: Specs, Tools & Prepping Your Source