December 2008
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The Mummy Franchise: Action Director Rob Cohen Talks 1,000 Visual FX Shots Documentary: Workflow and Weaving the Story Techniques: Editing Time-Savers Deliver a Strong Audio Mix Writing a Screenplay? Q&A with Dennis O’Neil Tips for Voiceover Auditions StudentFilmmakers Magazine’s Top 5 Must-Have’s Table of Contents December 2008
Documentary 6 Workflow and Weaving the Story: “Ten More Good Years” Includes a Shortlist of Tips for Documentary Editing by Jennifer Falk
Close-Up 10 1,000 Visual FX Shots, Working with Crew, and “The Mummy” Franchise Renown Action Director Rob Cohen Talks by Scott Essman 18 Slaying the Dragon with Randy Edelman Director-Composer Collaboration in “The Mummy: Tomb of the Dragon Emperor” by Scott Essman 6 22 Want to Write a Screenplay or Make a Movie?: Read Comics! Interview with Dennis O’Neil, Marvel Comics and DC Comics 28 by David Kaminski Editing 26 Editing XDCAM Footage by Jeff Turboff 27 An Editing Time-Saver by Torb and Nola Jensen
New Directors 28 Directors Kyle Garrett and George Seamer Move Forward “Inertia” Wins First Place in the Summer Shorts 2008 Film and Video Competition 36 Travis Walton Waugh Gives Life to Mystical Creatures 40 Nick Kougioulis Heightens Suspense by Reconstructing “Ciphering” in HD
Acting 44 Tips for Voiceover Auditions by Rob Kaye
Music & Sound 46 Deliver a Strong Audio Mix for Your Documentary by Bryant Falk
Tech Focus 48 Top 5 Gifts for Filmmakers 36 Stay on the Cutting Edge On Campus 51 The Center for Digital Imaging Arts at Boston University (CDIA) Update 53 Weynand Training International Announces 2009 Schedule
Filmmakers Networking 56 This Month’s Featured Networkers
On the Cover Director Rob Cohen among the Terracotta Warriors on the set of The Mummy: Tomb of the Dragon Emperor. Credit: Jasin Boland. Photo 40 courtesy of Universal Studios. December 2008 studentfilmmakers Publisher’s Desk
The StudentFilmmakers Magazine and HANDS-ON WORKSHOPS StudentFilmmakers.com crew and I deeply thank all of our The # 1 Educational Resource for Film and Video Makers Pre-register Online and Get the latest updates on contributing writers, and all Publisher / Editor-in-Chief Kim Edward Welch of you who we’ve worked Senior Editor Jody Michelle Solis upcoming Filmmaking Workshops. with over the past years. This Contributing Writers Visit www.studentfilmmakers.com today! includes all of you very talented Thomas Ackerman, ASC, Jack Anderson, Anthony Q. Artis, John Badham, filmmakers, videographers, Adam Biddle, Kevin Burke, Julia Camenisch, Steve Carlson, cinematographers, editors, Chris Cavallari, Michael Corbett, Vanessa Daniels, Carsten Dau, producers, and screenwriters Todd Debreceni, Jeff Deel, Christina DeHaven, Dana Dorrity, Pamela Douglas, David E. Elkins, S.O.C., Scott Essman, Bryant Falk, who have attended and participated in our workshops, active Carl Filoreto, Jon Firestone, Brian Flees, Jacqueline B. Frost, members of our online forums (studentfilmmakers.com/bb) Daniel Gaucher, Fred Ginsburg C.A.S. Ph.D. MBKS, Leonard Guercio, and network (networking.studentfilmmakers.com), and John Hart, David K. Irving, Catherine Ann Jones, David Kaminski, participants in our annual competitions and festivals. Michael Karp, S.O.C., Sam Kauffmann, Christopher Keane, Tamar Kummel, Richard La Motte, Adam Matalon, Matthew Marshall, We thank very much our readers, who have given us great M. David Mullen, ASC, Dennis Palumbo, Stacey Parks, support over the years, as well as feedback to push us moving Richard D. Pepperman, Mark Sawicki, Myrl A. Schreibman, Dr. Linda Seger, Bryan Michael Stoller, Ira Tiffen, Saro Varjabedian, forward. We deeply thank our very wonderful and supportive William F. Vartorella, Ph.D., C.B.C., Kevin Zanit, Bill Zarchy advertisers and sponsors for helping us get the magazine to readers’ doors. Thank you all very much for your support this Media Art Director Lien-Chen Lin past year. Thank you for helping us to deliver, and for being a big part of our growing creative online community and integrated network for filmmakers, videomakers, and crew.
Our Cover Story this edition is an inspiring Q&A with renown action director Rob Cohen. Cohen discusses his Publisher / Editor-in-Chief Kim Edward Welch directorial approach and work on The Mummy 3. Jump to the Media Art Director Lien-Chen Lin Editing department in the magazine, and read articles, “Editing Advertising & Sponsorship Opportunities: XDCAM Footage” and “An Editing Time-Saver.” Kim E. Welch 212.255.5458 Jody Solis 212.255.4330 All of the articles in this edition are excellent. Online/Print Classifieds, Global Marketplace: This month’s edition features something very special for the http://www.studentfilmmakers.com/contact.shtml holidays: a StudentFilmmakers Magazine Top 5. As filmmakers and storytellers who make and show films, what do you think StudentFilmmakers.com Online Store: https://www.studentfilmmakers.com/store/ would make the perfect gift for a filmmaker this holiday season? Need some ideas? Go straight to our special holiday Contact StudentFilmmakers section in this issue featuring StudentFilmmakers Magazine’s http://www.studentfilmmakers.com/contact.shtml Top 5 Recommended Gifts for Filmmakers. Tell us what you 212.255.5454 (US and International) 212.255.7204 (Fax) think! Subscriptions: U.S., $29.95/year; Canada, Mexico, and all other foreign countries, Join me in giving a very warm welcome to five new $69.50/year. Six-month, one-year, two-year, and three-year subscriptions contributing writers: Jennifer Falk, Jeff Turboff, Rob Kaye, and available. Torb and Nola Jensen. Go to https://www.studentfilmmakers.com/store
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studentfilmmakers December 2008 Documentary Workflow and Weaving the Story: Ten More Good Years Includes a Shortlist of Tips for Documentary Editing by Jennifer Falk
Ever since I knew I wanted to loaded onto a Final Cut Pro editing expressed my concerns to Mike become an editor, my dream was system, with all of the tapes logged about meeting his deadline – and to work on a documentary project. and transcribed. Looking for an we came up with another plan. The idea of searching through editor with experience, I was Since he knew the material, (and hours and hours and hours recruited for the project. had made the transcriptions), of footage looking for the best ‘why don’t we sit down and start I couldn’t wait to get my hands moments that could be linked putting the story together.’ This on the footage. We met in October together to tell a touching and idea was really effective. With of 2006. Mike needed to have a thought-provoking story seemed each of us being able to use our finished piece by March 2007. not only a monumental challenge, talents to the fullest: Mike with Because of my work schedule, I but also a rewarding one. his knowledge and passion for could only devote weeknights and the subject matter; and myself, After seven years as a freelance weekends to the project. So I took efficiency on Final Cut Pro and my editor, the opportunity presented his drive, brought it home, and storytelling skills. itself when I met Mike Jacoby, got started. an independent documentary The film looks at the subject My first approach was to director/producer. Mike showed matter as it pertains to the lives of watch down the tapes and start me a teaser he had edited for his three males and one transgender pulling the sound bytes that I project. It was called, “Ten More person. We started the movie thought would be useful – looking Good Years,” and it was about introducing each one of these for similar or dissimilar stories, the struggle that many LGBT “characters” and some background struggles, emotions that could seniors face, growing old and gay on their lives – their partners, be used. After about a month, I in America today. He had been occupations, being gay in a far put a dent in the subject matter, working on the project for over less tolerant society than today. but knew that there was no way, four years, traveling the country These sections were supported or at this pace (even working on interviewing subjects and experts connected together with sound it full time), we could ever get on the topic. He had over a bytes from various experts. to the finish line in time. So I hundred mini-DV tapes that were Another important section that
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Documentary
was to be the peak or middle of the Shortlist of Tips for opinions. We had a finished piece Sony’s XDCAM EX cameras have film was the 2005 White House Documentary Editing: for Mike’s screening, but that was rapidly been adopted by filmmakers Conference on Aging. (A conference not the end of the project. Over worldwide. Reliable, IT-friendly SxS (1) View all your material. PRO media and an impressive set making recommendations to the the last year, “Ten More Good of creative features make them (2) Create transcripts of tapes. president and Congress to help Years” was screened in over five The breakthrough HD format the HD camcorders of choice for This will be used to create guide national aging policies). This film festivals and broadcast on the comes of age a broad range of applications. scripts. was important, because what did Sundance and Logo channels. I or didn’t happen at the conference (3) Find a beginning, middle, am extremely proud of the film and would affect the lives of every and end for your story. of the work that we did. As with PMW-EX1 aging American. most projects, I learned a lot. Most (4) Be aware of unexpected The revolutionary EX1 delivers the full links while creating your importantly is that each project benefits of Sony’s reliable SxS PRO technology This conference footage created storyline. has it’s own approach on what and advanced features in a familiar, the perfect arc for the final compact camcorder body. works best for the editor, director section of the film, integrating our (5) Don’t be “married to • 1/2-inch type full HD CMOS sensors and the story they are trying to • 1920x1080 and 1280x720 HD recording anything”. No one will know characters with the impact of the • Fixed lens with mechanical focus, iris, what’s not in the final cut. tell. Our approach though a little conference on their community. zoom control unorthodox was very effective. • Over-cranking and under-cranking We watched it down numerous (6) Keep your story moving times – adding new bytes, taking forward. some bytes or smaller sections out, Once we had a first version As both an On-line and trying to keep focus on what our PMW-EX3 of our story, I left Mike to start Off-line Editor, Jennifer Falk objective and “motivation” was. Sony reinvents the camcorder to bring you covering the sound bytes. Once has worked for numerous the truly unique EX3, offering performance This is always the hardest part, clients including CBS (Upfront and features previously unheard of in a he had that done, he brought me since every byte and idea seems Presentation 2002-2006), camera of this size and price range. in to give it a polish and make • 1/2-inch interchangeable lens system so important. But a great lesson I ABC, Food Network (The Next sure our pacing was on track. Of • Ergonomic camera body with adjustable learned was that the viewer never Food Network Star 2007), A&E shoulder mount course there were screenings with • Hi-res LCD display functions as viewfinder knows and never misses what was (“Fathers & Sons in Hollywood”, with diopter friends and colleagues to get their left on the “editing room floor”. a two hour Biography special), • Gen-lock and timecode in/out for multi-camera operation History (Deep Sea Detective • 8-pin remote control operation for series), The Travel Channel, paintbox and studio use MTV, Comedy Central, Discovery Health (Supervising Editor for the Check out the EX family at Abel today. National Body Challenge 2004 We’re experts in all HD formats and Mention you saw this ad in StudentFilmmakers one of the nation’s top resellers of series), ESPN Classic Sports and receive a free Abel t-shirt with your purchase. XDCAM EX camcorders. Network, Discovery/Animal Planet, and Sony Music. To learn more about the documentary, Ten More Good Years, go to XDCAM EX FAMILY www.10moregoodyears.com. SALES • SUPPORT • RENTAL Jennifer’s website is www. jennruggedit.com. Director Mike Jacoby
studentfilmmakers December 2008 New York 888.223.1599 Los Angeles 888.700.4416 Chicago 630.554.4619 www.abelcine.comDecember 2008 studentfilmmakers Close-Up
research that I’d done on Sinbad could be used here and I was very 1,000 Visual FX Shots, excited. And I met with Stephen and Bob Ducsay and producers Sean Daniel and Jim Jacks and Working with Crew, and I had a really wonderful meeting with them. I could be very direct; The Mummy Franchise I said what I thought and said, “If you can get with these ideas, I’ll Renown Action Director do it, and if you can’t, then I’m the wrong guy.” And they loved Rob Cohen Talks the ideas and credit to Stephen as he had a very good sense of detachment, and he was excited by Scott Essman about the franchise having a new energy and a new approach. When you see it, it’s more a movie Former wunderkind producer films including Dragonheart, The an update of the 1932 Universal Rob Cohen: I’ve never done a just wanted to do, always, since of mine than one would suspect and executive Rob Cohen burst Fast and the Furious, and xXx. classic about the O’Connell family sequel to my own movies because Dragon, a movie about China. because it‘s the third one in a onto the directing scene with Last year, he undertook his biggest tracking a series of resurrected there always seems to be new and franchise. It has 1,000 3D visual What was your initial idea as his biopic Dragon: The Bruce Lee project to date, The Mummy: Tomb warriors in the mid-20th century. better ideas out there than to do effects that are mind boggling, to your directorial approach to Story in 1993. Since that time, he of the Dragon Emperor, the second New to the franchise is Jet Li, who the same thing you just did. So and it even has an avalanche this film? has become one of the renowned sequel in Stephen Sommers’ stars as Emperor Han alongside when they said Mummy 3, I went, sequence. So it has battles and action directors in Hollywood with mega-hit from 1999, The Mummy, regular Brendan Fraser as Rick “What?” And then my agent said, Rob Cohen: I always thought three-headed dragons, and yeti, O’Connell and his wife Eve, “I just want you to know before that the way to approach China and chases, and romance, and Jet Li and Rob Cohen on the set of The Mummy: Tomb of the Dragon this time played by Maria Bello, you pass on it without reading was to do a fantasy. I had been humor. It’s a very detailed, very Emperor. Credit: Frank Masi. Photo courtesy of Universal Studios. and Michelle Yeoh as a fellow it, that it all takes place in your preparing The Eighth Voyage of epic film, having a big fantasy that adventurer. In this exclusive favorite country – China. The Sinbad at Sony, but when Stealth draws upon a lot of things from interview, conducted just days Terracotta Army of Zi Yuan are the didn’t work, they cancelled it. Chinese culture that I love. before the film’s original August mummies.” And the script by Al When I read The Mummy, I thought 2008 release date, Cohen waxes Gough and Miles Millar was really all the imagination, the work and on all things Mummy and the good and funny. It wasn’t quite machinations of his skyrocketing what I wanted to do, but it was directing career. a foundation that we could build on because it had the story and it Regarding The Mummy: Tomb had the great idea about the Terra of the Dragon Emperor, why did Cotta Army. As the mummies and you choose to direct a sequel, the theme mummy as one of the which I don’t think you’ve done emperors of China have come to date? back for conquering the world – I
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he was open and receptive to what I wanted to do. He had a lot of great ideas of what he wanted to do, and we really got along.
The sets in this film are among the largest practical sets that have been built in a recent blockbuster film because of all of the reliance on digital set extensions.
Rob Cohen: Nigel pulled off quite the miracle because I wanted this thing to be big. I didn’t want it to be “build a column and then Brendan Fraser and Rob Cohen on the set of The Mummy: Tomb of the Dragon wrap the whole world with green Emperor. Credit: Frank Masi. Photo courtesy of Universal Studios. screen and then you can extend it.” I always know as a viewer that Jurassic Park had some 50 Chinese mythology of fire, water, that’s what they did. And it doesn’t visual effects shots, so with earth, wood, and metal. make me feel like they worked as 1,000, you’re talking about a The film looks to be one of hard for me as a viewer as they huge visual effects film. How do the most visually enriched in should. Also, I like the actors that you stay on top of 1,000 visual the series to date. come on set and have their minds effects shots? blown and immediately be in the Rob Cohen: Simon Duggan Rob Cohen: Every day! Every place they’re supposed to be. the DP, and Nigel Phelps the shot, reviewing, talking to the And you can’t do that with green production designer, and Sanja digital artists, the lighting, the screen. So, I spent more money on Hays the costume designer: we details, what’s important, the the budget with sets than maybe all worked together to make this animation, what is the story you could have done another a really beautiful movie to watch, point? But it’s all story, story, way but when you’re watching not just exciting, but visually story – to make sure the visual the movie, you have no doubt beautiful. I’m watching it right effects are not just visual effects, you’re racing down the street now from my little soundproof but they’re a character in the film. in Shanghai in 1947. You have booth, but I looked at the colors The yetis have come to save the no doubt you’re in a cave above and the feeling of Shanghai 1947 O’Connell’s in Tibet, or the three- Shangri-La, in the Himalayas or and the deserts, and it’s just a headed dragon that the emperor any of the other sets that we built. very rich palate in a very intricate becomes, or any other tricks that There’s a skill to it and a reality to tapestry. Simon, no matter what I Jet Li, who plays the emperor, it that helps anchor the fantasy, threw at him, he was unflappable does as the mummy. And he has and that’s what I was trying to do. and the film looked gorgeous and control of the five elements in If you have all of these fantastic
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and stuff to protect her. They have Free Shipping to make it so it can work so we on all orders over $50 don’t see up her dress when she enter coupon code “sfm50” when checking out does flips or athletic moves. And I’d like her to look elegant, and we edgewise-media.com - Video Tape | Data Media | Audio Tape | DVD/CD | Media Packaging | Flash Memory | Hardware | Accessories | Expendables | Film talk about what colors the dress could be. And then Sanja goes away and designs this wonderful dress she did for Maria that I’m referring to. And that’s the same with Jet Li’s armor and all the 200 BC costumes and armor and the $799.00 each $12.00 each $2.25 each $5.39 each 1946-1947 costumes. You give Sony 16GB SxS Pro Memory Mini DV Storage Rack Holds Sony Mini DV PRL 60 min Panasonic 63 Min. AMQ Mini them the parameters of the intent Card using ExpressCard™ 48 Tapes Premium Series offers qualtity DV / HDV technology, is designed for XDCAM Black Mini DV Storage Rack at an exceptional value Experience 30% less dropouts and what’s going to happen and General Yang (Chau Sang Anthony Wong) learns not to mess EX series camcorders Holds 48 Tapes with AMQ vs. the competition with a Yeti in The Mummy: Tomb of the Dragon Emperor. Credit: how you see it, and then you’ll let Rhythm & Hues. Photo courtesy of Universal Studios. them give you the answer. elements and you don’t keep a you’re open. Also the fact that your When you’re making your string to the balloon, the balloon openness encourages everyone to own movie within The Mummy just flies away. This way, you do their best. If you have a death franchise, were you strictly always have some tangible reality grip on the movie, then what is sticking within the world of the to counterbalance the wildness of the incentive for anyone to do $29.11 each $1,549.00 Stephen Sommers films? $1,950.00 $13.64 each the fantasy. anything more than what you tell Sony DVCAM 184 min. Panasonic P2 Card 32 GB New protective locking album P2, which stands for Professional Sony HVR-M15AU Compact 2” Premium Gaffers Tap them to do? So then you’ve got Rob Cohen: Well, I was really case specifically designed for Plug-in, is a compact solid state HDV / DVCAM VTR 2” x 60 yards/180 feet What informed your decision sticking with the world of my DVCAM cassettes memory card designed for Compatible with mini-DV and to tell them everything because professional AV use standard size cassettes. to work for the first time with they’re afraid to make a move imagination. I can’t say that The crew members who are new to without your intakes. Mummy: Tomb of the Dragon your films? Emperor has very much to do with Does that apply to Sanja Hays Rob Cohen: I think that when the Boris Karloff version and the as your costume designer? you work with new people, you world of Steve is a different world have collaborators that’ll be very Rob Cohen: Yes, I try to set than the one I inhabit. And the $72.00 each 25 each ruthlessly honest with you. You parameters within which everyone beauty of what I got here is he $7. 00 gave me a franchise with a great Sony HDCAM SR 40 min. $255. $0.38 each Sony High Definition HDV / don’t have to agree with them, but can create, so I’ll have meetings Recording length of up to 50 Lacie 1 TB D2 Quadra Mini DV Fuji 16x DVD-R White Ink Jet at least you’re getting the benefit with Sanja and I’ll say, “I want name, an actor in Brendan that minutes for the small-size Hard Drive Sony VG 63 Min. High Definition cassette, and 155 minutes for the Printable Mini DV/HDV Tape Videographer had great affinity for the character eSATA 1.5Gbits, FireWire 800, of another viewpoint. Films are so to do a kung-fu fight with Maria large-size cassette in 24P mode FireWire 400, Hi-Speed USB 2.0 Grade HD large and so complicated that you Bello in an evening dress,” so that he created, Rick O’Connell, can have a vision, but you always she has to be able to work in the and then let it go. So the tone of Edgewise Media which is based in Anaheim California, continually strives to supply the latest product information as well as up to the minute pricing on all of the items we sell. The Edgewise Family which incorporates offices have to keep yourself open so that evening dress and be able to do China is very different than the in Anaheim, Hollywood, Las Vegas, Denver and New York has combined Hundreds of years of insight and tone of Egypt. We really shot all knowledge working in the Video Production, Film Production, Editing, Wedding Videographer fields as well as the simple idea or the interesting stunts in the evening dress. So countless other industries that use Blank Media. detail comes and you’re receptive, there’s going to be no stunt pads over China. You feel this solid Edgewise Media www.edgewise-media.com 917 E. Katella Ave. Anaheim, CA 92805 Toll Free - 1- 800-959-5156 Please note that product prices and availability are limited time offers and are subject to change. order online now! 14 studentfilmmakers December 2008 December 82008 studentfilmmakers 15 Close-Up
reality and wonder of China. And view on the movie. I was a producer being overly constricting. So, if Stephen would want me to be and I still have those skills in you want to be a filmmaker, you in his world because that’s how play. We had many battles with have to realize what a long arbiter franchises keep moving; they have the marketing department on this a movie is cut of and shaped on, to go to another world and they one, all honorable, and I would how many phases there are to must have another sensibility. like to think that the producers it, and how long you have to be But you keep up with the times and I won our point of view. But I totally focused on your story and and to make the audience feel trust the marketing department so the movie itself, and how it seemed like they are going to get enough much that I showed them the cut one way but making a film is really connection to what was called The of the film long before the creative trench warfare. So, get your spade Mummy but also something new. part of the studio ever saw it. You and start digging! have to not be arrogant and say Regarding the marketing of you know better, and you have to a film, some directors have said not thwart their creativity because Freelance writer and video to the effect of “they don’t tell they are creative people and they producer Scott Essman’s books me how to make the movie and have a very different point-of- and DVDs about special effects I don’t tell them how to sell it.” view than a filmmaker on how to in Hollywood motion pictures Where do you stand? get people in the seats. So, it’s a are all available under his name Rob Cohen: Well, I’m not like balance, like everything in life, at Amazon.com. Since the mid- that. I’m like this: I have a point of between keeping your focus and 1980s, Scott has been writing and producing projects about motion picture craftsmanship. He has published over 350 articles as a freelancer and has produced over twenty publicity projects for Universal Studios Home Entertainment where he made video documentaries and wrote publicity materials. He published Establish your horizon his first book, “Freelance Writing Your creative vision knows no limits. Where others end, you continue to the next horizon. Your production for Hollywood,” for Michael Wiese technology needs to keep up with you.
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16 studentfilmmakers December 2008 December 2008 studentfilmmakers 17 Copyright © 2007. Sony Creative Software Inc. All rights reserved.
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With movies including Dragon, Dragonheart, xXx, going in a good direction. If not, you get locked into Slaying the Dragon with Randy Edelman Daylight, and The Skulls under their belts, it was things. There are so many aspects on this project: it’s destined that the two would work together again. But a musical dream. “ Director-Composer Collaboration in “The Edelman came onto Dragon Emperor by unorthodox And a dream it was, as Dragon Emperor has two means. “One year ago, completely by coincidence, I hours of Edelman’s music in a two-hour two-minute Mummy: Tomb of the Dragon Emperor” was in Shanghai leaving at four in the morning, and movie. “I started writing after the first of the year and Rob was there leaving at 9am, and we didn’t know the was in London at the end of April where we recorded by Scott Essman other was there,” Edelman remembers. “We couldn’t at Abbey Road,” he says. “It was three months of believe it, but we decided to do this movie together. really creative composing, working, and talking it out Director-composer relationships have long resulted Edelman. “When he’s shooting a film, I usually go I got a call from his assistant because he was doing with Rob — being able to react to his reactions and in some of the most memorable collaborations in to the set. He likes me to soak up the vibe. When pre-production on the film. It was interesting that our having the time to digest what he told me after he movie history. Of course, there was Hitchcock and they were shooting The Mummy: Tomb of the Dragon first meeting about the film was there in China. That’s heard what I was doing. This was probably the best Herrmann. Spielberg and Williams. Zemeckis and Emperor and I saw some of the sets in this tomb, it the first time, and now we’re finishing the score and relationship that we have had.” Silvestri. Burton and Elfman. Now, a relatively more evoked an emotion before I saw any footage from the soundtrack in June of 2008.” recent partnership has evolved between a director film.” With wall-to-wall music in the movie, naturally, Last fall, Edelman started working on ideas for and composer that has had the effect of creating every cue segues into another piece of music, and with As the relationship is an intimate artistic one, the Dragon Emperor music. Production had shot in some of the most impacting film music of the last two only three months of writing, Edelman was pressed Cohen will often voice to Edelman what kind of summer 2007 in China and following over several decades. Enter Rob Cohen and Randy Edelman. character the music is to play in their discussions. months in Montreal on stage. As Edelman prefers to Starting in 1993 with Dragon: The Bruce Lee Story Plus, Cohen is willing to meet with Edelman as often come onto a project early, he got involved during stage and continuing through this season’s December 16 as the composer wishes. “Sometimes with other work in Canada. “You really can’t tell a lot from the DVD and Blu-Ray Hi Def release of The Mummy: Tomb studios or directors, they will come over in a week script,” he says. “It read a certain way, and there was of the Dragon Emperor and likely well beyond, Cohen when they make time,” the composer says. “Rob just an aspect of this that Rob wanted that’s not really and Edelman have worked together to give the movies shows up as soon as I ask him, and that shows up in on the paper. Two of the biggest musical themes in some of its greatest scores in modern cinema. the music. In the movies we’ve done together, we’ve this picture were written before I saw any cut footage. got this rare history. In all of the films we’ve done, the Sometimes, that’s a great idea, but sometimes that’s With six films together to date, the relationship music takes on a life of its own. It lives independently a terrible idea where the purposes you thought the is special to Edelman as Cohen is usually his own of the film even though the melodies comes out over music can serve are not what they need to do in the producer on their projects. “It’s nice to work with what he’s created on film.” film.” someone who is making most of the decisions,” says With Dragon Emperor, Edelman knew that Randy Edelman conducting The Mummy: Tomb of Randy Edelman in sound studio for The Mummy: the Dragon Emperor. Tomb of the Dragon Emperor. he would have a panoply of musical choices to implement. “This film has tremendous passion and emotion but huge action sequences,” he states. “It carries over from the previous Mummy movies, even though this is a completely different movie. It has a historical reality and is interwoven into the theme of this Chinese emperor. It turns into something quite unexpected.”
By January of 2008, Edelman started writing the actual music though many of the ideas were already in his head. “I had some strong thematic ideas,” he reflects. “There is nothing like having time if you are
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Unlike other composers, Edelman routinely there be something where they are not tuned in with it’s pretty much adjustments when I do the final conducts the music that he writes. “This is what I do what I’m doing.” mix – fine-tuning.” Another important facet is that — I would never think of not doing that,” he says. Edelman mixes during the actual recording process “Because of the different kinds of styles and “It’s so important to me because it’s my music – I as well. “The best sound is to get the orchestra live sounds,” Edelman continues, “we were on top of orchestrate it and conduct it. Composers now have a in the room,” he claims, “and get the balance right at every aspect of the music. If Rob has an idea, I’d like different background – some don’t have the traditional the time. Then, you adjust it in the end.” to make sure that he gets to hear what was in his musical background because there is a different way head. He’d be the first person to say that it was a bad In hindsight, Edelman noted that he always likes of doing it. If you come from the old way, it’s hard to idea.” to feel like his last score is his best. “With Dragon relinquish the reins of composing scores and turning Emperor, you are doing a certain type of picture, but it over to other people to execute.” One idea that Cohen had came from a sound that this score affords me so many different textures and he had heard on a location, one made by a Tibetan In addition to conducting, Edelman played all of styles that I’ve done over the years,” he describes. “It Horn – an eight-foot long floor-seated instrument – so the piano parts live in Dragon Emperor’s score. “John was fun to pull out your action and comedy chops. Bob Ducsay, Rob Cohen, and Randy Edelman Edelman determined to incorporate it into Dragon Williams is exactly the same way,” he remarked. It’s much easier to do a big beautiful drama that Emperor’s score. “There are one or two musicians “He is of a different era than me but comes out of everybody takes seriously. I was able to take all of my in England who play it,” he says. “It’s a really cool for time, but he made it work. “If the work schedule a traditional background. It’s different now – most scoring background and, in this one film, put a lot of sound and we found a few wonderful places for it. is right, and there is not lot of studio interference, people don’t conduct their own scores, but I don’t it to use to make something really special.” It was an idea that [Cohen] had that we decided to it can work out,” the composer, 61, explains. “It was like sitting in a booth. I enjoy being in the room with pursue in a few scenes. We also used an Erhu – a just Rob and I working on this movie. I can work on musicians, and then I go in the booth and discuss it. Chinese violin that’s hard to play in tune with an a small independent picture, and there are twenty I get it the best it can be, then I move on.” orchestra. They have to fit in the right register, but people involved. But the studio really put this in In the studio, Cohen was actively involved and they make very beautiful sounds — a noise that Rob’s hands. The last movies that I’ve done, there’s would provide Edelman with regular feedback. evokes certain sensations with the right visuals that a lot of interference where you are trying to placate “Different directors have many ways of working – some are very interesting and unique.” people’s egos.” of them back off and some of them are intimidated Though many shots, effects and sections of Based on a historical fact, set in China before by it,” Edelman comments. “When you go in with an dialogue on a movie of this size continue to change the wall was built, Dragon Emperor has many types orchestra, they are all different. Rob is probably the right until the film nears its release date, Edelman of music mixed into its pastiche. “I think audiences best you would want him to be – he loves it more than explained that a composer cannot wait for such will be surprised – it’s a real musical adventure,” said anything in the process of making a movie. He knows elements to coalesce. “There is a certain point where Edelman. “A whole wonderful prologue explains who what he wants and has very good comments. A lot of you can stay writing and running around on a ball this guy was. The audience knows who this character directors have a problem doing that.” like a mouse in a cage,” he says. “You have to stop is who comes to life thousands of years later.” Regarding the language that they use when and execute what you were writing and record it, When Edelman finally went to Abbey Road to discussing various musical passages, Edelman and then the music editor can edit it properly. If they record, it was a quick process. “The recording was described how he and Cohen have developed a make changes, the music will change – especially in a few weeks – that’s all you have,” he says. “I had shorthand disseminated in simple phrases. “You this kind of film. You can do extraordinary things.” ten days with the orchestra – members of London don’t have to discuss it in musical terms,” he says. Even after he got to the mixing stage of Dragon Symphony Orchestra, Royal Philharmonic, and some “What do you like about a cue or what do you need Emperor’s score, Edelman stayed actively involved, of the finest orchestral musicians in the world. I from a cue that’s not there? He knew all the themes which is evidently his modus operandi for every spent a lot of time with the London Chinese ensemble and out of two hours and 80-90 cues, he hadn’t seen step in the film scoring process. “I pre-mix myself, and time with ethnic percussion and non-orchestral only three. That’s how I’d like to work with everybody, and mixing is when all those tracks – the electronic instruments. “ so that they are not surprised by anything. I like to instruments, choirs, etc. — all of those colors are have a close interaction with the director rather than put together,” he states. “I have a lot of control and
20 studentfilmmakers December 2008 December 2008 studentfilmmakers 21 Close-Up
and writer for Marvel Comics, and get a stack of good comics. DC Comics, and Bantam Books Those comics writers have done tells why comics are important all of the work for you. They have J]pekj]h Ia`]h kb =npo Na_eleajp for filmmakers and screenwriters. been reading all that material and “Comics are a near-perfect form have been using it for years. Even of visual narrative, so film guys better, they have taken it past the can learn a kind of approach basic storylines and have used to storytelling that might be a their own genius and imaginations bit outside their own discipline. to expand the ideas outward into Comics are paced very differently a world that is now well-suited than TV and movies, so there may to special effects, 3D, multiple be something about relating to the storylines, and a complexity that audience to be learned. Comics is part of the current sensibility. are far more iconic than movies, Cross-Pollination another place where some learning may be done. Finally, comic book Summing up the relation dialogue is highly compressed, between comics and movies, O’Neil yet, to work well, it should sound says, “They grew up together, and colloquial. So screenwriters both contributed to educating =NP HERAO DANA might learn something about audiences to get narrative making their characters talk from information from images, rather they have a storyboard style that comics.” than just words. They started E ]i*** Want to Write a Screenplay or will help you to see ideas come from very different traditions and Narrative Problems, Solved ] behii]gan alive and to understand how the eras, visual narrative in the form Make a Movie?: Read Comics! visuals can help tell a story. Think Comics face some of the same of pictures predated film by tens of _na]pera of a comic as a film that runs at narrative problems as television centuries, but they came together Interview with Dennis O’Neil, Marvel one frame a second, or slower. Or and film, and the writers have in the U.S. in the 1930’s as d]n`skngejc one static shot at a time. A shot spent an enormous amount of vehicles for pop culture. Virtually _qnekqo Comics and DC Comics that conveys meaning. The writers time crafting storylines, adding all early comics guys I know or and artists have to know how to backstories, developing additional know about are/were big movie `neraj by David Kaminski pare down their material and the characters, and finding a way fans, and for the past 50 years or Comics might help you get has been optioned. Why should visuals to get the idea across to to catch the attention of the so, movie makers have tended to ***]j ]npeop into film school, or help you to you care? the reader. You will be lucky to audience. They have not hundreds, be comics readers. So there was get your first film written. Sound have a more easeful 24 frames a but many thousands of characters and is a huge cross-pollination.” Comics as a Short-Cut to preposterous? Maybe not. For second to work with, and as many and stories. OQIIAN =NPO ?=IL Filmmaking Also, there are the shared decades, comics have had a bad different shots as you want, but Maybe you think comics are not storylines between the comics and BEJA =NPO >K=N@EJC DECD O?DKKH reputation, but in the last handful Reading comics and entering studying the masters will make high art, or maybe you’d rather film noir, the serialization of comics of years, Hollywood has been the world they inhabit might be the you smarter. spend time culling storylines from that is employed in movies now, Bqpqna kb ?ejai] churning out a number of box- best short-cut to help you generate A Lesson from Dennis O’Neil great literature, or find inspiration and the use of the same mono- Ejpanj]pekj]h Behi Baoper]h office smashes about superheroes material and to give you an in some French philosopher. myth of the American culture that I]u - Ì /( .,,5 who first lived and breathed in understanding of character, story, Dennis O’Neil, now retired Forget it. Put down all of those fat today permeate both mediums. comic books. And every superhero and continuity. Most obviously, after being a decades-long editor old volumes in their musty covers Interlochen Center for the Arts sss*ejpanhk_daj*knc+opq`ubehi Student Filmmakers 2.25” x 9.75” RUN: Dec. 08
22 studentfilmmakers December 2008 December 2008 studentfilmmakers 23 Close-Up
Dennis O’Neil, from Reader Comics and Graphic Novels.” credit than writers who are part of and excitement about deadlines, sweetheart, has been another that could fill an encyclopedia, and to Writer to Editor And he can sit in a movie theater the Writers Guild of America. He missing material, everything that secret. a joy to share it all with others. “If from time to time and watch his describes the writers, characters, he needed to get out another you think that comics are simple,” O’Neil’s career stretches back Chaos and String Theory characters, storylines, and the and stories of the comics world and issue. He also had the chance O’Neil said to me, “sit down with to 1943, when he was four years influence of his work come to life. the film world as being all part of to discover in the last few years What’s next? Well, O’Neil is a pile of Krazy Kat. That will turn old. He first started reading comics the same universe, connected like that one of the root causes for his interested in chaos and string your head inside out.” Indeed it then, when they had a reputation Characters on the Big Screen Indra’s jewels, a net of gems all erratic grades in school (A’s, C’s, theory. He’s even studying it. might. for being lower than low-brow Most recently, he sat in a movie glittering, reflecting, and shining D’s) was also part of his genius. Though he finds it hard to follow, literature. As he moved into high theater watching Ironman, and light upon each other. Marifran encouraged him to get he talks about how the parallel school, college, and the working had a flash of recognition when tested for ADHD, and he had all worlds and other concepts written David Kaminski teaches TV world, he began writing for a O’Neil speaks frankly and a character he created, Obadiah the indicators “in spades”. He about in comics have been proven Production/Media at Clarkstown newspaper where he learned to without sentimentality about Stane, played by Jeff Bridges, was mentioned that people with ADHD by science. His advice to others: HS North in New City, NY about write quickly to beat the deadline the relationship between comics on screen. At the time, when he have the ability to “hyper-focus”. “Read everything. Cultivate 25 miles north of New York City. and the start of the presses at 10 writers and screenwriters. “We created and named the character, Because of it, he can sit and curiosity and then indulge the hell His students have earned five pm. It was a great and important have very little to do with the his fellow writers at Marvel get a job done, or work three 19 out of it. You never know what Telly Awards and over 50 national learning experience for him to translation of our comics to other Comics mocked him. This year, he hours days in a row. And at the will be professionally useful and awards for their work. They also learn to produce material. His media and that’s as it should be. had a chance to settle the score end of the day, the support and besides, it’s fun to know stuff.” His have screened their films more focus on writing comics brought I’ve occasionally been accorded the with them, when he called them love of Marifran, his childhood mind is still spinning with ideas than 200 times in festivals across criticism from some of the people courtesy of being shown a script and mentioned the new film. As for a book, facts and information the country and internationally. closest to him. He was told he and I’ve always dutifully written both a writer of Batman comics would “never amount to anything” memos, but I don’t say anything and the editor for DC Comics, he by his own mother and his that isn’t pretty obvious. We comics had a broad influence in helping mother-in-law. And he agreed. guys provide a starting point. I’ve create the darker character that He didn’t argue with them. At the had very cordial relations with all the audience saw in Christopher time, working as a writer for the the Batman directors, but they Nolan’s first Batman film, Batman industry was not considered very don’t need me to tell them how to Begins. That mood also permeates respectable, though now, every do their job.” the most recent film, The Dark major university has a course on Knight. O’Neil has worked with the The Secrets of Genius comics. screenwriters on the novelization Dennis O’Neil is standing on Looking back on a glorious of each of the films since his a mountain of achievement. He career that is filled with Batman, history with the characters went is talented, smart, and a lot of Spiderman, X-Men, the Green back so many decades. other things, but what makes him Lantern (his own original Though he is well-known in different? After a long career he character), and countless other the world of comics, O’Neil’s has had some time to reflect on characters he has worked with, influence, both large and small, what has made him tick. Forget he is a man rich in story and has gone somewhat unnoticed vacations. They are nice, but in knowledge. He has been honored by the general public. His role as the end, he was and still is an at the Library of Congress and at the creator of Obadiah Stane was adrenaline junkie. His lovely wife the Smithsonian Museum. He is uncredited, for example. This is Marifran pointed out to him that working on a piece about Nietzsche, not uncommon, since the writers the drive back from a vacation Sartre, and supervillains. He of comics have a different and always had him gripping the teaches a course at NYU, “Writing less formal process for receiving steering wheel in a state of anxiety
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Editing XDCAM Footage An Editing Time-Saver Manage Hundreds of Clips Sorting by Jeff Turboff by Torb and Nola Jensen
As anyone who regularly edits with XDCAM * You will see ALL of your clips start to compile Before moving to New York, I production to come to a grinding can spend the extra time during footage knows by now, XDCAM projects can very onto a timeline starting with C0001 and ending had the dubious honor of working halt. the log and capture phase to break quickly become unwieldy with the large number of with the last clip shot. for a fish factory in Alaska. I up that hour of footage into short, As a digital editor, what I’ve files generated. started at the front of the factory, one to two-minute clips, label each * Now use this sequence as a source. found to be an incredible time and, over the years, made my clip with a descriptive name, and Here’s a way to make your project more, well, … saver and stress reliever is using Jeff is a freelance editor, with credits on many major way down the line to the back of color code the clips from “best” to “wieldy”. This is an Avid tip for XDcam projects. the skills I learned in Alaska of networks and experience in subjects including war, the factory where the finished “worst”. sorting “proto-products” (film sports, fashion, true crime, food, nature, medicine, products were shipped out to You’ve imported all your files of footage and now clips) into designated categories Now, the clips are not only music, and reality. Currently with ABC’s Nightline, destinations around the globe. have dozens or hundreds of clips. prior to actual production. easier to find and work with, but Jeff is also active in narrative fiction, having edited The one task that was perpetually * Go to bin menu – headings. I am also much more familiar with the indie comedy short “Get the Script to Woody being employed during all phases Suppose I have an hour of the content of each clip. I know Allen,” the courtroom drama, feature-length film, of production was sorting. Mis- footage I want to turn into a three- * Add mark in and mark out to your bin headings. even though this clip is labeled “The Pack,” starring Lucie Arnaz, and has directed, sorts really slow down production. minute music video. I can simply and sorted into the “walking” * Make sure none of your clips have marks in or shot and edited about twenty short films. Jeff is also In fact, a mis-sort could cause import the entire hour of footage category, there are a few frames in out (or remove any that exist). as one clip and start editing. Or, I there which will edit perfectly into * Sort bin by clip name so that C0001 is at the this “running” scene I’m working top. on.
* (Click on the word ‘name’ in your bin, and then, I’ve found the more time I spend “Control-E”.) on “sorting” – then, the more time March 2008 April 2008 July 2007
StudentFilmmakers.com The #1 Educational Resource for Film and Video Makers US$5.95 * Go to Avid project window - bin settings. StudentFilmmakers.com The #1 Educational Resource for Film and Video Makers US$5.95 StudentFilmmakers.com The #1 Educational Resource for Film and Video Makers US$5.95 I have left over for the “fun stuff”. Q&A with DP John Seale, ASC Format, HD, and * “Enable edit from bin (splice-overwrite).” Digital Technologies
* Clip menu - new sequence. Torb began his early days as Madame Tutli-Putli ’s Creating Make-Up Effects for a farmhand before relocating * Highlight all clips in your bin. Journey to the Red Carpet The Enemy God to Alaska where he settled into Tech Focus: Which Camcorder Should You Buy? Day-for-Night: Here’s How It Works Depth of Field Techniques Filmmakers Ask M. David Mullen, ASC Shoot Cinematically, Regardless of Format Shooting and Editing Aloha New York 2007 Annual Summer Shorts Winners The Digital Stereoscopic Renaissance Working with Music for Your Film a ten year career as a seafood Film Editing and the Narrative Through-Line Guide to Running Efficient, Effortless Auditions Production Design for Dialogue Recording Picking the Right Audio Mixing Console Audio for Television: Mixing the Basic ‘Event’ Six Habits of Highly Effective Editors * At the bottom of your timeline window, click the Traditional DVD Distribution Deals Plan the Workflow of Your Next Production Shooting in Tanzania processor. Tired of fish, Torb red segment editing arrow so that you are in SF2008_March.indd 1 3/3/08 11:51:09 PM SF2008_April.indd 1 3/30/08 7:26:57 PM moved to New York City where he segment mode. graduated from the New York Film Catch up today on any editions you missed! For immediate Academy. Nola began her early * Now drag all your clips directly onto the timeline Collect All the SF Editions delivery, order online today at: career as a director. She has been window. directing and assistant editing for www.studentfilmmakers.com/store almost five years. Their website is for Your Reference Library Keep track and stay abreast of the ever-changing technologies. www.torbtown.com.
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Directors Kyle Garrett and George Seamer Move Forward “Inertia” Wins First Place in the Summer Shorts 2008 Film and Video Competition
Inertia, a 27-minute, poetic film depicts the inner and outer struggles of prepared for. The bleak outskirts of San directed by Kyle Garrett and George four strangers – Ricky (George Seamer), Francisco act as the backdrop for this Seamer, wins first place in the Summer Jane (Amy Sperling), Chad (Doug view into a jaded generation. Shorts 2008 Film and Video competition. Rutsch), and Eve (Laura Floros; voiced StudentFilmmakers magazine talks Shot with one camera, the Panasonic by Amber Crosby). Floating through with the directors of Inertia about their HVX200, and filmed in San Francisco, their mid-twenties the four interweave (From L to R) George Seamer, Kyle Kyle Garrett films an overhead close-up of George Seamer as Doug winning film. Sacramento, and Vallejo, California, Inertia on one fateful day none of them are Garrett, and Bo Heimlich discuss their next Rutsch and Amy Sperling look on. Photo Credit: Bo Heimlich. set-up. Photo Credit: Amy Sperling. What were your most favorite locations and scenes to shoot? Kyle: This is hard. The five or so George: I really enjoyed the on us minutes before they were PVC pipe and gaffer’s tape. Laura days we spent on Treasure Island, scenes we shot in Sacramento. supposed to shoot, we just rolled was all ready to go and so were shooting the accident scenes were That includes the office scenes with it and got it taken care of we, so Bo Heimlich, our producing very challenging and memorable, with Chad, both interior and unfazed. Earlier, problems like partner and entire crew, waited but I really enjoyed shooting exterior, as well as the doctor’s this would have been devastating. for my signal and started driving. the introduction to Chad [Doug office scene. We were there for Also, I didn’t have to act in any of But when she started to move, the Rutsch] in his motel room. It was three days, and I think that was these scenes, which was one less whole rigging came apart and the fun to go shoot in a seedy motel the most productive period of the thing to juggle. trunk came crashing down on the in the middle of downtown San shoot. More shots were crammed top of my head and, much worse, What were some other Francisco, and with all the stuff into these three days than at any the camera. The car screeched interesting things that happened we did to the walls and with the other time during production, and to stop, and I waited with bated while you were filming at these lighting, I felt it was the first time we just flew threw them. It helped breath for someone to let me out. locations? we had a chance to really design that Kyle’s father owned the Thankfully, when Bo opened the a location. It was also very early building, so we had free reign. We Kyle: While shooting on trunk, the camera was totally in the shoot, so we still had a lot took over the parking lot, staked Treasure Island, there was a shot fine aside from a small ding on of energy. That was probably the Kyle Garrett and George claim to one of the larger offices we needed to get of Eve [Laura its handle. But that was really first night where, after we finished Seamer rehearse a complex in the building and tore down Floros] riding her bike away from terrifying. camera move. Photo Credit: shooting, I thought we might not partitions in the company weight the scene of the accident. We Amy Sperling. necessarily be wasting our time. George: Both Dave Zapasnik room to build our cubicles. It was wanted to get a tracking shot from [the office bully] and Doug Rutch also at this point, about midway the front, so I ended up with the [Chad] did a lot of really great through shooting, that we really camera in the trunk of George’s car. improvisation during the filming found our rhythm. When problems His trunk has very loose hinges, view winners’ shorts online at of the office scenes. Almost any Summer Shorts 2008 www.studentfilmmakers.com/summershorts08/ arose, such as actors canceling so we rigged it to stay open with
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shot with Dave in it would end be seen in the movie. It was still this very thing [how to direct the How were the actors directed we thought was very important to whole thing is summed up, in my with everyone on the set bursting important to us to get it just right actors, what we were looking for for the voice-overs? take our time with. mind at least, with George in the into hysterics. We realized while and we didn’t want it to be random. in each performance] that George middle of a parking lot, mercilessly Kyle: There was a lot of room George: Much of the voice- shooting that when he walks up There are pictures of successful and I had before we began shooting pummeling a large hunk of raw to try things in different ways. At over dialogue was changed during to show off his new sunglasses to people, important events, powerful made directing very simple. This steak to get some good punching first we would have the actors just this process as well. At this point, the female co-worker he needed animals and even handmade certainly holds true when it comes sounds. We did that kind of thing, read the lines. From there, we’d the actors knew more about the to say something, but nothing graphs of Chad’s charting things to how I directed George. In a lot off and on, for weeks. It took as try to focus it towards something characters than I did. If something was written. We just told him to such as “friends made.” Everything of ways, he directed himself. long as the shoot itself. closer to what we were looking didn’t feel quite right they would hit on her and started recording. is linked in long strands by yarn, George: I don’t know how to for. Since these were our friends, make suggestions that we would George: I had no idea what He launched into this ridiculous, all leading back to a baby picture answer this without feeling like I’m not trained actors, often times we usually go with. ADR was before we made this hilarious monologue and didn’t of, presumably, Chad. There’s pulling one over on you or without would just read the lines ourselves movie. I can’t describe how hard it let up for minutes. We just kept even one strand of photos of the Did anything interesting or feeling like a ponce. Before Inertia to give them an idea of how we is to get someone, myself included, rolling, holding back tears, even world’s greatest philosophers unique come up while you were I didn’t have any acting experience wanted it to sound. But there was to repeat something into a though we only needed a few through time leading up to a photo recording, mixing, and editing? and no experience making films at a lot of room for the actors to give microphone exactly how they said seconds. Likewise, there wasn’t of Chad’s grandfather, Chad’s all. I really just wanted to write suggestions or adjustments to it when we were recording. I still much written for Doug to say on father, and finally back to the Kyle: The entire process of something. It was during the make it feel more natural for them, have nightmares about matching the phone when he’s cold calling. baby photo. It was a lot of work, creating the sound for the movie writing process, as Ricky became and they always had good insights. up digital sound waves. No one on set knew Doug actually but I really like the effect we got. was probably the easiest, even if it more developed, that I started So it was a long process, but one used to be a telemarketer. When As far as focusing so much on was maybe a little bit tedious. The seeing more aspects of myself in he launched into his old sales how each picture relates, [should him. We always knew that we were spiel so naturally everyone’s jaws we connect the tiger with the going to burden our friends with dropped. picture of the football team or with all the roles in the movie and not Albert Einstein?], hell, we needed Who created your fourth hire professional actors. So when something to do while Kyle set up character’s “wall”? Did you it came down to deciding who the lights. FIND YOUR VOICE work with a set designer? would play which role it just felt
George has an amazing natural for me to step into Ricky’s The new MFA Social Documentary Film program at SVA welcomes Kyle: We found the photos in presence on screen. How were shoes. you to apply now to its inaugural class. Chaired by award winning various old books and magazines George’s scenes in Inertia documentary fi lmmaker Maro Chermayeff and located in the heart of we either already had or bought I’d like to mention here, too, Manhattan, the fully accredited MFA program provides a solid foundation shot? at local thrift stores. We spent that although Kyle and I worked in the fundamentals of nonfi ction fi lmmaking, as well as an immersion into the critical and analytical processes necessary to conceptualize an entire afternoon cutting out Kyle: George’s scenes were very together on every aspect of this MFA and develop signifi cant, socially relevant fi lm projects. Within the broad the clippings. Then, on the day simple to shoot. This is purely my movie we did play different roles spectrum, a social documentary fi lm can be personal, revolutionary, of shooting, George, Bo, and Amy opinion, but since he wrote the on the set. Kyle has the film engaging, funny, political and more; simply put, Social Documentary Sperling (who played Jane) created movie and spent so much time background and handled all the SOCIAL DOCUMENTARY fi lms tell us more about ourselves and the world we inhabit.
Chad’s wall while I set up the lights with it before any of us did, I think shooting and lighting, while I Working with documentarians at the top of their fi eld as teachers and and camera. I think the actual set- having him play Ricky was a very focused more on the actors. We did FILM mentors in a collaborative think-tank environment, the MFA Social up only took a couple hours. The easy choice to make, and not work conjointly on shot listing and Documentary Film program at SVA will not only teach students how to tell a story; it will guide them towards lifelong career in fi lmmaking. truly tedious part was finding the one where we ever considered an we reviewed every shot together right clippings to convey what we alternative. He knew the character while filming to make sure we For more information contact us at wanted to express. very well, so my direction, just were getting what we wanted, but Tel: 212.592.2919 Fax: 212.592.2116 like with any other actor, was he handled all the technical stuff. E-mail: [email protected] www.mfasocdoc.sva.edu George: I see the wall as a only to make adjustments to the This setup made it really easy physical representation of what is performance as they became for me to play a role in the movie going on in Chad’s head. We had necessary. And the amount of because Kyle would have naturally a lot of fun setting up the wall preparation and discussion about been behind the camera anyway. and the detail of it that will never
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movie and they need something to happen, some action to be taken, in order to stop this catastrophe from happening again, over and over. I wish I could say I went into each draft with this developing theme in mind, but really most of the decisions I made in the writing I made because they just felt right. There wasn’t a whole lot of thinking involved.
Both Kyle and Bo would read each draft, give extensive feedback and then send me back to my computer. It must have taken about six months, taking into account long bouts of procrastination, before we had a version all three of us were happy with.
Looking back, we spent a (From L to R) Kyle Garrett, Bo lot of time agonizing over very Heimlich, and George Seamer specific things, like single words watch playback to make sure or the relevance of a pause. It they got the shot correctly. became clear from the day we Photo Credit: Amy Sperling. started shooting – actually before that – from the day we started shot listing, that the screenplay Not only characters, but drafts and in each one the story was going to be pretty fluid. The objects are linked like visually became less about taking heroic scenes changed a lot through poetry; hand-to-stomach, food, action and more about just taking the shooting and editing process. photographs, flowers, balloons action, any action at all. It felt Large chunks of scenes were and other objects. What was off, somehow, to have it solely promptly, and correctly, cut on set the writing process like? Did focused on one character. I guess right as we were about to shoot the script change much during any action someone takes has them – those chunks, so easily production? an effect on someone else. More discarded, sometimes containing characters sprang up and I ended the same words and pauses that George: I went into the first up with all these people caught up we agonized over earlier. Some of draft wanting to write something in their own little worlds, almost the best scenes are the ones where about heroism. How anyone can claustrophobically so, unable to the actors strayed away from the be called upon to be heroic at see just how desperate they are script and added their own take any time. Kind of touchy feely, I becoming. They are all heading on the scene. know. That’s still in there a little, I towards a catastrophe that we see guess, but the story soon became Viewers might say the story happen at the beginning of the something else. I wrote about ten is very relatable for a lot of 20-
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How did you shoot and edit Kyle: It sounds really simple, masterpiece, or even if it’s very your slow motion and time lapse maybe overly so, but – just make good. If you just try, you are sequences? the movie. Take your time, be guaranteed to learn something thorough, make sure you’re and that’s really what we should Kyle: The great thing about the working with people you trust and be striving for. HVX is that it has an intervalometer like to work with, but don’t worry that allows in-camera time-lapses. What are you and George about whether you’re doing things So we did those that way, taking working on next? the “right” way, and don’t get Ricky at the scene of the accident. Photo Chad at his breaking point, just Ricky making a mess. Photo Credit: a frame every other second for overly discouraged if it becomes Kyle: Right now, I’m editing Credit: Kyle Garrett. before he stands up to his office Kyle Garrett. several minutes at a time. George difficult at times. There’s a solution and mixing a project for a friend of bully. Photo Credit: Kyle Garrett. got very good at standing still. to every problem, whether it’s mine, and writing a feature-length The camera is also capable of technical, budgetary, or logistical. that I hope to start shooting with something year olds, as well as camera moves that enhanced How did you shoot and edit variable frame rates. We shot our There are a lot of different ways to the same team sometime next for those who were once 20- scenes rather than showing off the floating flower sequence? slow motion footage at 60 fps, get to a completed movie, so the year. I just finished a first draft, so something. What inspired your skills and technique. Could you and I really love how it looks. I’ve Kyle: Here is another example only thing you can really do wrong there is a very long way to go. I’m film’s beginnings? talk a little bit about the camera never been much of a fan of 24 fps of something I’d love to go is to end up not taking the steps trying not to think about all those moves in relation to scenes? footage that is just time-remapped Kyle: I recall George finding back and reshoot, because we to get there. awful logistical things that go into slow motion, but, before this, me in our living room late one Kyle: I thought after reading could have saved ourselves a with it; otherwise I’d never finish that was always how I had to do it. George: Like I drunkenly said night, fairly drunk, and telling me George’s script that we would best lot of headache by doing things writing it. So I was very glad we were able to to Kyle that night a few years ago, we needed to “do something.” I serve the story through subtlety. differently. We filmed this one, tiny capture true slow motion for our “let’s do something.” That’s the thought that was a bit of a loaded Still, it’s easy to get carried away shot well over a hundred times, in George: I’m grinding my movie. most important thing. Just make thing to say, but he clarified and when dreaming up shots, and a bunch of different ways. What way through a feature-length a commitment to do something, screenplay. I think Kyle and I are told me that we needed to make I think we were definitely both ultimately ended up in the film If you could share a piece of anything, and follow it through going to come to fisticuffs when a movie. And he wanted to write guilty of this early on. So, when was a shot where we had the flower advice to aspiring filmmakers to completion. It doesn’t matter we both finish our features at it. I thought it was a great idea, George and I were inventing shots, mounted to the camera via a crazy around the world, what would it if it’s the next great cinematic the same time and need to decide because I had been thinking about we would be careful to make contraption that Bo concocted be? trying to make a movie outside of sure any camera movement was with wood and string and tape. which one we are going to shoot. I my film school curriculum, and I motivated. Dolly moves would only I handheld the camera with the have no doubt, though, whichever knew George was a good writer. be employed if they were revealing flower strung up right in front of one we choose, we will get all the something about the characters the lens and lowered it very slowly same people involved. I am getting George: I guess we were, and or the story. That’s true of any with a bit of a swaying motion. a little antsy to actually shoot are? Those 20-something year olds. other bit of camerawork we did. Because of the impossibility of something so there might also be I’m not so arrogant as to attempt Still, there is a lot I’d go back duplicating this move, we had no another short in our near future. to define a whole generation, but I and change now, particularly in plates for compositing. Bo worked One that isn’t nearly a half-hour guess there’s a sense in people our terms of composition. Shooting tirelessly for several days to paint this time. age of wanting to do something, to this movie was a great way for me out the string frame-by-frame, take action, but not really being to learn a good deal about how without the help of a plate or even sure of what action to take. That to shoot a movie, which I realize a clean background, because theme is kind of represented in sounds kind of like a dumb thing what was out there in the frame the movie. I think that feeling is to say...but it’s true. And I think beyond the flower was very busy. why we started this project. We editing, just as importantly, gave Lots of trees and bushes and just wanted something to do. me ideas about how not to shoot gravel. Somehow Bo pulled it off. a movie. I got to see what worked But I’m pretty sure some green We might have seen some (From L to R) George Seamer, Kyle dolly shots; there were definitely and what didn’t. screen could have really altered Garrett, Doug Rutsch, and Bo Heimlich low angle shots, and subtle the difficulty level. Life could have shoot a scene in Chad’s motel room. been so much easier. Photo Credit: Amy Sperling.
34 studentfilmmakers December 2008 December 2008 studentfilmmakers 35 New Directors Travis on location with friends of the actress in the background. Travis Walton Waugh Gives Life to Mystical Creatures Fantasy Without VFX
Fairytales, written and directed by Travis Walton Waugh, is a short film about three people, who for various circumstances experience a lack of companionship. They become isolated in places where they have otherwise never been alone. Here they are forced to create new people, things, and creatures from their imaginations to interact with as friends would. “Each make-believe companion derives from the spatial environment in which they were conceived,” explains the filmmaker. “[The film] is about friends or the absence of friends.” Little Vinny Parks helps set up lights William Robinson as the Yarn Wolf Stone Golem costume fitting. while his brother Rocky hangs with the stands behind a lighting set up. StudentFilmmakers magazine speaks with Travis about Fairytales, second place winner of the Summer Stone Golem. Shorts 2008 Film and Video competition. Travis: The primary color stuff was more or less a obvious wardrobes and props. Before finishing the last requirement of this project for the class and professor of the costumes though, I didn’t feel it appropriately What inspired these characters, both the yarn wolf obviously stems from the knitting of the I was making it for. It turned out to give the movie met the requirements of the assignment that were human characters and the mystical creatures? little old woman, “Blue”. a new aspect, but I think it’s overdone. The stories focusing on color and the possibilities that it can are visually different enough to not require additional produce in a film. Travis: The creatures came about through the As far as the human characters are concerned, color separations. What’s done is done though, desire to have eccentric and puppet-esque beasts in there wasn’t much acting required through the script, What was your most favorite scene to shoot and apparently, it’s quote, “a nice effect” for some a no-budget student film. Amy Novinski, the costume so I was more interested in the aesthetic look of the and why? audience members. designer, was the brains behind the operation from actors than their emotive potential. Travis: It was way fun to hang out with the kids, that point on. We sat down and looked at where each Tell us about the cameras you used to shoot Did you conceptualize and sketch creatures Rocky and Vinny. They live in a neighborhood in North character was, and visually, what they were doing your film, Fairytales. for your designer? Tell us more about how you to more fully design the creatures. For instance, the Philadelphia that is not so supportive of “playtime”. brought your mystical characters to life. Travis: We shot it on the Panasonic DVX-100 I used to work with them in a couple of afterschool [24p]. I hadn’t used the camera before and learned programs, and at times, I felt like I neglected the kids Travis talks with the kids as to what to do in the next scene. Travis: I think it was a combination of both of a hard lesson on some simple concepts. The red is – not just those two – who I used to be so closely our own imaginations. I did sketch some stuff and uncomfortably grainy, and it’s my fault for not lighting connected with. It was a relaxing afternoon to fool talk about it with her, but she would usually become the scenes enough, and instead, using the gain around while filming. Who does it hurt to climb a the voice of reason. Amy would remind me that all of function. A word to the wise, never ever use gain. monkey bar for an hour or so with them instead of the materials we were creating with were household always being behind a camera… objects. The entire wolf was made from a blanket Did you use filter effects? and a lot of yarn. The stone golem was made out of Did you use storyboards? a mattress and memory foam. The bird was literally Travis: Most all of the color correction was done comprised entirely of found sticks from scavenging live on set with gels or white balancing on something Travis: I did do storyboards, but it was more for the woods. I hope telling you all this doesn’t dispel the other than, well, white. filling out the requirements of the class than anything practical. Even with that said, I didn’t actually mystical aspects of the three creatures. Regardless, What shooting, lighting, and editing techniques storyboard each shot. Personally, I think if I’m using Amy did an absolutely beautiful job with little did you use to create the look for the Yellow, Blue, digital footage anyways, just shoot more than could resources. and Red characters and scenes? ever be considered useful and spend extra time in What is the significance of “Yellow,” “Blue,” Travis: At first, the idea was to subtly insert the editing. and “Red”? colors for each section through obvious and not so
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There are also day and night scenes in “Yellow” turns and realizes something is with her, a Travis: I’ve actually finished three or four short Fairytales. Could you describe your lighting mixed stick-leaf crackle and bird sound is heard. films since working on Fairytales. One of those setups for the day and night scenes? projects, East City, Badlands incorporates Amy’s What would you say was the biggest challenge wonderful costume design again and shares some Travis: Lighting was absolutely a disaster for with this project? resemblance to Fairytales. The difference being every this project. The locations required extension cables character [20+] has a unique costume or prosthetic. to stretch into the middle of a wheat field. We were Travis: There were a lot of challenges. The biggest and most frustrating was the amount of downsizing of blocking neighborhood streets illegally with our cars Currently, I am in the pre-production stages of an ideas which had to be done. The most disheartening to set up lights for shots. Many times, we would have interactive narrative piece. It’s kind of like a “choose Actress Britney William Robinson trying on the thing is to have a really great plan or scene and have to leave some equipment at the school because we your own adventure” DVD. There are five characters Lewis on location. yarn wolf mask for the first time. to either omit or change the essence of it. I would had too packed a car with cast, crew, costumes, to select from; a wolf, an old blind woman, a long- figure this whole scenario out with tons of shots and and camera junk. The positioning itself was nothing armed character named Bankshot, the Frog Prince, Travis: It took a little under one month to complete movement, and then, look at a calendar and say, special, often literally just trying to expose enough. and a homeless kid. The system is simple – you watch the entire project. About two weeks of that was in pre- “Hey, this has to be finished by next Friday.” The only I’m no good with lighting. I don’t understand it a scene, and through menus, determine what your production with long nights of costume manual labor. solution I came up with is to continue to incorporate enough and still feel that way. But I guess that’s why character does. The paths cross in different ways Then, two weeks of filming. When we would finish my grandiose ideas into later films with budgets and I’m in school. as you dictate your character’s decisions. There are shooting a color, I would immediately, sometimes the time. other creatures and mystical beasts you can avoid or There was a machine operator and stilt same night, go into editing. Don’t get me wrong – that encounter. It’s a fun project but a lot of work since consultant in your crew. Could you talk a little bit is entirely not enough time to properly edit a piece, The only other important comment I can make I’m kind of making five movies and condensing them about this? Was your stone golem on stilts? but what can I say? It was due for credits and grades. on “challenges” is to be aware of your actors. Acting into one format. There will be a webpage soon, which I never really went back and touched up any of the sucks sometimes, and it’s important as a director to Travis: The stilts were a long and painful will set up the initial storyline and also have animated areas that seem lacking. be aware of that. I’m a pretty excitable guy with a lot experience. If we would have had more time, maybe of energy, and I’ve come to realize most of that needs prologues for each character. we could have pulled it off, and we’d be talking about You used original music in Fairytales. What to be addressed to my actors. Constantly aware of a completely different film. Since the film was written, was it like working with your composer? Could their situation and remembering to be in solidarity shot and edited within one month, there were a lot of you describe your collaboration? with them through everything I ask of them. little things that had to be put on the backburners, Travis: Chris is a just friend who I don’t really so as not to shut down the entire project. The stilts If you could share a piece of advice to new know all that well. He’s been doing his own music were one of these things. filmmakers around the globe, what would it be? for a couple of years now, and I’ve been really into The original concept was to have the stick bird it. He’s from Illinois and was actually on tour while Travis: A lot of people don’t like this movie. walking around the woods and interacting with I was editing. When he came through Philly, I got a So the fact that you’re ‘reading this right now’ “Yellow” more. The stilts were supposed to support chance to do a video interview of him while we drove and I’ve probably never met you is a really great my weight while in the crouched position. Needless around. There’s not too much to say there, other than encouragement. I guess the best thing I can do is turn to say, they didn’t. The yarn wolf also was drafted to we both thought the main song was good for the film. that encouragement into advice. Who cares if some or have both front and hind legs of yarn-covered stilts. It’s definitely a great musical build-up of anxiety to even most people don’t like your work? I can almost This didn’t work either. As a result, we had to put the the point when you first see the tree bird and other guarantee it’s still worth doing. In school, students bird in a tree and have primarily tighter shots of the creatures. practically never like another student’s work, and wolf. your teachers will get paid to tell you what is wrong The sound effects in the opening scene gave a with your film. I’m not telling you to ignore any Frank, Derek and some of the other credits were hint there might be some kind of creature beyond criticism that is ever given to you, but at the same in there because I felt bad for having people do work waiting to be discovered. Did you do foley work? time, it’s not worth it to let someone else’s subjective for me that wasn’t in the final film. opinion influence you enough to dislike what you do Travis: There was a significant amount of foley and create. So the film was written, shot, and edited within to be done. Most of which I realize now I made so one month… entirely subtle that no one will ever realize, and most What are you working on next? will never hear. Important examples are the opening as you mentioned and my favorite sound right before
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Nick Kougioulis Heightens Suspense by Reconstructing Ciphering in HD Stalking Camera Moves, Eerie Vignettes, and Green Screen
StudentFilmmakers magazine speaks with Nick Kougioulis, Ciphering. What inspired the storyline and this director and editor of Ciphering, third place winner of the collaboration? Summer Shorts 2008 Film and Video competition. Shot Nick: Given the time constraints to get this film with the Sony V1U and recut in HD, the psychological thriller Nick: Oddly enough the library lighting worked How about the sequence with the helicopter? done we all kind of brainstormed on what we have looks into two strangers, Lufkin (Brian Deaver) and Victor well with our setup. We did have a couple of soft- access to in the real world. I had access to a library Nick: The helicopter sequence was fun because we Sarmast (Joe Bartenhagen) crossing paths in a library, and boxes that we used here and there. overnight, so we had our set piece. After that, we just had a 1/16 scale model that we shot in front of a one of them has a story to tell. thought, what could go wrong on a slow night with What advantages and disadvantages did you green screen and tried to keep the helicopter blades a couple of strangers and a room full of books? We experience shooting with the Sony V1U? spinning with our fingers. For the other live elements How long did it take to write, shoot, and edit decided on two characters that are complete opposites with Brian in his ER gear, I had a monitor to look at to your film, Ciphering? Nick: Until interchangeable lenses become less that somehow do a role reversal by the end. It was figure out how I needed to frame them, then we fired cumbersome, that’s always going to be a disadvantage, Nick: Here’s the fun part, Ciphering was originally also important to me to put the Lufkin vignettes in up a leaf blower for the wind effect and shot away. I not being able to have the select focus we all wish for. a short created for a 48-hour film festival. Which there to really show how he truly sees himself in his did all of the compositing using After Effects. Usually, I do the camera work myself, so I was literally meant we wrote, shot and edited the film within that own mind. Then we turned Joe loose on the script shooting for the edit room, that’s an advantage when Referring to the same helicopter sequence, time. After the dust settled, I really wanted to take and he did an amazing job. you’re the editor, too. I don’t plan on always working what did you do for sound? the short to the next level, but that wasn’t going to Did the script change much while you were in this way, but for now it works. As far as working with be easy. My first order of business was to basically Nick: The sound of the helicopter was simply from production? the Sony V1U, it was very nice to work with because re-cut the film in HD, considering all of the previous a sound FX library. I was shooting to hard disk instead of tape. When I editing was in standard definition. I would also have Nick: Not very much, there were a few simple shoot tape I tend to roll way more that I use. This In the sequence where the character Victor to rework the visual effects scenes, color correction changes that made sense on the day to switch around. way I ended up with less footage because it’s such an begins to reveal who he is, and what he’s doing and do additional timing work on audio and edits. But nothing major. instantaneous process. there, a number of elements contribute to the Your main character, Victor, is played by building up of tension and drama in the scene. What lighting setups did you use in the In the first vignette, there’s a somewhat playful Joe Bartenhagen, who wrote the script for These elements are a combination of the actor’s library? but eerie look to it. How did you shoot and edit performance, your camera moves, editing, and that sequence to give it that look? sound effects. Could you talk about that sequence Nick: I wanted to give the vignettes a different feel and how it was executed and delivered? than everything else, so I chose to shoot them in front Nick: Good question. This was definitely one of of a green screen rather than just shooting them in our more difficult shots. Joe is quite the comedian front of the house. This would allow me to do the in real life, and he had a lot of lines to remember in half morph you see that turns Lufkin into the little this monologue. As I recall we shot for over an hour boy. And throwing in a little sound effect really blend to get this scene right, and even took a break to these awkward little moves sometimes. come back to it later. We know our character Victor’s
40 studentfilmmakers December 2008 December 2008 studentfilmmakers 41 New Directors patience is drawing to an end, and we know Lufkin Did any unique challenges come up where you is enjoying every second of it. But as soon as Victor’s had to create and execute alternative solutions on phone buzzes, that would be our winds of change the fly? in a sense. Putting Lufkin on guard and bringing Nick: Five minutes into shooting the scene at us closer to the climax. In regards to the camera the table there were these horrible rattling noises in moves, through out the piece so far, it was just a the audio whenever the guys would touch the desk, guy talking to another guy, I could dolly back and which turned out to be the lamp. Fortunately, we got forth to hear what they individually had to say; now that stopped early on by using a piece of gaffers tape at this point their fates are intertwined and we stay to tighten it up. wide on this shot to see the confrontation come to a head and maybe draw up a little suspense. So the If you could share a piece of advice to new next time we’re close on Lufkin, you know his heart is filmmakers around the world, what would it be? racing. Then the dolly comes from behind the chair, but not quite seeing the thing that Lufkin is seeing, Nick: The best advice I have ever heard, and I’m a again building some suspense, only to find out it’s believer as well is – just go out and shoot something, the black bag that we can’t see into, leaving it up to it doesn’t matter if it’s good or bad in your eyes, your the audience to decide. That’s what I love. next one will be better. But I’ve also come to realize that when it comes to making movies; friends are not How did you cast for your film, Ciphering? fans.
Nick: I’ve worked with Joe and Brian in short What are you working on next? films and commercial work before. Brian’s an extraordinarily versatile actor and can really just Nick: My next project is a highly ambitious sci-fi run with any character you throw at him, and Joe is adventure short film called, Stolen Planet. I’ve been always a pleasure to work and write with. So for this working on it independently for the past couple of particular short I thought they were perfect. years and will finally be wrapping it up this spring.
Did you use storyboards?
Nick: I always do boards, no matter how small the scene, because at least you have a jumping off point to go from when everyone starts looking at you. It was Find Crew and Talent, a pretty simple boarding process for Ciphering having two guys sitting across from one another but because that part was laid out. I was able to use some extra or Join a Production time to find the right books to sit behind them in the background as well. You could probably see what was Meet Thousands of Filmmakers, Videographers, and Crew coming a mile away if you read some of the titles of those books. at the Network at: What was your most favorite thing to shoot in Ciphering and why? http://networking.studentfilmmakers.com Nick: I think my favorite thing to shoot was Brian combing through the aisles of books stalking Joe. I really couldn’t stop laughing. Become a Part of this Exciting, Fast-Growing Network Today!
42 studentfilmmakers December 2008 December 2008 studentfilmmakers 43 Acting
Featured Film Festivals
Announcing the 30th College Television Awards, Presented by the Academy of Television Arts & Sciences Foundation Tips for Voiceover Auditions Submit Your Entries and Applications Today Submit your works for the 30th College Television Awards, the Nation’s Best in Student Video, Digital and Film Work, presented by the Academy of 3 Key Steps Television Arts & Sciences Foundation. The submission period is now open, and the deadline for entries and applications is January 11, 2009. by Rob Kaye CTA Categories & Awards: Animation (all forms), Children’s, Comedy, Commercial, Documentary, Drama, Interactive Media, Magazine, Music (best composition), Music (best use of music), Newscast, Series – Narrative (Comedy/ Drama). Get rules, application guidelines and eligibility information today at: http://cdn.emmys.tv/foundation/collegetvawards.php.
Auditions are a huge part of being a voiceover When I do this, I have better presence and it sounds Enter Your Films & Screenplays: actor. They’re your opportunity to stand in front of much better. The 11th Annual San Francisco Black Film Festival the mic and show the casting person what you got! Important Deadlines and Festival Dates (3.) Don’t Leave Until They Say Goodbye Whether you have to play a woman excited about The 11th Annual San Francisco Black Film Festival invites you to participate her new herbal shampoo or a mysterious guy doing This is a biggie. When you record that first take, and join their new call for entries and 2009 festival. Submit your films and screenplays now. The early deadline is December 15, 2008; and the final a movie trailer for next summer’s blockbuster, your the casting person almost always wants to give you deadline is January 15, 2009. Entry forms and guidelines are available job as a voiceover talent is to be prepared and give it some direction and have you do another one, or two or online at www.sfbff.org. Festival dates are June 4 through 7, 2009, and June 11 through 14, 2009. Questions? Contact: the San Francisco Black Film your best shot! five. So after you do a couple of takes, don’t run out of Festival, P.O. Box 15490, San Francisco, CA, 94115. Voice: 415.771.9271. the booth! You want to be present for every single take Email: [email protected]. As I’m walking into an audition I remind myself of they want to give you. I stay in the booth until they 3 basic things… Call for Entries: actually say, “Okay, Rob, thanks!” Once inside, plant The European Independent Film Festival 2009 (ECU (1.) Practice the Copy your feet and don’t put your hand on the doorknob 2009) until they say they’re done. ECU 2009 is Now Open for Film Submissions When I arrive I sign in the casting sheet, grab the copy, and then, find a quiet place to study it. I There are so many variables to booking a gig, but Students! The European Independent Film Festival 2009 (ECU 2009) discovers, screens and promotes the very best independent films from around let the other guys chit chat about the weather while these three best practices have been very valuable for the world. Films compete in front of large audiences, which include international I’m rehearsing. I read the words aloud several times, me. Best of luck to you and your voiceover career! talent scouts, distributors and producers looking for new talent. ECU 2009’s award-winning films will screen at several partner festivals around Europe in improvising with my own ideas and getting ready for addition to participating in the ECU 2009 “US Tour”. Early deadline: December the audition until I feel I’m really prepared. Then, I 15, 2008. Final deadline: January 15, 2009. Festival dates: 13th, 14th and 15th of March, 2009. Submit your films at www.ecufilmfestival.com. can go and talk with the guys about the game last Rob Kaye is a voiceover actor, personal coach and night! inspirational speaker. He’s recorded commercials Bulletfilm.com: New Networking and Promotional and promos for HBO, Nintendo, Nick at Nite, The Website for Filmmakers (2.) Plant Your Feet Upload Your Films, Trailers, Reels, and More Travel Channel, and many other clients. Recently, Once I see the casting person, I introduce myself Rob co-hosted a national show on Sirius Satellite Bulletfilm.com (www.bulletfilm.com) is a new website that promotes the work of independent filmmakers and artists around the world. Filmmakers can or try and connect quickly to let them know I see Radio. He also just published his first spoken word create free accounts and customize profiles. Bulletfilm.com invites filmmakers them as a person and not just some job giver. Then I coaching album, “You Are The Hero,” available now at to upload short films, music videos, trailers, showreels, art installations, experimental videos, and all kinds of visual art. Bulletfilm.com has been created get into the recording booth, stand in front of the mic, www.cdbaby.com/cd/robkaye. for filmmakers and artists who make great films and other visual artworks and and I plant my feet like oak trees! I ground myself so have no way of getting into traditional distribution but still would like others to see their work. Visit Bulletfilm.com for film news, blogging, and online forums. that my voice resonates from my diaphragm, my gut.
44 studentfilmmakers December 2008 December 2008 studentfilmmakers 45 Music & Sound
For sound design, try and keep be needed! It is most common the most options to fix, enhance Deliver a Strong at least two styles of tracks. One to find me arriving early to a and deliver a strong audio mix for track being the hard transient shoot with boom mic, deck and your documentary. track, (e.g., door slams, gun shots, headphones opening and closing Audio Mix for Your Documentary banging pans, etc.), the other all doors, pulling open windows, being “smooth “ sounds, (e.g., and shaking chairs to record any Bryant Falk has been a A Layered Approach rustling of a curtain, sliding of a rattling. I also will stay late after producer and engineer for over 12 glass on a table). having seen what was shot and years working with such clients as by Bryant Falk grabbing a creak of a chair, as I The Ricki Lake Show, Coca-Cola, Some hard-core documentary know the subject leaned back Sports Illustrated, Valley National makers will not allow this type of There are many types of movies a track before actually getting audio you hear. As the clip rolls when asked a serious question. Bank, and MTV’s The Shop. His false addition to the audio. This to shoot, edit and ultimately sound to work could be a regrettable on, the subject being interviewed Who knows what might be a company Abacus Audio (www. is of course up to you. Maybe a design and mix. It’s these back two move later on. I mention this as starts getting more enthusiastic saving sound during the mix! abacusaudio.com) handles many compromise of any audio recorded items I am particularly interested some editors think they are doing about a specific point he or she aspects of the audio production on that location may be used? If So in summation look at a in as applied to documentaries. the mixer a favor by cutting out is trying to make. Before a knob field from creative and production so, make sure to go throughout documentary mix as playing tracks. The more, the better, I can be turned, they have blown to mixing and final output. Docs are unique, as your your location and grab any and solitaire. Everything should be always say! But keep it organized. out the lav mic, and this once location material is critical. There all extraneous sounds that may laid out in front of you allowing for Don’t have the lav mic bouncing perfect audio is unusable for this usually aren’t any second chances; back and forth between tracks moment. Now, if you still have what you get is what you have. throughout the project. Get them the camera mic track running, This tends to make me implement all as condensed onto a track as (usually used just for reference), a “layered approach” to a mix. As possible. this may be a saving piece of I don’t know where my best sound audio! Your biggest challenge will may be coming from, (for example, Let’s look at an example. You’ve be melding the new piece of audio camera mic, lav mics, or boom), I started mixing an interview that so as to seem like it all came from want all of them at the ready as was shot in someone’s apartment. the same source. Now is when the mix progresses. Ruling out The lav mic is for sure the best another layer may be needed. Build a room tone layer that runs the length of the interview to create continuity between the different microphones. You may have to reduce room ambience in some of the mics to more closely match them up to others, (noise reduction software). Stripping this room tone and having it on a separate track will give you more control in your final mix.
46 studentfilmmakers December 2008 December 2008 studentfilmmakers 47 Tech Focus Vegas Pro 8: Professional HD Video Editing, Audio Editing, and DVD Authoring Software Use Vegas Pro 8 for editing and enhancing video, either standard or high Top 5 Gifts for Filmmakers definition; 2D and 3D compositing, providing real-time preview of edits and enhancements; audio production capabilities: multi-track recording, sample Stay on the Cutting Edge level editing, VST and DirectX effects enhancement and Red Book standard CD authoring; multi-format encoding. Artbeats Offers RED Hi-Res Footage, New Brands, Educational Resources and The Vegas Pro collection combines Vegas Pro 8, DVD Architect Pro 4.5, and Spectacular Savings Dolby® Digital AC-3 encoding software to offer an integrated environment for all phases of professional video, audio, DVD, and broadcast production. 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Check out all of Artbeats’ creative inspiration at Under $350 artbeats.com/resource. The TorchLED TL-50 light provides the equivalent of 30 watts REMEMBER, Artbeats Stock Rescue Sale is going on of 5600k, daylight balanced light and is the only compact LED until January 15, 2009! For incredible savings on select light fixture which includes an integrated rechargeable battery collections visit artbeats.com/rescue. pack to supply 2 1/2 hours of operating time. With the ability to run without cables, the TL-50 light can be used to provide multiple angles of light, achieving more depth and limiting shadows while filming. The light output can be controlled with
48 studentfilmmakers December 2008 December 2008 studentfilmmakers 49 Tech Focus
the TL-50’s onboard dimmer. The replaceable lithium polymer Panasonic AJ-HPX3000 P2 HD Camcorder battery charges in only 2 hours and each unit has 1/4-20 With three 2/3” high-density 2.2-megapixel CCDs, the The Center for Digital Imaging Arts at thread mounts on the top and bottom of the housing making HPX3000 captures cinema-quality images in full-raster 1920 it virtually mountable anywhere. With it’s brighter light output, x 1080 resolution with 4:2:2 10-bit sampling, utilizing the quality constructed metal housing, an Internal lithium polymer Boston University (CDIA) Update powerful, new AVC-Intra codec. The HPX3000 offers intuitive film Battery, a 3 stage Battery Meter, Battery Charger and standard camera-like operation with advanced gamma settings, including CTO, 1/4 frost, and Clear filter set….. The TL-50 shines. Federico Muchnik Shares 2008 Milestones and Discusses Film-Rec mode (made Ranging from 45 watts to 75 watts, The TL-68 and The TL- popular by the VariCam). Changing Technologies 88 are also a great choice for the student filmmaker where Designed for episodic higher light output is needed and external battery power television, filmmaking and is available. Both fixtures are equipped with Switronix’s commercial production StudentFilmmakers magazine editing]. We’ve developed a plan focusing Many of our students for the first proprietary LED ‘ring’ system which allows the user to switch where mastering quality catches up with Federico Muchnik, on repetition and reinforcement of time in 2008, and thanks to the tax credit from 5600k to 3200k color temperatures as well as the degree is essential, the HPX3000 Digital Filmmaking Program Director “gotta know” skills taught incrementally. incentive in Massachusetts, went to work at which the light is outputted (flood or spot). The LED ‘ring’ records in industry- of The Center for Digital Imaging Arts We follow a classic production cycle on major feature films only a few days system is also invaluable in the event the front of the light standard DVCPRO HD at 1080 in 24p, 25p, 30p, 50i and 60i, at Boston University (CDIA): of develop, prep, shoot, edit, screen. after completing their course of study is damaged. The cost to make the light operable again is far and in AVC-Intra. AVC-Intra, the industry’s most advanced With each go-round, the challenges or here. less, since you would only need to replace the front. TorchLED compression technology, provides high-quality 10-bit intra- stakes are raised by instructors and, by Could you share with us some also has available a line of accessories ranging from extra filter frame encoding utilizing the Hi-10 and Hi-422 profiles of H.264 Could you share with us some extension, students. of your thoughts about the current kits, spot or flood LED ‘rings’, battery replacements, cables in two modes: AVC-Intra 100 for full-raster mastering video of CDIA’s news and happenings, It was also an important year in terms trends in filmmaking and in the film and more. Visit Switronix’s website for more information at quality and AVC-Intra 50 Mbps for DVCPRO HD quality at half milestones of 2008, and looking of overall expansion – our Georgetown, industry? www.torchled.com. the bit rate, thereby doubling the record time on a P2 card. ahead into 2009? DC campus gained momentum and For added flexibility, the HPX3000 can also produce standard Federico Muchnik: There are too TorchLED is developed by Switronix Inc., a manufacturer Federico Muchnik: 2008 saw the film several new faces appeared on both definition recordings in DVCPRO50, and is 60/50-Hz switchable many trends in the business to itemize of Battery and Charging Solutions for the professional Video program move from standard def to high that as well as the Waltham, MA campus for worldwide use. For more information on the HPX3000, visit here. There is enough plurality around. and film Industry. Products ranging from 3-Stud mount and V- def by acquiring 25 HDV camcorders as – film-wise. www.panasonic.com/broadcast. There is room for all kinds of directions Type battery styles and chargers, shoulder supports, hotswap well a building turnkey kits students can We also hosted, for the first time, the being taken – everything from the adapters and more. check out at will – more on this later. ruff cuts film conference, a three-day podcast, through the no-budget doc, Switronix has tailored a line of RED One compatible It was also a milestone year for us event featuring screenings, panels, and passing by the corporate/industrial/ products including a Quad RED charger that charges 4 RED in that our curriculum was streamlined parties. educational sector, on to the low Brick in 4 hours, and a RED HotSwap battery Mount that passes to be more efficient at teaching the budget indie fiction film, to television, to data through to the RED camera. four disciplines [camera, lighting, audio, webisodes, and right on up to “industry” backed feature films. There are dozens Switronix also provides battery power to the DV/HDV of sectors covering hundreds of markets Market with SERIES7, the first broadcast-grade Battery and Charging Systems for Handheld camcorders. SERIES7 is a universal battery system allowing one battery to power all DV/ HDV camcorders on the market.
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50 studentfilmmakers December 2008 December 2008 studentfilmmakers 51 On Campus
– demand for content is only going to confused with improvisation - which is able to form the student by being clear increase. one of the downsides to all this liberating and not letting anyone fall behind. technology). The natural course of event How does your school deal with Is it difficult to break into the film has led to fiction films being shot as changing technologies? industry? What do you recommend documentaries – an aesthetic choice for breaking in and having a career in audiences have come to accept (more Federico Muchnik: We adapt the industry? them to the extent our budgets allow. so today than when John Cassavetes HDV is our most recent move. Those innovated this 50 years ago) and enjoy. Federico Muchnik: Yes, it’s difficult technologies we cannot afford to bring The opposite effect – documentaries and it always has been. If it were easy no in, we offer special topics with featured shot as fiction films – is another trend one would do it. I recommend waking speakers who will bring in, say, a Red or a we’ve seen since films like the thin blue up early in the morning and hitting the Varicam for demo. line. phones. It helps to be seen as reliable, dependable, trustworthy and interested Has CDIA added new classes Do you think that new and in the job. Tenacity helps. changing technologies and tools have or workshops due to changing What kinds of cameras and us one of your favorites that come to What advice would you give to film affected storytelling methods, styles, technologies, new techniques, or new what kind of editing systems do the Do the digital technologies mind? students and aspiring film students techniques, trends, genres, learning trends? students use and how available are of today get lumped in with the they? What is the camera to student around the world? curves? term filmmaking or is it distinctly Federico Muchnik: Too many to We teach the new technology within ratio? different? mention. They all have something of Federico Muchnik: The technology Federico Muchnik: Of course the context of a series of skill sets we value. Some win awards, others never is, in the end, not that hard. Be a technology has affected storytelling. think the students need to learn. A Federico Muchnik: We own the Federico Muchnik: Yes, the two get seen – it’s about the learning as filmmaker if you have a story you want This has been the case since the pan is a pan is pan – be it in SD or HD. Canon XHA1, the Panasonic DVX100, terms are seen as one – even though much as it is about the film. Comedies, to tell. Get over the fascination with beginning of film over 100 years ago. Ultimately, HD is a setting – we explain the Panasonic HVX200. Our edit systems one could argue they are different. docs, dramas...too many to mention. technology and you’ll be fine. That said, The most obviously interesting impact it as much as is necessary but we do are Mac-based. Final cut pro and Avid Could you talk about some of no harm in becoming a technician in of new technology upon storytelling not drill so deeply into the technology (the Avid is part of our “post” curriculum, your school’s and/or your students’ the business – it’s a living and it beats has to be the portability and ease of use that the student is discouraged or not part of our fundamentals course). productions? Could you share with working in a cubicle. of the new cameras, lighting, and audio confused. We tend to find that many of Cameras are always available. Student to gear – as well as the incredible freedom our students bring new techniques and camera ratio is 4 to 1. trends to us, not the other way around afforded by the computer during What is your teaching style or – they are younger, more online, we try the editing phase. The fluidity of this philosophy? What is important? freedom leads to more spontaneity and to shape, guide, discipline, and focus Weynand Training International Announces by extension more creativity (not to be their voices. Federico Muchnik: We do three 2009 Schedule things: administer, lecture, and facilitate. Admin involves logistics (making sure Plus: Apple Authorized Training Center Launches First Apple Color Class students have the tools). Lecturing involves passing along information Distinguished educator Diana Weynand, and The tour begins with Diane’s Final Cut Pro Level and wisdom from our professional author of the best-selling book, “Apple Pro Training 101 course in Los Angeles, January 15-18. This experiences. Facilitating involves Series – Final Cut Pro 6,” is taking her Authorized course will immediately be followed by author and assigning work and getting out of the Final Cut Pro course back on the road again. In original member of the Final Cut Pro design team, way to let the students perform. We 2009, Weynand Training plans to make stops Michael Wohl’s Advanced Final Cut Pro, Level focus on teamwork, respect, cooperation, in Los Angeles, California; Tucson, Arizona; 300 class, January 23-25. Additionally, Weynand collaboration. My personal style uses Reston, Virginia; Raleigh and Asheville, North Training will offer its first Apple Color course humor. I call it edutainment. Other Carolina; Columbia, South Carolina; Ogden, January 31-February 1, also taught by Michael Wohl instructors have different styles. My Utah; Albuquerque, New Mexico; San Antonio and who developed the Color curriculum for Apple. Dallas, Texas. New cities will be added throughout philosophy is not to waste time in the For early bird, ‘bring your own laptop’, student the year. classroom. What’s important is being and educator discounts or more information, call (818) 995-1719 or visit www.weynand.com.
52 studentfilmmakers December 2008 December 2008 studentfilmmakers 53 Global Marketplace
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54 studentfilmmakers December 2008 December 2008 studentfilmmakers 55 Filmmakers Networking David Mieloch Profile: davekazmdrummer Job: Freelance Composer and Sound Designer Location: Pennsylvania, United States http://networking.studentfilmmakers.com/davekazmdrummer David Mieloch Work: “I compose original music and create sound effects for all forms of media. I just completed the sound design for a DVD project which features the still art of painter Vladimir Kush, animated and brought to life by Jan Lange.“
Biggest Challenge: “I started a project called the Absurdist Revolution at West Chester University. The Absurdist Revolution is a performance art event taking place in the theatre of real life. It is designed to combine notes and rhythms and not piano roll or lit up multiple forms of art in order to generate a boxes, so Sibelius is in most cases my favorite Marinho Nobre in the studio. unique public experience for participants tool for getting the notes down and building Marinho Nobre and passersby alike. This required a lot of the skeleton of the composition. I’ll often Profile: marinhonobre forethought into how a hundred people clean it up afterwards using a sequencer of Job: Composer for Film, TV and Concert could be organized without any rehearsal.” some sort.” Angarag Davaasuren, Cinematographer Location: New York, United States Angarag Davaasuren http://networking.studentfilmmakers.com/marinhonobre Solution: “The solution was a lot of delegation Past Work: “My work has been very Profile: Angarag to dependable people. I met with the heads eclectic. Throughout school I was writing Job: Cinematographer Marinho Nobre has worked on genres from of each section every week, to keep them music for music’s sake [art music], while Location: Ulaanbaatar, Mongolia drama, comedy, thrillers, and horror films. “My Solution: “That’s when diplomacy takes place, “The Other Side of My Blood” China up to speed and when it came time for the writing music for musical theatre, modern http://networking.studentfilmmakers.com/ musical response comes with what the picture and you have to really work hard to please Director: Tosimae Tupua (Hawaii) event, they knew how to communicate with dance, short student films, and animation. Angarag brings, that being at times orchestral, at times everyone as much as possible without taking (Main cameraman / Editor) their group exactly what that group needed Before school I wrote experimental electronic ethnic, quite often electronic and ambient. away any of the seniority of the film director. Angarag Davaasuren was born in Ulaanbaatar, to know in order to function and nothing music and played drums in a metal band, I have been replacing ethnic samples with You have to think steadfast as well, since the capital city of Mongolia. He studied “After Love” Mongolia more. Although this didn’t stop the police later moving to Philadelphia where I took learning some of the real instruments myself clock is ticking with the ghost of a deadline photography, archeology and anthropology, Director: Dorjsuren (DOZ Entertainment) from intervening... “ up Jazz and began studying the Indian and working on using as many live playing in your shoulders. You must also perform all and later attended the Beijing Film Academy (Main Cameraman) hand drum pair called the Tabla. Recently as possible on much of my music. I think of that while not allowing it to interfere with in China where he received his bachelor Favorite Technique: “When I set out to I’ve been concocting a hybrid work that the organic factor is really important when your creative focus... The show must go on, so degree in Cinematography. “Defune” Doc Film Japan write a piece of music I take a few moments combines IDM style blips and clicks insane it comes to film scoring. Filmmakers tend to I try to show everyone in the room just that...” Director: Davaasuren (State Philharmony) to think about its purpose and exactly what drum programming with epic orchestra really love that approach and at the end of Angarag has produced and directed films, (Main Cameraman / Editor / Still Photo) I want it to do. I then write this paragraph to accompany virtuoso violinist Ann the day, that’s what counts...” Favorite Technique: “One I learned from a served as main cameraman, photographer, in my journal. With the paragraph written Fontanella. I’m trying to make something good friend to endure the just too many late and cinematographer for a production 2005 “Behind the Door” Mongolia I put headphones on and play the I-Doser passionate, melodic, and exciting that I can Work: “Primarily I write music for film which hours working without sleeping. I make a company in Mongolia. Among his credits Director: Chinguun Inspiration Brainwave entrainment track make a riveting stage performance out of. is basically creating musical content that shake of spinach, carrots and orange juice, in include: (Main Cameraman / Editor) which helps one’s brain to synchronize to a So as you can see I’m not really the guy you enhances and supports a given visual and as equal portions on a blender with crushed ice. state of optimal creativity. After about a half can easily categorize, but for somebody who a whole, a story. I work through all the phases Nothing boosts your energy more than that, 2008 “My Neighbor is Devil” Mongolia 2004 “Around China” Doc Film China hour of meditating with my purpose, I start might be looking for a new innovative sound from the core composing to orchestrating, it blows coffee away. Much healthier too... The Director: Odonchimeg (X’Tuts Art Group) Director: Chinguun (Mongolia) writing. Since I began doing this I’ve been for their project, I just might be the weirdo to producing the recording and supervising the more you drink the better you feel... There’s (Main Cameraman / Assistant Editor) (Directing / Main Cameraman / Editor) generally happy with the core concept of figure it out.” post finalizing process of the music. I also do never too much... It helped me stay up for 32 the first or second thing to come out of my write for concert music and when time allows hours straight during my last feature score.” 2007 “Marry with Me” Mongolia brain.” Current Projects: “Right now I’m doing a me, work on my own non-film music creations.” Director: Battulga (Tengis Cinema) 2002 “Sergeesh-2” Comedian Musical variety of different projects. I’m working Favorite Tool: “My recording studio.” (Main Cameraman) Mongolia Favorite Tool: “I think I’d have to say Sibelius with a production team to produce our Biggest Challenge: “There are several Director: NaidanDorj (X’ Tuts Art Group) 5. Over the 5 versions of the program I’ve own webisode series, working with Zelda common challenges and some lesser, some Current Projects: “…A world music CD of “About Love Story” Mongolia (1st Assistant Cameraman) become quite adept at speeding through reorchestrated to produce what we hope stronger. One I can think of right now would my own, which will be published for film Director: Hanisag (GS Pictures) note entry and engraving. With the addition will become the official Twilight Princess be dealing with a dispute in musical tastes licensing, two short films, as well as sketching (Main Cameraman / Editor / Still Photo) Favorite Tool: Camera – ARRI Series 35mm, of Virtual Instrument support in the last Soundtrack, for sale in stores upon between the film director and say, a producer some music for a TV Pilot for cable. Got two ARRI Series 16mm, Various HD camcorders version it’s become a great tool with which to completion, and getting ready to move which or executive producer, right in the middle of features lined up for ‘09 as well, so I’m already 2006 “Wallet” Short Film China including JVC Pro HD, Panasonic Pro HD, manipulate virtual instruments using written is a huge project unto itself.” the scoring process and with a strict deadline.” doing some research.” Director: Chinguun Sonys, Canons, Red One,… notation. My brain likes to see traditional (Main Cameraman / Editor)
56 studentfilmmakers December 2008 December 2008 studentfilmmakers 57 Many Thanks Scott Essman Bryant Falk Rob Kaye
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58 studentfilmmakers December 2008 December 2008 studentfilmmakers 59 Holiday Specials
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