BBB Research Analysis Development Company & Dumb Dog Productions LLC: December 2018

SUN TZU QUOTES'..."You have to believe in yourself."

Dumb Dog Production is a full-service Film Production Company. We hope you find the site informational and answers any questions you might have about the entertainment industry.

We do not claim that this site is a be all and means to an end, but to help guide and learn how the entertainment industry work.

Please do not hesitate to contact us for any questions.

Thank you,

Sherri (Bisbey) Rowe / Bruce Bisbey / James Bisbey

Email: brucedumbdog@gmail.com Dumb Dog Production Phone: +1 319-930-7978 Dumb Dog Productions LLC / Bus Lic.: 5084725 https://dumbdogproductions.com/ https://dumbdogproductionsllc.blogspot.com/ https://www.facebook.com/DumbDogProductionsLLC/

Wednesday, December 26, 2018

WINE TASTING AT THE STELLENBOSCH SLOW MARKET

Letha at the Stellenbosch Slow Market

WINE TASTING AT THE STELLENBOSCH SLOW MARKET

Letha at the Stellenbosch Slow Market. Was quite a pre-Christmas tourist day. Particularly lovely people from France, Britain, Germany, US and Japan. The Stellenbosch Slow Market always provides the opportunity to taste the best and finest wines of South Africa.

Have a fantastic New Year.

Letha

Letha (Malan) Oelz (You can contact Letha at: oelzletha@gmail.com... please follow me at https://www.finderzkeeperz.co.za

WHAT DO POST PRODUCTION COMPANIES DO? (In the Entertainment industry.)

Post Production / Photo Credit: India Mart

WHAT DO POST PRODUCTION COMPANIES DO? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

WHAT DO POST PRODUCTION COMPANIES DO?

Post-production is the third and final step in film creation. It follows the pre-production and production phases. It is part of the process of filmmaking, video production, and photography. Post-production includes all stages of production occurring after shooting or recording individual program segments.

Traditional (analogue) post-production has mostly been replaced by video editing software that operates on a non-linear editing system (NLE).

Post-production companies are endlessly evolving to fit the needs of their clients. Gone are the days of dark airless rooms with hard drives the size of breeze blocks heating up the cramped space like a sauna. Current post facilities are often spacious and comfortable, letting in natural light where possible and providing sofas, refreshments and a team of running staff to cater to clients’ needs. Post facilities can vary in their remit; small companies who focus on one area of the post process (offline editing, post-sound, online and grading) all the way to larger companies who facilitate the whole package, expanding over the past few years to incorporate VFX into their operations. Every business will be adept at dealing with a range of requirements from production, with an in-house production team taking responsibility for the workflow and care of clients.

Members of the post-production team (including post producers, editors, sound designers, colorist and the VFX supervisor) are engaged to some extent in pre-production. The budget, schedule, crew, edit suite, dubbing theatres and equipment have already been booked and agreed on before the camera starts to roll, if editorial is working in tandem to the shoot, they will have been involved in pre-production meetings. Post-production supervisors work in close collaboration with the film's producers, production/line manager and VFX supervisor if that is a component, they take the reins from the production office a few weeks after wrap.

Despite the change in recent years concerning digital formats, the basic elements remain the same when looking at the post-production schedule. If shooting on film, the rushes are taken to the lab where they are processed and put through the telecine, when digitized and graded a copy is sent back to the production for the director and DoP to watch the dailies (the day’s rushes). In some instances stills are processed from the rushes and forwarded to the DoP and director, the digital files are sent via fibre optic link to the edit suite.

If shooting in a digital format, the files will be transcoded (files are formatted to a less intensive resolution enabling the edit suite to cope with the vast amount of data) and handed over to the assistant editor(s) who bring the footage into the editing software. The metadata, which is the shot/take number, size of the shot, will be checked. Production sound is synced, script supervisors’ notes recorded using software such as Continuity. Assistant editors need to be precise and methodical when working with the amount of data generated from a feature film, the file systems and rigorous backing up requires close attention to detail.

Once the editor has the footage they produce the first assembly, or rough cut, of the film. This may include guide tracks or music to assist in the flow and rhythm of the edit. The editor makes notes of any missing shots or extra footage needed to support the structure of the edit. If the edit is running in tandem with production this information can be acted upon relatively quickly. Replicating a scene the day after it was shot is significantly easier than going back two months later. On completion of the director’s cut, a process called spotting and timing takes place. Areas of the film are ‘spotted’ for music, notes on when the music comes in and out are applied and used to collate the ‘cue list’. The list is forwarded to the film’s composer, and once the film is locked the Sound Department become involved.

Sound editors work through the film methodically, making notes on any lines that need re-recording. They can take dialogue from another take which has cleaner sound or add words to make a line clearer. Any lines that are unsalvageable need to be re-recorded in the ADR (audio dialogue replacement). ADR is a process that involves the actor repeating their dialogue in a controlled environment, matching their speech pattern to the picture using specialized software such as Voice Q or Sound master ION.

Sound editors can then sync up the foley, ADR and sound effects to the picture, also known as the audio conform to picture, creating tracks to be used in the pre-dub. As the original score is laid down by the composer, the sound mixer will start work on the pre-dubs. The mixer will be responsible for evening out the dynamic range, making sure there is a consistent quality of sound for theatrical and home entertainment release. By combining the tracks, it brings them tonally closer together, making it easier for the final mix of three tracks: dialogue, music and effects which accompany the finished film. At the end of the process, the film is taken to the colorist who will work with the DoP and director to fully grade the film (having rectified any major problems earlier on in the process).

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, My Job Search, Prospects, David Mullich, Video University,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Post Production / Photo Credit: India Mart

KEY POSITIONS WHEN WORKING IN VFX? (In the Entertainment industry.)

Film Visual Effects / Photo Credit: 3D Animation & VFX

KEY POSITIONS WHEN WORKING IN VFX? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

KEY POSITIONS WHEN WORKING IN VFX?

If you're going to work in VFX, then you'll come to understand the definition of teamwork. Much like the Camera Department, everyone has a particular role to perform before the process can move to the next stage. The jobs you will most likely find within a VFX company will be:

Rotoscoping. Extracting actors from the green or blue screen. In some situations, roto needs to extract the actors by hand, which can involve a lengthy process of ‘cutting them out’ of the scene. Rotoscoping is very detailed work and can mean hours of your life sat at your computer. Roto will also tidy up shots before moving onto the next stage.

Paint. Wonder why there is no such thing as a boom in shot anymore? This is the work of the paint artists, going through the film and fixing any mistakes or untidiness along the way. This can involve painting out telephone wires, power cables, cars or even people. Once the work is finished, they go through the process of creating other images to fill the gap.

Modelling. The work of the modelers’ can be used in pre-vis and continue to be developed throughout the process. Models are produced at different standards with the highest resolution being provided for the final render.

Rigging. Riggers create a ‘wireframe’ of a character that is to be computer generated. They create its style of movement down to the facial expressions, working out its skeleton and muscle movement. They hand over the frames to the animators to flesh out the characters.

Tracking and match moving. Mirroring the movements of the camera but within a 3D space. This is greatly aided if the VFX team are present during production to compile tracking markers and measurements. The camera movements are then used with the 3D software such as PF track or 3D Equalizer to merge the worlds together.

Animator. Working with the wireframe they give the character its body. Animators also work in other areas of the film, creating elements of real life such as vehicles or any other animation that reacts with the live action characters. The position of the Animator is the most popular within VFX, keep this in mind when looking for opportunities.

Texturing. This is when the animations have a texture map applied to them, which is a bit like a sweet wrapper. Fine lines, wrinkles, pores and so on are added in the texture process.

Technical director (Crowd, Fluids, Lighting, Building, Creature/Character, Effects). The TD’s pull together the characters/animals/creatures that have been through the texture and shading process, and apply all the external elements to give the image depth. They then put them through a process known as rendering which requires a significant amount of computer power. The render allows all the above elements to work together in real time; this is then passed to the compositors.

Compositor. The compositors combine the real time action/locations, the paint, roto and characters together. They are the ones responsible for making VFX look believable. They render the full package and ship it back to the client.

Visual effects coordinator. The coordinator will work under the digital effects supervisor to keep on top of logistics. VFX teams require a significant amount of people power so the work on one film can be spread over several companies, it takes someone with unyielding organization skills to stay on top of day to day activities.

Visual effects supervisor. Collaborates with the director and all the departments within the VFX Company. They conceptualize how they are going to make the project work technically while staying faithful to the director's vision artistically.

Visual effects producer. Works with the line manager to ensure the production stays on target also collaborates with the post-production producer to ensure delivery of the finished film.

Film Visual Effects / Photo Credit: 3D Animation & VFX

WHAT ARE VISUAL EFFECTS? (In the Entertainment industry.)

VFX - CGI Curtain / Photo Credit: 300 - Zimbio

WHAT ARE VISUAL EFFECTS? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

WHAT ARE VISUAL EFFECTS?

Visual effects (abbreviated VFX) is the process by which imagery is created or manipulated outside the context of a live action shot in film making.

Visual effects involve in the integration of live-action footage (special effects) and generated imagery (digital effects) to create environments which look realistic, but would be dangerous, expensive, impractical, time consuming or impossible to capture on film. Visual effects using computer-generated imagery (CGI) have recently become accessible to the independent filmmaker with the introduction of affordable and easy-to-use animation and compositing software.

It isn’t just the big budget action films that visual effects are employed; VFX has become so integrated into the filmmaking process we barely notice it. VFX artists can be responsible for creating crystal blue skylines; crowd scenes can expand from hundreds of background talent to thousands. Heavy makeup or prosthetics are evened out, and wrinkles can appear less noticeable. If the budget is there to enhance the filmmaker's world, then the VFX team will be working their magic on features, TV drama, commercials and promos.

Visual effects are often integral to a movie's story and appeal. Although most visual effects work is completed during post-production, it usually must be carefully planned and choreographed in pre-production and production. Visual effects primarily executed in post-production with the use of multiple tools and technologies such as graphic design, modeling, animation and similar software, while special effects such as explosions and car chases are made on set. A visual effects supervisor is usually involved with the production from an early stage to work closely with production and the film's director design, guide and lead the teams required to achieve the desired effects.

Visual effects, or VFX, is a term to describe anything that cannot be accomplished in the real world during principle photography -such as explosions, alien invasion, dinosaurs stalking through the jungle or skyscrapers falling to the ground. VFX free up filmmakers to create the images that were once impossible. Predominantly all VFX are created using computers, and the demand is now so prevalent that packages such as Cinema 4D can be run on a laptop, opening up possibilities for independent filmmakers.

Any effects, however, do require time, it is complicated intricate work that often takes many hands to produce a few moments of screen time. One small last minute change from a director can have dramatic ramifications for VFX producers, months of work can be sidelined during one conversation. Consequently, VFX artists can be found ramping up the hours as they seek to maintain imposed deadlines from production companies.

If working on a film that is heavily reliant on VFX, the VFX supervisors will begin work in pre-production consulting with the director, line producer, production designer and DoP. The pre-visualization team (concept artists, animators and modelers’) collaborate with the production designer to generate basic animations and images for the DoP and director to work out camera angles, the images or animations they produce also help actors visualize the scene when using green screen. During production members of VFX will cooperate with the Camera Department to make sure the production and post-production process sync up, this can mean attaching devices to the camera that track movement and details such as aperture and focal length. Their relationship with the Art Department will be ongoing during production, especially if the sets are partially-VFX, partially-real world. The UK has some of the finest VFX companies in the world who work across all areas of film, television and commercials, leading the way when it comes to innovation and creative output.

VFX - CGI Curtain / Photo Credit: 300 - Zimbio

Tuesday, December 25, 2018

WHAT IS THE DEVELOPMENT PROCESS FOR FEATURE FILM? (In the Entertainment industry.)

Movie Production Process / Photo Credit: Pinterest - How to Make Films

WHAT IS THE DEVELOPMENT PROCESS FOR FEATURE FILM? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

WHAT IS THE DEVELOPMENT PROCESS FOR FEATURE FILM?

Filmmaking (or, in an academic context, film production) is the process of making a film, generally in the sense of films intended for extensive theatrical exhibition. Filmmaking involves a number of discrete stages including an initial story, idea, or commission, through screenwriting, casting, shooting, sound recording and reproduction, editing, and screening the finished product before an audience that may result in a film release and exhibition. Filmmaking takes place in many places around the world in a range of economic, social, and political contexts, and using a variety of technologies and cinematic techniques. Typically, it involves a large number of people, and can take from a few months to several years to complete.

The research and development stage can take anywhere from four months to two years; development is the primary focus of any production company. The systematic hoops and hurdles that need to be navigated to enable the first day of principal photography are widespread. It’s not uncommon to hear of films in development for years (this is what is meant by development hell, John Carter holding the record for 79 years), finding a resurgence as another director is attached to the project, or interest is shown from A-list talent.

Producers are looking for stories that are original and compelling, but also marketable and attractive to talent and financiers. Some producers have a relationship with a publisher who will alert them to any new work that may be of interest, they talk to colleagues and pay close attention to the industry and film markets. Keeping up-to-date with the slates of other companies is critical for producers, being in competition for investment in a similar style/type of film is not desirable.

Once a concept, script, article or treatment has been earmarked for further consideration, the production company establish who holds the rights and ascertain who has been involved with the story to date. Anyone who has contributed or modified the script or treatment will need to be approached, producers need to be sure they have all permissions needed to proceed. This is called the Chain of Title Report and can involve the company's Legal Department who will make sure all documentation is put in place. Many problems can arise from seeking out permissions at a later stage; some may refuse to grant permission which can be disastrous/expensive if the project has been green-lit.

When entering development (or pre-pre-production), a budget is conceived which will factor in; script writing services, legal fees, travel, publicity and marketing, location scouting, entertainments, general overheads, schedule and budget creation if it needs to be outsourced. Development can be extremely costly, so that the production company will have two options; meet the cost of development themselves as external funding can compromise a producer at a later date, or seek external funding.

Once development funding is in place, a screenwriter is hired to work with the producer developing the story. Producers may decide to bring other writers on board at a later date, initially though the writer is brought in for two drafts and what is known as the ‘polish’, meaning a working draft to include in the pitch. How many drafts produced is entirely dependent on the production. It's entirely possible that those two draft and polish will be enough, if other changes are requested further on down the line, it’s likely that another screenwriter can be employed at any stage of production. The film of Spooks (2014) ran to 25 drafts before they entered production, which goes to show how the process can vary. Once a working draft of the script is agreed upon, producers begin looking for the main body of investment and finance.

Putting together the pitch for investors can be one of the most challenging aspects of the producer's role, a film financing company can be brought into the mix if needed, and the services of a sales company who will license the film to foreign distributors which generate pre-sales revenue. A pitch package would consist of:

A treatment of the script, which can be anywhere from a page to a more detailed ten-page document…
A copy of the rights to the story, all options and acquisitions agreements…
An investment proposal, clearly laying out the terms and conditions of the investment…
Comparable box office returns on films of a similar genre or tone…
Market research on current trends, with emphasis on work that has just gone into production…
Talent attached to the project. The director and cast are the primary selling points, as is the screenwriter if they're established names. A letter of interest from all parties is a good indicator to investors that securing the talent is possible. Any crew agreements that are set…
A copy of the budget. Strategies for funding and distribution with any evidence of commitments or interest…
Revenue projections…
Any examples of press coverage the company have managed to generate, which would include any marketing materials they have commissioned such as posters…

While seeking funding, a co-production can be considered on many independent films. Many Indies are made in conjunction with other production companies. Far from meaning joint control of a project the division of labor is often applied, one company will work on securing the finance for the project while the other acquires the talent and develops the script. A co-production has other added benefits; production can take extra tax incentives. Finance is a delicate business, investing in a feature film is seen as a high-risk activity so producers and production companies may decide to seek investment for multiple films rather than a single project. The theory behind this is it spreads out the risk. Theoretically, spreading the investment over multiple projects should see one make money. This is also a way to gain funding for a film that previously held no interest for investors or distributors.

Projects get knocked back and shelved at varying stages of their existence only to be brought back a few years later. A project’s lifespan is highly dependent on the producer or production company who want to push it forward. Sadly many scripts never make it into the development stage, many films in development never make it into production, and films that have been shot and edited fail to find a distribution deal. The business of film is precarious, to say the least.

Movie Production Process / Photo Credit: Pinterest - How to Make Films

Sunday, December 23, 2018

Merry Christmas, Happy Holiday and a fantastic New Year…

Thank you for being part of our network of family, friends and colleagues’. We want to wish you a Merry Christmas, Happy Holidays and a fantastic New Year.

All the best,

Letha and Bruce

WHAT IS A PRODUCTION COMPANY? (In the Entertainment industry.)

Production Company / Photo Credit: Theme Forest

WHAT IS A PRODUCTION COMPANY? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

WHAT IS A PRODUCTION COMPANY?

A production company, production house, production studio, or a production team provides the physical basis for works in the realms of the performing arts, new media art, film, television, radio, comics, interactive arts, video games, websites, and video. Production teams are a group of technical staff who produce the media, generally the term refers to all individuals responsible for the technical aspects of creating of a particular product, regardless of where in the process their expertise is required, or how long they are involved in the project. For example, in a theatrical performance, the production team includes not only the running crew, but also the theatrical producer, designers and theatre direction.

The production company may be directly responsible for fundraising for the production or may accomplish this through a parent company, partner, or private investor. It handles budgeting, scheduling, scripting, the supply with talent and resources, the organization of staff, the production itself, post-production, distribution, and marketing.

Production companies are often either owned or under contract with a media conglomerate, film studio, entertainment company, or Motion Picture Company, who act as the production company's partner or parent company. This has become known as the "studio system". Independent studios usually prefer production house (see Lionsgate), and sometimes as a production studio or production team (see Amazon Studios or Rooster Teeth). In the case of television, a production company would serve under a television network. Production companies can work together in co-productions. In music, the term production team typically refers to a group of individuals filling the role of "record producer" usually reserved for one individual.

Independent production companies are set up by producers, directors, actors, financiers, former sales executive, former studio executives or even graduates. Their sole aim is to get films financed, produced and distributed theatrically to as wide an audience as possible. Production companies can be as small as three people working in a one room office, right through to companies with hundreds of staff on their payroll.

The development of a feature film can be a drawn out protracted affair that is commonly referred to as ‘development hell’ if the project is unable to secure any traction. Hundreds of scripts will be vetted during the year by producers, script readers, office juniors and interns at production companies all over the world. What makes a good script is mostly subjective; however, producers will be looking for originality, marketability and commercial potential. Those that tick the boxes progress from the hands of the intern or development assistant to the desk of the producer. Most, however, will find their way to the development assistant, who will attach a polite letter stating it’s not currently what they are looking for.

Producers will not just be on the lookout for scripts to option; they will be searching newspaper articles, novels (fiction, non-fiction and biography), plays, and comic strips, listening to pitches, or developing their original ideas. Unsolicited scripts are sent to production companies on a daily basis. Most production companies simply to not have the man/woman power to read them all so they will be sent back, but there are a few companies that do accept unsolicited scripts. The other reason for not opening unsolicited scripts is a legal issue; production companies need to protect themselves from claims of plagiarism - especially if they have a project in development that has a similarity to the script sent in. As companies are often swamped with screenplays from all sources, it’s not uncommon to see junior members of staff or interns writing up reports on scripts dumped unceremoniously on their desk. As much as you can hear the common sign as another heavy wad of paper hits the doormat, or a PDF file makes its way into the office inbox, no one wants to miss a truly inspired story.

Staff and freelancers populate production companies, some working across several productions others brought into the office to work one a single film. One of the best ways into a production company is starting off via an unpaid work experience placement or a paid internship. The industry typically labels both as internships so make sure to swat up on the guidelines to ensure you understand the difference between the two when applying. Starting you career in the industry as an intern is a rite of passage, it's an excellent way to network and get some experience on a thin looking resume. Internships vary in remit, giving you the opportunity let your talents shine. Good interns are always noticed and lazy ones dispatched quickly, it’s wise not to waste any opportunity so take to your tasks with enthusiasm!

Production Company / Photo Credit: Theme Forest

HOW DO FEATURE FILMS GET FINANCED? (In the Entertainment industry.)

Financing Your Feature Film / Photo Credit: HDVideoPro

HOW DO FEATURE FILMS GET FINANCED? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

HOW DO FEATURE FILMS GET FINANCED?

The majority of independent films rely on a mixture of finance to get a film made. No two scenarios for financing will ever be the same, and there is no definitive way of getting a film funded. In short, it’s complicated. The struggle to find funding in today's financial marketplace is ever more competitive, and the odds of reaching the required sum to move into production can be slim. The process requires cool, logical people with good business acumen to help producers navigate a startling array of options; this is where a film finance company can help.

Film finance companies work with producers, investors and financial institutions (such as banks) to pull together the right sum and correct structure of money to move the film out of development and into pre-production. The mixture or breakdown of money with which a film is financed is often referred to as the films finance plan.

Some film finance companies have access to their own capital and can lend or invest directly into a project, while others may approach a bank with a package in hand in the hope of accessing that particular institution's funds. However, regardless of where the capital is sourced, finance companies will often demand to be the first, or one of the first, to recoup money from the film’s success.

There are various sources and types of capital available when piecing together a films finance plan. Some such options are:

Pre-sales with foreign and domestic distributors…
Tax credits from both home and abroad…
Loans…
Grants…
Minimum Guarantees for distribution deals (theatrical and home entertainment)…
Equity from private investors (or private institutions)…
National TV broadcast deals…
Crowdfunding (less the financiers more the filmmakers)…
Post-Equity deals…

Producers need to make sure they have the best script, director and talent in place before they enter the funding marketplace. They create a pitch package which is fundamental as it collates key information for investors. The better the ‘pitch’ and preparation, the more likely a project is to attract interest; especially if you have unique above the line selling points. The process can be lengthy, with many projects unable to find funding. Putting together the package is the responsibility of the producer and production company and should include:

The films proposed finance plan…
An investment proposal, clearly laying out the terms and conditions of the investment or financing required…
A treatment of the script, which can be anywhere between a page to a more detailed ten-page document…
A copy of the rights to the story, all options and acquisitions agreements…
An investment proposal, clearly laying out the terms and conditions of the investment…
Comparable box office returns on films of a similar genre or tone…
Market research on current trends, with emphasis on work that has just gone into production…
Talent attached to the project. The director and cast are the primary selling points, as would be the screenwriter if they are well known in the industry. A letter of interest from all parties is a good indicator to investors that securing the talent is possible. Any crew agreements that are set…
Revenue projections…
Any examples of press coverage the company have managed to generate, which would include any marketing materials they have commissioned such as posters...

Financing Your Feature Film / Photo Credit: HDVideoPro

Thursday, December 20, 2018

WHAT’S THE DIFFERENCE BETWEEN DOCUMENTARY AND FEATURE FILM? (In the Entertainment industry.)

Documentary or Feature Films / Photo Credit: Slide Player

WHAT’S THE DIFFERENCE BETWEEN DOCUMENTARY AND FEATURE FILM? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

WHAT’S THE DIFFERENCE BETWEEN DOCUMENTARY AND FEATURE FILM?

Whether or not a film is a feature film depends on its runtime. Whether or not a film is a documentary film depends on its content.

A feature film is a film with a runtime of 40 minutes or longer, according to the Academy of Motion Picture Arts and Sciences. Films that run for less than 40 minutes are called shorts.

A documentary film is a nonfictional motion picture intended to document some aspect of reality, primarily for the purposes of instruction, education, or maintaining a historical record.

A documentary film that runs 40 minutes or longer would be a documentary feature film. A documentary film that runs for less than 40 minutes would be a documentary short.

1. Escape vs. Reality

In general, the main reason feature films get made is to entertain the audience; to give people an escape. Documentaries are meant to inform; to confront people with reality: and sometimes to promote a point of view.

Documentary makers certainly want to engage and captivate their audience, and some feature films can be very informative, but a key difference between the documentary and feature film is in the filmmaker’s motivation.

2. Fact or Fiction

Feature films are mostly fiction, sometimes total fantasy. Some may be based on real events or people, but the director and screenwriter will be adding drama and impact with their creative license. Genres include comedy and musical, action and western, romance, crime, horror and science fiction, among others.

Documentaries are non-fiction films. Directors and writers help structure the film, rather than creating characters or taking liberties with the facts of the story. Documentaries can take on social, political and economic issues, or profile a person, place or thing.

3. Format

Feature films take care in introducing complex characters and spinning an intricate storyline over a running time up to three hours. There’s an ebb and flow to the action, with carefully timed and structured mini-climaxes and dramatic highlights. The scripted story, characters and actions all are pointed in the same direction, leading the viewer through events with a sense of beginning, middle, dramatic climax and end.

In documentaries, often the action leads the way. People don’t have scripted words to say or scenes to enact; handheld cameras might be the only way to follow the story. Even the director doesn’t always know what happens next. Documentary makers often say that discovery and surprise is a big part of their job.

4. Production Costs

Documentaries are usually less expensive to make than feature films, with less elaborate production frills. Documentaries can cost only a few thousand dollars, with small crews, single camera set-ups and few if any paid talent. The result is often raw, unpolished but effective nevertheless.

Feature films can cost millions, even hundreds of millions of dollars, thanks to top stars with top salaries, directors and scriptwriters, music scores, exotic locations and costumes. A top feature film often has its “money on the screen” with lush cinematography, gorgeous actors and actresses, big bang special effects with large and talented production teams in the background.

Of course, big-name actors sometimes do participate in documentary-making, often with a reduced fee and a strong belief in the project. And some low budget or “indie” feature films turn out to be huge successes.

In fact, documentaries have become big box office, with serious Academy Award weight sitting with them. Often very entertaining, they can be as controversial nowadays as the subjects they cover.

And some feature films today are taking on very serious topics, with some post-911 war-themed movies seeming more real than the stories they relate. The difference between documentary and feature film can be obvious or subtle.

Documentary or Feature Films / Photo Credit: Slide Player

WHAT IS A FEATURE FILM? (In the Entertainment industry.)

Feature Films / Photo Credit: Christos Karamanis

WHAT IS A FEATURE FILM? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

WHAT IS A FEATURE FILM?

The term feature film came into use to refer to the main film presented in a cinema and the one which was promoted or advertised. The term was used to distinguish the longer film from the short films (referred to as shorts) typically presented before the main film, such as newsreels, serials, animated cartoons, live-action comedies, and documentaries. There was no sudden increase in the running times of films to the present-day definitions of feature-length; the "featured" film on a film program in the early 1910s gradually expanded from two to three to four reels.

A ‘feature’ is a full-length film that fills the programme; it’s the feature presentation, the main event! Largely defined by its screen time the BFI (British Film Institute) and AFI (American Film Institute) state that a feature is anything over 40 minutes, while the SAG (Screen Actors Guild) prefer 80 minutes. Currently, the average running time is 2 hours for many 12 and over age rated films, with features spanning animation, drama or documentary.

Studio Features:

The term studio feature refers to the major Hollywood film studios in the US, notably Universal, 20th Century Fox, Paramount, Warner Brothers, Sony, and Disney. They are filmmaking powerhouses who produce some 452 films a year. The studios themselves have diversified to include home entertainment, theme parks (popular films get their own attractions or become the subject of a film such as Pirates of the Caribbean) publishing subsidiaries and video games. The studios run their own studio production facilities, but are mainly involved in finance, development, marketing and distribution, leaving the filmmaking to their subsidiary production companies.

The type of films we associate with a studio film are the big budget tent pole movies (Marvel, Star Wars), seasonal blockbuster releases (Frozen, The Santa Clause), and franchise films which hail multiple sequels (Fast and Furious, Transformers). Due to the status of the studios as multinational corporations, with arms stretching across a variety of platforms if the budget is big, and the cast boast a string of A-listers, more often than not it will be a studio production.

Independent Film:

What has classed a film as independent or an ‘indie’ has been down to how the film is funded. If a film is financed without the backing of one of the big studios, and distributed via an independent distributor, it can be called an independent film. The average budget of an independent film, can be from a few dollars up to millions of dollars. Traditionally most independent films were also classified by their look, feel and subject matter. Being able to work outside the system gave filmmakers a chance to experiment with their cinematic style and storytelling, regardless of mass marketability.

Today the world of the independent film is slightly more complex. The studios began to create their own independent production subsidiaries, creating the type of character-driven films that are more associated with independent cinema. Independent production companies such as the Weinstein company, Lionsgate, and DreamWorks sign short term deals with the studio distribution arms, so the financial criteria for assessing if a production is independent or not is much less relevant. Filmmakers have approached this conundrum in a variety of ways; the consensus would be that an independent film is associated with the freedom of the filmmaker to tell the story, this can be shot on a shoestring or tied up with a distribution deal with the big six, and it’s the type of story that counts.

Low Budget:

As production costs have become cheaper due to the advent of digital cinematography, it’s become increasingly possible to shoot a feature film for very little money and keep production value high. Many independent films will be low budget productions, some will find a distributor and get a small theatrical release if marketable, and some will go straight to DVD, VOD or destined to reside in the great vault in the sky.

On average, a low budget is regarded as a film made for under 2 million dollars, which is still a significant sum of money. There have been many low budget films that have gone one to critical acclaim and box office rewards such as The Blair Witch Project ($60K Budget…Box Office $248M), Napoleon Dynamite ($400K Budget… box office $46M), and Paranormal ($15K Budget…box office $193M) to name but a few. However, sadly most are not commercial successes. But audience targeting and marketing can bring in a profit. Many are used for tax write offs.

Micro-Budget:

Micro-budget features are often the work of first-time directors and producers who have managed to get together enough funding to shoot a feature film. Micro-budgets are widely classified as anything with a budget under 150 thousand dollars, some features have been shot for a lot less. It takes a great deal of determination to make a feature film, and if you're working with an extremely tight budget, the schedule will reflect that. The crew can be working some long days to get the most out of the hired in kit and locations. Feature films classed as ‘micro-budget’ have launched big careers for filmmakers such as Kevin Smith (Clerks), George Lucas (American Graffiti), and Robert Rodriguez (El Mariachi) to name but a few.

Feature Films / Photo Credit: Christos Karamanis

Tuesday, December 18, 2018

POSITIONS IN THE MAKEUP DEPARTMENT? (In the Entertainment industry.)

Make Up Department / Photo Credit: A to Z Theatrical Supply and Service

POSITIONS IN THE MAKEUP DEPARTMENT? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

POSITIONS IN THE MAKEUP DEPARTMENT?

The responsibilities of a movie make-up artist vary depending on the type of work and level of responsibility that the make-up artist has. Hollywood union regulations, for example, classify movie make-up artists based on the area of the actor's body being made up.

The key make-up artist, or make-up designer, is in charge of the make-up department for a movie. During pre-production, the designer reads the script and meets with the director and screenwriter to discuss their needs and ideas for the film. The key make-up artist also will work with the key hair designer, costume designer, set designer and director of lighting throughout the film.

Makeup designer: Hired in pre-production the makeup designer will break down the script and takes some time to get to know the characters. If the film is set in an explicit decade, they will research the period and the type of makeup used. Art, Costume and Makeup Departments all have a degree of crossover and are required to implement a shared vision when it comes to style, color and texture. The makeup designer collaborates closely with these departments to complete the overall look for a character. While the production designer will have a color schemes and textures they would like the Costume Department to incorporate, the costume designer may wish to discuss how the look of the character is reflected in their makeup. As well as being a skilled makeup artist, the designer will be a skilled negotiator and collaborator.

Makeup supervisor: Working closely with the makeup designer as their right-hand man/woman. The makeup supervisor takes responsibility for budget, hiring of staff, schedule, ordering consumables and products, and running the department from an administrative point of view.

Makeup artist(s): MUAs will be working under the direction of the designer, being thoroughly briefed and prepped before hitting the makeup room/trailer on the first day of shooting. MUAs will also be working on set, accompanying the actor they have been assigned to or dealing with the extra talent.

Personal makeup artists: Often high profile actors and actresses will have a longstanding relationship with a makeup artist, who understands not only their makeup requirements but the process the actor goes through when working on a film. Actors spend their careers having people fuss over their faces; working with one dedicated MUA can be a preferred option.

Assistant makeup artist(s): Once you are working as a makeup assistant you will be let loose with your makeup bag and brushes on crowd scenes, and assist the MUAs in more complicated processes. Again, expect to work for three to five years as an assistant before making yourself available as a full makeup artist on big budget features.

Dependent on the production, specialist makeup artists are brought in such as:

Special effects makeup artist: Anything involving prosthetics or animatronics will come into the remit of the special effects MUA, and the SFX team. This is a very exact job that will require years of training. If you are looking to specialize in SFX, there are courses you can take while working as a MUA, to help progress your career? The best course of action would be to find an SFX makeup artists to train under, as you will need hands on experience.

Body makeup artist: There are occasions when actors or models need to reveal their bodies, tattoos, veins, stretch marks, age spots or general skin discolorations’ may need to be corrected. Specialized body makeup artist will come in for the day; their work includes body painting also.

Wig and hair specialist/stylists (if there isn’t a separate department). If you're not working on a big budget feature, you are going to be styling hair. If working on a period drama, the designer may decide to bring in a hair specialist to work with the wigs.

‘Daily’ MUAs are brought in for crowd scenes or days with a tight shooting schedule. They usually bring their own kit and will either be allocated a workstation in the makeup room or be working out in the holding area.

The more time you spend practicing makeup application, the more proficient you'll become. Alongside your portfolio (make sure to document your work on every project, when working as a trainee get permission from the supervisor first) you will also be creating a network as your career progresses, your network is the best way to generate future work.

You can expect to be working for two years as a trainee, during which time you can decide if you want to specialize or keep it general. Make sure you work in as many mediums as your time will allow, not limiting yourself to one sector of the industry at this stage means you will have more opportunities for employment, and more opportunity to build connections and experience. Your career path, if you decide to keep it general can have you working your way from trainee to assistant, up to make-up artist and if you continue to work in film supervisor and designer.

Make Up Department / Photo Credit: A to Z Theatrical Supply and Service