Will animation ever be a respected tool in regards to filmmaking?
>Useful Resources
learnaboutfilm.com
nofilmschool.com
filmmakingessays.tumblr.com
>Free Screenwriting Software
fountain.io
writerduet.com
celtx.com
trelby.org
>FAMU required viewing list
international.famu.cz
>TSPDT 1000
theyshootpictures.com
>Strawpoll
strawpoll.me
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Most films have animation now, so yes?
I already wrote my script now I just need Ted Sarandos's email. Does anyone have it?
You know that's not what I meant, user.
>Ted Sarandos
Why would he respond to you?
Anyone taking any classes this semester for filmmaking? I just got into Grady College at University of Georgia. I have some awesome professors this time around.
Taking...
>Film Production
>Media and Pop Culture
>Elements of Narrative
>Design for TV/Film
Also interning with a Production company during the week. It's been exhausting, but fun and fulfilling.
One neat thing about my Production class is that the professor is, although holding a PhD, has only been teaching for a few years and has been working in the industry as an editor/director/producer for years. He's such a jerk, but the kind that's really entertaining and actually helpful. Might be the best professor I've ever had. I'm still feeling out if I hate him or love him, hah. We're learning incredibly useful stuff. This week is breaking down a shooting script. Next is C-Stands and tripods.
I'm loving it.
nofilmschool has really declined in quality over the years. Back in 2011 it was filled with far more original content.
What the fuck do you mean "original content"? It's a website full of articles about filmmaking.
What sites do you use?
Ryan Koo used to write the bulk of the articles based on his own assessments rather than posting a video and extrapolating three to five bullet points from it.
Because I can help him reach a demography that Netflix is not reaching yet
HOL UP
We already got a thread going at:
We'd appreciate it if you guys'd come over so that we all fill up the thread and interact in one place.
Where should I go from if all I have is an image? An opening shot, or like a series of shots.
>Girl walking alone sees a blue neon-lined door in a desolate winter landscape. She walks towards it, opens, and steps through.
I mean like I could build from there, but I have literally no clue where to go from that.
I see where you're coming from.
Do you use another site now?
Which is?
Go fuck yourself, kid. You didn't follow the new format.
I don't mean this in a negative way but if that's all you have then you have nothing.
What are you expecting? You have to come up with why that one thing you have is happening and why it's important and why we all would care.
That idea is not a plot, it's not even really a scene or a setting.
has anyone taken the herzog master class course? is it worth it?
Sending a spec script of a remake (not a big budget thing, a remake of a low budget film) to potential producers - is it worth doing or not?
MasterClass is only worth it if you're just starting out. Despite being taught by pros, they're very much aimed at total beginners, and you won't get much educational value if you've been studying for a year or more already. That being said they're very reasonably priced and go for it if you night enjoy it.
Continue
Not worth it. You can use it as a writing sample to try and get representation, but no producer wants to pick up something from a new writer that they don't even have the full rights to.
What movie are you remaking? And who and how are you emailing it to?
In a related area: Is there an alternative way to access these? I have no idea if these courses are worth what they're charging. I torrented Zach Arias One Light workshop and found it to be filled with good info so I bought it afterwards but if this is just worthless and unhelpful talking for a few hours I don't want to spend almost $100 on it.
bummmmmmmmmmmmp
If there's enough interest I can purchase access and upload or stream the videos somewhere.
Upload to MEGA or OpenLoad
There's probably some general interest here and outside of the board. I tried searching for it across my UseNet groups and some torrent sites and didn't find ANY MasterClass' let alone the one I was looking for.
I couldn't ask you to drop that kinda money just to hook up the rest of us though. It's a very nice offer however!
What is the consensus on shooting films entirely on phones? Is it a feasible option for contemporary filmmakers? Is it a lame gimmick? Can it compare with normal digital cameras?
>Can it compare with normal digital cameras?
Depends on what phone you have, love.
And do what you need to do.
I'd rather save up to get an HD camera and a bunch of equipment, but that's me.
You can do it. It won't be as easy or as high quality as shooting with a better camera but you can get very serviceable video out of a lot of modern smart phones. Tangerine for example was shot entirely on a smartphone and sold to Magnolia after winning at Sundance.
Don't let this thread die, I need to ask a question, but I don't know what the question is yet because I'm too tired to think and I need to charge my computer.
I'll check out some reviews and if it's worth it i have no problem dropping the $180 or so for the directing and screenwriting courses. I've only got my mobile right now, so actually doing anything would have to wait until tomorrow.
>screenwriting course
Sorkin, right?
Yeah that's the one
Alright user, if you're comfortable dropping that kinda money on it then more power to you. All the best in the mean time.
>tfw can't make money with filmmaking
Bump
The best, closest way may be Youtube videos, but not short movies, it's pretty niche unless you make parodies of things that are in like those Naruto shorts at the time, or Overwatch or whatever right now.
what are you talking about
Nice dubs.
But here's the fucking truth. If you think Sorkin is a great screenwriter then you're no better a hack than he is. But that's okay, I'll admit this, some of his dialogue is catchy and memorable. Is it the sole purpose of a film to be catchy and memorable? His characters are all smug and sarcastic, and when they speak, they only do in monologues. The whole room goes silent, the world quiets to listen to what grand wisdom the Gary Stu is about to spew. And always in anger. Every character is mad at one another for the simple goal of manufacturing conflict. Aaron Sorkin writes dialogue like the great come back that you thought of in your head ten minutes after an argument. "Why didn't I think of that then?" Because that's not reality. Real people don't have the perfect witty response that rolls off the tongue and sharp like a razor ready for every little conversation. Not every line has to be a "CSI Miami one liner." Just look at his recent works, and you'll see that he often recycles his hackneyed gimmicks for a pay check. But who am I to say, I'm just a lowly user on a Neanderthal Cave Painting Forum. Now that you know the truth, can you handle it(TM)?
I'm currently editing this indie movie and we're gonna try and get into sundance this year. In my spare time I made this dumb datamosh vid
how do you write good dialogue
read a lot and emulate that
>You don't.
Film is about the visuals. Plebs need words to stay entertained. How much dialogue was in 2001?
that is terrible advice. That's like someone asking how to buy a car and you telling him to take the bus. It doesn't answer his fucking question at all
False equivalency. It's more like someone asking how to pimp his car to make a rice rocket, and I'm telling him not to, for all that bling doesn't make his car any better.
But what if I read from somebody who doesn't write good dialogue?
2001 was a boring piece of shit.
2001 still had well-written dialogue, user. He's asking how to write good dialogue. He still needs to learn how to write well, even if he wanted to make an entirely show-don't-tell movie. Which he doesn't.
What books do you like to read, user. Sometimes it's good to read books so you can at least get the rhythm down.
Let me rephrase that. Even if the book isn't "good" it might have an interesting style to the dialogue, or it could at least teach you how to get the dialogue rhythm properly, since you don't necessarily need good dialogue to get style and rhythm.
All good film starts from a good script. Good visuals come from good writing. Saying 2001 was boring is like saying the Mona Lisa is boring or the ceiling of the Sistine Chapel is boring. If you don't understand what the symbols mean embeded in the film then you'll find it "boring."
That poll is all sorts of fucked up. Visuals without good writing backing it up is just "OOOOOO pretty nature, pretty sky, let me film it." Look at Sicario, that's a great example of this having a cinematographer masturbate to his 24fps feature length Instagram filters post.
One way to learn what's good is to learn what's bad. So do what that user said about reading a lot. Read everything, subjectively and objectively good or bad. You'll find your voice. But in general, less is more. Except when more is exactly what you intended, like in shit posting.
>What books do you like to read
I really don't know. I stopped reading six years ago (I'm 18 now).
I used to be really into the Percy Jackson books, but near the end of my reading tenure I got very heavily into YA books about depressed teenage males looking for sex or love. That was kind of a foreshadowing now that I think about it.
The last full book I read was maybe in 2014/2013, about this guy who's the grandson of a famous newspaper cartoonist and he's taken over the comic strip. But then dead people start coming back including his wife (maybe girlfriend), but there's another soul in his wife girlfriend's body. I think it was called Hitchers.
What the fuck are you even trying to say? 2001 is a fucking snorefest. No engaging characters and there isn't an engaging story, all the movie has going for it is it's cinematography and special effects. It's a piece of shit.
And the second guy you replied to wasn't me.
Nigga how can you hope to write well if you don't read?
Anyway, I guess if you wanted to expedite this process, just think of what kind of movie you'd like to write, and then I guess pick a book of a similar genre. I think that would be OK to start off with, at least until you develop into your own style.
>Nigga how can you hope to write well if you don't read?
That's actually a really good question. I gave up on writing as a career years ago, opting for filmmaking instead. But I still need to write my scripts.
I have The Brief Wondrous Life of Oscar Wao by my bedside, would you recommend that? And should I be reading books or other scripts?
I would recommend reading literally any kind of story. I guess a script would also work but, and I know this will sound weird, I think it's easier to absorb the right kind of prose and rhythm you want is by reading it in a regular book...so you can write it back into a script.
>He reads fiction
2001 is about the history of mankind. Where we came from, where we're going. The pictures tell a story.
>No engaging characters
This is not a UNO FARTO production
>isn't an engaging story
Go watch Sherlock Holmes for your "stories"
>I can't reply to more than 1 person per post
youtube.com
Keep watching movies and reading screenplays to learn you'll end up making the pieces of shit that is the current state of Hollywood. Reading only fiction will get you capeshit, and such.
>you want is by
no "is"
I'm tired
>I think it's easier to absorb the right kind of prose and rhythm you want is by reading it in a regular book
And why is that? I'm gonna try to start reading again. What about comics?
how could you be this mad and this pretentious
it's absurd
Because screenplays leave a lot of fluff out; fluff that would potentially help your ability to learn what you need to. I know I sound like a broken record but a lot of the style and prose and rhythm are taken out of a screenplay, because it's largely unnecessary.
Also while I know there's exemptions, comics are largely trash in terms of dialogue.
Not an argument. Which part of my post is pretentious or do you disagree with?
HA this is the wrong thread. Fuck everything.
Don't play vidya.
yeah I figured
Well I'm going to start reading more, thank you, user.
And I have a lot of comics laying around that I'm going to read/reread (Hitman, Daredevil: Yellow, Daredevil: Born Again, Judge Dredd, Justice League: A New Beginning, Shazam, Watchmen).
The dialogue might be trash, but they may serve as visual inspiration.
I'm not trying to argue.
You do you famalam. Whatever you think will help.
damn man could've been a little more supportive
I've been nothing *but* supportive, dude. If you think reading comic books will help with whatever you're aiming to do then who am I to say it won't work. I'm not here to make you do anything.
thanks, user.
>mfw I've got an interview next week for a university to study film at
>mfw I'm required to bring in a portfolio
>mfw I literally have nothing to show and am fucked
>mfw I have no face
There go my dreams.
start writing and shooting RIGHT NOW
I've got nothing to shoot with user. Nothing good, at least. And I don't have any good ideas to write something up.
You don't even have anything written? They probably don't need an all-film portfolio. I mean they didn't say they need a demo reel, right?
in any case a lot of "film university" schools don't actually let you make anything, instead just teaching you film theory. if you want to *make* shit then I suggest finding a school with a good telecom program
DO WHAT YOU MUST, FOOL.
SHOOT ON YOUR PHONE.
USE WRITING PROMPTS.
Well, I mean, I've got short stories and one novella written. But I don't think that counts towards film. I don't think they said anything specifically about a demo reel, and I don't think I can get a decent enough script written up in a week. I could probably pull something together in Sony Vegas if I work my ass off.
And this is a creative media school. It's got film, music, animation, and game development. So it's like half and half between theory and practical work.
I'll try user. Thank you for the motivation.
Also "try" to keep this thread alive. I'll buy you a brownie.
Random idea of the day:
>Grimdark post-apoc setting
>Resulted from demons (or aliens...but) invading en masse from portals/hellgates
>Can't be killed save by a specific kind of metal/alloy
>A small cult like group (Templars? Hospitaliers?) has good info on demons
>Manages to setup safe havens protected by wards demons cant enter
>Whats let of humanity lives in these small communities
>Demons can't pass through
>Demons only option is to have a sleeper agent OPEN portals from INSIDE the city/compound
>This happens somewhat regularly
>Movie focus: main character is part of a Tac-Team who's job is to dive into freshly opened portals
>Once they open, they can only be closed from the INSIDE by killing a channeler demon of sorts
>side focus on SWEEPER and VANGUARD teams
>Sweeper teams sweep the surrounding area inside city to exterminate what demons go through
>Vanguard kills any demons that come through whilst Tac-team is inside
>Once Tac-team kills the channler, they have a limited window to escape before portal closes
>ABANDON ALL HOPE
or
>WHO ENTER HERE
>And this is a creative media school
oh well then it's legit. Never mind then.
And if they didn't say anything about a demo reel, then you're golden if you at least have written shit. Those short stores and novella could save your life son. Turn the novella into a screenplay so you can show you know how to make one. Shouldn't matter if they're the same story. If anything it would be easier because they can compare/contrast them better
This gives me some hope. Thanks user, I'll start working on that if it's by best chance at impressing the interviewer.
above all, be positive and energetic and act like you want to be there.
How can I learn to identify all the symbolism or motifs that the directors have in their films?
>watch commentaries and parrot what they say
or
>look up other dissertations and parrot what they say
at least until you can learn to recognize the themes yourself. Taking literature classes would work well too
Thanks for the help.
This guy has good dissertations on popular movies and directors
youtube.com
A boy falls in love with a girl.
Unable to confess, he is gifted by a deus ex machina with the girl's phone number. Never minding the strange area code, he immediately calls her, and is overjoyed to find out that she has a crush on him as well.
But, the next day, when he recounts the previous day's confessions to the girl, she only looks at him with a perplexed expression. After some investigation, he finds out that the girl he called is not the same girl he fell in love with. In fact, she doesn't exist in this universe at all. She is the girl's alternate universe counterpart, who has fallen in love with the MC's own AU self, who too is blissfully unaware of her crush.
Hijinks ensue as the two strike up a deal to give each other their darkest, most private secrets in order to equip the other with the weapons they need to conquer the heart of their other selves. While the two chase their respective loved ones, DRAMA ensues as they begin to fall in love with each other instead and question the NATURE of LOVE.
OP: youtube.com
ED1: youtube.com
ED2: youtube.com
PV: youtube.com
EP 1: youtube.com
EP 13: youtube.com
Tangerine won because it's a token movie for token pandering though, but yes the image quality was good
watch movies with subtitles on, preferably with a -0.5 second delay so you read a little before they start talking. you understand dialogue better if you visualize it.
I'm working on a short, I have the script written just need to chose a camera and find an actor
bamp
>token movie for token pandering
elaborate?
Friendly tip: don't skimp on the sound. DON'T. SKIMP. ON. THE. SOUND.
If your audio is great, but the image quality sucks, the audience will think it was your artistic decision to have a grainy image that looks like shit. If your image quality is 5/5, but your audio sucks, everyone will know you're an amateur who used his mom's credit card to buy a Blackmagic camera.
Seriously, when in pre-production, make sound your priority. Don't be one of those guys who buy Arri Alexa, but then use Zoom H4N to record sound with their girlfriend holding the boom. Hire a couple of professional sound guys to record your dialogue on set. And budget some money for post-production sound. You'll thank me later.
What sound recording device would you recommend for an amateur?
A professional with his own gear.
But what if you can afford your own
trannies
QUESTION
what are the best low-budget mics we can use?
The one that comes with the camera.