Palestinian filmmaker Hany Abu-Assad directed a hybrid film called Ford Transit (2002). In 2003, this film won the Best Documentary Award at the Jerusalem Film Festival. While keeping the camera mounted on the car for the majority of the film, Abu-Assad also manages to keep the tension at an all time high. Rajai must transport locals through military check points in Ford minivan. Using a 16mm camera, Abu-Assad tells the story of a Palestinian transit driver named Rajai.

Cast is clear; making reading and scanning under typical warehouse lighting easy. • Visual Clarity: Blown is not crystal clear. This can make reading and scanning harder, but it helps reduce distracting glare.

Benefits include: lower cost, lighter rolls, and the need for less physical force during application. It is manufactured in 47, 51, and 53 gauges. It has more layers, is stiffer and has less tear resistance than micron stretch film. Hybrid/multilayer stretch film is commonly used in place of lighter gauge film.

Now it is just one of many considerations. Much of the decision will be based on price, but it needs to be tempered by the requirements of the job. This is by far the most important decision. Not that long ago, before the advent of highly innovative stretch films, gauge (thickness) was just about the only thing that mattered.

The downside is that it provides little control over stretch and is hard on workers' hands. • Extended Core: An extension of the film's core creates a natural handle for wrapping. It's an especially economical option since it doesn't require any equipment.

We hear this at the end of the Hearts of Darkness (1991) video. Francis Ford Coppola prophesied of cinematic democratization. He saw the future of film in the form of 'some little girl in Ohio,' and imagined a new apparatus that could enable such a girl to get her vision onto the screen: "To me the great hope is that now these little video recorders are around and people who normally wouldn't make movies are going to be making them. With the advent of technology, we have the ability to produce and market films better than ever.

OK, enough about that. When I mention that negative film is flexible, I mean that once a negative film roll has been developed normally, its exposure can STILL be corrected, generally to a greater degree than slide film allows.

I love the colors on this. Grain is fine, and for ISO 400, I would never call it grainy. in fact I'd say the colors are slightly laid back. Not too contrasty, not very saturated. For random color shots, and especially to test new cameras/lenses, this is my go-to film Cheap, reliable, very good. Fuji Superia/Superia X-Tra (200, 400): my standard color film.

The documented success of the novel will make adapting the novel into a film, for a big company, much easier. I know one may think this process involves just as much funding but if you get published, it costs you nothing. This also allows the production value of the film to reach a high quality level when it becomes a feature film. One of the more time consuming methods of marketing your film is to first market it as a novel and gain a strong reading fan base. At least by doing it this way you have the ability to more readily distribute your product and you avoid straining your budget. Here are a couple of examples: If you self publish, it still cost much less than making a feature and financing the distribution.

Jakes also fits into the "investing in your fan base" category because he initially self-published a book version of this film. Lions - Gate is funding Tyler Perry who wrote several successful feature length films: Diary of a Mad Black Woman, Madea's Family Reunion, Why Did I Get Married 1 and 2. This film was initially headed directly to DVD but has gone on to be nominated for several Academy Awards, including best picture. For example, Sony also signed a production deal with Bishop T. Jakes after his film Woman Thou Art Loosed, drew theater goers through grass - roots marketing in black churches. Tyler Perry recently helped to endorse the independent -film Precious.

Always experiment, do not stick to the 'rules' I do not necessarily feel that I need brighter colors for landscape work, as this sort of look works too, sometimes. Kodak Portra (160, 400): as the name suggests, this color film is designed for portraits, aiming at getting skin tones right, and avoiding extra saturation while maintaining nice contrast - it works great for portraits, yes, but I wouldn't mind using it for other work too.

Contrast is more than average, quite perfect in my opinion. The grain is extremely fine, and the grays are lovely, almost silvery, and very, very smooth. Fuji Neopan Acros (100): my favorite black and white film. Great for people photography, as well as street shots

For me, another deciding factor is the film speed. I prefer negatives if I'm buying film over ISO 200 for some reason. If you want black and white, it's gonna be negative. Also, you might want to check on places that process slide film (E6) - which is not nearly as common as negative processing. grain on slide film is just not my thing. Firstly, negative or slide? But if you have any doubts, or you want flexibility, definitely go ahead with the trusty negative film And lastly, but importantly, remember that rule where we say negative film is more tolerable. If you have a very accurate light meter, and you think your exposure is going to be spot on, you can go ahead with slide. If you can't find a lab that does E6 slide processing, you have no choice but negative.Color negatives are sometimes known as "C41" - this name comes from the most common process of developing color negative films, which is C41. This film is processed into 'negatives', where your images show as an inversion of the normal image i. Black and white film is still called. Negative film comes in both color and black and white. light is dark, dark is light. well, black and white film Negative film is what most of you probably have used as a kid, if at all.

Of course, some look flat and dull - you can safely avoid this type of film if you feel it's flat. In black and white film too, the tones of the grays vary with each film - some have harsh tones, and hardly show any definition between black and white, while some have lovely gray mid-tones, and others have a gorgeous silvery look to the grays Color saturation: obviously applying only to color film, some film has the tendency to over-saturate and give artificial, fake colors - some films give beautifully natural colors, saturated just right, and some even have a slightly laid back look to it that looks great.

But where any or a combination of those conditions are present, heavier (more expensive) traditional films will be the better option and will save money in the long run (less risk of worker injury and damage to loads). Traditional films are considered foolproof and often result in fewer complaints from the warehouse. The precision with which they are applied is not as critical because the weight of the film may help offset a poor application by the worker.

For example, high performance film designed to replace an 80-gauge traditional film might be 20% more expensive to make, but it might require 50% less film to hold the load because it works just as well as the material that is 50% thicker. However, what really matters to the consumer is how much the film costs per foot. The end result in this example is that the user saves 30% on film costs by switching to the thinner high-performance film. Even more important than the cost per foot is the cost per load wrapped. The argument for the newer high performance films is that even though they are expensive to make (cost more per pound) they are much lighter in gauge and therefore lighter in weight.

There are several stories like this where Christian departments in Hollywood companies try to network with Christian filmmakers in order to garner the Christian audience. Sony pictures eventually endorsed the film and helped with the funding and distribution. The makers of Facing the Giants admit that they got lucky when they called Sony and asked for the rights to some of their music.

Kiarostami, director of Five, takes five long takes to make his film. Kiarostami continues to avoid complicated plot structure and unnecessary artifices in the film Ten. This film makes use of the long takes that Bazin identified as part of the neo-realist movement. There were several "holy moments" where director Kiarostami captures fifteen minutes or so of the ocean or the moon in a pond.

Okay, now we have a product that needs some editing but the big question is how in the world do we get this film in the theater? Even then, how do we get it out there in the book stores and on Netflix? Did we go through all of that for nothing? Straight to DVD is definitely an option. I would like to posit editing a short version of the film and using the rest of your budget on one or all three of these options: book formats, networking or film festivals. Should it just go straight to DVD?

They intentionally did this and spent their time at odd jobs getting money to shoot a short that would convince financiers and distributors to endorse their full-length script. The 19-minute short won prizes at Sundance and the Aspen Shortfest in 2004. They pulled together 800 dollars and asked for help from their friends. Ryan Fleck and Anna Boden completed their full-length script Half Nelson before they filmed a shorter version of it. Two years later the feature film was distributed to theaters and won an Academy Award for best performance by an Actor in a leading role. It won several film festival awards for acting and screenwriting.

You're still gonna notice the characteristics of the particular film type you used, so no matter how good your editing skills are, it's still better to get a good film that you've had good experience with when you shoot with a specific purpose - you might not always be able to fix a flat, dead image on Photoshop. But (but, again), there's a limit to what editing your scanned film can do. If you want today's shot to have bright colors, don't go for film that you know to be rather flat or dull in terms of color saturation - it'll always be easier to get the image you're looking for if you start with the right stuff first

When Abu - Assad's film was accused of being fraudulent he responded by saying his film is both a documentary and a fiction. Just because the events we're watching may be acted out does not mean that they are fictitious. Like the film Precious, this film could have happened and did happen.He essentially said this all came about from not having enough money to do anything else. Behind all the rhetorical tropes, neo-realism amounts to shooting on location, and re-writing the script to fit the real people/ non-commercial actors that are available. Rossellini, the father of the Italian Neo-Realist movement, had no intentions of creating a movement. In many ways the script is 50% staged and 50% improvisation, this culminates with a very intense sense of reality on the screen. This makes pre-production less complicated for independent filmmakers.

Processing your own film can also be a very fun experience, especially once you know what you're doing (and it's not really that hard, especially when processing black and white film) - it also saves quite a bit of money, as photo labs that still do film are able to charge pretty ridiculous amounts for processing and printing/scanning film

Indie film financing and movie distribution reminds of what it would feel like dancing nude on stage (much respect for exotic dancers at Larry Flynt's Hustler Club! It's their stage and not yours as an indie filmmaker seeking film funding. They want you to make a sellable movie which appeals to movie distributors so the production can make money. You show up to pitch your movie project and need to be able to dance to a film investor's music.

Because of inferior strength and film memory, cast is best for lighter loads with standard shapes. It also tends to be less expensive than blown-which makes it a good choice for less demanding high production applications.

The wide spread use of digital medium has created a new opportunity. That opportunity, although less expensive than the Hollywood style film productions we've grown used to, is still costly and requires financing. Film & Video production is one of the biggest industries in THE WORLD (next to weapon manufacturing, of course). How do you get that financing?

These won't be A-list names, but having someone with some kind of name is a great selling point to help your movie standout from others. Brief cameos of known actors or celebrities used to be a good way to keep talent cost down and add a bankable name to your cast. Movie distributors and film sales agents can tell you what actors and celebrity talent is translating to movie sales overseas at the indie level.

This is indie filmmaker Sid Kali typing fade out. These are selling points that will hurt sales if they are written out. We'll see how this goes. But it's my job as an indie filmmaker to balance a budget that appeals to film investors. What I think got lost in the translation with the potential film investor today is if I keep taking out below-the-line crew to save money I'm going to have to do rewrites to the screenplay to take out action scenes.

Bazin campaigned for true continuity: deep focus, wide shots and a lack of montage. The present-day neo-realist does not necessarily uphold to all of these somewhat obsolete standards of objectivity, but the current docudrama approach does strongly encourage a similar interpretation on the behalf of the spectator. This would leave the interpretation of a scene to the audience member.

Like Screamfest Horror Film Festival or Action on Film (AOF). Film buyers attend these events and meaningful distribution deals are made. Not the art house film festivals. The ones that are very genre specific like for horror or action films. Social networking with other indie filmmakers lets you hear what's happening with movie distribution from other people's real life experiences. A cool thing I've been hearing about is that there are film investors that won't put up money to make movie that is going to be self-distributed, but they will roll the dice on a feature that is going to specific film festivals.

The jam I'm in as a producer is there are hard costs that cannot be avoided that include lots of gun play including two rigging shots where baddies get shot and are blown backwards off their feet. Badass action films need experienced and seasoned film crews to pull-off hardcore action shots off clean and safe. There is nothing that can get lost in the translation in this film for foreign film buyers and movie viewers. The cast I want to hire has the perfect appeal and name recognition for this indie action movie to rock viewers.

In this post I am going to discuss the common 35mm film, which is what I have been using, and the different types, the various brands, and other factors that would help explain to you how your photographs can actually vary (and improve) based on the film you use

They marketed their book with a $300 podcast and sold their first million copies out of their garages. How did they turn this story turn into a best seller? Young worked with Brad Cummings and filmmaker Bobby Downes with the initial purpose of witnessing to others about the glory of God, but ultimately Downes and Wind Blown Media wish to turn this book into feature film. After submitting the book to 20 different publishers and getting 20 rejection letters, they decided to print the book themselves.Rousseff alleges that something more nefarious is at play: a bloodless "coup" by corrupt legislators who want to oust her so they can water down a wide-ranging investigation into billions of dollars in kickbacks at the state oil company, Petrobras. Brazil's first female president denies any wrongdoing, pointing out that previous presidents used similar accounting measures.

Rousseff has never been personally implicated, but her detractors say she must have known what was happening and bears responsibility. She refused to block the investigations even as she paid a steep political price through her impeachment, saying it is a process that Brazil badly needs to go through.

Probably my favorite C41 film Quite contrasty, and again, beautiful fine grain. Fuji Reala (100): a professional grade film, this is one of the finest grain films I've used. Colors are more saturated than the Superia, but not too.

At that level machines justify their costs by reducing manual labor expense and the possibility of injuries. A company that historically used a full pallet of hand film each month might reduce their usage to 6 pallets per year. Hand-held dispensers can be as inexpensive as a few dollars while fully-automatic wrappers run well into the 1,000s of dollars. The general rule is that if the consumer is wrapping 15 or more loads per day, it's more cost-effective to use a machine than to wrap by hand. In addition to the productivity and liability issues, most machines pull the stretch wrap at least 200% before applying it to the load. This results in legitimate savings of up to 50% of film costs. Also, a machine-wrapped load is generally more secure than a hand-wrapped load. When stretch film is applied by machine: This savings on film can pay for the equipment very quickly.

Good documentaries are an especially good investment opportunity, since the costs of making documentaries are much lower than for feature films. Post-production can be easier too, with fewer takes and less film to edit for the final cut. They can be done with a much smaller crew - even two or three people in the field - one for the camera, one to handle sound and lighting, and another to coordinate arrangements and ask good questions in the field. Many documentaries are done with a budget of $10,000-50,000, which can easily be recouped 5 to 20 times over with DVD, TV, and foreign sales.

In 1996 it was made into a crime thriller starring Samuel Jackson, Matthew McConaughey, Kevin Spacey and Sandra Bullock. It took in nearly $110 million at the box office and was nominated for several MTV awards. After getting tired of the process he decided to publish the book himself with Wynwood press in 1989. Christian author John Grisham had 15 publishers and 30 agents reject his first novel.

The key risks behind film investments is the potential to lose it all if the film doesn't get completed or doesn't find distribution. The best way to protect yourself is to assess the potential of the feature film or documentary going in; assess whether the budget and expected return seems to be reasonable for the project; and assess whether the producer, director, and others on the film seem to have the experience to complete and market the film

This is suitable for some pictures i. Some types of film simply handle grain better than others, so this is where using films and seeing real results helps more than just reading about the theory. if you're looking to get a gritty street image etc. However, using a black and white Kodak Tri-X 400, and compared to a Kodak T-Max 400, I find the Tri-X to be noticeably grainier than the T-Max. But like I said, some grain will accentuate a photo, and improve it. do not be afraid of grain For example, Kodak Ektar is supposedly the finest grain color film in the world! Film grain: this is generally based on ISO - as in digital photography, where high ISO speed results in image noise, higher film speed usually results in more film grain. Having used both Ektar (ISO 100) and Fuji Reala (ISO 100), I really cannot spot the difference between the two. but would not work with a landscape with sky and water where you're looking for smooth clean textures.

I would say that day has come. And suddenly, one day, some little girl in Ohio is going to be the new Mozart and make a beautiful film with her father's camcorder and for once, the so-called professionalism about movies will be destroyed, forever, and it will really become an art form" (Heart of Darkness).

This can make pallets stick together. • Film Cling: Blown has one-sided cling-this creates higher load retention. Cast has a natural cling on both sides. However, cast film can be manufactured with one-sided cling.

Then you can offer film investors a percent on their money invested into the production that makes sense. The producer keeps budgets extremely affordable and streamlined at every phase of production. The film royalty payments are a bonus. Once you have a track record with a distribution company you know what you can expect to be paid. I know one savvy indie movie producer that makes 4-6 movies a year on very reasonable budgets and knows they're already making a profit from the advance money alone.On Thursday, the Senate begins the final phase of the trial of Rousseff, who was suspended in May for allegedly breaking fiscal rules in managing the federal budget. Several days of deliberations, including an address to lawmakers by Rousseff herself, will culminate in a definitive vote expected early next week.

I'm in the habit now of talking to indie movie distributors before writing a screenplay to see what types of films are selling and what actors or celebrity names attached to a potential project appeal to them. Movie sales outside of the U. This is not like chasing trends, but it gives producers a sharper picture of the sales climate for indie films. Sometimes distributors will give me a short list of actors or celebrities to consider that fit an independent movie budget. are where a bulk of the money is made for indie filmmakers.

The term they used was "glorified showreel" for an indie filmmaker to display they can make a feature film. So, they acquire many of their movie releases without paying an advance or offering a "buy-out" agreement. Their business viewpoint is most indie filmmakers are just happy seeing their movie released. They were honest saying they get very sellable movies and ones that are less than appealing, but with so many movies out there they no longer offer a majority of producers advance money against film royalties or pay a lump cash "buy-out" to secure distribution rights.

In either case, it is unarguable that Film Studies is big business. The Universities are taking a Liberal Arts degree approach to their curriculums, and the Colleges/Schools are primarily taking a hands-on technical approach. The following excerpt from The New York Times Company, published There are so many Film Study programs available now that I find it confusing, and I've worked in the film industry for over 20 years.

At the University of Southern California, whose School of Cinema-Television is the nation's oldest film school (established in 1929), fully half of the university's 16,500 undergraduate students take at least one cinema/ television class. "Some 600 colleges and universities in the United States offer programs in film studies or related subjects, a number that has grown steadily over the years.

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Traditional films that typically have higher gauges are actually less expensive per pound because they use less expensive plastic resins to make the film. When talking to a stretch film salesperson, trying to figure out how their product compares to the product the consumer is currently using can be confusing. This is a more expensive manufacturing process. The high performance films are more expensive because they are manufactured with better quality resins and can be layered. The high performance films generally end up costing less overall because the film's light weight offsets the more expensive price per pound All film is sold by the pound.

Most investors I've met with are not interested in putting hard money into indie art house films because those are tough sells to movie distributors and overseas film buyers aren't usually interested in seeing them. Talking head movies can make no sense to viewers that don't understand subtle lines spoken in a foreign language. Action, horror and skin does not need subtitles for people to follow the story is what I've been told by distributors. The dialogue and scenes of certain art house type films don't translate well to foreign buyers and movie viewers.

You have no idea what you've shot until afterwards You take your shot, you finish your roll, process it, and get your prints, or as more people do these days, get em scanned. You could be using a vintage Leica rangefinder from the '50s or '60s, a Japanese SLR from the '80's or '90s, but the film medium still remains the same. Sure, the newer ones do have autofocus and auto exposure, but other than that, the basic process of using film cameras is pretty much the same.

Another plus is that pre-stretched film will naturally tighten after application. While pre-stretched film is more expensive per foot than traditional film, it requires about half the amount of film, which can create a net cost savings (the film is much lighter and therefore less expensive per pound). This unique film memory and its tendency to tighten after application are the most important reasons for pre-stretching film.

They took one digital camera, using portability and the journey setting. Michael Winterbottom made a film on an immigrant's road trip called In This World (2002). Although half of the film was staged, the street scenes, crowds and marketplaces were not staged. It then reverts to documentary mode at the end by using title cards. The visual effects of the real helped to draw us into the scripted journey and human drama that was at the heart of the film.Chapter One Automotive Film Industry Overview
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