#prouction

[kubbzmuzik]

🎹 Voir loin, viser haut ! 📈 _ #beatmaker #prouction #objectif #musique #instaproducer #instrurap #instrurapfrancais #instrumental #instru #instrus #rappeur #rappeurfrancais #kubbzmuzik (à Bordeaux, France) https://www.instagram.com/p/BoxC_CygfQb/?utm_source=ig_tumblr_share&igshid=403c15os4juz

[fallofthegeorge]

Tis the season to make a bass sounds like a machine gun. . . . . #valisablaze #bass #instabass #bassguitar #guitar #prouction #metal #ibanez #fractalaudio #darkglass #daddario #dimarzio #bartolini @daddarioandco @dimarzioinc @bartolinipups @darkglasselectronics @valis_ablaze

[danydangelo-blog]

#Ableto10 #abletonpush2 #acmlondon #prouction #randomplay #funntime #claphamcommon #acmreception #breaktime (at ACM London)

[zalaopara]

How important is the crew? #2

Orson Welles did say that the writer needs a pan, painter a brush... but that does not necessarily apply for the time we are in now. 

Writer doesn't need a pen, because he has the keyboard. Painter doesn't necessarily need a brush, because he has the photoshop. However, a filmmaker still needs an army and that army has to stick together in good and bad, moody and cheery, smiling and crying. 

When picking the film crew, you have to know that a.) this crew will be stuck together for quite a while, b.) you need people to be doing exactly what their job is supposed to be and c.) that they actually have the knowledge they are claiming to have. 

Now, if you are the one searching for the work, my best suggestion is: do not lie. If you are good in something and not that good in something else, just say it! Nobody will be angry with you telling the truth, but if you claim that you can do something what you actually cannot do, thats when you become the target of not-so-positive feelings coming your way. Every single person on the film set is 100% occupied with whatever their job is. Whenever they have some free time, they surely don't want to spend it on cleaning the mess behind you. 

However, if you are the one hiring and you see that someone doesn’t have the ability that they claimed they do, fire them. I cannot stress this enough. Find a replacement for that person asap. A decision like this can save the time, money and even the production. 

Zala Opara is the film producer, who just wrapped the filming of The Victorians, the coolest and the most stressful production one can imagine. This is her blog sharing the experience from the film set - that kind of experience no-one told her, not even in the film university.

Zala LOVES filmmaking.

[spooked-production]

Writing the Story

Concept

While the script for Spooked has gone through many iterations, the basic concept has remained the same. I’ve known from the start that I wanted to tell a ghost story set in a summer camp. I grew up going to summer camp, and every year it seemed there was a new folk legend about a monster or murderer specific to our very campgrounds.

It's very easy to feel like an outsider in a group of young girls, and for my first few years at summer camp that’s exactly how I felt. I was also very easily spooked- so I was quite affected by these ghost stories campers and counselors would tell by flashlight. I wanted to embody this feeling of being an outsider, and give my outsider a little friendly redemption in the end.

Killing Your Darlings

I had originally written this story as a sister buddy film, but I simplified it as much as possible to make the story as universal as I could, which meant cutting out the sister relationship. It was a difficult move to make since I became attached to the idea, but with the encouragement of my mentors and classmates I killed my darlings and the story came out better for it.

Dialogue vs. No Dialogue

The original script for Spooked had a good amount of dialogue -- from the actual ghost stories being told, to real camp sings and camper teasing. This was something I hadn’t even thought about until I came to a point in pre-production where I began to think about planning my animation timeline and realized the time that auditioning and hiring voice actors, recording the voices before I animated characters so I could sync the mouths, and all the extra animation required would add to the project. I then also thought about how this film would first be experienced by an audience: at our MFA show, where we would have at best a couple pairs of headphones for each video piece for people to listen to. I realized that for issues of time and maximum impact for all audiences, this story would have to stand on its own without dialogue. This meant that I had to go back and rewrite many of the parts to make sure that I was telling the story as clearly as possible from a visual standpoint (remembering the old mantra “show, don’t tell”). This was the most important and most transformative step of my whole process. I recommend anybody that is planning on doing an animation take this step and write their screenplay as if there were no sound or dialogue -- and then go back in and add it as needed. It will make your story much clearer, more dynamic, and emotional.