Videomaker Community Forums » Tag: directing

Videomaker Community Forums » Tag: directing - Recent Posts http://www.videomaker.com/community/forums/ Videomaker Community Forums » Tag: directing - Recent Posts en Thu, 16 Feb 2012 20:41:14 +0000 composite1 on "No Budget Film School - Aug. 29 - Los Angeles" http://www.videomaker.com/community/forums/topic/no-budget-film-school-aug-29-los-angeles#post-61471 Thu, 12 Aug 2010 08:55:12 +0000 composite1 61471@http://www.videomaker.com/community/forums/ Anyone interested should be advised that this is not a free seminar. Prices range from $100 US for Student 'Early Bird' registration to $175 US for a 1-day event in Los Angeles, CA. Stolaroff on "No Budget Film School - Aug. 29 - Los Angeles" http://www.videomaker.com/community/forums/topic/no-budget-film-school-aug-29-los-angeles#post-61464 Thu, 12 Aug 2010 02:35:43 +0000 Stolaroff 61464@http://www.videomaker.com/community/forums/ NO BUDGET FILM SCHOOL PRESENTS: "CINEMA LANGUAGE" Two Courses in One Day: Morning Session - Course 103: "Mastering Film Grammar" Afternoon Session - Course 204: "From Script To Screen" Sunday, August 29, 2010 • 9:00am - 6:00pm Raleigh Studios - Chaplin Theater • Los Angeles, CA For more information and to register, please visit: <a title="Cinema Language Event Page" href="http://nobudgetfilmschool.eventbrite.com/">nobudgetfilmschool.eventbrite.com</a> ABOUT THE CLASS: No Budget Film School presents an all-new class, "Cinema Language," which explores the written and unwritten language of cinema. The morning session, Course 103: "Mastering Film Grammar," is an intensive and highly entertaining exploration of screen art form. Whether you're spending $100 million or $100, you're going to be pointing your camera at something. Instructor Tom Provost will explore the colors, shots, shapes, symbols, lines, shadows, and sounds that prompt specific emotions and make up the extremely visual and aural art that is the motion picture. Over 100 clips and screen shots from various movies will be used to illustrate and illuminate. The afternoon session, Course 204: "From Script to Screen," is a unique and revealing look at how a movie goes from the words on a page to the final motion picture. Students will read the first act of the script of Provost's new feature The Presence prior to attending and then see the finished film in class. A frank and detailed discussion of the transition will follow. From Script To Screen is a rare opportunity to dig deep into the filmmaking process. ABOUT THE INSTRUCTOR: Tom Provost is an accomplished author, screenwriter, editor, director, producer, and instructor. His new feature The Presence, (<a title="The Presence" href="http://www.thepresencemovie.com">http://www.thepresencemovie.com</a>), was recently completed and is set for release in early 2011. The inventive ghost story/modern-day gothic romance stars Academy Award-winning actress Mira Sorvino (Mighty Aphrodite), Shane West (ER), Golden Globe Nominee Justin Kirk (Weeds), and Tony Curan (Pearl Harbor, Gladiator). TESTIMONIALS FOR TOM PROVOST: "You gave me a whole new appreciation for visual storytelling. Your presentations will forever have an impact on my own writing and storytelling." - Joe Coddington "You have unique insight on form and character that I will incorporate into my own directing. And the class was extremely entertaining." - Julie Cohen "Your class on form and construction of image is of the utmost importance and, as a director, to say it affected my own work in a profound way would be an understatement." - Bill Garrett Can't make the class? For more information on future classes and to sign up for the No Budget Newsletter, please visit: <a title="No Budget Film School" href="http://www.NoBudgetFilmSchool.com/">http://www.NoBudgetFilmSchool.com</a> Join the <a title="Cinema Language Facebook Page" href="http://www.facebook.com/pages/Cinema-Language/142863245735714?ref=ts">Cinema Language Facebook Fan Page</a> and get a tiny preview of what the class is all about. composite1 on "What is my role?" http://www.videomaker.com/community/forums/topic/what-is-my-role#post-61236 Tue, 03 Aug 2010 13:18:18 +0000 composite1 61236@http://www.videomaker.com/community/forums/ Laubenstein, In a nutshell, your job is to be an 'expert' in bringing all the elements together in a cohesive and understandable manner. Unless you've worked in your client's industry for years, you couldn't possibly 'know more than she does about it'. What you are supposed to 'know better than she does' is how to take that info and piece it together into a project that gets her point across without boring her audience to tears. Getting to that point comes from first getting your client to nail down the 'core points of interest' in the material to be presented. That's tough because most experts feel that 'all the info is pertinent' and it ain't! Next, is to setup a plan of how to present the material in a manner that will please the client and their audience within your ability and their checkbook (you want pie in the sky? the ladder's going to cost some money....) Once you have those things set up then your job is to 'make it happen on camera'. The tough part on that end is keeping your client on point. That's where the whole 'nailing down the core points' comes in handy. Anytime they start drifting away from them you can bring that up (and do mention it will cost extra in shooting and post-production man-hours.) Keep the client involved in the process much as possible. Now, I don't condone client's in the editing bay (but many do.) However, I strongly suggest you give them a small number of screenings to see the progress the production is proceeding in post. Each time, give the client the opportunity to 'sign off' on any changes, inclusions or deletions of material (and get it in writing) so that you can move onto the next stage without hassle. By the time you get to the final screening before delivery, everything should be exactly (or there about) as they want it. So your job will be to walk them through all of that. Never be afraid to say whether something is working or not (do be diplomatic about it.) If the client doesn't mind that something is whack, go forward and make sure they pay for that section of production whether they use it or not. robGRAUERT on "What is my role?" http://www.videomaker.com/community/forums/topic/what-is-my-role#post-61224 Tue, 03 Aug 2010 08:01:48 +0000 robGRAUERT 61224@http://www.videomaker.com/community/forums/ I have moved from "well, i guess the client thinks I can magically make her talk look good..." Don't worry, editors still have thoughts like that laubenstein on "What is my role?" http://www.videomaker.com/community/forums/topic/what-is-my-role#post-61222 Tue, 03 Aug 2010 07:03:40 +0000 laubenstein 61222@http://www.videomaker.com/community/forums/ Wow! Thank you thank you thank you. I cannot express enough gratitude for your time in writing these posts - all of them! Just by reading these I have a 180 degree change of attitude and a new energy for the project. I have moved from "well, i guess the client thinks I can magically make her talk look good..." to "ok, before we capture i need specific points outlined for the lesson. if these are your points, this is how we will get them..." I think I was afraid to offending her by coming across as knowing more about her topic. However, I have now learned it's not knowing more about the topic, but rather coaching her to deliver her expertise. I am really thankful for all of you taking the time to answer. Dr. L SargeHero on "What is my role?" http://www.videomaker.com/community/forums/topic/what-is-my-role#post-61207 Mon, 02 Aug 2010 14:55:32 +0000 SargeHero 61207@http://www.videomaker.com/community/forums/ One of the things I learn doing weather forecast is that as a producer/director/cameraman/editor/well everything, you need to have a lot of patience. Like Earl said "coach more, direct more, speak clearly, gently" and positive feedback are necessary to boosts their self esteem. For the talent (forecasters) writing everything they were going to say wasn't exactly the best option because it was a lot of information so they need to either learn it or have an idea of what they were going to say (Usually they learn it after take 6). Some of them wrote in paper or in a chalkboard the temperatures and other easy to read details. Almost all of them needed at least 10 takes in order to get a one minute forecast and I let them do whatever they want and almost never stop their performance. I remember one time in which I stop one of them, he was saying the temperature and forecast of Washington, but was pointing the Pacific Ocean. That really needs to be stop, impossible to fix in post. Luckily the forecast is just one camera angle, but since the weather maps were chromakey live they absolutely needed to make at least one takes right so in post I ended up with a few takes to select from. I also learn that you cannot expect to teach them something immediately which they have never practice before. I took acting classes so I knew a lot of voice manipulation tricks, fake smiling, fake crying, fake laugh and even how to stop from laughing. This techniques take a lot of practice to master and I really try to teach them how to stop laughing, but it didn't work at all (just for me) Save this techniques for more experience talent and let the others have fun, laugh away their insecurities and with this they will eventually do it right. Is important to have in mind that doing videos should be fun. birdcat on "What is my role?" http://www.videomaker.com/community/forums/topic/what-is-my-role#post-61206 Mon, 02 Aug 2010 13:26:44 +0000 birdcat 61206@http://www.videomaker.com/community/forums/ When I have done similar things in the past (mostly for corporate video), I make sure to get two versions of the video - one half body (head to waist) and one tight (head only, sometimes cropping forehead, depends on the look I'm going for) plus some b-roll. I then, in post, where there are obvious flubs, just use some b-roll (either what I shot or stock) or if it's at a good cut point I will switch from wide to tight (or vice versa). I also sometimes will position the talent head-on (looking right into the lens) and sometimes at about a 30 degree angle offset - looking at me with the camera to my side pointing at them (interview style). I would think for instructional video you would want a direct, head-on shot but you may want to experiment with the other. Reshoots are expensive and the client should be billed but I don't know what your arrangement with the client is about that. When I've had a tough time getting more than a sentence correct I will just have the client go through their script about four times and then cherry pick the best segments and put them together with either short (one second) crossfades or animated wipes in post. BruceMol on "What is my role?" http://www.videomaker.com/community/forums/topic/what-is-my-role#post-61205 Mon, 02 Aug 2010 13:10:06 +0000 BruceMol 61205@http://www.videomaker.com/community/forums/ What Earl says and... The thing is Michelle, the speaker just doesn't know how much work you do till you show/tell them. I do coach and coax and I will stop 'the talent' to get them to make whole sentences. I am currently working on two projects with good speakers who know their stuff but were not good at communicating when the lesson start/ends. For one, I just put the raw files on a DVD and asked what part of it was the lesson. The next week he said, OK, I get it and sent me an outline of the next one. For my other client who is talking about a very specialized subject, one I know nothing about and I don't know what is important and what is not, I really need to see some text or recommended reading. The thing is, it's up to you as the producer to make the people look good. Do what you need to do to make them look good and ask their cooperation in doing that. bruce EarlC on "What is my role?" http://www.videomaker.com/community/forums/topic/what-is-my-role#post-61204 Mon, 02 Aug 2010 12:16:11 +0000 EarlC 61204@http://www.videomaker.com/community/forums/ You're going to get a wide range of opinions, experiences and thoughts - we would hope anyway because that will help you form a basis for your own experimentation, using this assortment of ideas from concept or reality to form your own preferred approach. Storyboards for eight 10-minute segments would certainly be helpful, but not mandatory, so long of course as you have a good script, or even a full-blown one that has left side for visual and right side for narrative. I've worked from index prompt cards, poster board prompt cards, and even hand- or type-written 8 1/2 x 11 sheets taped to a cardboard backing and passed slowly by assistants just over the top of the camera lens housing, or just beneath it. I've had people who simply sit there and read it, rote and without any quality of delivery. I've had people who talk and glance, having a good handle on the content but using the prompts as backup to keep themselves on line, pausing and using intermittent moments for pacing the delivery. I've had people who KNOW their delivery and can do it extemporaneously without notes. And I've two kinds of these: the ones who memorize their narrative, and it comes off "sounding" memorized; those who REALLY GOT IT and employ their personalities, tonal inflection, pauses and delivery to the max. What breath of fresh air that last type can be. Most of them are NOT prepared, do NOT know their narrative/script to the extent they should, are NOT familiar with pacing or delivery and even worse are totally bored with the whole process. All need help, coaching, prompting and suggestions from YOU - some MORE than others. Initially, years ago, I thought it was the client/talent responsibility to handle narrative delivery, to know their lines and how they wanted to deliver them - that all I was supposed to do was get good visuals and clear, clean, crisp audio. Then I ran into what you have - fixing the starts, takes and re-starts/takes in post, giving up on recording (to get it right) due to time restraints (real or perceived) and the building anxiousness of the narrator, talent or client speaker making each take progressively worse instead of better. And, as you've discovered, fixing this in post creates some serious problems and takes MUCH MORE time than you were likely to have included when you presented your initial bid that was accepted. Everything from jump cuts to inappropriate too short, extended or step-on lines to contend with; smiles when they should have not, not smiling when they should have, even holding their look for a click or two at the end. Or a false start, or too quick of a start at the opening, making a clean in, clean out impossible to acquire. While your "ROLE" certainly is to capture and edit, COACHING is necessarily in the mix of responsibility if you want an easier task of things in post. The calmer you are, more encouraging you can be, smoother and more relaxed your tone when giving direction or coaching (we are, most of the time, the directors as well) the more capable and secure, confident and relaxed your talent will be... ...hopefully. Sometimes not, but maybe you can shoot for 8 out of 10, knowing that there will always be those that simply cannot come off right no matter what you try or suggest or do. HELPING THE CLIENT "GET THERE" is going to become obviously your best solution to a quality production, and easier post operation, and something both of you will be proud of - a rewarding experience all around. Good, positive vibes. A sweatshop, fear, aggravation, desperation, jump cuts, frustration and more will, as you well know, probably be the end of a potentially GREAT experience, future referrals and a lost connection. So, yes again, coach more, direct more, speak clearly, gently (stroke egos: "that was not at all bad, name goes here, but lets do it once more and this time hold that smile when you get to the end." - this way, you've not given them the idea that the delivery was crap or worse, but have instead suggested an easy way to get another take without it having to appear that it was delivery or content you were noticing that got all bugged up, and now you have TWO takes to work from, both of them probably not bad). A best approach for me is when the message can be delivered in "sound bytes" where groupings of a thought or portion of the delivery can be delivered, followed by natural pauses. Then this can be expanded or reduced in post to keep the pacing and pauses more natural. The narrator isn't focusing on trying to GET THROUGH whole 10-minute narrative, but on say a paragraph or thought at a time, building the narrative and including edit points you can utilize during post to string it together well. You can even use this approach to slightly moving your camera left to right, or getting the talent to shift from left three-quarter profile to right, or face on, and pull back or push in, or zoom in or out, giving you the needed change of POV (point of view) without creating jump cut problems in post. Allow MORE time for all this, don't cut your session too close, quick or short at this will build anxiety levels in all of you. The person doing the on-camera narrative HAS to know his/her message, has to study and prepare for it, HAS to be so familiar with the topic, subject or content that they help themselves in the smile-at-the-right time, or pause here and there departments. But YOU, in order to make YOUR job more satisfying and easier in POST, will ALWAYS have to take on the responsibility of coaching, prompting, directing and adjusting for errors in delivery. Hope this mini-seminar helps. Earl robGRAUERT on "What is my role?" http://www.videomaker.com/community/forums/topic/what-is-my-role#post-61203 Mon, 02 Aug 2010 12:04:58 +0000 robGRAUERT 61203@http://www.videomaker.com/community/forums/ Simply put, if you're their only go-to person for video work, then your role is to do everything. So while you shoot, you've gotta make sure what you're shooting is going to cut together well. You've gotta make sure they're not wearing funky clothing. You've gotta make sure what they're saying is coherent. You've gotta make sure they're not boring You're job is everything related to creating that video. "In post I am doing WAY to much work piecing everything together." Well, that is the nature of post production. Did you have something else in mind? laubenstein on "What is my role?" http://www.videomaker.com/community/forums/topic/what-is-my-role#post-61201 Mon, 02 Aug 2010 11:42:24 +0000 laubenstein 61201@http://www.videomaker.com/community/forums/ I have my first paying project underway and the client and I both admit this will be a journey for us both to learn from. The project: DVD to supplement 8 lessons that will accompany the printed workbook lessons. Each of the 8 lessons need to be a 10 minute lecture from my client. Sounds easy and straight forward, but when I go to capture we end up starting/stopping/re-capturing...In post I am doing WAY to much work piecing everything together. The client has her colleagues critique her work from what I post on Vimeo and they give her great constructive feedback - she is talking too slow, she needs to talk more from a script, smile more, etc. My question - what is my role in helping her get there? Am I just there to capture and edit? Should I be coaching her more? Those of you that have tons of experience with making DVDs that are not of your own writing/ideas, what does your role look like while capturing? OR what is your role during pre-production - any examples of the storyboards that you could post? I understand storyboards and with a 10 minute lecture, there isn't much to storyboard...So how do I get my client to understand basics - START with an introductory sentence.... Thanks! Michelle composite1 on "Call for Entries: Electric Cinema" http://www.videomaker.com/community/forums/topic/call-for-entries-electric-cinema#post-59694 Thu, 17 Jun 2010 15:37:28 +0000 composite1 59694@http://www.videomaker.com/community/forums/ Okay, anyone interested in this contest better read the terms and conditions first. Everything I found particularly pertinent I've bolded: Target Group Filmmakers Selection Criteria DRAFT TERMS AND CONDITIONS FOR ELECTRIC SHORTS COMPETITION GENERAL RULES 1. The Electric Shorts Competition (the "Competition") will be governed by these terms and conditions (the "Terms") and by submitting an entry to the Competition entrants agree that they have read and understood these Terms and will be bound by them. 2. The promoter of this Competition is Soho House Limited with its registered address at 72-74 Dean Street, London, W1D 3SG, with company number: 03288116 (the "Promoter"). The Promoter's media partner is Empire Magazine ("Empire"), and the Promoter's prize partner is Mercedez-Benz. 3. This Competition is open to the general public aged 18 and over, excluding employees and immediate relatives of employees (defined for the purpose of these Terms as husband, wife, mother, father, sister, brother, son, daughter, or persons residing in the household of such employees), of the Promoter, Empire and Mercedes-Benz and/or of their respective parent companies, subsidiary companies, affiliated companies, advertising and promotion (including public relations) agencies or any other person professionally connected with this Competition. THE COMPETITION 1. This is a two-stage Competition: - Stage 1 - Entries are submitted and seven Finalists are selected by a Panel to receive a Prize Grant to make an Electric Short; and - Stage 2 - a Winner is chosen from the Finalists by online public vote. TIMING 1. Entries must be submitted by the closing date at midday on 1 July 2010 (the "EntryÂ Period"). 2. Following selection, Finalists will be required to complete the Electric Short ready for screening, by 1 October 2010. 3. A public vote will be conducted online after 1 October 2010, and the Main Prize will be announced following the results of the online vote. HOW TO ENTER 1. Each entrant to the Competition (an "Entrant") must visit the competition website: <a href="http://www.talenthouse.com" rel="nofollow">http://www.talenthouse.com</a> (the "Website") during the Entry Period and submit their name along with a written proposal of no longer than 400 words for an Electric Short (an "Entry"). DO NOT INCLUDE YOUR CONTACT INFORMATION ON YOUR SUBMISSION. If you are a finalist, you will be asked by an employee of Talenthouse Inc. to provide your contact information, to forward on to the judges. 2. For the purposes of these Terms, the proposed Electric Short must: - be no longer than two (2) minutes including titles and credits; - be directed and produced by the Entrant; - reflect the theme of 'Desire'; - be set in one of the following Soho House Group locations: -- i. Babington; -- ii. Dean Street Townhouse; -- iii. Cowshed; -- iv. Soho House New York; -- v. Shoreditch Rooms; -- vi. Soho House Berlin; and -- vii. High Road House (an "Electric Short"). 1. By submitting an Entry, Entrants confirm that all information provided is true and accurate to the best of their knowledge and belief and that the Entrant has the right to submit the Entry. 2.If any Entrant is determined by the Promoter to have breached these Terms they will be disqualified. In the event that a Finalist is disqualified the Promoter will choose another Winner at random from the other Entries submitted during the Entry Period. 3. The Promoter accepts no responsibility for lost, damaged, incomplete or delayed entries. Proof of entry is not proof of receipt. No Entries will be returned. RESTRICTIONS ON ENTRY 1. All proposals for Electric Shorts: - must be original; - must not have been made into a film previously by the Entrant; - must have been made specifically for the Electric Shorts Competition; - must not contain any illegal, antisocial, obscene or defamatory subject matter; and - must not infringe any third party intellectual property rights. 2. Entries are limited to one (1) Entry per person. Multiple Entries will be void and the Promoter reserves the right to disqualify Entrants who attempt to make multiple Entries. 3. Entries received outside of the Entry Period will not be eligible to win a Prize. 4. Entries that are incomplete will be deemed invalid. No responsibility will be accepted by the Promoter for Entries lost, delayed or damaged in transmission. SELECTION OF FINALISTS 1. A list of seven finalists, one for each Soho House Group location, will be chosen by a panel of judges which includes industry experts such as Kris Thykier, Claudia Winkleman, Mark Dinning, Andy Harries, Rebekah Gilbertson, Amanda Posey, Finola Dwyer and Duncan Heath (the "Panel") using the following criteria: - originality; - creativity; - reflection of the theme of 'Desire'; and - use of the Soho House Group locations. 2. The finalists will be notified by phone or email within ten (10) days of the decision of the Panel which shall, in any event, be given no later than six (6) weeks following the end of the Entry Period. 3. If a finalist does not confirm acceptance of the Prize Grant and the Prize Grant Terms and Conditions (as defined below) within ten (10) days of notification then the finalist will be deemed to have forfeited his/her position in the final and the Promoter shall re-allocate the position of finalist by choosing another finalist using the criteria listed at clause 17 above from the other Entries submitted during the Entry Period. This process shall be repeated until a finalist accepts his position in the final and is identified as a finalist (a "Finalist"). 4. Each Finalist will receive Â£5,000 in cash (allocated in local currency), from the Promoter to make their Electric Short along with such reasonable pre-approved travel and accommodation expenses as agreed in advance, in writing, between the Promoter and each Finalist (the "Prize Grant"). 5. For the avoidance of doubt, the Promoter, Empire and Mercedes-Benz are not liable for any costs of the film over and above the Â£5,000 grant (allocated in local currency), or any other pre-approved travel and accommodation expenses as agreed in advance in writing by the Promoter. INTELLECTUAL PROPERTY RIGHTS AND CLEARANCES 1. In order to receive the Prize Grant each Finalist is required to sign up to terms and conditions regarding the shooting specifications, clearance rights and the licences to be granted to the Promoter (the "Prize Grant Terms and Conditions"). 2. The Prize Grant Terms and Conditions will require certain licences to be granted to the Promoter, Mercedes-Benz and Empire in relation to the Electric Short, however any intellectual property rights in the Electric Short will remain the property of the Finalist. 3. As stated above, any finalist who refuses to sign up to the Prize Grant Terms and Conditions will be deemed to have forfeited his or her position in the final and the Prize Grant. HOW TO WIN 1. The winner will be determined by public vote on the website <a href="http://www.electricshorts.com" rel="nofollow">http://www.electricshorts.com</a> for a period following submission of the Electric Shorts on 1 October 2010. THE MAIN PRIZE 1. The Winner will receive a complimentary Soho House Everyhouse Membership for two (2) years subject to Soho HouseÃ¢â?¬â?¢s standard membership terms and conditions, as advised at the time the membership is granted to the Winner (the "Main Prize"). 2. The Winner is responsible for all other costs incurred as part of the Main Prize including but not limited to all beverages, spending money, meals or travel costs. 3. There is no cash or other alternative to the Main Prize stated and the Main Prize is not transferable and no part or parts of the prize may be substituted for other benefits, items or additions. Notwithstanding the above, in the event that the Main Prize is unavailable, due to reasons beyond the reasonable control of the Promoter, the Promoter may at its absolute discretion vary or amend the Main Prize offered under this Competition, provided that any alternative prize offered in replacement of a the Main Prize shall be of equal or greater value than the original Main Prize. NOTIFICATION 1. The Promoter will initially attempt to notify the Winner by telephone within fourteen (14) days of the end of the public vote and will follow up by written confirmation either by post or e-mail. 2. In the event that the Promoter cannot for any reason contact the Winner within seven (7) days of first notification or should the Winner fail to get back in touch with the Promoter within four (4) weeks of first notification the Winner will be deemed to have forfeited the Main Prize and the Panel shall re-allocate the Main Prize by choosing another Winner from the Finalists. This process shall be repeated until a Winner claims the Main Prize and is identified as the Winner. 3. Upon acceptance of the Main Prize the Winner will be contacted by the Promoter within ten (10) days with details of how to redeem the Main Prize. 4. The Winner may be required to provide a written acknowledgment of acceptance of all the Terms of the Competition prior to receiving the Main Prize. 5. The Winner of the Main Prize is responsible for all applicable taxes and expenses not specified in the prize description. 6. The Promoter reserves the right to select an alternative Winner in the event that the Promoter has reasonable grounds for believing that a selected Winner has contravened any of these Terms. 7. The Promoter's decision is final with respect to any aspect of the Competition, including the determination of the Winner of the Main Prize. No correspondence will be entered into. PUBLICITY AND PERSONAL DATA 1. Finalists agree to participate in publicity activities pertaining to the Competition as connected with the Promoter, Mercedes-Benz and Empire, including interviews and appearances in photo and video content. 2. By entering this Competition, Entrants agree that the Promoter may disclose their name and county on the website <a href="http://www.electricshorts.com" rel="nofollow">http://www.electricshorts.com</a> and in promotional material in the event that an Entrant is selected as a Finalist or Winner. 3. Any personal information, including without limitation, the entrant's name, age, address (including postcode), telephone number and/or email address will be used solely in connection with this Competition and for any purpose for which the entrant specifically opts in and will not be disclosed to any third party apart from the Promoter, Mercedes-Benz and Empire Magazine except for (a) the purpose of fulfilling the prize(s) where applicable and (b) for any purpose for which the entrant specifically opts in. Any personal information held by the Promoter in respect of any Competition will be held on record for a reasonable period to fulfill the purpose for which such personal information was collected. MISCELLANEOUS 1. Each provision excluding or limiting liability is to be construed separately and will apply and survive even if for any reason any of the other provisions are held to be inapplicable or unenforceable in any circumstances. Each of the provisions excluding or limiting liability will remain in force notwithstanding any termination of these Terms. 2. The Promoter shall not be liable for any delay in performing or partial or total failure to perform any of its obligations to the Entrants under these Terms if such delay or failure is caused by circumstances beyond its reasonable control including without limitation delays, changes, disruptions, cancellations, diversions or substitutions howsoever caused including without limitation as a result of war, terrorist action or threatened terrorist action, strikes, hostilities, civil commotions, accidents, fire, flood or natural catastrophes or arising without limitation out of or in connection with (i) the activities of third party event organisers; (ii) any form of transportation (including but not limited to flights, trains, coaches, buses, ferries, taxis or cars). Â For the avoidance of doubt, the affected Entrants shall be solely liable for any additional costs incurred as a result. 3. The Promoter reserves the right, at any time and from time to time, to modify or discontinue, temporarily or permanently, the Competition with or without prior notice due to reasons outside its control (including, without limitation, in the case of anticipated, suspected or actual fraud). The decision of the Promoter in all matters under its control is final and binding. 4. Nothing in these Terms shall limit the Promoter's liability for death or personal injury caused by negligence of the Promoter and/or deceit or fraud by Promoter. 5. These Terms may be amended or varied at any time by the Promoter on notice. No waiver of any rights by the Promoter or any entrant will be taken as a waiver of any other rights it may have. For example, if the Promoter waives its right to complain about a particular breach of these Terms by an entrant, it does not prevent the Promoter from complaining about other breaches. 6. These Terms shall be governed by and construed in accordance with the laws of England and Wales and any disputes shall be subject to the non-exclusive jurisdiction of the English Courts. 7. Any queries regarding the Competition should specify the name of the Competition and be addressed to: Soho House Group, 72-74 Dean Street, London, W1D 3SG. Submission requirements Submit your written proposal in PDF format. It must reflect the theme of Desire in no more than 400 words. Entries must be submitted by July 1 2010 talenthouse on "Call for Entries: Electric Cinema" http://www.videomaker.com/community/forums/topic/call-for-entries-electric-cinema#post-59693 Thu, 17 Jun 2010 15:10:05 +0000 talenthouse 59693@http://www.videomaker.com/community/forums/ Submit your pitch to create a short film for Electric Cinema <ul> <li>Win £5,000 to create an Electric Short film at a Soho House Property </li> <li>Host: Electric House/Mercedes-Benz</li> <li> Pitch your film proposal themed on “Desire” in no more than 400 words, and win the opportunity to shoot it for real at a Soho House property. This summer the Soho House Group will launch the Electric Shorts film competition, supported by Mercedes-Benz and in association with Empire Magazine. Electric Shorts will give both unknown and established filmmakers the opportunity to have their work championed by a group of film and media experts, plus the chance to win £5,000 to make a film which will be screened at the world famous Electric Cinema. (BEFORE YOU ENTER, PLEASE READ AND UNDERSTAND THE RULES AND TERMS LOCATED UNDER THE DETAILS SECTION) </li> </ul> TO PARTICIPATE: -Write a 400 word pitch themed on "Desire" -Go to <a href="http://tlnt.at/ajMMWC">http://tlnt.at/ajMMWC</a> -Log in to your Talenthouse profile and click the 'Participate' button -Submit your pitch in PDF format talenthouse on "Call for Entries for Paris Fashion Week Screening!" http://www.videomaker.com/community/forums/topic/call-for-entries-for-paris-fashion-week-screening#post-57882 Mon, 26 Apr 2010 13:01:42 +0000 talenthouse 57882@http://www.videomaker.com/community/forums/ Make a Fashion Film to be featured in "A Shaded View on Fashion Film" <ul> <li> Have your film screened as part of the ASVOFF opening in Paris</li> <li>Host: Diane Pernet & Tavi Gevinson</li> <li> International fashion icon Diane Pernet presents A Shaded View on Fashion Film 2010, the third edition of Paris’s annual film festival dedicated to Fashion, Style and Beauty with special guest judge superstar fashion blogger Tavi Gevinson. They have created a once in a life time opportunity for all die hard fashionistas and emerging fashion filmmakers to submit their best fashion film feature or short around the theme of Fashion, Style or Beauty and be featured in this prestigious fashion film festival. The selected filmmaker will have his/her film screened as part of the next edition of ASVOFF opening in Paris. </li> </ul> <ul> <li>SUBMIT YOUR VIDEO HERE: <a href="http://bit.ly/asvoff_blg">http://bit.ly/asvoff_blg</a></li> <li>Deadline is July 12, 201</li> </ul> composite1 on "Working with others" http://www.videomaker.com/community/forums/topic/working-with-others#post-53712 Mon, 04 Jan 2010 13:15:47 +0000 composite1 53712@http://www.videomaker.com/community/forums/ Unless your ambition as a filmmaker is nothing more than shooting small personal videos, eventually you will will end up working with others on a crew. Just from the role of 'Director of Photography' your responsibility will be to get the actual 'look' of the project on to tape. If you are not also the Director of the film, then you will have the added responsibility of getting the director's 'vision' with your creative ability as well. Working with a director on a zero to multi-million dollar project can be a blessing or a curse (sometimes both) depending on the relationship you develop with your director. We've all heard of the tempermental director, but I've run into to some 'bratty' DP's as well. Put either or both into the mix and that whole 'curse' thing comes into play. In Steve Weiss' "FilmFellas" latest discussion this very topic is discussed by professional DP's from the corporate-industrial video to Hollywood film production industry. Though this is intended for intermediate or higher level filmmakers, beginners can learn from these discussions as well. Lots of beginner projects never got shot because of creative differences between budding directors and dp's too! <a href="http://vimeo.com/8458102">FilmFellas - webisode 27</a> from <a href="http://vimeo.com/zacuto">Zacuto USA, Steve Weiss</a> on <a href="http://vimeo.com">Vimeo</a>. alexclara26 on "Industry events at the Edinburgh Film Festival 2009" http://www.videomaker.com/community/forums/topic/industry-events-at-the-edinburgh-film-festival-2009#post-47850 Sun, 14 Jun 2009 11:18:09 +0000 alexclara26 47850@http://www.videomaker.com/community/forums/ H Edinburgh Film Festival 09 is round the corner and FilmLive.TV are there to catch it. In association with EIFF, FilmLive.TV will cover the star-studded, talent leaden events that will take Edinburgh by storm between June 17th and 28th, 2009. FilmLive.TV is an innovative WebTV channel for filmmakers and film lovers. Launched at last years festival, FilmLive.TV broadcasts free, TV quality content directly to a web audience, inaccessible on demand across multiple formats and channel. FilmLive.TV has been granted unlimited access to all industry events where will showcase a side of the EIFF that hasn't been seen before. FilmLive will upload the main events, review, frenzy and daily highlights of the 2009 EIFF. 12 days of film, mayhem, and madness, uploaded daily, online, to FilmLive.TV, all the top video sites, the official EIFF website as well as a podcast on iTunes. So Catch the latest interviews, film reviews, new talent, cutting edge technology, only on FilmLive. <a href="https://webmailcluster.1and1.co.uk/xml/deref?link=http%3A%2F%2Fwww.filmlive.tv">http://www.filmlive.tv</a>