#58 Wk42 PreProduction

This is the first week of the PreProduction Module. This is the class where we learn how things work, how to really make a film. I know I sound kind of bummed out by all the details raining down on us, but that was me speaking from the gut level. After so many weeks of practical classes, the change to straight classroom instruction was a shock, and the depth of the information was overwhelming. This stuff is dense and deep, but also greatly appreciated.

J.P. Ouellette is our instructor, a director, producer and a great storyteller. His knowledge of the planning process that goes into preparing and shooting a film is outstanding. This is the first time in the program we've gotten any amount of this information and while at first it seemed formidable, we're easing into a comfortable learning position. It makes us realize how big a responsibility it is to make a movie. It also makes the process more real and more attainable.

PreProduction - What is it? It's all the planning that goes into a movie before you shout action. Budgeting, casting, scheduling, contracts, rentals, location scouting, storyboarding, shot lists and more. It's a lot to get through in 3 weeks, but at our current rate, we'll hear it all.

In episode #41, I listed a number of Screenplay sites Here's two more links with lists of additional sites, TopTenLinks and Lew Hunter. You can learn a lot about scriptwriting by reading scripts. Remember that every type of production, TV, movie and so on, has their own preferred format for scripts, and those are always evolving. It's a good idea, if you write, to check up on blogs that talk about scriptwriting.

Copyright issues are really important and because I'm way out of my depth in this area, I only mention it in passing. You will find a lot of interesting info in David Battino's podcast on public domain music in episode #16 of his podcast at O'Reilly.com. Anyone involved in producing a movie should take the time to learn more about copyright restrictions so you don't end up losing time or money in court.

Production Note - In the beginning I spoke about the audio settings for this and last episode. I also boosted the amplitude to raise the volume of the quieter parts. Thanks to Dennis for helping me understand the compression process. I know it was a struggle, but I did get a lot of what you were saying.

#50 Filmmaking Manifesto #5

I've come to the end of the series of podcasts about the Digital Manifesto that Mike Jones posted on his blog, Digital Basin. That was earlier this summer and I try my best to explain why it's taken me long to post 5 podcasts.

Throughout the series I've been using his ideas in the Manifesto as a guage to determine how current the curriculum at my school, the CDIA is. It did very well - 9 out of 13. Here are the issues, numbered according to the Manifesto followed by the episode they were reviewed in.

Passed

• 03 Compositing #35
  
• 04 Distribution w/o hierarchy #37
• 05 Owning the entire filmmaking process #37
• 06 Software agnosticisim #37
• 08 Screen Studies integrated into Production #39
• 09 Succeeding despite obstacles #39
• 10 Promoting the story ahead of production values #39
• 12 Collaborative Learning #44
• 13 Teacher as Facilitator #44

Not Passed

• 01 Composing Space #35
• 02 Virtual Camera #35
• 07 Immersive Sound #39
• 11 Personal Stories #44

These episodes were different from what I usually post, they involved big ideas and how they fit into the world of filmmaking. Keeping the idea threads connected from one episode to another, particularly when a lot of time passed between was difficult. Time to think and understand seems to be a constant problem for me.

For all the effort, I enjoyed exploring ideas and that took me to unfamiliar territory
Bear in mind, these aren't my ideas, I'm just having fun poking at them.

I thought of a couple of things to add to the manifesto:

1. Get Teachers and students to better interact between related/linked fields, such as audio, 3D and fx, even web design. I don't think the fringes of our filmmaking experience should be familiar territory.
2. Get more exposure to the supportive technology used for digital distribution.

Collaborative learning tools, such as blogs and wikis have a lot of potential that I hope to explore for sharing ideas and information and for promoting my work.

Towards the end of the episode I talk a little about how all this technology is pushing against the boundaries of a stifling culture of intellectual protectionism. If I sound a little harsh, it's only because I've only recently come to recognize how limiting it is to withhold access to resources that, if they were more available, would result in a great deal more creativity to the benefit of everyone. I'm sure once I get used to it I'll return to lamblike complacency.