Issue 4 - 2010
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Contents Director’s Chair
Review: Shucks Tshabalala
Len talks about this issue and the new and exciting Classifieds Listings section on the website.
Wimpie tells us what he thought of Leon Schuster’s latest movie.
On Being a Filmmaker Chris dos Santos updates us on the status of Angel of the Skies while Luke Nell calls for help for his gospel movie.
Rumour Has It
Open Window shares some insight on being a filmmaker PG 32
Synopsis - Wolf Wolf Read more about six up-coming movies that will hopefully grace our big screens soon.
We take a closer look at the TUT movie, Wolf Wolf.
In the Spotlight
Read about MNET’s new Channel, MZANSI MAGIC and what it could mean to South African movie makers.
Wimpie shares some sound tips for aspiring movie makers. PG 41
Some people ask some insightful questions ineed. Read them back us into a corner.
Learn how to add extra dimension to your characters by creating their biographies.
Let’s Rig It! Learn to build your own steadycam rig
Rising Star: We chat to Ryan Macquet, one of the lead actors of up-and-coming horror flick, The Unforgiving PG 12
Disclaimer Oppinions expressed in .MOV-e do not necessarily represent the official viewpoint of the editor or the publisher while inclusion of adverts/ advertising features does not imply specific endorsement for any business, product or service. Copyright of material in this publication is reserved and may not be reproduced without the written permission of the editor.
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Kool Kids Casting Club Kool Kids Casting Club tells us about working with children on set.
What to buy?
In the market for a new camera, but not sure what to consider before making your purchase? Read these handy tips first!
Johnny Taute teaches us the ins-and-outs of composition. PG 72
.MOV-e’s Top 10
VFX: Taking a Closer Look Take a basic look at some of the steps involved in creating a movie like Toy Story 3
Classics: Quentin Tarantino This month we take a look at the life of movie legend, Quentin Tarantino.
Some random movie glitches from the moviemistakes. com site. See how even the Hollywood greats aren’t perfect.
Give them Credit
Review: Toy Story 3
Here’s our list of top 10 Movies, DVD’s, and Tunes. PG 79
Trying to make a movie on a shoestring budget? Try some of these cost cutting techniques to save you some green.
See what Elize Pienaar thought of the new Disney/Pixar animation, Toy Story 3.
Greensman? What’s that? Find out here. PG 81
Machini-what? Take a closer look at the technology that could revolutionize the industry PG 44
.MOV-e PO BOX 11874 Wierda Park-South 0057
An Angry African: Chanelle C Rudder shares her thoughts on the SA Movie Industry PG 68
AWESOME WEB DEVELOPMENT www.awd.za.net
The Director’s Chair
We’re at our fourth issue! It’s unbelievable how much we’ve done and learnt in a mere four months! But let me tell you one thing… one does not bring out four magazines—digital or otherwise—without the unselfish help and sacrifice from others. If we had to extend our gratitude towards everyone who has made a positive impact or contribution to the magazine to date, we’d have no space left to place our content. There are, however, a few people that without which, what you see here simply wouldn’t be possible. The first on my list is Jacqueline van Niekerk and my wife, Clarisse. You two are sterling! Then there’s the awesome content contributors: Elize Pienaar, Ettienne van Rensburg, Johnny Taute, Chanelle C Rudder, Ryan Macquet, Jéan de Witt, and The Open Window. Finally, there’s our ever-fantastic web-solution, Awesome Web Development. Thanks to all of you and everyone else I might have missed!
as to become a one-stop solution for anyone seeking anything. Everyone can list their services or products, and expertise. The idea behind the listings is that when someone sets out to make a movie, he or she can set up an entire cast and crew from this one area on the site; everything from catering to extras to IT support. Work through the listings to see where you fit in and get yourself on there! The price is R250.00 per YEAR for the first listing and R150.00 per YEAR for every listing after the first. You decide on your own description and can upload up to ten images. Contact email@example.com with any questions or assistance. We have a jam-packed issue that should keep you paging for quite some time! There’s our Rising Star interview with Unforgiving lead, Ryan Macquet; a tutorial on how to build your own steadycam rig; a look at Machinima; Toy Story 3 and Schuks Tshabalala’s Survival Guide gets reviewed; and close off with a very detailed BlogBuster article by Johnny Taute from iline Films.
You might have noticed that this issue is about a week or so overdue. There are a few reasons for this. The first is that both Wimpie and I were so sick we couldn’t lift a pen… or in this case, tap a key. The second is that we made some changes to the site, the most notable one our Classifieds Listings section. We’re extremely excited about the listings and would encourage everyone to take a look at it and list themselves. We would like to squish all the available skills in the industry into the listings
Enjoy this issue and feel free to approach us with suggestions on future content that you would like to read more about. Please take a minute to join our Facebook Group (yeah, we’re moving back from Page to Group), and invite a few people that you think might find this magazine interesting.
Happy reading, and take care!
Chris dos Santos sent a mail, updating us on the current state of affairs with regards to Angel of the Skies. So, I’m taking it that many of you have been asking yourself, or sending me emails, asking, what the hell has happened to ANGEL OF THE SKIES. Well, quiet simply put... we’ve just secured some more funding and are in the process of talks with a UK/SA co production. Yes, you read that right. Another reason as to why things went so quiet, is because at the beginning of MAY, I was picked up to direct a local Vampire feature film here in South Africa called Eternity. The film stars Christina Storm, Rikki Brest, Andre Frauenstein, David James (district 9), Hlomla Dandala (Jacobs Cross) Ian Roberts and Brumilda van Rensberg. Now I wasn’t sure that I wanted to do the picture at all, due to my dedication to Angels. Upon speaking to the producers about my problem, they took a look at Angel of the Skies recent progress and pretty much flipped. They wanted in... So.. we struck a deal of sorts... I make your film, you help me make mine. None the less, we have finished principle photography on Eternity and are in the edit as you read this. I have started to shift concentration back to Angels now and the producer of Eternity has been very helpful with getting things kick-started and helping us move the picture forward. So... To the nay sayers out there... We are making an even bigger film than we had set out to make... EVERYTHING happens for a reason. SO believe in what you want and where you want to go people! Anything is possible. Wishing you all the best. Christopher-lee dos Santos Writer/Director/Producer Angel of the Skies
Please send all letters to firstname.lastname@example.org. We would love to hear from you and also feel free to make suggestions for anything you would like to see in the magazine. We look forward to hearing from you. Call for help
Luke Nell wants to make his own Gospel movie and needs all the help and finances he can get. Anyone out there willing to invest time/funds/expertise to help him realize his dream? After years of fighting and going on my knees did I at long last received an Invite to go to the USA to see possible sponsors for ANGELS. I must depart no later than 30 October 2010 and will visit LA, New York and Houston. My trip will take at least 2/3 weeks depending on situations and with the help from God will I return with enough funds to shoot ANGELS, the Movie. I alone will undergo this venture and costs could be around R50, 000 all incl. but I need all the help I can get to do this. In the USA I will travel by bus to places where I must be and I won’t be staying in any fancy establishments. I am a South African and know how to get along with what I’ve got. PLEASE FRIENDS CAN YOU HELP... Any funds will be a blessing. NO ONE IS FORCED TO ASSIST and believe me this isn’t easy for me to open myself so much but this is all I can do right now. The script was written by me but is now being final edited by Dawie Le Hanie and should be ready within 3 weeks. The people who shot Karate Kallie are also willing and available to help with the filming of Angels but without the right budget can we forget. The sponsors I had wanted me to change the script to fit their demand such as adding more sex etc and this I won’t do. It’s a GOSPEL Story with a Moral Value and I won’t allow this. It will be proudly South African and therefore shot on location in/around SA. People who are interested and willing to help with this can contact me on my email: email@example.com (mail for banking details) God bless, Luke J Nell (Find me on FACEBOOK)
Rumour has it... Scream 4
Hayden Panetierre not happy with her ‘dumbed down’ role in Scream 4. The movie just went into production and there are already scripting and cast problems.
Lovers of the cult classic, Mad Max would be thrilled to hear that they will be shooting two new Mad Max movies back-toback.
Puss in Boots: The Movie Antonio Banderas and Salma Hayek will team up again in 2011’s Shrek spin-off movie, Puss in Boots. Banderas will revive his role as Puss while Salma will play his love interest, kitty. Originally intended for DVD release only, it now seems that the movie will actually hit the big screens first.
There are no details on the storyline yet, but we’ll keep you posted.
Robert Rodriguez is set to produce the Predator-franchise reboot, Predators. Adrien Brody and Laurence Fishburne star in the movie, and lovers of the original Predator film are said to be in for a “bloody good ride”!
Nothing in Hollywood is set in stone, but if everything remains stable for a while, we might just be in for a treat come 2012. The original four Ghostbusters will grace our big screen once again and with today’s 3D technology, it would certainly be a MUST see.
The Social Network
David Fincher (Director of Fight Club, Se7en, and The Curious Case of Benjamin Button) directs a movie about the story behind the founding of Facebook. The Social Network (Based on the book, The Accidental Billionaires) will star Jesse Eisenberg as Mark Zuckerberg and Andrew Garfield as Eduardo Saverin. Be sure to LIKE this one
South Africa’s local production industry received a boost today, with M-Net’s announcement of a new local content channel, Mzansi Magic, which showcased on screens on the 12th of July, 2010. The channel are available to MultiChoice subscribers on DStv Select, DStv Compact and DStv Premium. “The channel is set to showcase locally produced content with a strong entertainment focus. This channel has been shaped through dialogue with some of the our most successful actors, musicians, comedians and it is a privilege to be involved with an initiative that will promote local content both in South Africa and globally,” explains Yolisa Phahle, Channel Director for Mzansi Magic. The channel will offer a diverse content mix, including local and international feature films, music specials, documentaries and soapies. Programme Manager, Lebone Maema says, “Subscribers will be treated to a host of new local programmes which will premiere on Mzansi Magic. These include interactive talk shows hosted by new and established television and radio personalities”. The channel will also introduce to television the uniquely South African low budget film genre nicknamed “bubblegum cinema”. It will broadcast comedy hits such as Moruti wa tsotsi and Madhluphuthu, which have only been available on DVD to limited audiences. The channel’s diverse content procurement strategy will provide a solid basis for existing and emerging South African producers and filmmakers to engage M-Net in the licensing and production of local content. M-Net aims to play its part in stimulating the growth and development of the industry in a sustainable way. “With this channel we want to engage producers and explore possibilities beyond traditional commissioning models. In partnership with South African filmmakers, we will seek to empower emerging talent to produce compelling content with local and universal appeal, but also to ensure that key skills are transferred to the industry,” explains Phahle. The channel presents an exciting new platform for the South African creative industry, and a new destination for viewers who are interested in proudly South African entertainment. 9
.MOV-e talks to Ryan Macquet, this monthâ€™s
.MOV-e: As an actor, how did you break into the South African film industry? Did you have formal training, have contacts within the industry, or did you just wing it? RYAN: It’s been a long road and it’s proving to be getting tougher. With that said, I wouldn’t say I’ve broken into the industry as yet, but hopefully with this film it will open a few doors. I did study at a film university, which brings me to the only thing I got from those 3 years – contacts. The funny thing is that one can never rely on just contacts you make. You have to make sure that the bonds you make there, are followed though into the industry. In my case it was Alastair. As for winging it – That’s exactly what we did. Ryan and Alastair, winging it since 2006.
.MOV-e: When did you realise you wanted to go into the entertainment business? RYAN: I’ve always been one for the acting craft. I’ve been in a few productions at school, won a few awards here and there. I’ve never loved something so much. Most people will be dissappointed if they decide that acting or film making is what they want to do with their lives–It’s alot harder than one thinks. I wish I could give a few lectures at acting schools and tell them that they better know what they are getting into. So to answer your question – I still don’t know when I want to go into the entertainment business – I’ll get into it when I realise people have something worth watching – This film might be it.
but that costs money. We didn’t have money. At least not for a while. With Dante, it got us some sponsorship, and with that we took the leap of faith. On a more technical note, we knew that locations and cast always come with complications, and we needed to eliminate these problems by having minimal locations, minimal cast, and in turn we never needed a big crew. It’s great to think big, but one needs to know that small is sometimes better.
.MOV-e: How did you go about raising funds for The Unforgiving? RYAN: I mentioned above about getting a sponsorship – but that was not nearly enough. Alastair and I started a production company in 2006. We started doing some corporate videos, I’d shoot, he’d edit. 2007 we shot Dante – Nothing came of it, other than what was mentioned above. 2008, we had to hit the corporate scene again, saving cash and getting by. 2009 we shot The Unforgiving once enough cash was saved, and now we are where we are – Less all that cash.
.MOV-e: Tell us more about The Unforgiving and the choices that led to creating this specific type of movie. RYAN: The Unforgiving is a special film. It’s the first full Feature film I’ve acted in, as well as produced. Alastair and I first conceptulised and wrote a 22min episode for TV called Dante. This was basically a test for what we were up against in the future. We learnt a lot, we failed a lot and out came The Unforgiving. It’s all good an well to create the most mind blowing script, with the most “never before see” concepts,
.MOV-e: What hardware went into the making of the movie? RYAN: All I know is that we shot it on a Pannasonic P2. Alastair also invested in an Apple Desktop editing suite. One thing which was rather inovative, was we needed a generator on set, so we could dump the footage from the HD cards onto a laptop. So while footage was being dumped, batteries were being charged. As for sound, I can’t answer that.
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creates his own work.”
â€œfailed We learnt a lot, we a lot and out
came The Unforgiving.â€?
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Onle Sa W!
Clapperboard Definition: A device which synchronizes sound and picture while making a motion picture, consisting of boards held in front of a movie camera, which are banged together.
Most people have seen the black and white board being put in front of a camera, and recorded right before the action starts, and then being ‘clapped’, but most are not completely sure what the main purpose of its existence entails. Let me tell you, if it wasn’t for this ingenious invention, editors would be pulling out there hair trying to sort out the footage they ought to edit. First of all, why the clap? If you own a video camera, then you are used to video and sound being recorded on the same tape/disc/card. The sound and video are always synchronized because they are recorded together in one place. When filming a proper feature film, this method works slightly different. The picture is shot on the film or High Definition camera and the sound gets recorded on a totally separate device. This is nowadays not always the case, as most digital camcorders are able to record both picture and sound together. With these types of cameras it is probably up to choice and personal preference. By recording on a separate device, it means that less
cabling is required, thus also making the workflow faster and more efficient. So, when recording happens on separate devices, it is essential to have a way of syncing up the picture and sound when going into the editing phase. When the synchronization is extremely poor, it may become almost comic, but even small discrepancies can be very disorienting for viewers. The clapper consists of two pieces of wood or plastic which can be snapped together to make a distinctive clapping noise which is easy to find on the sound recording. By matching the sound of the clap to the physical action on the film, the editor can synchronize the sound and film recordings much easier. The editor basically lines up the clap sound spike with the exact frame where the clappers on the clapperboard connect.
The second/bottom part of the clapperboard is called the slate. The slate is used to record all the relevant information about the production, including the name of the production, the director, the director of photography, and the scene. Vital information is also included such as the take number and camera angle. This information helps the editor in finding the correct footage during editing. He/she now has direct access to the information without needing to page through a file or even trying to guess where what belongs. The slate is thus very handy, even if you’re shooting with a camera that already records the sound with the 19
picture, in order to structure your production and have a decent editing workflow. All the information on the slate is also recorded in the continuity book for the production, so that people on the crew and in the editing room can look up details later. It might be necessary for the editor to look up where a certain scene would be located that needs to be edited. In most modern productions a digital slate is used. The sound recorder has a timecode generator. This timecode is recorded on a separate track on the sound recorder (which is mostly on tape), and is then also displayed continuously on a large LED display on the digital slate. By recording this digital slate before the action starts, the editor now has both timecodes of the picture and sound and can thus easily line the two up to get the sync right. This also means that a clapper is not always needed when shooting with a digital slate. There is still space left on the slate to fill in the important information that identifies each shot. This is crucial for the editing phase.
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So there you go. Another interesting and essential piece of equipment for filmmakers has found its mark in .MOV-e.
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R I G
LET’S IT! If you’ve just started out as a film maker you may have tried some freehanded shots and found them to look a little bit TOO freehanded looking to your taste. In this article we’ll cover the very simple and easy steps to making the most basic of the homebuilt steadicam’s in about an hour’s time and for roughly R250. 22
By Ettienne van Rensburg
LIST OF PARTS REQUIRED: 2x Galvanised water pipe 500mm 1x Galvanised water pipe 450mm 3x Galvanised end caps 1x Galvanised t-piece: Various weights (dependent on camcorders weight) 1x UNC Bolt 1/4x11/4 (Most camcorders: Make SURE this bolt fits the bottom of your camcorder) 1x UNC Nut Âź 1x 7x60mm Bolt 2x 7mm Lock Nut 2x 7mm Concave Washers (oversized) 5x Small Washers
TOOLS REQUIRED: Drill - 3mm Drill bit 7mm Drill bit 6mm Drill bit Socket set Spanner set
Take two of your end caps and clamp them in a vice. If you have a punch available to you it is advisable to punch a hole in the center of the end cap to help you with drilling. If not proceed to drill a small pilot hole in the center of both end caps with the 3mm drill bit. Now drill a 7mm hole in the one (into the pilot hole) and a 6mm hole into the other. Take your time to ream the hole out a little bit with the drill bit so that the bolts go through a bit more easily.
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Take the 7x60mm bolt and put one of the small washers on it and tighten it into the end cape with the 7mm hole in it like this.
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Drop one of your oversized concave washers over the bolt. Add the necessary weights (it needs to be a little bit more than your camera, play around with different weights to get a good feeling for what you want). Now add your last concave washer and tighten the whole setup with a lock nut. Take your time to line up the weights as they may be tightened in a skew manner.
Local Film Review
LEON SCHUSTER! ! W!!
raking in over R3.5 million on only the first day showing. Schuster has the ingenious capability of reading the film market and audiences to deliver up to their most precise wants and needs.
has now been around a month since Leon Schusterâ€™s long-awaited film, Schuks Tshabalalaâ€™s Survival Guide to South Africa, opened in cinemas nationwide on 28 May. The film stars Leon Schuster, who plays Schuks Tshabalala, a tour guide who along with his partner in crime, Shorty (Alfred Ntombela), set out to produce a movie as a visual guide and aid for foreigners coming to South Africa for the FIFA 2010 World Cup. The comedy combines traditional narrative, practical jokes and a whole bunch of candid camera gags which the two unleash on a group of unsuspecting victims in order to give them the true South African adventure they are seeking. As with almost every Schuster film prior to Schuks Tshabalalaâ€™s Survival Guide to South Africa, the records have once again been shattered by already
The basic plot line of the film is not real rocket science. Schuster has decided to move somewhat back to his older roots in order to bring us a series of memorable set up gags. Being the master of this territory, one is assured that he will not hold back and he sets the benchmark once again. The only narrative around the film includes Schuster playing a white guy who disguises himself as a black guy giving utterly stereotyped tourists tips on surviving our Rainbow Nation during the soccer period. There are also a number of Bollywood style musical numbers, which are very humorous in content, but might be slightly annoying to some. Schuster uses these together with the other practical jokes to comment on some of the most common absurdities of life in South Africa, like warning prospective visitors to rather bring their own electricity along, and he completely gets away with it. He is excellent at judging the national mood and thus the hype and excitement of the world cup is at the forefront during the whole film. A lot of people have lately detached themselves from going to see a Schuster film because of his recent different narrative styles like in Mama Jack and the Mr. Bones films. Although he has catered for a much broader audience, he started losing
some of the trusty followers from previous years. With Schuks Tshabalala’s Survival Guide to South Africa, he once again seems like the old ‘Schucks’ everyone loved, plus, he has already grabbed the hearts of many new Schuster followers who won’t be disappointed.
Although there is no real story line and one don’t really expect one either, I do feel that some parts can be tightened slightly more together, especially the ending. The musical numbers are also somewhat detached from the overall idea and, although funny, they merely seem like time fillers. The gags are great, but will be less memorable than in some older films like; You must be joking, Oh Schucks...It’s Schuster! and even The Millennium Menace.
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The film is really funny and even the most stubborn critic should be able to find something that will make him chuckle or at least produce a shy smile. The fans on the other hand have been rolling in the aisles with laughter over the last month. For anyone who is sceptical, put your pride in your pocket and just go and see the freakin film already. Sit back, relax and just be taken into the world of the prank master. This might even be better than a day in the spa and it’s a sure stress relieve remedy.
All in all it’s a good film and should be supported by as many citizens as possible. I just sincerely hope these citizens will also appreciate other attempts at local productions and through their support help to grow the industry.
to read the rest 75. 5% of this review
It is a Schuster film, so one knows what to expect. There is production quality and technical quality second to none. The film makes one laugh with the characters rather than merely just at them. When the urge is there to laugh at them, it is most probably because one sees oneself within their same predicament and almost understands how they must be feeling in that moment. SCORE: It is a film for the whole family or rather even the whole nation.
Editing: 7.5 Character Development: 5 Cinematography (Camera work) & lighting: 8 Directing: 8.5 Acting: 9 Set Design/Costumes: 9 Script: 7 Story: 5 Pay off: 10 Sound: 6.5
On being a
The Open Window prepares aspirant filmmakers for the demanding, but exciting career of a filmmaker. Here follows some of the frequent questions that prospective students asks when joining our film department:
What are some of the most popular “fields” to specialize in e.g. scriptwriter, director etc? Filmmaking is a world full of various possibilities. At the creative centre we have the scriptwriter, director and editor. They are responsible for all the creative decisions that are going to be communicated to the audience in the final analysis. At a more practical, but equally demanding role, we find the cinematographer, the art director, and sound designer. In addition to these main fields of specialty, there are also numerous positions of assistance that range from the director’s assistant all the way through to administrative personnel and even builders that assist with the construction of sets.
What does a career in the film industry entail? Working in the film industry is probably one of the most exhilarating careers available today. It merges the pragmatic with the creative and the philosophical with the rational. It is career that unlocks the emotions of the audience, but requires the discipline of an army sergeant to pull all the elements together that will result in a finished product the audience can sit back and enjoy. What is the necessary before you can become a professional in this field - both in terms of qualifications and personality? To enter the field professionally one must first and foremost have an open mind and heart, and a capacity to explore ideas tirelessly. Secondly, you need to have to be able to work with people – there are many facets to creating an audiovisual experience and one need the help of other professionals. The Open Window offers a course in Visual Communication that allows you to graduate with a degree majoring in Video and with the option of taking that further into an Honors qualification. This course provides both the practical and the theoretical know-how to be able to take a project from concept to full professional realization.
What are the opportunities in film, both in SA and overseas? Are our local qualifications seen as on standard in e.g. Britain, Australia etc? The audio-visual industry is probably one of the most expanding industries at the moment. It encompasses a gamut of possibilities from the purely corporate (advertising), entertainment (music videos and fiction films) to the highly abstract (art cinema and fine-art videos). It is also a universal language – if you can conceptualize and realize in this medium, you can work in any language and in any country. What are some of the most difficult aspects of working in this industry? The difficult aspects of the industry are that it can be a bit frenetic, chaotic at times, severe with deadlines – if a program is scheduled to be on television at a specific time, it HAS to be ready for broadcast by the designated date. You also have to be able to work with people under stress and often with people whose egos might be a bit on the fragile side. It is exactly these difficulties, however, that make it the thrilling collaborative and energetic art form that it is!
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audiovisual industry is probably one of the most expanding industries at the moment.”
“Filmmaking is a world full
of various possibilities.”
The film opens in 1958. Young Abel Wolfaardt grows up in an abusive household. His only friend and companion is his dog, Wolfie. The story then moves to 1976 when a man strangles his girlfriend. He then moves on to find his next victim. Adriana van Aardt, a ballet teacher and her husband, Johan (Justin Strydom) are experiencing marital problems after a miscarriage. They decide to break away for a weeklong holiday at their farm in Duiwelslaagte. Johanâ€™s cousin, Frans, who recently became paralysed in an accident, will also be joining
them for a few days. Johan is a neurosurgeon and as a result of a busy schedule he would only be joining Adriana and Frans during the weekend. Therefore Adriana goes to fetch Frans at the bus stop early Friday morning. However, Frans missed his bus and Adriana accidentally picks up Abel (Dewald Reynecke), a psychopath who pretends to be Frans. It seems that Abel has fallen in love with Adriana, and that she might have changed him for the betterâ€Ś but does a person really change if murder is in your nature?
A TUT FILM & TELEVISION SCHOOL INITIATIVE Anna-Marie Jansen van Vuuren gives .MOV-e the run-through on producing a feature film with a low budget and 20 Directors...
– Angsnag – written by one of my fellow students, Gerhard Ehlers. It was a period piece suspense thriller set on a farm in the late 1970’s South Africa. We decided to keep the original plot, but to add characters and expand the story to make it a worthy feature-length film. Gerhard and I wrote six drafts before going into production. As we were extremely pressured for time, we wrote draft five and six by night, producing by day. I finalised draft 7 on set whilst Gerhard was juggling catering with production management.
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Afrikaans romantic period piece suspense thriller. Does that sound unique enough? Not? Then how about this – a film directed by 20 directors. Do I have your attention now? No – it’s not a typo. We started out with 17 directors, and when the project continued for another year three other directors became attached to the project. If you think that is daunting, imagine the task of producing a film of such calibre.
I enrolled at the Tshwane University of Technology Film School in 2009 to learn more about filmmaking. I came from a broadcast journalism background, but worked in the television industry as a scriptwriter and documentary maker the past three years. So when our directing lecturer, Ntshaveni Wa-luhruli shared his dream with us – of each B-Tech Directing student being a director of a certain section of a feature film, I did not think it was that crazy. I mean, crazy was coming back to school after I already had a Masters in journalism and media management. And when they asked me to co-write and produce the film in July 2009, I saw it as a challenge to learn as much as I could. Since then it has been a true rollercoaster ride – with its ups and downs similar to what most independent filmmakers experience. The concept of the film was based on a short film RIGHT: Art director Heleen Swart helps actor Reynard Slabbert with his wardrobe. With them is actress Louise Moodie. 36
TUT originally granted us R 130 000 to produce this film. They also assisted us by allowing us to use the school’s cameras (Sony HDV Z5). This is a tight budget for any feature film, but fortunately I had a dedicated crew who worked night and day to realise our goal (and who spent ample hours begging friends and family for favours). My 2009 crew consisted of the seventeen directors (which included Gerhard and me) as well as some outside help from TUT alumni such as Bertus van der Walt and Nurma-Ann Dippenaar. Each director had a second function on the film within the various departments (production, cinematography, art department etc.) and our catering was done by three of our friends who studied at Tuks at the time. Our key cast in the film include Dewald Reynecke (Getroud met Rugby, Egoli), Anel Alexander (Discreet, Getroud met Rugby), Justin Strydom (Snitch, District9), Renske Jacobs (RSG, Tuine&Tossels) and Will Roberts (Die Rebel, Mooi-
Meisies-Fontein). A few of them we headhunted, some heard of the film through word of mouth, and others we found through agents – but all of them were willing to work many extra hours for very little pay. We finished production at the end of September 2009 and then our first editing phase began. It was done by the six B-Tech editing students. After putting together an online edit, we invited a distributor for a viewing. Although she really liked the concept and story line of the film, she felt that it was too short for proper distribution (at that stage it was only 65 minutes long) and that the story of the film could be extended to answer some questions about the main characters and even make it more suspenseful. Thereafter I did some second unit reshoots in December with a volunteer crew and set out to rewrite the script (keeping the footage we already shot in mind) at the beginning of this year.
LEFT: On set in Fochville: Anna-Marie Jansen van Vuuren (Producer), Floris Groenewald (continuity), Andrew McDonald (DOP), Jeff Larsen (Sound), Muano Dzebu (Sound) of the script, with constant feedback from the new directors. We locked the script when we reached Draft 11.
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Now we are in the initial stages of post production again. A composer, Peter Jaspen, have expressed interest in composing our mood music for the film. We hope to conclude this project and have the film ready for distribution at the end of 2010. It has been a long journey thus far, but even through the tough times we have enjoyed the ride.
TUT’s Department of Film and Drama studies, its’ HOD and other lecturers were really supportive throughout this process. I submitted a proposal to them for making the film 30 minutes longer, and they granted us a new budget of R65 000. They also gave me permission to use the 2010 B-Tech students to complete the film, letting it form part of their examination for some of their subjects.
Therefore the film now gained three new directors and three additional editors. As the current B-Tech group is much smaller than the previous years, we also recruited two students from TUT’s Department of Performing Arts Technology to take over the production design, alumni Andrew MacDonald offered to be our Director of Photography, and we also roped in some film students from the other year groups to help out. I must really commend my 2010 crew, because they had their work cut out for them to source all the previous year’s props, wardrobe etc and to match lighting and cinematography continuity to the already shot film. They did it with an enthusiasm and passion that made me proud. The 2010 directors again had double roles (they also formed part of the production team) and again everyone had to pull out all the stops to be ready for production at the end of May 2010.
During this phase I also wrote four additional drafts 37
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novice filmmakers neglect to realise the importance of recording good quality audio for their films. They spend a lot of time, money and effort in getting the picture to be perfect which leaves the audio dragging behind. Even though a picture can be somewhat grainy, or the focus drifts in and out, a filmmaker can always try to pass it of ass an artistic attempt, but there is now way out trying to explain why a soundtrack sounds poor. Here are some basic tips you can keep in mind when shooting your film.
Turn off fans and refrigerators so you don’t hear them humming. Close open windows as to help shut out exterior noises. Also never let music play in the background. This can become a nightmare in editing as you try to cut different shots. Music and sound effects should be added later.
The Microphone It is a must to make use of external microphone (usually on a boom) and at the same time the right type. The addition of a shotgun/rifle mic will bring home the sound you intended to record. Never rely on the camera’s onboard mic to give you decent sound quality. The first problem with the onboard mic is that you can’t get close enough the actor in certain shots. This means that your sound perspective will be out of place and you won’t be able to “fix it in post”. Location Do research on your location. It is wise not to shoot next to the airport or highway. Avoid any busy places with fluctuating noises you can’t control.
Monitor Always plug in your headphones and listen to the audio being recorded. This will enable you to monitor the dialogue levels, to listen for distortions and to make sure the background noises are not interfering. 41
Buzz Track At the end of your scene, it is wise to record at least a 2 minute buzz track. This means the camera roles and everyone keeps quiet. You can use this track to underlay your scene in editing. It will smooth out the audio and make the cuts sound less distracting.
Remember, you can always manipulate sound in post production, but it is essential to get the foundation right before the building blocks are added.
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The wind can be one of your worst enemies when it comes to recording sound. The wind hitting the microphone can create distortions and popping sounds. Always have a fluffy/shaggy dog (a wind protector) at hand. If not, at least have a fuzzy sock to pull over the mic. Microphone placement
As mentioned with using an external mic, it is vital to get your perspective right. Another important thing is to get the audio as good, clean and crisp as possible. Therefore, always put the mic as close to the subject as possible, barely missing the picture frame.
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MACHINI-what? by Jéan de Witt
computer and game technology to create 3D animated films in virtual environments, in real time.
Machinima, that’s what! Machinima is the next step in the evolution of film making, specifically for amateur and low-budget film makers. So, you want to be a film maker, but you can’t come up with tons of cash to hire equipment, purchase hardware and software, contract technical staff and actors to make your epic big screen dream come true? Don’t worry, there is still hope… If you do have a decent home computer and enjoy games like World of Warcraft, Guild Wars, Dragon Age, Half Life, Fall Out and many others, Machinima could be your dreams come true. The term Machinima is a mash up of “machine” and “cinema”, referring to the practice of using your home computer machine to create pieces of cinematic genius. Basically, machinimists or machinimators, make use of improving 44
Recording the events taking place inside of the gaming environment has actually been around since the 1980’s and 90’s, with games like Doom and Quake. Originally, gameplay was recorded to demonstrate speed-runs to other players, where levels are finished in the quickest possible ways. Multiplayer matches were also recorded to share. It wasn’t until somewhat later that the general term Machinima was invented and used, as story lines were added to these
recording, and application of this technique spilled over into many different games. Why would someone want to make a film using gaming technology? Because it is fast, easy, and above all, cheap. Unlike traditional or pre-rendered animation techniques (where a feature length film can take up to 4 years to produce) gaming technology gives the user the benefit of filming in real time, while experiencing the added bonus of interaction with a virtual environment. Machinima also removes the need for physical locations or performers, which in turn lowers budgets and time constraints.
In recent years, Machinima has grown in popularity, as gaming developers have started encouraging dedicated fan labourers to produce more creative works. One important way that developers have done this, is through the increasing amount of games being released with â€œtoolsetsâ€?. These additional software packages were originally intended to be used to create new levels and
increase the life of games for the purchasers, but have become a powerful way for aspiring film makers to create movies at a fraction of the cost necessary to do so in live action productions. Directors for this new generation of films can now direct and edit films on a data level, increasing the range of animations, emotions, and interactions that can be used for their films. For some, using these powerful, yet sometimes intimidating packages can be a bit of a pain. However, if you are patient and flexible in your filmmaking style, recording real time gameplay can be much easier and faster. Multiple players could be logged into a networked game and directed to achieve the desired level of interaction between characters and the virtual environment. Directors could also do this by themselves if they want, relying heavily on editing and post production to create their final work.
Machinima is the next step in the evolution of film making, specifically for amateur and low-budget film makers.
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Directors for this new generation of films can now direct and edit films on a data level, increasing the range of animations, emotions, and interactions that can be used for their films.
Intrigued by certain logistics about working on a set with children, we decided to interview the good people over at
h Kool Kids Casting Club specialises in providing babies, children & teenagers (from the ages of 6 months – up to 17 years) with an exciting opportunity to audition/cast for Local & International TV Ads, Films, Magazines, Catalogues, Posters & more. Please tell us more about Kool Kids Casting Club and what you do. Kool Kids Casting Club was started in 2000 by Nicky Greyling (Accredited Member of CAMA) We specialize in providing opportunities for babies, children & teenagers (6mths – 18yrs in all races) to cast for All forms of Advertising Media - Stills & TV / Photo-Catalogues, Magazines, Films, Extras and more. We pride ourselves in having built up a good, reliable reputation & providing a personalized and professional service to our parents & to the industry. (Comment from Nicky being the founder & owner: Having my own 2 children being actively involved in this industry and Kool Kids has definitely been an added benefit as it keeps me in touch with both sides of the story.) We have also recently extended our pool of talent to include some part time characters from 18 years and up 50
What is so unique about casting children? These precious little characters can be totally unpredictable and as we all know have minds of their own (Particularly the younger ones) so it makes for lots of creativity...oodles of patience...and some fun ...because they all truly have their own unique traits and qualities that might just be what the director is looking for!
Have you ever casted children for a horror film? And if so, how do they react on scenes that should be scary? Do children suffer from after affects? We haven’t actually cast any children into a horror movie, but we have gotten involved in something violent / gory.
I must say this is definitely a VERY SENSITIVE thing and being in our position there are two important factors to ensure. 1) The way in which the filming of the actual scenes was handled was done in a very professional way in that the children didn’t really realize or see anything that might have any lasting or after effect on them they were well protected.
in their performance. They have days where their performance and responses are better than others, they get sick, small things can upset or put them off, and they are still too young to be able to put these things aside and move on to performance… performance...performance!
Register for FREE at 2) The other very important factor to remember is that the parents are fully aware of the whole situation and concept and buy into it before we as the casting agents propose any talent. This is where a good, open & honest relationship with the parents plays a vital role.
So yes it’s a challenge, and of course keeping the parent/s happy can be a tricky balance. I take my hat off to those professionals on set, because this is where it’s a make or break take.
http://www.mov-e.co.za What is the story about Children joining this industry and having to have their own Personal Bank Account as well as get an Income Tax Number?
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What is the first step parents have to take, if they want to bring their kids to your casting agency? What does your agency require from the parent and the child? If your child/ren is/are confident & outgoing, they are DEFINITE candidates for success!
Yes this is true - At Kool Kids the way we handle this is as soon as child has been successfully confirmed for their first shoot. We request the parents to open up a Bank Account in the Child’s name and also apply for an Income Tax Number.
Call us on 021 975-8841, or e-mail us on email@example.com and we can guide you through the easy steps to take to becoming part of the Kool Kids Clan.
Do you have a Facebook Page or website that interested readers could browse for more information?
What complications are there to working with children on set?
Yes we do, and in fact there are some more Q & A’s for you to read through. Check out our webpage http://www.sakidsonthego.com/koolkidscasting and we would also love to connect with you on Facebook. You can join our Facebook group at http://www.facebook.com/?ref=home#!/profile. php?id=100000800604312
It’s so important for a child to feel comfortable, happy, and secure in order to bring out the best
You are in the market for a video camera and whether it is for making your own movie, shooting wedding videos or just for the fun of it, you donâ€™t really know where to start and what to look for. With hundreds of options to choose from and technical gimmicks that will make your head spin, you are likely to buy something that you might regret in the long run.
This is why we thought it well to give you 10 basic tips and features to look out for when purchasing your baby, being it High Definition or Standard Definition. These manual features and accessories will give you greater control over the footage that you shoot, and improve your videotaping capabilities. It will certainly not limit your options, but rather give you a good general idea of what type of camera would comply with your needs.
White Balance Different light sources have different colour wavelengths. When looking at the light spectrum, sunshine will tend towards the blue side. Although a hotter light source, it gives of a cooler colour. Normal Tungsten house light bulbs will give of a warmer light and move more to the yellow/red side of the spectrum. Automatic white balance will keep it as normal as possible at all times. The problem comes in when light situations are mixed. When shooting an indoor scene with tungsten light sources and sunlight coming from a window in the same scene, the auto white balance will have a hard time adjusting to the right colour temperature. With manual white balance, you control the recorded light colour, thus getting the desired result.
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Although automatic focus is an ease to work with, it can also easily frustrate you. Automatic focus has a tendency to shift around, trying to focus on the different elements inside your picture frame. The camera will in most cases focus on the nearest or biggest element in the frame. Automatic focus is also your worst enemy when shooting dark scenes, because the camera won’t have a sharp enough point to focus on. This gets worse in lower end cameras. When you have manual focus, you can choose what to focus on, thus being able to lock the focus on what you want and eliminate those very annoying unwanted focus shifts. Now you can also start being creative with your shots and do more complex shooting. Trying to do a focus pull with automatic focus will surely only lead to disappointment. Manuel Iris
This feature lets you adjust the aperture size of the camera’s lens. It controls the amount of light coming through the lens. Opening the iris lets in more light, increasing the exposure or brightness of the image, and closing the iris will darken the image. This feature is of utmost importance in maintaining the correct exposure for your scene. When shooting with automatic iris, the exposure will shift around trying to keep an average exposed image. The best example is when someone is standing in front of a window in daylight. The automatic exposure will not allow the camera to overexpose the window, but will darken and make your subject appear in silhouette while the scene outside the window is correctly exposed. Manually you can make sure your subject is exposed properly. Manuel iris thus gives you a lot more freedom and professional control over your image. 54
CCD (charge coupled device) and CMOS (complementary metal oxide semiconductor) image sensors are two different technologies for capturing images digitally. They electronically translate the real world into a digital image. Now, the bigger the better and the more the merrier. This is probably one of most important features to look for in a camera. Lower end cameras will usually consist of a 1 CCD chip (capturing the 3 primary light colours on one chip only) or a small CMOS sensor. This means their ability to capture good, clean, rich and crisp colours are reduced. What you want is a camera with at least 3 CCD chips (capturing the 3 primary colours separately) and also as big as possible (preferably 1/3 inches per CCD), or a camera with a large, good quality, CMOS sensor. This would be the standard for any professional video camera. Sound Control
In some cases, automatic audio control (which every camera has) is very handy, especially when you’re doing a one man show and the audio is not your most important factor. But, when doing a more professional shoot, the ability to manually control the volume of the audio being recorded becomes of utmost importance. If the camera controls this automatically, you may end up with having fluctuating background noise that’s too loud, clipping problems and unnatural sound quality. In most professional shoots, the sound will first go through a high quality
audio mixing device (sound mixer) before entering the camera which will be manually set at a desired static level. This leads to the next feature. Audio Inputs A standard professional feature is the ability to be able to plug in an external microphone. The built in microphones in camcorders are generally low quality, and you’ll want to be able to use a separate, external microphone. There are also primarily two types of inputs: Most cameras come with single mini-jack audio input. When a microphone is plugged in, it will override the onboard mic and only record from the external source. The best type is the twin XLR (balanced audio inputs) that comes with the more professional camcorders. This will allow you to record on two separate channels, meaning from either one external mic and the onboard mic, or even two external sources.You really need this freedom and control if you are serious about your audio quality.
By the way, also don’t let electronic zoom fool you. It basically just makes every pixel bigger inside the frame, reducing image quality. Rather opt for better optical zoom. When the optical zoom is not enough, stand closer to the subject or get another camera. Size of your Camera Although it is trendy to have the smallest gadget, it might not be so useful when it comes down to the practicality of a camera. There are various reasons one would rather want a bigger and heavier piece of equipment. Not to mention the ego boost when flashing out your camera at a function, one reason would be the fact that it will probably have more manual controls and also the necessary inand outputs. It will be much sturdier and also give smoother handheld performance. A bigger camera also means bigger lenses and image sensors, thus resulting in a better quality production.
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This might sound silly, but unfortunately not all camcorders come with a place to plug in headphones. Without this, you have no way of monitoring the sound that’s being recorded. A must for anyone taking their production seriously. Lens Adapters
Any professional would want to be able to interchange the lenses on a camera. Only the highest-end video cameras have removable lenses though. The best you can look for in a midrange model is the ability to use lens adapters, which will allow you to record wide angle or telephoto images.You will find that a wide angle adapter is very handy for especially interior scenes. If you want this type of functionality, do some research before purchasing your camera to make sure it is able to accommodate these adapters.
Don’t be fooled by the new HD marketing tricks. Although HD is the way of the future, it only becomes applicable if the equipment can really handle it.You can only imagine that a camera that fits into the palm of your hand won’t be able to keep up with a proper professional SD camera. The stats and data might show that it is of HD dimensions, but sometimes it is merely an electronic representation of true HD.You still need proper lenses and sensors and what not to be able to create a professional picture. If you have any more questions or even tips to share, feel free to join in on our forums or email us at info@.mov-e.co.za. Happy filming!
Image Stabilization Make sure the camera you want as an optical image stabilizing (OIS) system as opposed to an electronic system (EIS). It is necessary for handheld work. The electronic system will alter image quality in order to keep the picture smooth, where an optical system is mechanical and does nothing to harm the image. 55
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Although technology certainly made it easier for the Average Joe out there to create 3D images or animation, no one can deny that what happens at Disney/Pixar is nothing short of pure magic! It take a huge creative team working on super equipment a few years to create something like Toy Story. We take a look at some of the steps involved in making an animated feature film, but do not be fooled. There are hundreds of equally important steps left out, but at least this might give you some basic insight into the creative aspect behind 3D Animations.
It all starts with a story. From there, artists transforms the story into a series of pictures called a Storyboard. These pictures help everyone involved visualize the entire story from start to finish.
A colour script is then created alongside all forms of concept art.
The Characters are modelled in 3D software and then positioned and posed in the shot. Camera angles are then decided on and finalized.
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Every character is now animated to fully interact with the environment and each other.
Lighting and other effects now bring the entire story together nicely. Through it all, speech, music, sound effects, and thousands of other little things are pulled in to create the final product. Years of work go into two hours of fun, but the end result is certainly worth every minute of effort that went into it.
â€œWhen people ask me if I went to film school I tell them; no, I went to films.â€?
Classics Case study nr. III
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were only the Executive Producers for these films. He even directed some television series’, including the fourth episode of Four Rooms, the fifth season finale of the CSI: Crime Scene Investigation (which is highly compared with Kill Bill, because Nick Stokes gets captured and buried alive in a coffin), and an episode for ER, called “Motherhood”. He was also a guest judge for one episode in the television singing competition American Idol’s third season. Tarantino was chosen to direct an episode of the series X-Files, which was written with him in mind, but due to difficulties with the Directors Guild of America, the project was cancelled.
Register fo Q http://www. in order to rea this ar Quentin Tarantino directed his third film in 1997, which was an adaptation of a novel done by uentin Jerome Tarantino is a man known Elmore Leonard, Rum Punch, called Jackie Brown. for his movies to have nonlinear storylines After this film he planned to make a war film and they are usually compact with stylized Inglorious Bastards, which was postponed and made recently in 2009, but instead he started violence. He was born on March 26, 1963, to both Connie Zastoupil, a health care executive and nurse, working on Kill Bill, writing and directing the film in two parts. The film contains a mixture of Chinese and Tony Tarantino, an Italian American actor and amateur musician, in Knoxville, Tennessee. Quentin martial arts, Spaghetti westerns, Japanese period Tarantino rose to fame in the 90’s with films such as cinema and Italian horror films. Uma Thurman Pulp Fiction, Jackie Brown and Reservoir Dogs. He plays the lead actress, The Bride, a character and is an award-winning American Film Director, Actor, plotline that were developed by the actress and Producer, Cinematographer and also Screenwriter. Tarantino on the set of Pulp Fiction. When Quentin was 15 years old, he dropped out Grindhouse was the next film he announced of the Narbonne High School in California to go to The James Best Theatre Company and study acting, that he and Robert Rodriguez would co-direct, Tarantino’s part being that of the film called Death which was very influential to his movie-making career. At 22 he started working at the Manhattan Proof. Although the film received positive critic Beach Video Archives, where he and other filmreviews, it made considerably less than the box fanatics watched and discussed movies, with actors office analysts’ expectations. Tarantino’s producing such as Danny Strong, being customers. credits includes films like Hostel, Killshot, Hell Ride and he received a credit as “Special Guest Director” It was Lawrence Bender that encouraged Tarantino for directing a car chase sequence in the neo-noir to write a screenplay and in January 1992 Reservoir film made by Robert Rodriguez, Sin City. Dogs (which was written in three and a half weeks), went to the screen, making Tarantino a hit in the UK His film Inglorious Bastards is Quentin Tarantino’s and making the film a cult classic. The second script highest grossing film in America as well as World he sold was Natural Born Killers, directed by Oliver Wide, being nominated for eight Oscars including Stone, whom made a few changes which Quentin Best Picture, Best Director and Best Original didn’t agree on causing him to disown the script. Screenplay and winning one for Best Supporting Tarantino was offered a number of writing projects Actor. In 2009 he announced that he will be including Speed and Men in Black, but he persisted making Kill Bill: Vol 3 “The Bride will fight again!” his on writing his script for Pulp Fiction and in 1994 the ninth film and it will be released in 2014. He said film won the Golden Palm award at the Cannes Film he wants to leave a ten year gap to pass between Festival. the Bride’s last fight, to give her and her daughter some peace. He is a close friend of Robert Rodriguez and acted in and wrote the screenplay for the film From Dusk Till Tarantino has come under criticism for using Dawn. The film had two sequels, but the two friends concepts, scenes and dialogue from other films.
For example the dancing scene in the diner in Pulp Fiction is inspired by a scene in Godard’s “Band of Outsiders”, the film which Tarantino named his production company after, though it bears very little resemblance to it at all and also the misquoted bible verse Samuel L Jackson recites in Pulp Fiction can also be found in the movie Karate Kiba. Numerous other incidents also occur. He has also been criticized for his racial epithets in his films, by using the word “Nigga” or “Nigger”, especially in the film Jackie Brown. He was notably criticized by the Black American Director Spike Lee:”I’m not against the word... and I use it, but Quentin is infatuated with the word. What does he want? To be made an honorary black man?” At a festival Samual L Jackson defended Tarantino by saying: “I don’t think the word is offensive in the context of this film... Black artists think they are the only ones allowed to use the word. Well, that’s bull. Jackie Brown is a wonderful homage to black exploitation films. This is a good film, and Spike hasn’t made one of those in a few years.” Quentin defended the use of this word by saying that his film, Jackie Brown was directed at a Black Audience.
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“If I’ve made it a little easier for artists to work in violence, great! I’ve accomplished something.” “If you want to make a movie, make it. Don’t wait for a grant, don’t wait for the perfect circumstances, just make it.” - Giving advice to young aspiring filmmakers at the 1994 Independent Spirit Awards “I hope to give you at least 15 more years of movies. I’m not going to be this old guy that keeps cranking them out. My plan is to have a theater by that time in some small town and I will be the manager - this crazy old movie guy.” (March 2005)
Elize Pienaar takes her inner child to visit old friends in...
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It comes as no surprise that Toy Story 3 is a huge box office hit – this is animation at its very best!
I saw Toy Story 1, and was impressed with the storyline and graphics. It was cute. But seeing Toy Story 3 made me realise that number 1 really was the start of a new era in animation and that Pixar is at the top of the game.
I was actually surprised to note that every single one of the critics admitted that the last 20 minutes moved them to tears – men and woman alike. So, a word of advice: take some tissues with you, as there are some pretty sad moments in the movie, and the end WILL have you crying. Owen Gleiberman from Entertainment Weekly gave the film an A, saying: “Even with 64
the bar raised high, Toy Story 3 enchanted and moved me so deeply I was flabbergasted that a digitally animated comedy about plastic playthings could have this effect.”
I’ve been moved by animation movie characters before, but this is the first movie to make me actually clutch at my seat during the dramatic scenes, and have me bawling my eyes out at the sad ones! Without giving away too much of the plot, it suffices me to say that is shows Andy at 17, who is leaving for college and is clearing out his room. He decides to take Woody with him, and packs all the other toys in a trash bag, which is to be stored in the attic. But by an unfortunate fluke, his mother mistakes the bag for
garbage and leaves it out on the curb, to be picked up by the trash van. Woody sees it happening, but can’t convince the toys that it was a huge mistake, and that Andy didn’t mean to throw them away. They sneak into a box that is marked for a local Day Care Centre called Sunnyside, and when the toys arrive they are given a warm welcome by a strawberry smelling LotsO’-Huggin’ Bear (aka Lotso). There they meet Ken and Big Baby, an abandoned baby doll. Unfortunately for the toys, Sunnyside doesn’t live up to its name.
Woody escapes with the intention to go home and alert Andy of their plight, but is discovered by
Bonnie (who also attends this Day Care Centre), a sweet little girl who takes him home. I thought the scene at the incinerator was a bit over the top, until I realized that for relatively small toys like this, such a place will seem that big and scary. My one grandchild who went with me to watch the movie wasn’t frightened by any of the more dramatic scenes. Her reaction was, “can we wait here and see it again?”
We are in a subtle way reminded why we love the familiar characters so much: they are heroes who share the same values of team spirit, bonding and camaraderie as us humans. No one gets left behind. The technical aspects and attention to detail are flawless.
or FREE at .mov-e.co.za o read this iew. The end is especially very touching: through Woody’s doing the toys end up with Bonnie, who recognizes him. Andy introduces his toys to her and he has a last frolic with his old friends before driving off.
Lee Unkrich deserves praise (and an Oscar!) for his directing, and so does the writers. Well done, all of you! Well done, Pixar! The characters are all welldefined, well developed and the voice casting (think Tom Hanks, Tim Allen, Timothy Dalton and Michael Keaton, to name a few) suits each toy perfectly well. The new toys are seamlessly introduced.
The storyline is full of suspense and drama, but also delightfully humorous and at times tug at your heartstrings. I loved it when Buzz went into his “Spanish” mode. And Ken comes with a complete classic wardrobe, which he parades for Barbie.
The movie would have worked well enough without going into 3D mode, although my grandchild was quite chuffed with the huge black glasses and enjoyed wearing them. My final verdict:
Go and see this movie, it’s definitely worth your time and money!
Will I buy the DVD? A resounding YES. But there is a caveat: I want numbers 1 and 2 as well, so as to complete the set. My guess is that it will, in time, become a collector’s item.
Editing: 10 Character Development: 10 Cinematography (Camera work) & lighting: 10 Directing: 10 Acting (in this case, voice-overs): 10 Set Design/Costumes: 10 Script: 10 Story: 10 Pay off: 10 Sound: 10
You are an independent filmmaker and have a low budget to work with. The best thing you can do is finding ways in order to save some money. Let’s have a look at a number of good pointers.
Register for FREE at http://www.mov-e.co.za Be prepared: Always make preparations for when it might rain for example. Make sure you add two days extra in your schedule as contingency. If you don’t do this and you get an unforeseen problem during the shoot, you will not have the budget to work in what you have lost.
in order to read this article. Think carefully about your type of story. Avoid it being a period piece or let it consist of major u u K u
Ask above-the-line talent to defer their salaries. T u u whatever it may be.
Use a non-union crew. Using an inexperienced crew has its own disadvantages, though, but at least you can structure your own type of deal with them and get away with it a lot cheaper.
Cut nights scenes: When you start preparing your film shoot, it would be best if you keep the night scenes to a minimum, especially if it is outside. Except for the fact that a crew may ask for a higher rate during the night, you will need more lights and other equipment.
Try limiting locations and keeping them near each other. This will speed up unit moves and even save you some petrol money. By limiting the amount of locations, it also means that you would have more time per location, thus getting the job done faster.
Avoid shooting at a busy time. If you need the N1 highway for example, don’t try to organise it for a Monday morning, arrange it so that it falls over a Sunday afternoon when it is much less occupied.
Cheap food: Now, don’t go out and buy your crew KFC every night, Hotdogs will do just fine for one or two nights. Ask a friend or family member to take charge of the catering and to keep it low in costs.
Cut A-List celebrities and actors: Use unknown cast members rather than expensive stars.
Avoid shooting in a busy place as it will create logistical problems and time constraints.
An Angry African By Chanelle C Rudder Honestly, I didn’t know what to say in this article? Mainly because it asks where is the SA film industry at this present moment in time? And it questions how far I am within my career. An insight into to C.C Rudder, I suppose? I decided at a very young age to dedicate my life to acting, whether it be in film or theatre. As we evolve so do our goals. After acting in Footskating 101, I drifted between Australia, London and the USA for a few years aimed at learning every aspect of filmmaking. Make‐up, Grips, lighting, film stunts, catering, cinematography, editing, sound the list goes on.
Each country had it’s own ideas and systems that they followed concerning filmmaking. On coming back to SA I realized that our film industry is not needy or angry enough to make a drastic change as quick as we expected. Not only do we need the finances to make a change… we need the passion behind it. The excitement. That South African pride that so many have exposed during the 2010 World Cup. Not only do we need to keep our eyes on established personalities like Anant & Sanjeev Singh, we should allow up & coming Talent the opportunities they deserve both behind & in front of the Camera. I am not talking about just handing them an opportunity and letting them run with it. The ‘newbie’s’ have to be re-educated as to how the film industry works. The film education in this country is not nearly as competitive as the rest of the world. In life you need challenges and competition… with no competition you are paving your own road with no‐one around to tell you that it is paved badly. I always knew that I would never study film in this country… A sad realization I know, Yet I had to leave to know why other film industries were succeeding while we are stuck in dung. With competition the consumer will always benefit. I am a young aspiring Director… I am also saying that I am many things above just wanting to be a Director. As should our current, emerging SA film industry. I feel my role, as a filmmaker is to tell a good story that is cinematically challenging. To confront ideals of society and question the answers that have been given to us. I am proudly South African. My two years studying in Los angles only affirmed my love for our country and the people in it. Being away for so long allowed me to re‐assess how we have constructed our film industry in the past… or better yet… who constructed it for us? Accepting the fact that most
“Everyone has a story,
sometimes it’s all we have. I do feel that in Africa we have a vast net dragging behind our Nation, filled with hidden stories, dark, funny, horrific, Corrupt and packed with Action.”
current African cinema is a byproduct of Western capitalization and the majority of our current South African population express’s philistinism towards the arts (merely through low media coverage). It should therefore become our duty as artist’s of film to rise up questions and opinions about our current state through documentary, feature and short story media. Through stories is how many generations were raised before the young wars. Everyone has story, sometimes it’s all we have. I do feel that in Africa we have a vast net dragging behind our Nation, filled with hidden stories, dark, funny, horrific, Corrupt and packed with Action. Just read the newspaper and you have a script… a story. All I am saying is that Africa has some of the best newspaper content in the world. I am not saying South African cinema has to be about politics, as SA citizens we are surrounded by past/present politics everyday. Where is our horror, sci‐fi, comedy competitors within the industry? Leave apartheid films alone and please start using our SA Actors to tell our stories!
The only thing worse than a bad accent is a repetitive story line. As far as Nollywood is concerned? I admire the fact that they create a lot of work for the Nigerian economy, yet I am repulsed by the thought of even watching a Nigerian film. Whether it be seeing the reflection of film crew in a mirror or not being able to tolerate the pathetic acting… the point is that they are following western styles of Cinema & writing. There are many stylistic ways to write a script… to present a story.
Register fo http://www. in order to rea this ar From France to Poland to America each has its own structure of writing. I try not to be like others; because others won’t notice you if you look like them. Concerning my future, I will always aim to be unique and do what I love. I will not take on a project if I have no passion in it. It is not the way I function. When my 1st Documentary short, ‘Ubuntu’ won 5 awards I was surprised.
To be real with you, it was a bad piece of work. Not award winning at all. I realized that the international standard of education concerning Africa is false and misguided. So I am currently in pre‐production for a Documentary TV series about international Refugee Camps. A TV show that aims to not only give a positive insight into the life of a refugee but also to create a flow of humanitarian based TV shows.
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As well as ‘Refugee Camp’ I have created various commercials, which are currently in production. I feel I am not knowledgeable enough to take on my feature film at this present moment in time. Hence I am working my way up the ladder, earning my stripes if you will. I will not give up on this industry. People fascinate me too much and this industry is all about people. Yet sometimes, just sometimes… the people can be wrong. And sometimes, just sometimes… one film can change your life.
“Every generation needs a new revolution” —Thomas Jefferson
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BlogBuster DIRECTING: 007 Master class V - Composition By Johnny Taute w w w. i l i n e . co. za
As filmmakers we talk of the long shot, medium shot and close up and it is used to create a consistent spatial and chronological order. These terms are used to describe spaces large and small according to the frame size we select because shots are scaled to the subject we film and related proportionally to one another. But there are no hard and fast rules and your terms may vary. The change of shots is limited by identification only as long as you know that every shot is an overlapping part of the wide shot and that the change in scale is permissible but must take editing styles in consideration. Visual recognition between shots, however, is only half the strategy of the continuity style. Most often the connection between shots is one of conclusion or suggestion. When you cut from a wide shot of a woman with a handbag to her hand taking keys out of the bag you conclude it makes logical sense that it is her hand and her bag in the same time and space.
Narrative logic and visual connection between shots cooperate to create a sense of continuous space. This pair of ideas, cause and effect and spatial recognition, provide the organizational basis of the continuity style. The long shot, medium shot and close up describes many scenes and is most often used to describe the human figure and we have fine tuned the scale of change even more as seen in this image:
Close up: When you shoot for TV it is both effective and cost efficient to shoot within the medium to close ranges. This means building smaller sets and easier light control. The eyes of your characters will be the best tools to employ to bring your message across. There is a complete range of powerful gestures in winks, tears and glances. The eyes are the most expressive feature of humans and animals, communicating silently as the mouth deliver the dialogue.
• Wide screen aspect ratio (1.85:1) • Anamorphic Cinemascope (2.39:1) The following frames are printed in pairs as they appear in a sequence because the balance/ imbalance of frames are dependent on the footage that is placed ahead and after it. In these frames the subjects are positioned dead center. If you move your eyes over these images from left to right, as if “reading” them, you find no rhythm in the shot change since your eyes stay focused on the center of the screen.
Just like a camera, the eye-line of the character determines spatial relations in the scene space. The audience is sensitive to incongruities in the sight line between characters that are looking at one another. The audience will pick it up if the line is even slightly off. Close ups expose the intimate relationship between your subjects and the audience. This capacity for “intruding” violates the character’s privacy by forcing a degree of intimacy that should only be shared through consent. But as the camera does not need consent, partially because it is fitted with a telephoto lens and so it sees beyond social distances which force us to react as well. The close up makes us feel like intruders when the subject opens up and becomes vulnerable. We become detached or emotionally involved through the manipulation of space by the camera’s lens.
Choose your close-up framings from the following x:y aspect ratios: • 4:3 aspect ratio which is the same as 16mm and TV’s 1:33:1 • HD video 16:9 (1.78:1)
Compare this with the following 2 frames:
The off-center composition of these alternating close-ups creates that left to right eye movement that is vibrant and will become more distinct as the size of the screen escalates. Below is a good example of sequential art, since compositions are not judged individually but by how they unite in a sequence. The routine solution is to leave looking room (side of the screen the 73
character is looking) and more room at the base of the screen than at the top, but you can manipulate the frame as you require. Unconventional POV’s and shot sizes can be applied to add interesting story elements.
actor to use body language, this physical u down. Even the way dance is photographed u u u speed up the dance tempo. T
Register fo http://www. in order to rea this ar u asymmetrical framing. The following two full u S centered framing is nearly as powerful as a
You can adjust the frame to emphasize elements or features such as a close up of the eyes to enhance the character’s fear or the ears to stress the fact that your subject hears that he is being followed. Medium Shot:
The medium shot is employed to frame your character’s body language, gestures and movements and even for facial expressions. You would also compose most of your dialogue shots within the medium shot range. This includes the 2-shot, 3-shot up to the 5-shot group. More than 5 would need a full shot. Full Shot:
You would normally apply the full shot to establish your characters in relation to their environment and each other or to set the scene with panoramic vistas. The cutting of medium and close-up shots is more involved. When the long shot is combined with the two tighter framings, the editing pattern seldom returns to the full shot. While the medium and long shots can fulfill the narrative, a close-up generally must be accompanied by other close-ups, medium or full shots to fulfill the narrative requirements of a scene. Although the full shot allows the 74
The Line of Action
The basic rule of camera placement is that the continuity structure observes a line of action. The purpose of this line of action is quite simple: It organizes camera angles to preserve consistent screen direction and space. Think of the line of action as an imaginary line running through the space in front of the camera. It is to ensure that multiple angles of a scene can be cut together
without a confusing reversal of left and right screen space. This way, subjects moving through the frame in one shot continue in the same direction in a subsequent shot. The line of action is also called the “180 degree rule” or the “axis of action.” To maintain consistent screen direction of the two people seated at the table, the continuity system proposes that an imaginary line of action be drawn.
PROFILE SHOTS The last setup within the triangle method is profile shots employing cameras A to C. The exact angles of your frames, compositions and sizes are infinite within the triangle as long as the line of action is not crossed.
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The direction of the line is anywhere you choose, usually the line of sight between subjects in a scene. Once the line is determined the working space of 180 degrees (the semicircle) is established. The screen direction of any shots obtained from one side of the line will be consistent with each other.
The illustration above shows the shots obtained with 2 cameras. The camera position that is outside the working space is “across the line.” The result is that the man is looking in the same direction as the woman (he now looks away from her.)
The Triangle System
Another way of describing the line of action is to envision it as the triangle system of camera placement. All your scenes can be filmed from 3 points within the 180-degree work space.
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Give them credit
Different titles, different jobs! What do they all mean? Our journey continues with our credit list, as we bring you some basic definitions of the most common job titles in film and television...
or FREE at .mov-e.co.za read these cles. Stunt Coordinator: This position contains great responsibility. When a film requires stunts, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt. He works in close conjunction with the director.
First Camera Assistant: Generally also known as the Focus Puller. He/she is in charge of keeping the subjects filmed by the Camera operator within the desired crisp and sharp focus. He/she will also perform the focus pulls between various components inside the shot when the action or emphasis shifts. Has to know every lens type and what it is capable of. Also in charge of cleaning lenses, changing them, putting on filters etc.
Production Designer: A production designer is responsible for creating the physical, visual appearance of the film. This includes settings, costumes, properties, character makeup, all which can be seen falling in as a unit. The production designer works closely with the director and the cinematographer to achieve the desired â€˜lookâ€™ of the film.
Armourer or Weapons master: Whenever gunfire or something similar is being filmed, it is essential to use professionals to handle the necessary weapons used. The armourer is a specialized props technician who deals with these firearms. In most jurisdictions this requires special training and licenses.
Greensman: The greensman is a specialised set dresser dealing with the creative/artistic arrangement or landscape design of all types of plant material, sometimes real and sometimes artificial, and usually a combination of both. The greensman can report to the art director or even directly to the production designer, depending on the scope of the production.
Make-up Artist: A key role in any production. Make-up artists work with makeup, hair and special effects to create the characters look for the screen. Apart from the standard beatifying make-up, spot removals, base touch ups, removing shininess etc., their role can also include manipulating an actorâ€™s on-screen appearance by making them look more youthful, larger, older, creepy, or whatever the character calls for. In some instances body makeup artists will be brought onto set to concentrate only on the look of bodies rather than facial make-up.
To be continued... 81