I love this series of articles from TheDissolve about my favourite kind of movie – Science Fiction. Only in Science Fiction (and children’s literature) can you deal with saving the world.
In this instalment they look at the time around the release of the first Star Wars and how other films – more entrenched in SF history – were in the works. Films like Superman, Star Trek: The Motion Picture and Flash Gordon all took a look backwards. So did Star Wars of course, but in a more veiled manner.
Anyway, the guys at The Dissolve will say it better (and longer) than I ever could.
Great whistleblowing article over on TorrentFreak about the state of things in the relationship between VOD services and the Studios.
What becomes abundantly clear is that major studios are in a monopoly position, capable of making outrageous demands. This is a system based on complete disregard for the consumer or concern about the quality of the product. That in and of itself is not unique – many industries are like that – but we like to fool ourselves into thinking that filmmaking has something (even if just a little) to with creating good to great art.
Be clear – if this is the studio method of operation then why would you, as an independent filmmaker, choose to be part of it? Because you want to work with A-list stars, win an Oscar, have a high budget?
At this point I have given up on that dream and decided instead to focus on a ground-swelling of production that targets the customer (crazy idea!) and not the sales pipeline.
Anyway, I digress.
Please read this informative if blood-pressure-raising article.
This post is really all about the enclosed video. It is a very cool idea – and simple, as the best ideas usually are.
The problem: you put your slider on your tripod. But at the ends the weight of the camera causes great instability leading to either the worst case scenario of the tripod falling over or at the very least the camera dropping down and not getting flat slides.
So, the clever clogs over at Konova have come up with a do-hicky (for want of a better term) that you can use to give additional supports to your slider from a single tripod.
It is very cool. I want.
NoFilmSchool (who? haha) have a brief article that summarises 3 crowdfunding platforms (Kickstarter, Seed&Spark and Indiegogo) and how they are now becoming important considerations for their distribution connections as well as their ability to help filmmakers raise funds.
Adam Leipzig over at Cultural Weekly talks my language… numbers!
Leipzig breaks down a couple of different scenarios for a low – he says ‘micro’, but here in Japan his number ($400k) is medium budget! – budget film as far as traditional or direct distribution. It’s good reading if you like to see simulations and numbers (which I do).
Of course, the problem with articles like these is that they are VERY subjective and your mileage might vary incredibly. So they are best taken as theory, not practice.
Ok, yes, there’s been a LOT of articles over the years that tell you a varying amount of tips (this article has 14!) on making your low budget film.
And yes, usually the things are the same.
But some of you (read: us) are not listening and keep retreading the same bald tires.
So I’m linking in this one.
Read, understand, absorb.
Hulu, for most people, is the content network people forget about.
But they have lots of outlets in many countries (more than Netflix I believe) and haven’t given up yet! One of their new cornerstones of strategy is acquiring more exclusive content.
Variety has a great article about this, plus its invaluable insight for us content creators into the inner workings of an exciting company and opportunity.
This article is, sadly, just about app and gaming applications for Microsoft’s Hololens.
But hopefully (and I’m sure it’s happening) people are looking at how these things can be used for media outside of games.
I’m always questionable about the mainstream future of things like this for dramatic content, but, one day I will be proven wrong.
This article on LinkedIn delves into whether Hollywood will be disrupted, like almost every other industry, by technology and changes in public tastes.
Author Norman Hartmann starts with the utterly preposterous idea that scripts could be generated and moves on to auto-generating ‘blockbusters’ (i.e. crappy movies) in real time using some sort of game engine.
It is an interesting concept (that will, in my opinion, never happen) but, the real value here is opening up the box and seeing what you can do with all the stuff inside it.
Re/Code gives us a treatise on the state of YouTube stardom. YouTube stardom, is, in fact, Real Stardom.
With changes to the platform, and of course the millions of people you are competing with, becoming a YouTube star is still do-able, but is no longer a simple feat.