Quintessential Studios' Weblog

Conflict!

Boy that seems to be the driving force behind a lot of businesses, telecommunications or otherwise. Heck, in most people’s lives too! Would life be better without it? I think we’ll never know.

There are at least three sets of competing technologies in the telecommunications industry that I am aware of at present time, trying to control their market shares. One is editing programs. Avid, Apple and Adobe are the bouting companies there. Then there’s the famous “I’m a Mac, I’m a PC” fight. And then finally there is digital movies versus film movies. There are many more, like digital radio vs. standard radio or Internet TV vs. HD TV but I’m going to talk about the one I’m most connected to recently, film format vs. digital format.

I’m an up and coming indie “digital” filmmaker. I haven’t even cut one frame of film. I started my new journey a year and a half ago.

There are people on both sides of the fence on this controversy. Old-timers and newbies alike sit on either side of this debate. My uncle works for a major studio as a projectionist. He has worked there for quite a long time. He plans to retire in ten years. According to him he’ll still be playing movies on film projectors when he does.

He is among the group of people that embrace both technologies but prefer the older film technology. Another is Director of Photography, James Mathers. James spoke at a recent Orange County new media event on the future of digital cameras, specifically on what’s called 4K, meaning 4,000 lines of resolution (vs. 1080 which is HD). He loves to shoot on the new 4K cameras but states that he prefers to shoot film. I’ve noticed that most people, who have experience shooting film, prefer it. I think it’s more of an art thing. They feel more control and artistic when working with light in an analog manner, rather than dealing with it in an impersonal digital format on an impersonal computer, to boot.

Theatres are slowly changing to digital projection but according to my uncle, “They cost more to fix and are being replaced by film projectors when they do break down.”

I was at a recent HD Expo, March 5th, 2009. There, another old-timer, Rodney Charters, ASC, talked about his experiences shooting on new 4K technology cameras and that the show he works on 24, has made the switch to all digital, “no more film”. It was also during this seminar that I learned a stunning fact. One of the two top producers of digital projection technology was the very company my uncle, the die-hard film man, works for. It’s going to make for an interesting conversation the next time I see him!

To put things in perspective, film is closer to 6K in its resolution but it is expensive and film is delicate. I’m sure you notice the scratches in the film when you’re at the theater. The RED company is working on cameras now that will shoot digitally at 10K. There are lots of people very anxious for them to come out with them. Digital projection is much clearer, no scratches. Not to mention, the world is being trained to like HD and accept no less.

There have been many Kodak plant closures. Film processing is only done in a few places these days, when it used to be all over. Film also uses a lot of chemicals to process and there are arguments as to whether or not film isn’t destructive to our environment. There is even some that argue back that maybe the creation of digital media is destructive too. But I think the trend will always go towards the new. I don’t know anyone working on new film technology.

I work in the computer industry and watched the old dogs fight to keep main-frame computers and THEIR jobs from going away. But schools don’t teach main frame computing anymore and companies are moving away from them too. That’s just the way it goes. Out with the old and in with the new.

There are many similar stories in all types of technologies.

The next point of contention is archiving. Film lasts a lot longer than digital data. But they are coming to terms with that too. Just as punch cards moved to tape and then to digital storage in the computing industry, so will go film. They are already agreeing to terms of such storage.

Very few people learn to shoot and edit on film anymore. (I hope I get to here at RCC before it goes away but merely for historical study, really.)

Universities, like USC, are going all digital. Theaters are moving in that direction. Kids growing up probably won’t even know what “film” is. When they are grown, I suspect, film will be gone.

I don’t think the feud is as rough as the one between David Sarnoff and Edwin Howard Armstrong but I’m sure there are some people with stakes in the film industry that are fighting just as hard to stay around.

For my uncle’s sake, I hope it does take ten years to resolve. But in the end, I know I’ll be there working in digital as will many others, until the next new thing comes around!

What Worked and What Didn’t
There were a lot of things that worked. There were a lot of plans that we were able to make ahead of time to make things easier. There were things we should have done but didn’t. There were a lot of things that could have been improved. And, actually doing the things we planned to do, would have helped out a lot!

I think we learned what to do next time and everyone seemed excited about doing it again.

Pre-event Meetings
As I mentioned before, I started having meetings in June. I think we had 8 – 10 meetings total, including meetups and one field trip. The field trip was a seminar on DIY micro-budget filmmaking by John Putch. That was part of the Pizza & Post series given by Video Symphony, a post production school in Burbank. From those meetings we did three “two-hour film projects”. These weren’t completed in their totality in two hours but some portion of the process was completed in two hours (or so!)

This worked because it gave us a view into what our weak points were. We were able to plan more accurately the schedule that would be the 48 hours. It also worked to flush out “bad” attitudes or people or views that I didn’t want to work with on this project. It was good to see what were at first suspicions, grow into actuality and prove to me that if I ever detect those things in the future, that I am right and to just get them off the team right then and there and don’t waste time dealing with them.

People intimate with the team and its progress will know who I’m referring to but I just want to talk about the particulars so that others reading this can form their own opinions. I’m not saying that those “bad” attitudes are necessarily bad, I’m just saying they didn’t agree with my desires and as such were better off doing their own thing and not butting heads with me.

So this is how that all went down:

First person I met (other than people I already knew, who would work on the project) was a lawyer who had experience creating his own pilot home improvement show. Great guy. Very motivated. But, when first exchanging emails with him, I thought to myself, “I don’t think this is going to work out.” As any successful business person is, he was very passionate and very “right” in his opinion of how things should run. He was also a very creative guy and wanted very much to contribute to the creative side of things, writing and shooting, etc. We met the day before my official first meeting and face to face we had a lot of similar interests and creative contacts even.

Being a bit pushy and slightly over-bearing, I immediately thought of him as a good production manager, someone who could get people motivated or “pushed” to complete their intended project, on time. This I figured I was weak in, so I thought he’d fit the bill for that part.

The next day, I had my first meeting. He attended and brought his secretary, an actress. She couldn’t stay the whole meeting but I figured that since her boss was going to be running the show, I didn’t have to worry about whether or not she’d flake out on me.

Also at this meeting was one person from the 20 projects project (a filmmaking group I co-founded), whom I wanted for my 1st assistant director. He of course stayed until the end of the project.

The couple that would eventually quit to start their own team where there. They were very motivated and seemed willing to take on any role. They were also musicians and it’s always good to have a stall of musicians around. More on why they quit later.

Also, there was one classmate from my Intro to Telecommunication class at RCC and one classmate from an Intro to Pro HD class I took at Citrus College. Two more classmates from my Intro to Pro HD class would eventually be on my team but the first one had to quit because of health reasons.

We had a few general meetings; organizing, talking about genres, trying to figure out who wanted to do what, getting to know each other, going to the 48 Hour Film Project meet-ups, etc. These meetings really just served the purpose of “we’re a group, let’s see if we can stick together.”

Of the 10 actors and 9 crew/actors that ended up staying on the team, they came from these areas:
5, myself included, from my side filmmaking group, the 20 projects project – Roles: Producer/Actor, Director, Assistant Director/Actor, Actor and Actor.
5 from local bands (friends and family of ours) or friend of one of the bands (All actors)
4 from classmates of mine (Two soundmen/actors, one Writer and one Cameraman/Editor)
1 from Twitter friend of mine (Editor)
4 from craigslist ads or as a result of someone they knew reading the craigslist ad (Writer, Actor, Grip/Actor and Actor.)

Not everyone made the meetings on a regular basis, especially the band members and friends thereof but we had a core 6-7 that did. This built a solid foundation of “the group”.

To be continued…

Borrowing from the title of one of the shows I like to watch, I’m going to talk about doing my first 48 Hour Film Project. I’m going to break this down into installments as there is a lot that I have to write on this. So here’s the first.

June 22, held my first 48 HFP meeting. This is where I asked people who responded to my Craigslist ad to attend. From that first meeting, I believe I got three new people who stuck all the way to the end of the project. Two other attendees went on to start their own group for the 48 HFP and one more quit near the end and I opted not to bring them back on. The rest just disappeared.

There were more meetings and practice “two-hour film projects” and in the end there were a little over 20 people involved in the project, in one way or another.

The reason I wanted to do this 48 Hour Film Project in the first place is that I have spent the last year and a half studying about editing, video and film making and while reading and doing little practicals here and there, I knew that nothing would compare to actually getting out there and getting my hands dirty with some project with a hard deadline.

At first the group that I co-founded, The 20 Projects Project, seemed lackadaisical about doing the project but as we spent more time preparing for the show, they got more and more excited and active in relation to it.

Around the same time, we got interested in finishing an old project (with a new re-vamped ending) and starting using the practice sessions as “20 projects” projects.

I have studied a few film contests and the 48 Hour Film Project, overall, seemed not so professional that we couldn’t compete and also professional enough that we didn’t feel silly entering it.

I became interested in the Inland Empire 48 Hour Film Project last year but we heard about it too late to really enter and so I put myself on their mailing list to hear about the next year’s competition. Thus I got early emails about it and also had time to get things together in time to enter.

I really consider this more of an experiment in human nature and accomplishment than a film contest. This is a test to see if people working together in stressful situations can actually get a completed product and if they fail, where are the out-points so that they can be improved upon. It was an exercise in management.

I learned a lot of things about myself and different personality types and a whole lot about what not to do. I learned areas that needed improvement and I think we all learned new skills. After all, practice makes perfect and this was really good practice.

There were a reported 25 teams that competed this last weekend and of those, I watched about half. Everyone did a great job completing the task that they set out to complete. I gather that some had the end product that they wanted to achieve. We didn’t.

Stay tuned for more….

MovieMaker Magazine sends out a monthly newsletter that has some great information. You should sign up for it if you’re into the types of events as listed below:

MM SPECIALS & ANNOUNCEMENTS
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MEGA PLAYGROUND—Traditional dailies are a thing of the past—DP DAILIES @ Mega Playground-NY… The way dailies were meant to be. Technically and creatively: Scan dailies like you would for a DI so that dailies color looks like your DI. Pre-visualize dailies the way the DP intended them to look like. Conform scans so that HD conform/color is your DI. Financially: Over $42K savings in dailies alone or over $120K savings if you opt to do a DI. E-mail: eitan@Mega-Playground.com for details.

THE SCREENWRITING CONFERENCE IN SANTA FE, LLC brings working Hollywood writers, producers, agents and managers to Santa Fe. “It’s not the teaching of theory; it’s the real stuff, offered in a human-scale, give-and-take atmosphere.” —Gerald DiPego (The Forgotten, Phenomenon, Message in a Bottle) SCSFe 2009 will be held May 26 – 31 in New Mexico. “This conference is so good I moved to Santa Fe.” —Charles Tramontana, Santa Fe, NM. At SCSFe, chances are you’ll meet someone who will change your life.™ To find out how, go to http://www.scsfe.com or call 866/424-1501.

SUSAN FOR NOW: THE DEFINITIVE BDSM DOCUMENTARY. NOW AVAILABLE ON AMAZON.COM. Melbourne Underground Film Festival writes: “This mature and revealing film probes the underbelly of the Sadomasochistic underground and comes up trumps.” (http://www.muff.com.au/2007/muff_neu.htm) BadLit adds: “It was nice to hear about this culture from a real insider and a fan, which lends the film a real sense of honesty and integrity.” (http://www.badlit.com/?s=susan+for+now) RatedX Film Festival, Amsterdam (http://www.ratedx.nl/pages/program.html) further notes: “A revealing portrayal that offers a honest and non-sensationalistic exploration of the often misunderstood world of sadomasochism”.  Find out more at http://www.susanfornow.com. This film is not yet rated. May be disturbing to some viewers.

BOOKS, DVDS & SOFTWARE
SAVE TIME & MONEY ON YOUR NEXT SHOOT! FRAMEFORGE 3D STUDIO delivers an effective way to prepare before shooting live begins. This previz/storyboard software recreates depth of field along with the ability to optically mimic any film or video camera, including 16mm, 35mm, HD video, widescreen or whatever. What you see through the program’s camera will be virtually identical to what you’ll see on the set. This assures FrameForge users that they’ll never be caught off guard on set with a storyboard that’s impossible to shoot. Communicate the full scope of your vision to cast, crew and investors with animatics in QuickTime, Flash, navigable HTML pages or NLE editors. Save 10% when you enter or mention promo code MOVIEMAKER during checkout. The Writers Store: 800/272-8927 – http://www.writersstore.com/?e=1032.

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FILM EDUCATION & WORKSHOPS
When you come to CDIA, you’ll be taking your first steps toward the creative career you always wanted. Through intensive, hands-on training and experience, you’ll get the necessary skills and learn the latest in digital filmmaking in CDIA’s full- or part-time certificate programs. Our campuses in Waltham, MA and Washington, DC feature state-of-the-art classrooms, studios and labs with the latest software, hardware and equipment. Create a life you love. Contact CDIA today for more information or to schedule an interview: 800/808-CDIA or info@cdiabu.com. http://www.cdiabu.com.

COLORCAMP 101—June 8-10, 2009 | Navy Pier | Chicago, IL—Demystifying Color for the Content Creator from Theory to Practice. Click here to learn more: http://www.hdexpo.net/education/colorcamp/index.html. Why you should attend this workshop: Learn to manipulate color and look on set and in post-production. Have your project stand out through your knowledge of color and its importance in storytelling. Advance your career through this essential education and the connections made during this workshop.

Students from all over the world come to FULL SAIL UNIVERSITY with the drive to succeed in the entertainment industry—pursuing their interests in music, film, video games, entertainment business, animation, digital design and the Web. For more than 30 years, Full Sail has helped these artists turn their passion into successful careers in the fields they love. The Full Sail University Film program prepares students to become competitive in the professional film and post-production job markets. Covering each step of the moviemaking process, from the script to the silver screen, the program puts students in each role of the production pipeline as they create their own films. For more information, visit http://www.fullsail.edu or call 800/226-7625.

The eight-hour seminar, “HOW TO MAKE A MOVIE,” delivers serious moviemaking know-how. No show, all business. Emmy Award-winning producer Norman C. Berns delivers intense, detailed instructions on how to get your movie into production and how to get your production funded. Script breakdown, scheduling, budgeting and business plans. Cash flows, legal fundraising and pitching like a pro. Drawings for major software from Baseline, BTL, Entertainment Partners, Showbiz, Show Starter, vReveal and others. Live at Media Services, 501 S. Sepulveda, Los Angeles. $139. Space is limited—early registration is recommended. May 14th (http://514.eventbrite.com/) or May 16th (http://516.eventbrite.com/). Inquiries to Norman C. Berns (612/290-9025) or Leimomi Coloretti (310/472-9330).

THE LOS ANGELES FILM SCHOOL links the technical requirements of moviemaking to each moviemaker’s desire for creative exploration and discovery with a hands-on, 14-month, Associate of Science degree in Film. LAFS provides aspiring moviemakers with an unparalleled educational experience all within a 200,000 square-foot mega-campus, strategically located in the heart of Hollywood. So hurry—classes start every four weeks and fill up fast! Financial aid available to those who qualify. Visit http://www.lafilm.com or click here for All Access Tour dates or more info. http://www.lafilm.com.

MANHATTAN EDIT WORKSHOP offers a full range of certified courses in the art and technique of film editing—from Final Cut Studio to Avid, Adobe and customized classes to fit your specific needs. MEWshop’s signature Six-Week Intensive is a jump-start for anyone looking for a career in editing. Learn both Avid and Final Cut Pro, work with top editors in our Artist in Residence Program, create a professional editors reel and participate in Manhattan Edit WorkForce – connecting you with at least 15 top post-production facilities. For more information, call 212/414-9570 or visit http://www.mewshop.com.

NEW YORK FILM ACADEMY offers intensive hands-on filmmaking, acting, animation, producing, screenwriting, editing and digital filmmaking programs. One year, two year Conservatory, Bachelor’s, Master’s of Fine Art and short-term programs and workshops available. No film school can match the Academy’s bi-coastal campuses in the heart of New York City and on the backlot of Universal Studios in Hollywood, as well as their many international locations including the U.K., China, Italy, UAE, France and Spain. Call them at 212/674-4300 or e-mail film@nyfa.com. Info: http://www.nyfa.com.

SAE INSTITUTE‘s Film programs teach you the core creation and production process of moviemaking; preparing you for entry-level positions in the film and television industries. SAE’s individual, hands-on approach enables students to work with industry-standard software and hardware while learning the techniques behind directing, filming, capturing, editing, FX and compositing. The Diploma curriculum is designed to demystify the entire process and focuses on empowering students to create their own vision during their location and studio projects. Visit http://www.SAE-USA.com for more information on SAE campuses offering film career training.

Apple-Certified Final Cut Pro Training Center, offers film editing classes in New York City. At the heart of THE EDIT CENTER curriculum is their six-week Art of Editing Course, which brings together independent moviemakers who need their movies edited and beginning editors who are looking to learn the craft while working on a feature film (recent projects include Frozen River and the doc, Reporter: On the Ground with Nicholas Kristof). The class is taught by accomplished editors whose credits include SiCKO, Role Models, The Squid and the Whale, Pray the Devil Back to Hell, Garden State, Maria Full of Grace, Welcome to the Dollhouse, “30 Rock,” “The Wire.” Edit Center Alumni have gone on to work with films such as Little Miss Sunshine, Labor Pains, American Teen, Half Nelson, Order of Myths, No End in Sight, and Match Point, among others. As an Apple-Certified Training Center, they also offer weekend and one-week Final Cut Pro classes. 212/691.2370; http://www.theeditcenter.com.

VARICAMP 2.0—June 9-11, 2009 | Navy Pier | Chicago, IL. Make the VariCam® Work for You. Click here to learn more: http://www.hdexpo.net/education/varicamp/index.html. Learn how to get the most out of the VariCam and maximize your investment with: Hands-on labs for motion, color and density. Camera set-up and menus. Post-production workflow for the VariCam. A network of others in the production & technology community.

LOCATIONS
ALBUQUERQUE—The Film Capital of the Southwest. Terminator Salvation, Hamlet 2, Breaking Bad, In Plain Sight, Crash: Season One, Easy Money, Swing Vote, The Eye, Beerfest, The Spirit, In the Valley of Elah, Observe and Report, Love Ranch, Trade… and more! 310 days of sunshine; a wide variety of locations; home to ABQ Studios, the largest independent film studios in North America. A film-friendly city for indie moviemakers; Albuquerque: Where size doesn’t matter! Info: http://www.filmABQ.com.

Our people. Our Locations. Are why producers choose San Antonio. The SAN ANTONIO FILM COMMISSION is your central resource for filming in San Antonio and surrounding areas. For more than 20 years, we’ve provided producers with the information and assistance they need to get projects done on time and on budget. Come discover a city that has a history as rich and diverse as the locations within it. Go to http://www.FilmSanAntonio.com or contact Drew Mayer-Oakes (drew@filmsanantonio.com or 210/207-6730) for more information.

The SEDONA FILM OFFICE is your ultimate resource for filming in Sedona. We provide assistance with location scouting and film permitting as well as information on crew, talent, accommodations and local services. The Sedona Film Office is your liaison between the film-friendly community of Sedona, local government agencies and your production. Sedona offers diverse ecology including mountains, desert, forests, creeks/rivers and the famous red rock sandstone formations as well as southwest architecture, “home town” communities and historic mining towns. Visit http://www.sedonafilmoffice.com or contact Lori Reinhart at
928/204-1123 or info@sedonafilmoffice.com.

PRODUCTION SERVICES
“STREAMLINE DOWNLOAD SERVICE” available from BUYOUT FOOTAGE—a leading supplier of public domain films and royalty free stock footage for moviemakers, broadcasters and production companies worldwide. Buyout Footage offers rock-bottom prices for archival public domain films, newsreels, cartoons and short subjects along with contemporary footage of Ppresidential speeches, Congressional hearings, U.S. military and space programs. Formats include HD, NTSC and PAL. Buyout Footage’s new “STREAMLINE DOWNLOAD SERVICE” allows for downloading of specific time-code sequences from complete titles which can be easily previewed online. Visit http://www.buyoutfootage.com. Contact: Gary Carr, garycarr@buyoutfootage.com; 714/ 577-5735.

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UPCOMING FESTIVALS & CALL FOR ENTRIES
AOF FEST named as one of MovieMaker’s Top 25 Festivals Worth the Entry Fee; The AOF Festival (Action On Film) International is one of the most progressive and fastest-growing festivals in the country. A week-long show featuring the top comedy, drama, action, animation and documentary works from top independent moviemakers and producers. The AOF Fest helps moviemakers and writers make a name for themselves in the industry. Great prizes, cash and sponsorship. For more information, visit http://www.aoffest.com.

BIG BEAR LAKE INTERNATIONAL FILM FESTIVAL & SCREENPLAY COMPETITION—September 18 – 20, 2009. Screenings of independent feature films, short films, student films, high school films, animation, documentaries, family films and a screenwriting competition. Jury and Audience Awards are presented during the festival. The festival also honors professionals in the industry with Lifetime Achievement Awards and Awards for Excellence. Festival is very filmmaker-friendly and features seminars, panels and a pitchfest. Many professional in the industry attend and participate with the events. Deadlines: May 25, 2009 (film); April 7, 2009 (screenplay). Visit http://www.bigbearlakefilmfestival.com, call 909/866-3433 or e-mail info@bigbearlakefilmfestival.com.

Call for Submissions: Heading into its 10th year, the CALGARY INTERNATIONAL FILM FESTIVAL (September 25-October 4, 2009) is considered by MovieMaker Magazine to be one of the top 25 film festivals in the world worth the entry fee. CIFF’s delegate base, awards and culture are growing by leaps and bounds, making CIFF an up-and-coming festival. Shorts, documentaries and feature-length narratives are welcome. The Mavericks competition offers emerging feature-length moviemakers the chance at a CDN$25,000 prize for demonstrating a signature voice and frontier spirit. Deadline for submissions is June 12, 2009. Visit http://www.calgaryfilm.com for more information.

THE FILM SERIES AT CINE GEAR EXPO/ June 4-6, 2009. Paramount Pictures Studio Lot in Hollywood, CA. Call for Entries: Competition in student and independent short, documentary and independent feature film with an emphasis on the visual art form. Professional panels of jury members and screeners, scores of film-watching attendees and more than $70,000 in production package prizes are what the 3rd annual Film Series offers moviemakers eager to showcase their work in Hollywood. Bonus: Finalists get face-to-face with distinguished film industry professionals at the Cine Gear Expo 2009’s VIP Party and awards presentation. Email: filmseries@cinegearexpo.com. More info: http://www.cinegearexpo.com.

CINESOL FILM FESTIVAL has been the premier film festival of the Rio Grande Valley of South Texas since 1993. CineSol is currently accepting films for September 2009! For more information, visit http://www.cinesol.com or  http://www.myspace.com/cinesol.

CUCALORUS FILM FESTIVAL, November 11-15, 2009. Deadlines: June 10 (early); July 10 (final). The 15th annual Cucalorus Film Festival seeks submissions from independent moviemakers.  Cucalorus is a non-competitive showcase of independent features, shorts and documentaries from around the world. The festival is held in historic downtown Wilmington, NC, one of the leading film production cities in the U.S. Cucaloriland excepts films from all genres. All entries on DVD or VHS(NTSC) must include entry form, one lovely poem and fee ($30 early;$40 late). Please download an entry form from http://www.cucalorus.org. 910/343-5995. Send stuff to: Cucalorus, 815 Princess Street, Wilmington, NC 28401. dan@cucalorus.org.

The EERIE HORROR FILM FESTIVAL is an internationally recognized, competition based event that takes place each year in the city of Erie, Pennsylvania. Focusing on the horror, science fiction and suspense genres, the four day Festival features film screenings, celebrity guests, vendors and workshops. Awards and prizes are presented to the best films and screenplays each season, with special awards for young filmmakers and screenwriters ages 10 – 17. Call for entries open on Halloween day each year and remain active until August. For more information, visit http://www.eeriehorrorfilmfestival.com or e-mail: info@eeriehorrorfest.com.

FIRSTGLANCE FEATURE AND SHORT SCREENPLAY COMPETITIONS are calling for entries. 2009 contests will be an all “GREEN” event, calling both feature and short screenplay writers to submit their work. Feature screenplays will receive one page feedback from professional readers (valued at $150.00) and the final three scripts will be read by Hollywood producers and production companies looking for material. Short Screenplay winner will be considered for co-production by FirstGlance and premiered at one of their festivals. FirstGlance offers not only opportunities for screenplays to be produced and read by industry professionals, but also awards over $50,000 in prizes annually.  Submit your screenplay electronically. More contest info at http://www.firstglancefilms.com. Deadline: July 12, 2009.

THE FORT LAUDERDALE INTERNATIONAL FILM FESTIVAL is now accepting entries of professional shorts, docs and features as well as college films and high school videos. Early deadline is June 1st.  A procrastinator? Okay, regular deadline is July 1st… and the withoutabox extended deadline is Aug 1st. Students: Sept 1st with final deadline of Sept 30th. Apply now before the good slots are gone! http://www.fliff.com.

HD EXPO June – June 11, 2009 | Navy Pier | Chicago, IL. In the Midwest for the Midwest. Execute your creative vision and sharpen your skills with high-return education, networking and an exhibition floor featuring the most anticipated tools and technologies available for content creators. The only show of its kind in the region, HD EXPO serves the entire community of content creators with attention to advertising production, independent moviemaking, post-production and broadcasting. REGISTER NOW, it’s FREE: http://www.hdexpo.net/june.

Imagine Science Films is accepting submissions for the 2009 IMAGINE SCIENCE FILM FESTIVAL. October 15 – 23, 2009. ISFF seeks narrative films with a scientific/technological theme or a leading character as a scientist, engineer, mathematician. Films should incorporate science while maintaining credible scientific groundings. Deadline: July 31, 2009.  Info: http://www.imaginesciencefilms.com.

Now in its 15th year, the LOS ANGELES FILM FESTIVAL returns to Westwood on June 18 – 28.  Widely recognized as a world-class event, the LA Film Festival provides the movie-loving public with access to some of the most critically-acclaimed moviemakers, scholars, critics, film industry professionals and emerging talent from around the world. With more than 200 films and music videos representing more than 40 countries, this festival represents the best in new American and international independent cinema. To buy tickets, pass and for more information visit http://www.LAFilmFest.com.

5Th annual MYRTLE BEACH INTERNATIONAL FILM FESTIVAL, a Dalton Pictures and Entertainment Company (DPEC) production, has become one of the largest theatrical distribution companies for independent film. DPEC also distributes on DVD, television and digital download. The MBIFF is a truly independent film festival that prides itself on standing apart from other film festivals. MBIFF actively seeks film makers that want to be part of the industry. Submissions dates: April 10 – Sept. 21. Festival dates: Dec. 1-5, 2009, http://myrtlebeachfilmfestival.com.

Writers: OurTvSpace Call for Entries for New Media Fellow! OURTVSPACE—the new digital network—seeks entries from writers for its 2009 New Media Fellow Program! The recipient will receive a stipend of $10,000 to develop an original Web series with OurTvSpace. The Fellow will also be considered for agency representation by Brandon Martinez of Abrams Artist Agency and enjoy the opportunity of having their work produced and distributed by OurTvSpace. The selection committee includes industry professionals from new media. Applications are online at http://www.newmediafellow.com, or visit http://www.ourtvspace.com for more details, too! For more information, contact Fellowship@OurTvSpace.com.

SILVERDOCS: AFI/Discovery Documentary Festival. June 15 – 22. PASSES ON SALE NOW at http://www.SILVERDOCS.com. SILVERDOCS is an internationally recognized film festival and concurrent International Documentary Conference that celebrates independent thinking and generates global media attention.SILVERDOCS supports the diverse voices and free expression of independent storytellers and fosters the power of documentary to enhance our understanding of the world. Anchored in the National Capital Region, where important global and national issues are the daily business, SILVERDOCS is marked by its relevance, broad intellectual range, and wide public appeal.

WRITERS ON THE STORM SCREENPLAY COMPETITION. Call for entries! (4/28/09 – 7/27/09). With a $10,000 cash first prize and over $22,000 in total prizes, Coverage Ink and Writers Boot Camp’s Writers on the Storm is the best place to have your material seen. Check out their success stories at http://www.writerstorm.com and enter online. Or submit your script to Coverage Ink for analysis and your entry is FREE (during the contest period.)
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Zander Villayne
Producer / Director

www.zvpro.com