For the last year or so, I've been becoming a sort of crowdfunding (and specifically Kickstarter) expert, consulting and making videos for clients who are trying to raise funds for various projects. If you've followed me during that time you've probably seen me stumping for dollars for these various projects - a microbrewery, an organic chicken-raising collective, a couple days of carless streets in Tucson... all these things became realities thanks in part to the platform called Kickstarter, and thanks in part to my know-how in using it and social media.
Now I'm using that platform to raise funding for a project that I'm actually involved in myself: a documentary that I'm directing about homelessness, and specifically about the challenges of being homeless in Tucson, Arizona. Check out the Kickstarter video by pressing play below:
My collaborators and I are experienced filmmakers; for years we've all been involved in enough low-budget or no-budget projects to know that it costs a certain minimum amount of money to do a film properly, in such a way that people will notice it, and watch it and respect it and recommend it to others. This minimum amount is usually much higher than people not in the business expect, but much lower than the numbers thrown around in Hollywood circles. You can make films cheaply, but you do need something, and the professionals who work on even low-budget films need to eat, and pay rent, and maintain their equipment. Read more>>>
In the last issue of Filmmaker Magazine, there's a section (print edition only) called "Letters To A Young Producer." I'm not a producer, exactly, nor do I want to specialize in that, but there are lots of good bits of advice and stories by several working "indie" producers. The last one, Noah Harlan, says an interesting thing: basically, if you're producing films with budgets of at least 2 million dollars, that's enough to make a living as a producer, from your fees. But, in today's funding/investing climate in the filmmaking world, he's unable to pull himself into that bracket. There are no films being made in that bracket. "The mid-budgeted indie is gone."
Is that true? If so it's probably true of directors as well. Possibly it's not true of other roles that are less involved, because they can work on several films a year - grips, camera operators, actors, etc. But producers and directors are kind of sucked into one film at a time for a year or more. Read more>>>
I've been editing video with Final Cut Pro for 9 years now, yes that's NINE YEARS. Yet today I'm wrestling with a problem that brings me to the brink of complete, throw-up-my-hands frustration. Absolute utter despair that makes me want to just give up being a filmmaker completely, or at least being an editor.
It's pretty much too complicated to describe here quickly and not have someone mistake it for a stupid mistake. Trust me, it's not a stupid mistake. I'm not an idiot, and, like i think i mentioned, I've been using FCP for NINE YEARS. Trust me when I say this is a completely new and weird fuck-up that is a total mystery and that you would probably have no idea how to solve either unless you have as much intelligence and experience with this software as I do.
In other words, I'm not posting this to ask for help. I'm just screaming my frustration. Thank you, Apple, for once again leading me to believe that I could trust you and your products. sigh. Read more>>>
posts from the Truth On The Line website.
We have a first assembly rough cut and the story is finally all there together. But of course there is still lots of work at the edit suite left to do. Alternate takes and shots must be assessed, sound must be cleaned, music selected, graphics needs to be generated and placed, and color correction will be necessary.
From the beginning of post, 5 large "frame grab boards" have hung on the wall of the edit room. These boards are a practice inspired by famed editor Walter Murch. Each camera set up in the show is represented by one or more printed still photos, arranged roughly in shot order. As we work, the boards on the wall provide a quick and easy visual representation of the project and what material is available to us.
This week has been a busy time of meetings with department heads and trusted advisors. Decisions and discussions that will determine the shape and future of the show are underway.
As we go forward from here, we'll also ramp up our efforts to get the word out about this project and start talking with interested allies. Expect to see more and more activity on this website as the final cut approaches! To be sure you stay up to date, be sure to get on the mailing list (on the front page of the web site) or join the facebook group if you're reading this there. Read more>>>