Anyone can make a video. The 21st century smartphone provides nearly everyone with access to high quality video cameras in their pocket. The difference between amateur and artist, however, is the successful use of perspective. Filmmaking is an art. Every shot should be captured with purpose. The real filmmakers are not people on sidewalks filming the statue across the street. The real filmmakers are the people lying on the ground, holding their camera sideways, and waiting for the light hit the statue just right. These artists understand how to capture unique perspective. Perspective, for the purpose of this article, is capturing “viewpoints that communicate a subject to an audience in a unique way.” If you want to elevate your video skill from beginner to artist, here are suggestions on how to make a good video better with 7 simple techniques.
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Marketing is the most underrated aspect of the filmmaking process. It comes from a combination of wanting to get the film right, having a ton of things to consider and the fact that most people don’t know how to put together an impactful campaign.
But in filmmaking, marketing is a crucial component. With hundreds of thousands of films created each year—in all shapes, sizes and genres, if you want to get your film seen, marketing needs to be a priority.
So, when do you need to start thinking about marketing? The answer is simple: during the entire process. But there are five specific times that marketing needs to be in the forefront of your mind.
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It’s been a blockbuster year for film in Vancouver, providing a slew of opportunities for Background Performers (a.k.a Extras) to be anything from zombies, to German officers, FBI agents, bikers, baristas or nuns—and get paid!
Want to get in on the action? Read on to find out how to work as a Background Performer on set.
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Before Gareth Edwards was behind the helm of the reboot of Godzilla (2014) and the upcoming Rogue One: A Star Wars Story (2016) he directed, wrote, shot and created the visual effects for his breakout sci-fi indie film Monsters.
With a production budget of just under $15,000 the film was shot in Mexico, Belize, Guatemala, Costa Rica and Texas with a crew so small that they were all able to drive together in a seven-passenger van. After picture lock Edwards spent five months working out of his studio apartment, where he created all 250 of the visual f/x shots using Adobe software, Autodesk 3ds Max and ZBrush.
When the topic of low budget sci-fi indie films comes up, it’s hard not to mention the absolute powerhouse that is Primer, a movie that Shane Carruth directed, produced, wrote, scored and starred in. During its 2004 debut it won the grand jury prize at the Sundance Film Festival, alongside the Alfred P. Sloan Foundation prize.
With a shooting budget of $7,000, Carruth’s film tackled the notoriously difficult topic of time travel. While this concept is absolutely within the realm of science fiction, this portrayal has been praised for being represented in a down-to-earth manner that enforces a kind of realism that is not commonly seen in this genre.
3. The One I Love (2014)
Directed by Charlie McDowell (the son of Malcolm McDowell) and produced by mumblecore giants Jay and Mark Duplass, The One That I Love is a welcome homage to the classic sci-fi television series The Twilight Zone (1959–1964), taking an ordinary couple and dropping them into a bizarre ethical quandary.
With an estimated budget of $100,000 (aided perhaps by the fact that filming took place at the home of McDowell’s parents), this film is a reminder that sci-fi isn’t necessarily synonymous with battle in space, or giant monsters. A speculative concept can stay true to it’s science fiction heritage and be an incredibly powerful tool to understand human behavior.
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In short, an Auteur is an artist who applies a high amount of stylistic control over their craft. In the case of Auture Filmmaking, this would be the director.
In the history of cinema, most cinema buffs point to auteur filmmakers as a source of inspiration. Scorsese, Kubrick, Lynch, Burton, Kurosawa, Mallick, the same names pop up over and over again for a reason. They have a cinematic identity that radiates through their work, whether it’s a repetitive setting or a reoccurring theme.
It’s easy to identify a Wes Anderson movie because he has his team of regulars (like Owen Wilson and Bill Murray) on display. His wild pallet of bright colours easily identifies it as a wacky, almost surreal, universe only he could create. He’s so good at getting his vision across, people keep coming back for more.
That is the sign of the auteur filmmaker: creative control for a personal end product that resonates with the zeitgeist.
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