Green Screen: Making The Impossible Possible
March 10, 2010
Green screen is one of the most well liked techniques employed in the creation of films. How often have people been awed by the fantastic antics done by super heroes on the enormous screen? Many have wondered how heroes are able to jump from a tall building without getting hurt, or how a heroine or model is ready to travel to different nations in the blinking of an eye. Well, this will all be attained by shooting in a local studio with a green background and then inserting a background of any place of imagining a director wishes.
All this is formed possible with the help of green screen. An actor can go to worlds that she hasn’t ever been, bringing with them situations and places that you have only dreamed of, which can be done with the strategy of the green screen that’s both convenient and cost reductive. This methodology is very common on television.
One of the best examples where this technique is employed is in the weather forecast section in news. The TV frequently presents a person standing in front of an animated globe, talking about the assorted weather conditions around the globe as clouds and raindrops are conjured up on screen. Actually, there is simply a green screen present and later the animation is added to the background. This technique is followed by pretty much all the television networks.
This technique is simple, all someone needs is a camera, a green screen and video revising software. The person has to make sure that the color is the same through without even a tiny change in the shade. The surface must be even while taping or else it is going to be extraordinarily tough to edit that express segment. Another critical point while using this technique is that the subject should contain a small amount of the same green color. However, one must note that only a minute portion of the topic can be green or in similar shades. When the subject contains a little portion of green, one can hide or minimize the impact of the edges that might appear if the perimeters are uneven or not uniform. The part of the subject coloured in green must be minimal. Else, when it is edited it will seem like there is a hole or an empty space in the subject.
Once the green screen is erected, the very next step is to shoot the topic. To achieve perfection using this technique, the subject should have a well defined outline as it’s going to be better to trace and cut the subject out and superimpose it onto the new background. There should be no loose edges on the topic and the lighting has to be absolutely perfect. The camera should focus on the subject and not on the background. This is critical as the topic may not look clear when it comes time for editing. This method gives the best results when shot in the out of doors.
There are a lot of other websites giving various forms of advice on how to use green screen but a lot of them are not very detailed or concise. Before following these, make sure to check my own articles and reviews on Green Screen and Green Screen , additionally, you can reach me at phillipguye@hotmail.com or 1-323-851-3825
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Surveying the Land of Scape
February 18, 2009
Taegen Carter is a movie director. He is also the owner of Mythmaker Entertainment, a company that produces shorts and features in the genres of adventure, sci-fi, thriller and drama. Taegen tells us about the production of Scape, that should be completed around June of ’09. Let’s read his words, in this exclusive article that could be a page of a well written diary or a best selling novel.
Surveying the Land of Scape
Making a film sucks. It’s hard. Really hard. When it’s finished, and people sit in darkness, silently watching in a matter of minutes what may have cumulatively taken years of work, it’s worth it. But really, the process couldn’t be harder. Start with the fact that an alarmingly high number of people will look at you in utter pity when you mention you’re making a feature film. Mix in some healthy doses of family doubt, maybe a pinch or two of high school friends making ten times more money than you in a real job, and that’s just the beginning. But don’t get me wrong, I’m an optimist.
Maybe it’s my optimism that continues to lead me, often blindly, toward my goal of becoming a professional (see definition of professional: paid) director. Having directed a ninety-five minute feature film already, you might be wondering if the guy writing this article enjoys pain. Sure, maybe a little. But with experience at my fingertips, my second feature had to be easier, right? No. Not a chance. The following is a chronicle of my pain experience, and some of the many problems that arose.
I spent six months writing the script and raised a budget mainly by begging investors (see definition of investors: family) for money. The sum of which was not very much. Just enough to pay a skeleton crew of ex-students, get a deal with the acting union SAG and rent some camera equipment. The law of filmmaking says this: the closer one gets to filming, the more will go wrong. One week before filming and things were really getting dicey. I was still converting my script to a series of shots that I wanted to film, rehearsing with actors, coordinating logistics and dealing with problems. That’s what filmmaking really is, by the way, problem solving.
Problem A: the actor in your opening scene, the scene that is the most important save for the ending scene, tells you a week before filming that he doesn’t own a car and the filming location is 300 miles away. Problem B: the costume rental house will not accept insurance, so you must charge 4 times the value of the clothes on your credit card as insurance. And it’s a period piece movie, so there’s a lot of expensive clothes. And the total charge is so much you don’t have enough credit cards to put the charges on. Scratch that, there’s a credit card you never use in your chest of drawers at home. So you max out your credit cards, hope to hell no one damages or loses or steals the clothes, buy your actor an Amtrak ticket and make a note to pick up a very large bottle of antacids at Costco to help stave off ulcers that you know are on their way. Yes, this is all true.
Even now, I dread looking at a FICO score. Four days before we were to leave from Los Angeles for Santa Cruz, disaster struck. A quarter mile from the sixty-acre horse ranch we were going to film on, a fire started. I had no backup locations. Half the budget for the film had already been paid out. I couldn’t get it back. We had to film. I checked the fire report hourly, popped antacid tablets and realized that we’d film in some random forest even if it meant getting arrested for trespassing or filming without a permit.
All ten of us drove up to a summer rental house and crammed ourselves into our tiny, modest hovel. Later that day the fire dissipated, the police barricades came down, and we found out our location had been saved. Now came the fun stuff. Filming. I had a total of 12 days to film 76 pages. A Hollywood film typically shoots about 3 pages per day. Do the math on my movie. Yeah, we had a lot to film in a really short amount of time. The first shot of the first day took place in a colony for the diseased. We had ten extras to help make the colony feel real. Five actually showed up on a very cold morning. Three actually got back into their cars thirty minutes before filming and left. And these were people who were going to get paid! We had two extras to make a colony feel like a colony. Equipment wasn’t working right. Light was changing fast. And as always, there were lots of things to think about. Those antacids became like Pez to me. I put myself and most of the crew in early nineteenth century clothes and we started filming. Problem solved. Kind of.
Every second on set sends a problem the director’s way. People have questions. People want to know what you think about fill-in-the-blank. It is a director’s medium, for his better or worse. Throughout the twelve days, we had more problems than grains of sand on every beach in the world. I had arguments with the crew. A production assistant got bored four days in and left. Not good when your production assistant is also your makeup artist, wardrobe and caterer. The main prop for the film, a mask the villain wears, showed up very very late into filming via mail.
And on top of all of that, our opening scene became a disaster. If you can’t hook people in the first five minutes of your film, what’s to keep them from continuing to watch? No pressure. The opening included two horses. Not a problem when shooting on a horse ranch, right? The ranch would only give us one horse, and told us this fact an hour before filming. Next problem, it was an Appalachian horse. And it kicked my actor off several times. I was near tears. The scene was definitely not working. The actor who came up via Amtrak for the day had come in vain. And he was going to leave for Los Angeles the next morning. And I had four days of filming left. I was not going to cover the number of pages I needed to finish the film. And on top of that, I now needed to write a new opening scene after a very difficult and very long 12-hour day.
Every morning, after 6 hours of sleep, I would get up, figure out what scenes we were shooting and prepare for each scene. We’d spend the entire day and sometimes nights filming. We’d usually get back to the house around 8pm, eat dinner, watch the footage we shot during the day, transfer the footage and sound to hard drives, go to sleep and start the process over. Now, with only 4 days left, I also had to come up with a new opening. I wrote something and we filmed it on our last day. Having already cut 8 pages from the script while we were filming, I wasn’t too happy about filming a scene twice.
But the new opening scene has cut together incredibly well. In fact, the film is my finest work to date. If a filmmaker’s problem solving skills are his tools to building the film, then problems are the essence of filmmaking. Without these problems, creativity stagnates and the product is awful. I’m convinced that Scape wouldn’t be as good as it is without the stomach-churning dilemmas that appeared throughout the process. Now, as I finish writing this, I’m preparing to write my next screenplay. You’re probably wondering if I read what I just wrote. I know, I don’t make sense. Oh well, you have to do what you love. I wonder if the person who coined that phrase did?
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How to film an award winning movie with no money
February 4, 2008
This is a very interesting story about a director with a great idea but no money. Kely McClung is a director writer actor editor. He’s been able to film his movie with no money and very low resources. But he made it! The award winning Blood Ties is his first feature film. His first short film, AM Session, was recently nominated for HBO’s Short Film Award. Here’s what he wrote for us.
How to film an award winning movie with no money
The four year, twenty-three day, ninety-three minute movie!
Yeah, yeah. The movie’s not that long, it just has been for me. Everyone else, besides friends and family, will get to see the 93 minute version. And the reality is, I might be on it another couple years, though what anyone sees will still be the 93 minute version.
“Blood Ties” was filmed with no money by a crew of three in both the US and Thailand (with just a few moments over the border into Cambodia). Just to make things a bit more complicated, we filmed in the mountains of Virginia, Washington D.C. on the Mall, The Port of Miami, and Atlanta. Our crew numbers stayed at a maximum of three and our cast grew to 154.
And post production? Me. Sound, visual effects, editing, ADR, Foley, graphics, titles, music? Me. Which is not to say everything is great, it’s just what we could afford on a no budget movie. Every time I’d get ready to fire myself, I’d remember that I’m the only guy I could afford! And even with that, I definitely had some long talks with myself.
Is it worth watching? We hope so, and our success on the beginning of the film circuit says we might be right.
Blood Ties won The Action on Film International Film Festival’s “Action Film of the Year”, The Audience Award for “Best Director” at the Big Bang Film Festival, “Best of the Festival” at the Indie Fest USA International Film Festival, “Best Visual Effects” at the same, and has been nominated for various other awards at various other festivals.
Could I teach something about directing? Yeah, probably, even though Blood Ties is a first movie. About editing? Yeah, I’m known as a strong editor. After Effects, sound editing, composing for film, and 200 other subjects involved in making a movie? I’m pretty sure I could. But that’s not want I want to teach or preach or pass on in these few words.
The lesson I hope to share right now is in creating a vision – not only of the movie and what you want it to be but how you want to be perceived – keeping it in mind, and striving toward it with as little compromise as possible no matter how long it takes. Knowing that in twenty or thirty years, your first film won’t matter in the scheme of things except that it will always be, no matter how successful or not, your first film.
One of the things to strive for is surrounding yourself with a strong cheering section. My film partner, my family, my amazing girlfriend. Though they might not physically take on the work, without them, there is no movie.
My film partner, Robert Pralgo put up the initial money, as well as a seemingly endless trickle of money since. He also co-starred, help cast, pushed, pulled and dared me to make a better movie than what we thought was possible.
My family never talked down to me even though I am the one brother of five who they all have to worry about if I have a roof over my head.
And the Amazing Amanda let me see the movie from many different angles, again setting me up to challenge myself to make it even stronger.
Our crew of three rotated several times, and our cast gave their all because they somehow knew that I believed in what I was doing. There would be no movie without all of their many efforts. I give credit to almost everyone I meet and genuinely mean and feel it. They color the way I look at myself and my work, and are reflected in the images jumping around on screen.
And jump around they do! Blood Ties embraced the hand held look simply because I knew where I was wanting to shoot, a tripod, a dolly, or a steadicam would get us arrested. “You mean you aren’t supposed to shoot on the Mall or the Port or in the streets of a foreign country without permission?” Permission is relatively easy to get, if you pay for it. And that just wasn’t part of the budget!
I am sure I could talk about the making of the movie for the about the same length of time it took to make it. And maybe I’ll get the chance to write more. There is a lot more information on our website and other people are starting to talk and write as well.
What I hope with this introduction is to pass on the challenge to others to make the movies they want to see. To learn and persevere. To look at the art around them and if they find themselves saying “I could do that” – then to do it!
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Growing Independent Film Industry in the Southeast
January 11, 2008
Heidi Yost wrote this exclusive article. Heidi (photo) is a talented actress. In this article, she explains Film Industry situation in the southeast, talks about her experience as artist and gives also important hints for the new actors.
Growing Independent Film Industry in the Southeast
When I returned home to Louisville, Kentucky from my three year-long stint in Los Angeles as a professional actress I expected more. I anticipated that my recent win as a Marilyn Monroe Look-Alike by Premiere Magazine and my appearances on Beverly Hills 90210 and Matlock would have every talent and casting agent in Louisville falling over themselves to represent and utilize my homegrown talents and experience. It didn’t happen. I felt like Yukon Cornelius after I swung my mining pick into the ground and brought it to my mouth to taste for traces of the delicious silver and gold acting opportunities at home and “Nuthin’. Hello, I won the Marilyn Monroe look-alike contest!
Fifteen years later, to my delight everything is coming up roses in the Southeast independent film industry. Is it because I am no longer a platinum blonde ingénue and now a sultry redhead? Is it due to widely available and affordable video and film equipment? Has the increase of Los Angeles film location shooting in Kentucky infused the film community here: ELIZABETHTOWN, SEABISCUIT, THE INSIDER, STRIPES, etc, etc? The 48 Hour Film Festival, among others may have tempted some independent film makers who otherwise would not have stepped behind a camera with simple, short formats and alluring prizes. How wonderful to have developed an extensive filmography in my own hometown due to the indy boom.
Louisville has had a thriving arts community for the entirety of my life. The city has claimed a local ballet, orchestra and professional theater company: Actors Theater of Louisville (that had everyone I auditioned for in Los Angeles inquiring). The River City also boasts a cultural center, the Kentucky Center for the Arts that is used for a myriad of artistic and mind expanding events—from K.D. Lang concerts to poetry readings by Maya Angelou.
The semi-professional theaters in Louisville are also noteworthy and prolific. I cut my teeth at the KY Contemporary Theater before I got my B.A. and moved west. Pandora Productions produced a compelling version of SOUTHERN BAPTIST SISSIES. Since, then Susan Linville, Founder and actress at the Necessary Theater has offered amazing productions with compelling new scripts as does Looking for Lillith. The recent one-woman show WOMEN SPEAK IRAQ developed and performed by Shannon Woolsey was performed with such virtuosity and passion for the widest range of opinions and postures I could imagine.
My training, my stage and life experiences experience have given me the depth that I claim and utilize now as a film actress. Oftentimes, people will ask me which medium is my favorite. They both have their draws. In the live theater experience, the actress has the opportunity to get immediate feedback from the audience, has a substantial amount of time to build emotional crescendos and has the obligation and luxury to live in the moment and keep going whatever the immediate reality (not fun when scenery or a co-actor is falling on your head).
Film offers the luxury of another take, if the first one or fifteen takes aren’t the cat’s meow, you can do another. Film tends to pay better. (However, anyone who acts for the pay is a little misguided). You can capture the moment forever on film (This can be most upsetting for some who aren’t involved in savory productions). Most films have a larger audience than the theater does.
Advice for the film actress: study. If you wish to be an actress, learn from the best in your community who teach. Do not study under an opera diva and expect that you will be taught the subtleties of a fine camera performance. Do not study at modeling agencies who are primarily interested in increasing their bank accounts. Study under those who have the experience you are seeking. Universities are an excellent place to learn and perform as an actress.
If you are younger than college-age and wish to act, go see as many plays and films as you can. If you enjoy someone in a stage performance, find out his/her name and if you may have a few minutes of their time to see how they gained their polish. Community theater is a great place to start. Hopefully you will get a sane director and be able to squeeze into the cast despite the member of the board of director’s narcissistic casting. If you think that Hollywood is political—spend a summer in a community theater!
Surround yourself with positive people. If you consider someone incredibly talented as an actor or director, but he/she is constantly negative, overbearing or abusive—go elsewhere. Life is too short and no matter how badly you want to act—it’s not worth it.
The directors that have had the distinct pleasure of working with are great collaborators. Chris Courson from Lightspeed Productions first cast me as a lead in his film called EMMA’S CODE for Louisville’s 48 Hour Film Festival. Immediately after that in July 2007 he wrote the most amazing short called CIRCUS NUTS and cast me again as a lead. We were so pleased with the results we will be shooting a feature-length on this premise this summer.
Chase Dudley is a young director who was open to my suggestions when he needed other quality actors for the independent feature film LAST SEEN ALIVE (knowing people always helps good actors who are easy to work with get cast). Tracy Dudley his wife wrote an amazing screenplay with a strong female lead, Detective Malone. Tracy was very open to working together to make the script and character as believable and formidable as possible. The process and final product was such that we are planning on working together on a sequel in 2008. LAST SEEN ALIVE will be available at www.amazon.com in late January 2008.
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Artwork Displayed in Unusual Places Joyce Boncal wrote this exclusive article for us. Artwork Displayed in Unusual Places If you’re young, budding artist, hoping to be discovered, where can you display your artwork? There is always your own web page but I wouldn't recommend it unless you can afford to advertise that web page. This...... - Documentary Filmmaking This is a special article written for us by James N. Weber. He has worked on Socially Aware Media, especially documentaries, in South Africa, the Dominican Republic, Honduras, and Mexico, and is currently working on a project on food security in Guatemala. His work and more info can be found......
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- Independent Filmmaking We're back with a new interview, to Actress and Producer Glorinda Marie. We talk about independent filmmaking, filmmakers, actors and movies industry. Here are some interesting links to check, after reading the interview: - Actress Website - imdb - SF Indieclub - Get Bizzzy Acting Coach Manuel Marino: "Glorinda, what......
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Independent Filmmaking
October 29, 2007
We’re back with a new interview, to Actress and Producer Glorinda Marie. We talk about independent filmmaking, filmmakers, actors and movies industry.
Here are some interesting links to check, after reading the interview:
- Actress Website
- imdb
- SF Indieclub
- Get Bizzzy Acting Coach
Manuel Marino: “Glorinda, what do you think is an artist?”
Glorinda Marie: “An artist creates something through utilizing his or her imagination or minds eye as the primary tool of invention.”
MM: “You teach and coach other artists, why do some artists fail and other succeed?”
GM: “I teach my ‘Get Bizzzy’ students to practice the 5 P’s:
- Professionalism
- Punctuality
- Practice your Craft
- Persistence
- Patience
If any one of these key elements is missing, one can fail. Always be a professional treating everyone respectfully. You see the same people on the way up as on the way down. Show up early or on time for auditions and work. I know some CD’s that take points off for actors that are late for auditions and producers who will fire people from jobs if they are late. Also, it is especially vital that an actor hone their skills continuously – so practicing one’s craft, keeping one’s instrument sharp and tuned. And – truly persistence is the key that opens the door to opportunity! I think many talented people give up way too soon. So, practicing persistence and patience while doing the other things listed above, will eventually pay off! I loved Allison Janney’s speech at the Emmy’s a few years ago. Some one had referred to her as an ‘overnight sensation’. She laughed and retorted that it was the longest 30 years of overnight ever!”
MM: “You manage SF Indieclub, what can you tell us about it?”
GM: “I founded SF Indieclub to help enhance local filmmaking and filmmakers. Our collective mission is to create more work for all of us and also to enhance the quality of films being made locally. We hope to be inspirational, informative and helpful to our filmmakers. In the 8 years I have led the group, we have made some progress and sincerely intend to continue to do so. At this time, we network together over 2,000 filmmakers, directors, producers, writers, crew and talent. It is extremely rewarding to see many of our filmmakers go to festivals, win awards and even obtain distribution! My mantra for them is… keep creating!”
MM: “What are your next steps in career and life?”
GM: “Although SF Indieclub has proved to be somewhat instrumental in improving and expanding local filmmaking in the SF Bay Area, there is no comparison to the bountiful union work that is available in Los Angeles. As a SAG actress, I must expand my career and take it to the next level. Therefore, I have been living nomadically between Northern and Southern California. Although I am relatively established in the SF Bay Area, I nearly have to start all over again in LA. I’ve been going down there during pilot season and taking classes, meeting new teachers, meeting new casting directors and networking with actors. I am submitting myself in the hopes of finding a quality mid size agent to help me reach the next level in my career. I want to find someone who believes in me and my talent. In the meantime, I am submitting myself for every breakdown that would be considered my appropriate ‘type’ possible in film and TV. I believe that even if one does have an agent, the agent does 10% of the work and takes 10% of the cut because they do 10% of the work. An actor must always be actively involved in his or her own career. My goal is to get my feet in the doors of some TV shows and do some Guest Star and Co Star roles. Of course, I wish to play many more interesting roles in film as well.
As for life – I am traveling to Thailand next month. I love to expand my horizons and explore new cultures and people, customs, beliefs and ways of life. When I return home refreshed, I will enjoy the holidays with my friends and family before going back to LA again.”
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