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Found 8 results

  1. Brain89

    First Film

    I am working on my first film. I have 1 scene with 23 people speaking at one time.....I am new to this. My thought was lav everyone and chase with a boom which puts me at 24 total....I have a 664 so I know I have 12 channels there but what's the best way to handle this? Do I need a second recorder 664 or 688 or scorpio? Or, should I get a sound devices 970 and record them all to something like that?
  2. Hi all, thought this event we are organising during the Brighton Festival might interest some of you...? In the UK premiere of the immersive video installation The Sprawl, award-winning artists and filmmakers Metahaven argue that the internet has become a disruptive geopolitical super weapon. Together with master cinematographer Remko Schnorr and acclaimed electronic musician Kuedo, Metahaven present The Sprawl, a strikingly poetic cinematic journey into the tangled machinations of the web, where terrorists tweet, anime videos disguise political spin and news channels hawk morality. Examining the splintered interpretation of world events including the Ukraine war, the downing of Malaysia Airlines flight MH17 and the spread of IS, The Sprawl offers a subversive critique of the internet as geopolitical super weapon. Presented at the 50th edition of Brighton Festival as an immersive video installation, multiple screens engage the viewer with The Sprawl: a fragmented, non-linear stream of state-influenced fan art, news clips and memes – overlaid and juxtaposed with Metahaven’s original footage and graphics – and contributions from leading experts on design, geopolitics and visual theory. A tangible, physical overload of visual and aural information, reflecting and intensifying the real-world experience. METAHAVEN Metahaven co-founders, Vinca Kruk and Daniel van der Velden, describe The Sprawl as taking "a deeper, stranger look” at how the internet has opened the floodgates for multiple interpretations of truth, as influenced by aesthetics, convention and agenda. It is the latest example of the radical Dutch duo’s use of graphic design, moving image and internet activism to investigate commercial and political power structures. The project builds on the themes of their 2013 book Can Jokes Bring Down Governments? which proposed humour as the latest weapon of protest, and 2009’s Uncorporate Identity, which unpicked the paradoxes of identity in a networked world. In 2013 Metahaven won the Cobra Art Prize and was named Design Studio of the Year by ICON magazine. BRIGHTON FESTIVAL Co-commissioned by Lighthouse and Brighton Festival, the exhibition is being presented at Lighthouse, as part of the festival, which this year is celebrating 50 years of commissioning and producing innovative arts and culture, with pioneering artist and musician Laurie Anderson at the helm as Guest Director. Dates: 7 - 29 May 2016 Times: Daily 11am – 6pm Tickets: Free Venue: Lighthouse, 28 Kensington Street, Brighton, BN1 4AJ To find out more: http://www.lighthouse.org.uk/programme/the-sprawl-at-brighton-festival
  3. “A reform the industry’s been awaiting for years; funding and rules to support Italian film and give theatres a new lease of life”. It was with this words, published on Twitter, that the Minister for Cultural Heritage and Activities, Dario Franceschini, expressed his joy at the approval by the Council of Ministers last night of the bill innovating the rules and regulations and substantially increasing funding for the Film industry. The bill is based on the model provided by French legislation. “The government is updating its approach to Italian film and increasing funding by 60%”, Franceschini explained after an afternoon in which the Minister and the Prime Minister Matteo Renzi met with four Oscar-winning filmmakers: Bernardo Bertolucci, Paolo Sorrentino, Giuseppe Tornatore and Roberto Benigni. The bill will allow the government to set up a “consolidated fund, 12% of which will be supplied by revenue from IRES (corporation tax) and VAT paid by those who use content: TV operators, telephone providers and film distributors, and will not drop below €400 million per year. The bill provides for the creation of a completely autonomous fund for supporting the film and audiovisual industry, and automatic funding tools with strong incentives for young writers and those who invest in new cinemas and protecting historic cinemas, theatres and bookshops". The greatest appreciation was shown by companies operating in the audiovisual sector united under the associations ANICA (the Italian National Association of Film, Audiovisual and Multimedia Industries), APT (the Italian Association of Television Producers), ANEC (the Italian National Association of Exhibitors) and ANEM (the Italian National Association of Multiplex Merchants). “After more than 25 years we finally have a proposal for a real law for the film industry, which seems the most advanced in Europe today”, stated the press release issued this morning. Below is a summary of the salient points of the bill: Creation of the Consolidated Film and Audiovisual Fund A “Fund for the development of investments in film and audiovisual works” will be set up to support investments in films and audiovisual works through tax incentives and automatic contributions to add to the current funding provided by the FUS and tax credits. 150 million more in funds and for the virtuous mechanism of self-funding Funds will be directly supplied, according to the French model, by pre-existing tax revenue received from the scheduling and broadcasting of television programmes, the distribution of films, the screening of films, and the provision of services for accessing the Internet by telephone and telecommunications companies. Therefore, as of 2017, a fixed percentage (12%) of IRES and VAT revenue from these sectors will be used to fund the Film and audiovisual industry. No new tax will be introduced, but a virtuous “self-funding” mechanism for the production sector will be introduced to encourage investment and innovation, and remove the current annual uncertainty over funding for film: the new fund will never be allowed to fall below €400 million per year. Automation of funding and reinvestment in the sector The new Film Law will abolish ministerial committees that grant funding on the basis of a film’s so-called ‘cultural interest’, and will introduce a system of automatic incentives for Italian works. The amount of funding granted will be decided using objective parameters that take economic, artistic and distribution deliverables into account: from awards to success in theatres. Producers and film and audiovisual distributors will receive funding for new productions. Tangible aid for “promising filmmakers” Up to 15% of the new Film Fund will be set aside every year to support first and second works, young writers, start-ups and small theatres. Funding will also be bolstered for festivals and high-quality events, and a national plan for the digitalisation of film and audiovisual heritage will be drawn up. Strengthening of the six film tax credits currently available The new Film Law provides for the strengthening of tax credits. The six existing tax credits will be reinforced to incentivise the production and distribution of films and audiovisual works and attract foreign investments to the film and audiovisual sector. Incentives of up to 30% for those who invest in film and audiovisual works The following persons can benefit from the six tax credits available: production, distribution and post-production companies, distributors that distribute Italian films, thereby incentivising competition and increasing Italian film’s share of the market, Italian companies that work on foreign productions, companies outside the sector that invest in Italian film, and exhibitors that manage cinemas. Tax credits will increase to up to 40% for independent producers who distribute a film themselves. Audiovisual works supported with €5 million under the Guarantee Fund for SMEs By decree of the Mise and Mibact, a new special section of the Guarantee Fund for Small and Medium-Sized Enterprises will be created, aimed at guaranteeing funding for audiovisual works. Initial funds for the section will total €5 million, drawn from the Fund for the development of investments in film and audiovisual works. Incentives and reductions for those who invest in new cinemas. Up to €100 million in three years. The plan to strengthen support for film and audiovisual works will be accompanied by support for those who restructure and invest in new cinemas. The number of screens will thereby increase along with the quality of cinemas, drawing in a lot more viewers, above all, to see Italian films. For this, an extraordinary plan provides for up to €100 million in three years to re-open closed cinemas and launch new ones. Reductions for historic cinemas The label of ‘being of cultural interest’ will trigger tax breaks, this also being applicable to cinemas, theatres and bookshops. This will make it possible to determine the status of a building by its use in the interests of preserving and appreciating historic cinemas. Creation of the Higher Council for film and audiovisual works The Film Section of the Performing Arts Board will be replaced by the Higher Council for film and audiovisual works, which will draw up policies for the sector, with particular emphasis on establishing criteria for investments in support of film and audiovisual works. The Council will be made up of 10 members who are highly skilled and have broad experience in the sector and representatives of the main industry associations. More effective procedures for scheduling films on TV and investments in television The government has been empowered to adopt one or more legislative decrees for introducing more transparent and effective procedures when it comes to obligations for the investment in and scheduling of European and national audiovisual works by audiovisual media service providers. The end of “state censorship” There will be no more ministerial committees to assess films. The Film Law empowers the government to establish a new system of classification that holds producers and distributors responsible for their films. As is already the case in other sectors and fundamentally in all Western countries, it will be these very producers and distributors that define and classify their films; the State will intervene and issue sanctions only in cases of infringement. http://www.cineuropa.org/nw.aspx?t=newsdetail&l=en&did=304426
  4. Hello all! My name is John Harton and I'm a recently graduated Sound Design student from the Savannah College of Art and Design. My wife and I are moving up to Atlanta after I get back from a gig in CA in about three weeks and I wanted to put myself up if anyone needs a boom operator or utility. I'm looking to ultimately get into narrative work and also recently wrapped my first feature as a boom op ("Christine" which shot in Savannah). I'll be at the ATL sound mixer mixer at the end of the month, but if anyone has work they need help with or have to pass up, I'd appreciate any and all the help I can get! Can't wait to get involved in the Atlanta sound community, from what I hear the sound crews of middle Georgia rock a mic like none other! Feel free to PM or call at 970-two three two- 6840 . Cheers!
  5. Hi! I am about to invest in some new gear for film/broadcast and just wanted to know what you think about this list. Please let me know if you have any suggestions, ideas or criticism. Thanks! Here's my setup: Wireless set: Sennheiser EM 9046 8 channel receiver, 9000 transmitters Lectrosonics 400 Series Wireless Lavalier Microphone System x4 Recording (8 to 24 track): Sound Devices 788T-SSD 8-Track + CL WIFI Onyx 1640i - 16-Channel FireWire Recording Mixer JoeCo - BBR1-B BLACKBOX RECORDER Microphones: Schoeps - CMIT WS4 SET - CMIT5U Shotgun Microphone Set (w/ Rycote - Windshield Kit) Sanken - CSS-5 Stereo Shotgun Microphone (w/ Rycote - Windshield Kit) Lectrosonics M152 Omnidirectional Lavalier x4 Sennheiser MKE1 x 8 DPA Microphones - 5100 Mobile 5.1 Surround Microphone Crown Audio PZM-6D Pressure Zone Microphone Sanken - CUB-01 Miniature Cardioid Boundary Microphone x2 IFB: Comtek - M-216 - Digitally Synthesized Wireless Transmitter (Option P7) Comtek - PR-216 Beltpack IFB Receiver (216-217 MHz) x 2 Lectrosonics - IFBT4 Frequency-Agile IFB Transmitter Lectrosonics - IFB-R1a UHF Belt-Pack Receiver TC: Timecode Buddy Wifi Master + Tx + iPad (Slate) Power: Xantrex Freedom SW New Gen ..and a sound cart. (any suggestions?) What do you think?
  6. Hey Everybody! Let me first say that this site has been an amazing resource for me, having been doing production sound full time for about 2 years now (Started right after I finished school) I know that there are tonnes of times I thought and applied what I learned on this site, it's a really amazing place and I'm so fortunate that people are so willing to share all their insights, mistakes, and experience. Now, I am asking for your help! I am a Sound Mixer/Boom Operator, but I have also found a new interest in Directing/Producing! I have launched the Indiegogo campaign for my Second short film, entitled 'iBrain', a futuristic short film in which the latest piece of technology does fit in your hand, it fits in your brain! We are on a 30 day campaign to raise $4000 to shoot the film this coming March and it would mean a lot to me if you could watch the video, share the page, tell your friends, anything you can do! www.indiegogo.com/ibrain I am excited to do my second film as the most sound conscious Director in Canada! Thanks so much guys! (I included a screenshot, that's me on the left)
  7. Just saw the announcement for this release: http://microsites.lo...y.com/lomokino/ much more a fun camera than a pro. But I always like to see these 'new' retro-innovative concept. It's refreshing compare to the "watch, I got more pixel, better sensor than you" type attitude. 144 frames is pretty limited, but might force you to be creative on how to combine things. Synching this with sound is going to be tough though!
  8. Particularly for those not in SoCal -and thus don't read the LA Times: Kodak as a corporation is in real trouble... will there be any of today's digital photos left in a 100 years? If Ansel Adams lived today would his pictures be remembered in 50 years from now? film is a semi-permanent media that lasts without any technology. http://www.latimes.c...ewed+Stories%29
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