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Seven Deadly Sins of Self-Distribution

by Elliot Grove

Getting your film made is easy, compared to the struggles filmmakers have in getting their films distributed. At Raindance Film Festival we work with countless filmmakers trying to get their shorts, features and documentaries screened to as wide an audience as possible. Of course the filmmaker’s wet dream is to have their film picked up…

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Transmedia Storytelling – Weaving the Universe

by Tom Dowd

Weaving the Universe Weaving the universe relates to the fact that any successful transmedia intellectual property is like a tapestry – many threads that are well-woven to create a beautiful pattern. This points to the concept that really successful intellectual properties tell many stories that weave into a larger picture or larger understanding of the…

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Avid’s ScriptSync – An Overview

by Steve Hullfish

If you have a script, you can import it into Media Composer. With the script imported, it is then possible to link specific shots and takes to exact portions of the script. This is similar in appearance to a traditionally marked-up script from a script supervisor. Actually, you or an assistant editor can use those…

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The Shoot – Set Etiquette for Cinematographers

by David Stump

As the cinematographer, you drive three departments: camera, lighting, and grip. It is your job to know at all times what is up next for all three departments. By staying in close communication with the first assistant director, the cinematographer can always be one step ahead of the director in setting up the next shot,…

Producing for TV and New media

Top Ten Helpful Hints for Creating a Short Film from Sharon Badal

by Cathrine Kellison

SHARON BADAL is Tribeca Film Festival/Short Films Programmer; NYU Professor/Producing for Film; and author of Swimming Upstream: A Lifesaving Guide to Short Film Distribution Navigating the film festival labyrinth…for most new producers, entering their project into the film festival circuit represents their first foray into the “real world” of the entertainment industry. Most of these…

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Dialogue Editing – The Trouble with Digital Picture

by John Purcell

In theory, a picture file in a computer will flawlessly sync with a DAW session playing from the same computer. Sometimes it does. Other times, picture or sound will be systematically delayed. Or sync may be spot on one time you hit play, and soft the next. Or worst of all, sound and image may…

Raindance Producers lab cover

Three Ways the Film Industry Will Change

by Elliot Grove

I ask every single filmmaker I meet the same question: why did you want to make your film? The answers vary from filmmaker to filmmaker, from film school to no film school and from film to film. The most common answer is to make money. Next is fame (or to use the film as a…

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Cardinal Sin of Screenwriting: Fear of Offending

by Guy Gallo

Perhaps the cardinal sin a writer can commit is to mitigate his intention for fear of offending. I always say: if it’s worth doing, it’s worth doing extremely. “Drama doesn’t like sort of.” The most benign form of this error is timidity. I have often seen descriptions of characters that pull punches. Make a decision….

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Free-to-View Film & Postproduction eBooks!

by Mastering Film

At Focal Press, we believe that learning, improving your skills, and enhancing your careers is often a team effort. We are dedicated to helping animators of all skill levels take their next professional step. As part of this commitment, we are have made a selection of our books freely available to view during the month…

FIGURE 4.3 This sequence of shots about diversity in golf opens with (1) an ELS to establish the topic and setting, then uses (2) an MS of a young player to reveal the wide spectrum of golfers, followed by (3) a CU of a club hitting a ball, with a cut to (4) an MS of a golfer finishing his swing. Then (5) a canted angle of a golfer lining up a putt adds variety, as does (6) a low-angle shot and (7) a high-angle shot, followed by (8) a CU of a putt, then (9) an ECU of the universal frustration of the ball almost going in but not quite, ending with (10) an ELS as another golfer pushes on.

The Long Shot – Beginning the Story

by Norman Medoff and Edward Fink

The long shot (LS) is sometimes called the wide shot (WS) and is also known as the establishing shot, the master shot, or the cover shot. It is generally the first shot a photographer should take. It is the most important shot in terms of establishing the setting and action. Typically, it shows the subject…

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about MasteringFilm

MasteringFilm, powered by bestselling Focal Press authors and industry experts, features tips, advice, articles, video tutorials, interviews, and other resources for aspiring and current filmmakers. No matter what your filmmaking interest is, including directing, screenwriting, postproduction, cinematography, producing, or the film business, MasteringFilm has you covered. You’ll learn from professionals at the forefront of filmmaking, allowing you to take your skills to the next level.