Film School teaches you a lot of new terminology – Here are some random film industry terms, some of which are alternate versions of words used for everyday objects:

C47: Clothespin

Stinger: Extension cord

Sticks: Tripod

Aspect Ratio: The ratio of the width by the height of the film frame. TV is 4:3 (It’s wider than it is long) and most films are 1.85:1

OS: Often seen in scripts, this stands for “offscreen”, as in an actor saying that line is heard but not seen in the shot. Maybe they’re in another room.

Screening: People are often confused when told about a screening. A screening is a viewing. Screening a movie is watching a movie. Simple.

“Fix it in post”: This means that a solution can more easily be found in post production than during filming. This might be said when requiring color correction, digital compositing, fixing audio problems, etc. Generally, relying on the post production to fix something that could be figured out during production is frowned upon.

Auteur: A director whose recognizable, personal voice is “felt” through all (or most) of the work they do, as opposed to a “technical” director whose focus is more on visual style or special effects.

Spirit Awards: The Independent awards version of the Academy Awards, often done on the same night. Put on by the Film Independent organization in Los Angeles.

Push/pull: Leaving film in a developing bath longer (push) or shorter (pull) than a normal period of time to correct for known underexposed (push) or overexposed (pull) film. While pushing and pulling causes lost details in the highlights and shadows of film, if film is improperly exposed these processes can increase the contrast of an image artificially.

Red Herring: This is a character, object, or some other “clue” in a film, which is purposely meant to throw the audience’s thought process in the wrong direction of what is actually happening. The silhouette of the angry mother in the film “Psycho” could be said to be a red herring.

Prime lens: A lens that is only one length, only one mm option. As opposed to a zoom lens.

Super 16: Film students often ask where to buy super 16mm film. Even if they know where 16mm film can be purchased. It’s the exact same thing. A super 16mm camera simply records a wider image on the same 16mm frame. It takes advantage of the film edge where a sound strip was placed in the old days, but since sound film is no longer made why not use the space?

Gate: This is the rectangular hole that allows the light to reach the film. This is what determines the aspect ratio of the final film, assuming that the post production team uses the entire frame that they were given. If a film is “formatted to fit this screen” then it’s simply cutting the edges off. Don’t fall for that – get the widescreen (AKA letterbox) version.

Dailies: A true daily is a prepared film segments that was shot on a film set and is being viewed the following day. This allows the director and producer to determine if they are happy with the outcome, and whether they can move on or not. This is expensive and often not practical for film productions, as the film must be developed overnight. For HD productions, this could happen the same evening of the shoot, or even between takes.

Second Unit: This is the miniature version of a film crew. Usually only shooting simple exterior shots, moving vehicles, and anything where there are no actors. This could be a smaller version of the same crew or a completely different crew. Some people specialize in being a “second unit director”.

Setup: Whenever the camera and/or lights need to be moved around significantly while shooting a scene. One scene usually has multiple setups. Each shot could potentially have its own setup.

“Check the gate”: After a setup, many film crews are accustomed to checking the gate (see above for definition) for debris, such as hair or lint, before moving on to another setup.

Slow motion: This is more confusing than it sounds, because this is actually when the camera is recording at a fast speed. For example, if a shot is recorded at 60 FPS (frames per second) as opposed to the usual 24 FPS, A 24 FPS projection system will take 2.5 seconds to play the footage which was originally shot in only 1 second.

Film terms are fun, we should do more in the future! Let us know if you have any questions.

Some of you may know about the general unavailability of Max 8/Super Duper 8 services in the USA, and even the rest of the world.

If you don’t know what Super Duper 8 is, please see this example supplied by its inventors, Friendly Fire Films from Canada:

In the example, you can see that the area where the sound strip used to be on the right (sound film is no longer made) is blank on super 8, and taken advantage of on the lower picture, which is Super Duper 8.

Now, a few transfer houses offer this service. I know of one in Germany (screenshot-ag.de), one in Canada (framediscreet.com), Pro8 in Burbank (who I’d rather not link to because of their reputation for poor service), and a brand new one in Los Angeles called Cinelicious (cinelicious.tv). Cinelicious being the most convenient to Los Angeles, Frame Discreet probably being the least costly, and Screenshot being the most convenient when shooting in Europe.

But if you just don’t want to spend the money, either because you haven’t got any (this is film school after all), or because you can’t justify the cost for a less than serious project, I’m going to let you in on just how simple a DIY max 8/Super Duper 8 home telecine can be.

First, I’m actually going to begin with the camera. If you don’t have a Max 8/super duper 8 camera, you can get a widened gate a few ways. One option is to go to Mitch Perkins’ website and send him an email – he’s one of the inventors from Friendly Fire Films: photoplays.ca

They’ve actually written a few important technical warnings about the format, copied below for you. The first one is important to me personally, because Pro8 didn’t warn me about it when I purchased a Max 8 camera from them:

Technically. the system is slightly off-centre, but because it’s such a small gauge it does not appear “off” to the eye and no realignment is necessary.

Second, the camera was not designed to “see” the wider frame. (The extra 13% is on the right-hand side when looking in the viewfinder.) Therefore, you have to compose the shots with this unseen area in mind.

Also, some camera lenses are subject to vignetting on the right-hand side. This may restrict lens settings, whereby you have to avoid focusing too close or going too far to the end of the zoom ring.

But here’s what I found out that inspired me to do this write-up. Go to a local jeweler, ask them to remove the gate from the camera (you’ll have to show them what the gate is) and ask them to expand the camera’s gate inward (as opposed to outward, which is the side facing the film door) about one millimeter. This is the part that is not under the sprocket holes. The default super 8 image is about 6mm, while the space that used to contain sound is about 1mm and the space containing the sprockets is another 1mm. So after this modification, the new image area grows to about 7mm. When the jeweler did this, it took him two minutes while I waited, and he did not even charge me.

Now for the telecine. You can essentially do the same thing with a super 8 projector gate that you did with that camera gate. Just take it down to a jeweler and get it filed. I haven’t heard of any other way to do a DIY super duper 8 telecine, but feel free to leave a comment if you know of another option. The jeweler actually didn’t charge me for those either, but he did mention that the projector parts were steel and much harder to file than the aluminum gate from the camera. Be warned, the projector can be tricky to disassemble and reassemble, so I really suggest taking a picture of it so you know how to put it back together.

I haven’t yet purchased a film transfer box like this one…..but it will improve the quality over a wall projection.

But I did a rough handheld test by projecting on a wall (it should be on a tripod and a perfectly white wall). Also you’ll be able to see that the edges of the filing aren’t perfectly smooth and some metal shavings are flying around. But it’s a nice proof of concept. Check it out:

I was majoring in TV/Film Production at the Brooks Institute of Photography (which is now called Brooks Institute) and was required to take a series of 16mm Workshop classes to graduate. This was in 2006.

In the first two-month class, the students were required to write a low-budget screenplay under ten pages. I wrote a short drama about two punk teenagers on the run from the law, their brief love affair, and their eventual split. In the second class, everyone voted to decide which two screenplays would be put into production. “Escape! from Robot Island” and “Hideaway” were selected. My screenplay was not.

At this point, everyone put their name up on a list candidates for the position(s) they wanted. I put myself up as a candidate to direct “Hideaway,” if I remember correctly. Tim Thompson was the obvious and perfect choice for “Escape! from Robot Island.”

Well, I was not selected to direct “Hideaway” (the very talented Jacob Chase was).

I knew I had to fill a position to pass the class. Everyone raced to pick their 2nd and 3rd choices. I noticed the Electronic Press Kit position. An Electronic Press Kit (EPK) for a film is usually comprised of promotional videos and stills. They are used by major studios and independent production companies to advertise to potential audiences, film festival selection panels, acquisition executives, etc.

I took the position uncontested. I figured that I could make a documentary while operating under the guise of making a “Behind the Scenes/EPK” video for “Escape! from Robot Island.” I just hoped that my professor and peers wouldn’t mind too much when they realized I had not made a “promotional tool” for the film.

I had complete creative control. Naturally, my camera was drawn to the people and interactions that interested me, namely the writer/directors involved in “Escape! from Robot Island.” You have to remember that many of the aspiring writers and directors in my class had just put up their screenplays and been rejected, put up their names to direct and had been rejected, had agreed to fill their 2nd or 3rd choice crew position, and had been required to pay their share (about $650) to finance the film.

And these are all young, ambitious, gutsy, talented kids with crazy dreams. The ones who decided to pay to go to film school. The ones who survived the first two years and DID NOT drop out despite the advice of their family, friends, professors, and the succession of failures that filmmaking inevitably brings. And we all collided in a situation which caused us all to doubt and dream in ways we hadn’t before…

I tried to tell capture some of that story in The Making of Escape! from Robot Island. I hope you enjoy it.

My “EPK” received a lot of praise and its share of criticism when I showed it in class. The professor said that if I could cut it down to twenty minutes he would show it to every incoming Workshop class. But I was gearing up for my thesis, so I didn’t follow up on his offer.

And here is the “making of” video…

I spent a year after graduating film school wanting to write. Did I write?

Nope.

I tried to. But I was too hungry. Or too tired. As soon as I would sit down to write, some unimportant task (such as checking emails or writing cover letters) would become a huge priority in my life. I couldn’t sit down and type out the stories I had mapped out in my head.

I watched Eyes Wide Shut, The Shining, The Empire Strikes Back, and a ton of my other favorite movies to get inspired. I became fixated on crazy dream images, hoping one of them would lead into a great story. I even tried to created characters based on some of my favorite songs. I still couldn’t write past page 2. I was devastated.

Why did I want to write so bad? Because I wanted to make another film. Why did I want to make another film? Because on set I’m surrounded by some of my favorite people, it’s challenging to get to the emotional core of something and amazing when you can somehow portray it to others, and it’s a great way to almost kill yourself and feel like some crazy survivor afterwards. Plus, 95% of everything else, as an activity, bores me.

I was getting desperate. Then, circumstances in my life changed. I can take credit for some of the changes during this time. The rest were out of my hands.

When my life changed, so did my thoughts on writing, my writing style, and my writing habits. The only thing that didn’t change was the core of the writing itself, what interested me as a person on a very basic level… a few themes that carry over into everything I write. But back to the things that changed in my life.

Here they are, to best of my knowledge:

* I started taking more responsibility for what I say and do, and for my own reactions to people, events, and ideas.
* I accepted a YMCA job that forced me to work with a large group of coworkers/teammates.
* I involved myself in other’s people’s lives. I became a confidant for others.
* I met people halfway to mend/build relationships by beginning to speak with them more openly and honestly.

The funny (sad) part is is that I’ve known these things, known I should have been living this way, for years. But I was still wrapped up in myself (even after a lot of good changes), and it took some encouragement from a good friend to step up as a person and start living differently, the way I knew I should. It’s sort of like remembering, all in one big rush, the expectations I had for myself as an adult when I was a kid.

You might be thinking, “What a wacko.” That’s understandable.

It wasn’t easy to hear what I already knew from a friend, to be told I was living the wrong way. There was yelling involved. I don’t usually yell when I’m angry. I almost shut down. So I understand why you might write me off.

Now:

* I’m more assertive, I can have more casual conversations with strangers.
* I am less critical in general, of myself and others (which allows me to write, instead of worrying about how much I suck at writing).
* I give less advice and listen more.
* I try not to ruin apologies with excuses.
* I’m not as intimidated by other people’s success.
* I am much more interested in tomorrow, in the future.
* I am not as easily offended or hurt by what people say.
* When I share my fears to a trusted friend/family member, its power over me begins to subside.

It was silly of me to be worried about not being able to write, as if I could separate that conflict from the rest and fix it. Well… we learn.

For now, I have one piece of advice for screenwriters…

If you want to write more often than you are, or if you can’t write the things you want to write about, talk to someone. That’s basically what we’re doing with art, right? So take baby steps. Before you pick up a pen and attempt to connect to a bunch of people, start with one and have a conversation.

To properly even out my advice, a quote from Goethe:

I can tell you, honest friend, what to believe: believe life; it teaches better than book or orator.

Writing is easy: All you do is sit staring at a blank sheet of paper until drops of blood form on your forehead. – Gene Fowler

I’m pretty sure what everyone has been calling “writer’s block” is just anxiety. Sometimes I find it hard to move forward on a screenplay I’ve been working on because I’m scared I don’t know who my characters are and what they actually are feeling, or what they believe. I’ve been having them go about their daily “business,” finding a few hints about what’s really going on here and there… but I’m slowly beginning to doubt myself, because they feel like strangers.

Inevitably, whatever the character is really feeling comes rushing out in dialogue and action in some crazy, nothing-really-happens, scene. It’s usually two characters screaming at each other and kissing or something. You can see it throughout the screenplays I’m working on, most notably this recent entry in the Henry & Mary story.

Gordy Hoffman, the screenwriter of “Love Liza” and “A Coat of Snow,” actually suggests trying something similar at SimplyScripts.com:

Take your lead characters, pull them out of your script and have them talk in a void. If that’s too abstract for you, put them on the porch of a house, or in a diner having coffee. Have them scream about what they care about. Tweak the combinations. Have your characters talk to God. Have them talk to you. This process will give you pause over your movie, and then you might find where this is supposed to live.

[...] Submerge yourself in the ridiculous. Shoot for the absurd. Chances are you have limited yourself and believe there are only a few places you can land. Bullshit. [...] To really floor people, you have to go off the grid. Start with all the stupid stuff you can think of. Your ideas will flow from this crazy place, and you will find something, a seed, that will sign you off.

Most traditional teachers of screenwriting encourage their students to always hide what their characters are really feeling. It’s considered bad form to have your characters reveal themselves. I think this idea is popular for a few reasons.

I think the main reason is that this sort of unbridled emotional content makes a lot of the people uncomfortable. If you never get to express how you really feel to others, and the characters on the page/screen get to, you might feel cheated, or it won’t ring true to you… and you’ll opt out. Or, it might stem from the idea that no conflict can exist if our characters actually say what they mean – if the “truth” is out in the open. Or we might just prefer leaving this sort of stuff to the soap opera writers.

But you always have the final say whether or not a scene like this ends up in the final draft you’re handing out to everyone. So it doesn’t matter. If it keeps you writing, it can’t be that bad.

The only things one can admire at length are those one admires without knowing why. – Eleanor Roosevelt

It is impossible to discourage the real writers – they don’t give a damn what you say, they’re going to write. – Sinclair Lewis

You must stay drunk on writing so reality cannot destroy you. – Ray Bradbury

The movie currently being supported by Group Twenty 6, our feature film fund, now has its own crowdfunding project, which is called “Mermaid”. Check it out!

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The time has come to sing all of the weird FSDB songs we know you have been writing throughout all of 2009. This website now exists! And you can use it. If you are an elite member of the world of film schools who hand out email addresses to their students. We have just launched public beta.

These schools are already signed up:
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