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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

An Offer to Disgruntled Filmmakers Who Feel They Missed Out on a Cheap SCARLET....

Just stumbled on this thread. RIGHT ON, Meryem. I remember Lance Armstrong's book " It's Not About the Bike" or something like that. It ain't about having a camera; it's having the vision and courage to do something with it. Any camera will do, and the willingness to work REALLY hard. And take chances, and work REALLY hard. And build relationships, and work REALLY hard. I appreciate the way you have called out those who have been whining about not getting a $5K RAW camera. You have done it with an inspired, positive approach. Thanks.
 
Hi everyone, I've been a long time Reduser follower, I was RED #1526, I just couldn't ever justify the purchase.

At any rate, this thread is really ...superlative. Which apparently is an adjective meaning "of the highest kind", that's appropriate here because, well, everyone here is unusually, well, kind with both their enthusiasm and generosity. I feel I should share my project...

My writing partner and I have recently completed a "final" draft of an adaptation of a short film. We have his blessing to shoot this as a short film, to send to festivals. ( While this doesn't fit the initial requirements expressed by Meryem, unfortunately, but perhaps it would be a good starter project to see how this could unfold. Or perhaps someone else would be interested in tackling something smaller. )

We were also recently granted a "Fiscal Sponsorship" by IFP. If you're unfamiliar with IFP, it's essentially an organization which allows everyone's charitable instincts to be considered a "charitable donation" by the IRS.

So for those of you who are offering these generous sums towards a film, this would allow you to write them off of your taxes. Just a bonus.

But financial motivators aside, it's a great story, from a great author. Or so I believe, but my opinion is not an unbiased one.

I studied screenwriting at U.S.C, I studied directing with the lady who literally wrote the book (Judith Weston, Directing Actors). In addition I've worked on film sets in various capacities, most notably as assistant to the producer for both Mary Jane Skalski (The Station Agent) and Ed Feldman (K-19). This project would be my directorial debut.

Phil
 
Phil McCarty said:
Hi everyone, I've been a long time Reduser follower, I was RED #1526, I just couldn't ever justify the purchase.

At any rate, this thread is really ...superlative. Which apparently is an adjective meaning "of the highest kind", that's appropriate here because, well, everyone here is unusually, well, kind with both their enthusiasm and generosity. I feel I should share my project...

My writing partner and I have recently completed a "final" draft of an adaptation of a short film by New York Times Bestselling Author. We have his blessing to shoot this as a short film, to send to festivals. ( While this doesn't fit the initial requirements expressed by Meryem, unfortunately, but perhaps it would be a good starter project to see how this could unfold. Or perhaps someone else would be interested in tackling something smaller. )

We were also recently granted a "Fiscal Sponsorship" by IFP. If you're unfamiliar with IFP, it's essentially an organization which allows everyone's charitable instincts to be considered a "charitable donation" by the IRS.

So for those of you who are offering these generous sums towards a film, this would allow you to write them off of your taxes. Just a bonus.

But financial motivators aside, it's a great story, from a great author. Or so I believe, but my opinion is not an unbiased one.

I studied screenwriting at U.S.C, I studied directing with the lady who literally wrote the book (Judith Weston, Directing Actors). In addition I've worked on film sets in various capacities, most notably as assistant to the producer for both Mary Jane Skalski (The Station Agent) and Ed Feldman (K-19). This project would be my directorial debut.

Even if you're just browsing the thread, feel free to take a glance at the script, it'll make you smile. I think/hope. :)

http://philmccarty.com/tlc.php

Phil
Click to expand...

Thanks, Phil, I read your script. I can definitely see you've put a lot of work into it.

IMO, the comedic affect is going to entirely be determined by the pacing of the cuts, and the specific things you cut to (most of which will be static shots), as well as the natural impulse to laugh at whoever you choose as the lead. Also, because nothing is particularly funny on it's own (e.g. none of it is actually a traditional joke), you're entirely dependent on building up the effect over a long period of time (nothing wrong with this by the way...).

Anyway, to make a long story short, I strongly encourage getting a copy of FrameForge and prevising the entire script all the way through the edit. As an alternative (or perhaps in conjunction), use a cheap camcorder to do the same. Because the cuts are static, this is an easy film to do this on. You should record all of the dialogue to go along with the previs; this will help a lot on timing.

You'll have to have the chalk drawing go really fast. It reads quickly in the script, but writing is generally slow; you'll lose a lot of time doing it -- but this'll come out in previs.

At a larger level, this film is practically the definition of execution dependent: screw up the casting or the pacing or the timing and you lose the audience...for the rest of the film. Humorous parts that should be hitting start missing, and keep missing.

My sense is that it can probably be funny, if it moves fast enough, if the cuts are expertly timed and to humorous visuals, and if the actor is naturally funny (e.g. Seinfeld). Especially this last bit, which means casting is going to be critical. Don't even consider making this film with a lead who in not naturally funny.

Best of luck, and thanks for sharing!
 
If you couldn't afford a 15k Scarlet.. then how the hell could you afford to make a (saleable) feature film. ? .. just curious.

Gear+crew+locations+actors+food+more gear+editing+post + everything else I forgotton about...

It's great to have a dream... but dreams and reality are two very different things.

Anyway... I do wish people all the best. :))) But don't let a scarlet price tag stop you from thinking you cannot make a film.. You can shoot a film on a simple $1500 dollar 7D.
 
It's the obvious question, Toia - and I started out trying to make a point.

But the RED users have made another point. We, as a community, are very hungry to work on great projects.

A good project can be hard to find. If there are a few lurking out there, and we can put people together, something interesting may occur.

You never know what (or who) is around the next bend.
 
to update the thread - I've read and sent emails/PMs to everyone who has responded to the link, so far, by sending on a screenplay (minimum). I'm waiting on two others that I know of.

I've got two front-running projects which I'm seeking more information about...

still looking, nothing is decided - send stuff! tell your friends!

keeping in mind that, for me to pull along all this volunteer talent and resources, who have shown a ridiculous amount of faith in my judgment - it has to be something very good.
 
Mark Toia said:
If you couldn't afford a 15k Scarlet.. then how the hell could you afford to make a (saleable) feature film. ? .. just curious.

Gear+crew+locations+actors+food+more gear+editing+post + everything else I forgotton about...

It's great to have a dream... but dreams and reality are two very different things.

Anyway... I do wish people all the best. :))) But don't let a scarlet price tag stop you from thinking you cannot make a film.. You can shoot a film on a simple $1500 dollar 7D.
Click to expand...

I agree with Mark, from my producer's point of view. Meryem's offer is very generous and of course must be encouraged. I wish her all the best ! On the other hand, it's gonna be very hard to find "something very good", like she's asking, because, say, a director who succeeded in setting up a good crew+cast, writing script, finding locations, having all the post scheduled, food, etc, insurance, will already have the camera problem solved (no big deal nowadays, whatever the camera) and won't accept to be "selected" on his script/his work.

Meryem, I don't want to sound too critic, I'm usually like this, I know, but maybe you should consider contacting directly filmmakers whose work you like, and offer them some collaboration, who knows ?
 
Kristin Stewart said:
I agree with Mark, from my producer's point of view. Meryem's offer is very generous and of course must be encouraged. I wish her all the best ! On the other hand, it's gonna be very hard to find "something very good", like she's asking, because, say, a director who succeeded in setting up a good crew+cast, writing script, finding locations, having all the post scheduled, food, etc, insurance, will already have the camera problem solved (no big deal nowadays, whatever the camera) and won't accept to be "selected" on his script/his work.

Meryem, I don't want to sound too critic, I'm usually like this, I know, but maybe you should consider contacting directly filmmakers whose work you like, and offer them some collaboration, who knows ?
Click to expand...
You have to keep in mind that there are a lot of other generous offers by a lot of members that come with meryem's camera. Finance, all the travel locations, crew, professionals offering their labor and a bunch of plane tickets and equipment that covers from pre to post production. I'd say for someone making his first feature this would be a dream come true.
 
Mohamed, yes, I see... But, as a producer/director, if you want to secure things, you have to pay a little bit and make contracts, otherwise you'll soon realize that all these generous offers are just what they are, promises ;-) Things can quickly turn into a nightmare if the gear/people you rely on suddenly disappear once those people get a better paid opportunity ;-) It's my everyday job, I've been through that several times to know that the cinema business people are the least reliable people in the world ;-)

This doesn't apply to Meryem, she's very serious and reliable ;-)
 
Sofia Coppala's Somewhere is a good example of a filming style that is pretty darn cheap to do, and looks great.

I see so many low-budget productions try and compete with big budget stuff (dolly moves like they're Michael Bay, cranes, etc.). It just makes the audience annoyed that the rest of the film isn't up to that level.

In a film like Somewhere, though, the change of pace (hint: it's slow) is actually really nice. It's something the studios would never green light, so the comparison is gone. :-)

This gives your feature a chance to shine, based on other merits. For Somewhere, the narrative style fit the story and the acting. Since it's a very similar style to Coppola's Lost in Translation, clearly it can work for other genres as well.

Anyway, that's my advice to whomever gets this gig, or is in the process of putting together a project to get it: be good at what Hollywood can't (or won't) do.
 
Kristin Stewart said:
Meryem, I don't want to sound too critic, I'm usually like this, I know, but maybe you should consider contacting directly filmmakers whose work you like, and offer them some collaboration, who knows ?
Click to expand...

I already do this all the time. In fact, my EPIC camera is out with a young filmmaker today, for a shoot in the next town - I'll drop in on them later today. Offering up my own services to help others isn't hard, and these opportunities are already abundant, locally - I didn't have to seek them out. In fact, I was only trying to make a point initially, as several people have already noted, but the enthusiastic response means that we can do more, potentially. And I'm willing to put my money where my mouth is, for a great experience....

But it is as Mohamed said, if I'm pulling along others into the process, it raises the stakes. And it is as you say, as well, that free offers are always trumped by paid work, so what is free or cheap one day can evaporate the next.

That's why I am staying the course of finding a good indie project first (if it is possible, nothing is guaranteed) and pulling along anyone who fits with the vision of that particular project - I find it considerably less likely that we form a vision of masses of volunteers and then pull together a project out of it. You'll find others on this thread who are considering that approach.

(Detlev is already building a website and Facebook page for it, which you can all join: https://www.facebook.com/pages/Film-Collaboration/295027483862574)

But I am always willing to be surprised.
 
Meryem Ersoz said:
...it all starts with some committed baby steps - I'll let Detlev do the dreaming - just show me an inspired screenplay that pulls it all together.
Click to expand...

EXCELLENT (!) ... works well with me ... :-))

P.S: ... i loved that little movie about "dreaming" ... that made the rounds this year ... :-)

Dreaming is as well a universal "mute" concept as Love can be ....
 
Meryem Ersoz said:
... I didn't have to seek them out. In fact, I was only trying to make a point initially, as several people have already noted, but the enthusiastic response means that we can do more, potentially. And I'm willing to put my money where my mouth is, for a great experience.....
Click to expand...

Love.
 
it is a lot easier to make a movie like Somewhere or Lost in Translation into a commercial and artistic success if your last name is Coppola - just sayin'!
 
... and just to add to my view of things and the core of this thread ...

i think, that any movie worth shooting should be shot on EPIC (personal preference) ... and as some know, i have a few on my shopping list.

Cameras are not everything, but the crucial ingredient in the workflow ...

I was honored to have early access to the EPIC, went to LA to see Ketch and Steves M8 and others ...
i was further honored to have been given an early M option .... that i could not execute at the time ... and it deeply saddens me.

... now, with the SCARLET specs being what they are, i will substitute some EPICs on said list with SCARLETS.
(Almost) No point in pointing 120FPS at dialogue ... ;-)) .... and i am a nut for multi cam ...

This threads quality is really based in the way Meryem made her point to a certain group of people ...
and as mentioned before in this thread, i can see people with big dreams betting everything on a company and a camera,
getting out to shot and hope for the best .....

... as Mr. Robert R. did .... (he wrote an excellent screenplay blueprint style around his props)

So, I see, for many, there is a big difference in 6K ... or 14K ....
and as i have pointed out before, THIS is a mindset issue ... its is an obstacle that can be eliminated fairly easy.

It takes the same power to overcome the 8kish difference in initial investment (plus drives, etc.) than it does to be crazy enough to even imagine to shoot a 90 minute movie and keep the attention of anyone for so long .... never mind 2 hours!!!!

Now, The 4K SCARLET is a much better camera ... than the 3K 120 FPS concept that was around some time back ... ;-)
(personal opinion) ...
I believe in 4K+ ....


Hope this post adds to the spirit of Meryem´s inital post ...
and helps the "disgruntled" to find a good approach ...

:-)
 
Meryem Ersoz said:
it is a lot easier to make a movie like Somewhere or Lost in Translation into a commercial and artistic success if your last name is Coppola - just sayin'!
Click to expand...

... i think, that is not all fair ... (in the case of "somewhere")
she made a name for herself with the work she delivered.

it is probably helpful to have access to the Francis Ford Coppola school of wisdom ...
and Mr. Cage found his way .... without using the families name ....

just sayin' ... :-)

hehe ... its 2011
we have social networks and self publishing calling (sometimes) major attention from classical distribution.

I believe, that inspired, good work will find its audience.

Its about momentum.
 
I think it's also depending on the country and its mentality and way of seeing things... That's why I'm following this thread with my French eyes. Collaboration and enthusiasm seems more frequent in the Anglo-Saxon world. Here, in France, trying to set up a collaborative feature is as easy as flying to the moon. There are a lot of projects done this way, but they're usually at a small scale, ie shortfilms, video clips, docs, etc...

Here features are, 95% of the time, founded by public money, so nobody really cares about the project by itself. People just come for the money and to keep their social advantages. You can't really rely on your crew /cast if you're in the last 5% of the ones who do/think differently. Sure, some projects are completed, but with psychiatric support ;-)

And if you're a Red owner offering your services/camera for free on a feature project, prepare yourself to get bombings from the others ;-)
 
Kristin Stewart said:
I think it's also depending on the country and its mentality and way of seeing things...
Click to expand...

... i see your point, i grew up on the french border near luxembourg ....
culture makes all the difference.

I propose, its about connecting in the right spirit ... and create a culture between self selecting people that commit to it.
This is not bound by local customs or territorial boundaries ...

It´s a big dream, of course, but we are already taking part in one ... right here .... ;-)
It´s called Mysterium-X ® ...

hugs to france ... :-))
 
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