Brian Dzyak
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Posts posted by Brian Dzyak
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The editing and pacing had a different feel than the other films. I sometimes had the feeling that I was watching
the 'directors' cut of a film'. I am not complaining. It had a rawness and not the slick transitions with sound and music that I normally see in A Nolan movie.
I agree. It drags and meanders particularly through the first third, but so did Dark Knight.
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Line items for everything has gone way down, except for armed militants for protection, that has gone way way up.
R,
Well, that's the breaks, ya know, for not paying enough taxes to support a functional government and choosing to privatize everything. You have to provide for your own protection, build your own roads, educate your future employees, launch your own weather satellites, ....
.... or I suppose you could just convince all your employees to pay for that stuff out of their own paychecks while your company isn't burdened by such "job killing" expenses. The only thing missing is the employees giving you back money in the form of a subsidy. I'm sure you can convince them to do that too, cuz after all, you're the benevolent Job Creator who deserves worship and none of the costs that are imposed by other people in other countries who clearly hate success.
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It really truly is, I have my flight booked.
R,
Please send photos! And the balance sheet if you can. I'm sure everyone would appreciate knowing how successful a "job creator" can be in a lawless, governmentless, regulationless, taxless environment. :)
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Wow! I like how you think! The cost savings to shoot a movie there will be incredible. Thanks for the tip!!
R,
You're welcome! NO labor costs. NO taxes. NO regulations. It's a Producer's dream!
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Quite fascinating, I think a trip to Romania is in order:
http://articles.latimes.com/2005/oct/02/entertainment/et-romania2
R,
Dust off your flux-capacitor. That was from 2005.
I'm still not sure why ALL Corporations haven't just moved ALL manufacturing and production to the Libertarian Paradise of Somalia where there is no functional government to "steal" their money via taxes or to tell them what to do via regulations. What could possibly go wrong?
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Wow! Just saw an interview with Kevin Costner about The Hatfields and McCoys mini series for History Channel.
Turns out it was shot in Romania!! Even though it takes place in Kentucky and Virginia.
Holy Cow, talk about runaway production. I guess the US unions are simply making it too expensive to shoot in the USA now.
I was looking over the crew list on IMDB, it's a pretty long list of Romanian names. That is quite a pile of US jobs that got shipped overseas there Brian.
R,
It's not "too expensive" to shoot in Los Angeles or the USA. It's that other nations have offered larger bribes to Producers and Corporations.
It reminds me the bumper sticker, "Maybe it isn't union workers who are making too much money... maybe it's you earning too little." The end-game in the Incentive/Bribe wars will be when a government (local, state, or federal) offers to fully finance a private for-profit production just so that the workers there can get the temporary work. That is the Conservative dream...to publicize the costs as much as possible and to privatize all of the profits.
This isn't about me at all, but my personal opinion is that I wouldn't mind the Incentive/Bribe scam half as much if the Governments (the People in that area, really) became profit partners in that they are helping to finance the projects. Isn't that what Producers are suggesting, that they couldn't possibly afford to make their movies without the "incentives"? So they NEED public money to make their for-profit project which means that "The People" are de facto Producers who should benefit directly from the profits of that for-profit product.
When will that start happening?
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I'm getting ready to purchase a flag kit, and I came acroos these:
http://fjwestcott.com/product-category/westcott/reflectors-and-scrims/fast-flags/
and I'm wondering if anybody has experience with these and their general opinins on them?
TIA for any input!
I've had my eyes on those, but they are too frickin' expensive. But they'd really come in handy, even more so if someone could invent a seriously lightweight collapsible C-stand to use them with.
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Excerpt from the California Senate Governance and Finance Committee's evaluation of the February 2012 report, Economic and Production Impacts of the 2009 California Film and Television Tax Credit.
Complete report can be viewed here: Report
While the total effects of these issues are impossible to quantify, their combined effects are likely to be negative in any given fiscal year—that is, resulting in the net benefit of the credit program being less than shown in both the LAEDC and UCLA-IRLE studies.Given the conclusion that the net benefit of the credit program is likely less than shown in the LAEDC study, the LAEDC’s finding that the output-to-credit ratio was about 20-to-1 is likely overstated, as is its estimate of job gains resulting from the credit program. Moreover, given that UCLA-IRLE adjusted downward to $1.04 the projected state and local tax revenue return from every credit dollar and given that we find that this also was overstated, we believe it is likely that the state and local tax revenue return would be under $1.00 for every tax credit dollar—perhaps well under $1.00 for every tax credit dollar in many years. In any event, even if the combined state and local tax revenue return is right around $1.00 for every tax credit dollar, the state government’s tax revenue return would by definition be less than $1.00 for every tax credit dollar. The credit program, therefore, appears to result in a net decline in state revenues.
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Hi there,
I'm wondering what are the best tips for shooting outside in the middle of the day? This is a general "top tips" question.
I'm shooting an interview outside at midday on a winter's day (In Australia). Harsh sun.
The shot is a clean single, mid shot and close up. The director has asked for a "natural" look.
I'm simply putting the sun behind the subject (the sun is quite low in winter) and using a reflector from his front left.
Would this be the best way to go for a standard, well illuminated mid shot? Would you use a diffuser over his head to remove harshness from the sun? I also have a litepanel LED 1 x 1, which could provide some fill. (Though it may not be enough light at that time of day in full sun).
Would you put him in shadow? Dappled light?
Any thoughts would be wonderful!
Cheers,
Tom
My goal for any day exterior interview is to find a relatively shaded/dark background because I rarely have enough firepower to compete with a fully sunlit background. That's more than half the battle right there.
Then, depending on where the sun is exactly, I like to take ALL the sun off the talent with a solid. Then I hit them with an 800w HMI Joker or two of them shot through a frame with a silk. You could put a silk overhead (or in line with the Sun, wherever it is), but if the Sun is anywhere near overhead, the silk won't be enough to take the harsh overhead shadows off your talent, which is why I prefer to just block it all out and fill the face back in with my own light to match the background as best as possible. You might be able to get away with a bounce A) if your background is dark enough and B) there is enough Sun to bounce with.
Usually, it isn't enough and more importantly, bounce isn't as easy to control particularly if you are alone and if the interview is fairly long. Using your own powered light gives you a consistent look for the length of the interview and you have total control over it. If the interview is particularly long, I'll often have to adjust the HMI during the interview (stepping away from the camera for those moments) to put scrims in or to physically move the light backwards as the background levels change.
The problem with "natural" is that "natural" is rarely good, particularly on a day exterior unless you are lucky enough to be shooting really close to magic hour, but then of course, you're limited on time.
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If a project/product is good enough, it shouldn't have to rely on ripping off tax-payers to get financed.
Here's the Tax "Incentive"/Bribe scam in a nutshell:
PRODUCER
(crying like a baby)
Wahhh!!! I need $1 million to make my for-profit product. Will tax-payers help me?
GOVERNMENT
Sure!
Two years later....
PRODUCER
(smiling)
Yeah! I just made $10 million dollars!
GOVERNMENT
(confused and stupid)
Great! But, shouldn't we be Co-Producers sharing in the profits since we helped finance your for-profit product, making it possible for you to even have the chance to do this?
PRODUCER
(aghast!)
What?! I'm a "Job Creator!" You should be WORSHIPING me instead of trying to steal my hard-earned profits. Why do you hate success?
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In order to sign up for this forum you need to figure out what "ST US TV FPS" stands for and then give the correct answer with second decimal accuracy. 30 is not close enough. So I guess it is tech geeks only here. WTF?
????
29.976 is the answer, but those acronyms are not standard either. WTF is ST supposed to mean without figuring out the rest of the puzzle? I don't get it.
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Once again, I seriously don't know where you come up with this stuff????????
There's no point in even discussing this with you as your knowledge of basic economics and producing in general are so poor, that there is not even the basis for a discussion here.
What part of me PAYING crew and the crew PAYING taxes don't you understand? BTW, I'm a member of the crew as well.
Stick to camera work.
R,
I know a scam when I see one. Stick to ripping off your government for your own profit.
The Tax Foundation, a nonpartisan study group that focuses on tax burdens and tax policy, opposes movie incentives offered by states, saying they rarely provide the benefits they promise.“MPIs are popular with state officials and many of their constituents but often escape routine oversight about benefits, costs and activities,” says a page on the Tax Foundation’s website. “Based on fanciful estimates of economic activity and tax revenue, states invest in movie production projects with small returns and take unnecessary risks with taxpayer dollars.
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Still going strong here, and no sign of a reversal on tax credits in Ontario. Toronto on track to have another boom year.
I'm on track to shoot again this year, and tax credits make up a substantial part of my budget.
R,
I'm sure that Producers feel really good that they get off scot-free from contributing to the tax base that finances silly things like public infrastructure and education, making workers foot the entire bill.
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http://realfilmcareer.com/film-industry-safe-despite-tax-changes-studio-official-says/
My favorite line in the article is: “All it’s doing is reducing the total net savings for production companies,” Hariton said.
“I don’t think it’s a negative thing at all,” said Hariton of the removal of the sales tax exemption.
Um.... studios choose states to shoot in to AVOID paying taxes. I think this Hariton is trying to put lipstick on a pig. How long does Georgia have since no state can possibly continue handing out tax breaks forever? Tax "incentives" are NOT sustainable for anyone.
Film industry safe despite tax changes, studio official saysby Savannah Weeks
A new state tax reform law removed a sales tax exemption on film productions, but Atlanta Film Studios partner Jeremy Hariton said he does not believe this will slow production companies from choosing Georgia or Paulding County as feature film or television show destinations.
The new law will go into effect July 1.
“All it’s doing is reducing the total net savings for production companies,” Hariton said. “Most states look to readjust incentive programs.”
These readjustments keep the incentive programs sustainable, according to Hariton.
Georgia’s Entertainment Industry Investment Act provides a 20 percent tax credit for companies that spend $500,000 or more on production and post-production in Georgia, either in a single production or on multiple productions, according to the state’s website.
An additional 10 percent credit is given if the finished product includes a state promotional logo.
“I don’t think it’s a negative thing at all,” said Hariton of the removal of the sales tax exemption. “It shows interest is still growing.”
Hariton said production companies want to know a program like Georgia’s is stable enough to make a commitment.
“Everyone feels really comfortable that changes are being made for the stability and longevity of the program,” he said.
The film studio partner evidently thought the program was stable, as Atlanta Film Studios opened in February.
“I think Paulding is right on the cusp of really exploding in the entertainment industry,” he said.
Hariton said the film studio will hopefully make Paulding County a place where production companies film the entire, or most of, a feature film or television show, instead of just a few scenes.
Filming in the county for the duration of the piece creates an opportunity for more business in the county, according to Hariton.
“If a show comes and stays at the studio for a few months, it makes a big difference,” he said.
Currently, a production company is using the studio, though Hariton said he could not reveal any details.
The company began using the studio in April and will be there until late July or early August, Hariton said.
Hariton said he is currently marketing the studio for both feature films and television shows.
The studio is being shown frequently to potential users, and there has been much interest but no other contracts signed, according to Hariton.
“We have a lot of interest,” said Hariton. “Having the first client sparks a lot of interest.”
Hariton said the studio did have time reserved for both feature film and television productions.
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Fantastic! Anette is a wonderful person and deserves this recognition. Congratulations!
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Universities and Film "schools" are businesses and exist to make a profit. If some education happens to take place in that process, then more power to them. But their primary purpose is to make money. To accomplish that, they have to sell the dream that everyone who goes to their school WILL learn everything they need to know and that will enable everyone an equal chance of fulfilling their goal(s) in the professional industry.
Of course, reality is different than that. It's one thing to sit in "film appreciation" classes and write about movies. And while it is valuable to some extent to work on/make your own student films, neither truly prepares a student for the real world either.
I suspect that the quote you objected to initially was speaking to the "reality" of the filmmaking world where it truly isn't always about originality. In many cases, being derivative of previous work can seal a deal faster than an original concept. Just count the numbers of sequels lately.
In any case, in my opinion, dropping a large amount of money (and time) into "film school" just isn't worth it for most people. While there may be some valuable lessons one COULD potentially learn in the classroom environment, most of them can be learned far cheaper while working on low budget sets (ie, music videos, indie films) where you are earning money while getting a crash-course education.
Of course, it's all contingent upon the specific job you wish to have. Just about any below-the-line crew member will not benefit greatly from spending a lot of money and time on a film school. An aspiring Director or DP...maybe, depending on the specific curriculum the schools offers. But the "degree" (or certificate) itself is meaningless in the professional industry. Nobody cares where or if you went to film school (or any school for that matter). What matters most is A) who you know B ) who knows you, C) what you can do and D) your personality (can someone stand being around you 14 hours a day?)
I feel that the best way to "get into the film industry" is to know how it actually works on a day-to-day basis. Having stumbled through it myself, I later wrote a book detailing everything that I wish I would have known BEFORE I went to film school and later moved to LA. I recommend it to anyone who has a genuine interest in working professionally in the industry. Read it first and then decide if you want to go to a film school. The more you know before you invest time and money, the wiser choices you'll be able to make every step of the way. Good luck!
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I just finished school in Chicago, I attended Columbia to study cinematography. Over the past few years I moved up the ladder quickly, earning my union card with the Local 476 (as electrician/grip) at the end of junior year. Now that I have graduated I plan on moving to LA in the fall, after the shooting season here ends.
Although I love Chicago and have made a good name for myself here I know I need to head out to LA if I want a better chance of making it as a DP. Moving there is going to be a big step since I'll have to restart my networking and begin working up the ladder again. Although shooting is my end goal, I want to keep working on the big shows when I'm not shooting so I can keep food on the table and a roof over my head. So my question is, how easy or difficult would it be to get unionized out in LA? Would my current membership and union experience help? Also, in LA do you have to pick a side? Electric or grip?
thanks folks
Yes, you'll choose one or the other and specialize.
You should call the Local offices for details regarding your specific situation:
http://realfilmcareer.com/forum/index.php?topic=17.0
Motion Picture Grips/Crafts Service Local 80 - http://www.iatselocal80.org
The official website for motion picture Grips, Crafts Service, Scenics, and Marine employees.
Motion Picture Studio Electrical Lighting Technicians Local 728 - http://www.iatse728.org
The official website for studio Electrical Lighting Technicians.
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My brother works in the archives department at Penn State University which deals A LOT with archival material (mostly sports). Hands down, he recommends FILM as the best way to preserve images. It lasts longer and IF there was a problem with a "viewing device," you can still hold film up to light and see pictures. You can't do that with videotape or a hard drive.
I still have 8mm film that my grandparents shot in the 1960s that we enjoy threading up. But I have some VHS and even 1" that takes great pains to see today.
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What is the point of paying upwards of $12-15 a ticket to see a movie when you can purchase the same movie on Blu-ray for $15-20?
Really big screen to see the movie the way it was intended. Superior sound system to hear the movie the way it was intended. Communal experience that enhances the enjoyment of nearly any motion-picture.
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Knowing that if I don't have the shot setup in time, the Producer will get angry and perhaps not hire me anymore.
So, first I think about all the possibilities... then filter out all of the ones that are too unrealistic given the time and resources available. Then I consider the possibilities left over and which one will look best while considering other potential issues (ie, sound, can I actually get lights and the camera where I need them?, etc.).
It's a wonderful utopian idea to suggest that Camerapeople just "create" and "paint with light" as "artists" but all too often, the logistics drive choices and decisions.
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The LAST thing I'd purchase would be a camera and the accessories for it. Every project will call for different specs.
On the other hand, you know you'll always use lights. Of course it's impossible to know exactly what lights you'll need as every SHOT is different (different locations, INT, EXT, Day, Night, Sunny, Not Sunny, lots of windows, no windows) but you can build a lighting/grip kit of basics that you'll use on every project you shoot.
Cameras are changing hourly. Lighting is pretty consistent from year to year.
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I was cruising Youtube and came across this clip. I've seen the film many times before, but it struck me as some pretty hefty and intricate camera work. How do you prepare for shooting something like this?
<object style="height: 390px; width: 640px"><param name="movie" value="http://www.youtube.com/watch?v=ZUrxG8APyiI?version=3&feature=player_detailpage"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/watch?v=ZUrxG8APyiI?version=3&feature=player_detailpage" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="640" height="360"></object>
It's not very complicated camerawork really. LOTS of wide masters with a scant few closer two shots here and there. The "intricacy" is in the choreography so DP, Bill Butler, just need to put a wide lens on the camera (on a Chapman crane, if I remember correctly) to capture it all. I also seem to remember an interview with the Director or Bill when they said they were running out of time (and money?) to shoot that sequence so they shot it all wide to get it done. Sometimes simplicity is best.
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Industrial Light & Magic: The Art of Special Effects [Hardcover]
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Industrial Light & Magic: Into the Digital Realm [Hardcover]
Mark Cotta Vaz
Industrial Light & Magic: The Art of Innovation [Hardcover]
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I just started using the Sonnet Tech Thunderbolt adapter and it is much much faster and I've had no problems with it so far. I'd like to know why they have advised against it. It is REALLY fast which cuts my downloading and backup time by well over half.