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FMC Live Christmas Show!

December 18, 2008 by Dave (Who am I?) · 4 Comments 

Greetings to all the great FilmmakingCentral audience! As always we are having our annual Christmas show! The difference is this year its LIVE! Thats right LIVE via our ustream.tv channel! Join us for an evening of fun discussions, recaps and more! Have questions? Want to join us live on the show? Have an interesting tale to tell, a new product or want to send us to see your latest works? Feel free to chime in on the show! (If you send me an email I will properly introduce you!). Visit our channel for info on how to join us live here.

OH…I almost forgot (not really!). We have amazing giveaways for you as well! Since we love our listeners and members we are going to be randomly giving away some great presents! Here are a few:

And much more plus lots of training book and DVD’s (you have to pay the shipping though!)

The show starts at 8pm PST on Friday December 19th. Join myself and KOhost Ko Maruyama, bring your own eggnog and have some holiday cheer! Invite your friends too! There will be live chat!

See you then! Dave

Special thanks to all of our sponsors for some great gifts!

(If you would like to participate, donate prizes, or anything else email me here or skype me themediamogul)

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FMC Review - Cram Makes Compression Easy and Fast

December 9, 2008 by Dave (Who am I?) · Leave a Comment 

Nothing excites me more than saving my precious time. Whenever I am told about a new application that will do so I engulf myself into its full potential. When a friend told me about “Cram” (love the name!), a pack over 330 presets that work in Compressor 3, I was all over it.

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FilmSchoolOnDemand Introduction

December 1, 2008 by Dave (Who am I?) · Leave a Comment 

Welcome to an introduction to FilmSchoolOnDemand.com. We are excited to get the site launched! We look forward to teaching many of you how to make your first feature film and sell it!


FlmSchoolOnDemand Intro from David Basulto on Vimeo.

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FMC Review: EditGroove’s UserMatic

November 13, 2008 by Dave (Who am I?) · 1 Comment 

One thing I hate is the dreaded beach balls in Final Cut Pro. Just when I get a good rhythm going that darned beach ball pops up and causes me to trash my preferences. It’s my biggest pet peeve about using Final Cut Pro.

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All I want for Christmas is…

November 11, 2008 by Dave (Who am I?) · Leave a Comment 

After asking members of FMC and Twitter what they wanted most for the upcoming holiday season, here are the top 5 requests:

  1. Film Financing. Come on people! Open the checkbooks! Its art for goodness sakes!
  2. 24P on a DSLR. Yes we mean you Canon. Hook us up and you will reap the rewards!
  3. Red Red Red. Give us our Scarlett. Now we know how Rhett Butler felt.
  4. Script Sales. Please make it easier for the hardworking writers to sell specs.
  5. Plant a great idea in our heads for a web series. I mean if Fred pulls in $$,$$$ an episode then so can we!

If we missed your wish please add it to the comments. We will make sure Santa sees this! DIGG it!

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ALL DOC’D OUT: A DOCUMENTARY SURVIVAL GUIDE SEMINAR

October 18, 2008 by Dave (Who am I?) · Leave a Comment 

AMERICAN CINEMATHEQUE

Cordially invites you to attend

ALL DOC’D OUT:
A DOCUMENTARY SURVIVAL GUIDE SEMINAR

Thursday, October 23, 2008
7:30pm – 10:30pm
at
The Aero / Max Palevsky Theatre
1328 Montana Avenue
(at 14th Street)
Santa Monica, CA 90403

PARKING:
There is plenty of free, unlimited parking on Montana Avenue AFTER 6pm and on side streets AFTER 7pm.
Read posted signs for restrictions.

Learn how to keep your film alive and thriving in the competitive world of nonfiction distribution, exhibition and film festivals from a panel of industry professionals!


ALL DOC’D OUT is sure to enhance your understanding of the competitive world of non-fiction filmmaking, financing and distribution. Whether you have just finished your film or whether you are in pre-production and preparing to shoot your film or even if you are just in the conceptual stages of making your first film, ALL DOC’D OUT is sure to be an invaluable resource and a rewarding glimpse into the state of documentary filmmaking in the United States.

Nonfiction filmmaking has been a centerpiece of the American film industry for most of our new millennium. Whether this resurgence can be attributed to the dominance of reality-based television, new-found artistic and technical liberties or to some good old-fashioned monetary gain, there is now a vast new playing field for today’s documentary filmmaker..

CONFIRMED PANELISTS INCLUDE:

Agi Orsi, Producer
RIDING GIANTS; DOGTOWN AND THE Z-BOYS; ONCE IN A LIFETIME; AMAZING JOURNEY: THE STORY OF THE WHO;

Sandra J. Ruch, Documentary Consultant
Elixir Consulting

Diane Estelle Vicari, President, International Documentary Association

Randy Olson, Author/Filmmaker
SIZZLE: A GLOBAL WARMING COMEDY; FLOCK OF DODOS: THE EVOLUTION-INTELLIGENT DESIGN CIRCUS

Saskia Wilson Brown, Manager VC2 Outreach
CURRENT TV

PLUS MORE PANELISTS TO BE CONFIRMED!

Moderated by film consultant/programmer Thomas Ethan Harris.

SPECIAL DISCOUNT FOR INFOLIST.com!!
Bring a copy of this INFOLIST.com email to the Aero Theater Boxoffice, and get $5 OFF! That’s just $15 (normally $20!) for a panel of top documentary professionals! Note: The Aero Box Office is open 90 minutes before the first program of each day or evening.

To purchase tickets online (sorry, no discounts available for online purchases):
www.fandango.com/americancinemathequeattheaerotheatre_aacpd/theaterpage?date=10/23/2008

For the latest information on new panelists, and more information, please visit:
www.aerotheatre.com/archive1999/2008/Aero/OneNightEvents_OCT_Aero_2008.htm#ALL%20DOC’D%20OUT:

COURSE OUTLINE:

With an accent on ALTERNATIVE and CREATIVE approaches to producing, financing and distributing documentary films, ALL DOC’D OUT: THE ULTIMATE DOCUMENTARY SURVIVAL GUIDE focuses its attention on three primary foundations of non-fiction filmmaking:

1. CONCEPT/SUBJECT CHOICE, FORMAL DESIGN, FILMMAKING TRENDS
What are the most viable subject trends in documentary filmmaking today? What is the current landscape like for “the political doc” (Michael Moore-approach), “the historical doc” (Ken Burns-approach), “the environmental doc” (Al Gore-approach), “the shock doc” (Nick Broomfield-approach), “the personal doc” (Terry Zwigoff-approach), and “the auteur doc” (Errol Morris-approach)? What are the current filmmaking stylistic trends? Where are they headed? Does the film festival world favor certain non-fiction subject approaches and styles over others? Is there a primary documentary filmmaking style/form today? What filmmaking stylistic/formal concerns should a new documentary filmmaker be aware of when making his/her first film? What are the most important artistic and financial considerations you should make before shooting your documentary?

2. CONTEMPORARY FINANCING
In terms of the conceptual stages of making a documentary, what do both documentary organizations who provide grants and documentary financing producers look for in a documentary that is seeking investment? Is financing an American documentary always from a “patchwork” of sources? Given the collapse of the world’s financial institutions, it looks like financing your new non-fiction film has some very challenging times ahead. What new methods of financing documentaries can we foresee in the future? How creative can producers get in their efforts to find money to make non-fiction films? Given the weakened state of the dollar, is European financing on the rise for American documentary filmmakers or is this just a potential for narrative filmmakers? Is the “internationally co-financed” film going to come back into style?

3. NEW FORMS OF DISTRIBUTION/EXHIBITION
What does the landscape for documentary film/video distribution look like today verses 5 years ago? What are the biggest changes in what a documentary will find for itself in terms of theatrical distribution, DVD sales or broadcast (television, cable TV, internet) play? How does film festival exhibition enhance or hurt a documentary’s distribution potential? When do I bring on a sales agent? When do I bring on a publicist? Are sales generated through self-distribution better today than sales that can be generated by a DVD distribution company? What are the “best” DVD distribution companies for non-fiction films? Do DVD sales really make up for the financial losses filmmakers now take with the relatively small advances they are offered for theatrical and broadcast distribution? What are the newest forms and/or methods of distribution for documentary filmmakers today? Does the contemporary documentary filmmaker have to settle for greater exposure for his/her film and take a financial loss?

ALL DOC’D OUT: THE ULTIMATE DOCUMENTARY FILM SURVIVAL GUIDE – we hope to see you there!

______________________________
www.INFOLIST.com

You’re on this e-mail list because I most likely met you somewhere, and you indicated you were interested in information I come across related to the entertainment industry, casting, events, parties, etc., or you registered at www.INFOLIST.com. Please feel free to forward this email to anyone you feel would be interested - however, you must include the entire email with no editing whatsoever, including the intro from me at the top of this email, this footer, and any advertising or other information present, crediting Jeff Gund at www.INFOLIST.com as the source if re-posted on a website or other list. Thank you! To change what information you would like to receive, please login at www.INFOLIST.com and check or uncheck any email lists in your preferences, or simply click the link below to be removed from all lists. Have a great day! -Jeff

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Automatic Duck Ships Highly Anticipated Pro Export FCP 4.0

October 14, 2008 by Dave (Who am I?) · Leave a Comment 

SEATTLE, WA (October 14, 2008) –  Automatic Duck (www.automaticduck.com), the creators of timeline integration software for digital media artists, announced today that its newly enhanced version of its flagship translation tool for Final Cut Pro users, Pro Export FCP 4.0 is available immediately.  Highly anticipated by the post production community, Pro Export FCP 4.0 adds a number of powerful new enhancements designed to simplify complex and disparate workflows, eliminating significant obstacles of moving content from Final Cut Pro to Avid, Quantel and Pro Tools.
Creative director of Visual Collective, leader of AENY and founder of the industry blog, Finalcutuser.com, Jim Geduldick had this to say about Automatic Duck and its impact on his workflow:


“Automatic Duck is indispensable in my set of tools for the work I do. Whether I am in Final Cut Pro , After Effects  or Combustion I know I can get back and forth between applications easily . Working as a freelancer, I am often and getting assets from other clients or artists from applications like Avid or Pro Tools.  I have come to rely on Automatic Duck for a smooth collaborative workflow between all these platforms.  Automatic Duck saves me time and money  by eliminating the need to buy extra software or bring on additional freelancers ..”
Peter Barrett of RPM Pictures in Auckland, New Zealand added:
“We’re a boutique post house running Avid and Final Cut, and Automatic Duck helps us punch above our weight. From weekly TV shows to feature films for international release, Automatic Duck products make it easier than ever to take Avid projects through for high end finishing in Final Cut and Color. They’re a key element in our workflow.”
What’s New in Pro Export FCP 4.0:
Pro Export FCP 4.0 adds significant improvements to a number of key workflows for customers, including:
Improvements to the Final Cut Pro to Avid Workflow
The ability to convert Final Cut Pro media into Avid media files;
24fps support;
Conversion of many FCP effects and parameters into Avid effects, such as Picture-In-Picture.
Improvements to the Final Cut Pro to Pro Tools Workflow
The ability to export an AAF file linking to external media files;
The ability to include video track for viewing picture.
Improvements to the Final Cut Pro to Quantel Workflow
The inclusion of more effects data from Final Cut Pro for import into next generation iQ and eQ systems.
Pricing and Availability
Pro Export FCP 4.0 is available immediately and is priced at $495.00 for new customers, and as a $195.00 upgrade for existing users.
About Automatic Duck
Automatic Duck is the pioneer of Timeline Integration Engine technology and leads the content creation marketplace with powerful solutions for seamless, comprehensive timeline translation capabilities between Avid, Adobe After Effects, Combustion, Discreet Smoke, Final Cut Pro, Motion and Quantel via XML, OMF and AAF.  For more information on Automatic Duck’s unique Timeline Integration Engine technology, please visit www.automaticduck.com.

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‘Thunder’ reigns again at box office

August 25, 2008 by Dave (Who am I?) · Leave a Comment 

Front Page: ‘House Bunny’ hops to No. 2 spot — “Tropic Thunder” retained the weekend B.O. crown, slipping just 38% to collect .1 million. Before “Tropic Thunder,” only “The Dark Knight” and “Iron Man” had managed to stay in the top spot for more than a week this summer. And only two previous studio summer titles, “Mamma Mia!” and “What Happens in Vegas,” had seen second-week drops of less than 40%.

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Michael Phelps circles book deal

August 25, 2008 by Dave (Who am I?) · Leave a Comment 

Front Page: Olympian’s memoir set for holiday season — Simon & Schuster has announced that Olympian superman Michael Phelps will write a book about his exploits in Beijing to be published in time for the holiday season.

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Stars come out for political conventions

August 25, 2008 by Dave (Who am I?) · Leave a Comment 

Kanye West raising the roof. Charlize Theron leading the charge. Gwyneth Paltrow and Edward Norton stumping for the arts. Denver, Colorado, the site of the Democratic convention beginning Monday, will find itself as Hollywood East.

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