Archive for the ‘Filmmaking’ Category

I’m currently building a small recording booth in my study using mostly IKEA furniture, so this article on MusicRadar How to Build Your Own Studio in 11 Easy Steps was a well-timed read for me (even if not all of their eleven steps seem that easy to me!).  I like their idea of plonking a whole new pre-built building down and fitting it out from scratch, but that’s not an option for me right now, so I’m using one side of my study/granny flat, some large IKEA cupboards, and some padding from IKEA and Clarke Rubber.  I’ll post photos of my progress as I go.

It’s not designed for music production, with sound proofing strong enough to acoustically isolate a drum kit.  I just need the ability to record voice and Foley performances without the sound of my PC fan and hard drives chattering coming through onto the recordings.

It’s coming along, but it’s taking longer than I expected (of course) and the booth door is still going to be a challenge.

The Scream

Even as a kid, I knew there were sound effects out there that were being used over and over again in films.  Certain rock-falling sounds, certain gunshot sounds, certain horror sound effects.  Before I started to take a strong interest in post production I could tell that there were sound effects that “did the rounds” amongst sound mixers.

Tonight a student asked me about one of them and he reminded me that this one had a name – The Wilhelm Scream.  For a history of the scream (”screams plural actually) read this brief history from HollywoodLostAndFound.net, where you’ll also find a list of films that it has appeared in. To hear a few different takes of the scream in medium quality, check out this freesound page.  Anyone my age or younger who has watched (and rewatched) films edited and/or mixed by Ben Burtt will instantly recognise the scream(s), but I didn’t realise until tonight how far back its history went – all the way to 1951.

Now if I can just figure out a way to incorporate it into a future project, I’ll be happy.

I just watched the trailer for the next (last?) Star Wars film. Almost the entire first half was footage and audio from the original Star Wars film (the film everyone else now calls “Episode Four”, but what most of my generation just call “Star Wars”) and the other previous films. The trailer looks great, with lots of shots that suggest some fun scenes. One shot that caught my eye was a brief one of C3PO standing in what looked like the hallway of the Tantive IV Rebel Blockade Runner, a ship we first saw in the opening shot of the first film. Interesting…

Will it be a good movie? There’s no doubt that it will be a great moment when Anakin Skywalker puts on the Darth Vader mask, breathes like Darth Vader, speaks with James Earl Jones’ voice, and is backed up with John Williams‘ Darth Vader Theme – I hope that moment is handled well. But will it be a good movie? Hmmm… It’s got Chewie in it (and a whole load of other Wookies). It’s got a big lightsaber fight between Anakin and Kenobi. Hmmm… Yes, it will rock. Yes. It will. It will (performs Jedi-mind-trick on self).

The trailer reminded me of my trip to Sydney in December 2002 where I saw the Star Wars exhibition. I took a few snaps with my 2MP digital camera of the props, costumes, and models on display. Here are some of them:

(click for a larger version)

The Ladykillers

I’ve been a big fan of The Ladykillers for a long time. My initial interest in the film was because Peter Sellers and Alec Guinness were in it, so I eventually tracked it down many years ago on late-night television. And it’s true that Guinness is terrific as Professor Marcus, and Sellers, in his first feature, showed a lot of promise – even if he was still a bit inexperienced.

Mrs Wilberforce takes a nap – maybe for good?

But what I didn’t expect, when I first saw it, was to be so impressed with the whole cast – Herbert Lom, Cecil Parker, Danny Green, and most of all Katie Johnson as Mrs Wilberforce. This little lady, who was seventy-seven at the time, gives a quiet and almost minimalist performance that gently but firmly dominates the film, despite (or because of?) the fact that she is surrounded by the relatively over-the-top antics of the male cast. She is perfect, and this is a nearly perfect film.

I recently rediscovered and rewatched the film thanks to three things: Kareena buying me the DVD of the film (what an amazing new transfer compared to the versions I have seen!); news of a recent remake (the trailer makes it look like it could be rather bad, but if it leads people to the original, then it’s a good thing); and stumbling across a great web page that compares the locations in the film to how they look now (I’ve always found that sort of thing interesting). Here’s a review that contains no spoilers for the second half of the film.

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Title: Suspended Alibi
Where:ABC TV
When:2 February 2004 – 2:00am

As the film Suspended Alibi opens, all seems well in the household of Paul Pearson (played by a wooden Patrick Holt). Their house is large and attractive, situated in a leafy suburb that seems green even when viewed on black and white film. Lynn, his attractive if stuffy wife (played by Honor Blackman) sits on the couch wearing a starched dress and a concete hairdo.

Withing minutes of the film starting, she is screaming unconvincingly as her young son dangles a worm in front of her. I’ve seen Ms Blackman do much better in other films so I’m going to blame the script and direction for her passionless performance in this one.

But this peacefull if dull existence is not all it seems. Paul, a newspaper editor, has been having an affair with Diana, his fashion reporter (played by Naomi Chance, who manages to act around some terrible lines). So – right at the start of the film we discover that the central character, the one we are presumably meant to be cheering for, is a cheating cad. Mind you, given the bland stiffness of his wife Lynn throughout most of this film, who can blame him?

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Title: Underworld
Where: Balmoral Cinemas, Screen 7, Queensland, Australia
When: 26 January 2004 – 9:20pm

I went into this film with very low expectations. The seen-too-often trailers for Underworld, with their Matrix-style slow-motion acrobatic gun battles and cast members strutting around wearing black clothing of various tightness and glossiness, made the film seem so preposterously pompous and self-consciously cool that I was sure it was going to be a silly, silly film and a drag to watch.
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Yeesh – it seems the PFTC is damned no matter what they do.

Today’s Courier Mail had a headline on page three that read “Movie body backs down on search for ’slave labour’“. You can view the online version of the article here (note the online edition is now gone – it had a less sensationalist headline, but the body of the article appears the same as the print edition). After reading it a couple of times, it looks to me like the PFTC tried to do the right/smart/realistic thing on a slightly touchy subject, handled it a tiny bit clumsily, and got well-and-truly roasted for it.
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Unlike last year, I’m not going to write a full rant about this year’s Brisbane International Film Festival (BIFF). Due to work commitments I only went to one screening at BIFF this year, so I can hardly comment on the festival. The film I saw was the short film, Other People, produced by Vickie Gest and written and directed by Kieren Galvin. I helped out a bit with the sound on the film, and it was great to see it in front of an audience and on a 16mm film print. Remarkably, the print was taken directly from the PAL video edit and kine’d to a 16mm print, rather than going back to the original negative. I must say that the kine looked very good indeed, I found it very difficult to tell that it was a PAL video blow up and I’m usually pretty good at spotting that sort of thing (though the State Library doesn’t have a huge screen, and I’m sure being a black and white film hides a multitude of sins).
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Here are some sound effects I recorded recently which I’m making available as free downloads. They were recorded to a Panasonic SJ-MR220 MiniDisk recorder using a Sony ECM-MS907 stereo microphone and are free for you to use in almost any way you want, including commercial uses.
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Star Wars Episode III is going to have Chewbacca in it! Which means that Episode III cannot suck.

Ned Kelly was a let down. Not since In a Savage Land have I been this disappointed with an Australian film, and for mostly the same reasons. With all that money and talent, both in front of and behind the camera, I foolishly got my expectations up before seeing Ned Kelly. It’s not that Ned Kelly is a bad film in itself, in fact it’s quite good (and a lot better in many ways than In a Savage Land), it’s just not what I was hoping for.
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This week, thanks to the generosity of a friend with a spare gold pass, I attended about eight screenings at the 2002 Brisbane International Film Festival (BIFF). I’ve attended a few festivals in my time — from small to medium sized — as an audience member, a filmmaker, and even a judge. Maybe it’s just my bad luck, but film festivals I attend seem to have more than their fair share of issues. BIFF was no exception.
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After attending BIFF 2002, I got to thinking about how film festivals could be better. What things would make for a perfect film festival? Here are a few thoughts…
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MavArt is one person – Skevos Mavros. No that’s not a nickname or handle, it’s my real name. MavArt is me. I am MavArt. Goo goo g’joob.* Read the rest of this entry »

Many people (not filmmakers) wrongly assume that a film set is always an exciting, dynamic place, where artists of equal standing share and contribute to the making of the film as the shooting unfolds. The public often imagine a director calmly chatting with their actors and department heads about the set design, or the lighting, mulling over issues of form and colour, drama and performance. They assume that the shoot is both a creative and democratic process.

Nothing could be further from the truth. Read the rest of this entry »

Something for Nothing?

When the day comes for you to cast your ultra-low budget film (short or feature), you’re faced with a problem. You’ve already decided that you can’t afford to pay your actors (we looked at the ethics of not paying in the article Not Paying – coming soon), yet despite this you naturally want the best possible actors for your project. Read the rest of this entry »

To Each Their Own?

I’m going to talk (or maybe rant?) about something close to my heart – the false distinction too many people (especially students) make between the technical and the creative areas of filmmaking.
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At short film festivals and student screenings I quite often hear audience members talking among themselves. More often than I would like, I hear comments such as: “That short film looked great, but it’s a pity about the sound quality, I could barely understand the actors”. On low-budget short-films, there often isn’t enough money or time to spend on fixing the sound. But a surprising amount can be achieved with just a little expense and a bit of patience.
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An understanding of “stops” is essential for anyone who wants to be involved in film making, especially in the areas of cinematography and lighting. Stops can seem confusing at first, especially since the word is often used in slightly different ways in different contexts (”stops”, “f-stops”, and “t-stops”).
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Corporate documentaries are an avenue for creation and income that many beginning film makers overlook or ignore. Some don’t feel comfortable with the genre, others actively dislike the whole idea. Yet these films have the potential to offer far more challenges and rewards than, say, your average wedding video – as long as you are comfortable within the genre.
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