mov-e may 2010 issue

. M O V- e. M O V- eI s s u e 2 - M a y 2 0 1 0I s s u e 2 - M a y 2 0 1 0

L i g h t s ! C a m e r a !L i g h t s ! C a m e r a !

Inside:T h e F l a m i n g H o t

Rising Star

EOS 5D Mark II

Interview with Morné du ToitInterview with Morné du Toit

Tutorial:CreatingCreatingRealisticRealisticBloodBlood

Behind the Scenes:• Henley-on-Klip• The UnforgivingRULE

oo

Explained

What’s

HOT

Sponsor

AWESOME WEB DEVELOPMENTwww.awd.za.net

PG 51PG 39 PG 6 PG 47

Against the Odds:i-Line Films

Tutorial:Crea ng Realis cBlood

Interview:MornéduToit

Closer Look:How UFOs fl y over ci es

CONTENT

REGULARS

ARTICLES

REVIEWS

MOVIES TECH

Director’s Chair

Rumour has it

In the Spotlight

Give them Credit

180 Degree Rule

Classics: Steven Spielberg

Money Money Money

Child’s Play

Extra! Extra!

Date Night

Shu er Island

Jakhalsdans

Henley-on-Klip

The Unforgiving

Canon EOS 5D Mark II

Adobe CS5 Launch

02

03

04

62

27

31

53

58

61

25

49

12

13

41

21

55

Contact Us

[email protected]

.MOV-ePO BOX 11874

Wierda Park-South0057

Disclaimer

Oppinions expressed in .MOV-e do not necessarily represent the offi cial viewpoint of the editor or the publisher while inclusion of adverts/adver sing features does not imply specifi c endorsement for any business, product or service. Copyright of material in this publica on is reserved and may not be reproduced without the wri en permission of the editor.

The Director’s ChairI only have one word to describe the response to the fi rst issue of our magazine: WOW! I don’t think we had any idea of how well-received the magazine would be to our readers. Thanks to everyone who shared their thoughts; especially to those who sent their sugges ons.

So much has happened since the launch a mere month ago that if we were to document it all, we’d have to create an en rely new magazine just for that. In short, we partnered up with Adobe’s new project: Adobe Source. This applica on gives you direct access to the company like never before. Anyone serious about the industry should download the so ware ath p://www.adobesource.co.za for immediate access to Event Updates, Product Informa on, Forums, Resources, and Partner News. It’s the Swiss Army Knife for Crea ves!

The magazine itself contains all sorts of goodies. We look at three local produc ons: Henley-on-Klip, The Unforgiving, and Jakhalsdans. We look at how they make those huge UFOs fl y over skyscrapers and also learn how to make realis c blood with common household items. The Canon EOS 5D Mark II goes under the microscope and Wimpie shows you how to format your script. Morné du Toit is our Rising Star of the month and we also take a look at the life of Steven Spielberg. Oh yes! Two of our members, Elizabeth Pienaar and E enne van Rensburg reviewed Date Night and Shu er Island for us. Thanks guys! Other members interested in sharing their thoughts for our next issue are more than welcome to contact us.

We extend a VERY special thanks to everyone that’s joined our site and Facebook Groups. If you haven’t signed up to the site yet, feel free to do so now. It’s quick, easy, and safe. We won’t SPAM you and won’t sell your details. Tell you what… if you register on our site during the month of May; you stand a chance of winning a 6-month subscrip on with NAG Magazine, delivered right to your doorstep! April members are automa cally in the draw and the winner will be announced on the 30th. Yes, the good people at New Age Gaming Magazine (NAG) have off ered us a few subscrip ons to give to our members every month un l December. We’ll dream up crea ve ways of determining what hoops you guys would have to jump through in order to get them, but it’ll be fun. This off er unfortunately only extends to South Africans at the moment, but we’re trying to see if it’s possible to treat our overseas readers as well. To win it this month, simply sign up if you haven’t already.

Oh yes! Another good reason to sign up is because you would be able to download the PDF versions of the April and May issues. Simply log in and click on APRIL 2010 or MAY 2010 in the menu on the le .

During the month of April, we’ve added a few new features to the site. We now have a Video sec on under member’s profi les where you can upload your por olios and showreels. Actors & actresses can post vids of them reading lines as a sort of online audi on while industry professionals can showcase their skills. We also added a shoutbox so that members post their gree ngs and thoughts on the fl y.

We also added a blog on which we will post regular ar cles. Johnny Taute from i-Line Films assists us with posts, so be sure to check out his site as well for more juicy fi lm making ps. Details about his site can be found in our ar cle about i-Line, our blog sec on on the site, or in our BlogBuster sec on in the magazine. Finally, there are the forums. Post your thoughts and comments about anything and everything. Get networking and promote yourself! We also added a Classifi eds sec on so that members can promote their talents and services to others in the industry. Need extras for your movie? Go s ck it in there! Have a camera you’d like to buy or sell? Classifi eds! Go check it out and let it work for you.

Okay, I’m going stop rambling and wave goodbye so that you can get to the good stuff . Please send us pics of you with celebri es or any le ers [email protected] We’ll release issue 3 in the fi rst week of June. Un l then; we’ll catch you in the forums!

Take care,Len du Randt [email protected]

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Katy Perry is set to play Smurfe e in the 2011 movie, The Smurfs. Other cast members will include George Lopez, Neil Patrick Harris, Fred Armisen, and Jonathan Winters.

Raja Gosnell (Beverly Hills Chihuahua, Scooby-Doo) directs the movie which started produc on in April and is scheduled to hit theatres in July or August, 2011.

The Smurfs

Will Smith and Tommy Lee Jones are back in the third instalment of the Men in Black franchise.

The new movie will hit the 3D screens and is wri en by Etan Cohen (Tropic Thunder).

MIB IIIAngel of the Skies

A local South African produc on company, DS Films, is currently in the works on a new fi lm set in the skies over Europe during the last months of World War 2.

The fi lm has been in development for over a year now and is set to begin principal photography in late May. The fi lm’s story follows a South African pilot who serves with the Royal Air Force.

More info in our next issue.

The Lion of Judah

Character Ma ers, a South African anima on studio created South Africa's fi rst 3D anima on movie set to hit our big screens before the end of the year.

This is a milestone for our country's crea ve talents and we'll be sure to bring you more informa on about the Lion of Judah in our next issue.

Shrek Forever A erSpider-Man 4

It seems that Spider-Man 4 has been canned because Sam Raimi pulled out. Rumour has it that Sony is reboo ng the en re franchise and will send Peter Parker back to high school when the new movie (totally new cast and crew) hits the big screen in 2012.

Rumpels ltskin (Walt Dohrn) lays one on Shrek (Mike Myers) by tricking him out of ever exis ng. Shrek fi nds himself in a twisted, alternate version of Ever A er. In this universe, Donkey is an intellectual, Puss is fat and lazy, and Fiona can't stand Shrek. Only by sharing "True love's fi rst kiss" with Fiona by the sunrise of the next day can the true meline be restored, but the determined Rumpels ltskin has built an army of witches to stop Shrek.

The SmurfsMIB IIIel of the Skies

Rumour has it...Rumour has it...

Rumour has it... SPOTLIGHT:Be the fi rst to test drive Adobe SourceThe versa le Swiss Army knife for crea ves

Johannesburg – 12 April 2010 – Adobe Africa has launched a new tool to help the local crea ve community gain quicker and easier access to user, product and promo onal informa on.

Dubbed Adobe Source, this Air-based desktop tool was developed specifi cally for Adobe Africa to be the company’s primary source of communica on going forward.

“Adobe Africa is minimising the volume of unsolicited e-mail arriving in our customers’ inboxes; they are already inundated with work e-mail and marke ng communica ons from various other organisa ons. It is for this reason that we developed Adobe Source, an applica on that empowers users and customers to choose when they want to interact with Adobe and its solu ons directly on their desktops,” says Leonard Rabotapi, Adobe marke ng manager for Africa.

Adobe is con nuously searching for innova ve ways to reach out to its users and develop a stronger community built on knowledge, understanding and collabora on, which is what Adobe Source allows the company to achieve. The main driver behind Adobe Source is to aggregate as much informa on around the tools that the crea ve industry relies on and make this available on people’s desktops in a highly structured way.

“Adobe Source streamlines and centralises Adobe’s online news feeds,” says Dinesh Copoosamy, Banzai Web Solu ons head of development. “The downloadable tool is therefore a single source of informa on about Adobe promo ons, events, training, user groups, as well as data relevant to the web, video and print communi es.”

The applica on has been developed using Adobe Flex and Air, with a Drupal backend used to aggregate and moderate informa on.

Download the Adobe Source desktop tool at www.adobesource.co.za


[email protected]

It’s always a great opportunity speaking to some of our future local stars. This month we were fortunate enough to get hold of Morné du Toit, aspirant Writer, Director and occasionally Actor. Most of you will recognise him from the All Gold

tomato sauce commercial with the infamous line: “Thirty ssssshix”. This is not all he has been up to since then and he gladly shares some juicy detail with us...

Celeb Celeb ProfileProfileCeleb

Profile


6

Rising StarRising Star.MOV-e interviews Morné du Toit

Age: Age: 2727

From: From: Linden Linden JohannesburgJohannesburg

Occupa on: Occupa on: Directs Inserts, Corporate Directs Inserts, Corporate Films, Music Videos and Films, Music Videos and Writes Screenplays Writes Screenplays

Eye Colour: Eye Colour: Green/Blue Green/Blue

Hair:Hair: Blonde Blonde

Favourite food: Favourite food: Braaivleis and Penne Pasta Braaivleis and Penne Pasta with Basil Pesto with Basil Pesto

Hobbies:Hobbies: Photography, Movies, Photography, Movies, Comedy, Running, Comedy, Running, Cooking Cooking

Famous For:Famous For: Spaarwiel, Andre Metstrepie, Spaarwiel, Andre Metstrepie, Bakgat! (1st AD), All Gold Ad Bakgat! (1st AD), All Gold Ad

Do you need an agent to be able to fi nd work?

If you are an actor, yes it helps a lot. The agents get all the briefs that are sent out to the industry. What are your views on the future of the South

African Entertainment industry?

Thinking of where it (the entertainment industry) is and where it is going, excites me tremendously. I get really happy for local writers, fi lm makers, musicians and performer’s who come up with original concepts and fi nd a way to sell commercially. When those projects do well, I do feel that they don’t always get the recognition and praise that they deserve, be it Kurt Darren, Athol Fugard or Leon Schuster. It was successful, because they did something right, and we need to always acknowledge and learn from that. We are not Hollywood yet, and the few that are successful, are paving the way for the rest.

Also, what’s your opinion about the Afrikaans

movie market?

It is a very loyal market, if you give the audience what they want, and what you said you would give them in the trailer/synopsis, then they will support your product and tell people about it, as simple as that. I think it is key to know exactly who your target audience is, and what genre your story falls under. Based on that, stick to the rules of the genre, try to have an original concept, but do not try to be

As a fi lm maker, how did you get into the

industry? Did you know anybody already in the

industry?

No. Initially I knew a photographer through my sister in law. I assisted him a few times and eventually went to fi lm school. Throughout fi lm school I met more people, in school and in the industry, when I started off working as a runner and p.a.

When did you realise you want to go into the

entertainment business?

I remember telling a grade three teacher that I want to become a camera man one day. In high school I discovered that I had the natural ability to entertain people.

What’s your advice on breaking into the movie

industry? Would you say that formal studies are

essential?

No, I guess in this business there are no rules. It depends on the individual. If you have a great enough passion for movies/entertainment, reading up about stuff and teaching yourself, comes naturally. However fi lm school/formal studies does set a platform for like-minded aspiring fi lm makers to connect, inspire and challenge one another. It also depends what you want to specialize in, most of the time 1st year fi lm school students don’t know yet.

too clever and unique with the way you translate the story. If it is too alien in comparison with what your target audience’s preconceived ideas of that specifi c genre is, then they will be disappointed and “diss” your fi lm.

How do you go about preparing to direct a movie

(Short or Feature)?

I have only directed short fi lms, and worked as AD on feature fi lms. I guess lots and lots of hard work, planning and making sure that you have a team who believes in your vision for the fi lm. I have learned that the smaller your budget is, the more eff ort you need to put in the planning/pre-production process. What do you enjoy most

about fi lm making?

The process is very interesting. An idea becomes a story that is usually written down by someone. That story has characters who speak lines/dialogue on a piece of paper, the script. Actors get chosen to portray those fi ctional characters and rehearse, recite and perform the lines/scenes in the script. Then an entire production team gets put together, to create the space where the story plays out, and a camera captures it all. Eventually an editor puts it all together with special grades, transitions, graphics and sound design. You look back at what was once just an idea and you see the magic. You also act from time to time. Please tell us

how much diff erent it is from being behind the

camera?

Much diff erent. Although I am at a very early stage in my career in front and behind the camera, I have learnt that as an actor you do your home work by reading the script and you make sure that you understand where the story is going, learn the lines, think of your character. Then you pitch up on call time and leave the rest to the directors and producers. I fi nd being behind the camera, to be very challenging and fulfi lling. Acting and directing is the same but diff erent. As a director you need to understand actors and their craft. As an actor you need to understand and respect all the things that

a director/producer needs to think of and consider. The better prepared you are, the happier he/she will be with you. What part of acting is the most challenging to

you?

Crying. I have never been able to do that. Even though I do enjoy serious roles, I think I am trying too hard. My strength as an actor is comedy. I became good at it when I stopped trying too hard to perform. How do you fi nd it working with older, veteran

actors as a director and also actor?

Refreshing, because they are usually very laid back, humble and a pleasure to work with.

Who’s your favourite

Director, Actor and Actress?

Don’t really have one favorite, there are so many. Directors: Coen brothers, Stanley Kubrick, Michael Mann, Darren Aronofski, Steven Soderbergh. Actor/Actress: Sean Penn, Kate Winslet. Favourite Movie? Why?

There are too many. Some of my favorite fi lms are: Matrix (fi rst one), The Big Labowski, and The Shining. I guess because they are all fi lms that inspire me.

What new projects are you working on now?

At the moment we are waiting for fi nance to make “Lucky’s Numbers”, a romantic comedy about a kasi boy from Soweto, who is cursed with bad luck by a Sangoma, and then wins the lotto. Lucky’s Numbers was my fi rst feature length script, and I wrote it with Fidel Namisi from Coalstove Pictures. Currently I am in the early stages of writing another feature fi lm, which I am not allowed to talk about. What would be your dream project?

The script that I am not allowed to talk about, is one of my dream projects.

If you are interested in using Morné for your own production, mail your proposal and contact details to [email protected] and we will pass it on to him for you.


8

Quickly tell our readers where you are from.

Mike: I come from Pretoria West. Was living on a plot for 24 years, just more West.Frits: I live on the proper side of the

railway... Also Pretoria West, but the other side you know!

What are you currently busy with?

Mike: Pu ng a turbo on my Bakkie to save lives faster.Frits: Pu ng a new chain and turbo sprockets on my bicycle to outrun my tjommies.

Do you have a love interest?

Mike: Of course I’m interested...Frits: The person in my mirror.

What is your favourite colour?

Mike: Red, the colour of blood and passion.Frits: Purple

What is your favourite meal?

Mike: Braai broodjies. Except when we have meat, then it will be Braai vleis.Frits: Tuna with peanut bu er.

What is your favourite movie?

Mike: ‘Like Mike’Frits: ‘Bakgat’

Mike: Braai broodjiesthen it will be Braai vFrits: Tuna with pean

What is your favouri

Mike: ‘Like Mike’Frits: ‘Bakgat’

We have a quick interview with two of the most notorious characters in the fi lm:

“Karate Kallie”“Karate Kallie”


“That smell is not my “That smell is not my skidmark...”skidmark...”

Who is your favourite band/musician?

Mike: Mike & the MechanicsFrits: Jurie Els

Do you have any ter ary qualifi ca ons?

Mike: Backyard mechanic and panel bea ng, but for those you only need secondary qualifi ca ons... which I don’t have.Frits: No and not interested. First trying to get through this high school thing.

What are the best quali es a friend of yours should possess?

Mike: He should be friends with the police.Frits: He should keep his mouth closed and let me do the talking.

What was the heaviest your school case ever weighed?

Mike: About 2kg’s with my size 52 spanner in it.Frits: Not sure, my tjommie carries it.

What is your favourite movie quota on?

Mike: “Ek ken die moves!”Frits: “Wil jy hê ek moet jou lippe af skeur?”

What is your mo o in life?

Mike: If there are fl ashing red lights, help. If there are fl ashing blue lights, double clutch and get the hell out of there!Frits: A bu er knife is sharper than a spoon...

What are your future plans?

Mike: I want my own tow-truck fl eet and a girl that can cook well.Frits: To grow a small moustache and dominate the world.

Who is

MikMike: MMFrits: Ju

Do you

Mike: Bfor thoswhich I Frits: N

“I smaak these ‘aviators’ stukkend...”“I smaak these ‘aviators’ stukkend...”

www.karatekallie.co.za

Oscar nominated director Darrell Roodt’s new Afrikaans fi lm, Jakhalsdans, is set to be a highlight for any avid movie buff . It is fresh on cinema and is already pulling at the heart strings of many cinema goers.

The story is set, and was also fi lmed, in the picturesque Loxton, situated in the Northern Cape. Popular local talent Theuns Jordaan and Elizma Theron star in the lead roles and the screenplay is wri en by the well-known, crime novelist, Deon Meyer. The beau ful Chris na Storm and mul talented Neil Sandilands can also be seen together with newcomers, Janke Bruwer and Chris

Majiedt.

“This fi lm is an Afrikaans Drama in the same meless tradi onal vein as fi lms like Paljas (1998), Die Storie van Klara Viljee (1992) and Nag van die Negen ende (1992)” says Roodt. “I have always been in love with the outstretched landscapes of the Karoo. Jakhalsdans was a wonderful

opportunity to work with stars like Theuns and Elizma to create a roman c story which is s ll truly South African.”

Jakhalsdans revolves around the story of a teacher, Mara Malan (Elizma Theron), who spends her last savings to buy a house in Loxton, so that she can raise her 5-year old daughter, Mia (Janke Bruwer) in a safe and friendly environment. Shortly a er their arrival in the small town, she discovers that the Primary school will be closed down within three weeks, unless she can raise the R500 000 needed to save the school.

The local “liedjieboer-troebadoer” David Le Fleur (Neil Sandilands) suggests they should host a music fes val to raise the funds. Mara has to devise a plan to convince all the country’s top ar sts to perform in Loxton to be able to stand a chance of a rac ng any crowds. What Mara doesn’t realise is that her rude neighbour is in fact the popular singer-composer Ruan Landman (Theuns Jordaan). He moved to Loxton to sidestep the blinding light of fame from people who want to enrich themselves by riding on the back of his talents. Mia gradually unravels Ruan’s spark and crea vity so that he starts wri ng songs again, but a series misunderstandings and confl ict between Mara and him leads to problems. The two of them fi rst have to learn valuable life lessons before they can save the school and truly no ce each other.

The idea for the script was sparked when Meyer a ended a music fes val in Bloemfontein in 2005, where Valiant Swart, Koos Kombuis, Dawid Kramer, Gert Vlok Nel and Theuns Jordaan performed. “All of them had such totally diff erent styles and together they were phenomenal.” says Meyer. “I knew there had to be a way to capture this experience story wise and in my own way I started wri ng the tale a er returning to Cape Town. I was convinced from the start that this ought to be a screenplay, rather than a short story or a novel.”

The fi lm also proudly introduces brand new music by Theuns Jordaan. His claim to fame was his interpreta ons of old Afrikaans songs as well as his own original numbers.

Jakhalsdans is produced by Anton Ernst who also made fi lms like Number 10 with Colin Moss and Mandoza, Lullaby and Surviving Evil.

The lo(Neil Safes valto conv

AKHALSDANSJ

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Henley-on-KlipMarguele e Louw shares the details of her debut fi lm

Synopsis: “Henley-on-Klip” is a fi c onal fi lm based on the true events of the 1970 bus/train accident that happened a er a school bus stalled on the train tracks in Henley-on-Klip, a small town in the Vaal Triangle. It tells the story of South African child hero, Johan le Roux. Johan, a matric pupil, lost his life a er saving two of his fellow pupils’ lives by pushing them out of the bus before the train hit it – too late to save his own life. In all, 23 Kids lost their lives that day and the movie looks at fi ve diff erent families that were closely involved, including the family of Dawie Louw – Johan le Roux’s best friend. Johan le Roux received the “Wolraad Woltemade” award posthumously for child bravery in South Africa and this is a forgo en story that needs to be told for people to believe in heroes again. Ul mately the fi lm tells the true story about friendship, a South African community standing together through an extremely trauma c event and how every second in life counts – because everything can change in an instant.

The crew: “Henley-on-Klip” is an independent fi lm by L3 Produc ons CC. The directorand one of the associate producers of the fi lm, Marguele e Louw, had the original vision for the project. She has extended experience in the South African television industry. Marguele e is originally from Meyerton, a neighbouring town of Henley-on-Klip and thus approached the project with the utmost respect and sensi vity. The script was wri en by professional actress and script writer, Marelize Engelbrecht. The execu ve producer, Phyllis Dannhauser, has more than twenty years experience in the fi lm industry and has recently been nominated to serve on the board of the SABC. The other two associate producers are Hannes Loock and Heinrich F Löhrke. The project also tried to involve as many young fi lmmakers as possible. The technical crew consisted mainly of fi lm students and young industry fi lmmakers who were willing to work on weekends over a period of approximately four months. The reason was to give them the opportunity to be involved in the making of a fi lm and thereby learn and at the same me get exposure for their work. The fi lm is shot in Afrikaans with English sub- tles and hopefully this project will therefore inspire young fi lmmakers to tell their own stories in their own languages.

The idea: Director and associate producer, Marguele e Louw had the vision of bringing this unique story together in a fi c onal version of the events that took place on and around 28 January 1970. She was born and raised near Henley-on-Klip and was therefore very familiar with this tragic but inspira onal story. Her own parents were in the high school at the me of the accident and her father was Johan le Roux’s best friend. A er extensive research on the internet, she found that the events of that horrifi c day will soon be a forgo en part of South Africa’s history, as there was scant informa on to be found. She then decided to make a fi lm to commemorate the vic ms and to ensure that the tragedy will not be forgo en.

The process: Marelize Engelbrecht (writer and cas ng director), Marguele e Louw and Phyllis Dannhauser (execu ve producer) did comprehensive research on the events of that day through newspaper ar cles, police reports, etc. It was decided to keep everything in the fi lm as factually correct as possible. They got hold of some of the survivors as well as Johan le Roux’s family and conducted detailed interviews with them. The story was then formed around the families that they got in touch with. Pre-produc on was done over a period of six months and a er that the produc on phase started. The project is currently in post-produc on and the independent première of the fi lm was held on 28 January 2010, exactly 40 years a er the accident happened. A er the première the plan is to send the fi lm to various fi lm fes vals across the globe and hopefully also broadcast it on na onal television.

Funding: This fi lm was made on a very small budget and the majority of the fundingcame from the community where the accident happened. A lot of volunteers off ered their services and exper se at no cost.

The cast: We were fortunate to work with a brilliant cast. A few newcomers will beintroduced, giving young actors the chance to show South Africa what they have to off er. We are also honoured that some of South Africa’s most talented actors graced us with their presence on set – actors like Carel Trichardt and Chris van Niekerk, to name just a few.

Henley-

“Our industry is small, but it is growing at an “Our industry is small, but it is growingincredible speed. I think that although there are incredible speed. I think that although tnot that many opportunities, we have the room not that many opportunities, we have thto create them ourselves! Never give up, you will to create them ourselves! Never give up,get somewhere!”get somewhere!”

on-Klip

“Our industry is small, but it is growing at an g at an incredible speed. I think that although there are there are not that many opportunities, we have the room he room to create them ourselves! Never give up, you will , you will get somewhere!”

.MOV-e: Would you mind briefl y telling our readers what the story is about? Marguele e: "Henley-on-Klip" is a fi c onal fi lm based on the true events of the 1970 bus/train accident that took place a er a school bus stalled on the train tracks near Henley-on-Klip, a small town in the Vaal Triangle. 23 school kids died in this tragic event, including Johan le Roux. Johan, a matric pupil, saved the lives of two kids, before jumping out of the bus, too late to save his own life. Johan was awarded the wolraad woltemade award for bravery. The fi lm revolves around the story of Johan and his two best friends.

.MOV-e: What a racted you to telling this par cular story? Marguele e: I was born and raised in Meyerton, 5km from Henley-on-Klip and knew about this story since I was very young. My dad was Johan le Roux's best friend and the story has therefore always been very near to my heart. This is a forgo en part of South Africa's history, a story that had to be told, not only for people to remember, but also to commemorate the 23 kids that died, the survivors and the friends and families of all involved.

.MOV-e: Describe making this movie from the pre-produc on phase to the end product. Marguele e: It was a very diffi cult process to gather accurate informa on about the happenings of that day, as there was nothing available on the internet. Luckily we got hold of Johan le Roux's family, as well as some of the survivors, who supplied us with a lot of photos, news paper ar cles and police reports. They also told us there personal stories and we built the script around these personal memories. The whole script was done on true accounts of people involved. We started shoo ng the fi lm in August 2009 on weekends, as most of the crew had to work during the week. 80% of the scenes were shot on loca on in Henley-on-Klip and Meyerton. We used the original High school and Primary school as well as the graveyard where most of the children were buried. Post produc on started in November and we only had 3 months to complete the edit, as we wanted to have a press screening on 28 January 2010, exactly 40 years a er the accident happened. This was held at Atlas Studios.

.MOV-e: What type of camera equipment did you use to shoot Henley-on-Klip? Marguele e: We had no budget for this movie and

Marguele e: "Henley-on-Klip" is a fi c onal fi lm based on the true events of the 1970 bus/train accident that took place a er a school bus stalled on the train trtrttracacacacksksksks nnn neaeaeaear rrr HeHeHeHenlnlnlnleyeyeyey-o-oon-n-n-n-KKlKlKlipipipp, ,, a a a smsmsmsmalalalall totototownwnwnwn i in nnnththththee e e VVVaVaaaaal TTTTririririaaanglglgle.e.ee 22223333 scscchohohoolololol kkk kididididss ss diede in this tragic eveveveveenene t,t, iinnncncluluuluding Johohhananan l e RoRR uxuuux.. JoJoJoJohhahh n, a matric pupupupupipipil,,, savaavavedede the livivivesss of fff twwwo kidsdsss, bebebeefore jumping ouououout t t ofofof tt thehehee bbb usususus, too o lalal tete to o sasasas veveve hh his ooown life. Johan was awarded dd hhhthee ee woowolraad woltemadaddde eee awawawawararararddd d fofofoforr r rbravery. The fi lm revvvolves around the ee ststtororry y y ofofof Johohohananan and his two best ffffrieeeends.

.MMMOVOVOV-e-eee:: WhWhWhW aata aaa rararactctctededd y yyououou t t o o teteellllllinnngg g thththisiispar ccculululararar s s stotoryry??

Marguele e: I was bbbororrn and raised iinn Meyerton,5km from Henley-onn-K-Kllip and knew aabout this story since I was very younngng. My dad wasas J Johan le Roux's best fririenend d and the sttoryy has s ththt errerefefefore always been very y neneaar tto o mymy h eaeartrt. ThThis is a forgo en partof South Africa's history, a story that had to be told, not only for people to remember, but also tocommemorate the 23 kids that died, the survivors

d th f i d d f ili f ll i l d

Marguele e: It was a very diffi cult process to gatheraccurate informa on about the happenings of thatday, as there was nothing available on the internet.LuLuuuckkkililii y y y y wewewewe ggggotototot h h h holololold ddd ofofofof JJ Johohohohanaan l llle e Roux's family, as well asss some off thhhehe s surururvivvivovovoorsrsrs, whwww o o oo suususuppppppp llill edededed uuuussss wiwww thhhh aaaa lototototofff photos, news paper ar clese and police reports. Thhhey also told us there perrsr oonal stories and we builtthhhe script around these peeersooono al memories. Thewhwhwhwholololo ee e scssccrirriptppp was done onn truuue accounts of peopleiinnnvovovovolvlvlveeeded. WeWeWeWe ssssttattarrtrrtedededed ssshohohohooooo nnnng g g ththththeeee fifififi lmlmlm i n Augugg st 200009099 ooonn weweweekekekenenenddsds, , , asass mm mossoso ttt t ofofff t t hehehehe c cccrerew w hahhhad ddd toooto wwwworororork kkduuuring the week. 80% of tht eee sceneneseses ww wererereee shshshototot oo onn nlooca on in Henley-on-Klippp aand Meyerton. We useddd ththhe original High school aaanddd Primary school as weeell asasas t tthehehe g ggrararaveveveyayayard where mmmooost of the children werreeburied. Posttst pp prororodududuccc o oon n n ststtarararteteted d d inin N ovember anndd we only had 3 months to complleletetete tt thehehe eeedididitt,t aa asss wewewe wanted to have a press screening on 28 January 2010, exactly 40 years a er the accident happened. This was held at Atlas Studios.

.MOV-e: What type of camera equipment did you use to shoot Henley-on-Klip?

therefore had to shoot on DV Cam. The movie was edited on Final Cut Pro.

.MOV-e: How long did it take to produce the fi lm from concep on to comple on? Marguele e: The offi cial research started in November 2008 and the fi lm was fi nished in January 2010, so I would say just over a year. .MOV-e: Do you have any formal qualifi ca ons in fi lm making? Marguele e: I have an honours degree in fi lm and television (Audiovisual communica on), from the University of Johannesburg.

.MOV-e: What former fi lm experience do you have? Marguele e: This was my debut fi lm. Prior to Henley-on-Klip, I had a year's experience as produc on secretary at Binnelanders from 2007-2008 and a er that I became a prac cal lecturer in fi lm and television produc on at the University of Johannesburg.

.MOV-e: What interested you into pursuing direc ng as opposed to ac ng? Marguele e: I had been ac ng since I was very young and I decided to pursue something diff erent that I was always interested in and where I could create ac ng parts that I love. I think a good director should not only have technical knowledge, but also some kind of ac ng ability in order to understand the characters and how to work with the actors. .MOV-e: What diffi cul es were you faced with during the produc on? Marguele e: The main diffi culty was the fact that we had absolutely no money to create this vision. Being a fi lm set in 1970, we had to recreate the era

in the loca ons, cars, wardrobe, etc. To do all this with absolutely no budget, was quite challenging! .MOV-e: What did you enjoy the most while fi lming Henley-on-Klip? Marguele e: Working with amazing people who were all eager to learn and help where they could - not because they had to, but because they have a passion for fi lm and incredible stories! .MOV-e: What are the advantages and disadvantages (if any) of being a female director in this industry? Marguele e: I don't think in this day and age that your sex plays that big a role in your success. I believe that anyone with passion and confi dence will make it! .MOV-e: What is the average budget for a fi lm of this calibre? Marguele e: Easily more than R 100 000, but as men oned before, we had a very small budget to work with. .MOV-e: How did you go about acquiring funds for the fi lm? Marguele e: The most of the money came from the community and people involved. Most of the crew and actors were volunteers which helped this issue a lot. .MOV-e: How did you go about fi nding the required cast & crew? Marguele e: We held formal cas ngs for the actors. Most of the crew were current or former fi lm students who volunteered to be a part of the fi lm.

g yHenley-on-Klip, I had a year's experience as produc on secretary at Binnelanders from 2007-2008 and a er that I became a prac cal lecturer in fi lm and television produc on at the UnUnniviivverreersissisityytyty o o o of f f f JoJoJoJohahahahannnnnnnnesesesesbubububurgrgrgg.

.MM.M.MOV-e: What interested ddd yoooou into pursuingddddirerereec ng as opposed to acacacac ngngngng????

MaMaMargrgrgueueuelelele e:e: I hhhadadad b beeeeeenn n acacac ngngng s siinince I was very yoounnung and I decided to purrrsus ee e something diff erent thaaat III was always interesteddd innn and where I could creaaateee ac ng parts that I lovvve. I think a good direrectctctororor shouuulddd not only have techniicicalall k k knononowlwlwledededgegege, , bububut tt alallsoso sososomememe k kkininind d d ofofof a aaccc nnng gg abababilililititity yy ininin o o ddrder to understandthe characters and how to work with the actors.

.MOV-e: What diffi cul es were you faced with during the produc on?

Marguele e: The main diffi culty was the fact thatwe had absolutely no money to create this vision.

.MOV-e: What is the average budget for a fi lm of ththththisisisis c cccalalalalibibibibrererere????

Marguele e: Easily yy morererere t haaan R R 101100 000 0000000, bbbbutututut aa a ass ssmen oned before, wewewewe h h h had a vereee y small budgdgdgetetetet tto work with.

.MOV-e: How did yyou go abbout accccquuiuu ring funds for the fi lm?

MaMaMargrgrgueueuelelele e:e:e: T T Thehehe mmosostt ofof tthehehe m mmono eyeyeyy c cc camamamamee e e frfrfrfromomomom ttthehee community and ppeopoplelele i i invnvolollvevedd.d. M M ososstt ofofo t tthehehehe cccrerer wwwand actors were vovollunteers whihihichcc hhhelelelpepepeddd thththiisis i issue a lot.

.MOV-e: How did you gogo a aboboouut fifi n ndidingng t thehe r reqequired cast & crew?

Marguele e: We held formal cas ngs for the actors. Most of the crew were current or former film

This fi lm was therefore created by young fi lmmakers who have a passion to tell South African stories and be a part of an amazing industry. .MOV-e: When and where will the fi lm be showing? Marguele e: We are currently in nego a ons with several distribu on companies. Watch this space! .MOV-e: Do you have plans on distribu ng the movie to overseas markets? Marguele e: Not currently, but most probably later on in the year.

.MOV-e: What are your views on crea ng movies in South Africa? Marguele e: Our industry is small, but it is growing at an incredible speed. I think that although there are not that many opportuni es, we have the room to create them ourselves! Never give up, you will get somewhere!

.MOV-e: What future projects are you planning? Marguele e: I am planning on doing a short fi lm during this year and will be star ng a very exci ng feature (another true story) at the start of 2011. .MOV-e: What advice can you give any aspiring directors? Marguele e: We have amazing talent and touching stories, we should just do it - stand up, grab a camera and shoot! No ma er the challenges, if you believe in your movie, the people will!

Support Marguelett e and her movie by joining the Henley-on-Klip Facebook Group and by keeping an eye on the release date so that you can watch it on the big screen.

Do not se le for mediocre movies!Do not se le for mediocre movies!

AdForgeNow anyone can aff ord special eff ects!Now anyone can aff ord special eff ects!

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Contact [email protected] for more information

MovieSTAKES10 Tips for avoiding novice mistakes

misTAKE 1) Insuffi cient planning (pre-produc on phase)As the saying goes, “Failing to plan is planning to fail.” Taking the me to properly plan every as-pect of your movie could save you both me and money.

misTAKE 2) Not using proper equipmentToo many fi rst- me movie makers believe that they can build a sellable movie with nothing more than a cheap camera. This could turn out to be a costly mistake.

misTAKE 3) Using family and friends as actorsIf you’re making a movie that requires proper produc on value, for example, selling it or sending it to fi lm fes vals, it would be wise to use actors with a certain degree of skill. Although friends and family are more cost-eff ec ve and easily accessible, it could in the long run cost you me (mul ple takes) and could portray a good story/characters as amateurish. Although there are excep ons, we advise that you steer clear of using non-actors for your produc ons.

misTAKE 4) Assuming that you could make a feature fi lm at virtually no expenseProper equipment, petrol, loca on, and catering are but some of the unexpected expenses that you could incur while making a movie.

misTAKE 5) Flimsy CateringDon’t expect a posi ve a tude from your cast and crew if you don’t feed them properly. Only feed-ing them hotdogs for fi ve days in a row would certainly lead to disgruntled team members. Healthy and proper food will ensure that they give you their best performances.

misTAKE 6) Assuming that everyone is just as passionate about the project as you areWhile you might think that you have the next Oscar-winning idea, others might not see it quite as vivid as you do. This could lead to a lack of enthusiasm and the necessary support that you might need to make a success of your project.

misTAKE 7) Not having a scriptAs obvious as this point might seem, there are a lot of novice fi lm makers that believe they can create acceptable material without the use of a script. Although improvisa on can be a great and effi cient novelty, it’s not something to rely on to sustain an en re produc on. A structured script is vital to any fi lm, regardless of budget.

misTAKE 8) Not considering safetySafety is usually neglected by amateur movie makers. On a set clu ered with equipment and cables, it’s easy for an accident to occur that could lead to injury or even death. Be sensible and always consider safety fi rst.

misTAKE 9) Legal and Logis cal implica onsNever assume that you can just shoot at any loca on without proper consent, for example inside a shopping mall or cemetery. When shoo ng people or homes, you always need to acquire wri en permission to use the footage. Also ensure that you have contracts in place with your cast and crew to protect you against people walking out in the middle of your produc on. In short, have every-thing in wri ng. As discussed in the beginning, suffi cient planning will ensure that you have all the necessary paperwork in place before you begin produc on.

misTAKE 10) “Let’s fi x it in Post!”It is a very common mistake for fi lm makers to believe that they could fi x small technical issues dur-ing the edi ng phase. This could be anything from removing the noise of an airplane over dialogue to trying to turn a night shot into a day shot with basic colour correc on. Rather get it clean, crisp, and clear on set. This would avoid the proverbial pulling out your hair scenario later.


The 5D MarkII is probably one of the most The 5D MarkII is probably one of the most versatile DSLR’s yet. It’s a stills camera, with versatile DSLR’s yet. It’s a stills camera, with an edge, especially when you’re a fi lmmaker an edge, especially when you’re a fi lmmaker and want to shoot a movie...and want to shoot a movie...

EOS 5D MARK 2EOS 5D MARK 2

EOS 5D MARK 2

videographers will opt for the Canon L series EF lenses, or the equivelent of other manufacturers by using an adapter. Prime lens is the answer.

Although the onboard sound is probably not on par with a proper Camcorder, the pictures will beat almost anything else on digital. One of the main concerns though, is the focus. Because of the huge image sensor, keeping up with focus becomes quite a diffi cult task to achieve even for a fairly adequate operator. There is thus a fare amount of discipline and skill that comes along with working effectively on the 5D MII almost as if you working on a fi lm camera again.

Another drawback is the fact that the 5D MII shoots at 30p and not at 24 or 25p like its younger brother the 7D. The 7D has a slightly smaller sensor, but is a tough contender to the 5D. We will discuss the 7D in a later issue and even do a side by side comparison. For now, be sure that the 5D is not just the big brother for nothing. Also, with the latest fi rmware updates, the 30p issue has been resolved and it is now capable of shooting in 24 and 25p modes, thus giving it the edge again.

Companies and individuals alike are experimenting with all kinds of adapters and tools to make the D5 more accessible and professional to work with. A company called Redrock Micro has probably got some of the

Now, the constant battle between shooting on fi lm and shooting on a digital format is increasing at a rapid rate. A short while ago, there was still no real comparison between the two. Everyone knew that fi lm ultimately gave the best picture, not even mentioning all the other technicalities, especially when going onto cinema, and that was where the quarrel stopped. In the meantime, the digital formats have been creeping up in the market to a point where many more things could now be considered than just image quality. The margin between quality is becoming less and less.

Costs are now one of the main issues regarding this battle. Some will argue that fi lm would still work out cheaper in the long run, but the advancements in the digital age gave birth to a new generation of fi lmmakers. It is now so much easier and more cost effective to get your project of the ground. The unfortunate thing is that this alone still doesn’t render you a good, professional fi lmmaker, and a lot of veterans will agree, but facts are facts and technology is not waiting on us. All the main camera manufacturers are keeping up to this changeover and this is where Canon has set a new benchmark. In the form of a stills camera, called the EOS 5D Mark2. Now the 5D is quite unique in the video world. It can record full HD video at 1920 x 1080 resolution with the same full frame, 35mm sensor it uses for photos. This is much bigger than any other video camera on the market. It makes the 5D very attractive to any fi lmmaker. The image is crisp, superb in low light conditions and is capable of achieving, with the right lens, a tremendous shallow depth of fi eld. Don’t forget, the still imageries are also extremely good, which it is actually designed for, but for arguments sake we’ll only tackle the video functionality in this issue. It also means that all those lovely full frame lenses can now be used to their full potential.

It might be regarded as a slight restriction not being able to use normal EF-S lenses, but most

Far Left: 5D M II with 24-105mm Lens

Bottom: 5D M II with Redrock cinema style bundle adapter.


Bottom: Canon’s 7D with a Panavision Primo Zoom lens Zoom lensBottom: Canon’s 7D with a Panavision PrimoBottom: Canon’s 7D with a Panavision Primo

Top: 5D M II with Redrock cinema style bundle Top: 5D M II with Redrock cinema style bundle adapter seen from the rear. adapter seen from the rear.

most advanced and versatile adapter kits on the market. Redrock accessories bring the needed cinema form factor, support, and features to video DSLRs like the 5D.

Filmmakers are always trying to achieve that professional cinema look in their productions. The 5D is an amazing piece of equipment, well engineered and it costs a fraction of the price other technically equal counterparts would. When handled properly and with the right knowledge you’ll be well on your way creating a low budget blockbuster look and feel fi lm. It can be intimidating to some, but one should keep up with the times and the D5 is surely setting a milestone in our industry.

SPEC SHEETSPEC SHEET36 x 24 mm 21 megapixel CMOS sensor36 x 24 mm 21 megapixel CMOS sensor• •

Sensor dust reduction by vibration of fi lterSensor dust reduction by vibration of fi lter• •

3:2 aspect ratio3:2 aspect ratio• •

ISO 100 - 6400 calibrated range, ISO 50 - ISO 100 - 6400 calibrated range, ISO 50 - • • 25600 expansion25600 expansion

3.9 frames per second continuous shooting3.9 frames per second continuous shooting• •

DIGIC 4 processorDIGIC 4 processor• •

98% coverage viewfi nder (0.71x 98% coverage viewfi nder (0.71x • • magnifi cation)magnifi cation)

3.0” 920,000 dot LCD monitor with 3.0” 920,000 dot LCD monitor with • • ‘Clear View’ cover / coatings, 170° ‘Clear View’ cover / coatings, 170° viewing angleviewing angle

Live view with three mode auto-Live view with three mode auto-• • focus (including face detection)focus (including face detection)

Movie recording: 1920 x 1080 (16:9) Movie recording: 1920 x 1080 (16:9) • • up to 12 mins (Quicktime 1080p H.264; up to 12 mins (Quicktime 1080p H.264; 38.6 Mbits/sec)38.6 Mbits/sec)640 x 480 (4:3) up to 24 mins (Quicktime 640 x 480 (4:3) up to 24 mins (Quicktime 480p H.264; 17.3 Mbits/sec)480p H.264; 17.3 Mbits/sec)Max fi le size 4 GBMax fi le size 4 GBQuicktime MOV format (H.264 video, Quicktime MOV format (H.264 video, PCM sound)PCM sound)30 fps30 fps

HDMI and standard composite (AV) HDMI and standard composite (AV) • • video outvideo out

IrPort (supports IR remote shutter IrPort (supports IR remote shutter • • release using optional RC1 / RC5 release using optional RC1 / RC5 controllers)controllers)

Compact Flash Type I or II (inc. Compact Flash Type I or II (inc. • • FAT32)FAT32)UDMA CompactFlash supportUDMA CompactFlash support

New 1800 mAh battery with New 1800 mAh battery with • • improved battery information / loggingimproved battery information / logging

New optional WFT-E4 WiFi / LAN / New optional WFT-E4 WiFi / LAN / • • USB vertical gripUSB vertical grip


Reader Review

DATE NIGHT

Elize Pienaar joins Steve Carell and Tina Fey on their

I decided to watch this movie as I was in the mood for light banter. Nothing too deep, sorrowful or scary. I just wanted to while away my me with a movie in which I could laugh a bit and not think too hard. For this purpose, Date Night was perfect.

Phil (Steve Carell) and Claire (Tina Fey) Forster are credible and good together, as a married couple in a rut. They don’t hate each other and don’t fi ght, but the spark is gone. They try to make me for each other by having a date night every week. They go out and spend some me together—but even this is becoming mundane.

When their friends announce that they're separa ng because all they have become are “excellent roommates”, Phil feels that he and Claire could be going down that road too. So when the next date night comes around, both, a er some soul searching, decide to rekindle the romance between them. On this par cular date night, Phil decides to do something diff erent as he is blown away by an all dressed up and sexy Claire. He takes her to a trendy Manha an restaurant, but because he didn’t make reserva ons (as it was a spur-of-the-moment decision), they end up wai ng for a table.

Phil decides to take a table reserved for a no-show couple, the Tripplehorns. Halfway through their meal, they are approached by two goons named Collins (Common) and Armstrong (Jimmi Simpson), who ques on them about a fl ash drive they believe Phil and Claire stole from mobster boss Joe Mile o (Ray Lio a).

Phil and Claire try to explain that they are not the Tripplehorns, but the two men threaten them at gunpoint. They escape, and spend the rest of the night trying to prove their innocence.


SCORE:

Edi ng: 7Character Development: 7Cinematography (Camera work) & ligh ng: 8Direc ng: 7Ac ng: 7Set Design/Costumes: 7Script: 6 Story: 6Pay off : 8Sound: 8

71%

The GoodThe GoodThe fact that they are mature and although both are a rac ve, neither are drop-dead gorgeous “20-somethings”, to ng around guns and other weapons. Their characters develop well, and I loved the scene when they sat back a li le while from all the mayhem, and talked about their rela onship, their feelings for each other and where they wanted their marriage to go. Phil declared sincerely that he would do it again, the marriage thing, with her and the kids, if he had a choice.

The movie does have its funny moments. In the beginning, where Claire gets ready for bed and takes out her mouth guard with some drool following, you go “ugh, I can understand why the romance is dead!” At another scene, at the boathouse where the two escape in a boat, you expect the boat to roar away as it always does in movies. But this one is slow, as in “roman c slow”, and the unexpectedness of it drew a few chuckles from the viewers.

They were both allowed to improvise and veer away from the script on occasion as the closing credit ou akes confi rm; which gave it the spark this fi lm would have lacked otherwise. The fi lm allows Carell and Fey to take what they do best, and apply it to the outrageous concept that is the script.

The BadThe BadThe scene where Phil barfs in the street put me off , I didn’t fi nd it funny, apt or even useful.

Maybe it was supposed to give the viewer insight into his character, but I didn’t care about it.

Some people will fi nd the car chase scene funny, it certainly is diff erent, but I was somewhat bored by it. Always a car chase; the girl always tro ng around in her high heels. At least their hair looked suitably messed up most of the me, although the dirty marks on her arms and face weren’t always consistent.

The pole-dancing scene was good, and although some people will fi nd it very funny, it was a bit crude and one of the reasons why this movie carries an age restric on of 13. Only the part where they imitated two robots were, to me, well done.

I don’t really know the director, Shawn Levy, as I’m not into his kind of movies. But in Date Night, his direc on is brisk and at a fast pace, but never too fast, and the cinematography and camera work, done by Dean Semler, is great. The edi ng is smooth enough.

It’s not a movie about conspiracies and cover-ups and serious criminals; it’s about a middle-aged married couple who need a li le excitement in their lives, and fi nd more than they bargained for. And although it’s illogical and clichéd most of the me, it’s comfortable and good-

natured fun (even the bad guys aren’t too menacing). Accept the fi lm at this level, and you will enjoy it. It gets the job done.

My fi nal verdict on Date Night is, it’s a light-hearted roman c comedy, but doesn't have enough substance to sa sfy more serious movie goers. But s ll, I’m glad I decided to see it for exactly that reason, as it gave me something to think about: why I should some mes go to the cinema just to let my hair down and relax and enjoy what I’m seeing without being too par cular or cri cal; and also the way taste diff ers, and how that’s not such a bad thing a er all.

Would I rent or buy the DVD? No. Probably not.


It doesn’t ma er whether your angles are from the front or over the shoulder. The only thing that ma ers is that you don’t cross the line. You can move the camera around the actors to the other side of the line, but once on that side, you can’t cut back to the original angles. All new angles have to be from the side that you moved over to, or you’d risk crossing the line again. This becomes more complicated as you add more characters to a scene.

Of course, in art, rules are made to be broken; but only if you have mastered the basics. One can break this rule if you have a good grip of its founda on. An example of how one could break this rule is with a fi ght scene. If, for example, you have a husband and wife quarrelling, and the husband starts off in defense, you can keep the fi ght on one side of the line. When the wife slips something that puts her in the wrong and the husband all of a sudden gains the edge, you can jump the line to represent the power shi . The trick is to do this so subtly that the eye won’t pick up on it. Also consider background objects that are now suddenly in the scene that wasn’t there from the previous angle. The slightest change to the eye can undo hours of hard work.

If you’re s ll star ng out, stay safe. And remember kids: Don’t cross the line!

RULETHE

Throughout the years, movie makers have learned the hard way what works with audiences, and what doesn’t. Many have wri en books and helped develop courses so that those following down the path that they hacked out by making many mistakes do not have to stumble over the same obstacles that they did. These masters have created ground rules that every movie maker should consider when star ng out; rules that will save me, money, frustra on, and reputa ons.

One such rule is the 180 degree rule, also known as the ‘crossing the line rule’ or ‘ac on axis’. It’s a very simple rule to follow, but just as easy to break if one is not paying close a en on. The result is a jarring eff ect on the audience and although they can’t outright say what’s wrong, something just feels out of place. This pulls them out of the story and robs the viewer of the ul mate experience you worked so hard to create.

The basic gist of the rule implies that if you’re fi lming two people, you need to keep the camera on one par cular side of them. Imagine a line between the two characters. Cu ng the camera over the line to the other side unse les the mind; a big no-no when trying to pull your viewer in your world.

Correct: Staying on the same side of the line

Incorrect: Crossing the line

Invisible line between two characters

DO NOT CROSS!

We went to the set of E-TV’s hit talk show, Great Expecta ons for its 4th Birthday and were blown away at the complexi es of

a live broadcast show. The ceiling was li ered with lights and the cameras with the Teleprompters were absolutely state of the art.

While watching the broadcast; hundreds of ques ons were raised regarding the hardware, so ware, and other technical mechanics of live television. Who controlled the camera angles? What did they use to create the live graphics, for example the names on the screen? What cameras did they use?

What happens if something goes wrong on-air, for example a caller that lets out an accidental swear word?

Some of our readers might know the answers to these ques ons, but most readers probably won’t. In order to sa sfy our own curiosity, expect and in-depth ar cle about live broadcas ng in a future issue.

Un l then, we wish Great Expecta ons a happy 4th Birthday and hope that the show will be just as popular in its tenth year.

Great Expectations turns 4!

Lights galore! Quite a sight to behold. Manoeuvring the Boom Mike through all the ceiling lights is more tricky than one might think

Sam Cowen and Philicity Reeken. Sam Cowen thanks her team for their hard work and eff orts over the last four years.

TTEEVVEENNpielbergpielberg

ClassicsCase study Case study nr. 1nr. 1

31

SS

“My dad’s still-“My dad’s still-camera was camera was broken, so broken, so I asked the I asked the scoutmaster scoutmaster if I could tell a if I could tell a story with my story with my father’s movie father’s movie camera. He camera. He said yes, and I said yes, and I got an idea to got an idea to do a Western. do a Western. I made it and I made it and got my merit got my merit badge. That badge. That was how it all was how it all started.”started.”

Spielberg has been married to actress Kate Capshaw, since 1991. They met when he casted her in Indiana Jones and the Temple of Doom. There are seven children in the Spielberg-Capshaw family.

Besides all his achievements and awards, he is the founder and supporter of many foundations, for example the Randy Adana and he supports the U.S. Democratic Party and local Boy Scouts. He loves watching a lot of movies when not shooting a picture and also has a keen interest in video games. He is the owner of a Wii, a Playstation 3, a PSP and XBOX 360.

Spielberg’s earlier fi lms were seen as a prototype for modern Hollywood blockbuster fi lmmaking. They were packed with adventure and sci-fi with ordinary characters searching for, or coming in contact with extraordinary beings, or discovering themselves in strange and odd circumstances. Spielberg described himself as feeling like an

Steven Allan Spielberg was born on December 18th, 1946 in Cincinnati, Ohio, to a Jewish family. When his parents divorced he moved to Saratoga, California with his father. This fi lm director,

producer and screenwriter’s passion to be in the fi lm industry began in his teen years, charging an admission of 25 cents to his “adventure” home fi lms while his sister sold popcorn. At the age of 13, Spielberg won a prize for a 40-minute war fi lm he titled, Escape to Nowhere and at age 16, he wrote and directed his fi rst independent fi lm, a 140-minute science fi ction adventure called Firelight, inspiring Close Encounters in his later years.

At the University of Southern California School of Theater, Film and Television, he applied to attend the fi lm school three separate times, but was unsuccessful. His actual career began when he started working for Universal Studios as an unpaid, seven-day-a-week intern and visitor of the editing department.

Due to his great performance Universal signed Spielberg to do four TV fi lms. The fi rst fi lm was an adaptation called Duel (which was fi lmed in a limited period and budget of 10 days, exceeding the time to 13 days) the fi lm is about a monstrous tanker truck which tries to run a small car off the road. The British critic Dilys Powell gave Steven Spielberg special praise about Duel, which was very noteworthy to his career. The studio’s producers then presented Spielberg with the director’s chair for Jaws.

pielberg When Raaidders of the Losst Arkk, tthee fi rrstt oof ttheee Indiana JJonnes fi lms, wwas mmadee, Sppielbberrg teaammeddd with Geoorgge Lucas tthe crreatooor oof SStarr WWWarrs foorr this actioon adventuree fi lm.. A yyeearr latter, Spppieelbeerggg returnedd too the sciennce fi cction ggennre withh E.TT. ttheee Extra-Terrresstrial.

IInn 2200002, 335 yeears after sttarting cccolleeggge,, Sppieelbbergg fi nisshed hiss ddegree vvviaa iinddeeppenndeeent projjects att CCSULB, aaand wwwaas aawaardeed aa B.A. inn Film PPProodduucttioon annd EElecttronic AArts with aaan oopttioonn inn FFilm//Videeo Prodducction.


Annual: USD 85,000,000.00 Monthly: USD 7,083,333.00Weekly: USD 1,700,000.00

alien during childhood, and this curiosity came from his father, a science fi ction fan. The most constant theme throughout his fi lms is the tension in parent-child relationships. Parents (often fathers) are ignorant, reluctant, or absent. His fi lms then began addressing issues such as war, terrorism, slavery and the Holocaust.

Most of his fi lms are usually optimistic in nature and family-friendly. Critics frequently accuse his fi lms of being overly sentimental.

Spielberg won his fi rst Academy Award for Best Director and also Best Picture with Schindler’s List, which was based on the true story of a man who risked his life to save 1,100 Jews from the Holocaust. In 1997, the American Film Institute listed the fi lm among the 10 Greatest American Films ever Made.

Steven Spielberg has been nominated and received many awards for all his achievements and movies, including: Academy Awards, BAFTA Awards, Cannes Film Festival, Critics Choice Awards, Golden Globes, Hollywood Walk of Fame and Other Awards like:

2009 Liberty Medal• 2006 Kennedy Center Honors• 2001 Knight Commander, Order of the • British Empire1998 Order of Merit of the Federal Republic • of Germany

TToo daate,, tthhheee uunnaddjuussstteeeddd ggrrosss ooff aalllll SSSpieelbbeeerrggg---

ddireecctteeedd fi lmmms eexxccceeeeedddss

$$88.5 billlliioonnn wwworlldwwwidddee.. Foorbeess pppuuttsss SSppielbbeeerrgg’’sss

weeaalthh aattt $$3333.000 billlioonnn.

IInn 2000666, Prremmierree lissted him as thhe most pppowwerfuuul and iinfl uuentiial fi ggure in the motion pppictturre inddusstryy. TTimme listed him as oonee of the 11000 Mooostt Impporttaant People of thee Century.

Academy Awards:

1978: Best Director (Close Encounters of the Third Kind, nominated)1982: Best Director (Raiders of the Lost Ark, nominated)

1983: Best Director (E.T.: The Extra-Terrestrial, nominated)1983: Best Picture (E.T.: The Extra-Terrestrial, nominated)

1986: Best Picture (The Color Purple, nominated)1987: Irving G. Thalberg Memorial Award (won)

1994: Best Director (Schindler’s List, won)1994: Best Picture (Schindler’s List, won)

1999: Best Director (Saving Private Ryan, won)1999: Best Picture (Saving Private Ryan, nominated)

2006: Best Achievement in Direc ng (Munich, nominated)2006: Best Mo on Picture of the Year (Munich, nominated)

2007: Best Mo on Picture of the Year (Le ers from Iwo Jima, nominated)

Filmmaking terms can sound odd, strange and confusing at times. Sometimes very technical, which might be the case, but they can also mean the simplest of things. Here’s a short list of some basic defi nitions you will encounter in the process.

Call Sheet: The daily schedule which is handed to the entire production team (cast and crew). It contains all the relevant information for the day, i.e. Call time, location, scenes to be shot, weather report, estimated wrap time etc.

Preproduction: This is the development stage of planning and preparing that precedes the actual fi lming process. It will include elements like: Screenplay • Breaking down the script • Storyboard • Production strip • Production board • Shooting schedule • Film fi nance & budgeting etc.

Production: The actual stage wherein the movie is being fi lmed. (The shoot)

Postproduction: Stage after shooting. The editing phase (Structuring and putting together your movie), Finishing the sound-and-music track and basically do all that is needed to fi nish your production like marketing, distribution, showing.

Jib/Crane: Heavy equipment consisting of a counterweighted arm to ensure movements in high positions and many other angles. Camera angle moves from low to high angle or vice versa.

Dolly and tracks: Putting the camera on a small wheeled platform on a track (similar to a train track,

LINGOSCHMINGO

but smaller and lighter). You can move the camera sideways or back and forth.

Gaff er tape: Very sticky and versatile 2” wide cloth adhesive tape (similar to duct tape), works for everything. This tape is very handy on set.

Clapperboard: A description board, that will be held in front of a camera before the shot is about to start. It is used for identifi cation and to provide a cue for syncing up the sound and video footage. It makes it easier to identify footage in the editing process.

Shot: What is seen inside the camera frame within a take.

Scene: Continuous series of shots edited together as per the script.

Polyboard: A sheet of polystyrene used for refl ecting or defl ecting (bouncing) light.

Scrim/Scrim paper: Perforated sheet used in the lighting department and clipped to lights, it softens or cuts down light.

Blonde: 2000 watt tungsten light. Mostly painted yellow, therefore - Blonde

Redhead: Similar to a Blonde, but only 800 watt and mostly painted red.(There are many diff erent types of lights on a movie set and more defi nitions will come in the next issue in the Lighting article.

Boompole: A pole on which the microphone, usually a Rifl e Mic (long, directional, very sensitive microphone), is mounted. The microphone can then be held closer to the actor so that the soundman won’t get in the way of the shot.

Idiot check: After the day’s shooting, the crew will check if they packed away all the equipment etc. The crew calls it an Idiot Check

“That’s a Wrap”: The scenes/shots for the day are done or it is the end of production.

That’s it for this issues lingo talk. Next month we’ll also tackle some of the more diffi cult, technical defi nitions. At least now you can start walking past fi lm sets and won’t feel entirely “cut” out from the “scene”...

Horror fi lms are unse ling fi lms designed to frighten and panic, cause dread and alarm, and to invoke our hidden worst fears. It cap vates and entertains us and at the same me gives us an invigora ng experience.

When well done and with less reliance on horrifying special eff ects, horror fi lms can be extremely potent fi lm forms, tapping into our dream states and the horror of the irra onal and unknown, and the horror within man himself.

When looking back on the genre, surely one of the most memorable and infl uen al early fi lms was Germany’s silent expressionis c landmark classic, The Cabinet of Dr. Caligari, made in 1919 and directed by Robert Wiene.

AAAAAAAAAAAAAllllllllllllsssssssoooooo kkkkkkkkkkkkknnnnnnnoooooowwwwwwwnnnnnnn aaaaaaasssssss ccccccchhhhhhhhhhhhhiiiiiiiiiiilllllllllllllllllllllllleeeeeeerrrrrrrsssssss,,,,,, ssssssscccccccaaaaaaarrrrrrryyyyyyyyyy mmmmmmmoooooovvvvvvvviiiiiiiiiiieeeeeeesssssss,,,,,, spookfests and the macabre.

CCCCCCCCCChhhhhhhhhhhhhaaaaaaarrrrrrraaaaaaaccccccctttttttteeeeeeerrrrrrriiiiiiiiiiisssssssttttttttiiiiiiiiiiicccccccsssssss aaaaaaannnnnnnddddddddddddd EEEEEEEEEEElllllllllllleeeeeeemmmmmmmeeeeeeennnnnnnttttttttsssssss ooooooffffffffffffff tttttttthhhhhhhhhhhhheeeeeee cccccccllllllllllllaaaaaaassssssssssssssiiiiiiiiiiiccccccc Horror Film

1. As we see everything we most fear come true, we are both extremely vulnerable and yet invulnerable at the same me. Because of this shi of emphasis, the tles of these fi lms o en name or refer to the antagonist (evil en ty) i.e. Dracula, Jaws etc. rather than the protagonist.

2. The protagonist (good en y) in a horror movie is someone we can iden fy with, someone normal and ordinary who is much closer to us. He also lacks the enhancements of the protagonist in a courage type movie i.e. Superman.

3. The worse the fear we confront and survive, the stronger the upli ing release when it’s over.

4. Those who a empt directly to confront or explain away the horror that has emerged are doomed to fail. In Jaws, the a empt to keep the presence of the shark quiet leads only to more death.

5. The evil can only be defeated when one accepts and understands its true nature. Some mes the protagonist realises it too late and it then leads to his madness or even death, but even so, this self sacrifi ce leads to

the apparent salva on and restora on of the normal world.

6. Some mes the protagonist, because of loss of sanity or the ability to fi nd refuge, can be “infected” by whatever created the monster, and either becomes one i.e. Dracula, or becomes host to it i.e. Nightmare on Elm Street, or turn into a monster early on in the movie i.e. The Fly, and is then his own antagonist.

7. The evil is usually released by some sort of foolishness or by overstepping the moral boundaries i.e. Hellraiser, where a man wants to unlock the forbidden secrets of a mysterious device. In normal life these things are considered as taboos i.e. knowledge we shouldn’t have.

8. The antagonist is an example of the worst that can go wrong in any given world and must appear in a believable fashion from whatever the surroundings may be to totally destroy our sense of safety i.e. Jeepers Creepers. The antagonist must be not only powerful and lethal, but from beyond the realm of normal experience or expecta on or nego a on.

9. The world of the story is either a supernat-ural or otherworldly place to which the protagonist has travelled i.e. Alien, or the normal world in which the antagonist has invaded i.e. Poltergeist.

10. In some horrors the protagonist is confronted with an irresis ble sexual power, like moths to a fl ame, which can destroy him/her i.e. Dracula.

11. The antagonist, which is so overwhelming and terrifying in horror movies, must always be destroyed completely. When the antagonist is a human, some sort of gruesome death is the minimum punishment i.e. Halloween, but when it is something supernatural, it must either be dispatched in a prescribed supernatural way or be disintegrated completely i.e. a wooden stake for Dracula. Fire and sunlight are also regarded as metaphorical purifying and all- consuming elements.

36

12. Usually a small trace of the antagonist is le behind, whether it has contaminated the protagonist, escaped the explosion or even le us with off -spring that has survived. This then provides fodder for sequels i.e. Nightmare on Elm Street.

13. The antagonist, evil or innocent, o en proves its power and raises the stakes by killing off those who are progressively closer to the protagonist i.e. Jeepers Creepers 2.

14. Usually secondary characters die for the simple reason of stupidity or curiosity; they go into the basement where they know evil awaits them. This is actually also a driving force for the fi lm as tension and the stakes are raised i.e. Wrong Turn, Halloween etc.

15. O en there’s a mentor in horror fi lms, an older person who has some experience with the nature of the evil. He also has the knowledge that the protagonist needs to defeat the evil with. This knowledge is some mes accepted only a er the veils of reason and disbelief have been stripped away. This mentor character is usually destroyed in an act of obsessive hatred for the monster. It’s a self-sacrifi ce that both saves and passes the mantle on to the protagonist i.e. The Omen.

16. A small diff erence between terror and usually older horror movies, is that to generate terror on the screen, one doesn’t need to physically see what is happening, it is merely suggested. In fact, what we don’t see or can’t see, is o en more haun ng than what we do. Thus, terror suggests evil i.e. The Others, while horror will show us something revol ng, usually then making horror fi lms lower-budget and lower-quality aff airs i.e. Hellraiser.

FFFFFFFFFFFFFFiiiiiiiiiinnnnnnaaaaaalllllllllll TTTTTTTTTTTTThhhhhhhhhhhhoooooouuuuugggggggghhhhhhhhhhhhttttttt............Horror is usually one of the most desirable fi lm genres to be watched. In some instances it can be even more roman cally perceived as would be with a usual tear jerking ‘chick-fl iek’. It is like commi ng a sin without being punished or judged a erwards. Horror can easily be regarded as B-grade or even ‘cheesy’, but the fact is, there will surely always be a meless classic in any good DVD collec on.

So, have you ever fi gured out what that so hissing and crackling noises are in the ceiling...?

Freddy Krueger in the new:Freddy Krueger in the new:A Nightmare On Elm StreetA Nightmare On Elm Street

37

AGAINST THE ODDS!AGAINST THE ODDS!A Cinderel la version for video

“From a one man opera on, i-LINE FILMS is currently providing for about 9 families every month. I can not wait for the day when I can say we now take care of more than 50 families!”

Being one of six children and coming from a poor South African family may not sound applicable to a white kid, but for Johnny Taute, this is the case. But then neither does it seem appropriate for a forty year old man to resign his steady job a er 13 years to become an entrepreneur.

Growing up with fi ve siblings, with an ar san father and working mother, there were few opportuni es other than those created by you. “It’s all about the me you are born, whether history favours you or not.” Johnny laughs.

He was born in the 60’s , started school in the 70’s, was militarised in the 80’s and restarted his life in the new millennium.Johnny resigned from the Faculty of Health Sciences, University of Pretoria at the age of 40 to start i-Line Films in 2003, a video produc on company, with less than R 60 000. This home business took top honours as the 2009 - 2010 Small Business Champion Awards, an annual event is hosted by the Na onal Small Business Chamber.

“Because you do not need overheads when you start an enterprise, there was no money to splurge on a grand studio or fl ashy equipment. Just the

39

AGAINST THE ODDS!

.MOV-e would like to congratulate i-Line Films for winning the Small Business Champion Awards 2009/2010.

For more informa on on i-Line Films, simply visit their website at h p://www.iline.co.za

Johnny also shares his blogs on our site. Read his insigh ul inserts at h p://www.mov-e.co.za

basic apparatus were acquired and those tools had to pay for themselves and my salary,” he says.

Today the company delivers video produc ons for the broadcast, documentary and corporate markets and complement the video facility with corporate photography as well.

Their fi rst patron was the offi ce of the Kgosi (king) of the Royal Bafokeng Na on in Phokeng. “Kgosi Leruo Molotlegi comes from a long line of visionary kings, they bought the land they now occupy, they build the soccer stadium ahead of its me and I am sure Kgosi saw the poten al in this small enterprise before anyone else could,” says Johnny. Today they supply corporate media services to seda, SARENS SA, CHUBB, PUTCO and even VODACOM and they produce documentary fi lms.

But what makes i-LINE FILMS unique? Photographer Dirk Pieters says: “Most defi nitely the fact that each and everybody employed by i-Line was granted opportuni es on the basis of their passion towards fi lm making and photography, and all were trained via an in-house skills training programme.”

Johnny’s business skills were not taught in a conven onal sense (or at school) but were acquired from books and reading up on magazines. This piloted a mental business plan as no paper format would serve a need (because fi nance was not an op on) and lead to the appointment and training of the i-Line crews. Johnny deems that training of young, energe c, key personnel

is obtainable for every company and should impact posi vely on job crea on.

“We believe in the unfl inching spirit of crea ve and talented people,” says video editor, Shani Kühn. “We acknowledge our weaknesses and try to keep our

team balanced with people whose strong points complement other’s weaknesses,” adds Jean Pohl, videographer and sound engineer.

i-LINE FILMS can take heart from the fact that they survived a global recession as they aim to support their sustainability further by delivering improved and quicker services to their exis ng client base before broadening the founda on to other media. For the future, they have submi ed a proposal to start and administrate a channel on the DSTV bouquet.

- THE -

U N F O R G I V I N G

Writer/Director Alastair Orrgives us some insight intohis latest fi lm.

Two survivors, who appear unwilling to co-operate, are the only links authori es have to a spate of vicious a acks that have struck rural South Africa. As their stories unfold, it is clear that the truth of what happened that fateful day is far worse than any one could imagine.

6th August 2010, get ready for the most terrifying fi lm to hit South African cinemas in recent history, from Kamikaze Mo on Pictures. The Unforgiving crosses all moral boundaries that will leave the audience ques oning what they would do to survive if their lives were in the hands of a grotesque serial killer.

41

How did the produc on come together?

Ryan Macquet and myself were bashing around ideas one day about how could one make a South African fi lm look like something interna onal with a limited budget. You’re not going to be able to do Transformers on a South African budget. The easiest genre that we felt we could match with our resources was the horror/thriller genre. Films like Wolf Creek, Saw and even Hard Candy are fi lms with limited loca ons and few characters but have not been done in a South African context. We said to ourselves, “We’ve had the South African version of American Pie, lets do a ‘SAW’ type of fi lm, but give it a South African edge.”

The script was banged out in 2 weeks over the Industry shutdown in December 2008. We pitched the idea to Lorika Boshoff who absolutely loved the script and she put together an amazing crew who all came on board at a deferred rate. We shot over 8 weekends so that the crew could keep their day jobs. There was a core of 6 – 8 people. Each weekend the actors would be consistent, but the crew would be whoever was around. Everyone had worked together in some combina on before so we all got along really well. We were a group of friends that instead of si ng around braaing, made a movie.

How was the fi lm funded?

Ryan Macquet and Alastair Orr started up a small corporate video company called Pro Cut Produc ons in 2006, catering for numerous Mining & Banking clients. When there was enough liquidity in the company account, we set out to do what we always dreamed of doing, making movies.

Where was the fi lm shot?

The fi lm was shot in Vosluruus, 30kms outside of Johannesburg.

Who directed the fi lm?

The Unforgiving is the directorial feature fi lm debut of Alastair Orr

Will the fi lm be released in Cinemas across the country?

Yes. The fi lm will go out digitally in cinemas countrywide on 6 August 2010. The distributor is Helen Kuun's Indegenous Films

Who are the produc on companies involved?

Kamikaze Mo on Pictures & Illusionz Unlimited Entertainment. Both companies where created for the produc on of The Unforgiving.

Who wrote the script?

Alastair Orr

How long did it take to produce the fi lm?

The Unforgiving was shot over 8 weekends from March to the fi rst week of June 2009. The big advantage of shoo ng over weekends was that we were able to edit during the week. This way we were constantly able to monitor our progress and re-shoot if necessary. The script evolved as things on set changed, and although the story is the same as what was originally on script, the details and scene specifi cs are very diff erent. During the shoot, it was more of a case of what felt right as opposed to what was in the script, and as I was the editor and screenwriter, I was able to piece the fi lm together as a puzzle and rewrite scenes for the next weekend if necessary. Things did go wrong, on a limited budget, you have to use you crea vity when your shot list says you have 5 shots le to do for the day, but the sun says you’re only going to make 2, and I couldn’t have done this without D.O.P Craig Maarschalk, who was awesome in achieving the look and feel that I wanted, but also in telling the story in the best way possible, despite the huge odds put on his shoulders. Stephanie Esterhuizen handled all special eff ects make up and was really brilliant in her approach to adap ng her discipline to the low budget fi lm genre. Animal body parts were sourced for next to nothing from butcheries and aba oirs. Wrap a sheep’s knee in some Jeans and

hahahahahaaaannnnnnnnnnnnnnnesesesesesesbubububububurgrgrgrgrgrggggg......

42

take a cordless drill to it and you will be convinced that you are chewing through human anatomy. Two weeks a er principle photography wrapped in June, the fi lm was off -lined and moved into Final Mix and Score. Wikus Du Toit, who has scored numerous Drama series, took on The Unforgiving’s composing while William Kalmer of Mono Post started cleaning up audio and doing ADR. Sound and score was completed at the end of October.

What did it cost to make the fi lm?

Making fi lms in South Africa for South Africans have to be low budget because you are just not going to make your money back. District 9is seen as the pinnacle of South African fi lm,but when converted to Rands, it cost overR200 million. Take that fi gure versus theR9 million it made in South Africa.See what I mean? If you are not planningon releasing interna onally, if you are aking movies for South Africans,you have to go as low as you can,and that’s what we did.

What are your future plans in theSouth African Industry?

Lets see how this fi lm does, but our goalis to make fi lms for a living. We’re not planningon re ring a er this fi lm. The only goal with thisfi lm was to make the next one.

See the trailer at h p://www.theunforgiving.co.za

We want your stuff !

Send us your 2 to 24-minute short fi lm and if it’s good, it will be included in our annual short movie DVD. The best three will win awards.

Closing Date: 15 November, 2010

Send all submissions to:.MOV-e

P.O. Box 11874Wierda Park-South

0057

The only requirement is that you must be the copyright owner of the movie.

For more info, mail us on [email protected]

Movies we’d like to see

ARACH ATTACK!

Here are two random ideas that webelieve would make great movies.Perhaps one or two of our readerswould like to try their hands at these?If so, just remember to invite us to the premiere!

AFTERSHOCK

A gene cally mutated spider escapes from a laboratory and soon reigns terror on the ci zens of the sleepy town of Arach.

A er a Nuclear power plant melts down and destroys most of the city, the survivors struggle to fi nd their way out through the chaos and debris. But the worst is yet to come…

Every month we’ll select a book, DVD, or game that we think you might be interested in. Some mes we’ll review it, but in a case like this book, the back cover sums it up perfectly.

Filming on a MicrobudgetPaul Hardy

From the back cover of the book:

“So you want to make a fi lm? It’s the only way to get into the industry. No one’s going to let you play with the kind of money it takes to make a feature fi lm un l you’ve already proven yourself by making a great short fi lm. You can do that at fi lm school – if you can aff ord to go to fi lm school. If you can’t, then you’re going to have to make your fi lms without money. You’re going to have to fi lm on a microbudget – like Shane Meadows, who made Where’s The Money, Ronnie? Before TwentyFourSeven, and Guy Ritchie, who made The Hard Case before Lock, Stock And Two Smoking Barrels.

With the technology available today, it’s easier than ever to make a short fi lm without the benefi ts of funding, but digital cameras and edi ng systems are only part of the story. The most important thing is you, the fi lmmaker. This Pocket Essen al gives you all the informa on you need to put together a short fi lm produc on – from scrip ng, planning and cas ng through loca on-scou ng, shoo ng and edi ng, to distribu on.

Paul Hardy has made eighteen short fi lms with not nearly enough money. Despite this, he’s had work screened on FilmFour and at interna onal fes vals and was chosen to make a short fi lm during the Brief Encounters short fi lm fes val. He recently co-wrote and co-produced his fi rst independent feature fi lm, and currently runs courses on how to make short fi lms.”

We believe that this book should be in every independent fi lmmaker’s bag of tricks. It covers the Development, Preproduc on, Produc on, and Postproduc on phases in step-by-step detail and also includes a case study to show the principles in ac on.

FundingScriptwritingCasting

ShootingDigital and HDDistributing

.MOV-e’s pick of the month

Filming on a Microbudget can be picked up at Kalahari.net for under R 110. It usually ships within 11 working days.

The e-book is also on Kalahari.net for under R70 and is available for immediate download.

Scriptwriting 101:Basic tips and techniques when writing your screenplay (PART 2)

hniques when writingggg your

In the last issue we had a look at the basic fundamentals of wri ng your screenplay. We gave some insight on where one can search for those great ideas and even touchecd on some basic layout rules.

In this issue we are going to look at the script example again and see exactly how to get your script looking professional.

Most of you will probably not have the needed so ware to start wri ng with and that is why I will guide you through the process of using Microso Word to get it as close as possible. Something to remember is that the real scriptwri ng so ware will already have all the default se ngs for wri ng in place, which can be altered of course, but MS Word doesn’t.

Some of those default se ngs will include:

The font to be set to size 12pt.• The standard font is Courier New.• The spacing on the pages will be set for all variants • in a script.And shortcut keys are assigned which are not • available in a program such as MS Word.

For working in MS Word, take a look at these ps in the bubbles derived from the example typed in MS Word:

The key to writing a good script is

REWRITE !REWRITE !REWRITE !REWRITE !

y g g p

Scene heading containing informa on Scene heading containing informa on about se ng (interior/exterior), about se ng (interior/exterior),

loca on (Restaurant/room/car etc), loca on (Restaurant/room/car etc), me (day/night/dusk/dawn/later me (day/night/dusk/dawn/later

etc.), wri en in ALL CAPSetc.), wri en in ALL CAPS

The ac on area/scene direc on. All The ac on area/scene direc on. All the ac ons and descrip ons (non-the ac ons and descrip ons (non-dialogue) that the characters need dialogue) that the characters need to do before and a er the dialogue to do before and a er the dialogue within the story. Keep it short and within the story. Keep it short and

simple. Write only what is necessary, simple. Write only what is necessary, the rest is le up to the director. the rest is le up to the director.

Mostly wri en in lower case, clear Mostly wri en in lower case, clear and concise. Not jus fi ed and should and concise. Not jus fi ed and should

be wri en in the present tensebe wri en in the present tense

Don’t write dialogue using the center Don’t write dialogue using the center jus fi ca on tool, the correct posi on jus fi ca on tool, the correct posi on where it should start is 3 ‘TABS’ from where it should start is 3 ‘TABS’ from the le . Stop at and move to next line the le . Stop at and move to next line

at a similar distance on the rightat a similar distance on the right

Actor direc on. Use sparingly, only Actor direc on. Use sparingly, only when the writer HAS to instruct on the when the writer HAS to instruct on the

type of delivery of the line. Again up type of delivery of the line. Again up to the director. In brackets. Use center to the director. In brackets. Use center

jus fi ca on. Mostly one word onlyjus fi ca on. Mostly one word only

Direc on given by the writer which is Direc on given by the writer which is crucial to the story. Again use sparingly crucial to the story. Again use sparingly and leave to the director to execute as and leave to the director to execute as

necessary. Wri en in ALL CAPSnecessary. Wri en in ALL CAPS

When introducing a character for the When introducing a character for the fi rst me, the name should be wri en fi rst me, the name should be wri en

in all capital le ersin all capital le ers


FADE IN:

INT. RESTAURANT – DAY

STEVEN and his wife, JENNY, are having a casual lunch at a restaurant with some friends. He is dressed in a T-shirt, shorts and sneakers. Everyone is cheerful as they await their food. They are talking about Steven’s fruit and vegetable shop.

MARK So Steven, veggie shop doing okay?

STEVEN Business is tough. It’s nice to get out for a change.

MARK(sarcastically)

We heard you’re buying that butchery across the road?

STEVEN Why not? Then I could legally burn it to the ground.

MARK just laughs at Steven. The food arrives and they all sit back. The waitress puts their plates down on the table. Steven is having a Greek salad; he is a vegetarian, while Jenny is having a steak.

JENNY(excited)

Haven’t had one of these in a while.

FOCUS ON STEVEN’S FACE

Steven takes a glimpse at Jenny’s steak as she starts cutting it. It is medium rare and there is some blood coming out of it. Steven is revolted at the site of the meat. He gets up quickly to go to the restroom. The others just look at each other, confused.

CUT TO:

EXT. PARKING AREA – LATER

A pale face Steven walks towards the car...

Heading before scene starts Heading before scene starts indica ng the picture fades in indica ng the picture fades in

from blackfrom black

Used to end/exit the scene. As this Used to end/exit the scene. As this is understood as a norm to follow, it is understood as a norm to follow, it doesn’t always have to be wri en in. doesn’t always have to be wri en in. Can use it when moving to a totally Can use it when moving to a totally

new loca on or diff erent me se ngnew loca on or diff erent me se ng

All these areas should have a All these areas should have a double-spacingdouble-spacing

Use the center jus fi ca on tool to Use the center jus fi ca on tool to place the character’s name who place the character’s name who says the next line of dialogue. says the next line of dialogue.

Always use ALL CAPS when wri ng Always use ALL CAPS when wri ng names in this area names in this area

General Info: General Info: Courier New, Courier New,

12 point, 12 point, Never use Never use

BOLD, Never BOLD, Never use use ItalicsItalics. 1 . 1

Page of wri en Page of wri en script, equals script, equals

approximately approximately 1 minute of 1 minute of screen mescreen me


This month, we take a look at how the produc on houses make all those huge UFOs fl y over ci es. This is not a tutorial, but merely an ar cle that shares the theory behind how certain eff ects are created in today’s big budget movies. The method described in here is not the only way to achieve this eff ect.

If you know of other ways to create this eff ect, feel free to share your knowledge in our member forums.

First, the footage is shot. You will no ce that scenes like the one in Independence Day, District 9, and the new V television series will make these scenes short and choppy; changing from one angle the next in three seconds or less.

Next, the art department will create the 3D UFO in so ware like So Image, 3D Studio Max, or Maya. The UFO wireframe is textured and rotated to fi t the angle of the shot perfectly. In our case, budget forced us to improvise and use a frying pan for our UFO.

47

The city footage is duplicated and placed over the UFO. A mask is then used to outline all the objects that should be in “front” of the UFO. Everything not included in the mask would be “behind” the UFO if it were to move past it.

The UFO can now be posi oned in the scene to ensure that all the masks are placed properly. If there is movement in the scene, for example the camera man driving or running, the masks will have to be moved and adapted with the buildings. This can be extremely me consuming, and is one of the reasons you will only see a few seconds before the scene cuts to another angle. A good cut would be to show someone ge ng out of a car and looking up towards the UFO. This would help sell the illusion.

Final touches can now be made to the UFO. In our example, we decided that a larger UFO would look more menacing.

Basic shadows against the buildings will round off the shot nicely. The shadows are also revealed through masks and can be animated to move with the space ship. A good “movinag shadow” shot was in Independence Day when the space ship fl ew over the Obelisk in Washington.

48

E enne van Rensburgtakes a closer look at

You can say what you want; everyone loves suspense. Wondering what is going to happen next and then just when you think you have it fi gured out, the story goes the other way leaving you somewhat “thrilled”. Sounds like the recipe for a successful thriller to me.

In most thrillers and especially this one you start formula ng theories about what’s really going on in the movie from very early on; about the exci ng stuff that only gets revealed to you at the end. There are a few oddi es you pick up as the movie progresses and these form a certain expecta on in your head of how the story will unfold. The exci ng

part of a movie like this is when your li le preconceived idea gets crushed and gets replaced by a work of genius. Please welcome, “Shu er Island”.

Based on an island which houses nothing but a mental ins tu on and its pa ents, the criminally insane, you know from the start that you will be in for a ride. U.S. Marshal Edward “Teddy” Daniels (Leonardo DiCaprio) is sent to Shu er Island to inves gate the mysterious escape of one of the pa ents in the ins tu on. He is partnered with someone he does not know and hosted by people who start their introduc on by stripping him of his gun; a Marshal’s best friend.

Early on in the movie you no ce that there is a constant struggle as Teddy repeatedly seems to hit walls in ge ng the help he needs from his hosts. As he digs deeper the doctors’ behaviour becomes more and more suspect. Eventually he gets intertwined in their world and starts being treated more as a pa ent than an authori ve fi gure. His partner goes missing and the doctors tell him that the woman he was inves ga ng was never missing. In a confusing world where reality becomes ques onable, Teddy is fi gh ng a losing ba le un l he enters the room in a remote tower on the island. He believes that he will uncover the

Reader Review


truth about the doctors’ illegal experiments on pa ents here but, to his horror he uncovers an en rely diff erent truth, one that leaves even the audience gasping for air.

The GoodThe GoodShu er Island got full marks for crea ng suspense in the typical viewer shou ng to the main character “No don’t do it!” sense. The ride is a constant roller coaster not knowing what to expect next. With a twist at the end of the movie that explains so many li le things the audience may or may not have picked up on throughout the movie, I would say it was wrapped up perfectly and leaves your thrill appe te fully sa sfi ed when leaving the cinema.

The BadThe BadIf there was one thing to men on about this movie that stopped it from ge ng a full 10/10 it would have to be the con nuity issues. The fi rst me I watched the movie I picked up on no less than 5 severe issues between cuts in a scene. While these mistakes have no eff ect on the story line they do catch your eye and I can only assume that there wasn’t a dedicated member on the team for con nuity. One has to ask if, with such a budget, it was totally unavoidable or if perhaps they were pushed for a deadline?

I would easily recommend this movie to anyone who wants to become wrapped up in a thick plot of suspense and mystery and will gladly buy the DVD for my collec on when it gets released.

SCORE:

Edi ng: 7.5Character Development: 9Cinematography (Camera work) & ligh ng: 7Direc ng: 7.5Ac ng: 8.5Set Design/Costumes: 9Script: 7 Story: 8Pay off : 10Sound: 7

80.5%


BloodCreate realistic

With common household items

You don’t have to break the bank in order to create blood that will look good in your home-made movies. This special eff ect can be achieved quickly and cheaply by using nothing more than everyday household items.

Ingredients: Golden Syrup, Red Food Colouring, Maizena Cornfl our, and Chocolate Syrup.

First, take a bowl and squirt a blob of the Chocolate Syrup into it. This gives the blood a more darker and rich colour. If your blood turns out too bright, simply add more sauce.

Now pour some Golden Syrup over it. The Syrup will add some elas city to the blood, giving it somewhat of a s cky nature. If it turns out a bit too s cky and doesn’t fl ow naturally, you can dilute it somewhat by adding a few drops of water to your fi nal mixture.

Add a splotch of Red Food Colouring for the main colour of the blood. It doesn’t have to be much. One or two caps full should do fi ne. If your blood turns out too red, you can de-saturate it slightly by adding some Maizina Cornfl our. Take note that the Food Colouring will stain the skin and clothes, so don’t use clothes that you can’t aff ord to write off , and don’t leave the blood on your skin for longer than absolutely necessary.

Finally, sprinkle some Maizina Cornfl our over your concoc on to lighten the red a li le and make it look more natural. S r it all together un l the colour and texture is smooth. You can add more of the ingredients depending on the outcome that you’re looking for. To make it richer in colour, add more Chocolate Syrup. To make it more s cky and elas c, add Golden Syrup. To make it more red, add Food Colouring.

Congratula ons! You’ve just made non-toxic blood that looks real, using nothing more than common items found in your average household. The trick is to keep playing and experimen ng un l you have exactly what you’re looking for.

There are tons of other ways of achieving the same or even be er results. If you know of another way to make realis c blood, please log into the forums on the .MOV-e site and share your fi ndings with our other members. Send us your snaps of your crea ons using blood, and if they’re good, we’ll post them in our upcoming issues.

Next month we’ll build on this tutorial and show you how to create Zombie-like fl esh wounds.

MONEY

MONEYMONEY

““The impact of increased distribution has The impact of increased distribution has been a fragmentation of audiences as been a fragmentation of audiences as audiences have greater choices regarding audiences have greater choices regarding the programmes they watch. This has the programmes they watch. This has resulted in two options for fi lmmakers. resulted in two options for fi lmmakers. They can target a mass audience by They can target a mass audience by accessing bigger budgets in order to accessing bigger budgets in order to employ high profi le actors, actresses and employ high profi le actors, actresses and directors and bigger and better special directors and bigger and better special effects. Alternatively, they can target niche effects. Alternatively, they can target niche markets and access smaller audiences. It markets and access smaller audiences. It is recommended that the South African is recommended that the South African industry adopt the second option.” industry adopt the second option.”

DACST (The Department Of Arts, Culture, DACST (The Department Of Arts, Culture, Science And Technology), November 1998 Science And Technology), November 1998

MMost people often wonder why South ost people often wonder why South African fi lms look low budget. Well, the African fi lms look low budget. Well, the simple fact is, they are. When Slumdog simple fact is, they are. When Slumdog

Millionaire was released, they claimed that Millionaire was released, they claimed that the fi lm is extremely low budget. Quite funny the fi lm is extremely low budget. Quite funny considering the fact that it only cost 15 million considering the fact that it only cost 15 million

dollars! In South Africa, this amount will allow dollars! In South Africa, this amount will allow us to make a dozen local productions. A lot of us to make a dozen local productions. A lot of South African feature fi lms are made with less South African feature fi lms are made with less than R2 million. This is why the producers and than R2 million. This is why the producers and directors have to cut and squeeze corners to fi t directors have to cut and squeeze corners to fi t everything in the budget.everything in the budget.

Someone once told me that he wanted to make a high-pitched action movie, similar to make a high-pitched action movie, similar to G.I Joe (which cost $175 million). So I asked G.I Joe (which cost $175 million). So I asked how much he thought the budget would be how much he thought the budget would be and felt totally stunned when he answered: and felt totally stunned when he answered: “R200 000.00”. With this statement I realized “R200 000.00”. With this statement I realized that a lot of South Africans are uneducated that a lot of South Africans are uneducated about the fi gures of fi lmmaking budgets. The about the fi gures of fi lmmaking budgets. The worst thing about it is all the comments you will worst thing about it is all the comments you will read from viewers that watched a local movie, read from viewers that watched a local movie, complaining about how low budget the fi lm complaining about how low budget the fi lm looks. looks.

In this article we delve into the world of the ever In this aarticcle we dellve intto thhee wworldd oof ttthee eveerr dreaded movie budgets in the South African film dreaded moovie budgeets in thee Souuth Affricccann ffilmmm industry.industry..

t ld th t h t d tS t ld th t h t d tS

53

For the readers: What will a high budget fi lm For the readers: What will a high budget fi lm then cost in South Africa? R300 000.00? With then cost in South Africa? R300 000.00? With R300 000.00, a movie will be regarded as R300 000.00, a movie will be regarded as a low-low-low budget affair. Unfortunately, a low-low-low budget affair. Unfortunately, sometimes with this amount some fi lmmakers sometimes with this amount some fi lmmakers are more than willing to try and put forward a are more than willing to try and put forward a proudly South African production, just to be able proudly South African production, just to be able to get their work out there. Sadly, not enough to get their work out there. Sadly, not enough people have the same passion for our industry people have the same passion for our industry and people are not willing to give more money and people are not willing to give more money for a fi lm. It is unlikely that investors would for a fi lm. It is unlikely that investors would give a South African fi lm R12.25 billion, like G.I. give a South African fi lm R12.25 billion, like G.I. Joe. If so, local fi lms would obviously have a Joe. If so, local fi lms would obviously have a chance of competing with the world. Don’t get chance of competing with the world. Don’t get me wrong, if the story is crappy, a movie will be me wrong, if the story is crappy, a movie will be crappy no matter what the budget is. The great crappy no matter what the budget is. The great thing is though; we have so many wonderful thing is though; we have so many wonderful stories to tell in our country. We also don’t stories to tell in our country. We also don’t always need the R12.25 billion to justify this, but always need the R12.25 billion to justify this, but at least just give us a tenth of these fi gures and at least just give us a tenth of these fi gures and we’ll show you what we can do.we’ll show you what we can do.

A basic rundown of the equipment list in a A basic rundown of the equipment list in a budget, not in detail, will give readers an idea of budget, not in detail, will give readers an idea of where some of the money goes.where some of the money goes.

As a fi lmmaker you will need to hire each item As a fi lmmaker you will need to hire each item per day. First you have to choose between a per day. First you have to choose between a camera, do you want to shoot on fi lm or digital, camera, do you want to shoot on fi lm or digital, for example: an Arricam 35mm fi lm camera for example: an Arricam 35mm fi lm camera (35mm fi lm stock is priced between R2000 (35mm fi lm stock is priced between R2000 for 400ft, gives around 10 min fi lm time, and for 400ft, gives around 10 min fi lm time, and R4500 for 1000ft) with all its accessories will be R4500 for 1000ft) with all its accessories will be around R12 500p/d. A full HD camera, like the around R12 500p/d. A full HD camera, like the Panasonic HVX500 fully equipped camera kit Panasonic HVX500 fully equipped camera kit for R5000p/d. Digital is becoming the trend and for R5000p/d. Digital is becoming the trend and it is so much cheaper in lots of aspects. Thus, it is so much cheaper in lots of aspects. Thus, you’ll probably need to go the digital route.you’ll probably need to go the digital route.

You will need different lenses (Fixed Focus, You will need different lenses (Fixed Focus, Zoom, Wide etc which can set you back a Zoom, Wide etc which can set you back a couple of hundred bucks), Filters(R100 – R300), couple of hundred bucks), Filters(R100 – R300), Hand-Held Support e.g. steady cam (from Hand-Held Support e.g. steady cam (from R800), Different types of lighting equipment, R800), Different types of lighting equipment, which is essential to make your production look which is essential to make your production look professional (Anything from R400 and up. The professional (Anything from R400 and up. The more the better.), a Rain Defl ector, just in case more the better.), a Rain Defl ector, just in case (R500 – R700), Mic & Boom (R500) Audio Mixer (R500 – R700), Mic & Boom (R500) Audio Mixer (R300 – R900), Grip Equipment, Dollies and (R300 – R900), Grip Equipment, Dollies and Tracks (R400-R4000, for a bit of movement), Tracks (R400-R4000, for a bit of movement), Jibs & Cranes (R600 – R3500), and hopefully Jibs & Cranes (R600 – R3500), and hopefully you don’t want to shoot something in the water, you don’t want to shoot something in the water, otherwise you’ll need an Underwater Housing, otherwise you’ll need an Underwater Housing,

Splash bag etc. There are other things you will Splash bag etc. There are other things you will always need on a fi lm set like: gaffer tape, sand always need on a fi lm set like: gaffer tape, sand bags, lens cleaning fl uid, stands, holders and bags, lens cleaning fl uid, stands, holders and even generators in some cases. The list can go even generators in some cases. The list can go on.on.

As you can see, mentioning that not even As you can see, mentioning that not even everything is listed, there is a lot of equipment everything is listed, there is a lot of equipment used on a fi lm set. If you have a limited budget used on a fi lm set. If you have a limited budget of say, the R300 000 we spoke about earlier, of say, the R300 000 we spoke about earlier, you don’t have a lot of money and you will try to you don’t have a lot of money and you will try to shoot in the least amount of days possible. Just shoot in the least amount of days possible. Just for the digital camera alone you will have to pay for the digital camera alone you will have to pay R100 000 for 20 days, meaning you still have R100 000 for 20 days, meaning you still have R200 000 left, which might sound like a lot, but R200 000 left, which might sound like a lot, but unfortunately you only paid one part of your unfortunately you only paid one part of your equipment and you still have a long way to go. equipment and you still have a long way to go. Other things like; catering, transport, location Other things like; catering, transport, location hire, the crew and actor salaries, editing, hire, the crew and actor salaries, editing, wardrobe, props, make-up, sound design, wardrobe, props, make-up, sound design, music, general supplies, insurance, marketing music, general supplies, insurance, marketing etc. are not yet even brought into the equation. etc. are not yet even brought into the equation. One can quickly see where this will lead to One can quickly see where this will lead to once you plan on making a proper, professional once you plan on making a proper, professional production.production.

This article is not based on pessimism, but This article is not based on pessimism, but merely on realism. The industry is picking up merely on realism. The industry is picking up slowly day by day and soon we will hopefully slowly day by day and soon we will hopefully have the same opportunities some other have the same opportunities some other countries have had to thus far. It is critical that countries have had to thus far. It is critical that our audiences should realise the diffi cult efforts our audiences should realise the diffi cult efforts our fi lmmakers have to go through to get their our fi lmmakers have to go through to get their productions made and presented. All support productions made and presented. All support possible is needed to lift the spirits and to have possible is needed to lift the spirits and to have an understanding of things to come.an understanding of things to come.

Please feel free to give comments and Please feel free to give comments and suggestions in our forum columns on the site or suggestions in our forum columns on the site or even mail us at even mail us at [email protected]@mov-e.co.za

Next time we’ll have a look at how budgets and Next time we’ll have a look at how budgets and salaries can be compared to the big productions salaries can be compared to the big productions from Hollywood and industries alike. As a taste: from Hollywood and industries alike. As a taste: A top director in South Africa will get a salary A top director in South Africa will get a salary between R15 000 - R20 000 per week, while between R15 000 - R20 000 per week, while in America the minimum salary for a director is in America the minimum salary for a director is $14 000 per week (which is R105 000). Chew $14 000 per week (which is R105 000). Chew on that...on that...

Local is Lekka!Local is Lekka!

54

Every month, we will select an ar cle from our blogs and post it in the magazine. When you’re done reading through the en re magazine, the blogs and forums aught to keep you occupied un l the next issue launches.

This month, we will take a closer look at the release of Adobe’s Crea ve Suite 5, also called CS5. With 85 million lines of code, you can imagine that CS5 is certainly going to be a power horse worth of note. Our interest lies especially in Photoshop and A er Eff ects, two powerful tools that should be in the arsenal of any movie maker, both amateur and professional. One par cular new feature in A er Eff ects excited us like kids on Christmas morning: The Roto Brush. What is the Roto Brush? We’ll let Adobe answer the ques on in their own words:

Roto Brush "Many shots require separa ng a foreground object—such as an actor—from its current live ac on background so that the object may be placed in a completely new environment. The revolu onary new Roto Brush provides a fast, effi cient solu on for isola ng these foreground elements in complex scenes. In the past, this kind of work was me-consuming and expensive, and as a result, the technique was o en reserved for big-budget projects. The new Roto Brush is so fast that A er Eff ects ar sts can now perform rotoscoping on virtually any project—from previsualiza on to fi nal composites—with greatly reduced concern about project budgets or deadlines. To use the new Roto Brush, just draw simple paint strokes inside the foreground object, and let A er Eff ects calculate where the rest of the foreground object is. If the foreground and background are

similar, you can draw addi onal paint strokes to teach A er Eff ects which elements are in the background. A er Eff ects determines where the foreground and background are on subsequent frames; you can refi ne results with addi onal strokes. The process is fast and intui ve—and because A er Eff ects does the hard work of fi nding the edges, Roto Brush eliminates the tedium tradi onally associated with the task. Once you’ve defi ned the foreground and background areas, you can control the quality of the edges between the two using op ons for smoothing, feathering, or choking (spreading inside or outside of the original edge). A er Eff ects can calculate mo on blur for fast-moving por ons of the edge to deliver photo-realis c, professional results with minimal eff ort. “Edge cha er” from frame to frame is automa cally reduced, and in addi on you can remove background color from semitransparent edges of the foreground object. And if the resul ng alpha channel s ll requires addi onal refi nement, you can use the paint tools already built into A er Eff ects to further tweak your results. The Roto Brush expands your crea ve op ons by enabling you to off er results that require sophis cated rotoscoping—on virtually any project. Professional-quality results can be realized drama cally faster and with far less tedium: ar sts are already repor ng that the process of rotoscoping is taking a frac on of the me it required in the past. This means you can accomplish crea ve treatments that previously were feasible exclusively on big-budget projects—from isola ng elements for targeted color enhancement to placing design elements such as text or logos between actors and their backgrounds."

There are many more features that make us want to rush out and purchase CS5; some which include an enhanced version of Mocha, AVC-intra support and expanded RED camera support, Auto-keyframe mode, Color Finesse 3 LE for advanced colour

BlogBusterAdobe Launches CS5


correc on, Digieff ects FreeForm to create 3D text in A er Eff ects, and much more! Photoshop CS5 can now also create 3D text and also has intelligent selec on technology that makes selec ng tricky objects like hair a breeze. You can now also select an object that you would like to remove from the picture, and the so ware will intelligently calculate what the background is supposed to look like had the object never been there and fi ll the gap appropriately. What usually took hours with the clone tool now takes mere minutes (or even less!). It now also features Puppet Warp, a tool that allows you to control s ll images as if they were puppets. Think an elephant trunk that you can move around that fl exes and bends accordingly.

Also take a minute to download and install Adobe’s new Adobe Source so ware. It’s your direct link into the company where you can obtain access to the latest news, product details, and partner informa on right on your desktop. We would also like to take a minute and introduce Johnny Taute from i-Line Films as a fellow blogger on our site. Please take a few minutes to read his insigh ul posts and feel free to comment with your thoughts. You don’t have to be a registered member on the site to view and comment on the blogs.

For more informa onProduct details:www.adobe.com/a ereff ects

Read Johnny’s fi rst post, “So you wanna make movies?” here: h p://www.mov-e.co.za/blog/viewpost/53.html


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Child’s PlayWWorking on set with children can be orking on set with children can be

tricky and to direct a child can be tricky and to direct a child can be even trickier. Andrew Adomson, director even trickier. Andrew Adomson, director of Narnia: “I was actually a bit terrifi ed of Narnia: “I was actually a bit terrifi ed to make a movie with children. It‛s a to make a movie with children. It‛s a scary thing to do, to pin your future on scary thing to do, to pin your future on children”children”

Many actors and directors enjoy working Many actors and directors enjoy working with kids, because they are spontaneous and with kids, because they are spontaneous and bright. In addition one of the main concerns bright. In addition one of the main concerns parents have is their children‛s wellbeing and parents have is their children‛s wellbeing and education on fi lm sets. When children are education on fi lm sets. When children are cast for a feature fi lm, they will probably cast for a feature fi lm, they will probably have to stay out of school to work on the set. have to stay out of school to work on the set. Children then need to focus their attention Children then need to focus their attention on the fi lm set and still have the suitable on the fi lm set and still have the suitable education being taught to them.education being taught to them.

“Their education isn‛t put on hold,” Marilyn “Their education isn‛t put on hold,” Marilyn Costello said, working on the set of The Game Costello said, working on the set of The Game Plan as a substitute teacher. “They seem Plan as a substitute teacher. “They seem more interested in their schoolwork than more interested in their schoolwork than their counterparts, someone you might fi nd their counterparts, someone you might fi nd in a big classroom.” Costello is one of many in a big classroom.” Costello is one of many

teachers who are inventing the wheel for teachers who are inventing the wheel for educating children on movie sets overseas.educating children on movie sets overseas.During shots, in Artifi cial Intelligence, A.I., During shots, in Artifi cial Intelligence, A.I., where Hayley Joel Osmit wasn‛t needed, where Hayley Joel Osmit wasn‛t needed, he would study his school subjects from he would study his school subjects from “teachers-on-set”. “teachers-on-set”.

“It is sometimes hard to keep children‛s “It is sometimes hard to keep children‛s attention and to keep them focussed on attention and to keep them focussed on acting, so between takes where they are not acting, so between takes where they are not needed, be sure to keep them busy,” says needed, be sure to keep them busy,” says Short-fi lm Director, Charl Cronje.Short-fi lm Director, Charl Cronje.

Working with children on a fi lm set is a lot Working with children on a fi lm set is a lot of responsibility and according to the labour of responsibility and according to the labour law, there are certain safety guidelines law, there are certain safety guidelines to aply on a fi lm set. .MOV-e gives a few to aply on a fi lm set. .MOV-e gives a few guidelines:guidelines:

CHILD SAFETY GUIDELINES AND CCCHHHHHIIIIILLLLLLLDDDDDDD SSSSSSAAAAAAAAFFFFFFFEEEEEEETTTTTTYYYY GGGGUUUUUIIIIDDDDDEEEEELLLLLIIIINNNNNNNNEEEEEESSSSSS AAAAAANNNNNNNNDDDDDD DEPT OF LABOUR REQUIREMENTSDEEEEPPPPPPPTTTTTTTT OOOOOOOFFFFF LLLLLLLLAAAAAAAAABBBBBBBOOOOOUUUUURRRR RRRRRRREEEEQQQQQQQUUUUUIIIIRRRRRRREEEEEMMMMMMMMMMMEEEEENNNNNNTTTTTTSSSSS

You must have a permit for every artiste You must have a permit for every artiste • • aged 15 and under. All permit applications aged 15 and under. All permit applications must be accompanied by a proof of must be accompanied by a proof of consent from the parent or legal guardian, consent from the parent or legal guardian, and a proof of age eg. a birth certifi cateand a proof of age eg. a birth certifi cate

Every single child on set must have a Every single child on set must have a • • permit whether they are lead artistes, permit whether they are lead artistes, stand-bys or extras. stand-bys or extras.

The labour inspectors have the authority The labour inspectors have the authority • • to do spot inspections at any company at to do spot inspections at any company at any time without notice. They have the any time without notice. They have the authority to ask questions e.g. regarding authority to ask questions e.g. regarding occupational health and safety that are occupational health and safety that are above and beyond just the safety of above and beyond just the safety of children on set. children on set.

For children aged 10 – 15 years the child For children aged 10 – 15 years the child • • may only work for 4 hours per day, and may only work for 4 hours per day, and may only be on set for a maximum of 10 may only be on set for a maximum of 10 hours.hours.

Hayley Joel Osment was nominated for Hayley Joel Osment was nominated for the Academy Award for Best Supporting the Academy Award for Best Supporting Actor in The Sixth Sense, becoming the Actor in The Sixth Sense, becoming the second-youngest performer ever to receive second-youngest performer ever to receive an Academy an Academy nomination for nomination for a supporting a supporting role. One of role. One of Osment’s lines Osment’s lines in The Sixth in The Sixth Sense, “I see Sense, “I see dead people”, dead people”, became a popular became a popular catchphrase and catchphrase and is often repeated is often repeated or parodied or parodied on television on television programs and programs and in other media.in other media.

58

“Abigail Breslin, born “Abigail Breslin, born April 14 1996, is one of April 14 1996, is one of the youngest actresses the youngest actresses ever to be nominated for ever to be nominated for a competitive Academy a competitive Academy Award”Award”

Dakota Fanning began Dakota Fanning began acting at the age of five acting at the age of five after appearing on a Tide after appearing on a Tide commercial. Her first commercial. Her first significant acting job significant acting job

was a guest-was a guest-starring role in starring role in the NBC prime-the NBC prime-time drama time drama ER, which ER, which remains one of remains one of her favourite her favourite roles: “I played roles: “I played a car accident a car accident victim who has victim who has leukaemia. I got leukaemia. I got to wear a neck to wear a neck brace and nose brace and nose tubes for the two tubes for the two days I worked.”days I worked.”

“Oh yes, I always enjoy working with children”, “Oh yes, I always enjoy working with children”, smiles Shahid Kapoor, he is playing a school teacher smiles Shahid Kapoor, he is playing a school teacher in the film Paathshaala, “I believe that they are the in the film Paathshaala, “I believe that they are the most spontaneous actors of all and help you unlearn most spontaneous actors of all and help you unlearn a lot of things. Now, that’s good because sometimes it a lot of things. Now, that’s good because sometimes it is very important to unlearn. Spontaneity is a good is very important to unlearn. Spontaneity is a good virtue because that helps bring on screen things that virtue because that helps bring on screen things that were not planned or written on paper.”were not planned or written on paper.”

For children aged 5-10 years the child For children aged 5-10 years the child • • may only work for 3 hours per day, and may only work for 3 hours per day, and may only be on set for a maximum of 8 may only be on set for a maximum of 8 hours.hours.

For children aged 5 years and younger the For children aged 5 years and younger the • • child may only work for 3 hours per day, child may only work for 3 hours per day, and may only be on set for a maximum of and may only be on set for a maximum of 6 hours.6 hours.

Records must be kept of the times Records must be kept of the times • • worked.worked.

For night work the child may not work For night work the child may not work • • more than 3 nights per week, and the more than 3 nights per week, and the employer must have written parental employer must have written parental consent for night work.consent for night work.

A safe rest and play area must be A safe rest and play area must be • • available for the children.available for the children.

The child must not be exposed to any The child must not be exposed to any • • danger or safety hazards while on set.danger or safety hazards while on set.

A child minder should be appointed when A child minder should be appointed when • • there are children on set.there are children on set.

Nicole Kidman Nicole Kidman on the set of The on the set of The Others: ”I love to Others: ”I love to work with kids, work with kids,

because I have 2 of because I have 2 of my own, they are my own, they are

so spontaneous, so spontaneous, honest and fresh.”honest and fresh.”

59

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You don‛t really notice them in a MOVIE, but without them you will notice that they are not there...

Life as an extra

Life as an extra

MISTER HARRY BAILIE GIVES US A BIT MORE INSIGHT TO THE WORLD OF BEING AN EXTRA ON A MOVIE PRODUCTION.

My name is Harry, I am 62 years of age, and I started My name is Harry, I am 62 years of age, and I started my career as an extra a er I re red. Life is about my career as an extra a er I re red. Life is about experiences, and though no longer working, I wanted experiences, and though no longer working, I wanted to do something I had never done before. An advert to do something I had never done before. An advert in the paper caught my eye, and I thought why not, in the paper caught my eye, and I thought why not, I am handsome enough, and the next thing I knew I I am handsome enough, and the next thing I knew I was on the set of the Invictus movie as part of the was on the set of the Invictus movie as part of the crowd. crowd.

What an experience. 10 days of shoo ng at Ellis Park What an experience. 10 days of shoo ng at Ellis Park stadium, with one of my favorite actors/directors, stadium, with one of my favorite actors/directors, Clint Eastwood, and his son, also Clint, who played the Clint Eastwood, and his son, also Clint, who played the part of Joel Stransky. The story for those non rugby part of Joel Stransky. The story for those non rugby fans, is about the 1995 Rugby World Cup, which SA fans, is about the 1995 Rugby World Cup, which SA won for the fi rst me that year. Ma Damon plays won for the fi rst me that year. Ma Damon plays Francois Pienaar, the Sprinbok captain and Morgan Francois Pienaar, the Sprinbok captain and Morgan Freeman plays Nelson Mandela. He was nominated Freeman plays Nelson Mandela. He was nominated for an Oscar for his performance, and one could see for an Oscar for his performance, and one could see why. Watching him walk around the set, he copied why. Watching him walk around the set, he copied Mandela's walk and movements perfectly, and one Mandela's walk and movements perfectly, and one had to look carefully to see that it was not Mandela had to look carefully to see that it was not Mandela himself.himself.

We sat in the stands to simulate the crowd of nearly We sat in the stands to simulate the crowd of nearly 50,000 at the game, and as we were only 500-700 50,000 at the game, and as we were only 500-700 people, we were moved around the stadium to fi ll people, we were moved around the stadium to fi ll the seats where the ac on took place. We would be the seats where the ac on took place. We would be on call at 6am, which meant leaving Centurion at on call at 6am, which meant leaving Centurion at 5am, was I mad? Breakfast was provided, followed 5am, was I mad? Breakfast was provided, followed by the wait ll around 10am, the crew started to set by the wait ll around 10am, the crew started to set up for the shoo ng, which usually wrapped (fi nished) up for the shoo ng, which usually wrapped (fi nished) at 6 pm. Long hours of wai ng, si ng in the sun, at 6 pm. Long hours of wai ng, si ng in the sun, and on one occasion being soaked by the stadiums and on one occasion being soaked by the stadiums sprinklers! Lunch was a pie, and supper being handed sprinklers! Lunch was a pie, and supper being handed to us as we le the stadium. to us as we le the stadium.

We were seldom bored because the crowd was in We were seldom bored because the crowd was in good spirits, and behaved on and off camera with good spirits, and behaved on and off camera with true ‘lekker rugby gees', singing, making jokes and true ‘lekker rugby gees', singing, making jokes and ge ng the crew, mostly Americans, to do the hula ge ng the crew, mostly Americans, to do the hula dance steps. Clint resisted the call to do the hula, ll dance steps. Clint resisted the call to do the hula, ll

the last day, when he and his wife did it for us to great the last day, when he and his wife did it for us to great cheers from the crowd. We got a compliment from cheers from the crowd. We got a compliment from him as one of the best crowds he had ever worked him as one of the best crowds he had ever worked with. The Americans were apprecia ve of the way with. The Americans were apprecia ve of the way in which we worked, and took the jokes with and in which we worked, and took the jokes with and about them in equally good spirit. There was a group about them in equally good spirit. There was a group of young boys, who were painted in the Springbok of young boys, who were painted in the Springbok colours who led the cheering, and who made the colours who led the cheering, and who made the me full of fun. There were prizes each day for best me full of fun. There were prizes each day for best

dressed, best cheering and more. dressed, best cheering and more.

Having worked on other fi lms since, I can honestly Having worked on other fi lms since, I can honestly say that this was a unique experience, well organized, say that this was a unique experience, well organized, no was ng me, everybody knowing what to do and no was ng me, everybody knowing what to do and doing their jobs well. The extras were treated with doing their jobs well. The extras were treated with considera on, which is not always the case. Well and considera on, which is not always the case. Well and truly professionals.truly professionals.

One can also get involved in soapies, but I have One can also get involved in soapies, but I have avoided it, because they don’t pay as well as fi lms. I avoided it, because they don’t pay as well as fi lms. I got to know several people who do this for a living, got to know several people who do this for a living, some for as long as twenty years. One can make quite some for as long as twenty years. One can make quite a good living from it, I am told, which is not my aim a good living from it, I am told, which is not my aim though. One can audi on for all sorts of parts locally, though. One can audi on for all sorts of parts locally, without formal training, and even get fl own oversees without formal training, and even get fl own oversees to make a fi lm or advert. One has to, however, live to make a fi lm or advert. One has to, however, live near the centers like Johannesburg or Cape Town, near the centers like Johannesburg or Cape Town, where movies are made, to get these opportuni es. where movies are made, to get these opportuni es. Recently I audi oned, with 533 others, for a Wimpy Recently I audi oned, with 533 others, for a Wimpy commercial shown on TV now. They paid well, R10 commercial shown on TV now. They paid well, R10 000, although I did not get the part.000, although I did not get the part.

To me, as a movie buff for many years, and for the To me, as a movie buff for many years, and for the experience of mee ng diff erent people, this 'life' experience of mee ng diff erent people, this 'life' is very interes ng. It has however spoilt watching is very interes ng. It has however spoilt watching movies for me, as I now think they used that camera, movies for me, as I now think they used that camera, this angle, how many mes did they shoot that scene this angle, how many mes did they shoot that scene before ge ng it right, looking with an eye as how to before ge ng it right, looking with an eye as how to use the light, the actors stood so, etc. I now look with use the light, the actors stood so, etc. I now look with the eye of a par cipant, not an onlooker. How strange the eye of a par cipant, not an onlooker. How strange that now I can see how stories are told. Altogether a that now I can see how stories are told. Altogether a rewarding life.rewarding life.

SincerelySincerely

Harry BailieHarry Bailie


“Extra! Extra!”

“Extra! Extra!”

Give them creditDifferent titles, different jobs! What do they all mean? Our journey continues with our credit list from the fi rst issue, as we bring you some basic defi nitions of the most common job titles in fi lm and television...

1st AD (Assistant Director):The AD is responsible for assisting the director and is usually fi rst on set. His/her duties will include: set up shooting schedules, arranging logistics, preparing call sheets, checking the arrival of cast and crew, rehearsing cast, and directing extras. This person must be very strict and have authority,

because he/she needs to keep the director and the set on schedule.

The main supervisor on set of the more non creative aspects including personnel, technology, budget, and scheduling. Another responsibility is to make sure the fi lming stays on schedule and budget. The PM also helps

manage costs like salaries, equipment rental etc.

Unit Manager:This person fulfi ls the same role as the PM but for secondary “unit” shooting. He/she must make sure that everything is in order before and during the shoot. They make sure that the catering is correct, maps are drawn, the

electricity is up and running etc.

Production Manager:

PART

2

Production Assistant:A production assistant assists the fi rst assistant director with set duties. PAs,

also assist in the production offi ce with general tasks.

Production Sound Mixer:The head of the sound department on set, responsible for recording all the sound during fi lming. This involves the choice and use of microphones, operation of a sound recording device, and the mixing of diff erent audio

tracks.

Boom Operator:The assistant to the sound mixer, responsible for microphone placement and movement during fi lming. The boom operator uses a boom pole. It allows positioning of the microphone above or below the actors, just out of the camera’s frame. The boom operator may also place radio microphones

and hidden set microphones.

Camera Opperator:One of the senior persons working on a set. The camera operator uses the camera at the direction of the director of photography or the movie director to capture the shots. Usually, the DOP does not operate the camera, but

sometimes these jobs may be combined.

To be continued...62

Aaaaaaand CUT!

mov-e may 2010 issue

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