Gamechangers: Canon EOS 5D Mark III and the New iPad

Talk about a match made in heaven! The highly anticipated Canon EOS 5D Mark III and the uber-highly anticipated iPad have finally made their debuts. Both seem made for each other. The iPad 3--or iPad HD, whatever they are calling it--has the much predicted retina display previously touted on the iPhone and iPod. Given the new display, the iPad uses as a media display can be pushed into any filmmaking realm.

The Mark III is a step up from the Mark II. It has revolutionary features such as a silent shutter. As a still photographer and a filmmaker, I've never heard of a silent shutter. Since I'm too poor to afford either at this point, I guess I'll stick with renting.



It's nice to dream, though. Happy Filmmaking!

Test Scene for 'Niecy'

Greetings, everyone! The following video is a test scene from my most recent screenplay Niecy. Niecy was most recently named a drama finalist at The Script-a-Thon. Hope everyone likes it! I did it as a project for the Richard Lawson Studios.

Happy Filmmaking!

USC's First Look 2009!

This weekend. Saturday and Sunday. In the Norris Cinema Theatre on USC's campus. In Los Angeles, California! Be there!

But seriously, First Look is always a big deal for the School of Cinematic Arts. It showcases both undergrad and grad thesis projects from the previous semester to the general public and alums. Highly supported by former and current students, First Look is often the highlight of the year for the schoo, only falling short of graduation.

I'm going to not only support my fellow trojans, but to support a few friends and acquaintances who are showcasing on Sunday. For example, Christine T. Berg will It gives me time to be jealous of them (I'm just kidding, but I live for this!) If you are in town, you should check it out, too.

I can't sign off with doing the school cheer:
S-O-U-T-H-E-R-N C-A-L-I-F-O-R-N-I-A! Southern California! (Victory sign in the air).

Happy Filmmaking!

10 Chick Flick Cliches

Over at yahoo, advertising disguised as humor brought me to this video. Three actors from the new film He's Just Not That Into You try to talk to stereotypical chick-flick hating boyfriends everywhere into seeing the film, based on the fact it lacks certain chick-flick cliches.

I think they forgot two cliches: the abusive relationship and the "my best friend is dying" scene.

It's amusing, even though some of the jokes run a little long. It's worth a look:


I am a little interested in why a trend exists in turning self-help books into films, such as Woman, Thou Are Loosed.

SAG Winners Announced...

Even though SAG is still considering an industry-wide strike, the awards must go on. There were few upsets. Meryl Streep won best motion picture actress for her role in Doubt, and surprise, surprise, Heath Ledger wins another award for his role as Joker.

Surprisingly enough, The Case of Benjamin Button seems to be snubbed in the SAG awards. Although the film has 13 nominations for the Oscars, the film went home empty-handed at SAG. Maybe its luck will change in February. However, I think most indie lovers are pulling for Slumdog Millionaire. We sure love those "rags to riches" stories.

The rest of the winners are here.

Happy Filmmaking

The Oscars: for they for real?

It's January, which means its time for film awards. Film awards, depending on whom you ask are either hokey popularity shows or prestigious lifetime achievements. Although some awards ceremonies have gone downhill as more Americans tire of all the unnecessary glitz and glamour, Hollywood still holds on this tradition like a small child holds on to his mother's pants leg. Award shows are Hollywood's pats on the back.

There is one American statue, however, that seems to hold more weight than, say, your average Golden Globe: The Oscar.



It's art deco design demands a classical respect from whomever cannot get their hands on one. Holding one is a common fantasy of all filmmakers, Hollywood or Indie. Nevertheless, Oscars are reserved for those who have achieved rare cinematic prestige, or at least those who have received the most press.

Enter Heath Ledger. One year ago, the electrifying actor was found with a lethal cocktail of legal drugs in his system. He was the main topic of discussion at Sundance 2008. This year, as everyone knows, he is up for Oscar for Best Actor in a Supporting Role. Hollywood loves young tragedy, so of course, he will receive this award. While Ledger's Joker makes Jack Nicholson's Joker look like a clown at a six-year-old's birthday party, one must one's self: would Ledger be a contender for this Oscar if he were alive?

Also enter Martin Scorsese. Last year, Marty finally won an Oscar for The Departed after being passed over too many times. Not wanting to make the same mistake as with Hitchcock, the Academy essentially granted him his Oscar for his past work.

Oscar also seems to follow this particular formula: Major awards go to arthouse films almost no one saw, and technical Oscars (sound mixing, art direction, special FX) go to those who do it best: Hollywood blockbusters. While people cry and moan over Dark Knights' "oscar snub," I wonder, "why did people expect this film to be an Oscar contender?" Oscar likes to avoid blockbusters in an attempt to appear to look classy. But with the scandals Hollywood places itself into these days, doesn't it almost seems hypocritical?

Whatever. Cinema is always a business and awards are good advertising. Enjoy the Oscar nominees. I'm sure all the nominees will enjoy their moment. I wish them luck.

Happy Filmmaking.

VHS R' Us

What to P.T. Anderson, Kevin Smith, and Quentin Tarantino have in common? Besides being famous filmmakers with large fan bases, but all are established filmmakers sans film degree. These directors are usually the argument against film school. However, proponents of film school argue that these directors had a once in a lifetime shot to make it, as opposed to increasing your chances by building your network. If you aspire to be like one of these directors, there is one thing you have to do: eat, sleep, and breathe cinema.

These directors are often called "VHS filmmakers" because their "film education" consisted of watching hundreds and hundreds of films similar to their interests. Ed Wood was also this kind of director (even though he may not be the best example). These directors also have high IQs and can easily processes certain techniques.

Even if you have a fancy film school degree, it wouldn't hurt to do a little more research. Here are some tips:

• To save money, go to your local library or invest in a subscription service like Netflix.
• Put aside some time in your day or week to watch a film undisturbed. The more distractions, the more you miss.
• Use lists such as AFI's top 100 films, or IMDB top 250 as a guide for films you NEED to watch.
• Even if using the above lists, keep in mind that they slant towards American filmmaking. Be on the lookout for notable foreign filmmakers and auteurs as well, such as Fellini, Goddard, Kurosawa, Bergman, Malle, and Lang.
• Also look at films considered the "worst films ever" (not because your brother says so, but actually films universally considered bad, like Showgirls). They are good examples of what NOT to do. Usually a film's on the list because of the storyline and acting, not just poor production value or technical problems. Need help? Cheat by looking up which titles Mystery Science Theatre 3000 lampoons.
• Take notes. Not just on the storylines and actors, but on camera angles, scenes, filmic styles, transitions, and art direction.
• Watch movies in the same genre. Take note of any genre patterns.
• Rewatch your favorite films. Why are they your favorite?
• Enjoy yourself. You're watching a movie. Feel free to have popcorn, coke, and Twizzlers.

Happy Filmmaking!

My light-meter is broken. What now?

It happens to everyone: you are setting up a scene for a day's worth of shooting, when someone either forgot to bring the light-meter, or dropped it in the river, or was too cheap to buy one. What happens now?

Don't fret. You are not out of the woods yet. Lighting is an extremely important element of filmmaking, and no decision regarding it should be taken lightly. However, the shoot must go on. Any DP (that's Director of Photography, although some prefer the title cinematographer) worth their weight in gold knows a few alternatives.

First of all, determine what medium you are filming on. If you are using digital, congrats! This will be even easier for you. Film is a little harder and more costly when you have to reshoot, but it is not impossible to guesstimate your lighting needs.

If you are using digital, I am assuming you have a monitor on-set. Take two crew members of various skin tones--preferably a white crew member and a black crew member--and place them on your main actors' "position 1s" (the first place the actors will be at the start of shooting). Instruct them to move around the scene. Then ask them to trade places in order to visualize how a particular lighting scheme will fall on your main actors.

Things to look out for:

• "Raccoon eyes." Deep shadows over the eyes, unless that's what you're going for.
• Deep shadows over faces, such as noses.
• Hair highlights.
• "film skin tone" matches "real skin tone."
• Actors moving from light to shadow.
• Hard background shadows and areas that lack definition.

Use the monitor, not your eyes. Your natural eyes will always see more detail than the most advanced camera on the market.

If your DP knows the Zone System (and he/she should), this method will be able to help determine the lighting needs. But here is a hint, if the camera looks great on your redheaded PA, but 2 t-stops under with your milk chocolate-colored grip, and you have a "black Irish" actor, drop 3/4-1 1/2 stops, depending on the actual skin tone color and the mood of the scene. It is always better to a little underexposed than overexposed. You start to lose detail when the frame is blown out. Underexposure is easier to fix in post, using AVID or FCP (Final Cut Pro).

Remember not to rush this decision. Take into account:

• Color temperature of your lights
• The mood of the scene
• The actual position of some lights
• Any natural or source lighting (you know, the sun or your lamp in frame)
• Wattage (for safety reasons)
• Your ISO ("film" speed, even in digital)
• Your shutter-speed (usually at 1/60, but could be more or less depending on your situation)

If you start to correct your lighting digitally too much in post, you risk picture-quality. So be careful.

If you are using a film camera, make sure you bring an SLR (Single-lens reflex camera) on set. It can be either digital or film, but preferably digital for instant results. If someone should have one, it should be either the script supervisor (continuity) or the art department (for set dressing reasons). SLRs usually have meters. F-stops equal T-stops in the lay sense. Take several stills of your actor and notice what the meter reads each time. ISOs are different in SLRs than cinema cameras, but if your DP is any good, she/he will know how to adjust. A conversion chart is here.

If this fails or you are overly nervous about lighting, you can always send a PA to a camera store to rent a meter. One of my favorites is called Freestyle, located on Sunset Blvd in LA. Make sure to get that student discount...but you didn't hear that from me.

Happy Filmmaking!

“Smokey the Bear must be a pyromaniac”…and other crazy things people blurt out.

Originally published on my myspace page.

Today's blog is about developing good and natural sounding dialogue. Writers tend to want to be witty through their characters' dialogue and try too hard, resulting in stale, unnatural lines. The best way to learn natural dialogue is through people-watching or engaging into a conversation with someone close.

Think of these questions when writing dialogue:

• What does your character like to talk about?
• What events are happening in a character's life?
• What is your character's personality?
• Is your character cynical, witty, monotone?
• What is your character's age, gender, creed, and race?
• What is your character's political background?
• What is your character's socioeconomic status?
• What is your character's daily routine?
• Who hangs around your character?

A popular trend nowadays is to have a character blurt out witty, but disturbing one-liners, especially in comedies. Films and television shows that follow this trend with positive results include Little Miss Sunshine, Superbad, Juno, Ugly Betty, South Park, Wedding Crashers, and Mean Girls. This trend works because people do indeed say awkward things to their friends and family members. However, it is important not to overdo this in an attempt to cover up a lack of good dialogue. Your characters must be saying something relevant to the storyline.

Dialogue follows trends of the decade. In the 1930s and 40s, when film noir and screwball comedies were popular, characters were smart, cynical, fast-talking, and pessimistic. In the late 50s to early 60s, film dialogue softened tremendously towards a melodramatic side. If you are writing about a particular period of time, especially within the last century, take note on how films portrayed their contemporaries. Because the studio system used to hire scores of writers on one project, dialogue was usually done well.

English-language Films known for their excellent dialogue:
Casablanca (1942)
It Happened One Night (1934)
Sunset Blvd (1950)
Citizen Kane (1941)
Network (1975)
Toy Story (1995)
Godfather (1972)
The Player (1992)
Office Space (1999)

English-language "classics" with cheesy, over-the-top dialogue:
Showgirls (1995)
Top Gun (1986)
Catwoman (2004)
Manos: The Hands of Fate (1966)
Gigli (2003)

Check this out, too: http://www.filmsite.org/greatfilmquotes.html

Happy Filmmaking!

One week away...Who are you choosing?

In one week, the November election will be old news. The United States will have a new president that will shake up a few things in Washington and history, regardless of the win. So if this is a filmmaking blog, why am I talking about the election?

As any mediaheads will tell you, political discourse dictates social discourse, which in turn, dictates how artists see the changing world around them. Depending on the outcome, many filmmakers will attempt to capture, in their own way, an interpretation of the results. And if you live in California, like I do, you are aware of many the propositions that could shake up the rest of the nation: such as the infamous Prop 8.

Some of our best films grew out of political discourse. Casablanca grew out of World War II. Apocalypse Now, although an adaption of the European Imperialism-era novel Heart of Darkness, was also inspired by the Vietnam Conflict. Then you have Mr. Smith Goes to Washington, which is a film many compare Obama's road to.

If Obama were elected, films like Head of State, which specifically points out the hilarity of having an African-American POTUS, will become seriously outdated. If McCain were elected, many films about vets and war might emerge. And with Sarah Palin in the mix, that short-lived show with Geena Davis as a VP who finally finds herself President might be given a second look.

Filmmakers are the most political people I know, but many are not as liberal as the general public would like to think. All in all, Hollywood, however risky, is a conservative machine, which resorts to the same working formula over and over (sequels, anyone?). Part of this working formula is to stay topical, but not too topical. However, given the stakes in this election, whatever happens next week will change the face of popular culture for generations to come.

Happy voting (and filmmaking)!

Networking or Flirting?

Every now and then, I would meet a potential business contact in a casual setting. We would discuss films, filmmaking, and entertainment in general, usually over drinks, in a professional, yet friendly manner. Then my potential contact would ask me for my phone number.

Herein lies the dilemma: is this a legitimate business request, or a sly mack? As a woman, I tend to choose my business contacts very carefully; however, sometimes I believe many men--and perhaps some women--use networking as dating service. What is an aspiring estrogen-filled filmmaker to do?

Los Angeles has a reputation of chewing up and spitting out the naïve. And I have gotten some bad contacts before. However, some aspiring filmmakers and actors are just shy at heart and like to talk to someone of the opposite sex about their ambitions. Filmmaking is a sexy occupation, unlike accounting. It's an occupation that screams, "I make my own rules."

So, how do I evade this dilemma and separate the super ambitious from the super horny? I never give my phone number to anyone, unless it's a friend of a friend. Even then, situations can become questionable. I am less protective of my email address since they are a dime a dozen. Thus, I choose to give out my email address instead of my number. Not to mention, you can always stick any problem emails in your junk-folder and press “delete.” Then, only after regular platonic and professional contact, I will give out my number.

I don’t want to toot my own horn, but I’ve been known to be pretty hot, in an Afro-bohemian, artsy chick sorta way. I love to have fun, but I am about my business and taken! If you are serious about meeting me in order to talk shop, then step on up to the plate. If not, then flirt with the half-drunk skeezer at the end of the bar.

Happy Filmmaking!

First New Blog Post - Year-End Film buzz

This is my first post on blogger.com. I decided to move my blog from my myspace page to blogger.com in order to increase my reader exposure. The purpose of this blog is to trade industry information, as well as provide tips I have encountered in my own quest for success.

Being a recent graduate of film school, I am in the same boat with several lost souls, trying to find my own path. I want to share some of my experiences and tips I receive with you. While I tend to add a bit of humor in my writing, I am not so cynical that I would post useless rants about who is a better captain on Star Trek. I hope we can become friends...or at least in cyberspace. With that said, I want to share with you some current and upcoming "indie" films I wish to see at the end of the year:

W. (O. Stone) - This film is probably the most hyped film for Fall 2008. Liberal-minded Oliver Stone actually throws a few softballs towards the topic of Bush's unpopularity (according to the buzz) and focuses more on his early pre-Presidential life and winning the approval of his judgmental father, Bush the 41st. I'm a very political person (I'm a Libertarian-leaning Democrat), so any film that fosters any type of intelligent political conversation wins me over.

The Secret Life of Bees (G. Prince-Blythewood) - Another hyped film starring Dakota Fanning, Jennifer Hudson (my prayers are with you by the way), Queen Latifah, and Alicia Keys. The film's thematic elements include racism, adoption, social change, and family relationships. And the director is a sista! Hooray for women!

Ballast (L. Hammer) - I failed to receive a ticket to this when it previewed at Sundance this year. This film revolves around a suicide in the Mississippi Delta. The film was one of the biggest surprise hits at Sundance this year, receiving rave reviews. I now regret not seeing this at Sundance, but I will not make the same mistake twice.

Choke (C. Gregg) - Con-Man + Sick relative + gullible people = dark comedy. Although this film has mixed reviews, the buzz this film receives is based on its entertaining value and original concept. Might be one of those films you either love or hate, like Napoleon Dynamite.

I.O.U.S.A (P. Creadon) - Another one I missed at Sundance, this film is the story of my life. Known for its brutal honesty, this documentary about our impending economic distaster could not have opened at a better time. Given its topical nature, this film may be a contender for the Academy Award for Best Documentary.

Man on Wire (J.Marsh) - Yet another film I missed at Sundance 2008. A documentary about French-born Phillippe Petit' s 1974 illegal high-wire walk between the WTC Twin Towers. Has rave reviews.

Phoebe in Wonderland (D. Barnz) - ANOTHER film I missed at Sundance (if you are wondering what I DID see, The Black List was one). This film draws parallels between a young girl named Phoebe and the tale Alice in Wonderland. The actress, Elle Fanning, is Dakota Fanning's younger sister. Felicity Huffman also stars as Phoebe's mother.

Happy-Go-Lucky (M. Leigh) - A film about an overly optimistic British teacher. Film was released last spring in the UK. Has rave reviews.

Happy Filmmaking!