Parc Entertainment - A Video Production Company - Birmingham, AL

Next week two new commercials for CommuteSmart will begin airing throughout central Alabama. Both spots are part of the “I’m Ready” campaign. The goal is to help viewers understand that making only small changes to the way they commute can help them save and earn money, reduce traffic congestion, and improve air quality. We were hired by CommuteSmart to produce both spots. The one below focuses on air quality issues.

What your video production doesn’t know can hurt you. Many people who have little experience working with video production companies usually feel a bit overwhelmed. They understand that they need to produce a video for their company, non-profit, school, etc. but beyond some basic generalities about the project, they aren’t sure what the video production company needs or needs to know. If the entire process is to run smoothly, you need to provide the video production company with some logistical details. A good producer or director will know to ask you these questions, but it’s still a good idea to have this information in-hand when you discuss the project with your video production company. Here are some details that need to be hammered out:

Project Overview

• What/Who the video is for
• The goals/objectives of the video
• The desired length of the video
• Where the final video will be shown (website, public event, seminar, trade show, in-house communication, sales meetings, etc.
• The deadline (Read this post regarding video production deadlines and how to schedule your video project accordingly.)

Technical Details About the Project

• The video format (standard-definition or high-definition)
• If standard definition - widescreen or standard 4:3
• If high-definition - 1080i or 720p?*

Responsibilities

• Script-writing responsibilities (will the video production company be required to conceptualize and write the script, or will your department handle that task?)
• On-camera talent (will the project require professional talent to be provided by the video production company, or will your company provide employees for the video?)
• Voice-over talent (will the production company need to provide this, or do you have someone available that you have used before?)

The Video Shoot (this will help the video production company determine how many shooting days are necessary)

• The amount of material that needs to be shot
• The specific people/places/products/etc. that needs to be shot
• The number of different locations
• The number of people that need to be interviewed
• The amount of archival footage, stock footage, and/or stills that will be needed

On Location Considerations

• Addresses and directions to all locations
• Contact person for each location
• Loading/Unloading zones
• Specific location protocol (security concerns, where to sign in, where the video production company can and cannot go while at the locaton)
• Staging area (an out-of-the-way place at the location where the video production company can store their gear)

I recommend taking the video production company representatives on a tech scout of each location before the shoot, so you can go over these details and clarify any unresolved issues. A good tech scout will catch potential problems before the shoot begins.

Clear, consistent communication between yourself and the video production company will be of enormous benefit when the shoot begins. Take the time to conduct thorough pre-production planning. Provide the video production company with everything they need. Your finished video will be a lot better because of it.

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*Don’t let the higher number - 1080 make you think that it’s better, or has a higher resolution that 720. Both are official high-definition formats. The difference is mainly in how the two formats record an image. The “i” in 1080i stands for “interlaced,” and the “p” in 720p stands for “progressive.” An interlaced image is created by breaking the image you see on your screen into two separate “fields” - upper and lower. Scan lines reproduce the image on the screen by scanning horizontally, top to bottom. On the first pass, the scan lines recreate every even line. On the second pass, the odd lines are recreated. The horizontal lines are interlaced to show you the complete picture. In HD video, there are 1080 horizontal scan lines. A progressive image is created by scanning the entire image in order, all at once, much like a single frame of film.

Last night marked the end of production for my latest short film If Only. I think everyone is relieved that we have finally wrapped. This particular project was plagued with delays and some unexpected problems, but I feel confident that we will make a solid film with high production values.

I have made several short films over the years and I have learned a lot about no-budget independent filmmaking. So, for those who also share my passio, allow me to pass on a few lessons that will hopefully help you in your endeavors.

Don’t let the lack of money prohibit you from getting out and making films. If you have something to say, then say it. But also remember that low-budget

1. Low budget doesn’t mean low production value. The fact that you have little or no money doesn’t autmatically mean that your film will look horrible. But you have to study the ins and outs of cinematography. Ask questions. Practice your craft. Learn by watching what others are doing. Solid execution will give the impression that you spent more than you actually did.
2. Surround yourself with knowledgeable people. In 2004 I wanted to produce a short comedy. However, I was just getting back into production full-time and I didn’t know too many local filmmakers. So I decided to take on every behind-the-scenes role myself. I was the writer, director, producer, editor, cinematographer… I did everything, and as a result the quality of the film suffered. When you make it a goal to direct your film, recruit others to work in key positions. For example, having a talented DP on set to light the scene and run the camera will give you much-needed time to rehearse and direct your actors. It’s easy to get caught up in the technical details and neglect the performances from your talent, unless you have others working with you on set.
3. Things will not go as planned. This is true of even the biggest Hollywood blockbuster, but even more so on low-budget short films. Expect the unexpected. A location will not be available when you need it to be available. An actor will have to reschedule at the last minute because of a conflict with his or her day job. You will get rained out. The police will tell you to shut the whole thing down. You will be forced to eliminate certain camera set-ups (or perhaps entire scenes) due to uncontrollable circumstances. That’s just the way it goes.
4. Always have a plan “B.” This point is a direct result of point #3. When things go wrong, you need to have a contingency plan in place. If it rains and you have to be outside, how can you re-work the story to incorporate the rain? When the owner of a location needs to pull the plug on you for some unforeseen reason, what can you do to complete the scene? A good producer will help you think through these potential problems before they even happen, so it’s important to go over these issues in pre-production.
5. Maintain a comfortable pace while in production. When everyone is getting paid thousands (or even millions) of dollars to be involved with a movie, you can afford to work everyone for 16 hours a day, six days a week. However, when you’re on a low-budget short and everyone is working for free, it’s important to remember that they are doing you a tremendous favor by being involved with your film. Pad out the shooting schedule so it isn’t too demanding. At the same time, be up front with those involved and remind them that filmmaking is a time intensive process. You can’t shoot a five-minute film in thirty minutes. Be respectful of their time, and be honest about expectations.

In my experiences as an independent filmmaker living in Birmingham, I have met a lot of gracious, wonderful people who are eager to see the production industry thrive in this region. And I’m certain that in your own film projects, you will be just as fortunate. Be professional, prepared, courteous, and respectful, and people will want to work with you again and again.

For the record, Rescue Dawnis not a war movie. If you go in expecting heavy action, lots of gunplay, and large-scale battle sequences, you will be horribly disappointed. Rather, the film is about friendship, hope, and survival. It’s a character study. The pacing and method of storytelling is more like The Shawshank Redemption- short episodic sections that, when assembled together, form the overall narrative arc.

Christian Bale plays Dieter Dengler, a Navy pilot stationed on an aircraft carrier just off the coast of Laos in 1965. The story follows Dieter’s first mission, subsequent capture by the Vietnamese, and his life in a makeshift POW camp deep in the jungle. Director Werner Herzog made this film as a follow up to his 1997 documentary Little Dieter Needs to Flyin order to expound on more of the story and complete what Dengler himself saw as “unfinished business.”

The film itself is honest in its approach. It’s incredibly genuine and we feel as though we are watching actual events as they unfold. Bale’s dedication to the role is admirable and the investments he makes in his portrayal pay dividends in the final cut. Bale and the supporting cast of fellow POW’s (including Steve Zahn and Jeremy Davies) succeed in developing a level of realism that fills in the for the lack of action and digital effects.

The biggest problem with Rescue Dawn is the fact that it has no real emotional impact. It fails to create a level of intensity that is to be expected from this type of story. At times the narrative seems content just to flow along slowly, like the lethargy of a meandering river. Therefore, it’s hard to connect with Bale’s character. You want to commit to the story 100%. You want to cheer for Dieter. But in the end you just sit back and say to yourself, “Whatever. If he makes it, he makes it.”

4 1/2 out of 10

We started production on my latest short film, “If Only” on April 19. We were forced to postpone subsequent shooting days due to bad weather. Finally, the entire cast and crew was able to re-convene this past weekend in an effort to wrap up shooting. Things went along beautifully until we were forced to wrap early Sunday night. Fortunately we have been able to schedule one final day of shooting next month. Here’s hoping we don’t run into any more delays. Enjoy a few production stills from the weekend’s shoot. Thanks to everyone for their hard work. 

A majority of my first post on acting for the camera dealt with preparations the actor makes in order to find work. For the purposes of today’s post, imagine that you’ve landed the role. What do directors and producers expect of you throughout the production process?

1. A Strong Work Ethic - Whether you are getting paid for your time or you are donating your talents for the experience, you need to demonstrate an eagerness for the project. This includes: a) Arriving on time for all rehearsals and shooting dates, b) Memorizing your lines, c) Remaining courteous to everyone involved, d) Being mature and professional. We’ve all seen those “behind-the-scenes” documentaries of actors joking around on set. There’s certainly a place for that, but don’t let it hinder the process of filmmaking.
2. A Willingness to Listen - When the director critiques your performance, don’t get defensive. Listen and acknowledge that direction. Don’t make excuses. Don’t tell the director why he/she is wrong. Effective communication begins with listening.
3. A Willingness to Collaborate - As a director, I enjoy getting input from my actors. I expect them to come to the project with their own ideas and suggestions. I realize that not every idea fits with my vision, but I also know that some suggestions will make the film better. I welcome that creative collaboration. As an actor, you need to study the material. Be prepared to offer your opinions. It shows the director that you care about making the best film possible.

The process of filmmaking is extremely demanding, yet extremely rewarding. Being professional, courteous, and hard-working will go a long way toward landing you that next acting job.

Before director Danny Boyle was winning accolades for Slumdog Millionaire, he shot a little film about two English brothers who fall into an incredible amount of money. In the film Millions, brothers Damian and Anthony re-locate to a new area of town with their father Ronnie. All three are still reeling from the death of Ronnie’s wife and the new house gives them a chance to move past the grief.

Damian is an imaginative little boy, always conscious of others and always willing to help. So, when a duffel bag full of British pounds literally falls into his lap, he’s motivated to use the money to help as many people as possible. His brother Anthony, in contrast, wants to keep the money to himself and use it for his own benefit. But complicating their situation is the fact that England will switch over to the Euro in only 14 days, leaving their cash worthless.

Millions is told from Damian’s perspective, and the fanciful special effects and vibrant colors throughout reflect Damian’s imagination and his view of the world around him. Each scene becomes a visual treat, especially the opening sequence when the two brothers venture on to the empty lot of their soon-to-be-built house. They start to imagine what the house will look like and as they dream, the house builds itself around them.

The film has a distinctive charm that’s brought out both through the wonderful visual elements and the performances. Alex Etel’s portrayal of Damian is heartwarming, and although the character is naive and innocent, he teaches us a lot about humanitarianism. Overall, Millions is a delightful story with identifiable characters, a solid plot, and an emotional appeal that doesn’t become overly sweet.

7 out of 10 stars

Sunday marked the first day of shooting for our latest short film, entitled If Only. We were able to shoot at Cafe Dupont in downtown Birmingham. I want to extend my appreciation to them for their hospitality. Also, I want to acknowledge my cast and crew who worked extremely hard to ensure that the shoot was efficient and productive. Here are a few shots from the first day of filming.

Most people watch the behind-the-scenes featurettes of their favorite movies and see a happy, magical world of glamor. The lights. The cameras. The exotic locations. The smiling faces. Wow, who wouldn’t want to be a filmmaker?

What these documentaries don’t show you is the grueling day in-day out lifestyle of making movies. People get frustrated. The days are long. There are constant physical and mental demands. There are logistical issues. Things go wrong. People lose their cool. Filmmaking is not as glamorous as some make it out to be. For an incredibly honest look at filmmaking, check out Hearts of Darkness - A Filmmaker’s Apocalypse.

As a filmmaker, it’s important to keep everything running efficiently while keeping your team and your actors as happy as possible. Here are a few things to keep in mind for making the set a happy place.

1. Feed the cast & crew. This is probably the most important thing you can do. A well-fed crew is a happy crew. And a happy crew will put forth more effort. Always have adequate snacks and drinks available. And always break for meals.
2. Don’t keep your actors waiting. Nothing is worse than a bunch of actors standing around doing nothing. Make sure the call times for your actors are at the last possible moment. There’s no need to have your actors on set when you’re still setting the lights and the camera.
3. Pad the schedule. On my call sheets, I always try to pad the schedule. I prepare my cast and crew for a long day, so that when we wrap early, they will go home feeling productive.
4. Don’t lose your cool. Things will go wrong. You will get behind schedule. Someone will frustrate you. However, as director, you need to remain professional. No one wants to work for someone who feels the need to yell at everyone and everything. Respect others and they will respect you.
5. Know how to communicate effectively. Your film is your vision. You have to know how to communicate that vision to your crew and your actors. When you have a director who can’t answer questions about lighting, or what lens to use, or where the camera should be, or where the actors should go, you will have people who feel as though their time is being wasted. Soon you will find that you have lost their respect, because you haven’t prepared. Know what you need, where you need it, and why you need it. A director who can communicate clearly and effectively is a director people will want to work with again.

Here’s to having a happy shoot. Cheers.

I was recently approached by a potential client with a question, “I’m interested in putting together a 6-8 part educational DVD series. How much will that cost?” On another occassion I received a call from an individual who simply asked, “I want to do a video. How much will that cost?”

If your company puts you in charge of working with a production company to produce a marketing/promotional video, it’s important to understand the budgeting process. There are several factors involved in bidding a job, and there are some questions that you need to ask yourself before picking up the phone to call a video production company. The more specific you are, the more accurate the bid will be. Let’s use the example of the 6-8 part educational DVD series to understand some of the factors involved in bidding a video. Here are some variables that need to be addressed:

• How long will each of these videos be?
• What’s the desired format? Do you need single/multiple camera coverage of a live lecture? Do you need a single/multiple camera coverage of a round-table discussion? Will you require any dramatic re-enactments? on-camera interviews? fictional narratives to illustrate a point?
• Will you need HD or SD?
• Will you need the production company to conceptualize and script the series, or will you provide the materials?
• Will the series require a professional voice-over talent, or will the educator drive the series?
• Will you want to shoot on location? Where? A classroom? Auditorium? Will the location be interior or exterior?
• Will the videos require any motion animation or heavy graphics? If so, how much?
• Will the DVDs need to be replicated and packaged with graphic art? If so, will you need one color, two colors, four colors?

The answer to each of these questions will affect the budget of the entire production. They dictate how much crew will be needed on set, how much and what type of gear will be needed, whether actors need to be hired, whether sets need to be built, whether location fees need to be paid, etc.

I understand that sometimes you might not know the answers to these questions, but don’t panic. Talk to potential production companies and allow them to help you narrow your focus. Then you can be assured that you will receive a more accurate bid.