Silver Wave Faces and Moments -
(All photos by John Calver, Photographer)
NBFC E-news - Wed, Nov 28, 2007
Spotlight!
Costuming "A Song for the Home front" PART ii
by Glendon McKinney
Working on the WW1 costumes and anticipating the necessities of the 1945 costumes, I was definitely experiencing strain under the needs of the production, at the same time that Jon discovered he wouldn't have nearly the funding we had hoped for. I was more than happy to dip into my own reservoirs, but these weren't sufficient. One day Jon came in to my workroom to discover me crying while I was sewing one of the seemingly endless series of aprons needed for the film, and at this point it was recognized that I needed help. Luckily Rachel Christensen came to the rescue, a wonderful seamstress who volunteered to sew a couple of costumes for me, while I worked on the rest.
By this point, we had located a replica WW1 uniform from a battle recreation society, which thankfully (with a little trickery) fit both actors who had to wear it. Locating accessories remained a prominent need :WW1 medals, hats, gloves, jewelry, handbags and shoes for women, workclothes, boots, suits, neckties for men. I contacted many people I knew through the country, and materials began to arrive from Halifax, Ottawa and Toronto as well as from friends in Fredericton, and still I needed more!
Once the costuming of the photo album pictures was completed, work began on the film proper. I had accumulated a database of hundreds of pictures, divided into categories, for reference: hairstyles, jewelry, undergarments, work and leisure clothes, shoes, and so on. I had talked with Jon about the characters, as well as with the actors, some of whom had ideas on their characters I could work with. The exchange of ideas at this stage is very important in defining the character and their wardrobe and how they would wear it.
The lead male character, Ernie, was a farmer, much of whose wardrobe would be inspired by my own grandfather, and how he wore his workclothes: workshirt with sleeves rolled up to the elbow above long underwear, under overalls (the design for which is exactly the same as it was from the '40s) with workboots and a cap. The cap, in fact, borrowed for the film, was the key to Ernie: the costume really didn't 'click' till that cap went on, then there he was! (The cap also offered the actor opportunities for character business). The only real work here was proper distressing of the costume.
Ernie's wife, Hedda, represented one of the biggest challenges. Her background and character dictated that she would clothe herself in the best available fashion of the times, often looking out of place in the settings in which she would be seen. She would also wear the most costumes of any character in the film, having a costume change in each of her scenes. All her clothes had to be designed and made. Again, more help was needed as her nightdress was created by Dwayne Stoddard for me. For Hedda, not only two dresses were made but her 'going to town' outfit had to be elaborated with hat, gloves, handbag, shoes and hose. The hat and handbag had to be made; her stockings had to have a seam at the back (which was faked with marker, as I had only one pair of seamed stockings - sent from Ottawa! - which fit the other female character. Somewhere there's a picture of me with my head up the longsuffering actress' dress, drawing on the seams).
I always give the actors more to work with where possible, so the characters each had things which the audience might never see, but would help the actor. Pierce, a renegade American, would have souvenirs of the woman he loved in his pockets, and Hedda's purse was filled with all her 'going to town' needs; compact, lipstick, handkerchief and so on.
Lita Llewellyn played Hedda, and her interest in Hedda's wardrobe was of great help in my designs. Hedda, a stern and manipulative character, was given a severe colour scheme of black, white and red (which no other character in the film would wear). No florals, only geometrical prints, to further harden her character. One problem arose as Hedda's wardrobe was being constructed: both Jon and Lita felt that Hedda was now too unsympathetic, so could I soften her image somewhat? As the costumes were well along and money very short, all I could do was deemphasize some of the elements of her clothes: I added a whimsical poof of tulle to her pillbox hat, along with small embroidered motifs on her red 'swing coat' (the buttons on which were real '40's buttons). For Hedda's climatic scene, a greatly charged emotional one, I added an elaborately ruffled and embroidered white apron to add a feeling of Hedda trying to be 'domestic' to save her marriage. Practicality came into the equation as well. I was lucky enough to borrow some actual 40's shoes for Hedda (their silhouette working nicely in long shots), but allowed Lita more lowheeled shoes for her last scene, in which she had to be secure physically as she had much physical business to go through and needed to be on -literally- a strong footing. Hedda also wore a snood, very much in fashion at the time, again the real thing and borrowed for the film, which would be echoed in the costuming of the singer in a fantasy scene later in the film.
One scene of the film has Hedda returning home after being out partying with a man, referred to as the 'card shark' in the script. That was his sole function, but I saw we could enrich the subtext of the scene by putting the character in a zoot suit. Zoot suits have their own long history, but at the time of the Second World War were being worn by men who really didn't give a damn about the war, their suits, using vast quantities of material at a time when it was rationed, acting as a (fashionable) form of social protest. Zoots were originated by the black and latino men in large American cities, and the fashion spread
into many other areas (not unlike clothes associated with rappers these days). Men wearing zoots were frequently attacked by the military and patriotic citizenry, so to put this character in a zoot suit would further indicate the world into which Hedda would flee in search of a good time. It was a riot picking out the lurid material for the suit (these suits defined flamboyance), and as the actor wearing the suit was well over six feet, he really made quite an impression when he was in costume!
"Song" also contains an elaborate fantasy including a big band and singer. Due to restrictions of time and (mostly) money, I couldn't costume the big band as I wanted, we just couldn't do it. So I opted for period haircuts (which made some of the band members initially uneasy, but they were most cooperative on the day) and tuxedos. The singer wore the single most expensive gown of the shoot, a -if I must say so myself- knockout gold satin dress with a glittering gold snood I had added for her. The dress became an issue when the original singer was replaced after the costume had been constructed. Due to time and
the dress design itself, it couldn't be altered, so it was with no little relief that we discovered our replacement singer fit into it (with a teensy bit of help). The dress, however, necessitated the construction of a slant board, as the dress would wrinkle if the actress were to sit down during a rest period. Money spent, but money saved as well, as the slant board was remade into a set decoration for the second weekend's shoot!
There were a number of extras on the sets, who had to be costumed in period clothes, and oftentimes had to be helped, as the way people wore their clothes in the forties is different from contemporary habits. So the tying of a tie or the angle of hats had to be supervised as extras have a habit of 'readjusting' their clothes once one has finished getting them dressed. Filmmaking is in the details, as Stanley Kubrick said, and wardrobe is one element of those very important details.
"Song" was a long and rigorous shoot, and a challenge for me in achieving an accurate period look with little money. I hope that the efforts of myself and those who helped me will enrich the viewers' experience of the film, characters and plot. I cried a bit but I also laughed a lot (Chippy! Come Home!) and had a great time working with Jon, the crew and actors. Each film I work on comes with it's own problems and opportunities for creativity: whether contemporary or period, each film allows me to help in creating the characters, their lives and world, in effect being just a wee bit like god, and that's a hard
assignment to resist!
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Training & Development
CALL 455-1632 OR EMAIL CAT AT: info@nbfilmcoop.com to register for this workshop.
This Workshop is proudly sponsored by Telefilm Canada and the New Brunswick Filmmakers' Co-operative
PRODUCING
(Advanced)
December 8/9, Saturday/Sunday
9:30 am - 5 pm
Instructor: Julian Grant
Fredericton Location: TBA
Fee: $95 For Film Co-op Members
$120 For Non-Members
To ensure a seat in this workshop, payment must be made in advance, no exceptions.
It may be the most exciting business in the world but it can be the most confusing. In this fast paced, TWO DAY SEMINAR, you’ll learn who really does what – and who holds the power. All the key career moves will be explained and you’ll learn how to break in and make your way as an independent producer. You’ll learn what really happens on a TV, film or commercial set and how you can adapt and adopt professional work ethics today.
You will get real advice and ideas on getting your foot in the door and make your own projects - NOW!
PRODUCING 411
Seminar Outline
Day 1 Make the Movie
Saturday December 8, 2007 9:30 AM – 5:00 PM
Learn a step-by-step process using proven cost-effective, low budget producing techniques by considering the best and most efficient ways to produce, direct, shoot and edit a salable
feature film, television program or commercial advertisement.
Pre-Production
Getting organized for an efficient shoot. We examine the paperwork & legal contracts essential for successful productions.
Budgeting
Budgets from $1,000 to $10,000 to $1,000,000 are discussed in detail.
Production
Discover the proven low budget short cuts. Make your film and TV program with less. Tap into the internet and co-operative assistance to make your project a reality.
Sound/Music & Post Production Delivery
Learn how the professionals enhance soundtracks and use film scoring and licensing. Understand what elements are required for delivery to a broadcaster or distributor.
Casting Actors
Find out how to contact them, attract them to your film and what to pay. Learn how to make non-union and amateur actors an asset.
Film Directing
The essentials of the art and craft of film directing explained. Learn how to advance your career working with directors and using their skills to build your film and TV projects.
Low Budget Producing Tips
You will learn cost-effective low budget producing tips designed to put value for money on the screen and make your film look like it costs more
Avoiding Failure
You want to succeed, but need to avoid the big mistakes preventing filmmakers from
success.
Day 2 Sell The Movie
Sunday 9 December 2007 9:30 AM – 5:00 PM
Discover the secrets and real facts behind marketing, selling and distributing your finished film throughout the world and the pre-planning that you need to turn your movie into this year’s cult
classic, and yourself into the hot producer.
The Movie Game
What it is; who the players are; how to play to win. Find out how to finance your feature film by successfully presenting your first project to investors.
Distribution and Marketing
Discover who the competition is and how to stand out.
Publicity
The essential ingredient to selling your film. What you must do & how much it costs.
PR Kit
How to create an effective package that will enable you to become hot property.
Film Buyers
Who they are; how to attract their attention; how to make sure they will call you.
Film Festivals
Learn from twenty-two years first hand experience of Julian Grant
Film Markets
What they are; how to attend with a marketing plan that works.
Film Financing
Create and execute a strategy for presenting a $100k–$3m budget to investors.
Pitching
How to hone a workable pitch for your fi lm. Learn to develop your style.
The Distribution Deal
Find out what you can expect to earn.
BONUS - INCLUDES ONE HUNDRED & FORTY (140) PAGE RESOURCE BOOK - Key Canadian industry contacts, addresses and phone numbers/ email/ fax information. Film and television specific web addresses and international contact information.
BIOGRAPHY : Award winning filmmaker and producer. Julian produced & directed the TV mini-series ROBOCOP PRIME DIRECTIVES (‘Dark Justice’, ‘Meltdown’, ‘Prime Directives’ and ‘Crash and Burn’), AIRBORNE for HBO and ELECTRA for Roger Corman and has made over twenty-four (24) feature films.
Julian is a much sought after producer, most recently for GOSSIP, SHE DRIVES ME CRAZY and ME AND LUKE for The Lifetime Network & Shaftesbury Films. Julian produced NIGHT OF TERROR, LOVE THY NEIGHBOR for Marvista Entertainment and CHRISTMAS IN BOSTON for ABC Family, among others. Julian was voted the first 'Most Outstanding Guest' award at the Canadian Film Centre and is a regular contributer to the Senior Screen Writing, Directing and Producing Boot Camp held at the Centre.
To date, Julian Grant has worked in the film and television industry for twenty-two years and continues his pioneering and independent producing with a variety of international and domestic partners.
For more information about Julian go to www.juliangrant.com
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CALL 455-1632 OR EMAIL CAT AT: info@nbfilmcoop.com directly to register for this workshop.
This Workshop is proudly sponsored by the New Brunswick Filmmakers' Co-operative
CONTINUITY/SCRIPT SUPERVISOR
(Advanced)
December 15/16, Saturday/Sunday
10:00 am - 6 pm
Instructor: Maggie Thomas
Fredericton Location: TBA
Fee: $75 For Film Co-op Members
$100 For Non-Members
What is continuity in film? Why do you need a Script Supervisor? The wardrobe person takes care of which hand an actor uses for their bag, the set dresser takes care of whether the windows are open or closed, props takes care of how much wine there is in a glass, and the camera operator cares about axis. So what does this person who stands close to the centre of action do? How do we tell a story on film? What are the practicalities of creating the pieces that will become a film under the guide of the editor?
The workshop examines the practical responsibilities of the Script Supervisor, including the Script Timing, the Editor's Continuity Notes, the Daily Log, the Slate, the Production Report, and the Lined Script. The workshop will go on to show how it is possible to achieve the supreme knowledge of the script to justify the title 'Script Supervisor'.
There will be a hands-on exercises using a script that the participants will be asked to read before hand. The participants will also be asked to bring a stop watch as well.
BIOGRAPHY: Maggie began developing workshops when she was a wardrobe set supervisor in Toronto. Her reasoning was that when new people joined her on the set she did not want to have to teach them the basics or worry about how they were conducting themselves on set or with the actors.
In 1988 she changed careers within the industry and took a course to become Script Supervisor. Then, in 1989 she moved to Nova Scotia where the film industry was beginning to take off. In the early days of the union local, it became obvious that there was a need to train new people in the industry because new people on set were an embarrassment to the union and even a safety hazard.
At the least the union wanted to instil a sense of professionalism amongst all its members. So, with the help of many, but principally Bob Petre from Newfoundland, who was doing the same thing over on the island, Maggie developed a Set Etiquette Workshop.
Four years ago the Executive of IATSE Local 849 agreed that it was important to make the workshop more approachable and entertaining. As a result a video was produced that visited a set and showed a crew at work.
Maggie continues to work in the industry as a Script Supervisor. Most recently she worked on Poor Boy's Game, a boxing story set in Halifax and Pushing Up Daisies a black comedy also set in Nova Scotia about an unusual funeral director and a love affair.
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Festivals
2007 SILVER WAVE FILM FESTIVAL - FACES AND MOMENTS
(All photos by Jean Bertin, Photographer)
Fredericton based filmmaker Gia Milani accepts one of her three Silver Wave Awards at Silver Wave 07. Milani won for Best NB Short Comedy (She Lost Her Marbles), Most Unique NB Film (The Year You Were Born) and the annual Silver Wave William F. White International Inc Service Award.
Cap - Pelé based filmmaker Pamela Gallant (La Voisine) accepts her award for Best NB Short Drama at Silver Wave 07
Ken Martin, an accomplished Executive Producer at the National Film Board of Canada introduces some excellent NFB documentaries showcased at Silver Wave 07.
Some of the cast, crew and friends from the feature film, They Didn't Make It at the Opening Gala Party at Silver Wave 07.
Shediac based filmmaker Ralph Pritchard (Changes Fortunes and Dare to Dream) and his lovely wife at Silver Wave 07.
(left to right) Silver Wave Publicist, Jim Lavoie, film and bun lover Randy Pelletier, NB Film Co-op Prez and filmmaker Bunthivy Nou and Tech Guru Dale Brown trip the light fantastic at Silver Wave 07.
Teresa MacInnes and Kent Nason accept their Silver Wave Award for Best Documentary from Away (Hope for the Future) at Silver Wave 07
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TRUE/ FALSE FILM FEST
True/False Film Fest: Our late deadline is Dec. 1st! If you have a documentary to submit, now is the time to send it in. (Extended withoutabox.com deadline is Dec. 22, but the entry fee is much higher.)
The True/False Film Fest is open to all documentary films. We also
encourage submissions that cross the boundary between fact and
fiction.
True/False is a great festival for filmmakers to meet other filmmakers in a non-competitive atmosphere. Get to know other people working in the documentary field and compare notes on filmmaking.
"Three things that make True/False the best US documentary festival. First, the perfect number of films. Second, a collegial, egalitarian, non-competitive environment for all the filmmakers. Third, the most stylish hooded sweatshirt." John Pierson, independent film guru
Deadline and Entry Fee: Dec. 1st, 2007: Late deadline. Feature doc: $30 Short doc: $25
Apply online at www.withoutabox.com and get $5 off your entry fee!
Submission formats: DVD or VHS (NTSC)
Please send films to:
Robin Griswold
True/False Film Fest
5 South Ninth Street #205
Columbia, MO 65201
More info, including a pdf of the entry form can be found at WWW.TRUEFALSE.ORG
To print out a PDF of the call for submissions flier go to:
http://www.truefalse.org/CallForSubmissions2008.pdf
Or have a one sent to you by emailing
robin@truefalse.org
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Arts in NB
FREDERICTON - MONDAY NIGHT FILM SERIES
SPECIAL FREE SCREENING EVENT!
Sunday, Dec 2, 2007, 8:00pm
Tilley, Hall, UNB Campus
FREE AND OPEN TO THE PUBLIC!
TEN CANOES
90 minutes
English/Ganalbingu with English subtitles
Australia, 2006,
Part adventure, part comedy, and part anthropological lesson, Ten Canoes combines its disparate the elements into an immensely entertaining package.
The phenomenal Ten Canoes was the recipient of the Special Jury Prize at the 2006 Cannes Film Festival and swept the 2006 Australian Film Institute Awards, winning six categories including Best Film, Best Direction and Best Cinematography. Filmmakers Rolf de Heer (Alexandra’s Project, The Tracker) and Peter Djigirr have accomplished something extraordinary: they use the contemporary moving image to honour oral tradition and the result is a riveting celebration of both art forms. Collaborating closely with the Ramingining Aboriginal community of the Arnhem Land in Australia’s Northern Territory, the film is part ethnography, part anthropology and, above all, a rollicking good time.
There are two stories – one framed within the other – in Ten Canoes. The first takes place one thousand years ago and the second a long time before that – just after “the Beginning,” in fact. The first tale starts with Dayindi (Jamie Gulpilil), a young man who covets the wife of his much older brother Minygululu (Peter Minygululu). While ten of the village men are on a trip to harvest bark to make canoes, Minygululu takes the opportunity to tell a story from the even more distant past in order to instruct his younger brother on the proper way to live.
The parable from the past is filled with forbidden love, sex, sorcery, gluttony, war, kidnapping and revenge. With the aid of a narrator (renowned actor David Gulpilil) who both sets the tone and acts as a cultural guide, we move between the two narratives with ease and pleasure. The core lesson within both stories is one of respect for one’s culture and the laws that bind it, but there is little that is pretentious in Ten Canoes. Men make ribald comments about sexual performance, first wives gossip about second and third wives, and they all poke fun at the roly-poly elder Birrinbirrin (Richard Birrinbirrin) and his passion for honey.
Sumptuously shot by award winning cinematographer Ian Jones (Alexandra’s Project, The Tracker), Ten Canoes offers a visual feast of Australia’s majestic beauty. This humorous and mythical tale gives us a clearer appreciation of a little-understood culture.
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Monday, Dec 3, 2007, 8:00pm
Tilley, Hall, UNB Campus
$7 General Admission/$3 for Film Society Members
INTRODUCING THE DWIGHTS
Director: Cherie Nowlan
Cast: Brenda Blethyn, Khan Chittenden, Emma Booth, Richard Wilson, Frankie J. Holden
Runtime: 109 minutes
Country: Australia
Year: 2007
Language: English
Cherie Nowland's INTRODUCING THE DWIGHTS, which had its premiere at the 2007 Sundance Film Festival, is a heartwarming and deeply funny coming-of-age story. Or, rather, it would be a coming-of-age story if only the mother in this particular tale would let her son grow up!
The film stars the luminescent Brenda Blethyn (ON A CLEAR DAY, PRIDE & PREJUDICE) as Jean Dwight, the overwhelming matriarch of a family with two adult sons. As a young woman, she had been a rising star in England. Now, however, her acting career is stalled and she finds herself living in Australia and recently divorced from John (television actor Frankie J. Holden), a country singer who had but a single hit during his long, mediocre career. Jean works in a cafeteria, but her feisty spirit has not faded; luckily, she has an outlet in the form of intermittent gigs as a stand-up comedienne, where she has the chance to spew, with less-than-fabulous comic timing venomous, Phyllis Diller-esque laments about the many things in her life that have made her miserable.
Meanwhile, her two grown sons still live at home. Tim (newcomer Khan Chittenden) is twenty years old, and spends his days caring for his brother Mark (Richard Wilson), who was brain-damaged at birth but who can nonetheless spar verbally with the best of them. Tim, however, is a shy man of few words. When he meets roommates Jill (Emma Booth) and Kelly (Katie Wall), and is soon being flirted with by Jill, obstacles begin to mount. Tim is not only shy, he is a virgin. And then there is his mother.
INTRODUCING THE DWIGHTS has all the right comedic elements, but it is also a drama imbued with touching and universal themes: loss, love, suffering, survival and perseverance. Blethyn is divine as always and the rest of the ensemble works seamlessly to create this quirky world in which growing up may not be easy to do, but where it can at least be a fun, if bumpy, journey.
Call 455-1632 or visit: http://www.nbfilmcoop.com/fs.htm
The Monday Night Film Series takes place at Tilley Hall, UNB Campus.
Tickets and memberships for the Monday Night Film Series are available at the door, Tilley Hall, Room 102. Regular admission is $7 per screening, $3 for members. Regular full-year memberships are $30; $18 for students, seniors (65 years and up) and NB Film Co-op members. Memberships are now available as well at the NB Film Co-op, 732 Charlotte Street, Fredericton, 506-455-1632.
MEDIA CONTACT: Tony Merzetti, New Brunswick Film Co-op, 506-455-1632; e-mail: tony@nbfilmcoop.com
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SAINT JOHN - FILM PIX TO SCREEN COMPELLING DOCUMENTARY!
Film Pix, Greater Saint John’s Community Film Series with a Purpose, is proud to present the new-release, Jonathan Demme documentary JIMMY CARTER, MAN FROM PLAINS on Tuesday , Dec 04 at 7 PM , in association with BMO Nesbitt Burns.
A compelling 'fly on the wall' look at the polarizing 83-yr old Nobel Prize winning former president, it is alternately insightful, reflective and defiant, capturing Carter as he refreshingly eschews 'political speak' for unguarded thought on everything from his involuntary retirement as president in 1980, to his 61-year marriage to Rosalynn, and, what some describe as his 'obsessive' desire to achieve lasting Middle East peace, the topic of his recent book for which he has become a flash point, and branded by some as an anti-Semite and liar. While cameras roll, he is seen defending his viewpoints while confronted by angry journalists, students and activists.
Advance, reduced price tickets are available online at www.filmpix.ca and at Quality Convenience Store, King Street, Uptown. Rush tickets, if still available, at the door immediately before the film.
Film Pix is a volunteer-run, community film series which harnesses 100% of its net proceeds for film scholarships for Greater Saint John youth. All films screen at host venue Empire Studio 10 Cinemas.
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saint john - unbsj faculty of arts presents - new Brunswick shorts films!
UNBSJ's Faculty of Arts presents "New Brunswick Short Films". An evening showcasing some of the short films made by New Brunswick filmmakers that were presented at the recent NB Silver Wave Film Festival. The screening event will start Thursday, Dec. 6 at 5 p.m. at the Hazen Hall Lecture Theater.
Featuring:
"Monologue" directed by Mathew Perry
"The Year you were Born" directed by Gia Milani
"Dry Noodles" directed by Jonathan Rodd and Mathew Perry
"The Official Guide to Watching a Saturday Night Hockey Game(for
intermediates)" directed by Tak Koyama
"Overkill" directed by Jeff Hackett
"Soup Ladle" directed by Cayman Grant
"The Fight For UNB" by Nick Cameron
The event will be followed by the feature length presentation of Charles Burnett's "Killer of Sheep" at 7 p.m. at Hazen Hall Lecture Theater.
For more info contact Jonathon Simmons at floatingegg@gmail.com or Arif Hussain at arif.hussain@unb.ca
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Biz News
fREDERICTON - PixaTale Media Introduces The Benefits Of Web-based Video
Producing a commercial or documentary profile for your business is typically seen as a costly venture, particularly when considering camera crews, video editors, and special FX teams. Being seen on TV can grab a large audience, but for most businesses, professional video production and airtime pricing is just too high. Business partners, Sebastian MacLean and Rodrigo Gutierrez, say their company, PixaTale Media, is making it possible for businesses to develop professional video productions for a fraction of the expected price.
Based in downtown Fredericton, PixaTale Media specializes in scalable web-based video production. Sebastian MacLean said, "By producing content for the web we can immediately cut out the cost of expensive television network fees." Rodrigo Gutierrez went on to explain; "We also keep our projects flexible, so there is more control over cost. For example, giving the option of hiring a narrator or going with flashy text is one of many options that can be adjusted." Adding to this, it was explained that businesses can renovate their video productions, without starting from scratch, making video production more accessible to a wider range of businesses.
Addressing the issue of helping people and businesses stand out on the web, Sebastian explained, "With new mobile phone video and social networking environments like Facebook, MySpace, and Youtube, web-based video spread like a good virus and can actually be seen by more people than a program on a regional TV station. Plus, you control the push of that content as much as you want." Rodrigo went on to state, "Companies in IT, manufacturing and general business all need their web site and software content to reach an audience. Web-based video is one of the most effective ways to deliver much of that information."
PixaTale Media productions are developed in high definition, so they can be used for TV. Once completed, they are formatted for various forms of delivery over the web. From web sites to on-line instructional tools, web-based video is now an accessible way to stand out. Look for PixaTale Media at www.pixatalemedia.com
Contact: Sebastian MacLean
66 Charlotte St, Fredericton, NB, E3B 1K9
Phone: (506) 454-4149 Fax: (506) 454-3321
Office: (506) 454-4149
Cell: (506) 292-5852
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Mobile Stories
We'd like to know if your members are obsessed about film, television, and digital media production? We at the NFB and iThentic hope so, and we invite you to participate in Mobile Stories: an online and mobile film project that experiments with collective storytelling.
In the first phase of Mobile Stories, we've commissioned six short dramatic films (less than 3 minutes long) to be launched online December 17, 2007. We invite your members to create their own short films in response to one of the commissioned shorts...creating a virtual dialogue...told by film.
The benefits to your members are numerous:
- Work is presented and promoted on websites and wireless patterns...where innovation is married with creative excellence
- The platform benefits from the attention gathering abilities/interest of the six award winning filmmakers (some are Oscar-nominated and winning)
- $1000 will be awarded to the best user-generated film on April 5, 2007. The Prizewinner will also be showcased at the Worldwide Short Film Festival in June.
It's simple to implement. Online material will be available for your use in promoting to your members on December 17 when the website is launched at:
www.mobilestories.ca
Should you have any questions or need more information, feel free to call Kevin O’Keefe at 647-722-0371 or email him at:
kevin@ithentic.com
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NEW BRUNSWICK FILM - CALL FOR PARTICIPATION TO GERMANY 2008
New Brunswick Film is organizing a delegation, with the Minister of Business New Brunswick Hon. Greg Byrne, to the Berlin Film Festival (Berlinale) and the European Film Market (EFM) in Berlin, Germany, held February 7 to 17, 2008.
The New Brunswick Film delegation will probably attend from February 10-12, 2008.
Please contact: Margo Flewelling, margo.flewelling@gnb.ca
506-453-6508, if you are interested in participating.
More details will be available after we determine the participation interest in this market.
Allemagne 2008 : DEMANDE DE PARTICIPATION
Film Nouveau-Brunswick cherche à réunir une délégation qui sera dirigée par le ministre d’Entreprises Nouveau-Brunswick, Greg Byrne. Les délégués assisteront au Festival du film de Berlin (Berlinale) et au European Film Market (EFM), qui auront lieu du 7 au 17 février 2008 à Berlin, en Allemagne.
La délégation y sera probablement du 10 au 12 février 2008.
Les détails suivront selon le degré d’intérêt pour ce marché.
Si cela vous intéresse, veuillez communiquer avec Margo Flewelling au 506-453-6508 ou à margo.flewelling@gnb.ca.
Margo Flewelling, Locations & Promotions / Repérage de lieux et marketing - Direct: 506-453-6508 - Cell: 506-470-1754 Margo.Flewelling@gnb.ca , New Brunswick Film/Film Nouveau-Brunswick
P.O. Box 5001, Moncton, New Brunswick, CANADA, E1C 8R3 www.nbfilm.ca nbfilm@gnb.ca
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The next deadline for submissions to the CFC Feature Film Project is January 11, 2008. For further info please visit: www.cfccreates.com
ALAN BACCHUS, Program & Administrative Coordinator
CFC Feature Film Project, t. 416-445-1446 x 268 f. 416-445-3158
2489 Bayview Ave. Toronto, ON, Canada, M2L 1A8
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Advertise
Fredericton - volunteer Actors - all ages needed
WANNA ACT IN A SERIES OF SHORT COMEDIES???
"Short Movies For Drunk People"
CASTING CALL!
Place - Centre for Arts and Technology 130 Carleton Street, Fredericton.
Date - Saturday, December 1st
Time - 11am - 5pm
All ages, shapes, and sizes are welcome.
Produced by underground filmmaker and Film Co-op member Ash Young, graduate of the New York Film Academy, for Korner Store Kids Productions
kornerstorekids@gmail.com for more info.
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New Brunswick's Premiere Dining Publication - www.diningpick.com
Upcoming Events and News:
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Special dinner theatre continues
The Back Nine and BrewBakers in Fredericton have teamed up with the Charlotte Street Arts Centre in Fredericton to present The Mistletoe Affair, the latest production of the popular Feast Dinner Theatre, which opened on November 18th in Fredericton.
Featuring a seasoned cast of five talented musicians and actors with a flair for improv, audiences are guaranteed to be impressed by the calibre of talent.
Join this cast of characters at the Back Nine and the Charlotte Street Arts Centre in Fredericton and enjoy a gourmet Christmas dinner from Brewbakers and The Happy Baker.
You can find more by clicking on this link: Mistletoe Affair
For tickets, contact (506)459-5109
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