KEVIN MATTHEWS: OUR MICHAEL MOORE OF NB
(NBFC alumni member filmmaker Kevin Matthew loves to make waves for all the right reasons.)
NBFC E-news - Thursday, June 24, 2010
Spotlight
MEMBER UPDATES/MEMBER UPDATES
In February 2010, I was in Labrador at the Labrador Creative Arts Festival as a visiting artist. There I gave documentary workshops. It was the experience of a lifetime.
In the world of making money to pay rent - I somehow traded my camera in for a notepad as I recently finished producing/directing stories for the IWK telethon. The telethon was a success raising over 5 million for the IWK Health Centre. Right after the Telethon I scored a pretty nice gig, field producing 52 stories for a new segment for Live at 5.
This is great news as only one story airs per week, so it will give me a nice chunk of time each week to work on my documentaries. Usually I work 5 days a week and squeak documentary work in in the weekends or evenings. Still chipping away at Fishing for Oil. Will finishing shooting this summer. I have a crowd funding website for the documentary. I joined twitter, which I enjoy! It has been a very busy 2010 - busy but fun!
Film Co-op member Rachel Bower
rachelabower@gmail.com
http://twitter.com/rabower
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MEMBER UPDATES/MEMBER UPDATES
Producing rocks. Although I still certainly consider myself a newbie, this past year has been an incredible ride.
As I continue my brave new journey into the producing world and hang on tight for the steep learning curves, I have to admit I am so glad I have taken the plunge!
My producing partner, Tony Sekulich and I started our company, Azure Sky Films, on a wing and a prayer. He being a writer and myself an actor, we wanted the opportunity to be more creative in our filmmaking careers. Tony had written a feature that he would like to shoot with me in one of the leads and asked me if I wanted to do it. Then he asked on a lark if I'd ever consider producing, as he had been thinking about it, and did I wanna try? I felt like a lightbulb had gone off. This would enable me to act and fulfill the creativity I missed. We both had a lot to learn but found that (luckily!) we worked really well together and took it further and further. That film is titled Sharkjumping and now we are in Development with Elizabeth Yake (It's All Gone Pete Tong, Everything's Gone Green) and her company, True West Films. We kept working on different projects, I was flinging myself into every study I could, between workshops and mentoring and meeting more and more people along the way. We now have another feature called Dan vs. Darwin we are producing and the wonderful Elizabeth Yake is Executive Producer, plus we've just completed Phase One of Development with Telefilm! Over the last year and a half we've gotten 2 features in development, 2 television series in development and a short film we can't wait to shoot in New Brunswick but our busy schedules haven't permitted it yet! We've still a ways away, but we're expecting 2011 to be extremely busy and I'm loving every minute of it. And this summer I'll be in Toronto and looking forward to devoting some much-anticipated time to acting.
Being part of groups like the NB Film Co-op and WIFT-AT is like being part of something really special and we members tend to gravitate to one another eager to help. It is so inspirational and opens up such a different side to filmmaking than I'd ever really known about as an actor. It is amazing to know that people can get so much further by working together and supporting one another. I keep hearing about collaborating, to build a team you love and that will only push you further to make great films. And at the end of the day, isn't that what it's all about? Plus, I'd be remiss to not shout out to the marvelous girls and
guys (you know who you are!) who over the last several months have offered such encouragement and mentorship and who generously passed on their advice and experience to me. I thank you, so very very much. And as ever, I always thank Cat and Tony for their unending support, love and encouragement. We are lucky they take such an interest in what we do as with everyone at the Co-op!
Have a wonderful summer everyone, and thanks to Cat for keeping us all connected!
See you all at Silver Wave!
Lita Llewellyn
President,
litallewellyn@yahoo.ca
Azure Sky Films Inc.
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Myth
The NB Film Co-op's equipment insurance covers any and all damages that occur on member's shoots.
FALSE
The Equipment policy is hanging in the Co-op offices and is in PDF format on the Film Co-op website at this link: Click here to note this below section of the policy.
LIABILITY
The New Brunswick Filmmakers' Co-operative cannot assume responsibility or liability or make any representation for the performance of its rental equipment. The member renter or user discharges the New Brunswick Filmmakers' Co-operative from all damages whatsoever, resulting from the performance and/or malfunctioning of said equipment, whether or not there is fault or negligence on the part of the New Brunswick Filmmakers' Co-operative.
The Co-op is insured for equipment use by its members under normal usage conditions and care. The member renter or user is liable for insurance deductible, in the event of damage, theft or loss of equipment while in their possession. If loss is not covered by insurance, the member renter or user is liable for replacement of equipment.
The Co-op's current insurance company has a $1000 deductible on all claims on the Co-op's equipment policy. This means that if a $500 light is ruined, the deductible is $1000 so therefore, you wouldn't go through insurance for lower damages. All claims submitted ultimately result in higher insurance rates in the future.
Acceptance by New Brunswick Filmmakers' Co-operative of returned equipment does not constitute a waiver of the member renter or user's responsibility for damage or loss.
The full policy is online on the link above for members to look at.
Talk to staff directly about things when you have questions.
"The point of the Film Co-op insurance isn't to cover a broken light bulb each week, it is to protect and ensure that members will still have access to expensive pieces of equipment that we wouldn't otherwise have access to. It is not unreasonable for members to replace small broken items or materials like film tape etc... if they use it up, as laid out in the Film Co-op's Equipment Policy. I also believe people are more careful with equipment when they know they will be held accountable for small damages. I have had to pay for small things and never thought it should be otherwise".
Jillian Acreman, Film Co-op Filmmaker
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NBFC MEMBER CREW AND CAST DATABASE ONLINE
Cat has created a new film/television crew database for Film Co-op
members across New Brunswick. Go to: Click Here
and check out some of the crew profiles online now....more to come!
Please do check out the instructions very carefully.
Any questions: email Cat at info@nbfilmcoop.com Let's promote New Brunswick Crew and Cast! We need to tell everybody WHO is out there working hard in the creative film and video sector whether they are volunteering or being paid, it all counts. Non-members can be listed as well in the database for a annual fee of $10.
Get your credits to Cat, it's up to you! This way, people will no longer have to call Cat for crew and cast info and will have the info at their finger tips at any time on the world wide web.
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TIME TO RENEW FILM CO-OP MEMBERS!
Hi Members, if you have not already, please contact Cat and renew your membership or talk to her about it. Membership Renewals are annual and should be paid by February/March each year at the latest but Cat loves you and will still take your money and take you back into the NBFC fold with a smile. You can renew in person at the Film Co-op, by mail or by paypal by going to this link on the Film Co-op website: http://www.nbfilmcoop.com/ members.htm
If you can't remember if you renewed, ask Cat.
RENEWED MEMBERS FOR 2010 - JUNE
Steve Doiron (Saint John), Lucy Robichaud (Fredericton)
NEW MEMBER FOR 2010 - JUNE
Connor Doyle (Fredericton)
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THANK YOU/THANK YOU/THANK YOU/THANK YOU
Thank you to all the members who go out of their way to make the Film Co-op a great place to be with good humor and patience :) you know who you are!
Thank you to Nancy Lynch for helping Cat with workshop coordination.
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NEW BRUNSWICK FILMMAKERS
CO-OPERATIVE MEMBER BLOG!
http://nbfilmcoop.wordpress.com/
Check out the latest blog on screenwriting and add your own comments.
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NEW BRUNSWICK FILMMAKERS CO-OPERATIVE MEMBER PRODUCTION CALENDAR
(Refresh web page if info does not show up on Calendar)
member film shoots and activities are added on an ongoing basis.
(Click on below shaded dates to get information on scheduled member film and video shoots for 2010)
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Training & Development
The NBFC annual workshop series provides hands-on practical film and video training for members & non-members alike. The program is now finished for this year.
www.nbfilmcoop.com/training.htm
Formally registering and paying in advance is the only way to ensure you will have a seat in any of the offered courses.
Register in person at the NB Film Co-op or email to ask if there is space and pay by paypal) or by mail (Cheques and Money Orders only).
There are always limited spots available for all workshops so please call or email staff to see if there are available spots before you send your payment OR pay via PayPal please. You can put your name on the waiting list for workshops already full. For more information you can call Cat at: 506-455-1632 or email at info@nbfilmcoop.com
For any members wanting to do short digital dramatic, comedic, documentary & experimental projects: You must have your 5 required workshops (Screenwriting, Directing, Production Management, Picture Editing, Digital Camera & Lighting) in and your volunteer hours (30 hours) and you must be a full member (associate members can upgrade).
Only full members can access resources. As well, more importantly, you have to be a member of the Film Co-op for at least 5 months before you are deemed eligible to do projects.
For members who only want to use specific co-op equipment themselves and be specialty trained in it for a crew role, further workshops would be required to access those specific resources they want to directly use (Assistant Camera for 16mm, HD Shooting, Sound Editing, Grip, Dolly, Mini Jip, Red Rock). They can also go over equipment at the office or with a trained member. Members who only seek to do specific crew roles do not necessarily have to take all 5 workshops as that is specifically for those members who want to produce their own works and use all the resources towards that goal.
Those of course who come to the Film Co-op with a specialized background in film and video are asked to show their competence on the specific equipment they want to use as a crew person and specific workshops may be waived due to level of experience proven.
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Festivals
SILVER WAVE 2010 WILL ROLL INTO NB!
10TH ANNIVERSARY FOR SWFF
(Guess who this Mystery Woman is and what film she acted in and win a full pass to SWFF 2010!)
The Festival now has a $10 submission fee again to help with increased administrative costs
Click Here (View PDF of SWFF 2010 Call for Submissions)
Click Here (View PDF of SWFF 2010 Application Form)
SWFF does not return festival materials and master screening copies to filmmakers. Please enclose a pre-paid envelope to get your tape and any other materials back after SWFF.
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SPOTLIGHT ON SUBMISSION GUIDELINES
It will be important for anyone submitting to SWFF this year to submit on time or you package will not be accepted for programming consideration. No allowances will be made, no exceptions for any reason.
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DARK BRIDGES FILM FESTIVAL
Have you made a feature or short genre film that just does not fit into the mainstream Cineplex theatre? If you have and if your film has not screened in Saskatoon then you should be submitting it for submission as soon as possible.
The deadline for submissions is July 31st, 2010.
The majority of the movies screened through Dark Bridges come from the genres of Fantasy, SciFi, Horror, Anime, Martial Arts, and Genre Documentary. However, If you feel your movie is interesting enough yet doesn’t fit into an easily classified genre please still submit your film for our consideration as we love to push boundaries and would love to look at your film.
How to Submit your film
Please fill out and mail the submission form along with a DVD screener of your film and and Electronic Press Kit (if Available) and submission fee (see below) to
Dark Bridges Film Festival
c/o John Allison
920 7th Street
Saskatoon, SK
Canada
S7H 0Y6
If you wish to let us know that you are sending in a submission you may also send an email to info@darkbridges.com
You may also let us know if there is an online version of your movie but we will not consider the submission complete until we receive the DVD screener and submission form and fee through the mail.
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The Arts
The Originals - Saint John Arts Awards 2010
(Photo -
Hemmings House Pictures receiving their award for "Business for the Arts")
SAINT JOHN - It's a feather in the cap for a city in the midst of a big year - the inaugural Saint John Originals Awards gala. Part of the city's 225th birthday celebrations, the awards will honour the city's top creative personalities at the Imperial theatre on June 10. With nominees in literary, visual arts, theatre, business, dance and music, the awards will offer recognition for Port City's finest in all creative fields, according to artistic director Judith Mackin.
"It's something we hope happens every two years - maybe every year. It has its own look and feel, and it's all about what artists are and should strive to be - original," said Mackin.
The SJ 225 committee gave Mackin, herself a writer and co-founder of the Third Space Gallery, total freedom to put together a spectacular, innovative gala with a host of intriguing collaborations.
"When people see Jessica Rhaye, it'll be her collaborating with someone you wouldn't normally see her with," Mackin said. "I also booked Hospital Grade, a high energy punk band; they'll be on stage with Interaction Children's Theatre Company."
Nominees run the gamut from young gun artists Jack Bishop, Sarah Jones and Tim Turnell, to established veterans including renowned Maritime painter Fred Ross, and Anne Compton, who won a Governor General's award for English poetry in 2005.
"Think of what a creative city is. Industry's important, but creative industries are the vibrant lifeblood of our community ... [W]e have some pretty big hitters in our city," said Mackin.
On top of all the high-falutin' awards ceremonies, creative types and their supporters can get their drink on at the Saint John Ale House, which will host an after-party following the gala.
And the nominees and Winners are:
Categories and Finalists:
Emerging Artist Award: Jack Bishop / Sarah Jones / Tim Turnell
WINNER: JACK BISHOP
Visual Arts Award: Gerry Collins / Suzanne Hill / Herzl Kashetsky
WINNER: SUZANNE HILL
Literary Arts Award: Anne Compton / Robert Moore / Clyde A. Wray / The Lorenzo Reading Series
WINNER: ANNE COMPTON, PAT JOAS
Arts Supporter Award: Tom Condon / Betty Tompkins / Michael Wennberg
WINNER: MICHAEL WENNBERG
Popular Music Award: Brent Mason / Jessica Rhaye / Tradition
WINNER: BRENT MASON
Classical Music Award: Richard Kidd / Harbour View Choral Ensemble / Saint John String Quartet
WINNER: RICHARD KIDD
Performing Arts Award for Dance: Sylvia Logan / Andrea Scott / Port City Dance Academy
WINNER: SYLVIA LOGAN
Performing Arts Award for Theatre: Bob Doherty / Stephen Tobias/ InterAction Children's Theatre / Saint John Theatre Company
WINNER: BOB DOHERTY
Arts Organization Award: Saint John Arts Centre / Saint John Theatre Company / Third Space Gallery
WINNER: SAINT JOHN ARTS CENTRE
Business for the Arts Award: Handworks Gallery / Hemmings House Pictures / Lancaster Recording Studios
WINNER: HEMMINGS HOUSE PICTURES
Lifetime Achievement Award: Fred Ross (Visual Artist) and Sheila Ross (Dancer, Teacher, Mentor)
WINNER: FRED ROSS AND SHEILA ROSS
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NB FILM CO-OP YOUTH OUTREACH ACTIVITIES
FREDERICTON - NBFC KIDS FILMMAKING SUMMER CAMPS 1, 2 & 3
For further details, check out the below websites and email Cat at:
info@nbfilmcoop.com
http://
www.nbfilmcoop.com/KidsCamp/KidsCamp/Welcome.html
http://www.nbfilmcoop.com/KidsCamp2/Welcome.html
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Biz & Indie Film News
THE LIFE OF A SOUND RECORDIST
What you do: The range of the job.
On a television drama production or feature film Sound Recordists are usually referred to as Sound Mixers, although their main duties of producing high quality sound recordings to match the recorded images are largely the same as documentary or factual Sound Recordists. We will use the term Sound Recordist. A Sound Recordists prime function is to make sound recordings of outstanding quality, free from interference and all unwanted noise. That sounds relatively straightforward, but can prove very difficult,especially when recording that vital scene or interview near Heathrow, the M4, East Coast Mainline, road works, clock tower, play ground etc. Recording in sound proof studios is generally less challenging than location work, but making a large space sound intimate or vice versa, tracing the odd hum to source, or isolating equipment noise can still take forever. As a Sound Recordist it is possible to work across a wide variety of television and film formats or genres, but as with most production roles people tend to specialise in one or two areas, such as commercials and features, documentaries and live concerts, or wildlife. Each type of production has its particular set of aural challenges. On a large scale feature film, for example, the Sound Department may be relatively large by television documentary standards, consisting of a Sound Recordist or Mixer, one or two Boom Operators and a Sound Trainee.
The quantity of microphones and equipment employed may differ also, with two boom microphones which are mics on poles, being operated and recorded simultaneously, possibly in conjunction with clip mics, tie mics which are mics fitted to actors. This requires the Sound Recordist or Mixer to monitor several mic inputs at the same time via a small mobile mixing desk, usually found installed in a custom made trolley.
On a small scale documentary television production, by contrast, the Sound Recordist may record without even using a mixer, monitoring recording levels on the recording device, most likely a Mini Disc (MD) recorder or DAT (Digital Audio Tape) recorder. The Sound Recordist may need to operate a boom mic as well, carrying the recorder and or mixer in a special shoulder mounted bag. On productions with smaller resources, or on a small second unit, the Sound Recordist may record directly into a video camera. By and large, most TV drama productions will have a dedicated Sound Recordist or Mixer and Boom Op as a minimum. Documentary productions generally employ a single Sound Recordist. Productions that need to film in a personal or sensitive fashion may wish to have fewer personnel or crew around their subjects and may capitalise on multi skilled people, combining a Sound Recordist role with that of the Director for instance i.e. documentary maker, Nick Broomfield. Those with a micro budget or a requirement for an intimate one man approach, often go further, combining the Sound Recordist, Camera Operator and Director roles in one. Budding DV Directors, Shooting APs in particular, need to be very aware of the quality of their recorded sound as this can be the major weakness of the shoot. Images and audio are sometimes recorded separately. Regardless of the format the production is shooting on, be it video (Beta SX, Digi-Beta, HD) or film (S16mm, 35mm, S35mm) the accompanying sound must be recorded simultaneously and at the same speed as the recorded pictures to maintain synchronisation or sync between the separate recordings (when shooting film a clapper board marks the sync point visually and orally on video, digital timecode is used). With digital equipment you are unlikely to loose sync, but as a Sound Recordist you still have to be ready and alert to record! A drama director will happily fire any Boom Op, Sound Mixer or Trainee that miss their cues to record. Likewise, on an unpredictable documentary shoot it would not do to miss the vital accompanying sound to that important shot the cameraman just snatched.
Qualities: What you need to be able to do the job
Like many production roles you will need stamina, determination, resourcefulness, good technical knowledge, an appreciation of other crew positions, physical fitness and outstanding communications skills. The ability to relate clearly, calmly and professionally with your crew and your subjects, be they film stars, streets sweepers, politicians, TV presenters, or whoever, is a huge priority. You may be a technical whizz, but without good people skills, you cant make a successful Sound Recordist or any crew member come to that. An appreciation of sound, the various qualities it can possess and those things that can effect recorded sound (from hard surfaces, room sizes, interference, etc) are a prerequisite. Technical knowledge can be vital and run much deeper than merely knowing how to operate a DAT recorder correctly, but that is clearly a good start. In the same way an experienced Focus Puller,1st Camera Assistant will have, many Sound Recordists possess an intimate knowledge of their equipment and are more than capable of dismantling, diagnosing and repairing a damaged mixer or microphone in the field. This can be essential, after all, who else will be available in the Amazon, at the summit of Kilimanjaro, or as quickly, even in central London?
Career path: How you start and where you can go with it.
Getting a good grounding on the job could be invaluable. Becoming a Sound Trainee on a large production (ie feature film,TV drama or major documentary series) can be a great starting point. However, before a Sound Recordist takes you on, they will want to see some evidence of your interest and potential. Film and Video Centres and specific courses with appropriate qualifications will say a great deal, but enthusiasm for the subject and a willing attitude will always win the day. As a Trainee you can expect to build on your knowledge whilst carrying out basic functions for the Sound Recordist or Mixer and Boom Operators, from fetching the teas and ferrying gear, to running cables and connecting mics. You may have the opportunity to operate Boom Mics, attach clip mics or even mix andrecord sound under supervision. It should prove varied and ultimately rewarding. The next rung of the ladder can be quite a step up, with a whole host of other demands Boom Operating. Sometimes known as Sound Maintenance, or Sound Assistant, the Boom Operator is principally responsible for maintaining excellent sound quality during recording by moving the boom mic with the subject. This sounds deceptively simple. The boom mic is called such because it is attached to a long pole, or boom. This is because the microphone needs to be placed as closely as possible to the subject(s) being recorded without, and here is the catch, appearing in shot. The consequence of this is that the Boom Op has to work within fine tolerances, if the mic is too far away from the subject(s) sound quality will be compromised, too close and the mic can dip into shot. Boom Ops are often jointly or wholly responsible for attaching clip mics to subjects. Here, much decorum and finesse is required. You may find yourself required to reach down Angelina Jolies top or the Prime Ministers back pocket. Fitting (and hiding) a remote clip mic is an art in its self and can lead to potential embarrassment for all concerned. Not all actors or contributors are good humoured, so absolute professionalism is essential! Boom Operating (within TV drama and feature films) is a professional grade and you could make a lucrative, if physically taxing career of it for many years. To become a fully fledged Sound Recordist or Mixer, you will need plenty of technical ability and talent.
It is a freelance industry and will almost certainly mean funding and purchasing your own equipment. This is potentially very expensive, so you will probably start out with a basic kit of quality components purchased second hand and then add to or replace that kit as you gain employment.
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Film & Video Competitions
So you're good with a camera and you're interested in making a name for yourself while winning prizes and cash? The good news is that there are plenty of opportunities out there in the form of film and video competitions. But it's not just about prizes and recognition—think of contests as a great way to practice and improve your skills. Whatever your motivation, here are some tips to improve your chances...
(1) Assess Yourself
You need to know how good you are. Friends and family aren't the most reliable source of feedback—if you really want objective opinions, make a few videos and post them on YouTube and let people comment. You may find that the feedback is less flattering than you'd hoped but don't be put off by people who mock you. What you're looking for is reasons why people like/dislike your videos. Take the comments seriously—even the brutal ones—but don't take it personally. Just learn from it.
Once you have a fair idea of your skill level, look for competitions that are appropriate. To start with you may be better off targeting a lower-end contest that you have a chance of winning than a popular contest where your entry will be buried under the superior ones.
(2) Find a contest
As mentioned above, you can check our video contest forum for a list of current video competitions. Another great resource is the YouTube contest page. Search the internet as well, but be aware that many search results show contests that have closed and it's not always clear whether a contest is still open or not. Try Google's advanced search to only show contests launched within the last few months.
Most video contests don't allow you to make a video about whatever you like—they are designed to serve a purpose and your video must fit that purpose. On the other hand, this is a good way to test your own flexibility. Can you work with what other people want as well as what you want yourself?
Here are some of the most common types of contest:
•Artistic & Creative: The "pure" film competition has few limits and is intended only to promote the art of film-making. This is the best type of competition to win—it gives you exposure in the film market and gives your CV a major boost. In the most prestigious competitions it's considered an honor to be nominated or even invited to enter at all. Naturally the standards are high—you'll probably want to get a bit of experience under your belt before tackling the serious competitions.
•Commercial: Businesses often run contests in which you have to make a video featuring their product, service or brand name. The commercial aspect may be subtle, for example, a manufacturer of baby products might run a contest with the theme "The best thing about having a new baby is...". The idea is to create a series of feel-good videos which are linked to the manufacturer's brand.
•Altruistic: Some non-profit and philanthropic organizations run contests to promote social and environmental issues. Often technical standards are not considered so important in these contests, which makes them attractive to less experienced videomakers.
•Student: If you're a student, it's worth looking for contests that are only open to students. The prizes tend not to be as good but the chances of success may be higher.
(3) Study the rules
It's amazing how many entries are disqualified because they break the rules. In most cases competition rules are not flexible—you can't compensate for getting it wrong no matter how good the video is. Don't think your entry will be given any special consideration.
Make sure you understand the technical requirements, e.g. delivery format. Serious competitions tend to require higher-quality formats, but many contests accepts common formats that you can upload to the web.
The rules can also give you clues about things you can do to win. Read them very carefully and imagine exactly what it is the judges will be looking for. put yourself in their shoes.
(4) Work to the deadline & duration limit
You must have the entry form and completed video delivered on time. If you miss the deadline, forget about entering this contest. You won't get a second chance by begging—you're too late so just accept it. Your best bet is to save the video and hope that you can use it for something else in the future. Avoid this situation by getting on with the job early and don't assume that the post-production phase will go quickly.
The same goes for the duration of the video—keep to the limit or don't enter it.
(5) The Video Content
Have a strong central message. Your video should tackle one thing and do it well—don't try to fill it with lots of different points and themes.
Search the internet for public domain video footage that you could use. Still photos can also be useful to help fill gaps and provide content you can't get on video.
If possible, take any chance to present the sponsors in a good way. Especially if they are on the judging panel this can earn you bonus points (just don't make it too obvious or clumsy).
Respect copyright. Don't use video or audio (e.g. music) unless you have the appropriate rights or permission.
(6) Learn from the result
Don't get upset if you don't do well in the contest. Look at all the winning entries and try to figure out exactly what gave them the edge. Read the judges' comments and learn from them.
(7) Try again
...and again, and again....
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Advertise
EXTRAS NEEDED! "The Editor"
Jillian Acreman is looking for volunteer extras this Sunday, June 27th for a funeral scene. This will take place at St. Dunstans Catholic Church located at the corner of Brunswick and Regent Street in downtown Fredericton.
You will be needed for up to 2 hours. Please feel free to contact Jillian at 260-0492 or jillianacreman@gmail.com
All extras are asked to wear black, and to be seated at 2:30pm.
Thanks!
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CREW CALL
Nancy Lynch, first time director and Film Co-op member, is looking for volunteer crew members to assist with her short film Hello Ladassia. We are shooting August 13-15 and August 20-22.
We are still looking for the following crew members:
Gaffer (must be trained Film Co-opyou wiyou full member)
Grips (must be trained Film Co-op full member )
Stills Photographer
Script Supervisor
Hair
Costumes
Props
If you're interested in helping us out please contact Britany Sparrow, production manager/1st AD at britsparrow@gmail.com
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CASTING CALL FOR HELLO LADASSIA
First time director and Film Co-op member Nancy Lynch is looking for volunteer actors for her short film Hello, Ladassia, to be filmed August 14/15 and 21/22. The following roles are required:
Ladassia - principal - 60-70 years old, sweet and kind.
Randy - supporting - 45-55 years old, Bradley's step-father. Redneck and slacker.
Becky - supporting - 20-25 years old, voluptuous and cute. Dreams of being like Marilyn Monroe
Chin - supporting - 20-25 years old, Asian. Working at a call centre to improve his English.
Rosie - supporting - 35-45 years old, Ladassia's caretaker
The auditions will be held in the NBFC resource room in the basement of 732 Charlotte Street (Charlotte Street Arts Centre) on July 9 from 6-9 pm. Sides will be provided once you arrive and you will have a few minutes to prepare for the audition. No experience is necessary. If you have any questions please contact britsparrow@gmail.com
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VIDEO CONTESTS
International Movie Trailer Festival
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MICHAEL JACKSON TRIBUTE SHOW--- Videos!
9 short slide-show style videos have to be created for the upcoming Michael Jackson Tribute Show happening at the Fredericton Playhouse this Friday June 25th + Saturday 26th 2010. The 9 videos consist of pictures with titles and facts and quotes written on the pictures, timed with music (already cut). The videos will be shown during the performance and are approximately 1min30sec each. The video's include animations with the pictures and effects (standard, nothing too fancy).
Videos must be completed by WEDNESDAY JUNE 23rd 2010.
Compensation for video creation can be negotiated! (monetary payment).
Please contact: Stefan Folkins, Executive Director for details!
ASAP!
stefan_folkins@hotmail.com
451-5674
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ACTOR NEEDED
Physical Description
Male. 5-8 years old. African American.
(Height and physical appearance is not of too much importance. This is a none speaking role.)
Scene Description
It’s a stormy ocean in the sunny summer day. There are many people on the beach - mostly families. A 5 YEAR-OLD BLACK BOY is the only one who is in the water playing with the huge waves of the ocean. A young CAUCASIAN WOMAN IN HER 30’S is standing on the shore and calling the boy, gesticulating energetically. She looks a little scared and happy at the same time.
Project Background
The entire story takes place in one single bedroom with one window, with only one exception – the family’s favorite memory on a beach. **This is the scene with the child version of the male character** In that scene everything is bright: the sun, the intense blue color of the ocean, the sky… with his projection I want to show happiness to its maximum. This happiness especial only to them and nobody else; they are alone. A paradise made only for them.
Contact Information
Giselle Mapp - Casting Director
Email:
giselle.mapp@gmail.com