NB Film Co-op

One-on-One Final Cut Pro Editing
One-on-One introductory-intermediate Final Cut Pro editing sessions are available at the Film Co-op with Mike Cowie for $30.00 for a 2-hour session. Please schedule through Cat at: info@nbfilmcoop.com




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An Open Letter from Your
Sound Department - Part One

This letter is being written by audio professionals to help directors and producers whether they work in independent film and video or commercial film and video - understand how good sound can be recorded on the set. We want to help you make the best film possible. For this piece, we will not discuss the topic of mixing itself, as this is the "hocus pocus" part that you trust us to do so well.

We want you to have information that will enable you to evaluate what is interfering with good sound, before a hasty decision is made that can harm the quality of your film's sound. To help you make your decision you need to know about some of the obstacles that we sound people face, before we can even begin to get usable production sound on the set. This is after all, the age day of digital sound. Theaters have wonderful THX (the audience IS listening) and SDDS with 5.1 surround. Home audio is often better than many theaters as a sophisticated audience demands DVDs with 24 bits. Yet, today's sound at it's source on set is suffering like never before.

THE PROBLEM
We, the sound crew, are the ones that you depend on to create and protect YOUR original sound tracks during production.

Unlike the work of the majority of the people who are working for on-camera results, the mixer's efforts can not be "seen" on the set. Almost no one hears what the microphone picks up. Too few are sure just what we do. Only the most obviously bad noises are even brought up for discussion.

Included in our job is to monitor the sets for unnecessary, accidental, ignorant and sometimes even malicious actions or lack of actions that may compromise your sound track. To emphasize this point: WE DO THIS SO YOU WILL HAVE THE BEST TRACKS POSSIBLE; IT IS NOT FOR US.

We are too often frustrated by the state of conditions that now exist on most sets. Many times we are expected to solve all sound problems alone. Instead, this should always be a cooperative effort with the assistant directors and other crafts.

Sound mixers are often perceived as pests or even a hindrance to the film's progress. We don't like being put in this untenable position because it is humiliating and unnecessary. We don't like to be considered adversarial to the rest of the production and we certainly don't want to be the "sound police"!

A mixer on a tough show, who fights alone to get you good sound, stands a good chance of burning out from all the excuses and defenses put up. It's hard to put it all out there without support. The temptation is to cave into the pressure and just go with the flow, and no good can come when that happens.

The problems that we face may lead you to believe that good sound cannot be achieved without set disruptions and added costs. This would not be necessary if reasonable measures are anticipated and endorsed by you both in pre-production and during production.

We know the limitations of our equipment. For example, microphones are just tools, they don't make miracles happen. If on-set audio problems are not dealt with immediately, they will only be back to haunt you again in postproduction.

You can help us do a better job for you. Good sound can most often be achieved by using reasonable preparation to avoid pitfalls.

We need your understanding and your backing.

THEN AND NOW
To understand the sorry state of audio affairs today, you must go back in time.

There once existed a major studio system where an assembly line of crafts worked together to churn out film products. No matter which studio we worked at, all crafts understood they were expected to take reasonable measures within their purview to allow for good sound recordings. It was instilled as part of their job description. These duties were passed on to the young apprentices. Grips cut microphone shadows sharply with flags. The electric department would change out a noisy light that buzzed. Camera assistants would try everything possible to quiet camera noise and many is the time that an operator had blankets and pillows over them and the noisy camera. Every other craft would do whatever was deemed reasonable to help get good sound, because it was considered to be part of their job. No one had to try to persuade them to do it. It was an era where reasonable co-operation with the Sound Department was the normal way to make good movies.

Today's crafts still have pride in their jobs but it seems they NO LONGER consider sound assistance to be a part of their job description. The problems began when the in-house studio training system broke down as non-union independent films proliferated. Along the way, the process of learning what their jobs entailed changed the way they perceived sound. The other crafts now don't think they should do anything to help YOU get good sound for YOUR movie. There is no longer an apprenticeship system to pass along this knowledge. They now learn on the job under fire through osmosis.

They must now be requested in each instance to do reasonable things, which are necessary to protect YOUR sound tracks, because they just don't consider it to be a part of their job anymore.

The Sound Department would gladly cut the shadow on the back wall of the set ourselves or cover the noisy camera, but that's not how the game is played. Instead, we have to convince, cajole, coerce, plead and use every other psychological persuasion technique to get the other crafts to help us prevent sound problems.

That last second, scrambling time on set should only be used to fix the unexpected problems which will inevitably occur. Instead, that last second is the first time that the sound mixer finds out about changes in dialog, staging or unwanted noises from on or off of the set.

All of the other departments work for what is seen and not heard. Every single person on the production from make up and wardrobe to grips and props concentrates only on what's seen in the viewfinder.

Because the other production crafts work only for picture, no one knows or cares what's happening to YOUR audio.

You are the only person on set with the power to allow us to get you good sound. It is always tempting for sound to give in and not go against the grain when circumstances impose impossible barriers.

Film schools are going to need to add psychology courses to their sound mixing curriculum soon. The situation is often that bad. That is why we want you to know as much as possible about the audio minefield lurking on every set.

What may often seem to you to be a lot of complaining, is in fact simply communicating negative factors to you, so that you will know what you are getting on your sound tracks, and what sound problems can be fixed NOW. For bottom line, these are YOUR choices. Just because we hear a noise does not make it a sound problem. It is your problem too. After all, we turn over the tracks to you at the end of the day.

After reading this, hopefully it will be much easier for you to make the informed decision about when it's really the time to loop. It's far too late to reverse a sound calamity later in post.

Even though this topic is last in the chain of events, we should start first by talking about why ADR is not a fix.

NEXT WEEK - PART TWO TOPICS - Looping, Sound Problems on the Set, Locations Preproduction, Art Department, Assistant Directors, Production Managers, Camera Department

PART THREE TOPICS - Special Effects, Wardrobe, Props, Grips, Electrics, Craft Service, Transportation, Actors, Directors, Final Notes

An Open Letter from your Sound Department. Written by John Coffey johncoffey@coffeysound.com, with help from Randy Thom, Jeff Wexler, Noah Timan, Mike Hall, John Garrett, Scott Smith, Rob Young, Mike Filosa, Wolf Seeberg, Darren Brisker, Charles Wilborn, Todd Russell, Brydon Baker, Larry Long, Glen Trew, Dave Schaaf, Charles Tomaras, Klay Anderson, Brian Shennan, Hans Hansen, David Marks, Bob Gravenor, Von Varga, Mark Steinbeck, Carl Cardin, Eric Toline, Joseph Cancila, Stu Fox, Peter Devlin, Matt Nicolay and many others.

Festivals

"COME TO THE 2007 NB SILVER WAVE FILM FESTIVAL-  NEW SPONSOR OFFERS NEW SCREENING VENUE!

The Silver Wave Film Festival is very excited about a new major festival sponsor which has come on board recently. 

Centre communautaire Sainte-Anne is very excited to be involved with the Festival and looks forwarding to assisting it in becoming fully bilingual by 2008. Along with the Centre's very generous offer to translate the Festival's website, part of it's programme and other promotional materials, the Centre will be swinging open it's theatre doors to the Film Co-op's Silver Wave.

The Fredericton Playhouse will no longer be a screening venue at Silver Wave as the Centre will now be housing the Film Co-op's festival centerpiece instead - Shorts I & II as well as the big Latino Fiesta afterwards which will be just downstairs from the theatre! 

There will be some workshops and other screenings events at the Centre, most notably, a strong French Screening Program for people of all ages put together with the assistance of the Centre's staff.

This one stop shopping set-up is extremely helpful as people will be able to attend a reception before Shorts I & II and then the screenings followed by a party, all in the same building! 

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Venez assister au festival de film Silver Wave 2007 - Nous avons un nouveau commanditaire qui offrira un nouveau site pour la projection des films

Le festival de film Silver Wave est très heureux d'accueillir un nouveau commanditaire majeur.

Le Centre communautaire Sainte-Anne est fier de s'impliquer auprès du festival et de travailler à en faire un événement complètement bilingue d'ici 2008-2009. Le Centre communautaire Sainte-Anne sera responsable de la traduction du site web du festival, du programme officiel et des divers outils promotionnels.

Le Playhouse de Fredericton ne présentera plus de film durant le Festival Silver Wave. Le Centre communautaire Sainte-Anne sera maintenant l'hôte d'une composante majeure du festival soit les courts métrages I et II ainsi que la soirée culturelle Latino.

Divers ateliers ainsi que de nombreuses projections de films seront aussi présentés au Centre communautaire Sainte-Anne particulièrement une programmation francophone qui sera plaire aux gens de tout les âges.

Ce site permet d'avoir tout sous un même toit. Les participants pourront assister à une réception avant la projection des courts métrages I et II et par la suite faire la fête lors d'une soirée culturelle.

DEADLINE FOR FILM SUBMISSIONS IS AUG 3RD.

Contact Cat at info@nbfilmcoop.com

Register Online to be a Festival Volunteer Today by Clicking Here!

2007 SILVER WAVE FILM FESTIVAL, November 8-11, Fredericton, New Brunswick www.swfilmfest.com

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Enter your film in the 4th Annual Continental Drift Short Film Festival
Continental Drift invites you to submit your short film to the 4th annual festival. Each year we screen dozens of short films from around the world to a spirited local audience. Continental Drift is dedicated to presenting a variety of the world's cinematic diversity, in a collection of succinct short films.

We would love to see your work. Please submit your short film, on any subject, in any genre, for consideration. The main submission criterion is that your film be 15 minutes or less in duration.

The deadline for submissions is June 29, 2007. For full submission details, please refer to the entry form and submission information available at www.cdrift.ca.

To start the submission process, visit www.cdrift.ca. In the navigation column on the right click "Submit Your Films." In the window that appears, click "Click here to begin your entry."

Arts in NB

sackville, NB - New Canadian Pilgrimage
This is a long-term multi-disciplinary art project by Halifax artist Eryn Foster that involves walking across the Canadian landscape. Starting this summer (2007) the first of such pilgrimages will begin from Halifax Nova Scotia to Sackville, New Brunswick. The walk is approximately 250km in length and an estimated 15-16 days of travel with varying degrees of relaxation and exhaustion. Some days will be designated as stationery stops: time for swimming, eating, lounging and recharging other days will be super-charged. Participants are encouraged to come for the entire walk but are also invited to come for partial segments if they can't take the time off from life and work. The plan is to depart Halifax on July 15th and to arrive in Sackville around July 30th coinciding with the opening of the OK. Quoi?! Contemporary Arts Festival.

If you would like to participate email: eefoster@gmail.com or for more information and updates go to: www.newcanadianpilgrimages.blogspot.com

Hello Pilgrims!
Only one month left before the great pilgrimage from Halifax to
Sackville begins. I have had a few people confirm their participation but there are many of you that I have yet to hear from. If you are planning on joining in, either for the entire walk or just a portion of it, please get back to me by the end of this month (June 30) . If you are planning on coming for just a portion of the walk, please give me an idea of approximately when you will be joining in and I can estimate our whereabouts. I will also have a cell phone but am hoping to use this as little as possible. My plan is to post the daily coordinates onto a blog. Hopefully this will work out but of course, it may not.

Also, here are some events you can participate in even if you are not coming on the walk:
#1: Pre-departure brunch
Where: my house, 11 George St. Dartmouth
Day: Sunday June 15, 8am

#2 "The First Leg"
-after the pre-brunch on Sunday July 15, 10am
Come walk the first leg of the trip and help give us a celebratory send-off
-this first leg will be from Dartmouth to Waverley and approximately
15 km (apx 4 hours of walking with a lunch break)

#3 "The Last Leg"
-as part of the pilgrimage grand finale, you can join us for the last 10km
-we will be meeting for lunch at 12:30 on Monday July 30
-meeting place is The Irving Big Stop in Au Lac (just outside of Sackville NB)
-we will be departing for Sackville at 2pm from the Irving Big Stop
-if anything changes and we are late for our arrival, I will have
information posted on my blog

#4 "The Pilgrims Feast"
BBQ Dinner to celebrate the end of the journey
Date: Monday July 30, 6pm (still to be confirmed)
-in connection with OK QUOI Festival and STRUTS Gallery events

#5 Slide Show and Story-tales
-Date: To be confirmed
-sometime during the OK QUOI Festival
Please feel free to invite a friend, family member, dog, cat, etc to any of these above events. Blog address is: newcanadianpilgrimages.blogspot.com A "pilgrimage what to bring" email will follow.

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ATLANTIC - AFCOOP ANNOUNCES THE CALL FOR ENTRIES TO A NEW FILMMAKING SCHOLARSHIP PROGRAM, "FrameX"

DATE: Application Deadline 5:00 PM TUESDAY JULY 31st, 2007
Program runs from August 2007 to December 2007
COST: Free to successful applicants
CONTACT: Christopher Spencer-Lowe, Production Coordinator
or Erin Oakes, Membership and Programs Coordinator
420-4572, production@afcoop.ca

The Atlantic Filmmakers Cooperative, creator of MONDAY NIGHT MOVIES, THE ONE MINUTE FILM PROGRAM, and FILM 5 is pleased to announce the initiation of a radical new filmmaking program.

The FrameX project will bring together five emerging filmmakers, for a five-month immersion into experimental filmmaking, with workshops, collaboration, experimentation and creation. Through the program, these filmmakers will create genre breaking three-minute films using AFCOOP's facilities and resources with experienced guidance. They will be encouraged to explore their ideas while pushing the limits of filmmaking by using new techniques and approaches. This five-month filmmaking experience is open to all Nova Scotia, New Brunswick and Prince Edward Island residents who have some filmmaking experience and is completely free. The program will kick off during a week long series of public screenings, visiting artists' talks and workshops in late August called the FrameX Week.

"The experimental and avant-garde cinema movement has really taken off again in the last decade." says AFCOOP's Production Coordinator Chris Spencer-Lowe. "Cities like Amsterdam, New York, Vancouver and Toronto have thriving enclaves of experimental filmmakers, many of them connected to an international community through the Internet, artists' collectives and underground festival networks. The Maritimes also has a rich history of experimental filmmaking that we (AFCOOP) see re-emerging. The FrameX program is designed to give these Maritime filmmakers a shot in the arm and to expose the public to this often radical and convention breaking form."

For information and application forms, please contact The Atlantic Filmmakers Cooperative at 420-4572, visit us online at www.afcoop.ca or email production@afcoop.ca

The Atlantic Filmmakers Cooperative is an accessible member-run organization for the production and presentation of creative films in a collaborative, learning environment.

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FREDERICTON - MIDDLE SCHOOL FILMMAKING SUMMER CAMP!
On July 2-6, the New Brunswick Filmmakers' Co-operative is hosting a Filmmaking Summer Camp for middle school students, coordinated by Co-op member Filmmakers Jonathan Collicott and Jeremy Robinson. Cost is $150 per student with some subsidies available to students who require financial assistance.

Camp runs from 10am - 4pm daily and kids should bring a lunch each day although there will be light snacks and liquids on hand.

Program Outline
script writing
production management
directing
shooting and recording sound
picture, sound editing and music placement
distribution of your finished project 

Only 25 spaces available and registration is open now! Don't miss out on this incredible experience! Please contact Cat Leblanc at: info@nbfilmcoop.com or (506) 455-1632 to register.

INSTRUCTORS PROFILES

Jonathan Collicott has been working in the NB Film & Television industry since 1997 and has worked with such organizations as History Television, The National Film Board of Canada, CBC Nature of Things, Bravo! and SCN. He also does freelance work for various independent production companies such as Egg Films, Hudson Design, Atlantic Media Works and Outreach Productions.

Jon produces documentary and dramatic films, with a strong focus on Writing, Directing and Shooting. He has also been a member of the NB Filmmakers' Cooperative since 1995 and has taught workshops on cinematography and editing.

Jonathan is also very busy on the independent filmmaking scene with his production company Dark Blue Horizons. As writer-director, he is currently in Post Production on a period musical fantasy entitled A Song for the Home Front for which he received a Short Film Venture grant from New Brunswick Film and the NB Film Co-op.

Jeremy Robinson graduated from the Video and Television  Production program at NBCC Woodstock in 2000 and then went on to work at the Film and Television Workshops in Rockport Maine as a teaching assistant and a member of the tech crew. He returned to New Brunswick in 2001 and joined the NB Film Co-op where he has worked on numerous productions doing everything from sound recording, editing, camera work, and lighting. 

Jeremy is an instructor at The Centre for Arts and Technology where he teaches Video and Film Techniques. He will also be graduating from the University of New Brunswick this winter with his BA/BED. Through the NB Filmmakers' Cooperative he has taught workshops on location sound and post-production sound editing.

Jeremy is currently co-producing a documentary on the history of Blues Music in the Maritimes as well as preparing to direct a short film entitled Misdirection for which he received a Short Film Venture grant from New Brunswick Film and the NB Film Co-op. Misdirection is a comedy about an actress who does not trust her pretentious high art theatre director. 

Biz News

SAINT JOHN -  Filmmaker gets Grant for Calling Card Film
By Josh O'Kane, Published Thursday June 14th, 2007 in Here Magazine.

Film Co-op member Steven Doiron's latest film is almost in its final cut. What's more is that before that's even done, he's getting ready to shoot a whole new film in mid-July. And movies aren't even his day job.

The Saint John based filmmaker is at the helm of Dark Night Pictures, his own production company that recently expanded to include Blake Stilwell, his partner in crime for its latest two films. Doiron, who works with Irving Oil for a day job, talks about how he got the grant to make his next film, entitled My Selfish Life. He is the writer, director, and producer.

The Short Film Venture Program, coordinated by NB Film and the New Brunswick Film Co-op, provides cash grants to upcoming filmmakers in the province for short films. My Selfish Life has been given $5,000 by the program.

"It's the first time I've applied," says Doiron, "and first time I've gotten it. The basic process was to write up a proposal with your script under 10 minutes long.

"I wrote [My Selfish Life], and when I started I had no plans to try and get funding. It was just another project. Then I looked at some of my ideas and how big I wanted them." After hearing from a friend that he had about a month to apply for a Short Film Venture Program Grant, he decided that was what he needed for his vision for My Selfish Life.

"I tore my script to shreds, and wrote up a 10-12 page proposal. I sent that proposal in with my script to the Film Co-op." It worked, and Dark Night Pictures got the grant it needed to launch the film into production.

These projects are funded, says Film Co-op Executive Director Tony Merzetti, "to produce a 10 minute dramatic calling card film."

Merzetti explains, "the program is designed to help the filmmaker produce a film that they can use to showcase their talent to future funders for their next project and to gain essential exposure on the festival circuit."

The funding also opens up doors of support from the Co-op, giving access to equipment, discounts, membership, and most importantly, experienced crew members to get the job done professionally.

Doiron can't say enough about NB Film, the NB Film Co-op and the Short Film Venture Program.

"They should definitely be given praise," he says. "They're giving young filmmakers a chance to make a calling card film. With a small amount of money, in 10 minutes I can have a small piece and show I'm a force to be reckoned with. I can make a powerful film."

Merzetti explains some of the reasons why Doiron's script was chosen for the grant.

"Steve's project was chosen because his script showed a strong visual and storytelling sense. He demonstrated a desire to work with people to get the best production values on the screen, and his desire to become fully immersed in professional development training through the Certificate program indicated his seriousness in becoming a professional filmmaker in the province."

Doiron, one of about 20 members of the Film Co-op in the Saint John area, has been a member since earlier this year.

"Steve is a promising new talent in the film community here," says Merzetti, "and I look forward to following his career." Doiron has equal praise for the NB Film Co-op and all their services for filmmakers.

"Anybody who's into film needs to go there, pay the tiny fee for the membership, and be blessed by them," he says. As for the plot of My Selfish Life, it appears Doiron is trying to keep things on the down low.

"I don't want to give away too much about it, but it's a story about second chances, about that one big decision. If you could have one thing you could change and do one thing differently "" it's the chance of having that."

He's fairly tight-lipped about his near-completed short film as well, entitled Avarice, which he plans on releasing this summer after he finishes his last step cueing the music for the film.

"In one word, it's a film about greed. I guess if you fall into that temptation, it eventually can consume you." Avarice was filmed entirely in Saint John, out of Doiron's and partner Stilwell's pockets for about $1,500 without much creative sacrifice.

He thanks the kindness of Saint John businesses for letting them use their facilities to shoot at for free, which relieved him of a great deal of costs.

"Local vendors in the city and the city itself were amazing to let us use certain locations." For instance, he says, "we shot up and down King Street and Coburg Street, and even O'Leary's gave us access to their bar for an afternoon to use with extras and a band, Curbside Prawjek."

"In Saint John, they have very open arms. They allow us to do our things the way we want."

Avarice premieres uptown this summer.

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My First Steps in this Colourful Film Industry
Bonjour! My name is Marcia LeBlanc. Born Sept 9th 1983, I grew up in a family of four in the community of Dieppe (New-Brunswick) - father: Maurice LeBlanc, mother: Angèla LeBlanc, sister: Sophie LeBlanc and myself Marcia LeBlanc. As a teenager, I wasn't comfortable with my image in high school and was a timid even awkward girl. But that changed on May 22^nd 1998 : a girlfriend, Angèle Belliveau, at that time wanted to participate in a competition hosted at the Moncton Eaton center - Elite Model Look 98.   As a finalist in that competition, I had made my first contact in the fashion industry: Elmer Olsen, now owner of Elmer Olsen model management in Toronto . I was then 14.

Throughout the years, I had the chance to work with various agencies around the world; work on diverse productions and colourful projects. I featured in catwalks for United colors of Benetton , Ports NY, Ogilvy, L’Oréal Paris and other designers and appeared in various print works including la Revista Cosas, Bony MT catalogue, ID magazine, etc.

Agencies I had the opportunity to work with:

Why Not Model Agency ( Milan , Italy ) - 2001

Specs Model Management ( Montréal , Canada ) – 2002 and ongoing

Sutherland Models (Toronto, Canada) - 2003

Work Model Management (Sydney, Australia) - 2006

Elite Model Management (Santiago, Chile) 2007

As the years went by, I was offered a taste at the acting world. I had the chance to take part in various projects: I did commercials for Dos Equis (beer brand) and TV5 (television network), I appeared as an extra in the film production Hemingway vs. Callaghan and the television show Naked Josh.

But the real Magic happened in Sydney , Australia , where I got acquainted with the Extras Agency.   As our relationship grew, I was offered more working opportunities and a sneak peek at a professional career as an actress.   Although many of the contracts were appearing as an extra in many popular Australian shows, I also got to interpret roles on television shows like Ronnie and Johns and Stupid Stupid man and feature in new commercials - U Flex appeal by Kotex and Foxtel (for the Foxtel the network). The work itself is like none other!

As an artist, you get to meet different people on a daily basis and work on a variety of projects. Of course these projects take you on various locations and traveling is a big part of the job. As an addicted traveler, I am now also a language enthusiast!   Fluent in both English and French, I can also communicate in Spanish and understand Italian.


Now back in NB for a few months, I’m taking a proactive approach and for the first time representing myself. This summer, you’ll be able to see me at le Pays de la Sagouine and hopefully in other projects taking place in the Maritimes!

As an ongoing student, I will be returning to Montréal in September to complete my Business degree and pursue my interests as an artist.

That being said, my heart belongs to the Maritimes, my home, and I hope to keep active in the community for a long time!