For Love of Indie Filmmaking

Two Broke Girls (kind of)

noreply@blogger.com (Jentri) — Sun, 23 Aug 2015 19:20:00 +0000

Hello, well that was a fun 2014 hiatus from my life/writing/filmmaking (NOT). Long story short, I moved back to Texas and started my life over without my (now ex) husband and three pugs. And miraculously, I met the best man I've ever known in the process, and I'm happier than I've ever been. My heart has matured, and so have my priorities. I hope that you're able to discover that through my stories from now on.

Sooooo, let's get down to business! Imagine Two Broke Girls, but girls that have been trying to make it in Hollywood the last decade together, only to find themselves finally writing a book about their non-success stories.

Lorie and I have thoughtfully decided to not use our remaining resources for a short film this year, and to focus on CONTENT. CONTENT. CONTENT.

Among our content, we'll create a novel based on the screenplay I wrote, Lost In Sunshine, as well as a book about a filmmaking duo (aka Lorie & Jentri) you've never heard of sharing their non-success stories of trying to make it in Hollywood.

AND, shhh... me and my foodie boyfriend, Alex, from Milan, (also known as HIG for Hot Italian Guy) have a road trip documentary in the pipeline, too... details TBC.

xo Jentri

Writing my new normal

noreply@blogger.com (Jentri) — Wed, 01 Oct 2014 10:34:00 +0000

My posts are usually not too personal, but sometimes our work and personal lives cross and influence our decisions. I haven't been writing much the past several months, as I've been transitioning back to a life in Austin, Texas, that I love. Writing through pain has always been therapeutic for me, but these past few months I haven't felt inspired to write.. so I had to honor that. But I woke up at 3:30am this morning and felt the shift.

Inspiration comes to us at the most random times, so I encourage you to embrace the magic when it happens (even at 3am!). As writers and filmmakers, it's important to at least document these ideas/experiences however we can, so we can remember what got us here in the first place. It's part of creating connection, growth, and authenticity for our audience. There's eventual humor in heartache (you'll have to trust me on this one) and hope on the other side of hopelessness. Why else do you laugh at bad things in movies when you shouldn't? You recognize its truth. When we can give the gift of these important messages to others through our work and do it honestly, we might just have something worth while to share.

So next time you can't write/work, I recommend jogging, laughing with friends, eating your favorite food, cuddling with an animal, going for a walk, or coffee, or watching an inspiring documentary... (i.e., Happy) that lifts the spirit, until you realize the things that bring you down can be terrible, yes, but they're only temporary.

Cheers to following your dreams, honoring your spirit, jogging through the kick down, and writing/working when you feel inspired... at whatever time. And when you finally get there, enjoy your new normal.

Visible Noise Synopsis for Festivals

noreply@blogger.com (Jentri) — Thu, 19 Jun 2014 21:39:00 +0000

So it's that time... our short film is locked to picture perfection, thanks to our editor, Hutch, and we've begun submitting our film to festivals via withoutabox. So far, we've submitted to Toronto, Austin Film Festival and a few more. We will be submitting to a large handful more over the next couple of months. Meanwhile, we're still putting together our submission material online, and I thought I'd share our synopsis with you. It will help you better understand the meaning of our film, and our title - (His) Visible Noise. Now, on to our poster... ;) xoxoxo Jentri

Visible Noise

Story Leonard's love for her boyfriend, Billy, was revelatory to her. She didn't know she could love someone that deeply. But, Billy was an addict. After countless lies and excuses, she finally, reluctantly broke up with him.

Six months later, she gets a phone call she's always dreaded: Billy has overdosed and is dead. The lid she's been keeping on her heart splinters. Why did he choose drugs over her? Could she have saved him? Had he ever really loved her?

Angry and raw, she launches herself into a drug binge with Billy's best friend, Ryan. Despite Ryan's discouragement, Story's determined to feel for herself just what Billy experienced. But, this decision quickly puts her in a scary, compromising position that could even be deadly.

Finding herself strung out and shirtless in a dealer's bathroom, she wonders if she'll ever get her answers.

Chancey Marsh Production Update

noreply@blogger.com (Jentri) — Wed, 04 Jun 2014 21:12:00 +0000

I've been lucky enough to work with my partner, Lorie since 2008. Most of our film efforts have been on financing/producing Lost In Sunshine, our independent dramatic comedy about a repressed intuitive that wants to run away from her future as a small-town wife and a recovering gambler who wishes he could undo his past by writing a best-selling Self-Help book. Although we've secured some funding, and have a talented TV actress on board, the work never ends and neither does the drive. We feel we have something special and want to hang on to it. A lot of time is spent brain storming to figure out what sticks and what doesn't.

But in the meantime... we (and you) gotta keep creating.

If you're in the world of filmmaking, you understand how many years it can truly take to bring a project to life, until you have your lucky (and successful!) break. So we've branched out, created a multi-platform/transmedia approach for Lost In Sunshine, in an effort to to create additional supporting content to surround/nurture/grow it, such as another short film based on its characters, a LIS novel, and a TV/Web series.

The short film, Visible Noise, that we shot in Austin in December 2013, is near completion, and we've begun to submit it to festivals. It's about a woman who mourns the loss of her ex by taking on his bad habits. We hope to show a more serious side with this film, starring Olivia Applegate.

Our most current project that we plan on producing later this year is another short script based on two characters from LIS, Visiting Hours. It's (mostly) a comedy about a woman who wants to visit her dad in the hospital. If only her anxieties would let her get through the door.

Time to bust out the holy wood and sage.

HAPPY FILMMAKING! xo Jentri

ps. Need help with your idea/script/production? We can help -- Visit WWW.CHANCEYMARSH.COM for more info.

Killing Your Babies and Making Important Decisions as a Director

noreply@blogger.com (Jentri) — Wed, 30 Apr 2014 19:41:00 +0000

Today, I'd like to address a couple of difficulties all filmmakers endure when making indie films and how we might overcome the pressure and rise to the occasion of greatness: 1) killing your babies - whether it's a character in a script or it's a scene of dialog in your film and 2) making important decisions as a director/keeping your voice.

But first - I must send praise to the Gods - We just locked picture on Visible Noise, and it feels like an eternity coming! Earlier on, when we had some delays, it was important to take on the mentality of doing things right and not in order to make one festival deadline. I'm excited to announce that we're officially in color correction and sound design land!! Our new official deadline is May 31st.

In between edits, I've been working on perfecting a new short script, Visiting Hours, too. I think it's very important that we KEEP WORKING on creating new babies, even when we've got one almost at its due date.

So, let's first address killing babies. Writers do this daily (or they're not producing good work!). Egos must be set aside to look at what elements will keep your story moving forward. The best way to do this is to have a second person you trust read your work and give you feedback, or set it aside for a week and come back to it. Those obvious things will become clearer, once you are removed a step from the material. A person you trust should make logical suggestions, not tell you what to do. And you must be prepared to LISTEN. When we can truly kill our babies for the better, I feel we have grown as artists. It means we can see and care for the entire story/picture enough to treat it like a loving relationship that we respect. Then other people who read it will respect your work.

Now - on to the even bigger decisions you'll have to continue to make as a director, especially if you're a hyphenate. You'll have to edit your characters/story in the writing process to produce the best script, as mentioned above. Then you'll edit those ideals in production when you shoot your film, guiding the set. At times, and if we're lucky, actors will bring something more to the character than could have ever been imagined. But when there's difficulty in a performance, you have to be prepared to answer questions and make decisions that will greatly impact your project for better or worse. And third, you'll have to put on your directors hat again in editing and make the creative decisions that are the best for your project as a whole, regardless of others feelings. Keeping your vision/voice in tact while being open to suggestions is an art in itself. That's right, no thinking about who your actor friends are performing, or if an investor is going to get mad if you cut out his or her favorite scene entirely. Your job is to produce the BEST FILM POSSIBLE. Remember that, and go kick some ass.

Happy filmmaking! May the force be with you. ;)
Jentri

Still Photography by Hutch Muselessmine

noreply@blogger.com (Jentri) — Sun, 23 Feb 2014 02:24:00 +0000

Actors, Olivia Applegate, Chase Joliet, and Matt Roszak (last) on the set of Visible Noise.

Visible Noise

noreply@blogger.com (Jentri) — Wed, 12 Feb 2014 19:38:00 +0000

As the writer-director of this short film, I'd like to express my deep appreciation and love for all those who helped us make this project. While it's still in post, the joy that's come along with being able to produce something that my heart is truly invested in is priceless.

I'd like to give a special thanks to our Executive Producer, Sam, who was able to view our vision, excitement and preparedness as a PLUS, and who was able to take a leap of faith with us. While it's not finished, yet, I'm certain, with every fiber, that the end result will be something we can all be proud of.

Screen grab of our beautiful actress, Olivia Applegate in Visible Noise. Courtesy of our DP, Greg Risley.

Olivia Applegate and Chase Joliet on set of Visible Noise

noreply@blogger.com (Jentri) — Tue, 04 Feb 2014 00:56:00 +0000

Beautiful people - Olivia Applegate and Chase Joliet - making us look cool on set.

screen grab courtesy of our awesome DP, Greg Risley

Images from Visible Noise

noreply@blogger.com (Jentri) — Fri, 31 Jan 2014 17:59:00 +0000

I just love these actors.

Olivia Applegate and Chase Joliet

Olivia Applegate

Heath Allyn

Matt Roszak

Race Thomas

Karl Anderson

Visible Noise deals with grief

noreply@blogger.com (Jentri) — Thu, 30 Jan 2014 17:22:00 +0000

I'm so overjoyed and proud of our Visible Noise footage and talent. Although we're still in the beginning stages of editing with our editor, Hutch, our rock star DP, Greg Risley has gifted us more beautiful screen grabs to awe at in the meantime. Here's one of Olivia Applegate (AKA Story) confronting the thing that killed the love of her life for the first time.

This story is about grief and how she handles it within a 24 hour period. Our main character mourns the love of her life by taking on his bad habits.

While each of our experiences vary in story, there's a common bond we share, too. We all feel pain the same. This project is my attempt to isolate one women's process, with hopes that the final message will resonate with others.

At the end of the day, any close loss hurts like hell. Behind the complexities of our painful emotions there's a basic need to understand the why and how of things, so we explore that side of life in this short film.
J

Olivia Applegate and Chase Joliet

noreply@blogger.com (Jentri) — Thu, 12 Dec 2013 01:30:00 +0000

Completely in love with these actors.

Screen grab by DP, Greg Risley, from Visible Noise short film.

Visible Noise Dream Team

noreply@blogger.com (Jentri) — Thu, 28 Nov 2013 02:30:00 +0000

This year, even though I'm further away from family, there's so much to be thankful for. In addition to being blessed with a healthy family and good friends, I'm doing what I'm supposed to be doing.

This project, in particular, has formulated a dream team that's been heavenly to work with. These actors are a Godsend. Olivia Applegate and Chase Joliet are two of the most professional and driven actors I've ever worked with. I can't wait to watch them soar even more in the world of entertainment. Anyone would be lucky to work with them, and it just so happens the lucky one is ME this time! ** BIG SMILE **

Our cast and crew has kicked butt in pre-production so we're excited to start shooting Visible Noise next week. Our DP, Greg Risley, even flew to CO to do prep work with me a couple of weeks ago. What we lack in $, we make up for in heart. And I think that can make for an even better picture.

Thank you, team, for making this a wonderful experience for me and everyone you're working with. I can't wait to see you in Austin next week!!

Happy Thanksgiving, Friends!

Actors - Olivia Applegate and Chase Joliet, Photography by Greg Risley

Visible Noise

noreply@blogger.com (Jentri) — Mon, 25 Nov 2013 05:41:00 +0000

It's exactly one week until I land in Austin for our cast/crew meet and greet before we shoot our short film, Visible Noise. I'm elated. Working with my dream team is so satisfying. Equal to that of a Thanksgiving meal.:)

Featuring Olivia Applegate and Chase Joliet. Photography by Greg Risley

Film-industry hyphenates: Questions to ask yourself before making your film

noreply@blogger.com (Jentri) — Thu, 14 Nov 2013 19:26:00 +0000

Hi, Film-industry hyphenates!

I've said it a thousand times. A good producer is one that asks you the right questions to move things forward. Same with a script consultant. They don't tell you WHAT to do, they ask the right thought provoking questions and allow you, the screenwriter, to improve your story. Luckily, with Lorie, I have both. Here are some questions that Lorie asked me before my pre-pro weekend with my DP, Greg Risley, working on Visible Noise. My hope is that these questions will inspire you the way they inspired me and guide you in our journey to making the important decisions that will shape and enhance the story you tell on camera.

I've edited the email below so that it will make sense when applying it to YOUR story. :)

1) Do you have a vision or through-line for a compositional, pacing, rhythm progression?

2) Is there a visual progression? What is it? Is it static, smoother shots for the earliest segment, progressing to jumpier, grainier shots by the end...? Or, static-to-moving shots...? ECUs to WSs, or WSs to ECUs...? High angles to low angles, or vice versa? Or, are there any tropes from other movies that you might want to work with?

3) What about blocking within the scenes/compositions? Do you want to/plan to play with focus and/or physical obstacles within scenes?

4) Subtextually, what do you want the difference, or dynamic, to be between the characters in the scenes? Will it start off being his or her POV? Or, will the POV always be the audience's, of the "fourth wall?"

Obviously these aren't all the questions you'll ask, but it's a good place to dive in if you're just starting the process of figuring out which visual direction you want to go... and that will be a matter of style, experience, and interpretation of script.

For me, it's important to be able to experiment with shots, angles, and colors with my DP prior to our shoot.

Here's a bit of what we came up with for Visible Noise:

"It looks like a lot of our movie will be handheld, but we will use tracks and other techniques for select shots, as well as different lenses to achieve our mood. Tone wise, we came up with Requiem for a Dream meets The Notebook.

We will also be moving in slow at times, and getting footage for jump cuts where it feels right. The contrast between the two worlds will shift back and forth between our flashbacks (aka romantic, soft, brown/green) that are shot at a slower rate and Story's "real world" that's razor sharp (when on her). Although her world is increasingly out of focus by the time we get to the last scene. We don't reach levelness and clarity again until she has the moment/dialog with Ryan. We decided that this contrast is our visible noise, along with the sounds that will be over-emphasized along the way. We also are choosing a subtle spiral movement that we'll implement into our shots, and occasional tilt shots (dutch angle) to convey a disorienting effect and Story's spiraling.

All of the noises appear louder and more annoying to Story as she spirals. Our idea was that in addition to her phone vibrating while she's lying on the couch in mourning, we'd also hear a LOUD knock at the door. We cut to a mail guy who's knocking normally with the same rhythm to show the difference in our reality's noise and HER reality."

This was also the first time I was able to video the entire film (24 hour film style, without lights/all the actors) prior to shooting to obtain similar shots we wish to get on set. The video also serves as a storyboard, as it's easy to extract still images (thank you, Greg). This prep work is all a matter of personal preference, but having never used a storyboard before, I'm excited to try it. One thing is for sure - it'll never hurt to be over prepared. But the last thing you want your crew to do is WAIT ON YOU if you're not. And my stick figures were a disgrace to stick figures. That's all we'll say about that.

With doing all of this work in pre-production comes a sense of confidence and that's priceless. I highly recommend it, if you have the option. Happy filmmaking!

xo J

Advice to Actors

noreply@blogger.com (Jentri) — Tue, 29 Oct 2013 19:23:00 +0000

Hi Guys! I'm writing this blog because a producer friend thought it would be a good idea, since I've had lots of recent interactions with actors and casting for our short film, Visible Noise. I've held casting auditions for all my other films, but this one's different. Since I currently live in CO but we're shooting in Austin, TX, that puts a physical barrier between myself and the actors I need to cast for our film. So the majority of my casting has been online - even auditions.

After posting a casting announcement for one of the roles, I received over 30 submissions within one day. That's AWESOME, but overwhelming. Out of respect to all the entries and people who took time to send me ALL the info I need to make a proper decision, if they gave me a reel - I watched it. But through the process, I felt frustrated many times, and I'm about to tell you why. It's not to vent (I've already done that with Jeff and Lorie) but it's so that hopefully you, the actor, will learn something about the other side of production that will enable you to have the best possible chance at getting the role!

1) If you don't have a picture on IMDB, it's hard for me to take you seriously as an actor. I know it's $13/mo., but if this is your true passion, figure out a way to get it up there.

2) If you send me your head shot and resume without a reel, you will fall behind those that do. And I may forget to go back to you! So, please, send any video you have. It's better than nothing.

3) When you send a note with your submission, I want to be able to tell you are genuinely interested in the project without a bunch of questions attached to it. I'm a very nice person who wants to respond to everyone, but I've got 100 other people to look at, so your questions most likely will not be answered.

4) Always be kind to EVERYONE you work with, even if they're not your cup of tea. Here's why - if you say you know Gary, I'm going to contact Gary immediately, if you're a potential candidate, and see how Gary liked working with you. :)

5) If I have trouble opening your files, or I'm directed to another page and can not easily find a link to your reel or other, the likelihood is that I'll leave and won't return.

6) Sometimes I receive reels where there's multiple actors in the first take for long periods of time... I understand that there's set-up for your scene, but if I'm confused at who I'm supposed to be watching, I will probably just leave.

7) Have a versatile Reel - in auditions, you have a chance to prove your ability to adapt to any character, but if I'm casting for a dark drama remotely, and all you send me is comedy stuff, it's hard for me to view you as anything else. I have actor friends who have had a lack of work for a reel, so they created the versatility themselves by making up scenes and shooting them.

8) Be accommodating. I understand that you have another job, (or two) as we all do, maybe you're in college, and have a million other projects (hopefully) in the pipeline, but if you don't ACT like you're willing to do whatever I ask that I need from you to make the best decision, then it's a turn-off. Especially when there are so many other applicants showing serious interest.

I hope this helps a little!

Feel free to add to this if you're a seasoned actor or casting person, as this is just my experience!

xo Jentri

Doug Burr to create original music for Visible Noise

noreply@blogger.com (Jentri) — Sat, 26 Oct 2013 01:22:00 +0000

Well, it's finally happened. I've won the lottery. I asked one of my favorite singer-songwriter's from Denton, TX, Doug Burr, to consider writing original music for our short film, Visible Noise this year. This morning, to my surprise, I awoke to a music sample from the artist himself. All I can say is, I've hit the jackpot. This guy's got serious talent, more than I could ever truly afford on any of my little passion projects. I'm just so grateful he felt a connection to the material so he could offer this magical, creative touch. **Still smiling.**

If you need a gift you can continue to enjoy year-round, his music is available to purchase online. I proudly have all his albums.:)

www.dougburr.com

Can't wait to work with these actors!

noreply@blogger.com (Jentri) — Sat, 05 Oct 2013 16:20:00 +0000

We'll also be casting our lead male for Visible Noise in the next two weeks, so stay tuned!!!

Olivia Applegate - Story (lead actress)

Matt Roszak - Ryan (co-star)

Welcoming our lead actress, Olivia Applegate

noreply@blogger.com (Jentri) — Wed, 02 Oct 2013 19:04:00 +0000

We're so excited to have cast the wonderfully talented actress from Austin, Texas, Olivia Applegate, in our new short film, Visible Noise. BIG THANKS to Gordy Hoffman (from BlueCat Screenplay) who connected us!!

She may look a little familiar... if so, it's because she can also SING beautifully, and made it to the far rounds of America's Got Talent. She was recently "Emma" in Terrence Malick's untitled feature, too. All I can say is watch out for this one, World - I've seen audition tapes - and beauty aside, this gal can ACT.

She'll be moving to LA in January, so I caught her just in the nick of time... lucky me.

SO READY TO ROCK THIS WITH YOU, OLIVIA!

Indie Filmmaker's Survivor Mentality

noreply@blogger.com (Jentri) — Thu, 26 Sep 2013 17:26:00 +0000

Survivor mentality applies to many of us indie filmmakers on a daily basis, and for good reason. Many times, we don't know what our next job will be. And we've been working on our "baby" project(s) now for five plus years.

It wasn't until my friend/producer, Lorie, called me out on this mentality recently that I began to emerge from that stifling state of mind and be fully present.

Truth is, having a survivor's mentality is probably healthy most of the time. It keeps us moving - lights the flame underneath our asses. But we have to understand when to (temporarily) let it go, so that we can be fully in the moment and create our current piece of art the way it's intended, and with our full attention. If we're always working toward the next big project, how can we fully respect the current process?

This year, we are blessed to receive funding on a short film. My initial internal thought process kept pushing me to talk about brain storming for the next film project, even though there are a million things to be done on this one - NOW. What about Lost In Sunshine? And our Fucked Up People Series? By doing this, I was not being completely present for our current project, Visible Noise.

Feel me?

Part of this mentality is the anxiety telling us that we need to "worry" about our next gig because the one we're working on will eventually be over... then what? The other part of this mentality is trapped by fear. Fear that if we don't have something else in the pipeline, we'll be left stagnant.

What I had to realize is that if we've been working for five years on one project, (i.e., Lost In Sunshine) we know what's up. Just like you know what's up with yours.

Trust that all the valuable work you've done (thus far) has lead you to your current work situation, (whatever that is) so your preparedness is a given. Enjoy the work, and hang on for the ride! It's not everyday us indie film people get paid to do what we love, so when we DO, let's DO what we're being paid to DO best and create the art that someone has unequivocal faith in us to produce. Let's face it, there's no ROI with a short film and most labor of love projects. It's all for artistic growth. This is the train we've chosen.

So don't let the survivor's mentality rule you. You deserve to relish every moment of your present dream that's just a stepping stone for more to come.

xo Jentri

Choosing a camera for our short film, Visible Noise

noreply@blogger.com (Jentri) — Thu, 05 Sep 2013 17:34:00 +0000

So I've been thinking about what camera we should use for the short film, Visible Noise, that we're shooting in Austin later this year, and I remembered our LIS DP, Iskra, writing this very informative post in 2010. Still relevant, I thought I'd take the liberty of re-posting it for those who didn't get to see it. Enjoy! J

Iskra, on the RED ONE vs. DSLR's for Lost In Sunshine

I actually started thinking about DSLR's for LIS, too, after hearing about the camera budget cut initially.

I have shot a couple short films on both the 5D and 7D and have discovered that yes, the DSLR is indeed a revolutionary tool allowing no budget filmmakers to shoot their projects in 1080 resolution with beautiful Canon lenses; also commercial and music video shooters whose product is intended for the web. The low profile of the camera is also attractive - you can get some shots that you wouldn't be able with other formats because of its tiny size. It's a quick and cheap way to get cool looking images.

The camera does have a lot of issues though and here are the ones which concern me the most when it comes to theatrical feature shooting:

- The image is extremely compressed (H264 codec which is the one used for web streaming). This means we have no room for color correction in post. We get what we get in the camera. This is a concerns since we have so many uncontrolled lighting situations (exteriors, car scenes etc.), and will probably be doing a lot of running and gunning since we don't have a huge lighting crew or budget. In contrast, the Red shoots in 4K in Raw (uncompressed format) so we get waaaay more resolution and color and contrast range. There is no comparison between the 2 images really.

- Focus is a big limitation. First of all, because you shoot with still lenses as opposed to film lenses. The marks on a still lens are very close together since they aren't meant for pulling focus in the shot. 3ft to infinity are literally next to each other as opposed to being on opposite sides of the barrel. In addition, you can't set focus marks because digital Canon lenses simply roll through (every time you make a complete turn of the barrel, you lose your marks). Focus pullers hate these still cameras because they make their job impossible; especially if the subject or camera are moving. If the subject AND camera are in motion, forget about sharp focus...

In my experience, a lot of times it's easiest for the operator to pull focus and you just have to live with the fact that you do more takes until you get lucky (there is no consistency whatsoever). It can be very frustrating, especially in a dramatic setting where you have to get your actors a certain place, and don't want to do a whole lot of takes.

In contrast, the Red uses cine style lenses, so we can use the traditional workflow of setting marks, rehearsing, and shooting and then having the image consistently in focus (provided we have a professional doing that).

When they use DSLR's on big budget films, they usually will modify the lens mount (Panavise it or make it into a PL mount) so that cine style lenses can be attached and then that makes it into a completely different tool. They can also afford remote follow focus controls.

- Monitoring is still in a very rudimentary stage. You can only get one HDMI video out, and if you use it (for director and scripty and lighting and everyone else), the operator's monitor is lost! So shooting with this camera will work provided we are ok with only the operator having access to the monitor consistently. We can switch to the director's monitor occasionally for checking framing but it would be impractical to lose the operator's monitor unless the shot is a lock off.

I would definitely recommend renting an LCD screen because the one from the back of the camera does not flip out like a camcorder, it's fixed, so you can only operate properly with it at head level. The Red has no such issues. You can have the eyepiece for the operator, the LCD screen for the focus puller, and a director's monitor all on at the same time.

- Overheating.
I've noticed that if a take is longer than 8-9 minutes, the little thermometer icon comes up and then at about 10 mins, the camera will shut off due to overheating. This happens even sooner if you shoot high speed. And this is during winter season in Austin at 75F. This is because there are no fans installed in the camera. The body is so small that there is virtually no space to attach ice packs.
The Red has a similar issue but it will only happen at 110F after several hours of operation when the fans cannot keep up with the ambient temperature. The Red's body is large enough to lay an ice pack on top, and then overheating is not an issue.

- Dropped frames.
Sometimes, the camera will "hiccup" and drop a frame, and sometimes you can't tell this happened until your review the footage later in post. This happens when it is close to overheating but unfortunately there is no warning and impossible to prevent.

- Sound.
The only issue is that we can't jam sync time code. It will be like shooting double system, but we can still get reference sound which makes it easier to sync in post.
With the Red you can jam.

- Post.
At this point, as far as I know, you can't edit H264 so you would have to render all the quicktimes before cutting.

You can still preview them in Quicktime, just can't edit right away in Final Cut.
There is a Final Cut plugin now that allows you to import Red footage straight into the timeline.

To know what you are really getting out of it, the image would have to be projected. The trick with these cameras is that you usually look at the footage on youtube but it's a different story when you project it in HD on the big screen. Lenses also will make a big difference. I've seen some really cheap plastic Canon lenses out there, so testing those will be very different from quality glass.

While the 7D is a cool toy to play with and experiment on projects with low stakes and low pressure, I think at the present moment, the Red is a lot more appropriate for shooting a theatrical feature where you need a reliable and consistent tool every day to get the movie in the can. DSLR's will probably be closer to its quality several generations later. We live at such an exciting time for digital filmmakers!

Hell, if we wait until September, we might be shooting on the Scarlet which would be practical to purchase for a production. And the Red camera series will be upgraded to the MX sensor which has no noise whatsoever at 2000 ASA. Now that is revolutionary, isn't it.

Iskra

Reviewers Advise Filmmakers

noreply@blogger.com (Jentri) — Wed, 31 Jul 2013 00:02:00 +0000

Great info from filmmakermagazine.com

Filmmaker: What should a filmmaker do to increase their chances of getting their film screened?

Mark Bell, Film Threat:

If you want the film seen, make it as easy as possible for me to see it. Screeners are one way to do that. I know it’s not always popular to have screeners available, everyone wants their film seen in the theater and there’s that fear of piracy, but it makes it so much easier to give coverage when it isn’t dependent on a festival’s screening schedule. I’m a professional, I’m not going to pan a film and not “get” it because I saw it in the office as opposed to the big screen, and I’m not going to risk my reputation, and job, pirating your film.

Laura Blum, Film Festival Traveler:

Wise filmmakers will smoke out a list of reviewers who have a weak spot for comparable films – whether ginned by genre, cast, topic, sensibility or, of course, filmmaker – and zoom the reviewer a persuasive info-rich note with a link to the website and trailer. Aggregate sites such as Rotten Tomatoes and Metacritic can be a handy first tier of research.

Filmmakers are well advised to attend festivals and events where critics huddle, and to work the room. To mention but one example, Shahar Cohen sat next to me at the AFI Docs (then called Silver Docs) screening of his film Souvenirs and our crossed paths at that night’s party. We bonded. I not only interviewed him for FilmFestivalTraveler.com and other outlets, but also recommended the film for national cineclub Talk Cinema and a Wesleyan University festival where I was speaking.

Lastly, budget permitting, there’s nothing like a good gimmick. To quote veteran publicist Joe Libonati, “Shipping pastries through the mail is always a good way to get attention.” He’s right. When I was at Adweek, Libonati FedExed me a cannoli, which moved me to blog about both the unlikely swag and the NBC Universal media property it was meant to flak.

Dusty Wright, Culture Catch:

Make movies that are unique or at least offer a unique perspective, whether it’s an original screenplay, compelling documentary, or an amazing novel that gets optioned and produced. Avoid the SOS. Neither a star nor director can rescue a bad story/script. Stay true to your vision; don’t compromise it. And study the great masters and their movies. Understand why their narratives worked, why we loved their characters, why we cherished that time we spent in a big, dark room with 200 other strangers transfixed by the experience.

Michael Tully, Hammer to Nail:

I really think that embedding oneself in the independent community in a casual, organic, and not desperate-seeming, way, is the best approach to making sure that when you finish a film, people will genuinely want to check it out. I should clarify that if this sounds like I’m talking about brown-nosing or schmoozing, I’m really not. I just think that it’s an unavoidable fact: if people don’t know you or your work, they will have less of an impetus to track it down. But removing the social aspect from the discussion, what it really comes down to is this: if you make a film that stands out from the pack in some way, shape, or form, it will be seen, programmed, written about, and hopefully released publicly in the sooner than later future. It will be appreciated.

Lauren Wissot, Beyond the Green Door:

I wrote “Five Tips for Approaching Festival Press” specifically to address this issue. To sum it up: make it ridiculously easy for me to view your film, if possible offer online screeners unsolicited, try to add the personal touch, don’t attempt to impress me with my colleagues’ raves about your film, and – like in life itself – never expect any guarantees.

*Baal will have its U.S. premiere at New York’s Lincoln Center on August 3.

What are you doing when you're not filmmaking?

noreply@blogger.com (Jentri) — Mon, 24 Jun 2013 19:16:00 +0000

It's easy to get depressed while sitting in a cubical or behind a corporate desk job when all you want to do is daydream about a scene you want to write next, film class you want to take, or a shot you want to experiment with via some new equipment you bought last week, when you get some free time. Sure.... FREE TIME. *Laughs out Loud*

I think it's important that we remind each other that we usually all have multiple jobs, and that's OK! You'll get there. If screenwriting, and film-making were easy, everyone would be millionaires doing it. The truth of the matter is that most of the film folks I know have multiple jobs. Some have "day jobs", others have "side jobs." Whatever way you choose to look at it - we all work, but there are smarter ways to work when you're a film-maker.

When trying to mold your life into a flexible one where you can make time for (ALL) the things you love, I'd like to offer you this advice: Find a job that either has pockets of emptiness, or a job you can (eventually) do a few days a week. I've worked at a motel, waited tables, been a receptionist, makeup artist, the list goes on and on. I got my degree in RTF, only to find out I wasn't able to make money right away doing what I loved doing. So I found another love - skin care. Like waiting tables, most busy days are the weekends. But I can give up my weekends when I know I'll have Monday - Wednesday to work on my screenplays. You feel me? If you work at a motel/hotel, chances are there will be long periods of nothingness where you can write, too... or a find a receptionist job that's low key. Be a nurse where you can work four long days and make great money. Or be an independent contractor - photographer, graphic designer, freelance writer, makeup artist, etc. where you can charge more per hour and work less.

When I'm not making movies, I'm providing the world with nurturing skin care services and products in my North Boulder studio. I love helping people, had a background in freelance makeup, enjoyed making my own skin care products as a hobby in my kitchen, so this was naturally a great fit for me. I just had to look deep and listen...

What are you currently doing to make ends meet, my hardworking little Fire Ant?

xo J

Lost In Sunshine: Then and Now

noreply@blogger.com (Jentri) — Thu, 06 Jun 2013 01:33:00 +0000

Below is an article I wrote in 2011 about Lost In Sunshine that was featured on the independent channel, Film Courage. Since it's been a couple of years, I thought I'd take the liberty of adding on to our story and updating you of our status. Reading it reminds me of why I continue this journey, and why you should, (continue yours) too.

A lot of people wonder if Lost In Sunshine was written after my life. The short answer is “no,” but it certainly was a response to it.

The idea.

My life’s been a series of ups and downs, most of which I feel have contributed to the richness of what I am able to bring to the writing table. My losses have taught me there will be light at the end of the tunnel, and to laugh when I feel like crying. I no longer feel the angst I once felt from holding on to my past. I had an epiphany that if I knew how to rewrite my story, then I could somehow do the same for Lyn in Sunshine, in a different way. I felt deeply inspired to tell the story of a woman’s journey – however imperfect, crazy, or deluded she might be. After all, I think there’s a little bit of delusion in all of us.

Two years and 15 drafts later, I contacted script consultant and (my now)
producer, Lorie Marsh, to help me wrestle the story to its essence. With her
help, the full story budded its way to fruition in 6 more drafts. I then felt ready to carry it with me on a trip to LA. I was able to get the script in front of a popular TV actress in Hollywood, who vibed with the story, and was excited at the idea of playing “Lyn.” From that point on, I came back to Austin with a new resolve – I would make this film, no matter what. Lorie, who had been consulting on the project for months, offered to come on board as its producer. We slept on the notion. And the next morning - production-magic began.

Production.

We were planning for “action” by the end of 2009, but it hasn't turned out that way.

We were fortunate to have our first investor early on, who believed in the quality of our business plan, connected to the story, and the message we were trying to tell. And, though we had a fabulous crew committed and interest from actors, too, we needed more money.

We were disappointed and frustrated when things didn’t line up, but it wasn't in the stars, yet. We've never lost hope. We look at our project as a whole, and for every “no” we just say, “no, not that way.” Forward march.
So, what did we focus on? We spent the next year implementing a website, Lostinsunshine.com, to engage our audience.

Experimenting: Social Media and Transmedia.

From the time we decided to make LIS, engaging our audience early was always a priority. By creating a blog by our chronically malcontented heroine, Lyn, from the beginning, we hoped to let our audience have a sneak peak at the girl behind small-town Sunshine, Texas.

Soon afterward, I also began writing bits and pieces of a self-help manuscript-in-progress from our hero, Bob, a desperate optimist.

The idea was to create a world around our movie-to-be that would expand upon the narrative as a whole - a transmedia approach. In addition to a Lost in Sunshine Facebook page and several Twitter streams, we wanted to experiment with online fiction and other forms of digital storytelling (videos, short stories, interactive games). Indie movie distribution and consumption paradigms are shifting, thanks to surges in digital media capacities and mobile platforms; we want to have content available wherever our audience wants to consume it.

A year after we launched Lostinsunshine.com, we debuted a redesigned site on February 1, 2011. We learned that we needed to refine our interface and site layout to make it more obvious to visitors that there is a fictional, story-world section and a real-world, behind-the-scenes section. We recognize that our audience doesn't know the term, "transmedia," nor do they really care. But, a little interactive quiz on the Home page? (Maybe) That's fun, and memorable.

We're further embracing transmedia in our crowdfunding campaign on
IndieGoGo Feb. 1 - March 4th by offering donors opportunities to add content to the online story-world as our Perks

It's all a big gamble, the focus and efforts we've put into setting ourselves apart with our website "channel" approach for Lost in Sunshine. But, it's been something we DO have control over. And, it shows prospective investors or co-production companies what we can do.

Moving Forward: 2013

This is where the article stopped a couple of years ago. With modest Indiegogo success in 2011, and a lack of audience participation, we have since learned to rewire our sound. We've had many ideas about how to expand our story, and inject it into the hearts of those who might want to experience it, but there are many factors that come into making a vision a reality. For us, our restraints have mostly been monetary. Neither of us were born rich, or with a rich uncle, but we're definitely rich in spirit. We mustn't let go, if our vision's ever going to blossom.

In 2012, the talented and funny actress, Nadine Velazquez re-entered our circle and became verbally attached to LIS (again). My heart is really happy about that.

Our most current project, Fucked Up People, is a web series set to be filmed in 2014 on a much more affordable budget. It's inspired by the main characters of LIS, Lyn and Bob. Both are beset by troubles of their own making. Lyn is profane, unfiltered, and unhappily married and employed. Bob is warm, chatty, and a married father and gambling addict. The series will present “fucked up people” that Lyn and Bob must deal with in their respective lives, while uncovering how each of them are messed up, themselves.

We're in the final stages of solidifying the first season's script, and then we'll hit "GO" with our production efforts. In addition, we're working on turning LIS into an e-novel and making it available online. The idea is to give people a choice as to how they'd like to view our story world.

With this web series and e-novel, we hope to build, (re)connect and engage with our audience, and give them (more of) a reason to support our feature film.

Sometimes the efforts seem daunting, but if you've ever thought of giving up don't worry, you're just human. What makes you super human is your ability to hang on, even when it feels hopeless.

Hopefully yours,

Jentri

___________

What I Know for Sure Quest Documentary

noreply@blogger.com (Jentri) — Thu, 02 May 2013 22:34:00 +0000

It's been a long time coming...watching clips that go back as far as 2009 roll a voice of reality and perspective through my head. Movie making of any kind is a life-long test of patience. This is particularly difficult if you're a Scorpio, like me. The process will test your patience and skills on every level. It even tests your confidence, and keeps any ego in check. What ego? :) What is here today can be gone tomorrow. What is not here here today can arrive tomorrow. It's all relative to the business. More commonly than ever, I hear about films taking 7 plus years to complete. It can be a matter of integrity, money, logistics, or resources, but it's always a matter of time. You're a product of movie making, just as the movie is a product of you - both breathing and living as one. I'm excited an honored to be able to give you this little piece of me this year in What I Know For Sure (Quest for the Cosmos). We explore a question I've contemplated all my entire life. Here's our extended trailer. Enjoy!! xo

Location Scouting for Fucked Up People

noreply@blogger.com (Jentri) — Mon, 25 Mar 2013 17:41:00 +0000

Well, we're several drafts into the first 12 episodes of Fucked Up People (series based on Lost In Sunshine's characters) for our main character, Lyn, and soon to be working on Bob. Now it's multi-tasking time! Yesterday, we did a little location scouting in Boulder. It's the first of many motels I'll be scouting for our main location in the series. That is, if we shoot in Colorado! There's still a chance we'll be shooting in TX or CA, based on cast, crew and logistics. But first - I must nail down script material, as my wonderful producer, Lorie Marsh, likes to remind me. :)