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Selasa, 21 Desember 2010
It’s all about practice
Welcome to the final post in Howcast’s Modern 101 for Emerging Digital Filmmakers. On Friday, October 1, we kicked off our series with Embracing exploration: being a filmmaker today and today we’re wrapping up with a video co-produced with Tribeca Flashpoint Academy, How has the web changed film school?
Over the course of our series, we shared breakfast with our Howcast Emerging Filmmakers and learned instant gratification is a huge benefit to being a web filmmaker; we offered up a digital roadmap for filmmakers; sat in on Shooting People’s Ingrid Kopp’s Digital Bootcamp; talked with some producers about how the web is changing film festivals; and outlined one filmmaker’s plan of attack for distributing and promoting his short documentary. (Plus, lots more!)
We felt it was fitting to end up at the beginning of a film career -- talking to current film students and professors about how the web complements a formal film education and how web filmmaking will fit into students’ careers after graduation.
As the students at Tribeca Flashpoint Academy explain in their video, they watch hundreds of hours of web video each week and they upload regularly. The web is giving them a chance to learn how audiences respond to their ideas and their professors see it as a viable venue for quality work. This is exciting news for filmmakers everywhere. Whether you’re in school or not, the web’s vast network of videos, collaborators, and viewers is reachable within minutes.
There has always been one thing about film school that can’t really be summed up in a course catalogue and a filmmaker can’t get working in a vacuum, and that’s the chance to fine tune your craft amongst other young creators and veteran professionals. Create, share, get feedback, create again. It’s all about practice. This chance to practice was really only previously available to a small few with the resources to access equipment and education. Thanks to technology, today a filmmaker anywhere -- in film school, in high school, or even a hobbyist -- can see an innovative video, be inspired to make their own, upload, and get insight from a worldwide community of filmmakers. To me, that’s been the most important lesson we shared in our blog series.
Happy holidays and happy shooting!
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “I Hope This Gets To You”.
Over the course of our series, we shared breakfast with our Howcast Emerging Filmmakers and learned instant gratification is a huge benefit to being a web filmmaker; we offered up a digital roadmap for filmmakers; sat in on Shooting People’s Ingrid Kopp’s Digital Bootcamp; talked with some producers about how the web is changing film festivals; and outlined one filmmaker’s plan of attack for distributing and promoting his short documentary. (Plus, lots more!)
We felt it was fitting to end up at the beginning of a film career -- talking to current film students and professors about how the web complements a formal film education and how web filmmaking will fit into students’ careers after graduation.
As the students at Tribeca Flashpoint Academy explain in their video, they watch hundreds of hours of web video each week and they upload regularly. The web is giving them a chance to learn how audiences respond to their ideas and their professors see it as a viable venue for quality work. This is exciting news for filmmakers everywhere. Whether you’re in school or not, the web’s vast network of videos, collaborators, and viewers is reachable within minutes.
There has always been one thing about film school that can’t really be summed up in a course catalogue and a filmmaker can’t get working in a vacuum, and that’s the chance to fine tune your craft amongst other young creators and veteran professionals. Create, share, get feedback, create again. It’s all about practice. This chance to practice was really only previously available to a small few with the resources to access equipment and education. Thanks to technology, today a filmmaker anywhere -- in film school, in high school, or even a hobbyist -- can see an innovative video, be inspired to make their own, upload, and get insight from a worldwide community of filmmakers. To me, that’s been the most important lesson we shared in our blog series.
Happy holidays and happy shooting!
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “I Hope This Gets To You”.
Jumat, 17 Desember 2010
Case Study: Building a campaign for a short documentary using YouTube, Facebook and other sites
Last week in our ongoing Howcast series on filmmaking in the digital age we talked about how the web is changing the traditional path toward film festivals. This week, we bring you an interview with filmmaker Sam Kauffmann whose films have screened at festivals all over the world and who is using the web to distribute his latest short documentary, ACT out against SAT.
I ran into Sam at the United Film and Video Association conference this summer. He was one of my professors at Boston University about 15 years ago, a time when we didn’t even shoot on video let alone consider “uploading” anything to the web. It was really exciting to talk with him about how our careers had evolved in this digital age.
How is the project different from your previous work as a documentary filmmaker?
ACT out against SAT is the first documentary I’ve ever made that uses an on-camera reporter to anchor the film. In all my previous documentaries I’ve purposely avoided using any on-camera talent, because to me the “talent” always gets between the audience and the subject. What’s different about this project is that I collaborated with my daughter Allie, who is 17 and a high school student. Not only does she have a really good camera presence, but she’s also going through the college admissions process and taking the grueling standardized tests.
What are your goals for this project?
Our goal is simple: we want people to reevaluate the use of these standardized tests for both scholarships and college admissions. We’re not saying all standardized tests are wrong, but that these are. Any tests that are so coach-able — meaning you can teach someone tricks — are inherently flawed. What happens is that people with money can buy the best coaches and get the best results. The results are based on economic class rather than merit. Seems sort of un-American, right? So we hope that people will see the film, study the material on our website and sign the petition to change the way colleges use these tests.
You’ve decided to use the web as your main distribution outlet—what is your plan of attack? Can you explain your model?
This is above all a campaign and the film is one part of it. The film is only nine minutes long for a reason; we wanted something that worked well on the web. In the past, I might have created a stand-alone documentary of 30-60 minutes to handle this topic. Now I think it’s better to make a much shorter film and combine it with a really informative website. We actually have four elements to the campaign: the film, the website, a Facebook page, and a petition. The hope is that the film will attract attention to the website; the website will provide lots of information and links to other sites; and the Facebook page will help us attract a much larger audience to both the film, the website, and the petition. This project will become bigger and more powerful when people add their stories and experiences to the campaign.
Can you tell us why you you’ve decided to approach distribution this way?
In 2007, I made a short film called Massacre at Murambi. It screened at over 30 film festivals all over the world, including Seattle and Slamdance. It was aired nationally on PBS. But its biggest audience has been, and still is, YouTube. More than 870,000 people have watched this serious film about a serious topic. Clearly if you want an audience for your short film, YouTube is the way to go. To try to make real change you need a good website, the power of social media and YouTube.
As a filmmaker who is experimenting with this model for the first time, do you have any advice for other filmmakers who are looking to use the web to distribute, promote, engage and launch careers?
I think it’s important to put together a small but dedicated group of people to help you do this. There is too much work involved to do all this by yourself. There are other people much better at some things than I am. My team includes my daughter, and current and former students, including some talented folks at Push Partners. If you don’t have money to pay, barter your producing, directing, shooting or editing skills in exchange for their skills. Stay together, stay loyal to each other, and as your careers advance, you’ll all benefit from each other’s success.
Next week, Howcast will conclude its semester-long series, a Modern 101 for Emerging Digital Filmmakers, with a video produced in conjunction with Tribeca Flashpoint Academy students and professors -- How is the web changing film school and the career paths of young filmmakers? Stay tuned!
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Cat Diaries: The first ever movie filmed by cats”.
I ran into Sam at the United Film and Video Association conference this summer. He was one of my professors at Boston University about 15 years ago, a time when we didn’t even shoot on video let alone consider “uploading” anything to the web. It was really exciting to talk with him about how our careers had evolved in this digital age.
How is the project different from your previous work as a documentary filmmaker?
ACT out against SAT is the first documentary I’ve ever made that uses an on-camera reporter to anchor the film. In all my previous documentaries I’ve purposely avoided using any on-camera talent, because to me the “talent” always gets between the audience and the subject. What’s different about this project is that I collaborated with my daughter Allie, who is 17 and a high school student. Not only does she have a really good camera presence, but she’s also going through the college admissions process and taking the grueling standardized tests.
What are your goals for this project?
Our goal is simple: we want people to reevaluate the use of these standardized tests for both scholarships and college admissions. We’re not saying all standardized tests are wrong, but that these are. Any tests that are so coach-able — meaning you can teach someone tricks — are inherently flawed. What happens is that people with money can buy the best coaches and get the best results. The results are based on economic class rather than merit. Seems sort of un-American, right? So we hope that people will see the film, study the material on our website and sign the petition to change the way colleges use these tests.
You’ve decided to use the web as your main distribution outlet—what is your plan of attack? Can you explain your model?
This is above all a campaign and the film is one part of it. The film is only nine minutes long for a reason; we wanted something that worked well on the web. In the past, I might have created a stand-alone documentary of 30-60 minutes to handle this topic. Now I think it’s better to make a much shorter film and combine it with a really informative website. We actually have four elements to the campaign: the film, the website, a Facebook page, and a petition. The hope is that the film will attract attention to the website; the website will provide lots of information and links to other sites; and the Facebook page will help us attract a much larger audience to both the film, the website, and the petition. This project will become bigger and more powerful when people add their stories and experiences to the campaign.
Can you tell us why you you’ve decided to approach distribution this way?
In 2007, I made a short film called Massacre at Murambi. It screened at over 30 film festivals all over the world, including Seattle and Slamdance. It was aired nationally on PBS. But its biggest audience has been, and still is, YouTube. More than 870,000 people have watched this serious film about a serious topic. Clearly if you want an audience for your short film, YouTube is the way to go. To try to make real change you need a good website, the power of social media and YouTube.
As a filmmaker who is experimenting with this model for the first time, do you have any advice for other filmmakers who are looking to use the web to distribute, promote, engage and launch careers?
I think it’s important to put together a small but dedicated group of people to help you do this. There is too much work involved to do all this by yourself. There are other people much better at some things than I am. My team includes my daughter, and current and former students, including some talented folks at Push Partners. If you don’t have money to pay, barter your producing, directing, shooting or editing skills in exchange for their skills. Stay together, stay loyal to each other, and as your careers advance, you’ll all benefit from each other’s success.
Next week, Howcast will conclude its semester-long series, a Modern 101 for Emerging Digital Filmmakers, with a video produced in conjunction with Tribeca Flashpoint Academy students and professors -- How is the web changing film school and the career paths of young filmmakers? Stay tuned!
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Cat Diaries: The first ever movie filmed by cats”.
Jumat, 03 Desember 2010
Chief Household Officer: Using new media know-how to run your family
Ask any working parent and they’ll tell you they have two jobs; the day-job, and the one that takes up all the other hours of the day - that of “Chief Household Officer.” Today's multi-tasking CHOs are full-blown owner/operators of their households, employing all the same methods as corporations—from programming the daily calendar to Tweeting the kids home for dinner, from running weekly budget meetings to implementing long-term financial strategies.
“Chief Household Officer” is a new series, produced by Howcast and brought to the web by HP, that takes you inside the real-life households of these remarkable working parents and focuses on the cutting-edge techniques and innovative technologies they use to keep their families running.
New videos will be updated weekly, so be sure to check in each week for useful how-to information from decisive CHOs who have made taking charge of their families and homes truly a 'growth industry.'
Karen Cahn, Head of Sales, YouTube Partners, recently watched Gary ""Baba Booey" Dell'Abate Pitch on Jimmy Kimmel Live".
“Chief Household Officer” is a new series, produced by Howcast and brought to the web by HP, that takes you inside the real-life households of these remarkable working parents and focuses on the cutting-edge techniques and innovative technologies they use to keep their families running.
New videos will be updated weekly, so be sure to check in each week for useful how-to information from decisive CHOs who have made taking charge of their families and homes truly a 'growth industry.'
Karen Cahn, Head of Sales, YouTube Partners, recently watched Gary ""Baba Booey" Dell'Abate Pitch on Jimmy Kimmel Live".
Minggu, 28 November 2010
Uploading 101 with Professor Compressor
This week in Howcast’s ‘Modern 101 for emerging digital filmmakers’ we’re pleased to welcome guest lecturer, Professor Compressor. Professor Compressor is one of the most revered thinkers in web video and is renowned for his ability to compress and upload videos using the proper codecs, in the correct aspect ratios, and at the precise data rate, so that they look, as he would say, ‘wunderful!’ Professor Compressor comes to us through the magic of video all the way from an Indian archipelago via Eastern Russia to share his expertise on uploading great-looking web video.
Thank you for watching Professor Compressor’s compression video! Here you can find all the pertinent notes from today’s lecture:
What is a codec?
A codec is the format in which you compress your video. It could be a variety of different formats, but the most modern, powerful, and commonly used codecs are H.264 and MPEG-4.
Why H.264 and MP4 (MPEG-4)?
H.264 and MP4 are wunderful codecs! They allow you to have a tremendous quality video at a fraction of the file size. Lets look at a theoretical example:
You’ve finished editing and have made a beautiful 1920x1080 master file. But it is in the Apple Pro Res format, and is over 2GB. This file won’t work for the web. The video codec is too large and the file size is too big. Inevitably you will end up with a low quality video, because the master file is not designed and optimized for the web.
Take that file and transcode it into an H.264. Since web players are designed to work seamlessly with H.264, you won’t have to worry about choppy or corrupted playback. And H.264 encodes your video in such a way that you won’t see a noticeable drop in image quality. What you will see is your 2GB master file shrink to less than 500MB -- perfect for the web!
Help, my footage looks stretched or squished and there are black bars bordering the footage!
This is a common problem that results from uploading an incorrect frame size. When uploading, you need to make sure the video is in the correct frame size for the player. This could be a variety of different frame sizes, varying from SD to HD, so check your website’s FAQ on uploading for instructions. The most common frame sizes are: 640x360, 640x480, 720x480, 1280x720, and 1920x1080.
This problem could also result from an incorrect Pixel Aspect Ratio. Pixel Aspect Ratio (or PAR) can be a little confusing, but the simple way to think of it is that this setting tells your program what aspect ratio to encode your video, at the pixel level. It determines how the digital information is presented and viewed onscreen. I recommend square pixels for HD, PAL for PAL, and NTSC for NTSC, though this can vary.. The best option is to play around with this setting when exporting until you get your video looking pristine.
Help, my video looks muddy and detail is lost. My text looks almost pixelated and the video is generally very low quality.
Low image quality is usually due to a low data rate when exporting your video. When exporting your video, you’re given many options; one of these is data rate. Setting the data rate to automatic will usually result in the best image. It is also highly recommended to do a multi-pass encode. It will take longer than a single-pass encode, but it will result in a much smoother video with higher image quality.
Well, that was a lot of information! Digest it, experiment, and start uploading those WUNDERFUL videos!
Nardeep Khurmi, Howcast’s Post Production Specialist (a.k.a Professor Compressor) recently watched "Pygmy Jerboa".
Thank you for watching Professor Compressor’s compression video! Here you can find all the pertinent notes from today’s lecture:
What is a codec?
A codec is the format in which you compress your video. It could be a variety of different formats, but the most modern, powerful, and commonly used codecs are H.264 and MPEG-4.
Why H.264 and MP4 (MPEG-4)?
H.264 and MP4 are wunderful codecs! They allow you to have a tremendous quality video at a fraction of the file size. Lets look at a theoretical example:
You’ve finished editing and have made a beautiful 1920x1080 master file. But it is in the Apple Pro Res format, and is over 2GB. This file won’t work for the web. The video codec is too large and the file size is too big. Inevitably you will end up with a low quality video, because the master file is not designed and optimized for the web.
Take that file and transcode it into an H.264. Since web players are designed to work seamlessly with H.264, you won’t have to worry about choppy or corrupted playback. And H.264 encodes your video in such a way that you won’t see a noticeable drop in image quality. What you will see is your 2GB master file shrink to less than 500MB -- perfect for the web!
Help, my footage looks stretched or squished and there are black bars bordering the footage!
This is a common problem that results from uploading an incorrect frame size. When uploading, you need to make sure the video is in the correct frame size for the player. This could be a variety of different frame sizes, varying from SD to HD, so check your website’s FAQ on uploading for instructions. The most common frame sizes are: 640x360, 640x480, 720x480, 1280x720, and 1920x1080.
This problem could also result from an incorrect Pixel Aspect Ratio. Pixel Aspect Ratio (or PAR) can be a little confusing, but the simple way to think of it is that this setting tells your program what aspect ratio to encode your video, at the pixel level. It determines how the digital information is presented and viewed onscreen. I recommend square pixels for HD, PAL for PAL, and NTSC for NTSC, though this can vary.. The best option is to play around with this setting when exporting until you get your video looking pristine.
Help, my video looks muddy and detail is lost. My text looks almost pixelated and the video is generally very low quality.
Low image quality is usually due to a low data rate when exporting your video. When exporting your video, you’re given many options; one of these is data rate. Setting the data rate to automatic will usually result in the best image. It is also highly recommended to do a multi-pass encode. It will take longer than a single-pass encode, but it will result in a much smoother video with higher image quality.
Well, that was a lot of information! Digest it, experiment, and start uploading those WUNDERFUL videos!
Nardeep Khurmi, Howcast’s Post Production Specialist (a.k.a Professor Compressor) recently watched "Pygmy Jerboa".
Minggu, 21 November 2010
YouTube Holiday Solutions Center to the rescue
With Thanksgiving around the corner, another holiday season moves into full swing. Every year at this time, we see searches for cooking videos and turkey recipes surge on the site, and it’s one reason we’ve aggregated many great culinary videos on a single channel, the YouTube Holiday Solutions Center, which is back for its third year.
For 2010, we’ve spiced up this holiday destination with even more recipes and how-to tips, including:
This tasty and easy-to-follow stuffing recipe from Howcast...
Ideas to decorate your home for the holidays from Real Simple Network...
A guide to building a gingerbread house with the family from Epicurious.com...
We’ll be updating the channel daily, so make sure to check back regularly. We might just have that solution you’re looking for.
The YouTube Holiday Solutions program is brought to you by Target.
Lee Hadlow, Marketing Programs Manager, recently watched “How to Carve a Turkey.”
For 2010, we’ve spiced up this holiday destination with even more recipes and how-to tips, including:
This tasty and easy-to-follow stuffing recipe from Howcast...
Ideas to decorate your home for the holidays from Real Simple Network...
A guide to building a gingerbread house with the family from Epicurious.com...
We’ll be updating the channel daily, so make sure to check back regularly. We might just have that solution you’re looking for.
The YouTube Holiday Solutions program is brought to you by Target.
Lee Hadlow, Marketing Programs Manager, recently watched “How to Carve a Turkey.”
Jumat, 19 November 2010
How producing for the web can fit into a filmmaking career
Heather Menicucci, Director, Howcast Filmmakers Program, is writing weekly guest posts for the YouTube blog on filmmaking in the digital age. You can catch up on previous posts here.
After a little break last week, we’re back today to share a post I’ve been really excited about. When we first began planning this blog series I knew I wanted to interview an established filmmaker who could share their experience producing videos for the web versus other more traditional venues like television. Someone who has worked professionally across platforms definitely has some insight into what makes producing for the web unique and how it fits into a filmmaking career. This week, I’m happy to introduce Clayton Long, producer for the Bajillionaires Club, which has worked on television and web projects for companies like Cisco, Kodak, Travel Channel and made over 30 shorts for Howcast. Clayton grew up in Dallas and currently lives in Los Angeles.
1) Tell us what you do and you how you got started.
The Bajillionaires Club approaches each project differently. Some days I'm wearing the development hat; other days it's post-production, and others it's coordinating resources and communicating with clients. The guys I work with (Tom Campbell, John Erdman and Bryan Madole) are all brilliant creatives, so that makes my job easy. I surround myself with brilliant people and hope some of it rubs off.
We've been collaborating since grade school, making short videos for fun. In high school, we started making videos for our English classes. We modernized Hamlet and set it in a bowling alley. We made a redneck version of The Canterbury Tales. They were big hits and gave us the confidence to keep going. Everyone scattered for college -- I attended UCLA's Film, TV, and Digital Media Program -- then came back together.
2) When did you start making videos for the web and why?
Our first video was made when we were all living in an apartment together in Hollywood. One weekend we had a 35 MM camera package sitting around our apartment (which is, by the way, not a prerequisite for making a successful web video), so we decided to make a few commercials for Folgers coffee in the style of those old ads from the ’70s. They were very unique, and when we uploaded them on websites like YouTube, they attracted some attention. We built relationships with companies like Howcast, which led to other web-content related jobs. The rest is history. So yeah. Just for fun. But we definitely had an angle we were going for.
3) Are there things that work on the web that simply do not work in other venues?
Randomness works incredibly well on the web. Audiences are young, and they're interested in something new, different and weird. Spoof works really well on the web, though it can survive elsewhere. But why shell out the money to see Vampires Suck when you can laugh at that same one-note joke on the web done in two minutes?
4) Are there things that work for TV or film that don’t work for the web?
Sure. TV and film projects take more time to develop. They're much more polished, and a lot fewer of them get made. In short, there are a lot more rules. You must develop your characters with a certain timing, revealing bits and pieces as you go.
5) Describe your crew and equipment list for web video. How is it different from your crew and equipment selection for other projects?
Depending on the budget, we might use a 5D, 7D, T2i, or an HVX. Sometimes we just use a Flip or another low-cost HD consumer camera.
The budgets for web projects are smaller, so the equipment list is smaller and the crew is leaner. Crews can be anywhere from three people to 10, depending on the project. But we always light, and we often use dollies, cranes and other traditional means of making shots stand out, even if the camera we're using is the size of a cell phone.
6) What's your favorite web video?
Too hard to pick a favorite. “Muto,” “Cows & Cows & Cows” and “Independence Day” are great animated pieces. “Who Needs a Movie?” is still one of the best. I also recently saw a really weird video about horses by this band called L.A.Zerz. Can't find anything about these guys, but I dig their style.
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Abandoned Six Flags New Orleans Tour.”
After a little break last week, we’re back today to share a post I’ve been really excited about. When we first began planning this blog series I knew I wanted to interview an established filmmaker who could share their experience producing videos for the web versus other more traditional venues like television. Someone who has worked professionally across platforms definitely has some insight into what makes producing for the web unique and how it fits into a filmmaking career. This week, I’m happy to introduce Clayton Long, producer for the Bajillionaires Club, which has worked on television and web projects for companies like Cisco, Kodak, Travel Channel and made over 30 shorts for Howcast. Clayton grew up in Dallas and currently lives in Los Angeles.
1) Tell us what you do and you how you got started.
The Bajillionaires Club approaches each project differently. Some days I'm wearing the development hat; other days it's post-production, and others it's coordinating resources and communicating with clients. The guys I work with (Tom Campbell, John Erdman and Bryan Madole) are all brilliant creatives, so that makes my job easy. I surround myself with brilliant people and hope some of it rubs off.
We've been collaborating since grade school, making short videos for fun. In high school, we started making videos for our English classes. We modernized Hamlet and set it in a bowling alley. We made a redneck version of The Canterbury Tales. They were big hits and gave us the confidence to keep going. Everyone scattered for college -- I attended UCLA's Film, TV, and Digital Media Program -- then came back together.
A trailer for a film the Bajillionaires Club will be shooting in 2011.
2) When did you start making videos for the web and why?
Our first video was made when we were all living in an apartment together in Hollywood. One weekend we had a 35 MM camera package sitting around our apartment (which is, by the way, not a prerequisite for making a successful web video), so we decided to make a few commercials for Folgers coffee in the style of those old ads from the ’70s. They were very unique, and when we uploaded them on websites like YouTube, they attracted some attention. We built relationships with companies like Howcast, which led to other web-content related jobs. The rest is history. So yeah. Just for fun. But we definitely had an angle we were going for.
3) Are there things that work on the web that simply do not work in other venues?
Randomness works incredibly well on the web. Audiences are young, and they're interested in something new, different and weird. Spoof works really well on the web, though it can survive elsewhere. But why shell out the money to see Vampires Suck when you can laugh at that same one-note joke on the web done in two minutes?
4) Are there things that work for TV or film that don’t work for the web?
Sure. TV and film projects take more time to develop. They're much more polished, and a lot fewer of them get made. In short, there are a lot more rules. You must develop your characters with a certain timing, revealing bits and pieces as you go.
5) Describe your crew and equipment list for web video. How is it different from your crew and equipment selection for other projects?
Depending on the budget, we might use a 5D, 7D, T2i, or an HVX. Sometimes we just use a Flip or another low-cost HD consumer camera.
The budgets for web projects are smaller, so the equipment list is smaller and the crew is leaner. Crews can be anywhere from three people to 10, depending on the project. But we always light, and we often use dollies, cranes and other traditional means of making shots stand out, even if the camera we're using is the size of a cell phone.
6) What's your favorite web video?
Too hard to pick a favorite. “Muto,” “Cows & Cows & Cows” and “Independence Day” are great animated pieces. “Who Needs a Movie?” is still one of the best. I also recently saw a really weird video about horses by this band called L.A.Zerz. Can't find anything about these guys, but I dig their style.
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Abandoned Six Flags New Orleans Tour.”
Selasa, 09 November 2010
Howcast vlogger wanted!
Howcast is changing it up this week, and Heather Menicucci’s weekly series on filmmaking in the digital age will resume next Friday.
Help Howcast find our first video blogger!
We're looking for someone to produce, edit and host our new video blog taking a look inside Howcast and the world of how-to. This is a real, paid part-time gig in our NYC office in SoHo.
Want to show us what you can do? Tell us why you should be the face of our new series by submitting a video response on YouTube. Be as creative as you want as long as you highlight Howcast's how-to content.
Be sure to check out the full requirements below, which include a dynamic onscreen presence, availability to work in our New York office, and serious video shooting and editing skills. Entries will be judged on originality, charisma, technical prowess and YouTube user comments.
Sound like you? Maybe your best friend? Your cat? OK, maybe not your cat, but you get the point. Anyone could be harboring dreams of online video stardom, so spread the word!
And if you think you've got what it takes, submit your audition now:
Here's how to enter:
If you’ve got questions, e-mail vlog+casting@howcast.com.
Katy Zack, Communications Manager, Howcast, recently watched “Trash Machine.”
* Requirements:
Help Howcast find our first video blogger!
We're looking for someone to produce, edit and host our new video blog taking a look inside Howcast and the world of how-to. This is a real, paid part-time gig in our NYC office in SoHo.
Want to show us what you can do? Tell us why you should be the face of our new series by submitting a video response on YouTube. Be as creative as you want as long as you highlight Howcast's how-to content.
Be sure to check out the full requirements below, which include a dynamic onscreen presence, availability to work in our New York office, and serious video shooting and editing skills. Entries will be judged on originality, charisma, technical prowess and YouTube user comments.
Sound like you? Maybe your best friend? Your cat? OK, maybe not your cat, but you get the point. Anyone could be harboring dreams of online video stardom, so spread the word!
And if you think you've got what it takes, submit your audition now:
Here's how to enter:
- Visit YouTube.com/Howcast to watch the casting call video.
- Review the job requirements* and make sure you qualify.
- Create a vlog entry highlighting both Howcast’s how-to content (sample videos) and your own individuality. Don't forget to wow us with your shooting and editing skills!
- Upload the vlog entry as a video response on YouTube to this video here by Nov. 30.
- Send us the link to your video response and full contact information (name, phone number, e-mail, mailing address) to vlog+casting@howcast.com.
If you’ve got questions, e-mail vlog+casting@howcast.com.
Katy Zack, Communications Manager, Howcast, recently watched “Trash Machine.”
* Requirements:
- Fun, dynamic personality
- Great on-camera presence
- Availability to work in Howcast's NYC office at least 2 days each week
- Minimum one year commitment
- Video shooting and editing expertise, experience with Final Cut Pro or comparable editing software
- Bonus: After Effects experience
Jumat, 05 November 2010
Great videos on a budget: how to fake a zombie attack
Heather Menicucci, Director, Howcast Filmmakers Program, is writing weekly guest posts for the YouTube blog on filmmaking in the digital age. You can catch up on previous posts here.
Last week, we made some arguments for why quality matters in web video, and we heard from Howcast filmmaker Luke Neumann, who said that it matters “because you never know who’s watching.” Duh! Watching Luke’s videos, you can tell he’s motivated by much more than that, but as we said last week, it’s a good starting point.
Luke’s been making Howcast videos for about a year now and he’s got more than 50 under his belt. From the beginning, he impressed us with videos like “How To Yodel,” where he showed he could build a story around a simple script, work in some cool camera angles, and make us laugh. Last week we featured one of his newest spots, “How To Survive a Zombie Attack.” If we thought Yodel was pretty darn good when it came in a year ago, you can imagine "Zombie Attack" knocked our socks clean off.
Luke clearly strives for the best every time he uploads. The web offers free access to audiences like no medium ever has. As filmmakers, we’re tasked with not squandering this access. Every upload should be better than the last to keep this audience coming back for more and to refine our skills for the day when perhaps we are handed that huge check to make something.
We asked Luke to let us in on how he does it. How did he make this gorgeous zombie video on a budget that would barely cover the average wedding video? How did he create that apocalyptic feeling, complete with fiery explosion? And, how did he make his zombies look like they’re decomposing before our very eyes?
Here’s Luke’s first “Behind the Scenes” video for Howcast. This is the first part of a new series where we’ll be letting you come behind the scenes to see how our filmmakers make the most creative how-to videos on a DIY budget. Step 1: Cover yourself in plain old dirt to look like you’ve been to hell and back. The Walking Dead producers could learn something from Luke!
Want to learn more about how Luke created Zombie Attack? Visit his blog where he posted in-depth tutorials, photos and a cool trailer.
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Howcast: Vlogger Wanted!”
Last week, we made some arguments for why quality matters in web video, and we heard from Howcast filmmaker Luke Neumann, who said that it matters “because you never know who’s watching.” Duh! Watching Luke’s videos, you can tell he’s motivated by much more than that, but as we said last week, it’s a good starting point.
Luke’s been making Howcast videos for about a year now and he’s got more than 50 under his belt. From the beginning, he impressed us with videos like “How To Yodel,” where he showed he could build a story around a simple script, work in some cool camera angles, and make us laugh. Last week we featured one of his newest spots, “How To Survive a Zombie Attack.” If we thought Yodel was pretty darn good when it came in a year ago, you can imagine "Zombie Attack" knocked our socks clean off.
Luke clearly strives for the best every time he uploads. The web offers free access to audiences like no medium ever has. As filmmakers, we’re tasked with not squandering this access. Every upload should be better than the last to keep this audience coming back for more and to refine our skills for the day when perhaps we are handed that huge check to make something.
We asked Luke to let us in on how he does it. How did he make this gorgeous zombie video on a budget that would barely cover the average wedding video? How did he create that apocalyptic feeling, complete with fiery explosion? And, how did he make his zombies look like they’re decomposing before our very eyes?
Here’s Luke’s first “Behind the Scenes” video for Howcast. This is the first part of a new series where we’ll be letting you come behind the scenes to see how our filmmakers make the most creative how-to videos on a DIY budget. Step 1: Cover yourself in plain old dirt to look like you’ve been to hell and back. The Walking Dead producers could learn something from Luke!
Want to learn more about how Luke created Zombie Attack? Visit his blog where he posted in-depth tutorials, photos and a cool trailer.
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Howcast: Vlogger Wanted!”
Jumat, 29 Oktober 2010
Should quality matter in web video?
Heather Menicucci, Director, Howcast Filmmakers Program, is writing weekly guest posts for the YouTube blog on filmmaking in the digital age. You can catch up on previous posts here.
Since I started working in web video, the most common misconception I face is, web video equals low quality video. This week we asked “What do you think the differences are between making videos for the web versus other venues like film festivals or TV?” on YouTube's Facebook fan page. Though there were a lot of positive voices talking about the immediacy, democracy and audience engagement of web video, some of the comments unsurprisingly echoed this idea.
Quality, quality and um.... quality!
Quality, length, content, plot.
The web accepts anything.
Sure, one of the most exciting things about the web is that anyone can upload. Of course, that means that not all the videos we see are going to reflect even our most basic standards for quality video -- a steady camera, clean images, good lighting, clear sound. On the other hand, right alongside the cat videos (which I admit, I do get a kick out of), works of video art can happily coexist.
We've spent the first "section" of our “Modern 101 for Emerging Digital Filmmakers" providing an overview of web video -- talking to filmmakers about why they make web video, sharing websites every filmmaker should know, and offering tips on taking your first digital steps as a filmmaker. We're about to move into our production section where we'll interview filmmakers on the equipment they use, go behind the scenes to hear how they make their videos, and demystify uploading, codecs and metadata.
Before we enter this nuts and bolts section of the series, I wanted to tackle this last misconception regarding quality. Quality concerns are some of the most common reasons I hear filmmakers saying they aren’t interested in uploading their work, and there are a couple counterpoints I’d like to offer:
I asked Luke Neumann, a filmmaker who constantly impresses us with his stellar Howcast videos, why he puts so much effort into his web videos and he said, “Because you never know who could stumble across them." When you watch his videos, I think you can see he’s driven by much more than that -- for this spot alone he rented a crane and “moved” a building in After Effects:
Still, access to potential fans, funders and future employees is at least one simple, solid argument for filmmakers who are skeptical about quality work having a place on the web.
Next Friday, we’ll learn Neumann’s tricks for making great video like this on a budget while he walks us through how he shot “Zombie Attack.”
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Mei Ling.”
Since I started working in web video, the most common misconception I face is, web video equals low quality video. This week we asked “What do you think the differences are between making videos for the web versus other venues like film festivals or TV?” on YouTube's Facebook fan page. Though there were a lot of positive voices talking about the immediacy, democracy and audience engagement of web video, some of the comments unsurprisingly echoed this idea.
Quality, quality and um.... quality!
Quality, length, content, plot.
The web accepts anything.
Sure, one of the most exciting things about the web is that anyone can upload. Of course, that means that not all the videos we see are going to reflect even our most basic standards for quality video -- a steady camera, clean images, good lighting, clear sound. On the other hand, right alongside the cat videos (which I admit, I do get a kick out of), works of video art can happily coexist.
We've spent the first "section" of our “Modern 101 for Emerging Digital Filmmakers" providing an overview of web video -- talking to filmmakers about why they make web video, sharing websites every filmmaker should know, and offering tips on taking your first digital steps as a filmmaker. We're about to move into our production section where we'll interview filmmakers on the equipment they use, go behind the scenes to hear how they make their videos, and demystify uploading, codecs and metadata.
Before we enter this nuts and bolts section of the series, I wanted to tackle this last misconception regarding quality. Quality concerns are some of the most common reasons I hear filmmakers saying they aren’t interested in uploading their work, and there are a couple counterpoints I’d like to offer:
- Player, length and file sizes are increasing because viewers actually want to watch high resolution, great-looking video on their computers and even TV, as devices like Google TV come on the market.
- Filmmakers, like the Neistat Brothers who recently landed an HBO series, but also like our very own filmmakers who use their Howcast spots to woo clients, are getting jobs based on the videos they upload to the web. Make sure every spot you upload is one you’re proud to put your name on because web videos = calling cards.
- 60% of internet users watch videos online and that number is up 33% in 2.5 years. In other words, the audience is here and growing. And as more and more television viewers migrate to the web or simply plug their televisions into their computers, they will come to expect and want higher and higher quality video from the web.
I asked Luke Neumann, a filmmaker who constantly impresses us with his stellar Howcast videos, why he puts so much effort into his web videos and he said, “Because you never know who could stumble across them." When you watch his videos, I think you can see he’s driven by much more than that -- for this spot alone he rented a crane and “moved” a building in After Effects:
Still, access to potential fans, funders and future employees is at least one simple, solid argument for filmmakers who are skeptical about quality work having a place on the web.
Next Friday, we’ll learn Neumann’s tricks for making great video like this on a budget while he walks us through how he shot “Zombie Attack.”
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “Mei Ling.”
Jumat, 22 Oktober 2010
Digital bootcamp with Ingrid Kopp
Heather Menicucci, Director, Howcast Filmmakers Program, is writing weekly guest posts for the YouTube blog on filmmaking in the digital age. You can catch up on previous posts here.
Today being a filmmaker is more and more about using tools other than cameras and editing software – social media, mobile platforms, websites, and even augmented reality technology – to bolster the work, attract and engage audiences, and make money. Many filmmakers are being dragged into this new world kicking and screaming or simply overwhelmed by the options.
Enter Ingrid Kopp, Director, U.S. Office at Shooting People, and her Digital Bootcamp, which I got a chance to attend at DCTV in New York on Monday night. "The technology should serve you and your creative practices" -- that was one of the first things Ingrid said to the audience of about 20 filmmakers. She went on to explain that all these new technologies are like a painter's palette. If you choose all of them, you'll end up with gray. They are there for you to pick and choose what works for you and your film.
This is excellent advice but questions still remain: Which one should I use? How do I use it? And do I really have to? As filmmakers raised their hands to ask questions it became clear that tailoring a web, mobile or other technology campaign for a film is a very personal decision and should be informed by the project and the filmmaker's goals. Are they happy simply with people seeing their work? Do they need to recoup some investment? Are they trying to invoke social change? Ingrid talked about a new production title, coined by John Reese, Producer of Marketing and Distribution (PMD), which a filmmaker could hire to create and execute a digital campaign, taking all this into consideration. She compared this to hiring a cinematographer. You could opt to shoot yourself, but if you have the money, why not hire someone with experience and skill.
That said, you don't need to hire a PMD. You don't even need to build a website, post your trailer on Facebook, or send even one tweet. But, if you're ready to dive in, Ingrid offered up fantastic insights and tips, some of which I'm going to share right here:
I’m pretty sure I’m in that camp too, but I had to play devil's advocate and ask: “What do you say to filmmakers whose response to all this is, ‘I don't want to. I care about making films and not all this other superfluous, unrelated media?’ “ Ingrid simply said, “Then you don't have to. If this other stuff is distracting from your film or what’s in the frame then you shouldn’t be doing this. This should never compromise your film. My hope is that filmmakers will see these tools as another creative outlet. If we’re not embracing this technology, we, as filmmakers, could be left out of something amazing.”
I couldn't agree more. Thank you, Ingrid, for a great evening and all the information you share through your wiki, Twitter feed and Shooting People.
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “The Rent Is Too Damn High Party's Jimmy McMillan at the NY Governor Debate.” Come back next Friday for another session of our “Modern 101 for Emerging Digital Filmmakers."
Today being a filmmaker is more and more about using tools other than cameras and editing software – social media, mobile platforms, websites, and even augmented reality technology – to bolster the work, attract and engage audiences, and make money. Many filmmakers are being dragged into this new world kicking and screaming or simply overwhelmed by the options.
Enter Ingrid Kopp, Director, U.S. Office at Shooting People, and her Digital Bootcamp, which I got a chance to attend at DCTV in New York on Monday night. "The technology should serve you and your creative practices" -- that was one of the first things Ingrid said to the audience of about 20 filmmakers. She went on to explain that all these new technologies are like a painter's palette. If you choose all of them, you'll end up with gray. They are there for you to pick and choose what works for you and your film.
This is excellent advice but questions still remain: Which one should I use? How do I use it? And do I really have to? As filmmakers raised their hands to ask questions it became clear that tailoring a web, mobile or other technology campaign for a film is a very personal decision and should be informed by the project and the filmmaker's goals. Are they happy simply with people seeing their work? Do they need to recoup some investment? Are they trying to invoke social change? Ingrid talked about a new production title, coined by John Reese, Producer of Marketing and Distribution (PMD), which a filmmaker could hire to create and execute a digital campaign, taking all this into consideration. She compared this to hiring a cinematographer. You could opt to shoot yourself, but if you have the money, why not hire someone with experience and skill.
That said, you don't need to hire a PMD. You don't even need to build a website, post your trailer on Facebook, or send even one tweet. But, if you're ready to dive in, Ingrid offered up fantastic insights and tips, some of which I'm going to share right here:
- If you do one thing, create a home for your film online -- a website, a blog, a Facebook fan page, or a YouTube channel (of course) -- so that audiences know where to go to get information about you and your project. All your other online presences should link back to this main place.
- Collect email addresses and zip codes from your audience. Remember that Facebook and Twitter could shut down your profile any time. In order to retain contact with your audience, ask for their email addresses. And, while you're at it, their zip codes too. Want to plan a screening? You'll know where to start based on where your audiences live.
- Put your trailer online and allow people to embed the video. Embed and spread!
- Much of the really creative stuff happening on the web is being launched by brands. Filmmakers can learn a lot from their unique uses of new technologies. Here are two excellent examples Ingrid screened: The Last Exorcism Chatroulette campaign and the choose-your-own-adventure campaign on YouTube for Tipp-Ex.
- If you’re going to start a fundraising campaign on a site like Kickstarter, create ancillary content around the campaign to promote it and get people excited to pitch in. Be creative with your rewards to really entice donors. Embed a video on the campaign page too -- campaigns with videos earn more.
- Think about creating video clips other than your trailer that you can release strategically throughout the entire production process.
- Don't do anything halfway. If you start a Twitter account for your film and only send one tweet, your project will look "dusty" as Ingrid put it -- a perfect adjective.
- It's never too early to start building an audience with any kind of digital campaign. You can leverage your audience to solve problems with your film (anyone know a shooter in Dallas?), share their own footage, help with fundraising, write about your project, coordinate screenings, buy DVDs, and tell all their friends how great your film was.
I’m pretty sure I’m in that camp too, but I had to play devil's advocate and ask: “What do you say to filmmakers whose response to all this is, ‘I don't want to. I care about making films and not all this other superfluous, unrelated media?’ “ Ingrid simply said, “Then you don't have to. If this other stuff is distracting from your film or what’s in the frame then you shouldn’t be doing this. This should never compromise your film. My hope is that filmmakers will see these tools as another creative outlet. If we’re not embracing this technology, we, as filmmakers, could be left out of something amazing.”
I couldn't agree more. Thank you, Ingrid, for a great evening and all the information you share through your wiki, Twitter feed and Shooting People.
Heather Menicucci, Director, Howcast Filmmakers Program, recently watched “The Rent Is Too Damn High Party's Jimmy McMillan at the NY Governor Debate.” Come back next Friday for another session of our “Modern 101 for Emerging Digital Filmmakers."
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