tag:blogger.com,1999:blog-12859420626033614982024-03-13T06:36:16.401-07:00Kolkata Short Film MakersKSFM is a group of dedicated independent short film makers who are working for the overall upliftment of the short film sector in Kolkata. The group regularly coordinates with each other in their individual efforts. Regular meeting are held from time to time. If any member need any kind of support, please feel absolutely free to contact us.
Contact us Email: ksfm.info@gmail.comKolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-1285942062603361498.post-60417068219650792552013-02-11T06:34:00.001-08:002013-02-11T06:34:08.528-08:00KSFM MGS Corner<div dir="ltr" style="text-align: left;" trbidi="on">
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Megha Bhaduri <meghabhaduri@gmail.com></div>
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writes,</div>
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Hello,</div>
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I wanted to know if i could intern this summer with some short film makers in kolkata.</div>
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If so, I would love to send in my CV and work.</div>
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Thank you,</div>
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Megha Bhaduri.</div>
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Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com3tag:blogger.com,1999:blog-1285942062603361498.post-66128876916032681372013-02-11T06:33:00.002-08:002013-02-11T06:33:35.105-08:00KSFM MGS Corner<div dir="ltr" style="text-align: left;" trbidi="on">
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Gautami Hazra <gautami@showhouseevents.com></div>
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writes,</div>
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Hi,</div>
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Firstly, I am really impressed with this group and its really great to see people so enthusiastic about short films. I am looking for some award winning short films to showcase on our upcoming event called the Monday Premiere. Here is the link to know more about Monday premieres-<a href="http://largeshortfilms.com/event/move-friday-premieres/" rel="nofollow" style="color: #3b5998; cursor: pointer; text-decoration: initial;" target="_blank">http://largeshortfilms.com/event/move-friday-premieres/</a></div>
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This event has been so far happening only in Mumbai and we are starting Monday Premieres in Kolkata from 11th February onward. </div>
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The films will be uploaded on the site as well for a larger audience after its premiere. Here is the link to the site-<a href="http://largeshortfilms.com/" rel="nofollow" style="color: #3b5998; cursor: pointer; text-decoration: initial;" target="_blank">http://largeshortfilms.com/</a>.</div>
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I'd be really glad if you guys could help. Looking forward to your reply. </div>
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Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com1tag:blogger.com,1999:blog-1285942062603361498.post-89848331985809538882011-07-22T04:53:00.000-07:002011-07-22T04:53:03.900-07:00Grain, Gauge & Speed<div dir="ltr" style="text-align: left;" trbidi="on"><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 16px;"></span><br />
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</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Probably one of the most important developments in the history of word cinema production was the development of first film stocks; it gave the film makers the freedom to photograph scenes which were once considered impossible.</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Earlier without the use of huge, expensive arc lights film making was considered impossible, but with the introduction of film stocks film makers could use the available light to shoot, at night or indoor. First came the color stock and then the black & white, which gave the film almost the same sensitivity that our eyes have. The exposure speed of a film stock is closely linked with its definition or grain, and varies inversely. Faster films are grainer; slower films give sharper, fine grain images.</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">A standard frame of 35mm film has an area slightly more than half a square inch. If it is projected on to a screen which is 40 feet wide, it has to fill an area that is 350000 times larger than itself – a prodigious task. And in case of a 16 mm film the magnification is 1400000 times more. The graininess of the film stock which is unnoticeable if the enlarged range is kept with 8x10 inch prints. Then the question rises how a 35 mm or a 16 mm film will be projected on to a 40 feet wide screen, sharp and clear. The distance between the image and the viewer comes into play at this point of time. From the back row of a very large theatre with a small screen, the image of a 35mm movie might appear in the same perspective as in an 8x10 print held one foot in front of the observer. In that case the grain would appear to be more or less equivalent.</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">35mm film stock has been there for a number of years now, most suitable for the amateur filmmakers, where as the 16mm stock has been useful for the television work. The ‘super 16’ format developed in the early 1970s was measurably having a little more area in the frame and the definition of the image. But whatever problems of definition and precision exits in 35mm will be multiplied by a factor of 4 in 16mm and a factor of 16 in a 8mm film stock. But by the same logic, a grater or wider film stock (say 70mm) will greatly ameliorate those problems. Hence 70mm film stocks are valuable for productions that need a feeling of panoramic details and power on a large screen.</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Lastly, regarding the cost, 16mm stock is two to four times cheaper than 35mm stocks. But the most important thing to notice is the gauge of a film stock, which is a double variable. As because with wide screen processes the gauge in which the film is shot need not to be the one or same gauge in which it is distributed. For the most part, the gauge of the projected print is important in accordance with the size of the screen it must fill, while the gauge of the negative camera original will affect the clarity of the film throughout the several processes it will undergo. </div></div>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-26858179439277950442011-07-22T04:49:00.000-07:002011-07-22T04:50:14.438-07:00Ramsundar Deo to Satyajit Ray – A Brief History of Ray Family<div dir="ltr" style="text-align: left;" trbidi="on"><span class="Apple-style-span" style="color: #444444; font-family: Arial, 'Trebuchet MS', sans-serif; font-size: 13px; line-height: 18px;"></span><br />
<div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><div class="separator" style="clear: both; text-align: center;"><a href="http://raylifeandwork.files.wordpress.com/2011/06/172849_185569654815290_185569521481970_387632_4085859_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://raylifeandwork.files.wordpress.com/2011/06/172849_185569654815290_185569521481970_387632_4085859_o.jpg" width="213" /></a></div><br />
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Part 1</div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">The story begins with Ramsundar Deo, the earliest-known ancestor of Ray family, a Hindu by religion, a youth by age, moved from a village in West Bengal to East Bengal (now Bangladesh), wondering there, he reached a village called ‘Serpur’ where at the local zamindar’s house he met the ruler of a nearby place called ‘Yasodal’. He likes Ramsundar for his quick intelligence and invited him to Yasodal. There Ramsundar was given a piece of land, a house and a daughter in marriage. Ramsundar spent his life administrating the property of his in law’s.</div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Subsequently, the generations of his family live there in Yasodal, and later moved further deep into the east, a place called ‘Masua’. It was located on the other side of the Brahmaputra river. The family across time gathered wealth and education and also acquired the title of ‘Majundar’, a common Bengali surname which means ‘revenue accountant’. The actual surname which the family uses today was another honorific title ‘Ray’. The word was derived from another Bengali word ‘Raja’ (means king). Then in the latter half of the eighteen century the family was further divided into two branches. The reason was a flood that destroyed the Masua. As a result the family, one of which became noted for its learning, the other for its wealth and piety got separated in course of time and situation.</div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Among the two families, one was lead by Ramkanta Majundar. A man of talent, he was very fluent in several languages, an expert singer and musician. Not only that, he was a man of great physical strength and courage. It is said that he would eat a full basket of parched rice and a whole jackfruit for breakfast. In another incident it is said that once Ramkanta was sitting in his verandah, when a wild boar attacked him. He grabbed its snout and held it in his vice-like grip before shouting for help.</div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">It was this particular generation that developed the verse in the family, as Ramkanta’s eldest son has this habit of replying to a question in verse. Ramkanta had three sons. Among them the youngest one became a famous scholar in Persian. But the second son, Loknath, was so fluent in Sanskrit, Arabic & Persian that he was able to read aloud in one language from a book written in another so fluently that his listeners would not know that he was actually translating. But unfortunately, Loknath started taking interest in Tantric yoga in his twenties, which on the other hand was a matter of concern for his father, who thought that his son may go into sannyasi. As a result Ramkanta secretly gathered his books and other sacred objects one day and dropped them in to the river. Loknath was so shattered that he took to a fast and died within three days. As he lay on his death bed he told his weeping wife, who held their only child, ‘Now you have only, but from him will come a hundred!’ - A famous family story often repeated in Satyajit Ray’s childhood a century later.</div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Loknath’s son was Kalinath, father of Upendrakisore, great grandfather of Satyajit Ray, was probably born in 1830s. He too was a scholar in Sanskrit, Arabic and Persian, but not a sannyasi. Kalinath Ray was better known as ‘Munshi (Professor) Syamsundar’ in his time, which was quite an unusual distinction for a Hindu in a period when Islam was in retreat all over the India.</div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">India at that time was under the British rule, and Brahmos were the most energetic group of Bengalis who evolved and reacted strongly both to Christianity, western literature and ideas such as sati in that particular period of time (around 1820s). Founded & lead by Raja Rammohan Roy, the greatest Indian intellectual of nineteenth century. Later after his death, Devendranath Tagore, father of Rabindranath Tagore led the Brahmos. The Ray family became associated with the Brahmos in 1880s.</div><span class="Apple-style-span" style="color: #444444; font-family: Arial, 'Trebuchet MS', sans-serif; font-size: 13px; line-height: 18px;"></span><br />
<div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><span class="Apple-style-span" style="color: #444444; font-family: Arial, 'Trebuchet MS', sans-serif; font-size: 13px; line-height: 18px;">Part 2</span></div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><span class="Apple-style-span" style="color: #444444; font-family: Arial, 'Trebuchet MS', sans-serif; font-size: 13px; line-height: 18px;">Upendrakisore, Sukumar Ray’s father & Satyajit’s grandfather was born in 1869. Although he was born in ‘Masua’, a rural area in Bangladesh, but soon made a long journey to Calcutta, where he too got attracted towards Brahmoism. Upendrakisore was the fifth son of Kalinath Ray. And he was been adopted at the age of five by a childless relative belonging to the orthodox, wealthy branch of Ray family. This relative, a zamindar and lawyer by profession chose Upendrakisore among his brothers due to his skin color, which was indeed really very fair. Not only that, the relative who adopted him also changed his name to Upendrakisore from Kamadaranjan, after the style of his own name, Harikisore, to which he added the honorific surname of ‘Ray Chaudhuri’.</span></div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><span class="Apple-style-span" style="color: #444444; font-family: Arial, 'Trebuchet MS', sans-serif; font-size: 13px; line-height: 18px;">From a very young age Upendrakisore, was quite fond of music and drawing. One when the Governor visited his school he saw a boy was drawing intensely in the class. With curiosity, he picked up the book to discover an amazing drawing/sketch. The Governor was a British man, and in reference to that the school teachers were quite worried as to how the ‘sahib’ would react. But, instead, the ‘sahib’ patted little Upendrakisore, and said – ‘You must not let this skill disappear’.</span></div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><span class="Apple-style-span" style="color: #444444; font-family: Arial, 'Trebuchet MS', sans-serif; font-size: 13px; line-height: 18px;">Upendrakisore stayed in Calcutta, and kept his practice of drawing and singing. He later stated practicing the Indian classical style under the best teachers and also developed his love for Brahmo songs and hymns. His singing was so good that once at a performance at Jorasanko, the Tagore family mansion in North Calcutta, led him to the lifelong friendship with Rabindranath Tagore.</span></div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><span class="Apple-style-span" style="color: #444444; font-family: Arial, 'Trebuchet MS', sans-serif; font-size: 13px; line-height: 18px;">In the year 1884, Upendrakisore got married to the daughter of Dwarkanath Ganguli, and moved to the large family house at 13 Cornwallis Street in central Calcutta, just opposite to the main temple of the Brahmo. Upendrakisore’s wife was a remarkable woman in her own right. She bore him three sons and three daughters. Among them, Sukumar, Satyajit’s father, was their second child, born in 1887. On the other hand, Upendrakisore continued his practice of drawing and music. He often used to play his Violin and sing. He was so good in it, that often listeners gathered in the street outside, just like as they did when he took his family outside to an exhibition or festival and explained things to the children.</span></div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><span class="Apple-style-span" style="color: #444444; font-family: Arial, 'Trebuchet MS', sans-serif; font-size: 13px; line-height: 18px;">Sukumar Ray took after his father in many ways. He was serious, lively and intensely curious and also a natural story teller. From a very young age, he would show pictures of wired and wonderful animals to his brothers and sisters from their father’s storybook, and invent his own story about them. He also used to create his own creatures, with untranslatable names. When Sukumar was about eight, a new element appeared in his life, which later also influenced Satyajit Ray greatly. It was the printing press.</span></div><div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; line-height: 20px; margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><span class="Apple-style-span" style="color: #444444; font-family: Arial, 'Trebuchet MS', sans-serif; font-size: 13px; line-height: 18px;">Calcutta by 1890s was well equipped with printing press technologies, but good quality printing & its illustration was seriously lacking. As a result of this, Upendrakisore’s illustrations of Ramayana for children’s book were totally ruined. With merely a handful of technical books published in West, Upendrakisore decided to start first Calcutta based high quality printing process. Soon his effort brought him international prizes for best quality printing reproduction. Soon he started to order cameras and various pieces of half tone equipments from British. The money for such investment came from selling most of his share in the zamindari to his foster brother Narendrakisore, who was in charge of it, following his father, Harikisore’s death.</span></div></div>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0Kolkata, West Bengal, India22.572646 88.36389499999995722.385862 88.196681499999954 22.75943 88.531108499999959tag:blogger.com,1999:blog-1285942062603361498.post-42335241783800782732011-07-22T04:44:00.001-07:002011-07-22T04:44:59.921-07:00Photography Tips<div dir="ltr" style="text-align: left;" trbidi="on"><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 16px;"></span><br />
<div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">You have a camera, and you really like watching good pictures, and you want to take pictures just like your favorite ones. But unfortunately you can’t do so. You may have tried a hundred times but you felt it’s nowhere close to that. Well, if that’s the problem you are dealing with then keep reading. I hope this little document will help you overcome that. </div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Before I start, let me tell you few things about photography. If you find any person saying, like’ this is the best picture I have ever seen’ then remember the adjective(s) that the person is using are relative. In other words, there is no such picture which is perfect. The one that gives pleasure to your eyes may not do so to others. Secondly, if you carefully notice the development of photography then you will find that there is no such perfect rule that you can follow to take the so called ‘best picture’. Over a period of time, with expert comments and ideas people have made a sort of rule book for taking photographs. This rule book is made of/ from many ideas, concepts and so on. But in actual there is no such rule. It’s all about our ‘perspective’. The one thing that we must remember is ‘how can we freeze a particular moment in the best possible way?’ To do so you need to have four things. They are-</div><ul style="list-style-type: square; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 25px; padding-right: 10px; padding-top: 0px;"><li>Patience</li>
<li>Timing</li>
<li>Idea</li>
<li>Luck</li>
</ul><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Patience is the most important thing in photography. To master the art of photography you must have the patience to cultivate it in yourself. Remember, getting influenced is good, but copying is never going to work. To be an artist you need to have your own unique personality in your field of art, in other words, to get recognized your work of art must be unique. Your patience must not end here; you need to have enough patience left while you get into real life photography. As I have already told that to take the best picture you need to freeze the best moment in the best possible way, and for this you need to have lots of patience.</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The second most important thing in photography is timing. To take the picture at the right moment is very important. For this you must have the sense of timing. To be at the right spot and to click the right moment is all about pure timing.</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Idea is about how you going to take the picture. It includes the angle of view, timing of your exposure, and sometimes the post production of your picture that you are just going to click. All this must run very fast before you expose your sensor/film to the light.</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Lastly, the luck factor. You have to have a little bit of luck to get the right picture or shall I rather say the perfect picture. To be at the right place at the right time, and also clicking the picture at the right moment is either can be a pure co-incidence or luck, nothing else. I think this is the only reason why there are so many photographers, but a handful of good photographers.</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Well before I finish off, I must say that all these four are inter-connected. If you can generate the first three, the last one may give you a chance to knock ‘on the heaven’s door’.</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div><div style="font-size: 11px; line-height: 1.5em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Cheers.</div></div>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-66417044112472134722011-01-03T13:04:00.000-08:002011-01-03T13:04:00.253-08:00KSFM Designs - t shirt<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_O4RU1zV2l9A/TSI5BEzXbKI/AAAAAAAAADM/yYfIng9NMzI/s1600/Basic_Plain_White_T_Shirt1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/_O4RU1zV2l9A/TSI5BEzXbKI/AAAAAAAAADM/yYfIng9NMzI/s320/Basic_Plain_White_T_Shirt1.jpg" width="320" /></a></div><h3 class="UIIntentionalStory_Message" data-ft="{"type":"msg"}" style="text-align: center;"><span class="UIIntentionalStory_Names" data-ft="{"type":"name"}"> </span><span style="font-size: small;"><span class="UIStory_Message" style="font-weight: normal;">Limited Collection KSFM t shirts <b>coming soon...</b><br />
Place your order now, at <b>ksfm.info@gmail.com</b><br />
<b>Price not yet decided.</b><br />
Design by: Sourav Dutta<br />
<b>Copyright © KSFM</b></span></span></h3>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-45879210330368112512010-12-29T11:50:00.000-08:002010-12-29T11:50:27.379-08:00How to write a good short film scriptThis is a short article in which to deal with a big subject: how to write a good script for a short film. Rule number one: there are no hard and fast rules. <br />
But, if your aim is to get your film funded, there are definitely some guiding principles that will help to ensure that your project is taken seriously.<br />
<br />
<b>Why Am I Making this Film?</b> <br />
<!--#include file="m63-article-related-attachements.html"--> <!-- Call Wide Article Attachment Module --> <!--TEMPLATE:call file="wideArticleAttachment.jsp" /--> No-one makes a living out of writing or directing short films. Most people see short films as a tool for learning and testing ideas, or a way of demonstrating that they have the talent to do something else. Generally that ‘something else’ is to make features. <br />
Whether you are working alone or as part of a team make sure that the project you are developing plays to your strengths and is achievable within your budget. Don’t make an intense character study if you’re scared of actors or develop an action story that will require stunts, car chases and special effects if you know you will only have £5K to make it.<br />
<br />
<b>What is a short film?</b> <br />
The most important thing to say is that a short isn’t a feature film and that it is generally a bad idea to try to squeeze a story you are developing (or have written) as a feature into a short. <br />
Most festivals will accept as a short anything that is under 30 minutes, but many programmers and curators also say that they find it difficult to place longer short films (ones over 20 minutes). If your film is over 20 minutes long it may well need and be able to cope with more characters and a secondary story strand. The majority of funding in the UK is aimed at films that are around the 10 minute mark. <br />
If your film is basically going to function like a joke then keep it short (2-3 minutes max) and make sure the audience won’t see the punch-line coming a mile off. Films like this will make far more of an impression if they not only make us laugh but also manage to allude to something that gives us pause for thought.<br />
<br />
<b>Finding the Story</b> <br />
Any kind of dramatic story requires 3 basic elements:<br />
A world <br />
A character <br />
A problem <br />
Short films are no different; you just have less time to establish and develop each element. Most successful short films focus on ONE moment or event in the life of ONE main character. Because of that it is unusual for a short film to take place over a long period of time – it’s usually just looking at the immediate build up to and/or consequences of that one event. A lot of the best short films play out more or less in ‘real’ time, and a story that spreads over more than a few days is unlikely to work well as a short film.<br />
<br />
<!--#include file="m63-article-related-attachements.html"--> <!-- Call Wide Article Attachment Module --> <!--TEMPLATE:call file="wideArticleAttachment.jsp" /--> <b>The World</b> <br />
Because of the need to establish an instantly recognisable world in order to get on with exploring a character’s problem, it can be useful to set your film around a familiar event or ritual: a wedding, a birthday party, the first day at school, tea with stuffy relatives, Christmas Day etc. With a setting of this sort you can take for granted the audience’s familiarity with the situation and you have immediately placed your characters into a story world full of barely suppressed emotions, which is always useful for generating dramatic tension and story events. The other advantage to choosing a setting of this sort is that it gives the story a finite time frame. <br />
Another popular setting for the short film is the journey. Most short films focus on a pivotal, significant event in the life of the main character so that the story inevitably takes the character on a metaphorical emotional journey and it can work well to use a literal journey as its setting.<br />
<br />
<b>The Character & the Problem</b> <br />
The most important questions to ask yourself when you begin to develop your story are: <br />
Who is the main character? <br />
What is their problem? <br />
How will the audience recognise the problem? <br />
Are the stakes high enough? <br />
Am I telling the story from the best point of view? <br />
The audience must be clear from the outset who the film is about and they won’t be if you aren’t. Your main character is the one who has the problem and if there isn’t a character in the story with a problem then you don’t have a film, or at least not one that will work as a dramatic narrative. <br />
What is driving your main character through the story must be one of the following: <br />
<!--#include file="m63-article-related-attachements.html"--> <!-- Call Wide Article Attachment Module --> <!--TEMPLATE:call file="wideArticleAttachment.jsp" /--> a want <br />
a need <br />
an obligation <br />
And in all cases it must be clear to the audience, even if it isn’t to the character, what this is. But what must also be present in the story - and apparent to the audience - is something that is making it hard for the character to pursue their want, need or obligation. The fact that something is making it hard is what turns it into a problem and, like we said before, no problem, no film.<br />
<br />
<b>Making Problems Manifest to the Audience</b> <br />
The way in which you turn a character’s inner problem into the heart of your film and make sure that the audience can SEE it is one of the most important ways that you can demonstrate your skill as a filmmaker and not just as a story-teller. When we’re reading books we can be inside a character’s head but when we’re watching films we need to see characters DOING things that show us what they are thinking and feeling.<br />
<br />
<b>Are the Stakes High Enough?</b> <br />
Ensuring that there is something at stake in the story means that the audience can understand what the character stands to lose if they do not solve their problem. If the story hinges around a life or death situation then it is clear what is at stake but if it is simply that the car breaks down think about how you set the film up so that the audience knows why it really matters that the character completes this particular journey. <br />
<br />
<b>Am I Telling the Story from the Best Point of View?</b> <br />
Think about the story of Cinderella and imagine if you told it with one of the ugly sisters as the main character. You could still make a good story but it would not have a happy ending (in one of the earliest versions of the story the sisters have their eyes pecked out by blackbirds at the end!) and therefore would have a very different meaning – it would function more as a cautionary tale than as a feel-good fairy story.<br />
<br />
<b>What Does My Story Mean?</b> <br />
You probably don’t set out to write a film with a moral or even with a conscious awareness of what your story means but every story communicates some meaning to the audience. Once you are sure how the story begins and ends then you have a clear indication of its meaning and this will help you make important choices as you refine and develop your script particularly in relation to...<br />
<br />
<!--#include file="m63-article-related-attachements.html"--> <!-- Call Wide Article Attachment Module --> <!--TEMPLATE:call file="wideArticleAttachment.jsp" /--> <b>The Tone of the Film</b> <br />
Tone is intimately connected to genre and though genre is less of an issue in shorts than in features it is still important to think about what kind of film you are writing in broad terms.<br />
<br />
<b>To summarise so far</b> <br />
A good short film needs a story in which something happens that has a discernible effect on the main character. All successful short films focus on one moment/event. That moment is likely to be: <br />
one of universal significance <br />
a moment that is of significance to the protagonist (whether s/he knows it at the time) <br />
one that produces a situation in which the stakes are high for the protagonist <br />
This is an edited extract from Get Your Short Film Funded, Made and Seen, the Shooting People Shorts Directory. To buy this book, go to <b><a href="http://www.shootingpeople.org/shortsbook">www.shootingpeople.org/shortsbook</a></b>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-38561974182923377032010-12-23T02:00:00.001-08:002010-12-23T02:00:59.516-08:00KSFM Winter Meet 2010On 26th Dec 2010<br />
2pm onwards<br />
At Nandan, Kolkata.<br />
Be there surely.<br />
for more info call 08961408353Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-18095790638510819812010-12-13T08:27:00.001-08:002010-12-13T08:50:22.551-08:00Special Screening - For KSFM active members onlyAll active members of ksfm are requested to bring their best short<br />
film <b>(one short film per member in dvd format)</b> on 26th Dec at the KSFM<br />
winter meet.<br />
<br />
This is for the special screening of all those films among the active<br />
members of ksfm only. After the screening a healthy discussion<br />
regarding the making of the film will be also done.<br />
<br />
<i>Members can also prepare small drafts of lecture on different film<br />
making aspects, like principal of editing, production techniques,<br />
analyzing a particular film making style, and so on. Take note that if<br />
any member decide to do so, then he/she must also discuss the topic of<br />
the lecture, briefly on </i><b>26th Dec 2010.</b><br />
<br />
<i>The screening will take palce on 9th of January, 2011. At Dum Dum<br />
(Near Gorabazar).</i><br />
<br />
<b>Plz Note</b><br />
<i>Only the active members of KSFM are allowed to participate in this screening.</i>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-78467328068539256952010-12-13T08:25:00.001-08:002010-12-13T08:33:13.463-08:00Part Financing in Indie Film MakingThey go by interesting names-Onir (no last name) and Q (no name at<br />
all). Their companies are even more interestingly titled, Anticlock<br />
and Overdose. Their movies are even more so-I Am and Gandu. They have<br />
stories to tell and have a ready audience. One glitch, however: they<br />
have no finances. Solution: Reach out to friends on social networks.<br />
A wave of indie filmmakers are rewriting the rules of film financing<br />
by taking the film to the audience even before the first take. All<br />
courtesy, the powerful social network. In June 2009, when Onir of<br />
Anticlock Films with actor-producer Sanjay Suri tired of being<br />
rejected by corporate financers, decided to go on Facebook to seek<br />
finances for their latest film I Am (starring Nandita Das , Suri,<br />
Purab Kohli , Juhi Chawla and Manisha Koirala among others), they were<br />
not sure if the money would come. But one and a half month of the<br />
first post on Facebook, and the film was on the floors.<br />
The money didn't stop rolling thereafter and Aniticlock actually<br />
managed to raise Rs 1 crore, a third of the film's Rs 3 crore budget,<br />
through social networking-Facebook, Twitter and their own website. The<br />
co-operative model, as they like calling it, is more than just friends<br />
getting together and making a film. They call it the meeting of<br />
like-minded people. "As independent filmmakers, we did not want to go<br />
through the whole heartbreak of approaching a corporate financer and<br />
going through a wave of rejection," Onir says. Instead, they decided<br />
to go for something in tune with their film-something actually more<br />
independent. And as they say, the proof lies in the pudding. I Am -<br />
four stories set in modern-day Indian cities - has been touring the<br />
festival circuit that includes film festivals at Vancouver, New York,<br />
Hamburg and Berlin since the beginning of the year.<br />
"Internet is the next frontier for independent films-whether for<br />
financing or distribution," says film trade analyst Taran Adarsh. In<br />
an increasingly star-driven market, that even has star directors, it<br />
is difficult for indie filmmakers to not only get finances, but also<br />
to seek distribution. "There would be no Phas Gaye Re Obama without<br />
the Warner Brothers backing or A Wednesday without UTV hand holding,"<br />
Adarsh says.<br />
<br />
Young filmmakers like Onir and Q realise the dichotomy where a company<br />
is ready to back a Rs 100-crore project, and fail, than invest in a Rs<br />
3-crore project with no stars and recover the costs. "The co-operative<br />
model is not a new globally but definitely new to India," says Q,<br />
whose latest film Gandu is ready to tour the circuit.<br />
<br />
Qaushik Mukherjee, who wants to carve an alternate independent<br />
identity as an artist as Q, has been working as documentary filmmaker<br />
for the last four years. In fact he's not new to the international<br />
co-production model, but this is the first time he has used it for a<br />
fiction project. Unlike Onir, he has raised money by identifying a<br />
core group of people who he knew would be resourceful and that<br />
includes technicians, background workers and even actors, who came in<br />
on a co-operative basis. "Now there are many people who work in<br />
different fields and want to contribute towards creative networks," Q<br />
observes. Part-financing a film ensures them the content they want to<br />
see.<br />
<br />
<b>Contributors as co-producers</b><br />
It is the lack of the traditional mainstream filmmaking, with its base<br />
in Mumbai, to come up with any new alternatives to provide<br />
path-breaking content that's making these new-age auteurs turn to more<br />
viral ways of seeking finance, marketing and even reaching the<br />
audience. According to Q, this method does not de-link the audience<br />
from the content by overtly politicising or socially contextualising<br />
content as mainstream filmmaking does.<br />
<br />
"Everyone has contributed to I Am, either financially or by<br />
volunteering," says Onir, "For those who have contributed over Rs 1<br />
lakh we have made them co-producers. This gives them a sense of<br />
ownership to the film." In fact, since the making of I Am, Onir has<br />
been flooded by requests from indie makers on how to go about making<br />
their own films. "But it is not a small process," he shares. Onir and<br />
Suri together did a background check on each interest that was evinced<br />
before giving it a go. Plus there is a lot of paperwork involved and<br />
an added responsibility to ensure everyone gets a return on<br />
investment. "You can't get finances through online sources if your<br />
credentials are not right," Adarsh points out.<br />
<br />
Onir had the right credentials thanks to his earlier work My Brother<br />
Nikhil and Bas Ek Pal. With indie filmmaking bringing back the<br />
memories of parallel cinema of Shyam Benegal, Govind Nihalani and<br />
Ketan Mehta, these new filmmakers know their audience. "The Internet<br />
is helping the movement as it is there where indie filmmakers find<br />
their captive audiences," Q says, "In today's audience the sense of<br />
community is strong." And that is good news for many young filmmakers.Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-49526327654843457082010-12-13T00:40:00.001-08:002010-12-13T00:40:33.761-08:00Kolkata Short Film Makers Meeting - Join usKSFM Winter Meet 2010<br>On 26th Dec 2010<br>2pm onwards<br>At Nandan (Same spot as b4)<br>Be there surely.<p>For more info<br>& any assistance call<br>Sourav Dutta<br>8961408353Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-17187922789072801952010-12-10T14:25:00.001-08:002010-12-10T14:25:46.313-08:00The DSLR Filmmaker’s Workflow Part 1By David Flores<p>DSLR video has changed the industry. Over the past year, our<br>photographic sensibilities have propelled the moving image-opening the<br>door to a new realm of storytelling possibilities. For photographers,<br>the form factor is comfortable and familiar. The lens selection? A<br>dream come true. Custom color pallets, high ISO capture, all with a<br>professional esthetic rivaling the production values of major<br>Hollywood productions-how could this not be industry changing? Life<br>changing, even?<p>Reviewing the rushes from my first outing with the Canon 5D Mark II, I<br>almost lost my mind. The depth of field separations, lowlight<br>performance, and 1080p quality were outstanding. The footage was easy<br>to shoot. It was easy to drag and drop onto my computer. It was easy<br>to play back in QuickTime Player. Then I loaded my footage into Final<br>Cut Pro, assuming that post-production would be easy, as well.<p>This was the part where I really did lose my mind: editing the 5D II<br>footage was a total nightmare. While things looked pretty good on the<br>timeline, I couldn't get the precise cuts that I wanted. Some chops<br>were off by as many as five frames. Adding basic transitions, simple<br>text–any small change–required rendering. Exporting dailies to DVD<br>resulted in playback with dropped frames, digital artifacts, and the<br>occasional Hulk-mad green screen. Here I was with a load of beautiful<br>footage and no way to efficiently edit it.<p>The problem with DSLR video is file compression. The most popular<br>cameras out there use web-friendly formats. For shooting and sharing,<br>this would be great, but web-friendly isn't always edit-friendly.<br>Canon's 5D Mark II, 7D, 1D Mark IV, and Rebel T1i use QuickTime H.264<br>compression. This is the same compression method employed for most of<br>the movie trailers we view online. Nikon cameras like the D3S, D90,<br>and D5000 use AVI (Motion JPEG) compression. Pentax bodies like the<br>K-7 and K-x utilize the same thing. Used within most nonlinear editing<br>systems, these files are all terrible.<p>This article was written to help anyone that's been there. I feel your<br>pain. It took me a while to find the workflow that fit my editing<br>style. Today I'm sharing my findings. There are many ways to arrive at<br>your destination. This article is a great place to get started. In the<br>coming months, there will be other techniques, strategies, and<br>software available to simplify your life. Until then, let's talk<br>workflow. Quick note: I'm a Final Cut Studio user. If you're on<br>another NLE, skip down to Transcoding with Freeware.<p>Transcoding with Compressor<p>Before you begin, it's best to organize your media files for<br>efficiency. Create a file folder for your video footage. As a best<br>practice, keep the folder limited to video files-no pics, thumbnails,<br>or reference stuff. Video only.<p>Transcoding is a process that changes one file type into another.<br>Using Compressor, a piece of high-quality conversion software included<br>in Final Cut Studio, we're going to transcode our DSLR video footage<br>into something a bit more edit-friendly. Final Cut Pro plays well with<br>almost all of the major video formats out there. In theory, we could<br>transcode our footage into any one of these formats. But for maximum<br>flexibility, I'd recommend using one of Apple's ProRes offerings. Why<br>ProRes? It doesn't require rendering on the timeline, and if your<br>project incorporates footage from other HD or SD cameras (non-DSLRs),<br>everything still works well. For most users, ProRes 422HQ, 422, or<br>422LT should do the trick.<p>Launch Compressor. In the Settings window, you'll find a range of<br>ProRes options under Apple->Formats->QuickTime. Select any of the<br>ProRes 422 settings. ProRes 422HQ offers the highest quality, but can<br>get a bit heavy in terms of file size. If you're working on a special<br>effects project with loads of composites and motion graphics, consider<br>ProRes with Alpha (ProRes 4444).<p>If you plan to work with DSLR video often, make your ProRes selection<br>and click the Duplicate Selected Setting button (the third button from<br>the left at the top of the Settings window). This copies your favorite<br>ProRes flavor into the Custom Settings folder.<p>Double-click your ProRes setting. This opens up a small Inspector<br>window. Click the Encoder button (second button from the left at the<br>top of the window). Under Video: Settings, you can alter the frame<br>rate to your liking. I recommend keeping this on "Current." It's best<br>to do your initial edit in your DSLR's native frame rate. Only alter<br>these settings if your project requires you to do so.<p>In the Settings window, you should also see a tab labeled<br>Destinations. Click this to specify where you want your transcoded<br>material to be recorded. There are some prescribed options in the<br>menu, but you can choose your own by clicking the "+" icon at the top<br>right of the window.<p>An untitled project window should be open above the Settings and<br>Inspector slugs. If not, use Command+N to create a new one. Click Add<br>File at the top left of the window. A navigation finder will open up.<br>Use this to locate your video content.<p>This is where it helps to have some patience. If you're using a Core 2<br>Duo processor, you really don't want to select more than 10 files at a<br>time. Transcoding with Compressor is a bit taxing on the system, and<br>if you overload it, it tends to crash. Quad Core users or editors who<br>are working with a cluster of machines can work with a greater<br>quantities of clips. The more powerful your machine or network of<br>machines, the better luck you'll have with larger batches.<p>Select all the clips in the untitled window with Command+A. Drag your<br>ProRes selection from the Settings window over the selected clips.<br>Choose the destination for your transcoded footage from the Tool Bar<br>(Target->Destination). Click Submit at the bottom right of the window.<p>An option to name your project will appear. This auto-populates with<br>the name of your first clip. Change this over to your project name,<br>make sure that Priority is set to High, and click Submit.<p>Depending on the amount of footage that you've queued, the transcoding<br>process could take minutes or hours. When the process is finished, you<br>should be able to drag and drop your highly stable ProRes footage<br>directly into Final Cut Pro.Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-41954539476965987292010-12-10T14:23:00.001-08:002010-12-10T14:23:49.394-08:00The DSLR Filmmaker’s Workflow Part 2Transcoding with Freeware<p>I love freeware. By definition, it's free and often provides services<br>that pay-software companies haven't addressed yet. This is especially<br>true with transcoding. Whether you're on a Mac or a PC, MPEG<br>Streamclip from Squared 5 is a fast and efficient way to change your<br>footage over to a more stable format.<p>Install and launch MPEG Streamclip. From the Tool Bar, select<br>List->Batch List and select the video files that you want to<br>transcode. You'll need to drag these into the Batch List window.<br>Unlike Compressor, the software holds up pretty well under a bulky<br>queue of clips. Keep the number of your selections conservative,<br>though-the larger your queue, the more likely a crash.<p>Since most NLEs are compatible with QuickTime, select Export to<br>QuickTime from the pop-up dialogue box. From here, you'll choose a<br>destination for the converted footage in the "Select the Destination<br>Folder" window. Click Select. From here, an options window opens with<br>all of the available QuickTime codecs on your system. Since your DSLR<br>captures in HD, I'd recommend using an HD codec. If you're on a Mac,<br>choose a ProRes flavor. PC folks can use a DVCPRO HD setting or any HD<br>QuickTime variant they prefer.<p>Pull the Quality slider to 100%. Click the radio box to turn<br>Interlaced Scaling off. All current DSLRs capture HD progressively, so<br>there's no sense in scaling your footage.<p>Click To Batch. A new window will open. Click Go. The transcoding<br>process can take a while. However, MPEG Streamclip is significantly<br>faster than Compressor.<p>Does the speed boost make the freeware better? Well, yes and no. If<br>speed is the name of the game, use MPEG Streamclip. It's fast and<br>relatively stable. If you're on a Mac and want a higher quality file,<br>use Compressor. Shadow detail is significantly cleaner and the overall<br>image has fewer artifacts.<p>Whichever way you choose to roll, your transcoded footage will now<br>play nice on with your NLE. It's good to experiment with both<br>approaches. There's no right or wrong here.<p>Summing It Up<p>DSLR filmmaking is probably the fastest growing segment of the moving<br>image market. This transcoding tutorial is just a starting place for<br>those of you that want to work with your footage in the editing room.<br>As I said earlier, new workflows and software products are already on<br>the way. Stay tuned! Stay sharp! Can't wait to see you and your film<br>on the festival circuit!<p>David Flores is a photographer and filmmaker based in New York City.<br>He is a member of the B&H Creative Content Team. His latest film, Blue<br>King, is set to debut in 2010 at the Derby City Film Festival.<p><br>Source: <a href="http://filmmakeriq.com/2010/01/the-dslr-filmmakers-workflow/">http://filmmakeriq.com/2010/01/the-dslr-filmmakers-workflow/</a>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-56997458795352344262010-12-10T14:05:00.000-08:002010-12-10T14:06:02.032-08:00Short Film MakingThere are some steps to make a good short film. However, a filmmaker<br>can still improve and develop it depends on the ability and experience<br>in making movies. Filmmaker can learn from expert filmmakers. First,<br>before begin the production, think about why people should watch our<br>film. A filmmaker should think about it seriously, so he/she can<br>create a good movie for people to watch. Second, never start a film<br>production without estimating the budget first. Filmmaking production<br>needs a rough budget before continue to the next phase of production.<br>Third, before start shooting for the scenes, try to handle things<br>related to production such as permission of shooting locations and<br>agreements with actors and the crew. If you do this when the shooting<br>is about to start, you won't be able to overcome it. The most<br>important thing to make a short film is the scenario. Make a short<br>scenario for a short film. Don't make people get bored of your film.<br>Duration of a short film is 30 minutes in maximum.<p>Filmmaker should think to spend the money wisely. Hiring close people<br>or non-star actors is a good way to save money. Also, some directors<br>play in their own films, just like Clint Eastwood (a director,<br>producer, actor and composer who won various awards). Try to involve<br>few people in a short film. Next is, compose good music and adjust<br>sounds for the film. It is better for a filmmaker to do it by<br>him/herself. Some filmmakers such as, Stanley Kubrick, Charlie<br>Chaplin,Clint Eastwood, Alejandro Amenábar, John Carpenter, Robert<br>Rodriguez and Satyajit Ray did that.Then, make sure that everything is<br>okay on the production day.<p>Don't use too many zooms. Good cameramen will know best ways to reduce<br>the using of zoom, except they are good at it. Shoot to the objects<br>closely using camera glider, cut and shoot technique and dolly. Also,<br>think about what effects should be in the film. Don't add long credits<br>title and excessive transitions. Shooting at day time can create good<br>quality pictures without editing it too much.<p>Posted by brian on Aug 25, 2010 in Filmmaking Articles<br>Source: <a href="http://www.screenwritingbasics.com/2010/08/short-film/">http://www.screenwritingbasics.com/2010/08/short-film/</a>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-3088130449918444092010-12-10T00:39:00.001-08:002010-12-10T00:39:40.272-08:00Indie Film FestKENT<br>FILM FESTIVAL<br>Kent, Connecticut - USA<br>April 7 to 10, 2011<p>Dear Members,<p>In the Spotlight this week is the 6th Annual KENT FILM FESTIVAL (KFF),<br>providing development and educational opportunities for independent<br>filmmakers across the globe and showcasing their films to an eager<br>audience in the cozy town of Kent, Connecticut.<p>Known as a true independent film festival, KFF puts filmmakers first<br>and focuses on the art and craft of filmmaking. Exhibiting filmmakers<br>will find numerous incentives and opportunities to create a regional<br>"film buzz" and network with fellow artists and audiences at this<br>young and rapidly growing event. Attendees will be entertained,<br>inspired, and encouraged to think and open their minds and hearts.<br>Filmmakers will experience the creative fulfillment of seeing their<br>idea come to life and sharing that dream with others.<p>Since its inception, the Festival has attracted capacity crowds of<br>film lovers over the four-day event, packed with thought-provoking<br>films and workshops, including a gala event with special guests and<br>awards. Special guests who have made the trip include legendary<br>documentarian Albert Maysles, who presented a master class in 2008,<br>plus artists like Lynn Redgrave, Campbell Scott, Giancarlo Esposito,<br>and Elizabeth Perkins have all dropped in to present films at the<br>Festival itself, glad to soak up the casual atmosphere and interact<br>with friendly festivalgoers.<p>UPCOMING DEADLINE<br>December 20, 2010 - Regular DeadlineKolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-40563027652198747772010-12-08T01:25:00.001-08:002010-12-08T01:32:56.939-08:00It Was Thirty Years Ago Today<div class="UIComposer_InputArea_Base UIComposer_InputArea"><div class="UIComposer_InputShadow"><div class="Mentions_Input" contenteditable="true" id="c4cff4df4d80780e73710676_input" style="width: 482px;"><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_O4RU1zV2l9A/TP9P6EiiDoI/AAAAAAAAABs/3zRjxVg91_8/s1600/Lennon_TheDreamIsOver.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/_O4RU1zV2l9A/TP9P6EiiDoI/AAAAAAAAABs/3zRjxVg91_8/s320/Lennon_TheDreamIsOver.jpg" width="244" /></a></div><div style="text-align: center;"><b>John Lennon</b> </div><div style="text-align: center;">October 9, 1940–December 8, 1980 </div></div><div class="Mentions_Input" contenteditable="true" id="c4cff4df4d80780e73710676_input" style="text-align: center; width: 482px;">We Miss you !!</div></div></div>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-24475418729245209522010-12-08T00:48:00.000-08:002010-12-08T00:48:08.502-08:00Latest News Updates<span style="font-size: large;">KSFM Winter Meet 2010</span><br />
<b>Date :</b> 26th Dec 2010<br />
<b>Venue :</b> Yet to declareKolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-89071594052790548212010-12-07T04:50:00.000-08:002010-12-07T04:53:53.585-08:00Latest News Updates<div class="uiAttachmentTitle"><b>Protibimbo (short film) premire @ Nandan 2, 9th Decmber 2010 @ 4pm onwards</b></div><div class="uiAttachmentTitle"><b>Dir by Saptaswa Basu</b> </div><div class="uiTextSubtitle">Location: <span class="uiAttachmentDetails">Nandan 2</span></div><div class="uiTextSubtitle">Time: <span class="uiAttachmentDetails">4:00PM Wednesday, December 9th 2010</span></div>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0tag:blogger.com,1999:blog-1285942062603361498.post-82323878978151985732010-12-07T04:45:00.000-08:002010-12-07T04:45:38.931-08:00Latest News Updates<div class="UIImageBlock_Content UIImageBlock_MED_Content fsm fwn fcg"><div class="uiAttachmentTitle"><strong><span>Bipanna (short film) premire @ Nandan 2, 8th Decmber 2010 @ 4pm onwards</span></strong></div><div class="uiAttachmentTitle"><strong><span>Dir by Debjit Bagchi </span></strong> </div><div class="mts uiAttachmentDesc"><div><div class="uiTextSubtitle">Location: <span class="uiAttachmentDetails">Nandan 2</span></div><div class="uiTextSubtitle">Time: <span class="uiAttachmentDetails">4:00PM Wednesday, December 8th 2010</span></div><div class="uiTextSubtitle"><span class="uiAttachmentDetails"><br />
</span></div><div class="uiTextSubtitle"><h3 class="UIIntentionalStory_Message" data-ft="{"type":"msg"}" style="font-weight: normal;"><span style="font-size: small;"><strong style="font-weight: normal;"><span> </span></strong></span><span style="font-size: small;"><strong><span><span style="font-weight: normal;"></span></span></strong></span><span class="uiAttachmentDetails"></span></h3></div></div></div></div>Kolkata Short Film Makershttp://www.blogger.com/profile/07379326082933684446noreply@blogger.com0