Vorobyoff Production - Life of Flowers

How to Make a Film in Dubai and the UAE

For those already within Dubai or wishing to travel to the UAE for filming, both the government and an evolving local film and media production industry are easing the process for aspiring filmmakers to get into the industry.

The past decade has seen the world's celluloid lens focus its attention on Dubai, the rapidly growing emirate of the UAE. From Tom Cruises' Mission Impossible 4 Ghost Protocol, to The Fast and the Furious 7, it is coming ever more apparent that Dubai is garnering the attention of Hollywood's elite. Many major and international media production houses are beginning to see the benefits both on and off the screen for using the UAE as a filming location: Year round sunshine, futuristic architecture and a traditional Arabian ambience all add to the location's appeal.

Consequently film festivals have been established here, with both Abu Dhabi and Dubai developing well-known movie gatherings. This is good news for local aspiring filmmakers; writers, scriptwriters and even actors, as a network of quality resources are growing. Furthermore, several locally run video production houses that would normally concentrate their technical and creative services on developing corporate videos or music videos are now taking the initiative to expand their scope of services to short movies, documentaries and other entertainment avenues in order to satiate a growing client base.

The process of developing an independent feature with a privately owned media production house in Dubai is usually the most quickest and efficient means of getting a film made, as they normally cover the steps needed for filming, such as obtaining the correct shooting permits etc.

However for any individual or organization brave enough to go at it alone, they should contact The Dubai Film and TV Commission (DFTC). This department works with other government entities such as the General Directorate of Residency and Foreigners Affairs-Dubai, Dubai Municipality, Dubai Police, and the Roads and Transport Authority. However they will not provide filmmakers with the crew and talent needed for any feature to come to fruition.

Today in the UAE local media production houses are producing an unprecedented amount of creative entertainment media features. In 2013 alone 15 major productions have been officially announced and it is expected that as the local and international economy continues to grow, so will the industry. For any individual or organization wishing to get a foot into the door, many of these media production houses in addition to working through any bureaucracy will handle the technical aspects of your feature and a few can even help develop the creative content.

For foreigners wishing to film within the UAE, be aware that although this Gulf country is relatively liberal and open minded (especially Dubai), cultural sensitivity and tighter rules and regulations that one may not be accustomed to should be adhered to, respected and most of all culturally understood.

Abdullah Yahya is a UK born film director and producer from Dubai, United Arab Emirates. With a background in both the technical and creative aspects behind filmmaking his media production company 1971 Productions http://www.1971-productions.com is involved in a variety of entertainment and corporate projects. To learn more visit his site.

New Saturday Nightmares: The Movie - Review Bites Trailer

What Should You Look For If You Want to Download Sound Effects?

Downloading sound effects vs making your own
Sound effects are cool additions to lots of different media projects - they may even be essential in many cases. It is said among video pro's that bad images are OK, as long as the sound is great - but there is no excuse for bad sound. In other words; what we hear is as important as what we see, when we watch a movie, play a game, etc.

So why not make some sounds of your own - for that vacation video or power point presentation you are making? I guess you could, but do you know how? Audio and sound design is a complex field of its own. Do you know how to use music synthesizers? Can you make a clean recording of a car horn, a slamming door, a cash register going "ka-ching"? Unless you feel you need to, you're usually better off downloading professionally made sounds - rather than attempting the DIY route.

Why do sound effects categories have those weird names?
So - you do a web search, you find a few web shops where you can buy sound effects. But what is the deal with all those strangely named categories? What's a "Whoosh"? A "Stinger"? "Walla"? It is a bit confusing at first, but yes - some categories do have weird names. The ones I just mentioned have their names from the film sound world; they are simply jargon words. "Walla", for instance, means a crowd mumbling something that sounds like random conversation, but in which the words are indistinguishable. This type of sound is often used in the background of many movie scenes.

Just browse around if you're not sure. Use the sounds any way you want - regardless of what film sound pros call them. There is no right or wrong here.

What is the difference between file formats?
File formats and file resolution are two points you need to pay attention to. Whether you need an mp3 for your power point presentation, or a Chinese gong sound for a quiz you're hosting at a family reunion, you need to know how to find the right file format. In both these instances, an mp3 may sound just fine, but note that there are several different possible quality settings within that format. Personally, I wouldn't go lower than 128kbps for mp3 - and even at that point, things like cymbals or quiet background sounds can have a strange, warbling sound to it. That is a limitation due to the compression algorithm used to reduce the size of the sound. Go for a slightly higher setting; like 192kbps or more. A bit longer to download, but sounds a lot better.

If you're doing video editing, and you have a fast computer and a fast internet connection, you might want 16bit/48kHz wav files - or perhaps even 24bit/96kHz. These are professional sound qualities, and they sound very good indeed. But they also take up a lot of space and can be hard work for a computer - especially if you have several channels of audio, along with HD video.

How can I tell if I'm getting quality sounds?
A well recorded and well mastered sound effect will have little-to no noise. You should be able to see from the title and the description what sounds are in the file, meaning that a sound file labeled "Rain", should not contain audible birdsong, traffic noises, etc - if these are not mentioned somewhere in the sales text. The main sound should have a little "empty" space around it - you don't want the sound of a slamming door with too much of the reverb tail cut off. That would sound unnatural. And of course - you should be able to tell, just by glancing at the title, if a sound might contain what you are looking for.

I hope this little write-up has armed you a little better in your search for great sound for your projects.

Christian Coriolis writes about film sound, game sound and music production, for http://www.hzandbits.com - where you can also download sound effects in professional quality for your projects.

Practicing the Dolores Cannon Method of Quantum Healing Hypnosis, Spiritual Road Mapping

7 Things You Must Know When Making Your First Music Video

Making your first music video could be one of the most enriching experiences of your life. Right from the time when you start thinking of a concept, visualising the content and treatment, to every further stage of planning (props, people, location) and to the filming and editing of the final cut; you'd feel like preparing your own spell of magic.

Even though dreaming is easy, doing the bit is always hard! Isn't that what we always hear? Well, for those of you who haven't made a music video before, here are our expert tips to guide you along.

We will talk about the importance of key elements involved in:

• Teamwork
• Ideas
• Treatment
• Budget
• Planning
• Direction
• Editing and reviewing

Teamwork

At the heart of any good film-making lies teamwork. Even though there is just one Director, all successful shoots have a healthy and amicable work environment on the set with plenty of laughs. Remember that no one wants to feel left out, so talk to your team and keep them on the same page. Explain your thoughts and be receptive of theirs.

Ideas

Take your time in picking the one best idea from among many mediocre ones. Think about the song, what is the message behind it and also about who would be watching it. Think what they would feel after watching your video and listening to the music. Also, think about your identity as a band. You don't always need to do a M.I.A., even a simple performance video that's shot beautifully could be enough.

Treatment

It involves the words and pictures that would describe the actions. You don't have to depict every second of the video, but just some key frames to get the idea across. You would need an artist to do this for you, however, even an image mood board could be as effective.

Budget

How much can you pump in the project is always an important consideration. Even though everyone may have a budget, they don't necessarily have a great idea. Build on your ideas first and then look at your budget, sometimes imagination and a little common sense will surprise you.

Planning

The keywords here are Common sense, Charm and Imagination. Be a realist. Plan only for what you can actually do. If you are on a low budget, ask for favours - You might be able to shoot in an office space at the end of the day or on a weekend, instead of renting it for an entire day.

Also, conduct meetings with your team at every important stage. You can't always do this in person, so use the phone!

Prepare a check-list of things you need to do in advance and keep adding to it. Be clear in your directions, if you need someone to fetch an equipment, then state clearly what you need (model number, make, etc.).

Direction

Choose your Director carefully as they would have their signature impact on the final feel and look of the video. Communicate your vision with them clearly as they would have their own thoughts about the video. However, if you are directing it yourself, then you will need to work even harder on Teamwork.

Editing and reviewing

One of the most overlooked aspect that slips consideration of many is Editing. But the fact is that your Editor and Director need to work together to give the video it's desired feel. You will find that a lot of Directors have their own favourite Editors that they like to work with. You should review their show reel work and then decide on who's best for you.

An average editing process involves:

• Logging of data.
• Assembly edit - arranging the footage in order like that of the storyboard. Basically, it's the desired flow of the video.
• A few more review stages.

The final stage before your video is ready involves a reviewing the edits. Here's what you should look to do:

• Look at it as a team
• Watch it at least thrice before you start discussing it. Watch it at full screen, with sound turned off and also with sound on and a screen size it would normally be watched at (like on YouTube).
• Write down the first reactions and then compare them when you watch a second and third time.
• You shouldn't normally have any big surprises if everybody has done their job well. However, in case there is something that is left out or needs to be re-done, then discuss it over with the team.

After all that work, what you should really strive for is completing your video. Even though you may not be a 100% satisfied with the results, you would be accumulating a lot of experience for the next one.

EPIK Music Videos offers Professional Music Video Production Services. Out of all the Music Video Production London Companies we stand out for quality of service and sheer creativity. See our Music Videos on our Website Epik Music Videos

Filmmaking Techniques

How to Get Ahead in the Movie Business

Behind every big organisation there is normally one or two characters with vision who have pushed hard and created something from almost nothing. Bill Gates and Richard Branson are two men who created international brands so big almost nobody on earth can get away from them. Well, in the world of film there are a lot of people all trying to do practically the same thing - make and sell films. There are thousands of indie filmmakers out there all with creativity and imagination and striving to be the next Tarantino or Spielberg. Problem is, when they have finally finished that low budget drama, where do they go? All too often they'll pay out money to get their film to a festival and hope to get picked up. When that doesn't work, they spend more and send to another festival. Sometimes this can actually work, but only at the right festival, at the right time and with the right product. After all that waiting and spending they then trawl the internet looking for distributors to take them on and then it's a game of Russian Roulette wondering just who can be trusted to sell their precious film, let alone actually pay royalties, eventually and honestly.

Well that pretty much sums up the situation for filmmakers who don't work at one of the big studios, unless of course they go it alone and try and get listed on Amazon or somewhere else. I wanted to get to the bottom of the whole thing and so we're gonna have some interviews with some of those men behind the world's biggest independent film and documentary distribution companies.

We start with one of the men behind a film company that started around ten years ago with one film and is now one of the fastest growing international independent film companies with hundreds of movies and documentaries. These guys actively seek out films around the world. They don't take any crap, they say it how it is and they have a lot of experience within the entertainment industry and marketing. I have spoken to a few filmmakers who are with them and have had nothing back but glowing reports, which makes me suspicious that there's way too much dope being smoked in the industry.

Well, here we are, Warren Croyle, CEO of Reality Entertainment. Enjoy.

Have you always wanted to work in the horror industry or did you begin your career elsewhere?

Oh yeah, I loved everything Horror starting with Frankenstein at the top of the list, then "Creature Features" with Bob Wilkins on channel 44 and of course "The Night Stalker" hooked me big time. Then there was "Friday the 13th - the original." My Mom had to buy us the tickets and go with us due to our age. When Jason came out of the lake, the whole theater jumped out of their chairs, I remember it like it was yesterday - it was AWESOME. After that "Halloween," "The Howling," and "The Thing" were my favorites at the time. But when I was a teenager I was into rock and early metal so I started hanging out at the big LA studios, eventually becoming a recording engineer and then a producer. Years later, when we weren't seeing our royalties being paid on time, or at all for that matter, I decided to start Reality Entertainment and as a result many of the bands I had produced came over to the label with me. From KC and the Sunshine Band to Godhead to Marcy Playground we're one big happy family. We started our film division ten years ago and always planned to branch off into Horror which we finally did with Chemical Burn.

I know you own a lot of other media properties. Could you describe them?

Well Reality Entertainment is our parent company. RE is a multimedia company, we produce and distribute music, books and films. Chemical Burn is one of our brands all under the RE umbrella. World Wide Multi Media is another brand in which we have Horror and other interesting genres. But we cover all applicable media from digital to CD to DVD with no barriers or limitations. We're considered a major aggregator for the large distribution networks in the US and have many partners abroad so we are into a wide range of film and other content.

What is your company philosophy?

Strange is Normal, in other words we're looking for something as mind blowing and original as Jimi Hendrix was with music and want to support original and exciting films and filmmakers who are trying to re-connect with the heights of filmmaking which we seem to have gotten so far away from in the last 20 years. Take a look at "Rosemary's Baby," "The Exorcist," and "The Tenant" as well as films like "In a Glass Cage," you just don't see these kinds of films anymore. Not only are they MORE terrifying, but they are made in a style and with an intelligence that has been completely erased by the modern film industry, which is a travesty. Slash is talking about restoring this void of the true supernatural, suspense horror film, THANK GOD! Slash, we want to put out all those films please call! (Slash was in our studio a while back doing an incredible solo on Ray Charles' last record.) But I must say that past the time of the films I mentioned above, there's one filmmaker who's work stands up incredibly and took the essence of "Rosemary's Baby" and "The Exorcist" into the 70's, 80's and beyond and that is John Carpenter. From "The Thing" to "Star Man," Carpenter films are ones you can watch many times and still truly enjoy. They resonate deeper than films today and have a quality, an intelligence to them that is rarely there anymore. Films need to be more than visceral gore and standard scares and well lit sets. Instead they need to rock our psyches, they need to change how we think about certain things, and keep us exploring who are we, what are we, and where are we going?

How do you select which movies you want to produce or distribute?

It's either something quite marketable, something we like, or something we see potential in. Some films aren't the best but you can see mega potential in the filmmaker so we take them on and help them grow and make a business from their hard work which is a big part of the reason there is a Reality Entertainment, Chemical Burn, etc. Outside of being a studio, we are also a creative breeding ground for what's around the corner. We're like a virtual world studio that can facilitate almost any type of work, be it music, books, films, theater, whatever. For instance, we have a filmmaker Daniel Falicki, who is making AMAZING films entirely in green screen, wait until the world gets a hold of "Future World: City of Mass Destruction" and "Dwarf Hammer." Amazing characters and total transportation to another world all within the confines of a green screen and a computer loaded to the gills with memory. It's the beginning of a whole new genre really, one where the stories have no limitations or barriers - anything goes, the imagination doesn't have to stop because "it costs too much" or "can't be done"... it's very exciting. Ultimately we are looking for super original, cool stories that have unique characters that immediately command your attention and suck you into their story/journey. Where is the new Lynch, Kubrick, Polanski? Maybe I'm asking for too much, I don't know. But one thing is for sure, no more detectives on murder investigations, that has to stop!

How has the horror movie market changed from when you first began?

I think it's become very derivative, much like music. You've got too many bands making records that probably shouldn't be making records, same with horror films. So many people are making the SAME movie, and they are making movies for the wrong reasons in a lot of cases. It's not about showcasing that you can shoot on a RED camera, it's not about the derivative template or framework, lets blow these things apart and REALLY see where it can go, "In a Glass Cage" stills blows my mind - sex, death, horror, are all layers in that film that go much deeper into the psyche than a "normal" horror film. We've got a film called "FELL" by Marcus Koch, which is about a guy (Jeff Dylan Graham) who's on the skids, lost his job, his girlfriend broke up with him, he got kicked out of the band, etc. so he's a mess, He's seeing a shrink who wants to put him on pills, so he's sort of going down a rabbit hole if you will, when one day he wakes up to find a dead body in his bathtub. "FELL" is a one character, 2 peripheral characters max that achieves the depth and brings the horror out in a way that you can relate to because it's in a very real context. All this with literally no budget. We are now in an era where VERY talented people who perhaps couldn't have made films back when CAN do so now. The video era is opening up the possibility of finding a horror Picasso in a trailer park in Des Moines, Alaska, wherever...

Where do you see the horror movie market currently headed?

I think there's going to be a breakthrough, at least I'm hoping so. Its interesting that more people aren't demanding better films with better stories, that tap deeper, even the first films of the modern era like "Friday the 13th," "Halloween" and "Jaws" got way under your skin compared to a lot of films nowadays. You just don't care enough about the characters and the situations, and the audience isn't experiencing that ride into another world like movies of the past have achieved. There HAS indeed been breakthroughs, but largely from Europe and Japan, some of the Japanese films are mind blowing, very unique and genre defining, Takashi Miike and the others are doing a style and a perspective that they OWN. In addition to Japan, you've got Sweden, Italy, Serbia, etc. kicking our asses with cooler films, they have nuances and perspectives that are defining a different kind of genre. So I'm hoping that we can take a step back, and see of we can do more than push the limit but create a new playing field. I'm a dreamer but I'm not the only one.

What advice would you give to budding indie horror filmmakers?

Do it - go forth and do it and don't look back. Ted Nugent said it best, you pick up that guitar, find your own sound and style, then you get a drummer to back you up and you never look back. Don't read books by people who TEACH you how to make a movie who don't actually make movies. I'm not saying there's anything wrong with that, I'm sure you can learn a lot from some of the schools out there and that may also lead to some opportunities but most filmmakers I admire just do it - no budget, no huge crew, no Kraft Services... nothing, they make do with what they have available and what's more they are quite often BETTER films from relying on ingenuity and true creativity, they are REALLY resourceful. Guys like David Lynch are most happy when they are creating, for them this is the state that their minds are at peace, they try to make that stasis "everyday normal" which is cool, I dig that but I also admire the filmmaker who has a specific vision, has done their homework and works methodically to achieve the end result. Make a film that blows your mind and therefore will probably blow the audience's mind as well. Look at Bennie Woodell who made "Fast Zombies with Guns," what a cool title. Here's a kid from the Midwest who HAS to make films, you gotta support that so we had him make two films, "Fast Zombies" and "Death Angel December" both great efforts from a first time filmmaker. Bottom line, don't let anything get in your way and just do it.

What is your personal favorite film that Chemical Burn released and why?

There are several really, but what James Eaves did with basically a bare industrial room to achieve some first rate horror and terror in "BANE: An Experiment in Human Suffering" is quite admirable. Then theres Julian Grant, a Corman alumni who's "The Defiled" is for me, the greatest zombie film since "Night of the Living Dead." HUGE statement I know, but he captured a parallel universe, post the final holocaust and framed it in such a way that it forces you to examine your fears, insecurities, human relationships... such a cool film. "I Sold My Soul to Satan" by David Gaz is one of the coolest documentaries of late. Philip Gardiner heads up our UK team and has a "Hammer" style to a lot of his films like "The Stone" and "Paranormal Haunting." The Dark Watchers was the weirdest Alien horror film you'll ever see. We've got a lot of cool films coming out in 2013/14, some of the young filmmakers we have are doing incredible stuff and will be names to look for in the years to come.

So how do you get your film in with these guys? Send your screeners to

Alchemy Werks
POB 91
Foresthill CA 95631
USA

Read more from Brian Johnson at his movie blog, http://www.rostrumreviews.blogspot.com

Night Film (24p) - Canon Vixia HF S21 / S20 / S200 Low Light & WD-H58 Wide Angle Lens

10 Ways a Bride and Groom Can Help With the Production of Their Wedding Film

1. Warn your vendors of upcoming events. Cake cutting, garter/bouqet, toasts, special dances. Just a small, 5-minute warning can help us confirm that we are in the right place and the right time. Let your DJ know that he needs to make sure all your vendors are prepared for what is about to happen.

2. The Toasts. Tell your best man/maid of honor to not only talk about you as a person, but also as you both as a couple. Have them share their thoughts on you two finding each other and getting married.

3. Turn down the radio/iPod during prep. It's common for the girls to blast a wedding mix album while doing hair and make-up, but this can easily mask a power piece of dialog that can be used to tell your story. It also creates an awkward background noise when a cinematic soundtrack is applied later.

4. Have a first look. Your photographer will tell you the same thing. Seeing each other before the ceremony helps you with your nerves and creates a wonderful opportunity for you two to say just say "hi". We also view this as a opportunity to capture you two alone together which is actually a rarity, believe it or not, on your wedding day.

5. Tell your wedding party & parents that we're coming. Make sure they understand that we desire that everyone behaves naturally and let them know that they need to try and ignore our presence as much as possible. We want your day to unfold the same whether we are there or not.

6. Exchange gifts. Add a special moment to your day by giving each other gifts. You can have a bridesmaid/groomsmen deliver it or exchange them during your first look. It's always fun to see how we can tie this sequence into your film.

7. Talk. Have conversations with your family and friends. Chat about how you meet, how the proposal went, what has gone into planning this wedding, etc. Your wedding day is packed full of emotions, let everyone know how you're feeling.

8. Don't chew gum. We know you're nervous and feel the need to be busy, but please refrain from the Juicy Fruit. This goes for the wedding party too.

9. Stay together. It's not uncommon for the bride and groom to split up once the reception is underway. Grooms, get out there and dance with your new wife! Your wedding day is finally here, enjoy it together.

10. Consider your vows. When it comes time to state your vows to each other remember to relax. Take a deep breath and look into one another's eyes and deliver your words from the heart. Slow down and think about what you are saying.

To view a wedding film by Felix Roman Films click here --------> http://www.felixromanfilms.com

Quentin Tarantino Filmmaker Advice

American Film Market on a Shoestring Budget

In early November, the American Film Market comes alive with sellers, buyers, and promoters bartering for placement in distributor's catalogs. With attendance around 8,000 AFM is the World's largest motion picture trade event. It's a marketplace where producers and sales companies license films to distributors and this year they project to have 2,000+ New Films and Projects, 1,000+ Distributors and 400+ Production Companies. The market is based at the Loews Santa Monica Beach Hotel and it uses conference rooms and movie theatres in the area.

For struggling filmmakers and screenwriters, AFM offers opportunities for networking, project financing, and distribution. However, on a shoestring budget it takes a lot of planning to achieve ones goals. Attendance fees are steep and exhibition costs are higher. Yet there are ways to obtain meaningful accomplishments and do so without breaking the bank.

The immense size of AFM may seem overwhelming to first timers, but it's more a community with established relationships that date back years. Rapport and trust have been built up over time and while the products may evolve, the people stay pretty much the same. It's also a market of niches where buyers must evaluate which products will have value in their home markets. Buyers face another challenge, in addition to assessing potential value and the whims of film goers six month to a year hence; they must also judge how present economic conditions will affect the entertainment marketplace. In previous downturns, movies have played the escapist role but that was before entertainment became so fragmented. Now there are considerably more choices and younger audiences find that the Internet, I-pods, and video games better fit their needs and budgets.

Yet, whatever the state of the economy there will always be a need for product. Theatres, television, cable, satellite, and now the Internet all look for viable programming. Multiplex screens and television schedules eat up a vast number of titles. With the major studios cutting back and concentrating on blockbuster entries, there are product voids and independent filmmakers stand ready to fill them. What's more, as the ongoing credit crisis limits the number of movies released those that do obtain financing will find foreign distribution easier to acquire.

For the low-budget independent filmmakers, especially on a shoestring, working this market requires considerable preparation. The AFM Pitching seminar stressed the importance of having a succinct coherent presentation whether it's a project in development, a proposed script or a completed film. One must remember that buyers, sales agents, and distributors receive countless pitches and to avoid getting lost in the shuffle, you and your project must be memorable. Your pitch should have water-cooler talk-ability. By that, I mean it should be highly transferable and be able to travel through the community without losing energy. Long before the market opens this process should begin by contacting your prospects and giving them a preview of what you will be presenting. You can do this via mail, email or by phone. Give them a taste to wet their appetite. See the Market's tips on How to work the AFM, especially the guidelines on Pitching Essentials.

Jonathan Wolf, AFM Managing Director, reiterates the importance of obtaining assistance in areas where you are weak. Being able to pull together the expertise and good judgment of others is an essential part of being a successful producer. This may require attaching a producer to your project who is more familiar with the creative aspects or one who is capable at securing financing, or a line producer who is able to manage the details of the production itself. If the film is near completion, a producer's rep may be of help in obtaining festival exposure as well as securing a distribution deal. A publicist may also be required to create the desired pre-market buzz. Adding a sales agent to secure licensing rights within various foreign territories is another asset that ups the value of your package.

One obstacle for first timers is identifying likely prospects and obtaining their contact information. For a listing of exhibitors and their contact information, go to American Film Market website and navigate to Attend/Buyer/Exhibitor List. Since some of these companies also serve as sales agents, this list will be useful in locating these people. One can use other directories to cross-reference and identify the sale agents attending. Google or Bing "Sales Agents for Films" for various directories and look specifically for the one put out by the Screen Australia. This pdf directory contains 22 pages of detailed contact information, including person to contact, acquisition policies, and recent acquisitions.

Another source is the directory on the Internet Movie Data Base, pro version - IMDbPro.. Navigate to Company Directory and from Type Company scroll down to Sales Representatives. This addition to IMDb offers greater industry information and is available on monthly subscription bases. Also, check out the KFTV online directory for their list of sales agents. This free online service caters to the international entertainment industries. Enter Sales Agents in search window.

Short phone calls can help establish a rapport with targeted personnel. However, most filmmakers are reluctant to do this because international calls can be expensive. I would suggest using a low prepaid international calling card. LDPOST has a list of available services along with rates by countries. For instance, calls to France, London, and Germany can be as low as 2.0 to 2.4 cents a minute, which is cheaper than stateside long distance rates. Simply place your call-in number, then your PIN number on your speed dial to streamline this connection process. There is also a Direct Dial option available where you dial a single number.

Because your prospect will not likely have the final say, your pitch and accompanying materials should provide strong sales arguments that can move up the corporate ladder. Up front, it should state your objectives, i.e., seeking international sales agent, seeking co-production financing, or seeking acquisition of completed script, etc. While your presentation may be convincing, it's competing with numerous others and having statements and figures to back up your arguments is essential.

There is a long list of evidentiary materials and here are some of the more prominent ones. Include the ones that best represent your project. Comparisons to similar budgeted films--their critical and box office success, log line, elevator synopsis, full synopsis, script coverage, named actors, named director, named DP, projected budget, festival awards, reviews, test screening results, audience ratings, trailer, DVD screener, poster art work, press book materials, production stills, production stories, music tie-ins, merchandising opportunities, unique locations, EPK, film's web site, and project's blogs. Label these items with project name and contact information, then package them in a clear plastic bag so they are not mixed up with materials submitted by others. State the availability of the master and release copies as well as their screening format. Condense your pitch into succinct leave-behind summaries that contain pertinent arguments and include goals along with all vital contact information.

While one quest in presenting a film at the market is to obtain a sale, another is to generate a buzz for your movie. Post cards, DVD handouts, one-sheets and walking billboard characters are some of the methods used. A film's talk-ability inertia is a key factor in gaining distribution or representation by an international sales agent. In fact a small number of this year's foreign language Oscar contenders are using AFM to maximize award season exposure. Additional buzz can be obtained from reviews or news briefs posted in trade publications such as Variety, Hollywood Reporter, The Wrap, Deadline Hollywood, and indieWire.

During the later half of the market, Industry Half-Market Badges are available. During this period, exhibitors have more time to meet with you and are more receptive to hearing your pitch. To best utilize your time, map out your prospects and their locations in the hotels. Be aware that exhibitors are on numerous floors and that some share space. Scheduling appointments will help lend more credibility to your project. While the Half-Market Badge is good for four days the final day is a get away day and most exhibitors are packed and closed up by noon.

It may take some time for buyers to get back to you so it's a good idea to follow-up reinforcing your pitch and document the arguments supporting your project. It also helps to add new developments that make the project more appealing. Follow up first with an email and later with a phone call. Because these are busy people, focus on the feedback you really need. While you may be looking for a deal memo, you should also be looking for ways to strengthen the relationship. An appreciative thank you card can be helpful in this regard especially when it notes useful advice or feedback you've received.

AFM conferences and seminars are also good places to network and promote your project. In past years, topics have included seminars on pitching, financing, co-production deals, and incentives and tax rebates. These conferences are normally an added cost to your market pass and prices are listed on the American Film Market website.

One of the perks to being a pass holder is being able to pick up various print publications covering the market. These publications include Screen, Cineuropa, Beyond Cinema, Filmmaker Magazine, American Cinematographer plus industry trade editions such as Variety and The Hollywood Reporter. These are available on the mezzanine level and free to pass holders.

I would also suggest taking in a number of screenings to see how other filmmakers promote their product. There are over 500 screenings to pick from and while big budget, big star films draw respectable audiences, most films play to small crowds. Yet these gatherings afford opportunities to meet industry people, particularly filmmakers and producers. Use this time effectively and choose films that are closely related to your project. Screening times and theatre locations are listed in the catalog. Shuttle buses to various theatres are provided outside the Loews Hotel.

There are numerous opportunities at the Market to pitch ideas, network, and gain knowledge about the industry. The hotel lobbies where participants mingle are prime spots. It's a relaxed atmosphere where spiels and business cards fly about at will. In addition, it's a good idea to have as much information as possible on your card. Some attendees apply a sticker to the back with pertinent information about their project and/or company. Where applicable, write on back a desired call to action. Things such as "View my trailer at... " When you exchange hundreds of cards one can be easily forget, so make notes on the back of those you receive.

With the advances in technology, you will also find notebook presentations as a practical means of making a presentation. These devices are able to play trailers, interviews with stars, and offer samples of promotional materials. There are numerous advantages to this type presentation in that they are quick and to the point. Film is a visual medium and what better way to promote a project. Most prospects are amicable to watching a short trailer and if interested open to viewing more materials. However, you have to identify the buyers and open a dialogue. While the color-coded badges provide some helps, most buyers are so inundated with impromptu pitches they stuff their badges inside their shirt.

There are also special receptions, parties and red carpet events, and most require being on the invitation list. While most of these events are for established friends and associates, a kindly inquiry can sometimes result in an invite. While not openly publicized, invitations are handed out to promote a product or company. It some cases it is to firm up established relations or in appreciation of past business.

Lastly, mingle effectively. Introduce yourself by tagging your name with a profession, company affiliation, and info about your project. Listen, ask questions, and work the entire room with meaningful productive dialogue. For when it comes to mingling with the international side of the business, AFM is at the top of the class, a marketplace where chance encounters can easily evolve into lucrative deals.

Erik Sean McGiven has attended the American Film Market as a film representative, publicist, and film reviewer. The information compiled in this article is the result of his research and attending workshops on how to best utilize AFM opportunities, especially on a limited budget. Erik writes articles on the entertainment industry in addition to doing film reviews. Links to these articles and reviews are available on his website. http://www.erikseanmcgiven.com/writings/the-biz/. He has worked in the industry in a number of positions including producer, writer, director, production designer, script supervisor, reader, and reviewer.

Food Truck Rodeo

Sites to Download Paid Stock Footage

The stock footage industry is growing at a very impressive rate. The main factors influencing this development are the cost savings associated, as well as the time factor. This footage is normally either royalty free, or rights managed. Many television programs and movies make use of stored footage in many of their scenes. This is mainly because of difficulty and impracticality of filming each scene. Certain epic events such as volcanic eruptions, tsunamis, and earthquakes do not happen every day, hence the usefulness of archived footage. In terms of expense, it would be much cheaper to purchase quality footage, that to suffer the cost of shooting your own videos.

The expense involved in hiring the production team, buying all the required equipment and travelling to distant destinations in order to shoot required footage is staggering. Using stored footage is more convenient when it applies to saving time. All you have to do is pay and immediately download the footage. This is more convenient than wasting a lot of time shooting your own footage. The availability if stock footage depicting certain special effects is also a major advantage. The special effects footage available involves various aspects such as explosions, car crashes, gunshots, and many more.

Factors to consider when buying stock footage

1. When you buy stock video, it is always advisable to study the license agreement and terms of use. This is important because misusing the footage may lead to copyright infringements and legal action. It is important to note that greater restrictions are placed on rights managed videos. They are usually more expensive, and licensed for single use. Other restrictions involve usage within a certain time, and location. Royalty free footage on the other hand has fewer restrictions, and once purchased, it is open for unlimited use.

2. The footage must be of good quality, and its resolution must match the rest of your footage in order for the whole video to flow seamlessly.

Top sites for buying stock footage

Getty Images Stock Footage - this website offers royalty free clips at affordable prices. The range of topics covered by the clips available is wide. In order to view and preview the clips, you will need to have QuickTime installed in your computer. The cost of the footage will depend on the licensing terms, as well as the type of video.

Shutterstock Footage - this website has a wealth of royalty free footage clips to choose from. There are clips featuring nature, transportation, wildlife, and many more. In order to have access to these clips, you are required to sign up as a member. You may also opt to buy a yearly subscription, or buy on a per footage basis.

Revostock - this site offers royalty free music, video, and special effects at affordable prices. You will find both high-definition footage, as well as standard-definition. Account set-up is required before making a purchase.

ITN Source - Flash player and QuickTime are required to preview footage from this site. Both of these software programs can be downloaded from the ITN site. To download content, you will be required to pay a licensing fee, the amount of which depends on the license duration, there the footage will be aired, how it will be used, and frequency of use.

Top Free Stock Video Websites

Video producers all over the world now have a cause to celebrate. No longer do they need to spend astronomical amount of money to produce videos and documentaries. The cost of hiring and maintaining a production team, including a director, camera operator, soundman, and other crewmembers is usually very high. The equipment required for production is also very expensive, more so the high quality gear needed to produce high definition videos. In addition to this, the cost of transporting the crew to different locations and the time it takes to shoot certain types of films can be very prohibitive.

The use of stock footage has provided a suitable solution to many of these problems. The number of videos available in the internet is staggering, and it is still rising due to the rise in popularity of posting online videos. Amateur videographers as well as professional filmmakers have turned to the internet to upload and sell their videos. This has given rise to a number of agencies specializing in selling stock footage for a percentage of the royalties.

In addition to the sites that offer footage to anyone interested for a small fee, a completely new resource has emerged. There are now many websites offering free stock footage. For independent video producers and other producers working on a limited budget, having access to free footage is extremely advantageous. Here are a few websites that offer free stock footage.

1. Videvo.net - This website is relatively new to the free video market. It offers high-definition stock footage as well as motion graphics. New updates are added daily, and the videos available are free for commercial and personal use.

2. Free Stock Footage - This website offers some free stock video. It is however important to note that only low-resolution videos are offered free. For the high-resolution footage, you will have to make a payment.

3. Detonation Films - As the name suggests, this free online service offers footage of explosions, gun effects and muzzle flashes, fireballs, bullet hits, and other such effects. In addition to this, a number of the effects are prekeyed.

4. X Stock Video - This website offers free high-resolution video clips. The variety offered is however poor. The footage is mainly in HD 720 or 1080 resolution.

5. Vids Play - The clips in offer in this website are not many. However, what it lacks in number, it compensates with quality. The footage provided is top quality. It is important to note that a majority if the clips on offer are in AVI.

6. Archive.org - This site has been in operation since the mid 90's. It has a huge collection of home movies, B rated movies, and commercials. Many of the footage provided is in the public domain. It would be wise to check the licensing agreement for confirmation before using the videos.

7. The News Market - As the name suggests, this website offers footage that is newsworthy. They are ideal for producing documentaries.

8. iMovies Archive - If you need to download certain iconic movies that are in the public domain, this is the website to choose.

There are many more sites that offer free stock video.

2012 Far East Film and Entertainment Arts Festival (Full Show)

Scoring a Major Film

Obviously, having a love of films and their scores creates a solid foundation from which to grow and develop your own sense of style and signature sound. Watching as many film genres as you possibly can is highly recommended; and as you do, be sure you take special note of how the scoring factors into the story line and its development, as well as any recurring character or location themes. Becoming more attuned to the scores of films is excellent training which will come in handy when you're taking courses in any film production programs.

Making a name for yourself that may one day be remembered along with the likes of such film composers as John Williams, Thomas Newman, Hans Zimmer, Danny Elfman, Elmer Bernstein and James New Howard is a lofty aspiration, but with dedication, hard work and a sincere belief in your talent, who knows? Those gentlemen all were neophytes to the field at some point in the early stages of their careers. So be willing to study hard, apply your talents and learn as much a possible, and one day, your name may well be up there in lights on the big screen and/or the rapidly expanding world of television films due to the vast number of cable networks.

To get more practical experience under your belt, you may well have already delved into this next suggestion, but if not, hopefully you'll find it helpful and good training. Capture some of the footage from a number of your favorite films, delete the soundtrack and replace it with your own score, paying close attention to matching the appropriate mood of the selected scenes, but incorporating your own style and interpretation into your sample score. Film production programs could be just the launching place to do it, as well as helping give you access to the right tools to match your musical idea with a visual one.

This is an excellent way to create a marketable demo for your compositions at some point, but for now, is great practice and training in building your confidence and repertoire. In this digital age, knowing how to produce your own tracks is invaluable. Having the ability to be a one-woman or one-man show as a composer and editor is becoming more and more commonplace when creating film scores. So in addition to taking course work from your choice of film production programs, getting some great classes from one of many audio engineering schools under your belt as well is highly advisable. This will help keep you from becoming reliant upon someone else in creating a finished product or project. Collaboration is a wonderful thing; but so is the ability to fend for yourself in the world of film composition. Best wishes to you as you let your talents shine!

Visit Trebas Institute for more information on making your mark at an audio school.

Patrick Quinn is a Copywriter at Higher Education Marketing, a leading Web marketing firm specializing in Google Analytics, Education Lead Generation, Search Engine Optimization (SEO), Mobile SMS Alerts, Social Media Marketing and Pay Per Click Marketing, among other web marketing services and tools.

The Art of Film Editing

The Subtle Power of Audio in Our Lives

Many of us live in a world of constant noise. We are bombarded with the sounds of traffic, the background noises of co-workers; from their voices, equipment, general babble as they go about their business. Then there is the world of enforced sounds; when we make a phone call to a large company, use public transport, do a supermarket shop.

Often we are able to neutralise these sounds. We go into a trance state and blank them out or we integrate them into our general consciousness and hardly notice them after a while. Look at how workers in noisy factories are able to adapt and even hold conversations across the deafening noise of industrial equipment, or those people who are unable to sleep in the quiet of the countryside because they have become accustomed to the soothing, relentless sound of city traffic.

But sounds, noise can convey information in perhaps unconsidered ways. Our senses hold a database of accumulated experiences relating to all our senses including sound. These memories can be good or bad, evocative of people, times, associations from our past. These sounds evoke a subtle power in our lives.

How many of us have become affectionately nostalgic over tunes from our youth when unexpectedly heard on the radio, as we reminisce over people, places, things that we did back then? Conversely, the tone in a complete stranger's voice can make us tense, angry, defensive, even fearful, as their words, tone, demeanour trigger us back into a long forgotten, unpleasant time in our lives.

Other sounds often cause a more universal reaction; the grating of chalk on a board makes many people cringe. A child laughing, someone giggling uncontrollably, a champagne cork popping, the sound of the sea, bird song, church bells often make people smile, feel secure, calms them down - unless those sounds have a past experience of hurt, disappointment, upset associated with them.

So, when we're looking to use voiceovers and audio support in a generalised setting we need to be aware of the subtle power it can convey. Some people may be sensitive to or unappreciative of sounds that other people relish and enjoy. It's important to be clear as to the targeted audience; their age, demographic, reasons for listening. Will the use of music, a localised accent, firmness of tone be perceived as reassuring or deemed to be patronising?

The engine noise of a fabulous motor car could be highly motivational in some environments, whereas in others it would be of little interest. Used well, audio can provide valuable information, introduce calm and soothing tones into difficult or tense situations, motivate and enthuse staff, clients or customers. Used well, it can be a positive tool for good.

Susan Leigh is a Counsellor and Hypnotherapist who works with stressed individuals to promote confidence and self belief, with couples experiencing relationship difficulties to improve communications and understanding and with business clients to support the health and motivation levels of individuals and teams.

For more articles, information or to make contact please visit http://www.lifestyletherapy.net