Flicker Problem in Our Film Fixed! Here's How

In our film Not Since You we found a very strange flicker problem in one of the scenes. It made the scene look as if a lightning storm was going on within the scene. We had no idea how it happened. We filmed a number of other shots the very same day on our 35mm camera with no issues and the problem affected two different lab rolls. It happened very randomly on a single day. Weird. 

Our post house thought it might be a bad HMI light, camera malfunction, or a lab error. Without knowing the exact source of the issue, it made it harder to determine the best fix. 

And one of the largest problems was that the flicker was not noticeable until over a year after filming. Why was that? We never projected the film on the big screen until we were working in a Digital Intermediate. Throughout editing, we watched the film on a tiny screen and couldn't detect the flicker. Once on the big screen though, you could definitely see it and we worried the film would never pass Quality Control once we sold it. Now what? (as my blood pressure rose)

Well, first, we hoped the flicker could be captured by a certain algorithm and then removed. Unfortunately, our flicker was not moving at a constant rate. Instead it was fluctuating at many different speeds, making it impossible to capture easily and remove. This was when we knew we had a big problem. 

I then contacted our insurance company. I was very nervous about filing a claim more than a year after filming but the problem obviously occurred during production. I hoped I wouldn't run into any problems. Sure enough, the insurance company's biggest complaint was the amount of time between filming and the detection of the problem. I explained what happened and had three post houses confirm that it happened during filming. That's all I could do. And the insurance company eventually agreed to honor the claim. (blood pressure began easing)

The next step was getting quotes from post houses who could fix the problem. However, this was not a simple fix nor was it going to be cheap. I went to four different places and luckily one referred me to the wonderful team at Identity Studios in LA. These guys are miracle workers. None of the other post houses could offer an affordable fix that would even work well. Not because they weren't capable post houses -- the others just didn't have the specialized experience with this kind of problem.

Identity, on the other hand, had experience with these kinds of flickers and they offered a near-perfect fix and an affordable quote. When I say affordable, I mean affordable in the post world of costs. It was still very expensive! I could have bought a really nice car with what it cost. 

I guess the moral of this story is to not give up. If you see a problem that seems impossible to fix. Keep trying until you find a way. Just like we found Identity, you will find your miracle worker too.

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How to Take Feedback on Your Script and Film

I was inspired to write this post from reading this blog post "I Will Not Read Your Fucking Script" from A History of Violence screenwriter Josh Olson. Some of you may be offended by his offhanded way of dismissing new writers but if you read closely, you will find some very sage advice. 

And that advice is to listen and learn and be gracious for any feedback from anyone, especially those who have achieved success in the very field in which you are seeking similar success. And, very importantly, if you seek feedback, expect to get both good and bad and embrace BOTH. The good is great to hear but the bad is what is going to make you a stronger writer or filmmaker if you listen and learn from it. 

Though in your face, I am very sympathetic to Josh's sentiments. I too am asked to read tons of scripts and it's my job to do so and I enjoy it. But sometimes, after having taken my time away from my own projects to read a script and provide some insights, I get the same pat response Olson's friend gave him or sometimes even NO response from the writer. Like Olson, it stings. 

I have to agree that it's really hard to read someone's script and know that it isn't very good and then have to think about how to kindly be honest and supportive. It's not easy and it takes time to write those emails, even if they sound generic to the screenwriter. You don't want to offend someone who has spent a long time writing a script but you also don't want to just lie and say it's great because how is that helping him or her achieve success?

Unfortunately, you can't please everyone. I just hope people listen to Olson and realize that though he has achieved success, he is still human and deserves to be handled with respect. I'm sure he is reacting mainly to the fact that this writer was pissed and dismissive of Olson's efforts to provide honest feedback. In the end, we all could stand to be better and let's be grateful someone cares enough to tell us so. 

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Back to Business: Deliverables Cost $$$$$

Had a great vacation despite having to negotiate a foreign sales deal in the middle of it -- c'est la vie for an indie filmmaker! 

And with this deal comes the dreaded deliverables! My nightmare is becoming my reality. I shake in my shoes every time the deliverable requirements come around. 

Why are deliverables a nightmare? Because everything AND the kitchen sink is usually required to be delivered and within a short timeframe and the worst part about them is that they are expensive! OUCH!!! 

Right now, we are delivering our film Not Since You to our foreign sales agent and clearing music licenses. This is a painstaking process that requires delivering the film and sound and contracts in every form possible. Costs can really add up especially if you need to work with multiple facilities in order to cover every aspect of the delivery. 

The scary part is that deals can definitely go away if you can't provide all your deliverables. So you have to be extremely careful about fulfilling what is required. 

A word of caution: do not blindly sign off on a deliverable schedule. Do the research on how much each item is going to cost or you may find you don't have the funds to handle what is required by that company. And be sure to have help from a producer's rep and/or a lawyer (preferably both) when going over any contracts. Knowledge is power! 

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On Vacation!

I'm on a blogging hiatus due to vacation. Ah, relaxation. We all need it. More blog entries to come in the middle of next week. Cheers!

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Articles to Read: No Fee Film Festivals and Going Solo on Distro

Two Good Articles to Check Out

No Fee Film Festivals

Going solo on your distribution

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Why Are Good Screenplays So Hard to Find?

Good screenplays are like finding a needle in a haystack. Why is that? I know there are strong, successful screenwriters out there. So why isn't there more good product to choose from when we producers are looking for more material?

I'll speculate a little: 

1) Good Screenwriters don't have to write on spec. They can be hired onto projects by the studios or financiers or they can pitch their ideas and get the money to write them. This is where indie producers who usually don't have development money really lose out. 

2) Good Screenwriters command the attention of bigger, more successful producers who get the first pick of their work.

3) Good screenwriters are repped by agencies who ignore smaller producers, believing the project will not have a chance of getting made with a decent price tag or at all with a smaller producer on board. 

4) Good Screenwriters can write on spec and get their scripts sold or perhaps set up for development at a big production company thus leaving the smaller producer out of the loop entirely.

5) Once successful, Good Screenwriters aren't in the orbit of smaller producers. Or they choose not to be.  

Where does that leave the smaller producers who have no money or reputation to get a Good Screenwriter?

1) You find newer screenwriters to mold and shape into the Good Screenwriter. You make a film based on their freshman scripts and cross your fingers it's a hit. And when that Good Screenwriter grows up, you hope your relationship has them bringing their new projects your way.

2) You rattle the trees of agents and managers who will blow the dust off the scripts sitting on their shelves. Or take pity on you and throw a spec (usually one they don't love) your way. 

3) You spend the time developing mediocre material into a gem. 

4) You find and option books that the Good Screenwriters want to adapt.

5) You garner some success and go after the Good Screenwriters based on the heat from your success.

6) You befriend those who work at production companies with deals and you bring them material for Good Screenwriters. You then partner and they help you get that elusive Good Screenwriter on board.

7) You track winners of screenwriting contests and go after them to consider their material.

8) You hit up your friends in the industry for referrals to the up and coming screenwriters. 

9) You attend festivals and screenings of material from new talent. 

10) You come up with any and every idea to find sources of material. Your Aunt Gladys might even be a budding screenwriter. 

You just never know where that Good Screenwriter is going to come from. That Good Screenwriter might even be you. The best thing is to keep your eyes and ears open and keep looking and read, read, read!

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Are Indie Filmmakers Too Independent?

Independent filmmakers often work in their own worlds, within their own cliques of people with whom they like working. This is good and bad. It's good because you can grow a small group of very loyal, similar thinking people that you can lean on for the long haul of filmmaking. It's bad because you may only have the people in your small group weighing in on your work. And those people may not have the experience yet to really help you propel your work to the next level. 

Are indie filmmakers working too much in a vacuum? Do we need a better means of expanding our worlds and having more checks and balances on our work? Personally, I try to create greater opportunities to expand my indie world. I work with some great people, but I think it's important to grow my world and get other people's perspectives on storytelling whenever I can.

I'm also wondering if we had more people involved earlier in the process then would more films have greater success on the festival circuit and at the box office? Something to think about.

I know there are programs out there to help us be better filmmakers. Here are a few:

Sundance Screenwriting, Producing & Director Labs

Film Independent Screenwriting, Producing & Director Labs

IFP Rough Cut Lab

Nicholl Fellowships for Screenwriting

Now the issue I have with the above labs are that they are very exclusive and geared primarily toward low budget independent filmmaking. What do the rest of us do when we aren't accepted to these programs or you want to develop broad comedies or thrillers or action pieces, etc.?

Well, the onus falls on you to get your own feedback. I know this isn't easy. Those who are good at development and successful in their careers are often super busy and don't have much time to spend teaching others how to improve their skills. This is where interning and assisting become a very valuable tool for your growth as a filmmaker. 

If you are having a hard time getting the guidance you need from organizations or seminars, etc., try spending time with successful people by offering your help. Many will take you up on your offer and you may find support and a mentorship that could really help you grow as an artist.

No matter what filmmaking is built on relationships. Don't be afraid to expand your network and share your work with those outside your inner circle. Being independent is great but it doesn't mean being alone. 

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