Clientology part 1

First of all, this is going to be a rather incoherent post...in order to start seriously thinking about some of the things assigned in the task for next year`s Client Project, I`ll have to have a really serious inner dialogue to get an idea of what I want to do, and according to that, where should I start looking for clients. Now, browsing through film and documentary festivals pages has been a good thing regardless of my still confused state of mind, you never know what might give you ideas...but, I will be back with more on this topic...

 

Art By Chance (Ultra Short Film Festival) 

 

The reason Art By Chance caught my attention was because `the selected short movies will be presented to the public through advertising screens instead of movie theatres [...]Viewers around the world will have the opportunity to watch the best festival movies free of charge and within the course of their daily routine`. All submissions must use the given theme as a backbone of their work, which last year has been the idea of a journey, and this year, is that of time. Films must be 30 seconds long or less excluding the title and credits. Deadline: 26 March. 

 

Sheffield Documentary Festival

Unfortunately, the deadline for this is before November, so no chance really to be considered for next year`s Client Project I guess, but it`s good to keep in mind the event nevertheless.

Ah, and there is something else that might be useful I managed to spot on their page:

Submit a Session IdeaI - If you have an idea for a session you would like to produce at the festival - it can be craft-based, case studies, debates, panels or masterclasses, you can submit your idea to Doc/Fest. Online submissions for 2010 will open in March. (Hmmm...thinking, thinking...ideas...yes, I might have some of those...hmmmm)

 

CrossOver Labs

 

Multiplatforming, discussion panel and project that brings together people from various media to:

• explore new techniques for developing multi-platform projects
• encourage fresh thinking about interaction with viewers and users through user-centred design processes
• provide a framework for the development of concrete projects and results in the building of pitches and early stage concept prototypes.

 TO BE CONTINUED...^.^

The big O

Yes, do make fun of me as much as you like...but I have this dirty secret. I like my opera and my classical music every once in a while. I am one of those who mostly get it through recordings, but hey!...

So, it seems that one can work on THESE little babies: adaptations for the screen of operas or of classical music (a sort of video clip if you will). I know I should be more coherent and make a critical assessment of these, and I will try to sometimes later....but for now...it`s just....WOW:

 

Captain`s (V)log

My (slightly quirky) version of the what the cinematographer is all about, with an attempt at shallow focus. Can I just say in my defense that I`ve been a victim of what one might call a case of `the editor ate my homework` (my first tape, with carefully recorded footage has been obliterated by the cruel machines in room 105...although I can`t guarantee that the quality of that work would have been much better than this). I got this together in 20 minutes, desperately trying to get people and objects to pose (the objects maintained a firm resistance!). Without further ado, enjoy!

What`s in the...location?

I have completed my research on the role of the Location manager the last week, but I forgot to transfer it on my journal. Meanwhile, I have come to realise ever more the importance of the role. Not having the appropriate location can make shooting a real nightmare, both in terms of the effort and stress level that the crew has to go through, and the visual and audio outcome of the work.

The most unglamorous, though at times very important, part of the Location manager`s job is health and safety. Every rolls their eyes, and it is very frustrating and bureaucratic a lot of the times, but a necessary evil. Then comes the really crucial bit: is the lighting adequate? Will the set not pose major problems with the recording of sound? Do you have to get permission to shoot and who do you ask for it? Will the neighbours agree or will you find yourself sabotaged ?! Can you control the area insofar as to make sure you don`t have people who are not involved in the production walking in and out on your set? Can you make sure the crew knows where to go on the day of the shoot (you`ll have to draw up a MOVEMENT ORDER for this particular task), without getting lost and making sure they can park, dine, warm up, work in a safe environment and clean up the location at the end of the day?

What does it take to be a location manager?

- a good understanding of the script and an extensive library to search through for the right place

- willingness to travel, even at short notice

- a good knowledge of your area/town/county/country

- working knowledge of governmental procedures

- know your history, architectural styles, etc

- ability to keep focused for long hours, attending to the needs of each unit of the crew

- administrative and negotiating skills.

SOURCES:

Location Works
Skillset

Prospects