This is a video from our Emmy nominated TV series "FRAMELINES", this one on organization.
Hope you like it. Adobe Premiere, After Effects, and Photoshop used.
a new webisode on REALITY TV featuring Tessa Gordon, the lovely host of this podcast
So several blogs ago I wrote about the new Star Wars films, the 7-9 of the series being done by filmmakers other than George Lucas and before that I wrote about the tangled web that is Marvel Studios and the comic book licensing rights to studios like 20th Century Fox and Sony’s various branches. Funny how all this seemingly disparate elements can all come together in a perfect storm.
After this summer’s THE AVENGERS becoming the 3rd highest grossing film of all time, a lot has changed in the comic-book movie adaptation world. Warner Brothers, who own all of D.C. comic’s characters is fast tracking a JUSTICE LEAGUE movie to cash in on the same format, but they are failing to see what worked for AVENGERS were a string of successful solo movie all building up to the anticipation and awe of seeing so many characters together. Next summer’s MAN OF STEEL with participation from BATMAN’s Christopher Nolan will probably do well, but there was no setup for a group movie, and neither Nolan or Christian Bale would likely have anything to do with a team movie.
In the continuation of Marvel deals, Fox pulled the plug on a Daredevil movie from Joe Carnahan (the Grey, Narc) and intentionally let the rights lapse back to Marvel. They just announced a 2015 release date for a FANTASTIC FOUR reboot, to celebrate the 10 year anniversary of the first film. God, how terrible an idea is that? Ask the Amazing Spider-man over at Sony. Supposedly, Marvel cut a deal with Fox that they would extend their contract on the FF if they gave back the Silver Surfer, supposedly to play in AVENGERS 2. Aside from the fact that Chris Evans is now Captain America and was the Human Torch in both of those movies, does anyone want a Fantastic Four movie without the ability to cross over with Spider-man or the Avengers?Fox hired a former Marvel employee to shepherd all the Fox owned Marvel movies, ala Marvel Studios and they’ve got the director of CHRONICLE to direct the new FANTASTIC FOUR movie. Supposedly, they are intended to cross over the Fantastic Four and X-Men characters in the next few years too.
Speaking of which, Bryan Singer directed X-Men and X2 which helped usher in the current fad of good Comic Book movies last decade. He was asked to come back for X-Men First Class, incorporating his screenplay for a 2nd X-Men Origins movie on Magneto. His Warner movie JACK THE GIANT SLAYER interfered with Fox’s need to get this movie in the can lest Marvel get the lucrative X-Men back, so they asked Matthew Vaughn, hot off of the comic-book movie KICK ASS. Vaughn was slated to direct X-Men 3 Last Stand, but bowed out at the last second to be replaced by Brett Ratner. With the success of the pseudo reboot of X-Men First Class, the studio wanted Vaughn back instead of Bryan Singer.
Now Bryan Singer has stepped in to fill in for Matthew Vaughn who has pulled out of yet another X-Men movie, this one a hybrid of the old cast and new based on the classic story DAYS OF FUTURE PAST. The time travel elements allow characters from any of the X-Men movies to cross over. Even Hugh Jackman is now in talks to make a more substantial role as WOLVERINE, aside from the upcoming THE WOLVERINE sequel/reboot/stand alone story. No one has officially stated why, but it’s pretty obvious why Matthew Vaughn is headed and it’s a galaxy far far away.
According to reliable sources not just on the Internets, Matthew Vaughn is one of the finalists for directing STAR WARS VII. His competition? IRON MAN and IRON MAN II director Jon Favreau who put Marvel Studios on the map, and acting only in this May’s IRON MAN III. Given the announced released date of 2015, same as AVENGERS 2, JUSTICE LEAGUE, and now THE FANTASTIC FOUR, that looks to be a busy summer for movies....
Spielberg has edited two movies non-linear in a computer! He himself vowed never to do such a thing, but with TINTIN and also WAR HORSE, Steven has come over to the darkside. Now I understand TINTIN, as that is a CGI movie, but WAR HORSE is live action, shot on film.
Spielberg resisted the new school approach to editing, which is like comparing typing with a typewriter versus using a word processor. Your options become near limitless and takes so little time to edit with a computer versus editing with a work print, a moviola and some splice tape.
For 40+ year of a career, this has been the only way Spielberg has edited, and now he has done two movies back to back in the computer.At least he’s still using editor Michael Kahn. He has edited all of Spielberg’s movies except for 2, JAWS (Verna Fields) and E.T. (Carol Littleton, because Michael Kahn was editing POLTERGEIST for Spielberg superseding director Tobe Hooper).
I’m doing some minor writing of late. Whether it’s scribbling on a notepad at work, typing in Google Docs on the laptop waiting on a render, what matters most is that words from my head are being committed to some form that others might see and eventually say/shoot.
I’ve got a few ideas tumbling over. One compels me because I have never attempted a process shot, that is a shot in a car that appears to be moving when it is in fact stationary. There is the “poor man’s process” which is to say it’s all done with lights rotating across the windshield and windows. That is an option. Next is rear-projection, which is to go out and shoot the street views ahead of time, then project them on a screen near the car to give the illusion that they are moving. You’ll still have to do the lights, but there is clearly a background of moving streets outside the windows. The benefit is that everything is in camera, no post production work on either of those. The last option is greenscreen, which is to “key” in the street scenes in the computer after the fact. This option doesn’t cause the same problems it did as little as 2-3 years ago since technology has improved so much.
I’ll pick one of those and that will be the core of this shoot. The rest of it will tackle some more adult themes, something I haven’t done much of. It will deal with sexuality in a way I do not usually put in film. There is no nudity, as I have not matured enough as a person or director to handle that yet, but since I turn 40 years old next month, maybe with the death of my youth I might gain some of that maturity I’ve heard so much about.
CLIP FRAMES and FRAMELINES continue to grow to other markets. Today I made over 60 DVD’s to send out to various channels throughout the state and in the neighboring West Virginia, Kentucky, and Pennsylvania. I am pleased to hear such positive responses from programmers about the show. In a few months time, there will be no escape from my marketing machine. Too long have I been idle and silent. The time to reawaken my inner marketing whore reveals itself to be nigh. Prepare thyself, Acolytes.