| Next MCA Meeting... |
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Post NAB Wrap-Up
May 9, 2007
St. Louis Community College at Flo Valley
6:30pm
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| 2007
Board of Directors |
PRESIDENT
Yvonne Niemann
myniemann@sbcglobal.net
PAST PRESIDENT
Lou Stemmler
LouStem@silver-streak.com
TREASURER
Jim Trevor
JTrevor@ameren.com
MEMBERS AT LARGE
Tom Barry
Tom_Barry@ssmhc.com
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| In Sync! Editor |
| Please submit all articles, Production Notes, and Members in the Spotlight paragraphs by the 20th of the month for inclusion in the following month's issue. Text should be embedded in the body of your email and pictures should be emailed as J-peg attachments.
See you in the next issue!
Emilie Barta
Newsletter Editor
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| 2007 St. Louis MCA
Calendar of Events |
June 13
Monthly Meeting
6:30 pm, Location TBD
August ??
Summer Party
Location TBD
September 12
Monthly Meeting
6:30 pm, Location TBD
October 10
Audio for Production and Post-Production
6:30 pm at Joyce Meyer Ministries
November 14
Monthly Meeting
6:30 pm, Location TBD
December ??
Holiday Party
Location TBD
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Greetings!
After last month's MCA-I meeting, I began to think about what we really learned from Saturday Night Live Alum, Bill Chott. It wasn't just about improvisation. Sure, I snapped my fingers, waved my arms and legs, became the Little Mermaid for a moment, took part in story telling, dove for paper, became part of human statues - and had a lot of fun in the process. But, the thing that really struck me was how these exercises helped me understand more about the importance of teamwork, humility, and free-thinking.
You see, while we were doing all these fun exercises, we were all working as a team and building off of each other. Nobody made fun of anyone. Nobody snickered. Nobody rolled their eyes. Nobody tried to steal the spotlight. Nobody was right or wrong. We were all just working as a team striving towards the same goal in the given exercise. I learned that if you don't try so hard to be perfect and just let things flow, the outcome is better.
Now, wouldn't this be nice in the workplace? I know a common complaint about brainstorming sessions is the lack of ground rules, which can hinder creativity. It seems that when rules aren't established beforehand, participants are sometimes put down or made to feel stupid for just throwing out an idea that others don't agree with. So what happens? We clamp up and stop giving crazy ideas, which could actually become something pretty amazing if toned down and tweaked just a little. Things become "safe" and boring. In our creative field, why does this occur? Aren't these sessions a place where you should just throw things out there - no matter how crazy or silly - in order to get the creative juices flowing, build on what others have said, and hopefully come out with at least one good idea you can incorporate into a project? Why do we compete so much amongst our teammates when we're all working towards the same goal?
I think we could all learn from an improvisation class. Setting ground rules before a creative session begins is what sets us free. I think that's why the last MCA meeting on improvisation was so successful. We were told at the beginning and throughout the exercises that there wasn't such a thing as right or wrong. We were to think freely without worrying about what others would think. We should do or say the first thing that comes to mind in order to build on what was done before you and then simply pass it on. What made the session work was the collaboration of the group as a whole and what we all brought to the exercises. We worked truly as a team. As the session went on, people became more comfortable and participated more. By breaking out of our shells we came up with some pretty amazing stuff.
By incorporating these same guidelines into your next creative session, you should have just as much success. Sure, your final goal probably isn't to make a large audience laugh like on Saturday Night Live or at Comedy Sports, but the rules still apply to what we do within our industry. Just think how successful your projects could be if everyone felt comfortable enough to throw out whatever ideas come to mind and everyone could build on that without fearing what others will think. I bet there are a lot of great creative thoughts trapped inside your co-workers that just need some help surfacing. Try incorporating some of these guidelines into the workplace. Regardless if you're a part of a production team in freelance, agency or the corporate world, relying on your teammates is critical to create synergy. Using the concepts of improv can assist in the process.
Yvonne Niemann
President; MCA-I, St. Louis Chapter |
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Post NAB Wrap-Up  by: Ginger Routh
This year's National Association of Broadcasters show took place April 14-19 in Las Vegas. It's the most comprehensive showcase of electronic media in the world, bringing together over 1,400 exhibiting companies and more than 105,000 attendees from 130 countries. NAB is where manufacturers roll out their newest and best technologies for electronic media production. From digital convergence to Podcasting to technologies you've only dreamed about, NAB has it all.
What does the future hold for broadcasting? How will we meet the demand for high-resolution video content, being rapidly driven by digital television, electronic signage, and electronic cinema? Which manufacturers are handling the best options for alternative content delivery?
Whether you're a producer, director, videographer, editor, graphics artist, audio engineer, or any combination thereof -- you'll want to know what came out of this year's exhibits. So, Roscor Corporation will lead a presentation of highlights from NAB at the next MCA meeting. It will be an educational and informative seminar getting you caught up on what you may have missed if you weren't able to attend.
So see what is new in our industry, and bring your own questions as well!!
WHEN:
Wednesday, May 9, 2007
Networking starts at 6:30pm; meeting starts at 7:00pm
WHERE:
St. Louis Community College at Flo Valley (near I-270 and Washington/Elizabeth)
3400 Pershall Rd, Ferguson, MO 63135-1408
Emerson Center for Engineering and Manufacturing
ADMISSION:
MCA Members = Free
Guests = $10
Students = FREE for this meeting only
DIRECTIONS:
Take 270 to Exit #28 Washington St. / Elizabeth Ave.
Go North on Elizabeth about a quarter of a mile to Pershall Road
Go left on Pershall Road less than a mile and you will see the college entrance
Go in the main entrance - Emerson building is at the back of the campus
See you there!! |
April Meeting in Review
Be honest. Who else was worried when they read that the MCA meeting topic would be improvisation and there would be audience participation? What was this Bill Chott (pronounced with a hard K like Christ or chronic-his line not mine) thinking?
Just because he's a Saturday Night Live alumni and can do improvisation doesn't mean that the rest of us can. In fact, for many of us public speaking ranks right up there on the "What Terrifies Me Most List." I wouldn't be surprised if some people stayed away from the April meeting for fear that Bill might drag them up on stage, tell the audience "our volunteer has just been assigned to the prison library, let's all watch him be funny!"
Obviously, most people overcame their fears because the meeting turnout was good and I feel reasonable certain everyone had a good time. Bill shared with us some of the fundamentals of improvisation, beginning with: don't try to be funny. Instead, just accept what's happening, maybe add a little to it and pass it on. Don't worry about the humor; that will come. And if it doesn't, that's OK too.
We started off standing in a circle doing exercises-physical stuff that involved snapping your fingers or systematically trading places with another person. We continued to add elements until before you knew it, you were having fun and even being funny just by accepting what was happening, adding a little bit to it, and passing it on.
Bill had a binder full of exercises, each one more engaging and entertaining than the last. By the time the meeting ended you had people raising their hand saying "Pick me, pick me, I want to work in the prison library!" It was one of the most enjoyable meetings in recent memory and if you get a chance to attend one of Bill's classes you won't be disappointed. He periodically offers free introductory classes.
Get more information at Bill Chott's website. And many thanks to Missouri Baptist College for hosting this fun evening! |
AniMagic Acquires Motion Capture Technology 
by: Sharon Christopher
St. Louis, Missouri - The same technology used by Industrial Light and Magic special effects studio, Sony Pictures, and Nintendo for motion capture is now available at AniMagic Productions, Inc. The company recently acquired a full MX40 Motion Capture System, the most advanced digital optical motion capture system available that features the first four million pixel motion capture camera. Currently, AniMagic is the only studio in the region with this capability.
The mocap system will allow AniMagic to record and process complex full body motion with ultra accuracy in high definition resolution. "This is an unbelievable tool for our character animation division. It allows us to produce feature film-quality animations in a fraction of the time at lower cost," said Darin Clifton, AniMagic's president. To accommodate the new technology and recent staff additions, AniMagic opened a second office at their existing location. The system is fully portable, allowing easy set up and processing from most locations. "It's extremely versatile. We can scale the system's size and capability to match the project needs of each client." AniMagic is using the system for development of niche-market products but sees potential for other revenue opportunities. "We're in a unique position as the only local source for this technology. Top-tier character work and visual effects are not exclusive to the east and west coasts anymore."
AniMagic Productions, Inc. specializes in 3D content for the architectural and commercial markets. The company is based in St. Louis, Missouri. For more information, call 877.408.6738 (toll free) or visit www.animagicinc.com.
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Report from the MO State Film Commission's April Meeting by: Mike Ketcher 
PLEASE NOTE: This is a member's look at this issue; his opinion does not necessarily reflect the consensus of the group as a whole. Please direct any comments or questions to ketcher@ix.netcom.com.
The MO State Film Commission's meeting, held in Jefferson City on April 10, was permeated by much bad news.
First, the meeting began two members short of quorum. The legislature was in session so none of the legislative members were there -- although Mike Sutherland (R, Warrenton) showed up later to discuss the tax credit situation.
Second, came the news that the two largest films slated to shoot in Missouri in 2007 had been delayed.
"The Damned," a $2 million film slated for Kansas City, "fell apart," according to MO film commissioner, Jerry Jones. It seems the partners involved had a falling out. Still, sets built for "The Damned" have been put in storage in Kansas City, and the film could come back later this year or early next year.
Another film, "Shiver," originally scheduled to go into production in May, with a projected budget of $3.5-$5 million, may be delayed until September, because of "actor availability." The problem, according to Mr. Jones, is that the film has been approved for a large tax credit.
So, the MO Film Office and the Department of Economic Development (DED) face a quandary: If approval is extended until September, and the film doesn't shoot, that tax credit could go to waste, because it may be too late to bring in another film by then. However, if its tax credit approval if rescinded, then it may not shoot here at all.
Still, some smaller-budget films are shooting in Missouri. "The Candle Room," now called "Kingshighway," is lensing in St. Louis. "Never Submit," a Rocky-like martial arts film is in pre-production in Kansas City. And "Albino Farm," a horror film is shooting in the western part of the state, with some scenes being shot at Fantastic Caverns in Springfield. All three of these films have been approved for tax credits.
Several lower-budget films are also in production or pre-production. One of the most interesting is Ty Jones' "Last Breath," a horror film with a scene featuring 500 rats.
If there's any good news about the larger films delaying production, it is that about $100,000 in additional tax credits were opened up for the year. "The Return," a Tim Robbins' film shooting in Illinois, may shoot some scenes in Missouri, especially if a tax credit is available to them. The long-running ABC soap opera, "All My Children," will be shooting for a week in Branson.
TAX CREDIT UPDATE: Speaking of tax credits, the bulk of the meeting focused on an upstart state rep from North Kansas City, Trent Skaggs (D), and his attempt to derail the film tax credit (SB 400, HB 360). The legislator tried to stick in an amendment that all films getting a tax credit would have to promote "Missouri values." Word is that the legislator did this just to embarrass his political opponents and grandstand for publicity. Since introducing the amendment, this legislator, virtually unknown outside of the Kansas City area, has been getting as much media mileage as possible out of it, being interviewed by KMOX Radio, the "St. Louis Post-Dispatch," and other media outlets.
Meanwhile, those supporting the tax credit have tried to do an end-run around Mr. Skaggs' publicity stunt. The film tax credit was put into the big economic development ("Eco Devo")bill. If passed by the MO state senate (HB 327), it's possible that the film tax credit will survive the shenanigans of Mr. Skaggs.
In fact, because of our lead time in publishing (approximately 1-2 weeks), we may know the answer by the time you read this article.
Mike Ketcher is an actor, writer, and producer based in St. Louis. |
| Getting Distribution: Secrets and Lies
by: Jerome Courshon
One of the major Achilles' heels for producers and directors is the distribution game. Once you've made your movie, what do you do? How do you play the game? What strategies do you employ? Is there even a strategy?
Well, there's good news and bad news. The good news is there are indeed strategies to use and employ. The bad news is that most filmmakers don't know what they are and flounder around trying to figure them out. I know. I was there myself.
It took me several years to find distribution for my movie, "God, Sex & Apple Pie." I floundered, I struggled, I learned. I eventually did get distribution through Warner Bros., amazingly enough. But what I learned was how to do it, and I've been assisting other filmmakers in successfully getting distribution for their movies. (No, I'm not a producer's rep. I have no interest in taking a piece of your movie.)
In this article, I'm going to share a few secrets and debunk some prevalent lies (which we'll call "myths") about getting distribution. Hopefully this will give you some insight into the game, should you be looking for distribution now or soon embarking on this challenging journey.
Myth #1: I'm a director, a filmmaker, a creative person. Telling stories is my thing and if I make a good movie, I don't have to worry about the business stuff or the marketing because someone else will do that.
Secret #1: This is not so much a secret as a reality check. (I'll have some good stuff for you further down.) There are of course some people who get lucky and either have a producing partner who does all the business & marketing and is good at it, or they have the money to hire the right people to do everything. However for most this isn't the case, especially if one's movie career is in the early stages. You really need to become a businessman or businesswoman once your feature film is done. At least until it's sold. The more you can become a "salesperson" and marketing maven, the more success you will have on your quest for distribution. Yes, I know this part isn't nearly as sexy and fun as making movies and can be downright boring at times. But as Orson Welles famously said about the film business: "It's about 2% moviemaking and 98% hustling."
Myth #2: Distributors are calling me and they're excited to see my movie! I'll send it to them and if they like it, they'll acquire it!
Secret #2: All major distributors track the movies that have been listed in the trades under their production columns. If you were in those columns, you're going to be phoned. Do not send them a rough cut. Do not send them a final cut. Do not send them the movie. If you do, you will not get a theatrical distribution deal, if this is what you are going for. You must "unveil" your movie in the right place at the right time, such as a top film festival, to get the buyers to really want your feature. Movies do not get picked up for theatrical releases that have been sent on a DVD to a distributor. So when they call, you'll say "It's not ready, but I appreciate your call. Check back with me in a month or two." Repeatedly.
Myth #3: My movie was selected for the Sundance Film Festival (or the Toronto Film Festival or the Cannes Film Festival). Woohooo! All I have to do is show up and I will get a deal!
Secret #3: Okay, you won the lottery and got a slot at one of these three coveted festivals for your movie premiere. Guess what? Your work hasn't even begun yet. You now must assemble a team of people-a PR firm, an agent from one of the top agencies in Los Angeles, an attorney, and possibly a producer's rep. (But beware, most producer's reps are useless.) You will have to work, strategize and position your movie-before it premieres-as a very desirable movie that distributors must have. You have one shot at the top festivals for a theatrical deal, so don't piss it away. Unfortunately, most filmmakers don't know or understand this. Their movie plays at Sundance or Toronto, they come away without a deal and then find themselves entirely lost as to what to do next.
Myth #4: I was rejected by the top festivals, so now I'm submitting and getting accepted by the next tier of festivals. This is cool. All I have to do is show up to my screenings and I'm treated like a rock star!
Secret #4: Yeah, okay, if this is you, at least you're having fun. But you're not going to get distribution this way. There is a real purpose to the festival circuit beyond the top festivals. The obvious purpose is, of course, exposure. But there is actually a MORE important purpose: Building a pedigree. What is a pedigree? This is a body of consensus that you must methodically build-press coverage, positive quotes from critics, awards if you can get them-that says you have a hell of a winning movie on your hands. Once you have built this pedigree, you are then ready to parlay this into a distribution deal. There's quite a bit of psychology involved in selling your movie. Master it, and you will.
Myth #5: I've submitted my movie to the 15 home video companies out there. I've talked to my producer friends and looked at industry reference books. I've even perused the video stores shelves to see who all the home video companies are. If they all say 'No,' I'm out of luck for a home video deal.
Secret #5: This "secret" right here may be worth tens or hundreds of thousands of dollars to you. I didn't know this when I was going through my journey, and most people just don't. There are literally over 75 home video companies in the marketplace, all operating under their own labels. On top of that are additional companies that pick up movies and programming that have output deals with these distributors. So if you think you've exhausted your search for a home video deal and you've only contacted 15 or even 25 companies, you've only just begun.
So these are a few of the popular and misleading myths out there, as well as the truth about them. With over 4000 movies being made every single year, that's quite a few producers and directors working with often erroneous information. And 4000+ is a lot of movies vying for limited distribution slots. These two factors combined can make for a daunting journey filled with frustration and failure.
The silver lining to all this? There are 8 basic paths (or distribution models) a movie can take to get into the distribution stream, and if you know what to do and employ the right strategies, you can achieve real distribution. You do not need name stars in your movie to get a deal and your movie does not have to be phenomenal. If your movie is at least decent-or good-you do have a real shot.
Lastly, some people are concerned that with the majority of distribution companies located in Los Angeles, one needs to live there to succeed in getting a deal. Whether you live in Missouri or Georgia or Maine or Arizona, with the right information and resources, it simply doesn't matter.
Jerome Courshon is an award-winning Producer/Writer, whose critically acclaimed first movie, "God, Sex & Apple Pie," was released by Warner Bros. He has written articles & primers on distribution for "MovieMaker Magazine," "Indie Slate Magazine," and "Film Festival Today." His journey was profiled in the "Los Angeles Times" and documented on iFilm.com. Last fall he began teaching the strategies for achieving distribution to producers & directors in his seminar, "The Secrets to Distribution: Get Your Movie Distributed Now!" This seminar will be presented next in New York City on May 12, 2007, then in Chicago on June 16, 2007, and then in St. Louis on June 23, 2007. For more information visit http://www.Distribution.LA or call: (323) 662-8877
DISTRIBUTION SEMINAR DISCOUNT AVAILABLE FOR MCA-I & CINEMA ST. LOUIS MEMBERS
Jerome Courshon's 8-hour distribution seminar,"The Secrets to Distribution: Get Your Movie Distributed Now," is being co-sponsored by MCA-I St. Louis and Cinema St. Louis.
If you're a member of either, you can get a $20 discount, which will be held at the Centene Center, 3547 Olive, in midtown St. Louis, June 23, 10AM-6PM. To register:
Please register before seminar date to get discount. |
 Save Money by "Stripping" Video Captions for DVD Captions and/or Subtitles
by: Terry Thomas, Caption & Subtitle Services
Did you know that you could extract video captions and produce a file to be used for DVD captions and/or subtitles? Basically, this means that we "strip" the caption verbiage and time code numbers from the vertical interval to produce a file for DVD captions and/or subtitles. The biggest advantage to this process is it saves you a lot of money!
At times, you may find yourself in a situation that will require a captioned video program to be put onto a DVD. Do you know that you cannot record a captioned video signal onto a DVD and have the program captioned? There is no line 21 in MPEG 2. So, how do we get captions onto a DVD if the product has been captioned before?
Video captions can be extracted. This extracted file contains the caption verbiage, placement and time code numbers. Once the file is extracted, it can be exported to accommodate the DVD authoring system being used to produce a DVD product. For example, an .scc, .cc, or .txt file can be exported. The specific caption file you need will depend on the requirements of your DVD authoring system. Just as video captions are recorded on line 21 of the vertical interval, the file for DVD captions is embedded in the data stream.
Furthermore, this caption file can be reformatted to accommodate DVD subtitles. Subtitles are laid out differently than caption files. For example, you can choose a specific font and dictate its size. This allows for more than 32 characters per line, as is the requirement for captions. The extracted file will be a scroll-up or pop-on style of captions and may need to be reformatted to accommodate a subtitle layout.
Many clients will use this service since it saves them a lot of money. Let's say that you have a captioned video product and clients are asking for it on DVD. You can still offer it to them with captions or subtitles while investing a minimal amount to accommodate this request. For example, to caption or subtitle a 60-minute program you can expect to pay $7 - $10 per finished minute, or $420 - $600. The cost to extract a caption signal is about $100 an hour plus any reformatting charges, if applicable. As a result, a 60-minute video could cost about $150 to produce a caption file for DVD. If the file needs reformatting for subtitles, that cost would be determined based on the specific project.
In my next article, I'll talk about what your options are to caption or subtitle your media products. Do you need an outside vendor? Can you do it in-house? Or, can you work together to accomplish this task? |
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