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production movies

movies: problem with time of production and showing in movie theaters?

When you produce a movie, it takes a long time until the movie comes in movie theaters.

And when you make a winter movie in January / February, the movie will come in theaters five or six months later. But then it's summer and nobody is interested in to see a winter movie. Or am I wrong?

What do filmmakers relating to the seasons?

A movie doesn't always come out 5-6 months after filming. Some take much longer than that, so the season that a movie is set in isn't always the opposite of when it gets released. For example, most Christmas movies come out at Christmas time. Then again, I remember seeing Batman Returns in a theater during the summer when I was a kid, and that movie was set at Christmas time.

The season that a movie is set in is usually a deliberate choice on the part of the filmmakers that has nothing to do with it's release date.

Most Hollywood movies are shot in Los Angeles, where there are no seasons. In fact, all that sunshine is one of the main reason those early filmmakers decided to set up shop in Southern California.

Okay, so here's quick and straight forward tips on lighting and shooting for a green-screen.

First of all, I will assume you have some lights, a green-screen and a camera. The rest of this tutorial will be about arranging them.

Now if you don't already know, chroma green is a certain color that works well with cameras. You ever heard of a 4:2:2 color space? How about RGB? Well without making things complicated, most color information is stored in the Green space of the color channel (G) on your digital camera. So make sure that green-screen is the appropriate color.

1. First off: Lights

Lights are THE MOST IMPORTANT aspect of getting great quality separation of your subject from the green-screen - and ultimately - a good key. And when I say key, I mean when you bring the footage into your editing software, your subject separates well from the background.

This is what separates the pros from the amateur.

You can have the best acting, the greatest cameras, and the best crew but if you don't successfully create this separation... Your green-screen will have those nice green edges, reducing realism.

No down to the details.

2. Use a back light

When I say this, I mean a light that illuminates the back of your subject. Sometimes this light is higher in the air, sometimes lower (I recommend about 20% higher than your subject) but it is ALWAYS pointing at the back of your subject (in between your subject and the green-screen). Put that light on a 45 degree angle. Getting one light per side (same angle, same height) is ideal.

So what does this do? Well it creates a subtle white "halo" around the edges of your subject. Like a small white or illuminated edge, it's going to dramatically affect the quality of your key.

3. Light the Green-screen

I want to look at the green-screen and see an even covering of light. No wrinkles, no brighter parts, no shadows, perfect, even and green.

4. Choosing Lights

Ways of lighting that green-screen? A light on either side. Overheads and floor lights. They make Cyc lighting that casts an even light from the floor up (rent these from your local gear rental shop).

I use a four bank KinoFlo on either side of the screen depending on how much you expect the subject to move.

Check out my website at http://www.videoinvancouver.com/ for some examples of green-screen techniques.

If you are in anyway having problems with your video productions or want to learn the latest techniques, just feel free to consult our Vancouver Video Production team and we would gladly assist you.

The Turn Off - Wong Fu Productions

production movies

Local actors appearing in upcoming Rose production
Five local actors are finding the music in themselves while preparing for The Rose Theater’s production of Disney’s “High School Musical 2 on Stage.”

THE USE OF INDIGENOUS LANGUAGE Vs ENGLISH IN NOLLYWOOD MOVIES

In the 70's and 80's, Indian and Chinese films had a firm grip on the movie market, especially with the fact that though the actors dialogued in their native tongue we could still follow the unfolding trends courtesy of the good subtitling techniques. The British with the James Bond 007 movies struggled against those movies. However, from the 90's to present day, I've witnessed a dramatic twist in preference for Hollywood movies based not only on the use of English language as the means of communication, but also on  the wider genres, cross appeal story lines, embodiment of all effects, with cutting edge technology at their disposal.

Nollywood generally embraces movies shot in the English, Yoruba and Hausa languages irrespective of the differences some have opined exist that lauds only the English language made movies to come under the ambit of Nollywood. Even the movies produced by the Hausa folks have been done under the auspices of Kannywood (which they refer to as their own movie industry) which of course is rather  preposterous and an erroneous belief. Nollywood represents the entire movie Industry within the territorial jurisdiction of Nigeria and it is absurd when people subtly create distinctive platforms for  Yoruba / Hausa productions.

Movies produced in English are sold rapidly based as earlier stated on the fact that they are produced in our lingua franca which majority of Nigerians can understand. They are also exported to other English speaking African countries, North America and parts of Europe. As a result the viewership base is enormous unlike those produced in indigenous languages. Yoruba movies have been on since the 70's / 80's, but its movies are restricted to those who are Yoruba indigenes or non-Yorubas who understand the language. Imagine producing a movie for a single tribe as against over 200, certainly only those who can speak the language will buy it, besides, poor subtitling in the movies makes it really hard to follow the story line.

Yoruba movies have the highest quantity output in comparison with movies made in other indigenous languages and follows closely on the heels of the English speaking ones. Their stories powerfully reflect their culture, traditional beliefs and heritage, which messages wouldn't be effectively conveyed if produced in the English language. The only way they can recoup their investments and enjoy a wider audience viewership base while maintaining their Indigenous language flow is to ensure good subtitling as seen in Bollywood and Chinese movies. Defective subtitling has been the bane of the problem as most Yoruba movies (as they are loosely called), have a high level of subtitling defects including incomplete subtitled dialogues. This easily puts off non-indigenes watching the movies who do not understand the language.

Good effective subtitling is the hallmark of Bollywood movies. It is rare to watch a Bollywood movie purely spoken in English. They believe in using their indigenous language to effectively convey the message home. An Ardent believer of the Indigenous school of thought for movie productions in Nigeria, is Nollywood's legend Tunde Kelani, the pioneer of Main frame productions. He has over the years used his wealth of experience with regards to film making to produce outstanding movies using the Yoruba language. His insistence for sticking to the use of indigenous language stems from his cultural background which influenced  his childhood and growing up years.

He believes that the Yoruba culture would soon be extinct especially with the use of the English language and lifestyle being foremost adopted by this generation, relegating the Yoruba language and culture to the background. He believes that you can't speak the English language better than the English/Americans, themselves, so why bother to make movies in the English language ?. He however adopts good subtitling techniques for non-Yoruba indigenes to understand. The younger generation of filmmakers have also followed suit such as Kunle Afolayan (Irapada, The Figurine,araromire (blend of Yoruba and English ), Daniel Ademinokan (Omo Iya Kan ).

Despite the presence of subtitles, most viewers are unwilling to watch movies produced in the  Indigenous language as against those in English. It is worthy of note that movies using the indigenous languages have begun to make impact in the USA, Europe and at the Oscars. Slum dog millionaire attests to that. Bollywood does not compromise its deployment of indigenous language which has become its trade mark. It's not the language that really counts but the combination of all the relevant elements needed in producing a mind blowing movie. At the end of the day, it's really a matter of choice open to filmmakers, to decide which of the languages would appeal to the audience and powerfully send the theme of the story across to them.

 

So long…auggiepo@yahoo.com

About the Author

Augusta Okon is a lawyer, novelist and runs \'wise Insight\', an information hunting/writing services outfit in Lagos, Nigeria.Wise Insight helps Nigerians and foreigners to have access to credible, authentic information in topics,issues,areas, where they have little or no knowledge about within the Nigerian jurisdiction.

What are some good gay teen movies with high end production value?

I know this question has been asked a million times before but everyone gives the same answer. I don't wanna sound like a jerk but I'm not looking for some cliche story about two super flamboyant men. I want a cute love story about two teens, that's all. I've only ever found one I've like and that's Shelter, I've seen that movie a million times.

"Elephant"

Sort of a love story, but not really nice or cute at all =(

And he kills his lover at the end =( =(

Still an excellent, powerfully emotionally evocative film that to this day still stands out with resounding clarity.

And! "But I'm A Cheerleader"

The Turn Off - Wong Fu Productions