Trouble In Digital Movie City

First, a little business. Our regular deadline is coming up, so if you want to avoid late fees, get your movies in NOW.


There is a problem out there in digital movie-making land that we're seeing more and more. I'm not sure exactly what causes it, so please, any tech gurus chime in with some help. I had a discussion with the Adobe Premiere consultants about it during last year's 2-Minute 2-Step, and from my description they thought it might be a 3:2 pull down problem or a 24 frames per second footage on a 30 fps project issue.

The main symptom is subtle, jerky motion. It reminds me of the film camera trick of changing the shutter pitch – again, help me out cinematographers, you know what I mean. This is famously used in Saving Private Ryan during the battle scenes to give the audience the same kind of disorienting view of life one might have while being shot at. As you can imagine, that's not something you want people feeling in a romantic comedy.

The problem can be hard to spot, since it's not apparent during static shots with no movement by the actors, but something as simple as a hand gesture makes it clear. There's a prickly kind of something's-wrongness feeling to it. It gives a friend of mine migraines, and that's just on TV at home. On the big screen it's horrific. If one of these films slips into the festival, then we get accused of bad projection, but there's nothing we can do about it. That's the way the we got it.

Fixing this problem is a must, especially for features. You can't get distribution with this. Since I'm not 100% sure what causes it, I'm not 100% sure of what the fix is, but I believe you have to create a new project in your editing software to match the frame rates, interlace rates, etc. of your native footage, then bring in either your old project as a cut-list (not a single drop in of your old out-put, as that will include the problem), or re-cut your movie from scratch.

Yeah. Either one is a pain in the ass, but it must be done. Again, post production tech geniuses, please help me out in the comments section.

Filmmakers, check your footage! Not on the computer. Burn a DVD, give it to your friends and ask them if they see anything "funny" about it. Watch every bit of motion closely with your editor. I'd say 1-in-10 or 1-in-7 submissions have this problem, so it is very widespread.

Besides that issue, let's get on with last night's films.

Last week I talked about the trend of slow music, especially using piano and cello. This week I've notice more than one movie with good music that, for some odd reason, features banjo. So it's the year of the banjo. But, please, I would rather not see a ton of submissions next year with banjo music where it doesn't fit, so just make sure the music adds to the forward motion of the story, regardless of the instruments. Thanks.

We see a lot of films that are on-the-fence quality-wise that eventually get pulled down by a series of little problems. The dialogue will sound typed in one or two places. The director will cross the line in a two person scene. The costumes will be off a bit. Individually none of these things would make us pass, but collectively they add up. So, please, don't die the death of a thousand cuts. Try to make every little thing wonderful, then the big stuff will take care of itself... hopefully.

Stereotypes. I'm a Southern American and we get some good films from the South, which is great. Love seeing the trees and hearing my native tongue, but I cringe sometimes when an old, rusty pickup truck pulls into the shot, or the Sherriff is a Sherriff and not just a cop. Ya'll know what I'm talkin' 'bout? So I had to laugh last night after one movie that road very close to the line of Southern stereotypes was followed by a film out of Mexico that was full of traditional Mexican music. I didn't think anything of it, until the Latina in our group said, "Why don't they just play the Mexican hat dance?"

I laughed. "Now you know how I felt during the Southern one." She laughed.

Not to worry, though. Both films had some excellent qualities, and may very well show up in the festival. I'm not saying these things are wrong, just be aware and look for ways to nail your location without hitting the nail on the head. I remember a British friend who commented once about a British pub in Los Angeles. "You can tell this place is authentic, there's American music on the jukebox."

We saw a number of good movies last night. Love when that happens. Always nice to see a new variation on a well-warn horror genre. If you can write good dialogue and present difficult philosophical questions, you can't go wrong with two people in the desert – of course, if you're not so hot at those two things, oh baby can you go wrong!

We ended the night with a film that not only moved the camera with majesty, it danced. Director/editor, cinematographer, and crew worked together to create seamless, spinning, magical scene transitions that I hope replace all of this handheld, vérité, found footage crap we've been seeing for the past several years. Any idiot can bounce behind an actor with a video camera and do whip-pans until the audience vomits. These guys showed what thought, skill, planning and artistry is all about. I don't know how the final line up will shake out, but you have a fan in me. Schöne Aufgabe.

Now that I've given an ulcer to the DWF powers that be for being so specific, I'll say, until next week. Thanks for reading.

MUSIC ... IN ... SPACE!!!!

If I say "Music" and "Outer Space" believe it or not more than one filmmaker reading this will say, "He's talking about my movie!"


For some reason this year, music in space is a thing. Was there some trendy movie I don't know about that people are paying homage to? Doesn't matter, quality is always what's most important, and we've had that, but ... who knew?

We had our first urination scene, followed almost immediately with our second one. In one case it was entirely unnecessary, though tastefully done. In the other one, it had less taste, but was more filling.

Have you all said, "Eww!" just a little bit? That's kind of the way we feel when seeing body fluids spewed on the screen. Seriously, though, one of the scenes made sense and was necessary for the narrative. The hint of tastelessness fit the comic flying F-bombs just right. This is rare, though, so if you're considering a scene were someone pees, vomits, has snot run out of their nose - just know, it's been done... and done... and done. You want to be original? Write around it.

We had several composers completely kill movies. Granted, they were on life support already, but the bad music didn't just pull the plug, it smashed the machine with a baseball bat. I don't know how many times we've seen films where the music sounds like the composer put his iPad on the piano and improved cords as the scenes came up. Filmmakers, tell your composers, counterpoint. Scenes in a minor key don't need minor chords dragging across them like a boat anchor. Lately, the stereotype of the requiem scores are not complete without a cello. If you have a moody drama, and the music is mostly piano cords with cello droning in between, consider a remix.

We had a lot of black & white video last night. One sort of thought about the choice. There was some texture in the wardrobe and the lead character's face, but for the most part all of these films just looked like they'd turned off the color. If you are shooting in black & white, particularly a feature, understand, you have shot yourself in the foot at the beginning of a marathon. You can still win the race, but it will have to be a Herculean effort. Everything is different when you choose black & white. Even the sound has to be tweaked. Wardrobe, sets, locations, makeup, lighting, camera angles, everything has to be considered in a different way. If you want to see it done right, get your hands on a copy of Mike Testin's 2010 short, The Salesman.

Every time we put a movie in the machine, we want it to be good. The bad ones are so painful and slow that we are pulling for your films more than you can imagine. Last night we got a submission from an alumni I'm a big fan of, so I was excited to load it up. He has an ear for dialogue that is pitch-perfect. I'd love to act in one of their films because I know the words will melt in my mouth like butter. We were not disappointed. They delivered great laughs, performances, direction, and quality in all departments. Sure, this film may not be for girls, but the women in the room were laughing.

Lesson to all of you submitting. We love this movie. We love these filmmakers. But it has been seen at a lot of festivals. When it comes down to one open screening slot for this movie or an equally good world premiere, we're going to go with the premiere. And that's as painful for us as it is for you, but this is a painful business. Of course, that decision is still some weeks away, so sit tight.

That's it for this week. If you've learned anything today, please pass a link to your filmmaker friends. Our goal is to see better movies, so when you're talking on the set while waiting for the next shot to be ready, load this up on your smart phone and hand it to the budding director next to you.

Thanks for reading. See you next week.

Artist vs. Executive

We pushed our screening back a day this week, so look for my regular post tomorrow.  In the meantime, here's a parable I thought of while walking my dog.

What's the difference between an Artist and a creative Executive?

On seeing a great and popular work, the Artist says, "That was great. I must strive to make a work equally great, but completely different."

The Executive says, "That was great. I must strive to make a work equally great, and exactly the same."

Feel free to discuss.

Age Appropriate Filmmaking

First, I have to give a shout out to the filmmaker who said being mentioned in this blog would be almost as cool as getting in the festival.

Well? Is it?

We had a night of solid acting across the board. Nice job, folks. A good picture of bad acting is a bad picture. I cannot tell you how important it is to get the cast right, and most of the films we saw last night did.

Among these good actors were a lot of kids – from high school to barely walking. I'm sure we saw more than one future star last night. I hope they'll come do some promotions for us when their movies are no longer eligible for competition.

Regular readers will be glad to know the "Good Logo = Bad Movie" rule is still in effect. I don't know if anyone has ever noticed, but most production companies with studio distribution deals didn't start with an expensive, grandiose opening logo. They put their energy into making good films. The big logo comes after your work has earned more money than you know what to do with. When I see a fancy opening announce the production company I think, "that's time, money, and effort that could have gone into another day of shooting or writing, paying a cast and crew." And every single time, the quality of the movie proves me right.

Last night one of our screeners said something we hear a lot. "If that film was made by my 12-year-old niece, I'd say it was brilliant, but..."

That's one of the difficulties of judging submissions. We know absolutely nothing about the filmmakers who submit – which is a good thing, as it helps eliminate prejudice – but, what if the film was made by a 12-year-old? We all passed on the movie because we're not a festival geared toward grade school filmmakers, and by adult standards the movie wasn't any good. Chances are nearly 100% that it was made by an adult, but there is that little bit of doubt.

So if there are any kid filmmakers who have submitted, don't take it too hard if you don't get in. Just finishing a movie is a huge accomplishment – even for adults. Keep up the good work.

If you're an adult and you've made a movie that looks like it was made by a child... keep the day job.

We had a film that was so incredibly unique that the creativity trumped the various little things that would have killed a lesser movie. Well done. We do get so tired of seeing films in the style of what's hot on TV.

We want your voice, not someone else's.

On that note, thanks for reading. See you next week.

The Basics

Year 15 started out great. Good food. Good people. Good movies – well, at least two good ones.


I dreaded putting the first DVD into the machine, as it looked to be by actors about acting. Nine times out of ten, those are painfully bad. The experienced screeners in the room groaned as we wrote down the title, so imagine how happy we were when it turned out to be fantastic! This wasn't a movie about actors acting – it's about actors NOT acting. Nice job, guys. I'll see you at the next meeting.

We have enough submissions to split into two rooms and when the other group emerged at the end of the night they said, "We have the topic for your next blog – Beginning, Middle, and End."

I knew exactly what they were talking about, so let's start off this year with the basics.

Artists, by nature, are rule breakers. No risk, no reward. I'm right there with you. Go for it!

But...

If you plan on re-inventing the wheel, keep in mind, your finished product has to do what a wheel does. A stone block is not a re-invented wheel. Whatever you come up with has to fit on a cart and make it move with ease or you have failed.

Some artists, especially young ones, think they are going to re-invent storytelling. They are going to do it in a way that's never been done before. Really? In the 3,000 years mankind has been writing down and performing stories they have never come up with what you have?

Okay. I say go for it. From your hubris something new might very well emerge.

But...

When you're done, your story has to be a story. It has to fit on a cart and make it move with ease. It has to have a beginning, middle and end or you have failed. You might have failed valiantly. We might applaud your effort – but we won't be showing your effort to the public.

Sometimes these type of experiments are near-misses. If you dig into that sucker with an eye toward the basics, you will probably find a buried traditional structure. Bring that to the surface and you're golden.

In our screening room we saw a lot of DRRRAAAAMMMMAAAA! I have bruises on my head from how beaten I was with the seriousness of what we watched. Counterpoint, people! If your film is serious, find the humor. If it's funny, find the pathos.

Cello is the slow music instrument of choice it seems. I think I counted three films with slow, dragging, dramatic music over slow, dragging, dramatic action. I slowly dragged my pen around the PASS choice on our forms. One nice standout, music-wise, featured some happy banjo playin'. During an establishing shot of a man walking up stairs to a house I commented about how that would be different with the slow music we had in earlier films. As it was, a possibly boring shot was made entertaining. Nice.

We had one film with grandiose, feature-style credits. Looked great. Cut them. It's called a short for a reason.

Art department. This is where a lot of low-budget projects fall down. It's fine to shoot in your apartment, but remember – just because you're a starving artist with nothing on your walls and barely any furniture, doesn't mean your characters are. Dress up the shots a bit. Pull actors away from flat walls. Stick a plant back there. Keep the receipt, hide the label, and return it to OSH when you're done. It's free.

Pet peeve of the year. Filmmakers, STOP SHAKING THE CAMERA! It doesn't make the movie look more immediate. It doesn't make it "documentary style." Documentary filmmakers do their damnedest to make handheld shots look smooth. You should do the same.

I don't particularly like this style in major motion pictures either, but at least when they do it, they are working with heavy cameras, remote focus pullers, cable wranglers and dolly grips. When all of this moves there is some weight behind it. When you're bouncing behind your actors with a palm-corder, your film becomes less about the story and more about the camera and how cheap and self-serving you are as a filmmaker.

Please: Move the camera with majesty.

Question: What's with so many films coming out that are too dark to see? This isn't just indie stuff. I couldn't see J. Edgar, and Tom Stern is no slouch. There has to be a technical thing in the digital world I don't know about. Okay, there are a million technical things in the digital world I don't know about – but one of them makes for movies that are too dark to see. Let's stop doing that.

Prediction: With all the great SLR cameras out there, I have a prediction of what I'm going to be complaining about for years to come. Focus. A better camera is like a better, more powerful, piece of software – it's harder to use. Yes, just like the software, you can make it easy, but at the cost of professionalism. Like anyone in the modern world, I can point and shoot a video camera. Like anyone else who has made a little movie to throw up on the web, I can get the coverage and even edit it.

That doesn't mean I'd hire me as a Director of Photography. Technology makes things doable at an affordable cost. Skills, talent, and experience make them worth watching.

Thanks for reading.

Rules of the Road

Screenings start this week, so I thought I'd do a quick rundown how things work around here.

Our screening committee is made up mostly of Dances With Films alumni like myself, and some people that have been with us for years who just love movies. If you are an alumni in LA and would like to screen, let us know, we'll see if we can make that happen. The committee gets together once a week to watch short films. We also eat, have a beer or two, chit-chat, etc.

But mostly, we watch tons of short films. Sometimes we'll talk about what we've just watched. Other times we just write our critiques and move on. At the end of the night, we take features home to screen and bring back next week. All films are seen by at least 3 screeners.

Each week, I write something here about how it's going. My objective has always been to give filmmakers a peek into what we're seeing – especially since we see a lot of the same type of movies over and over.

We see the same mistakes over and over.

And every year we see some movies that are so fantastic we want everyone to see them.

I would like to see more of the fantastic movies and less of the bad ones – so I started this blog. It's my hope that aspiring filmmakers will learn from those who have gone before them, so I don't have to watch the same mistakes ... over and over.

If you've submitted this year, not to worry. I never mention titles. When I talk about stuff in movies that suck, I am always – ALWAYS – talking about a trend we're seeing in more than one film.

So if you read something about poorly lit, handheld shots of a lead character slowly walking down the street silently contemplating life for ten minutes while a piano plunks out one or two notes before a cello drags a counterpoint note through the mud, don't tell me that you know for a fact that I'm making fun of your movie. Trust me! Practically every other film we screen has this scene in it.

And they all suck!

If, however, your movie is one of the fantastic ones – I might just drop enough hints for you to recognize that I'm talking about you. We get too much rejection in this business not to sneak in something nice from time-to-time.

If you think I'm saying good things about your film, please don't book a flight to LA for the festival. This blog is unofficial. We're a long way from June, and as you'll see, there are tons of factors that go into the decision-making process.

We are going to be as vigilant as possible in letting those films we like know, in advance, that we're interested, to keep you guys from popping your world premiere on a beach somewhere where no one will see it.

Early notification does NOT guarantee anything. It does mean you've got a good movie. That alone is something to be proud of.

If we pass on your film you will be notified, but those letters go out just before the festival. I know that sucks, but on more than one occasion we have had a last minute slot to fill, so we like to keep all options open as long as possible.

Finally, we don't screen in any particular order.  If you submitted in December and don't hear anything through February that means absolutely nothing. We don't make final decisions until all movies have been seen.

Good luck everyone! Thanks for reading. Make a comment every now and then so I know you're out there.

In Memoriam - Mark Nelson

Dances With Films and magicians everywhere have lost an unsung hero.

Mark Nelson passed away this week. He was a dedicated screener and legal advisor for Dances With Films and a jack of all trades for The Magic Castle.

When I think of Mark one phrase comes to mind, old-school, and I mean that in all the best connotations. There was nothing prefabricated about Marc. He took no short cuts. Anything he did, he did from head-to-toe.

He had a love of film and its history that ran deep. His respect for filmmakers showed in every submissions screening session. Most independent filmmakers have no idea who Mark Nelson was, but if they submitted to DWF, then they owe him a debt. He praised the good ones, and never EVER turn off the bad ones. When we say we watch all the movies all the way through, "we" was often Mark.

I've said in this blog before that other screeners disagreed with my opinion. I was usually talking about Mark. Our taste in old films was lock-stepped together. Our opinions of new ones often differed, but always with respect.

Politically we were as far apart as two people can be, but I enjoyed our debates. Unlike the current Congress, we could usually find some common ground, like the fact that the current Congress can't find any common ground.

I have no doubt that Mark's journey to the afterlife is exactly as Mr. Jordan described it. For Mark, that will mean a casting session in a grand old studio. Clarence, wings and all, will call his name. Claude Rains will him lead into the lush office with a whisper of confidence, "You're going to like this role."

The next bell you hear ring will be for Mark.  He's earned his wings.