From 'Running Fingers'

Congrats to our latest contest winners! Justin Osbourn’s eye-catching, retro design won the Perkins’ 14 poster competition. And in the Low vs Diamond music video contest, the pitching phase is a wrap. Running Fingers, the unique entry by Matthew Chilbert (aka yourfriendmatthew) got the most votes which means the puppet-loving filmmaker and craftsman will now get to turn his idea into a reality.

It goes without saying that any of the Top 5 pitches, which were all incredibly detailed and professional, would have made excellent music videos, and their talented directors are sure to go to do great things.

But before Matthew starts directing, the leading role needs to be cast. This is a really great opportunity for young actresses, as the role is central to the video’s story. Like the pitching phase and the Perkins’ 14 poster competition, a panel of judges will pick 5 finalists, and then the community will choose the winner.

Make sure to take time to congratulate Justin and Matthew on their respective project pages.

Waiting for tapes to batch is only part of what makes editing tedious.

Pre-production was long and hard, and shooting was relentless and grueling. But you got it all in the can. The hardest part is over, right? Wrong. Post-production often takes as long as shooting and can prove to be far more difficult. But nobody has to languish in post purgatory forever. Here are some tips to help you get past common editing issues and picture lock your film.

A quick note to those who have yet to film: You may want to begin working with an editor before shooting begins. In the shot-listing/story-boarding stage, especially, it helps to consult with an editor on the viability of certain tricky shots and transitions, and troubleshoot continuity and pacing issues before they arise. Some editors even attend shoots and work alongside script supervisors to keep track of good takes and suggest optimal coverage for a scene.

Once shooting wraps, the first major sequence an editor will compose is the assembly. You may be alarmed by how rough and unpolished the assembly is, but you should keep in mind that the purpose of the assembly is to create a basic ’skeleton’ around which the rest of your film will be built. When watching your assembly you should be evaluating how your script has translated to the screen. What moments worked well on the page but fall flat on screen? Did you manage to capture any unexpected or improvised gems? After watching your assembly a couple of times through with your editor, you should have a strong idea of the overall tone, and the strengths and weaknesses of your film. Your editor should take notes on your likes and dislikes and begin refining the edits.

Some time after you’ve shared your thoughts on the assembly, your editor will begin to deliver a series of rough cuts. Watching rough cuts is usually difficult because the lack of sound effects and music combined with questionable cuts might leave viewers feeling underwhelmed and disappointed with the film. Try your best to overlook these shortcomings as you watch your rough cuts, and keep in mind that good sound design and music will go a long way toward smoothing out rough transitions between shots once your picture is locked. Whenever possible, add an audio track of room tone to your timeline to avoid being distracted by jarring sound cuts. Temp ambience and music tracks also help to drown out surface concerns and focus attention on whether scenes are paced well and flow in sequence. Use the rough cuts to zero in on compelling key moments, and emphasize your script’s strangths. The question you should be asking yourself over and over is, “How can my shots be structured and sequenced to maximize the film’s impact on audiences?”

You may want to hold some test screenings as you approach a locked picture. If you decide to hold a screening, make sure to carefully select your audience; someone who has worked on the film or doesn’t want to offend your sensibilities may not be the best person to get feedback from. Think about your target audience; who did you intend the film to be seen by? Your sample audience should be as close to that target as possible.

Editing, like writing and shooting, can go on forever. No matter how much work has been done on a film, a director or editor can always find some minor tweak or adjustment to improve what’s already there. While it’s great to be able to constantly improve your film, it’s easy to get caught up in a vicious cycle of cutting, getting feedback, and re-cutting indefinitely.

So how can you decide when to stop? Expert editors, including Hollywood legend Walter Murch, suggest that making strong, artistically motivated editing decisions is one way to avoid getting bogged down in endless editing. Most professional editors swear by a carefully reasoned approach to cutting. Watch your scenes play out in master shots. Would the moment in the scene work better if focused on a particular reaction or detail? Cut to a tighter shot of it. Hold that shot for as long as it is interesting and relevant to the moment. And so on.

If you’ve thought things through, considered alternatives, and made strong, reasoned decisions, you will be more confident about making cuts and moving on to the next scene. There will always be criticisms and other possibilities, but the show must go on and the film must be completed in a time-efficient manner.

Of all the books about film editing, perhaps the most widely read and well regarded is Murch’s essential In the Blink of an Eye. Murch’s book has a simple premise: trying to discover exactly what factors determine whether an edit constitutes a “good cut.” Murch’s discussion is very clear, concise, and compelling, and he lays out some extremely useful guidelines to keep in mind while you’re cutting away.

Another notable book on the subject is Edward Dmytrk’s On Film Editing. If you get stuck and aren’t sure how to edit away pacing, performance, or other issues, definitely try out some of the tips and tricks Dmytrk outlines in his book. You’ll be surprised how easily problematic footage can be deconstructed and recombined with audio from other takes to overcome numerous editing challenges.

Have you read any other book or found any websites with solid guidelines or editing advice? Have you devised your own system to decide when to stop re-cutting a film? Any advice on how to gain objectivity or perspective when watching your own rough cuts? We’d love to hear what works for you - and your feedback may just help to save a fellow filmmaker from languishing in endless post-production agony - so please do share.

Written by: Suraj Das

On Massify, we have everybody from filmmakers to actors to designers, and a basic grasp on Adobe Photoshop and design principles is beneficial for all. Thankfully, it’s 2008, so most of this information is available online, and Creative Cow, in their infinite wisdom, has an awesome selection of tutorials, especially by Franklin McMahon.

If you can brave shameless self promotion and creepy floating head graphics that introduce each segment, McMahon’s super useful and appropriately pared down video tutorials cover fonts, layer styles, layout and more, which you can find on his Creative Cow page. Check it out, yo.

As an actor, you know the scene. The waiting room, filled with other actors who look suspiciously like you, mumbling lines to themselves or listening to music. Hearing your name called. Going into the room with the long table, where those who decide your fate sit. Auditioning - as opposed to acting - is an art in and of itself.

In an article for Acting Magazine, acting teacher Ronald K. Armstrong says that the key to a successful audition is to go through this tortuous process as often as possible, and he has some credible arguments to back up his point. If you’re finding that your nerves get the best of you at auditions, I suggest checking it out.

It’s been a long, strange journey since winning the Massify contest to be in Perkins’ 14, and honestly I’ve pretty much been too busy to sit back and contemplate all that’s happened.

Now here we are welcoming November and I’m finishing my latest fan film and acting in 5 other films this month! I don’t mind working 100+ hours a week when I’m immersed in filmmaking…it’s my passion and I burn with life when I’m on set! Here is some of my recent work.

A few first impressions of Romania… I can buy a single beer in a convenience store and drink it wherever I want; marble is everywhere; their marble is like our concrete; cute little puppy dogs are everywhere; everyone smokes…everyone.

Hope you enjoy my first video blog. Until next time!

Written by: Josh Davidson

Image by © G. Schuster/zefa/Corbis

Anybody who has suffered from writer’s block or reached a creative plateau knows how frustrating it can be to try to finish a project sans inspiration. Many have set out to discover the secret to being more creative, and some artists develop their own methods of making sure their minds are open to new ideas.

Learn what the experts have to say about tapping into your creative consciousness after the jump.

In an interview with Time, R. Keith Sawyer, the author of Explaining Creativity: The Science of Human Innovation, says that creative people solve problems “not with one brilliant flash but in a chain reaction of many tiny sparks while executing an idea.” Instead of taking all the suspense out of that mythical ‘creative flash’, Sawyer argues that people can work at being creative.

One way to do that is to embrace collaboration. Sawyer advises, “Ideas don’t magically appear in a genius’ head from nowhere. They always build on what came before. And collaboration is key. Look at what others in your field are doing. Brainstorm with people in different fields. Research and anecdotal evidence suggest that distant analogies lead to new ideas - like when a heart surgeon bounces things off an architect or a graphic designer.”

But the trick is to generate enough ideas. A composer friend swears by this creative cheat sheet by Innovation Tools. You pull out one of these exercises and apply it to the problem you’re trying to solve. Examples include “Act Childish. How would a 5-year-old see your project?” and “Pick a word. Grab the book closest to you. What’s the first word you see? How does it relate to what you’re doing? What associations can you make?”

Director David Lynch uses a much more elaborate method. He released a book called Catching the Big Fish: Meditation, Consciousness and Creativity, where he argues that transcendental medidation is the key to expanding consciousness, creativity, energy and intelligence, and this in turn allows people to “catch ideas, find solutions to problems and get a smoother flow of ideas as they work.” Lynch meditates for 20 minutes every morning and evening, and has been for 34 years.

Lynch argues that an artist does not have to suffer to write or direct about suffering, which sounds like sane advice, since studies show that creativity is directly linked to adequate sleep and exercise. In addition to keeping you healthy and alert, exercise can be a source of inspiration. Novelist and runner Haruki Murakami says that, “I try to not think about anything special while running. As a matter of fact, I usually run with my mind empty. However, when I run empty-minded, something naturally and abruptly crawls in sometime. That might be an idea that can help me with my writing.” Also, the blog Creative Creativity has loads of useful advice on the topic of creativity, which is definitely worth an inspirational read.

We’d love to hear what works for you. Do you have any tricks you use to tap into your creativity?

Get to know the Top 5 directors in the Low vs Diamond music video competition. These talented, compelling filmmakers come from a diverse background and all have a unique way of looking at the world. Read more about them after the jump!

Gregory Zymet, the director behind Magic Projector, says his favorite project is one he hasn’t yet filmed. “It’s called Willoman’s Well and it’s a magical fantasy along the lines of Wizard of Oz and Chitty-Chitty-Bang-Bang,” he explains. “It’s very special to me because it pulls from a place that’s what I call the ‘home’ of where my imagination sits. Read more about Gregory.

From 'Magic Projector'

Christopher Badami, of Versus Verses, credits a difficult project in film school for teaching him that “it’s essential to always be willing to open your heart to hearing and incorporating inspirations that are for the benefit of the piece as a whole.” Paired with a stranger on a film that was too big to begin with, Christopher remembers that, “In the peak of my tortured desperation, I have a moment of finally relinquishing my ego and control. My class partner had an idea - And I listened. And it was brilliant.” Here’s the interview.

From 'Versus Verses'

Matthew Chilbert, who created the pitch Running Fingers, also makes puppets and earlier this year created a music video called When the Lights Go Out. He says, “It was a situation where the right people met under the right circumstances and everything fell into place. I don’t remember working, but I do remember laughing a lot.” Learn more about Matthew.

From 'Running Fingers'

Ben Grayson, whose pitch is Floating, once choreographed a team of blind dancers, “because of the illuminated Chinese lanterns placed on their heads,” for an independent music video. Overall, Ben says that experience was a “wild, crazy, fun time with little to no sleep for all.” Read Ben’s interview. (The image at the top is from ‘Floating’.)

From 'Show me where I need to run to'

Viko Nikci, who made Show me where I need to run to, made a short called ‘Take It Back’ that was one consecutive shot shown in reverse motion. “I was offered many big name projects on the back of this short,” says Viko. “It continues to entertain audiences and I’m very proud of it.” Here’s the interview.

And make sure to review the Top 5 pitches and vote for the one you like the most.

No amount of reading, film-watching, or schooling prepares a young director for the most difficult task on set: damage control. Filmmaking is difficult and problems emerge from unexpected places. The results of these problems are almost always the same: delays, demoralized crew members, shots lost to accommodate the schedule.

It is important to keep in mind that

• Most modest-budget independent film sets are worked on by crews of students, interns and volunteers working for free.
• Newbie crew members, unaccustomed to the pace of set-work, often lose faith in the production and hinder and slow work even further.

A director can compensate by meticulously preparing for any issue that may arise during the shoot. Considerations to make include:

• Preparing a shot list and/or storyboards.
• Rehearsing actors.
• Fulling understanding the limitations of shooting locations.
• Keeping production documents organized and available at all times. More advice after the jump.

Every director approaches his or her work differently. Some directors prefer to stick to what’s written in the script, while others prefer to creatively interpret what’s on the page; some prefer to rehearse extensively with actors, while others prefer to give actors room to improvise. Regardless of one’s approach, however, preparation is crucial and necessary.

Despite the fact that some perceive storyboards and shot-lists to be creatively limiting, young directors should create both before coming to set; they are invaluable tools for ensuring proper coverage of a scene and communicating the director’s intent to the director of photography, gaffer, and other key crew members. Storyboards and shot-lists rarely result in lost opportunities for creativity on set; in most instances, they help the crew to cover a scene in a time-efficient manner, and then allow room in the schedule for the director to do additional set-ups and takes with a more improvisational approach to the material.

Remember Murphy’s Law: Everything that can go wrong, will go wrong. A well-prepared director anticipates and eliminates problems before the cast and crew are on set working on a tight schedule. If an actor doesn’t hit the right notes during rehearsal, the issue should be ironed out immediately. One should never rely on the hope that something will change before shooting and the actor will just ‘get it’ when they’re on set.

Comprehensive location scouting also helps to prevent crisis. A director should know whether each location will allow for staging and shooting as it has been envisioned. If there is any doubt, for example, whether a space is too tight to shoot a particular action with a particular lens from a particular position, the director must investigate and ascertain before production begins. A director’s sudden on-set discovery that a location is too small for a planned camera angle or move is often disastrous, as the subsequent re-thinking, re-staging, and re-lighting wreak havoc on the shooting schedule and crew morale.

Many books analyze classic films and suggest ways to direct actors and place the camera. Far fewer books address the practical concerns facing a director on set; how to navigate and manage the hierarchy of crew members, how to stay ahead of a tight schedule, how to coax difficult actors, etc.

Charles Wilkinson’s book, The Working Director, is a superior effort that falls into the latter category. Drawing from his own experience as a director, Wilkinson clearly and comprehensively details the professional experience of a film director, and suggests tested solutions for popular pitfalls.

Another noteworthy book, Jean-Pierre Geuens’ Film Production Theory, takes a look at the approaches and solutions used on-set by filmmaking luminaries including Ingmar Bergman, Jean-Luc Godard, and others.

Finally, as strange as it may seem, many young directors point to Sun Tzu’s The Art of War as required reading; the managerial and organizational techniques outlines in the ancient classic provide invaluable insights to the film director on how to most effectively manage his or her crew on a tough shoot.

Written by: Suraj Das

Perkins’ 14 needed a poster, and you delivered!

Thank you to all of you who entered the poster competition. So many entries were impressive, innovative, and really pushed the boundaries. The community submitted over 300 designs, and the judges had to make some very difficult decisions. Find the 5 finalists and 5 honorable mentions here.

Now it’s up to you to choose which poster will represent Perkins’ 14 on the road to Horrorfest 3.

Voting is going on now, and will be until Oct. 31st. The winning design will be seen on all marketing material for Perkins’ 14, and the winning designer will get mass exposure and a Cintiq.

You only have one week to vote, so make sure you take a look at these designs now and tell us which one you like the most.

The Top 5 ideas for Low vs Diamond’s next music video have been announced. The effort and creativity that went into all of your submissions blew away our judges, and they really had their work cut out for them. At the end of the day, so many of the entries would have made great music videos for Don’t Forget Sister - so the judges felt compelled to recognize five additional pitches as honorable mentions.

The finalist pitches are a diverse group - some dramatic, some lighthearted, some surreal, but all exceptional. Check out the commentary by the judges, and vote for your favorite pitch now.

We’re also super excited about the new profile page design. It lets your work speak for itself, elevating it to a more prominent position on your page. You can choose which album you’d like to feature as the first thing people see in your profile. And with the credits easily accessible on the right hand side, we think it’s much more professional and easy to navigate. But you tell us! What do you think of the new design?