The Importance of Voice Overs

Everyone has heard a voiceover at one time or another. From the voice of Mickey Mouse, to the voice that sells you shampoo or insurance on the radio, voiceovers provide an effective way to evoke emotion or get important information across to an audience. In fact, without voiceover, media wouldn't have the same impact and the entertainment industry would be at a great loss. The importance of voiceover can be seen every day in a variety of techniques.

What is Voiceover?

Voiceover is a production technique where a voice that is not part of the production is used to speak a particular part. Voiceovers are common in radio, television, film and even theatre. Often, voice actors are hired specifically to perform voiceovers and have no other role in the production.

Techniques

Character Voices

One of the more popular uses for voiceover is to give a voice or a personality to an animated character. Think about Shrek or any other popular Disney Movie. Each character is actually someone behind the scenes with a microphone making the voice come alive. As animated movies are growing in popularity, well known celebrities are looking for voiceover roles, hoping to add a bit of variety to their acting portfolio.

Movie Narration

Another popular use for voiceover is providing narration to a movie. This type of voiceover is so common in movies, you probably don't even realize it's happening. Generally, the narrator in a movie has intimate details about the characters on the screen and provides insight for the audience as to their thoughts or emotions. In this sense, voiceover is a critical part of many movies and is necessary for keeping the audience informed. Blockbuster hit movies like Fight Club and Shawshank Redemption use voiceover to provide context.

News Reporting and Non-Fiction Television

Often voiceover is used to report the news. In fact, most television news broadcasts use voiceover as much as live anchors to report news that was taped earlier or segments that were edited beforehand. Other non fiction television that relies on voiceover includes media like the History Channel or the Discovery Channel. Particularly where the focus is educational, voiceover provides a guide for viewers to understand what they are seeing. In addition, game shows have been using voiceover for decades to announce contestants and prizes. Almost everyone is familiar with the popular voiceover from the 1970's who exclaimed "come on down, you're the next contestant on the Price is Right!".

Commercial Advertising

Advertising is another very common use for voiceover. In fact, radio is completely voiceover and actors are never seen. In fact, voiceover is so useful for radio advertisement that certain product manufacturers have signed long term contracts with voiceover actors to "brand" their products. When consumers hear the same, familiar voice representing a product, it builds instant trust and credibility. Even on television, where actors can be seen, it is more likely that a product is featured with voiceover and without an actor. Besides, a strong voiceover highlights the sale instead of the actor seen with the product.

Voiceover is an important part of our movie and television experience. In many cases, voiceover represents more than just information, but has become part of a product, building trust and credibility with consumers.

Check out a new Premium Voice over Training Course http://www.mouthymoney.com/

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Documentary Funding: The Fundraising Secret That Will Take You From Zero to $50,000 (and Beyond)

Let's be real. Fundraising is tough. No matter how good or bad the economy, no matter how wealthy the individual or how big the documentary funding pool for grants, individuals, foundations and organizations do not part with their money easily.

So how do you inspire people to give up their cold hard cash? Ah, the million dollar question!

Here's the secret that inspires giving and gets people to take action.

Ask for the amount you need, state when you need it.. and create urgency!

Filmmakers often have the fantasy that one big wealthy donor or a big foundation will write one big fat check to cover the full budget of the film. Don't get me wrong. It can happen. And it certainly doesn't hurt to ask, however here's the strategy that will most likely work best for you, especially if you are a new filmmaker.

Ask for small, specific amounts of money from a lot of different people and set deadlines for when the money is needed. Even if your documentary funding budget is $250,000, don't ask for that full amount all at once. It's a daunting number that will intimidate most people.
Raise money in manageable chunks based on how much you need at that particular moment and how much you think your donor can give. Say you need $5,000 in documentary funding at the very beginning to film your first 10 interviews. Tell people that's what you're doing and that you are raising money for that particular purpose.
Build trust and confidence. This is KEY to fundraising. Make sure to report back to your donors when you've raised the money and done what you said you were going to do. They may be willing to give again or at the very least be willing to fundraise on your behalf!
Use crowd funding. If you are a first time filmmaker with no track record, you are going to need to embark on a grassroots fundraising campaign among people you know. A great place to start is with online fundraising hubs such as KickStarter or IndyGoGo.
It is absolutely essential when fundraising for a documentary to create the best trailer possible. People need to see what you're trying to accomplish and they need to feel inspired to help you. You must convince people you have the passion and the determination to pull off your project.
Remember that success follows success. If you can raise the first $5,000 - $10,000, it gives you more credibility (especially with larger donors) when asking for the next $10,000, $20,000 or $50,000.There is no substitute for picking up the phone, pitching your idea and making the ask for a specific amount of money for a specific purpose. Filling out forms for a grant can take days, sometimes weeks and you are competing with who knows how many other projects. A passionate 10-minute personal plea to an individual who is already pre-sold on your documentary idea will often yield better and faster results.
As a general rule, cold calling does not work with fundraising. For a brand new contact, where there is no prior relationship or credibility established, send a letter of introduction first (hopefully along with your trailer) and THEN call and follow-up as needed.
Do your research and approach people at their level. Before asking someone for money, make sure your project is a natural fit for them and that you have a general idea of what they might be capable of giving. Your college buddy might be able to pitch in $20 whereas your businessman uncle might be able to pitch in $1,000.
Last but definitely not least, communicate excitement and urgency. Making a genuine person-to-person ask is one of the hardest things you'll ever do, but it's one of the most powerful and effective ways to get documentary funding.

Faith Fuller is an Emmy-winning documentary filmmaker and author of Desktop-Documentaries.com, an online resource guide for documentary filmmakers. For more documentary tips and articles, visit http://www.desktop-documentaries.com/.

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Is Watching 3D Bad For Your Eyes and Health?

Anyone who has ever watched a 3D movie knows that if you take your glasses off it hurts your eyes to watch it, and there may be much more to it than that it seems. What if it hurts your eyes permanently or what if it hurts your mind, as your eyes are connected directly to that, you know? Okay so, this is a good question isn't it? Is watching 3D TV, movies, or 3D commercials on your personal tech devices bad for your health?

There was an interesting article in SlashDot Online News recently titled; "3D Hurts Your Eyes" on July 23, 2011 posted by Timothy where he quotes "sajjadG" which stated;

"A research team at the University of California, Berkeley has determined that viewing content on a stereo 3D display hurts your eyes and brain, noting visual discomfort, fatigue, & headaches. 3D content viewed over a short distance from personal tech devices is more visually uncomfortable when the stereo content is placed in front of the screen. In a movie theater, it's the opposite: Stereo content that is placed behind the screen causes more discomfort than scenes that jump out at you."

Incidentally, after writing on 3D technology over the last good many years, and holographic technology as well, it appears we will be seeing more and more as time goes on. There was also an interesting article in the Review Section of the Wall Street Journal on July 16, 2001 (A Cultural Conversation with Lenny Lipton) titled; A 3-D Maven Weighs In, by Michelle Kung which stated; "If you're going to charge more for a 3-D Movie, you better deliver." Something, I myself have always believed, as I am sure most of us serious movie goers do.

This does bring up another point, that is this; if the movies are done poorly then the 3D movie might hurt your eyes worse, and if the companies making the movies don't care, or get lazy with this technology, they "might" be harming their viewers, and hurting human health. Personally, this makes perfect sense to me, as there have also been other studies with computer monitors with certain types of screens which turned out to be bad for the eyes and brain as well.

Perhaps, there is a lesson here for early adopters of new technologies, as well as those companies always on the leading edge of these technologies. Meanwhile, it's definitely something to consider for those of us in the industry. Please consider all this and think on it.

Lance Winslow is a retired Founder of a Nationwide Franchise Chain, and now runs the Online Think Tank. Lance Winslow believes writing 24,222 articles by July 22, 2011 at 2:22 PM is going to be difficult because all the letters on his keyboard are now worn off now..

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Mock and Awe - It's a Mistake

Not long ago, the screenplay writer who wrote Gilligan's Island, Happy Days, and the Brady Bunch had passed away. He had brought quite a wonderful thing to American society, and injected good values in all of his writings. It seemed there was a lesson in every single episode. Then things changed, and we went into the era of nastier sitcoms, and the writers had changed too, instead of lessons involved in the shows, it was all about who could cut the other person down, and get in the last laugh.

What's unfortunate about this is that people imitate what they see on TV.

We all know that television has had a profound effect on American society, and globally as well. Often, the television has been used for good things, but in the case of situational comedies it has detracted from the family unit, pulled people apart, created animosity, and all of that has played out in the real world. We see it today with negative political attack ads, in Internet forums, and there are a lot of folks with hurt feelings. Running around mocking your fellow citizen is not wise, and it also Institutes the revenge factor.

"Mock and Awe"

Mocking another human being, a friend, an associate, or someone in your office at work is not a wise thing to do. Yes, the individual who gets the last laugh, or creates the greatest put-down is often admired by others, but I would suggest and submit to you that people didn't like it when that was done to them in high school, and they still don't enjoy being mocked in adulthood. When we look around on TV, and this latest era of reality TV shows, all we see is more of the same.

Indeed, it's all been a terrible mistake, and it's far too late to go around and blame the screen writers Guild in Hollywood, or the directors that put forth the movies and TV shows which people mimic in the real world. Rather, I would suggest to you that it's time to change this nonsense, bring a little humility, respect, and courtesy back to our society, and that goes for online social networks as well. We hear all the time people complain about bullying, but where does it all start?

They say that sticks and stones will not break your bones, and names will never hurt you, but apparently that isn't true. It seems people are quite upset these days, and now are calling for anti-bullying laws online, and trying to dictate people's free speech, reduce the hostility, and mean-spirited comments online. Yes, it would be nice if people controlled themselves, but race baiting after all these years of "mock and awe" doesn't seem appropriate either. Indeed I hope you will please consider all this and think on it.

Lance Winslow is a retired Founder of a Nationwide Franchise Chain, and now runs the Online Think Tank. Lance Winslow believes writing 24,222 articles by July 22, 2011 at 2:22 PM is going to be difficult because all the letters on his keyboard are now worn off now...

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The Elements of a Great Racing Movie

Today's technology allows just about anybody to make a great racing movie. Yet a tremendous amount of content is produced which has little or no value to the viewer. What I'm talking about is the onboard or in-car racing movie, not the mega-studio production ones. How do you make a motor sports film that captures the imagination of the viewer, yet shows all the critical action on track?

Everybody knows that actual racers produce the most realistic films. However, the production quality is usually less than perfect, even with today's high definition cameras. The first step is pretty simple in concept but tricky in practice, that is, mounting the camera correctly. Without a good camera mount that isolates the camera from the intense vibrations of a racing vehicle and points it in the right direction, it is impossible to capture the video you want. At the beginning you should spend the money for a good camera mount and place it in the interior, on your helmet, or the bodywork in such a way that it captures the most exciting racing action.

The next step is the racing movie content. This includes not just the video component, but the audio and car data as well. Assuming you have the camera pointed in the right direction and it's capturing great racing scenes, what should it sound like? Most people go with the good old motor sound with screeching tires approach. This is great if your vehicle has a nice sound like a V8 or wailing motorcycle. There are other alternatives for sound as well. You could do a voice-over, for example, if you were creating a teaching video or wanted to remember all the in-depth details of a particular race. Or you could make a music video out of it by dubbing over a song with the appropriate intensity level.

Do you have a racing data analysis system? Most of these systems allow you to add a data overlay to your racing movie, showing RPM, G-forces, braking, gear selection, and other performance metrics. Unless you are producing a technical race driving video, however, you should be conservative with these types of video overlays because they can distract the viewer from the main racing action. Less is more if you want the best entertainment experience.

Finally, if your racing movie is for advertising purposes you might want to add a title, introduction, and conclusion featuring your company with contact information, logo, website, etc. Video is an excellent way to advertise your product or service. The key is to produce an engaging, exciting racing movie that has a chance to go viral, or at least gets forwarded around because it's entertaining.

To get a free service that delivers an exciting racing movie selection from hundreds of motor racing websites visit http://www.trackvids.com/

About the author: Dann Roberts is an auto racing and motorsports enthusiast who writes about products and services that enhance your driving, riding and racing experience.

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Slow and Low: Great Death Scenes

Great death scenes are really hard to come by. Lots of death scenes in film. I'm talking about the really good ones.

Loud and explosive or slow and low? Slow and low are best, most suspenseful and shocking. Scare your hairs on end.

Take an early film noir death scene that has cinephiles still in awe today: Double Indemnity,the 1944 film Billy Wilder directed. Film noir was then called a "B" movie until the French took a fancy, noticing the great contrasts of shadow and light and the peppie story lines and anti-heros. Big in those days, like Indy flicks today. This one has Barbara Stanwyck in a lip-lock with lover Fred MacMurray when he pokes his pistol in her ribs and bye bye Barb. Double Indemnity is an entertaining tale of greed, sex and betrayal in LA. And you thought MacMurray did nothing exciting before he raised those three boys.

Another slow and low is the fast shot the heart scene in LA Confidential, leaving Kevin Spacey a few gasping moments, enough enough to breathe the movie's greatest clue: Rollo Tomasi.

The best slow, and scary and creepy is the cross-bow through the gut in Deliverance.That scene let actor Bill McKinney all but almost steal the movie. John Boorman directed the 1972 film and was nominated for an Oscar. A tale of four city businessmen who thought they were going to take an adventuresome but safe canoe trip down a Georgia river, but had no idea what lawlessness lurked within. The movie is based on James Dickey's best-selling novel, Deliverance. The film propelled Burt Reynolds to stardom, added fuel to Jon Voight's already rising star, put Ned Beatty on the map and showed off Ronny Cox's beautiful guitar playing.

McKinney, a terrorizing, murderous hillbilly, is impaled by Reynold's cross-bow. He inches forward, slowly, back arched, pointing up at something. The camera swings around and around, character to character, showing their bulging eye shock, terror, curiosity, revulsion. Until the man finally plops on a tree limb, staring up, mouth agape. Everyone is paralyzed. The dead man's hand twitches. "Is he dead?"

I saw Deliverance again a few days ago after many, many years. When it came out, a friend and I snuck in the local theatre because we were young teens and heard it was a wild movie and Reynolds and Voight were mega hunks. It was and they were.

I never followed either Reynolds' or Voights' careers. Deliverance, though, still is a riveting, excellent movie. Directing, acting, cinematography, Dickey's terrifying tale. Anyway, John Boorman is one of my favorite directors. I love Point Blank. People think Lee Marvin's best role was in The Dirty Dozen but Point Blank really was his film.

The HD and Blu-Ray versions have running commentary by John Boorman, the Blu-Ray also has a vintage feature called "The Dangerous World of Deliverance." The movie was made for $2 million and grossed something like $46 million. Well. Squeal like a pig.

GM Thomas

I'm a lover of great books, great cinema, great music and great people. Oh yeah, I dig gardening, too. I have been writing even before my graduation from the University of Florida many moons ago. I've parlayed that with a love of nature and wildlife, using what I earn to help pay for wildlife rehabilitation supplies. Oh yes and a new DVD now and again.

www.blujay.com/?page=profile&profile_username=cinephile&cat=12000000&keywords=

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How to Improve Your Voice Over Career

If you work in voice over, sometimes it's easy to forget that you are your own product. With this in mind, it's very important that you keep not only your voice in tiptop shape, but also, your brand. In addition to working at your technique, there are several ways to improve your overall product. Learning a few tips will not only increase your marketability, but overall, will enhance your voice over career as well.

Remember Your Target Audience

Often, we get so caught up in work that we forget who we are working for. Don't let this mistake happen to you. Keep in mind who your target audience is. Doing this will help you keep things in perspective. Besides, voice over is a bit different than traditional acting, it's important to stay focused and remain truthful to your trade. For instance, if you are targeting a certain audience, avoid wasting your time by training your voice for another.

Develop Your Brand

One very easy way to improve your voice over career is to develop your brand. In other words, define exactly the type of voice over you do and do it well. If you present a fantastic character voice, than choose to highlight your talent by finding work that showcases your ability to bring characters to life. Do not get caught up in the "jack of all trades and master of none" routine. It makes no sense to market your voice for something other than what you are capable of providing. In addition, an important part of developing your brands is to decide what name you want and stick with it. If you are going to have a stage name, fine, but be consistent.

Increase Your Visibility

One of the best ways to get unnoticed is to be invisible. On the other hand, if you are looking for work actively and make your presence well known, it is more likely that you will get seen. If you are not already online, create a website and hire a professional webmaster to make certain that your online presence is professional. Nothing turns off a potential client like an amateur website with spelling mistakes or unpolished material. In addition, remember to include a contact page that is visibly pleasing and easy to navigate. Avoid flashy design and anything that is too wordy. Clients are looking for voice over talent not website design.

Improve Your Technique

A fairly obvious suggestion, but one that gets overlooked nonetheless - Practice, practice, practice. This means go to seminars, read literature on the industry and educate yourself. There is never too much knowledge when it comes to learning a profession. Learn what types of voice over is the hottest in the market. Learn the trends in voice over, or anything else you can get your hands on. Consider hiring a voice over coach. Working with a professional a few days a week gives you the opportunity to focus specifically on any areas that may need improvement.

Enhancing your voice over career is easy if you follow a few tips. Improve your technique, develop your brand and increase your visibility with a great website.

For a terrific Premier Voiceover course see http://www.mouthymoney.com/

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Coming Soon to a Mailbox Near You

Video may have killed the radio star, but there many other modes of communication under threat from this powerful medium. There is no denying the internet video is one of the most powerful ways of reaching people. A message conveyed with moving images and sound can have a more instant and lasting effect on an audience than reading through pages of writing or traditional print media.

The progeny of the still image, video has exploded onto our computer screens and is also fast becoming an important corporate marketing tool. Not only that, companies are recognizing the ways that video can be used to upgrade or even replace existing marketing tools such as the e-Newsletter.

Businesses are now enlisting the help of filmmaking companies to boost their newsletters with video, realizing that the attention-grabbing qualities of the video can say more in a few seconds than any amount of text and help them to stand out from their competitors.

Delivered into the employee or customer's inbox, a short well-produced video can be the one stone hitting several of those marketing birds. Conveying news, new products or updates a video newsletter can keep a business engaged with customers and stand apart from those churning out the traditional text-based newsletters that are becoming all too easy to overlook.

Keeping in touch with employees is just as important, especially if the business is spread over multiple locations. Video can be used to offer training, best practice, demonstrations, case studies, or simply for management to keep in touch with a large workforce. There are additional benefits for your social media sites as this is easy to use as content for the company website or social networking updates. The video newsletter can provide a cost-effective way of getting the message across to as many people as possible, and quickly.

Quality is the key. Viewing and sharing videos on sites like YouTube and Google has become commonplace but can be a million miles away from the slick professional production sought by companies keen to make an impact while projecting the desired corporate image. Bad production can be an instant turn off, so unless you enlist the right skills, it's best not to include video.

With film and video production companies skilled in areas like scripting, animation and special effects, keeping up to date with the latest developments will be as easy as watching The Discovery Channel. So when thinking about updating your company's newsletter it may be worth remembering that actions speak louder than words.

Aspect Film and Video is a small video production company based in the south west offering services for all corporate film and promotional video requirements. They produce high quality films for companies including videos for conferences and event filming, and specialise in promotional DVD production.

http://www.aspectfilmandvideo.co.uk/

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How to Create a Video Short

A 'video short' is short film featurette, generally less than 10 minutes long. They are sometimes professionally produced, but with the increasing number of video competitions on the internet, we are seeing more and more talented amateur videos.

It's easier than you might think to create a video short for your own personal use or to enter in a competition.

Outline your plan of attack. Use a good quality camera that shoots high resolution video. If you have friends who can help, ask a friend to bring a backup camera and shoot the same scenes from a different angle. Know what kind of shots you want to have before you begin shooting. An outline or even a storyboard is a good idea. Scout out your locations and pick areas that either have interesting backgrounds, or bland backgrounds like grass, trees, or water. If you are using speaking lines, write the script in advance and have your 'actors' practice their lines.
Keep your footage clean. Be aware of things going on in the background that will detract from your story or your point. Watch for things like passing people, cars, dogs, and even shadows cast by onlookers. Keep away from noise-it's amazing what your camera will pick up! Ask people around you not to talk. If they won't comply, you should move to a quieter area. Other background noises that will ruin your footage are things like diesel buses, heavy traffic, angry blue jays, planes, shrieking kids, squeaking doors, and furniture rumble.
Keep the energy up! If you are using people in your video, keep them smiling and laughing and try to help them relax. Crack jokes, and promise to save the humiliating outtakes for a joke reel. Let them ad lib a little if they like. In general, keep your video cast relaxed and make sure they're having fun. Keep your eyes open for little moments and vignettes that are unexpected but that might be sweet, touching or funny when included in your finished reel.
Shoot at least three times as much footage as you need. If you are planning to produce a three minute video, you should have at least 10 minutes, preferably 20 minutes, of video clips.
Do you need to convert your files? Many current cameras store videos as .mp4 files, but the most common video editors can only handle .mp3 files. Never fear, there are shareware and freeware programs that will convert .mp4 files to .mp3 or .avi files so that you can work with them in simple editors like Windows Movie Maker.
Edit, edit, edit. Now begins the process of putting it all together. The steps I'm about to describe apply to Windows Movie Maker, but may apply to other video editors as well. Upload all your video clips into your video editing program. Every time you turned your camera on and off, that footage was saved as a separate clip, so you'll probably have quite a few separate files. The files will be displayed as icons on a whiteboard.
Drag your clips onto the video story line at the bottom of the screen, in the order you want them to appear. To remove footage you don't want from the beginning or end of a clip, use the cut function to trim ends of clips. To remove footage from the middle of a clip, just split it in half and trim the ends. You can also delete an entire clip by simply hitting the delete button.
Once you have edited and trimmed your footage down to a workable timeline, you can provide graceful screen transitions by simply sliding each clip over the next one about a quarter-inch. This will create a 'fade' into the next scene.
Add music by uploading a sound file into WMM, and dragging it to the audio track timeline. You can slide it backward and forward on the track to adjust when it starts on your video. Be sure you own the rights to any music you use, or download music clips from a site that allows personal use.Add your titles, end credits, and any title overlays that you want to place along the timeline. You can change the background, font, time, and overall appearance of your print titles. The title pages also go on their own track and you will be able to slide them back and forth to position them exactly where you want them in your footage.
Review and fine tune your final draft. There may be spots you can adjust slightly so that the action matches the music closely-try trimming a little more, or varying the length of a scene fade. WMM can also mask background noises so the music and voice overs are clear-unfortunately, it doesn't seem to apply to individual clips, you can only mask the whole video for background sound.
The final step is to save your project as a film file. Until you choose 'Finish Movie' WMM saves your work as a 'project'. It's not a movie yet-just a storyboard and a collection of clips and audio. Once you choose to finish it, WMM saves it as a single .wmv file that is playable on most video playback programs and devices. (Don't worry, you can always re-edit your project and save it as a revised movie.)

That's it! You can now post your finished movie to your blog or website, email it to friends or clients, enter it video competitions, or upload it to video sites like YouTube and Vimeo. Congratulations!

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Video Camcorder Tips

If you just bought a new video camera, the following tips will help you get the most out of your video experience. If you have been shooting for a while, there are several advanced tips as well.

If your camcorder uses tape to record, do not use Long Play, or LP. While you get more video for less tape, it often stretches the tape, and ruins the tape in the long run. Preserving your footage should be the most important long-term goal. Keeping your video in a cool dark place will help it last longer. A good place to keep it is the closet.

Murphy's law has never been more true than when you are getting ready to film something important like your child's performance. Always carry 2 to 3 extra batteries, because your main battery will go flat at the worst possible time.

Don't use the camera built-in special effects. If the core footage is shot with special effects, you can not remove it later. If it is shot in normal mode, you can experiment with the special effects of post production software.

Whenever possible use a tripod. Your hand is not as stable as a tripod, and will result in jerky video that is hard to watch. In some cases, it may make your audience sick to their stomach.

Always set your white balance before you shoot. Most camera manuals will walk you through the process, but keep a piece of white paper in your camera bag. Before your shoot, put the paper about a foot or two in front of the camera, and press the white balance button. This will set the camera to recognize what is true white, and will help your video not look yellow.

The biggest video mistake people make is constantly panning and zooming. Be conscious when making adjustments, don't zoom or pan without a reason. Take a solid shot of your subject via a tripod and leave it there for 10-20 seconds. The only time to zoom or pan is when making a cut to clip, NOT during the subject matter being filmed. If you are going to zoom, move the camera, do not use the built-in digital zoom. When you are panning and zooming, use slow and smooth motions. This will make your home videos much more watchable.

Following these guidelines will help your video turn out more professional, easier to watch, and more enjoyable for your audience.

To learn much more about movie making tips, visit VideoQuickTips.com where you'll find this and much more, including the steps to make a movie.

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Why You Should Get Trained In Film Schools

One of the most creative and the broadest field in such terms is the film industry today. To appreciate the dreams of people who are interested in movie making, people who are trained in movie schools have large openings in the movie industry. After successfully completing a course, one can hope to get into a large movie production and be absorbed in the movie industry.

There are different movie production studios available today. These include both private and government film studios. Also advertising firms are on the lookout for students who have finished their training from such schools. If you are out of such a school, you even have the option of starting your own firm or become an assistant director, director, camera man and other such positions.

Also today, there are a number of online film schools that help guide students and those who want a career in the silver screen in the right direction. These online movie schools are perfect for those that cannot commit to a fixed time for classes but have a passion for the movie industry. The career in the movie field is very competitive and challenging. Therefore if you are choosing this line of work then you should have the passion and determination to face it so.

It is very effective to get trained in a movie school. You will learn various aspects of movie making from a movie school. This can vary from producing to physical production. Also this can extend to legal issues and post production work. You can gain training in the various aspects of film making. This can be in directing, production, makeup, visual art, cinematography etc. If you are expressive and have a lot of talent in the visual art then this is the right industry for you.

There are a number of art schools today that will help you become adept with the movie industry today. You can go for a specific training or take a general course in film making. You should make sure that you know where you want to head after you finish with your school. You can make your path in production artwork, cinematography, choreography the fields are vast. If you are not sure on which path you want to embark upon, you should consult councilor to get your interests in order. You should be able to focus your interest on one particular field and make sure that you stick to that field.

Like real life, you cannot do everything in the movie world. You can at best cover a majority of the work, but to do everything would be too much even for you. Therefore you should make sure that you specialize on your path and stick to it. Obtaining training from a reputed film school will defiantly set you on a path and help you launch your career well. This is because the movie industry would look for people who are trained in their sphere. They would be more willing to choose people from film schools than from anywhere else.

Sabrina Jose is an expert in writing articles in several fields.
She has contributed articles towards. For more information on best film schools bc and any other details contact Canada film schools

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How Nature and Wildlife Filmmakers Can Save the Planet

Nature and wildlife filmmakers can have a profound effect on the environment by increasing public awareness of the need to preserve our environment. There are many examples of film nature stories that were instrumental in saving wildlife from extinction. These films highlighted not only the danger of pollution on wildlife in these areas, but the devastating effects it was having on the animals' natural habitats as well. As a result of this candid footage, the public was stirred to take action to protect both nature and wildlife species.

How Filmmakers Can Make a Difference

Wildlife stores portrayed by film can be some of the most effective contributions by nature filmmakers in favor of preserving the environment. People of all ages and from all walks of life can relate to animal films. In many cases, it is not that people do not care about the environment and wildlife preservation, but rather that they are unaware of specific dangers at hand. The fast-paced society in which we live leaves little time for the average person to research environmental issues by themselves. However, once these issues are brought out in the open through the colorful, graphic pictures that film footage can provide, more people are alerted to these problems, giving them an opportunity to get involved in a positive, constructive way.

Target Audiences

Nature filmmakers can target specific audiences such as schools, libraries and television with their productions to help promote environmental and wildlife causes. Utilizing their unique talents and filming techniques, experienced filmmakers can produce captivating footage to both educate and motivate people to take action on behalf of our planet. The power behind these films has the ability to institute change in people's mindsets, habits and behavior. There is no doubt that Planet Earth today is in great need of help and change if it is to be preserved for future generations. By getting this message across to enough people through the use of eco-friendly films, changes will come.

Conservation Films

Nature and wildlife filmmakers have been making films for years extolling the beauty of our natural environment. These films have moved thousands across the country to work towards preserving this beauty for the future. In addition to this type of footage, documentaries that expose how man is destroying our environment through air, soil and water pollution can also act as an effective catalyst for change. Documentaries are a classic example of how films can be utilized to reach the masses in an environmental awareness campaign. One recent example of a documentary that was extremely effective in getting its message across to the public was the film "Inconvenient Truth". The film won national acclaim for publicizing the topic of climate change. Conservation films of this nature can be highly effective in publicizing environmental issues. They can also be used to help generate funds for green causes.

Conservation films are extremely important due to their straightforward approach to environmental issues. No other films attack the major environmental problems the world faces today in the same way as these documentaries. There is a great need to "stir up the pot" when it comes to exposing how man is polluting and destroying the environment. The only way to promote great change is by being militant in this area. By using their films to attract public attention to environmental issues, filmmakers can help propagate change to improve our Eco-system. The creation and promotion of environmental documentaries can be very effective tools in filmmakers' hands to serve our society. These films challenge both industries and the public to face environmental issues head on, rather than cover them up, so that long term solutions can be found. In this way, our environment can be restored to its natural state for generations to come.

Kevin J Railsback
Filmmaking Naturally
http://www.filmmakingnaturally.com/

Award-winning filmmaker Kevin J Railsback has traveled as far as Africa to test HD camera for Panasonic. His stunning nature and wildlife footage has appeared in productions on National Geographic, Animal Planet, Discovery Channel, etc.

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Do You Need to Move to Hollywood to Work in the Film Industry?

Hollywood is usually synonymous with movies. Whenever people think about large movies, celebrities, and all the sophisticated style which encompasses it, they think Hollywood. Its impact produced the Indian film industry's moniker, "Bollywood". History is stuffed with accounts involving actors that dreamt of making it huge, and for that reason relocated to L.A.

It really is very simple to get drawn into thinking that the only way to have a go at the film industry is to transfer to Hollywood. In some instances, it does be the better choice. However, a very important factor to keep in mind is that everyone relocates to Hollywood, meaning there exists a lot more competition for the work opportunities that are available there!

There are several cities around the world having significant film industries. A lot of US broadcast TV including the Stargate franchise, Battlestar Galactica and also Smallville are shot in Vancouver. Toronto has a lot of shows, as also does New York. Virtually any big city should have some amount of industry. Beyond The United States, you'll find employment in areas like London, and of course India.

Even if you don't reside in one of those cities, it is possible to still find places to get experience and employment. Remember that when recording big productions with unusual landscapes, the production may turn to a different country to shoot some scenes. Some pieces in the new Star Wars episodes were shot in North Africa; The Count of Monte Cristo was shot in The island of Malta; Lord of the Rings was shot in New Zealand. Also, you will find amateur and indie productions just about anywhere.

In short, you can find employment everywhere in different quantities. Nevertheless, if you wish to build a career, you obviously must be somewhere that has a lot of work opportunities and lots of prospects. You're only likely to be able to support your self completely if you're in a location like L. A. or Vancouver having sufficient work; although you are able to find work in smaller sized towns, it's improbable there'll be an adequate amount of to keep you employed throughout the year. Although you may not have to move to Hollywood, you might want to move somewhere. Everything depends upon where you live. Spend time researching the local film commission, if there is one, and try to send networking letters or otherwise get in touch with professionals in your area to ask for advice.

Networking is incredibly important in this industry, so if you do manage to get in contact with professionals, that's very useful! Building up a network takes time, of course, so one point to note is that if you do move to a new city, it will take time to make the contacts required to land that first job in the film industry. And of course, once you have made the network, it's very hard to move away, because you'd be losing all of that hard work!

And finally, if you are interested getting a job in the film industry, please check out How To Get A Film Industry Job at http://howtogetafilmindustryjob.com./.

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3 Acting Colleges You Have to Consider

So, you think you have what it takes to get into one of the top acting colleges? Cool. It is a fun and exciting business to get into, but do not take it lightly. Sure, it is a lot of fun, but it is also one of the toughest businesses to get into.

How to you get into an acting college?

Typically you have to audition to get in to a drama school. For example, if you want to be an actor, they may require you to prepare a monologue or a scene for the board that is making the decision.

If you are singer, you could expect to prepare a song and if you are a dancer you should be prepared to put together some kind of dance routine.

How much do acting colleges cost?

Typically they cost just as much as any other college. If you decide to go to a smaller independent school that is not affiliated with a university or college, you will probably pay a little bit less.

What type of degree can I expect to get?

Most acting colleges offer both a Bachelor's degree and a Master's degree in theater, dance, film studies, and many other types of media arts. It will just depend on the school you choose to go to, but they typically will all offer something similar.

What can you expect to learn at an acting college?

The idea of going to an acting college is to get gain first hand, practical knowledge in the field that you want to study. For instance, if you choose to be a film actor, you want to make sure you choose a school that is going to offer you the chance to work in front of the camera as much as possible. This might be in student films or in the regular classroom environment. Either way, you want to get as much practical training as you possibly can.

What are some of the best schools to attend?

The 'best' is always a tough thing to say for sure. What is good for one person is not always good for another. Any school that offers some type of program can be a good place to get started. You can always start at a community college near you to get your feet wet. When you learn the basics you can then decide to try and get into one of the more advanced or big colleges.

What are the most well-known acting colleges?

Here are 3 of the more well know acting colleges. They are pretty hard to get into, but if you really want to be an actor, go for it. A diploma from one of these could really open up some doors for you.

Julliard - Most people have heard of Julliard. It is based in New York City and is known as one of the best performing arts schools in the nation. In fact the TV show Fame is a based on Julliard. Acting, dancing, musical theater, it doesn't matter what you want to get into, they have some of the top programs you can get into. Christopher Reeves and Robin Williams are two of the well-known graduates. As you can imagine, it is also one of the toughest schools to gain admission to.

UCLA - If you want to go straight into where the action is, UCLA is the place to be. Being in the heart of Los Angeles, they have access to some of the top instructors in the business. The fact that it is in LA and your instructors are working in the business makes UCLA an outstanding choice when it comes to choose an acting college.

NYU Film School - Known as the Tisch School, NYU is right on par with Julliard. NYU is driven more by film and TV, so if you are more interested in those areas as opposed to theater, consider NYU over Julliard. As an actor, you will get the chance to work with a lot of future directors that are taking classes in the film directing school.

Remember, you do not have to go to one of these top acting schools in order to make in the entertainment business. In fact, the college that is nearest to you is a great place to start. The key is to just get started. Do not quit if you don't get into one of these colleges rejects you. They are very competitive and by no means are they for everybody.

There are so many acting colleges out there that I wouldn't even consider these schools unless you have been seriously in the acting or theater game your whole life.

Follow my acting colleges link to get a lot more information about acting and film schools. There is a lot of information about acting colleges on the Internet. Use it wisely.

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Consumer Vs Pro-Sumer or Professional Camcorders

Just what exactly are the differences between the small hand held consumer grade camcorders and the larger professional level camcorders? High definition used to be the main difference of high end professional camcorders vs consumer models but not any longer. There are several devices that can capture HD video from digital still cameras to cell phones.

What professional quality camcorders offer are larger, higher quality lenses and larger sensors than consumer models. What this means to the shooter is much better low light performance. Indoor filming of events and the ability to shoot great images outdoors when the sun is down is no problem for pro grade equipment.

Professional camcorders will have easily accessible manual controls for iris, focus, zoom, shutter, gain and audio. Consumer camcorders may have some of these features but not all and the ones that they do have will not be as easily manipulated as in the pro models.

Pro models generally will have built in xlr inputs for superior audio recordings. Consumer level camcorders will either have built in microphones and/or a 3.5 mil microphone jack. Audio is a huge piece of the overall effect of a top class video production. Pro grade cameras really shine here.

If you want the rock steady look in your final product then you need to either shoot with a tripod or shoot from the shoulder. Professional camcorders are usually much larger than consumer grade cameras and therefor need to be rested on top of the shoulder, giving a much more stable shot. The hand held shaky look may work in some instances but you need the option to shoot steady if you're getting into production work.

Most older pro camcorders store video on miniDV tape or an external hard drive although most of the newer models will have on board internal flash storage and use multiple SD drives for sequential storage of video.

Other differences include variable frame rates, the option to change out lenses and filters and remote control. Perhaps the most obvious difference is of course the cost. Full HD consumer models are available for under $200 while a good pro model can range from $2000 to well under $100,000 lets say.

In the final analysis a shooter using a low end camcorder that has an eye for the shot will always get better results than an unskilled photographer with one of the latest and greatest professional camcorders.

Reviews of the top professional camcorders can be found here. http://professionalcamcordersx.com/

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Early Days of Film: Pt 2

The first practical and functioning projector was created by Charles Francis Jenkins. He called his projector the 'Phantoscope", and demonstrated it to an audience in 1894. A little over a year later, French brothers, Louis and Auguste Lumiere built a device that could take, print and project film. They called their device the 'Cinematographe'. They presented their invention to a live audience in Paris in December of 1895. Word of the success of the cinematographe spread quickly, and soon Thomas Edison, along with many other inventors began working on their own version of the projector. All the successful projectors were slightly different in one way or the other, usually the film width and frame speed varied. After a few years though, the 35mm film width Edison used and the 16 frames per second used by Lumiere's cinematographe became the standard. The public was becoming more and more aware of these masterful devices, but they were still extremely limited. Most of these machines and the films they showed were resigned to traveling carnivals and fairs or in front of department stores in large cities. The films they presented were a minute long at best, showing only short casual scenes of real life situations or public and sporting events. There was no camera movement and artistic cinematography. But the fact that moving pictures were possible and amazing to the people of the time, the public wanted more and the inventors wanted to see how far they could take it. Everybody was in.

By 1895, it had become clear that people were willing to pay money to see movies. And the inventors knew that this novelty could grow into a money making industry, as long as the technology grew along with the times and the audiences preferences. The Edison Company was at the forefront of this movement. Edison took Charles Jenkins' phantoscope and renamed it the 'vitascope'. Along with Edison there were many other projection companies. But the most successful film producer until 1900, was the 'American Motoscope' company. W.L.K. Dickson had left the Edison company in 1895 and joined America Motoscope. Building upon his early invention, the kinetoscope, Dickson created the 'Mutoscope'. A viewing device in which you would load the film into a powered drum and like a rolodex, would flip images over on one another to simulate the motion of the subjects. Along with the Mutoscope, American Motoscope also had a projection device called the Biograph. This machine could project a continuous image from negatives. 

In 1902, Frenchman George Mell'es wrote, directed, produced, and starred in a 14 minute movie called, "A Trip to the Moon". Based on the novels "From the Earth to the Moon", by Jules Verne and H.G. Wells' "First Men on the Moon". Using just a handful of people to help with making and co-star in the movie, it is still a well known early peice of film-making. For the first time, films with a plot, multiple actors and scenes, and special effects were being made.

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What Is the Best DSLR for HD Video? 3 Critical Components to Look For

If you are trying to find the best DSLR for HD video, then there are some major things to look for. There are really only two primary competitors in the DSLR video industry, Canon and Nikon. With that said, Canon really is the industry leader in this market as Nikon is struggling to keep up. For that reason, I'll assume that you are looking for a Canon DSLR that can shoot crystal clear video and allow you to use various EFS lenses.

Component #1 - Durability

You may be asking why this is the first component, but if you are going to be spending a lot of money on a DSLR camera, you want to make sure that it will withstand heavy use, mild weather conditions, and even the occasional drop. It is easy to get busy on set or after a video shoot and throw a camera into the case without really securing it. You want to make sure that the next time you open that case, the camera is still in tact. Canon makes a couple camera models made of Magnesium Alloy material, which is perfect for those of you wanting the best DSLR for HD video. The CMOS sensor, $1,200 lens, and 3'' LCD Monitor are useless if the camera doesn't function.

Component #2 - Resolution

This is a fairly obvious thing to look for when trying to find the best DSLR for HD video, but it is easy to get sidetracked with other bells and whistles that so many companies offer. To get the absolute best looking footage that a DSLR can offer, you need to find one that shoots video at full HD power, which is 1,920 x 1,080 pixles, also known as "1080p." So far, in the video world, this is the best there is. However, a more functional DSLR for HD video would have a 720p mode as well, which can allow for filming at a frame rate of 60 frames per second, which basically means you can shoot crystal clear slow motion if you need to.

Component #3 - Versatility

Versatility means to be capable to do many things. When looking for a DSLR for HD video, you'll want a camera that can do more than just shoot video. It should be able to shoot different types of video. Your DSLR should allow you to choose between different frame rates to achieve the look that you want. For example, if you want a film look, you should be able to set your DSLR to 24 frames per second. If you want a broadcast look, you should be able to switch it to 30 frames per second. And as mentioned earlier, for slow motion, you'll want to enable the 60 frames per second mode. Not all cameras offer this many choices, but they are critical options for the serious DSLR video shooter.

Canon makes a few cameras that are very affordable for under $2,000 that contain all of the components mentioned above. The overall pick for the best DSLR for HD video would have to be the Canon EOS 7D. A review of this camera can be found at CanonDSLRVideo.com. I hope this information helps you choose the best DSLR for HD video that money can buy.

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DSLR Video Vs Camcorder Video - The Battle to the Top

The Battle of "DSLR Video vs Camcorder"

For about 3 years now, video amateurs and professionals all over the world have heard about the rising star in the video arena, "DSLR Video." This lightweight contender is a photography based camera that packs a punch in the ring against the older, heavier, and less popular "Camcorder." The Battle of "DSLR Video vs Camcorder," is officially underway.

For almost 30 years, since Sony's BetaCam in 1982, tape-based camcorders have ruled the video industry with their compact build, light weight, and most of all, their ease of use. All you had to do was push a red button and point the lens at what you wanted to record. There was no longer a need for film canisters or projectors. Literally anyone could film anything they wanted and watch it instantly.

High Definition?

Over the past several years, many camcorder companies have tried to make it even easier by using digital devices to record video, such as memory cards and hard drives, which you just stick in any computer to watch instantly. With the shift to digital video came the shift to high definition (HD) video. More and more camera companies were coming out with so called HD recording, but most of them did not record full HD at 1,920 x 1,080 pixels (1080p). Also, many camcorders recorded on a format that can't be edited as a raw file, such as AVCHD, which means that there is massive quality loss, diminishing the fact that the video was recorded in HD in the first place. In the Battle of "DSLR Video vs Camcorder," this would mean that "Camcorder" should just throw in the towel.

The Birth of a Champion

In September of 2008, Canon announced the release of its 5D Mark II, the first DSLR camera to spread the popularity of using DSLR for HD video. A year later, on September 1, 2009, Canon came out with the less expensive, but equally powerful, EOS 7D. Although the 7D is not full frame like the 5D, the 7D was made with video functionality in mind, making it more suitable for video shooters. It has a designated button to switch from still picture mode to video mode and it is made with a magnesium alloy case, which is more durable.

"DSLR Video vs Camcorder" | DSLR Takes the Lead

Since the release of the Canon EOS 7D in 2009, several video camera gear manufacturers have started making accessories specifically for shooting video with the 7D and 5D Mark II. With the ability to change lenses, frame rates, and have a manual shutter, it became obvious that with the proper accessories, these DSLR cameras would begin to dominate the video industry. You can now buy shoulder mount rigs and dolly set-ups along with matte-boxes and follow focus sets that are all specifically designed for video. For the quality of video that these cameras produce, camcorders pose no threat to the rising use of DSLR cameras for video.

I almost forgot to mention that a complete DSLR video set with lenses and necessary accessories can be bought for less than most HD video camcorders that are presently on the market. For under $3,500, you could own a camera set-up that is worthy of filming feature films or award winning documentaries.

The Battle is Won!

In the battle of "DSLR Video vs Camcorder," DSLR video has won and I don't expect to see a re-match.

An amazing website has been created that focuses on Canon DSLR Video, the leader in the DSLR video industry. CanonDSLRVideo.com is dedicated to providing reviews, tutorials, and videos to filmmakers and video producers alike. Take the time to check out the site and watch some of the videos. You may find the resources to be helpful.

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What Is the Best Entry Level DSLR for Video? - 3 Surefire Things to Look For

What to Look For in the Best Entry Level DSLR for Video

Buying anything that is somewhat expensive can be a challenge, which is why it is difficult to shop for the best entry level DSLR for video purposes. You will be dishing out over $500 and you know that you're going to need some quality accessories to go with it to make it an actual video camera. With so many DSLR advertisements it may seem like there are a few obvious choices, but they may not be the best choice for someone just starting out.

The best entry level DSLR for video should contain three major components:

Resolution

1,920 x 1,080 pixels is a must have if you want to shoot full HD video. It is virtually impossible to find a camera under $1,000 that shoots in full HD (1080p), but there is at least one, the Canon Rebel T2i. This little guy is a semi-pro DSLR designed for high resolution photos, and especially video. It records on H.264 format for easy capture and lack of quality loss. The full HD footage on this $700 DSLR camera is capable of creating award winning films.

Frame Rate Options

Before you go and buy a $2,000 DSLR camera because it seems like everyone else has one or because all of the magazine ads are showing one, seriously consider looking at a less expensive version that offers the same frame rate options. For those that don't know what frame rate is, it refers to how many frames are captured per second to produce the moving image. When you watch television, you are most likely watching video shot at 30 frames per second, meaning that 30 still pictures are shown one after the other in one second, thus creating moving pictures or "video." If you are watching a film in a movie theater, then you are probably watching film shot at 24 frames per second to give it a more cinematic look.

You want a DSLR that can give you those options along with the ability to shoot stunning slow motion footage with 60 frames per second. The Canon Rebel T2i shoots 1080p HD video at 24 or 30 frames per second, and 720p HD video at 60 frames per second. With the appropriate lenses, you could create any kind of look that you want.

Low Light Capabilities

Needing to carry around a camera light is practically an outdated necessity. Canon purposely designed the Rebel T2i to perform well in low light conditions, and boy did they succeed! This camera has the ability to have it's ISO set to 6,400, but that is way more than you will ever need, even in low-light, especially with the right lens, like the Canon EFS 50mm f /1.2.

Basically, the Canon Rebel T2i performs almost identical to its bigger, pricier relatives such as the Canon EOS 7D or 5D Mark II. To learn more about this DSLR camera and finding the best entry level DSLR for video, check out CanonDSLRVideo.com.

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The Latest Movies Filmed in South Africa

South Africa has become a favourite destination for film production crews shooting on location over the last few years. But while Cape Town and its environs have been used for top advertising shoots and stills productions for many years, it is comparatively recently that the big movie productions have started using South Africa regularly as a prime setting for movies starring big box office attractions such as Halle Berry, Denzel Washington and Leonardo DiCaprio.

The latest movie to be filmed in South Africa is Safe House, still in post-production phase and due for release in February 2012. It stars Denzel Washington as a rogue ex-agent, Ryan Reynolds as the CIA agent protecting him and much of it is filmed on location in and around the streets of Cape Town with plenty of thrilling action sequences along the scenic coast roads too.

Halle Berry has also been in Cape Town recently filming Dark Tide, a thriller about a diving instructor and close encounters with sharks. Filmed in Simon's Town in the chilly Cape winter, Halle Berry still manages to sport a bikini despite the cold. The film is still in post-production and is set to be released towards the end of 2011.

A big hit despite featuring local unknowns, District 9, released in 2009, made headlines as one of the first South African film productions to make it big internationally. While the setting of urban decay, and theme of aliens segregated by an unsympathetic government, is unlikely to bring tourists flocking, the production was great news for the South African film industry.

Blood Diamond, starring Leonardo DiCaprio and released in 2006, was filmed mostly in South Africa, despite being set in Sierra Leone, mostly because of the superior infrastructure available here supporting this size of film production.

Rumours are currently rife about the next James Bond film being filmed in South Africa. Carte Blanche, which is Jeffrey Deaver's newly launched Bond novel, is set in and around Cape Town for much of its story and speculation has it being filmed next year for release the following year. However this is an unconfirmed rumour, though exciting for Cape Town film buffs and for the potential boost to the tourist industry that could well come from the reflected glamour of 007 enjoying cocktails, shaken not stirred, in top Cape Town hotels!

All in all, South Africa and in particular Cape Town are well on the map when it comes to the international film industry, with world-class infrastructure supporting these mega productions.

Prinz Productions offers premier stills and film production services based in Cape Town, South Africa. Specialising in South Africa, Portugal and Mauritius, they also offer production services worldwide. Find out more about their film production service in South Africa whether you're thinking movie blockbuster or advertising shoot.

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So You Want to Be a Paid Videographer

If you want to make money with your camera you need to know this.

High quality Video Cameras and DSLR's cost a lot of money so at some point the thought of making money with your camera is very appealing. As you learn more and get better at shooting the chances of starting to get paid jobs increases but there is more to this than you may know.

- Attitude - Yes, nothing to do with your camera or skills. Many years ago I met and worked with a fantastic old Director who explained this very well.

Imagine a long, hard days shooting, many setups, difficult talent, difficult lighting, and many challenges to getting the job done well. A good cameraperson should be able to get the job done to a satisfactory level under all these challenges.

However, the thing that will get that client and that Director coming back to you for future work is how they feel at the end of that day.

If they are still smiling and feel great about the day and the results you have achieved, they will want to work with you again.

On the other hand, if you were stressed, irritated, and made the day even worse, they will use someone else on the next shoot.

With a positive, friendly and supportive attitude, you will get more work from them and they will recommend you to others.

Word of mouth is huge; I have had many great jobs and clients from a recommendation and not even needed a CV or showreel.

Here are some other things you need to have a good understanding of, to get paid work.

- Good Composition - how making a shot more dramatic can add a different emotion to the shot. But, it needs to be relevant to the story so it does not distract the viewer from the story.

- Crossing the Line - you need a thorough understanding of this or your stories, sequences, interviews and dramas will not make sense. Spend a lot of time working this out so you do not make this mistake. Even if you want to do it for an effect, you first need to understand it.

- Sequences - learning how to know all the shots to take to be able to edit a story that makes sense to the viewer is vital. If you need help understanding this check out some of my other articles.

- Good Sound - there are now many low budget jobs where you will be required to also do the sound. Learn and practice these skills so you are not supplying footage with bad audio. If you do, you will not get another job from that client. Always use headphones and learn how and where to place your microphones. When listening to the sound on your headphones, also listen to the background sounds that you do not want in the final result.

- Fill Light - Many times when you are shooting, the light falling on your subject will not be as good as you would like. Move your subject to get it as good as you can, and then use a reflector to fill some light into the shadow areas of the face.

There are many camera skills you need to have to shoot well and they will all improve the more you shoot, so pick up your camera and shoot as much as you can.

Do simple low budget jobs first to gain experience and always take care of your client.

My name is Geoff Stock and I have been a Professional Television Cameraman for over 30 years. Recently I have developed a Video Camera Course to teach what I do. It is a series of videos that can be followed online to help anyone to quickly and easily be able to shoot high quality video. It is like Secret Cameraman's Business, the camera skills and techniques we use everyday. I cover camerawork, audio and lighting, and it is relevant to all types of camerawork. Whether you want to make short films, training videos, or documentaries I cover it all. There is also lots of free info in the blog posts, go check it out http://video-camera-courses.com/

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Secrets on How to Get an Agent in Hollywood

AGENTS

Brian Blumer

How would you describe your job?

As an agent at ICM I work long hours, twenty-plus hours a day where I am always sitting on the edge of my seat. I told people when I stepped into the office that I needed a seatbelt, because it would be a bumpy ride, and that was a good day. I spend the whole day turning "no's into yes's, and 15,000.00 offer into a 50,000.00 offer. Every conversation in being an agent is an uphill battle.

How did you get into it?

I did a summer internship at ABC while going to college at UCLA. The last department I worked in was public relations. I was doing publicity for shows like NYPD BLUE, ACCORDING TO JIM, MY WIFE AND KIDS, etc. It was suggested to me to go the agent route after my work there, and so I did. I interviewed with all the major agencies I could find, and after a grueling 10 interview process, I landed a spot at ICM in their trainee program which lasted for 3 years.

What are you looking for in other people?

As an agent looking for talent to book I always look for marketability. Do I believe they are going to work just as hard as I am to get their name out there? Do they work on networking as hard as they work on their art. Are they going to help me get them to the top, or would I be doing all the work?

What are the biggest mistakes that people make when it comes to doing your job?

Because we work with such a fast rate people forget details, and have a lack of following up, which screws the artist, and can cause us to lose clients. One mistake can mean a huge difference. In order to be a good agent you have to be quick on your feet, and know the answer immediately.

Why do some people get the gigs and others don't?

Talent. Marketability. It's about whether or not they can become a brand.

What makes you want to not work with someone?

A bad team. If an actor, musician, producer, etc. has a bad team there are too many cooks in the kitchen. It is hard to be productive for a client when everything has to be discussed with the whole team. The only time I was willing to go through that tedious process is if the client was worth over $100k a booking.

What is your typical day?

A typical day for me is getting into the office no later than 7AM. Turn on my computer and check for responses on any business from the day before. As my specialty is international, I have to attack the day according to time zone. First I call eastern Europe, followed by western Europe, followed by New York and work my way west. I feel like Santa Claus trying to deliver all of the gifts before sun-up. It's a constant struggle to tackle the most important projects and maintain all other business on my agenda.

I call the most urgent or highest paying opportunities first and once I have left word for everyone, I can then start leaving word for the less pressing projects. After doing this for 9 hours straight, I might then call Australia and Asia and do the same thing until 4AM or until I pass out!

Agent Season - when is the best time to look for an agent?

January to May is pilot season and not a good time because agents can't focus on new clients. By June they are in the offices, and it is a good time to look.

What would be your one major piece of advice for making it in Hollywood?

Be impeccable with your word, create value for the team. Show up with the spirit of, 'What can I do to help?', rather than, 'What can I take and get?'

Many people have the misconception that once they step off the bus and have landed in HOLLYWOOD that casting directors are waiting at the bus stop ready to make them famous. It doesn't work that way. You need an agent to get the auditions for you.

What is an agent? An agent isn't the lipstick-wearing gum-chewing hustler you may have imagined, and many actors and newcomers think that the agent holds the secrets to their fame. This is simply not true. The agent can present opportunity, but having a resume full of home-town theatre may not be enough.

Good agents know the business and know if they can sell you. They know people on every level and it is up to him to develop the relationships needed to promote you. An agent builds his credibility by having an experienced actor who can nail an audition. Then it is up to the agent to negotiate your contract. He or she knows the rules and regulations within the SCREEN ACTORS GUILD, ACTORS EQUITY, and AMERICAN FEDERATION OF TELEVISION AND RADIO ARTISTS. If the actor works, the agent gets paid. If the actor doesn't work, he does not make his percentage.

A FRANCHISED AGENT represents actors who are in one of the unions. To be franchised the agent is licensed by the state and abides by agency rules, regulations etc. Remember, in order to attract your first agent you have to have something to sell even if your mom and cousin at home told you that you are already a star. Student films, theatre, plays, and theatre groups are the best resources to get started and to get prepared to have an agent. Local acting classes have students who may have an agent and refer you to theirs as well. Working actors study acting. Period.

"Natural talent" must be trained as well. Put together an audition/sizzle/demo reel of your work and you can get this by doing student films. The unions have free agent listings in THE ACADEMY PLAYERS DIRECTORY and will mail you a copy if you ask. 310-278-8990 8949 wilshire Beverly hills 90210

Brian Blumer has moved on from ICM and is now in the field of Attorneys and job placement.

Amber Dawn Lee is an American actress, producer, and screenwriter. Born November 27, 1975. She booked her first modeling job in Utah after she was discovered by a talent scout for a modeling agency in a mall. Her modeling career gave her opportunities to travel, but Amber Dawn Lee chose to stay and work in America instead of internationally.
After roles in short films and musical theatre in Texas she realized her career could only happen if she moved to Los Angeles where films were being made. At the encouragement of friends, she packed up her car in the middle of the night and drove straight to California. She checked into the Sportsmen's Lodge, and started acting classes at the world famous Beverly Hills Playhouse. Supporting her endeavors through modeling she began to book acting jobs, including Hookers For Jesus, which she wrote and starred in.
Amber Dawn Lee played Linda Lou in the musical "The Best Little Whorehouse in Texas" in San Antonio, Texas. She also played the role of Cinderella in San Antonio, Texas.
Amber Dawn Lee is also a humanitarian and speaks on panels around the United States on issues of animal rights.
She has been featured in several magazines as a model including the cover of Template:Met Magazine and she appeared on Good Morning America with Dianne Sawyer. She did runway modeling for Versace. She lives in Beverly Hills, California with her shih-tzu, Charlie, and her Miniture Pinscher she saved from being put to sleep at a shelter.
Two of her screenplays Mockstar and Children of the West were quarter finalists in a screen writing competition. Amber created her own production company Movie Junkies Productions in 2007, and has produced and acted in several of her own projects which are designed specifically for her.

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What Is the Best DSLR for Video? - Tips Before Buying a DSLR for Video

DSLR for Video?

Two years ago, I asked my good friend and fellow film-maker what camera I should buy to stay current in the low-budget film industry. He said that I should buy a Canon 7D, the best DSLR for video on the market. I had to stop and think for a moment as I thought the Canon 7D was a photography camera, not a DSLR for video. I laughed at him and said, "No one is going to take me seriously if I show up to a film set or wedding with a photography camera to film video." He said that he had already filmed 3 weddings with his and then he sent me to his website to look at the footage.

It opened my eyes to a whole new world of video production. I no longer cared about what I looked like holding a smaller camera. All I cared about was getting my hands on one of these Canon 7D cameras to produce videos that looked like his.

Shortly, after I began to realize that my buddy wasn't the only one catching on to this DSLR craze. Major publications started promoting the Canon 7D and major camera companies started manufacturing and selling accessories to accompany the Canon 7D. It almost felt like the entire film and video industry had just given birth to the next generation of film-making. I have a feeling that this generation will last a while.

Canon 7D

I do believe that the Canon 7D is the best DSLR for video. In fact, I think it is the best low-budget camera, in general, for video or film production. There are way too many features to mention in this article, but I will list some of the most beneficial features when applied to video.

-All new CMOS records Full HD (1080p) at 1,920 x 1,080 pixels with a 16:9 aspect ration (widescreen).

-720p and Standard Definition video are also available within this camera

-Wide range of choices when determining frame rates to help get the desired look

-Works with all EFS lenses

-Records as MOV files, using AVC/ H.264 compression (conserves more memory)

-Magnesium alloy case for durability and weather resistance

-Records on CF (Compact Flash) cards

-Internal microphone AND 1/8'' external microphone jack

The Bottom Line

If you are serious about jumping into the DSLR video world, then you will find that the Canon 7D will be used by the majority of professional film-makers and videographers alike. There is a reason for that and there is no need to be an exception. The Canon 7D has proved itself to be the best DSLR for video that money can buy. If you add a couple good lenses to the camera, you'll have yourself a set-up worthy of filming literally anything you want.

To see videos and learn more about the Canon 7D being the best DSLR for video, then visit CanonDSLRVideo.com. There are videos, reviews, and more that can help you make your mark in the DSLR video industry.

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