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Raindance Producers' Lab Lo-To-No Budget Filmmaking par [Grove, Elliot]
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Longueur : 488 pages Word Wise: Activé Langue : Anglais

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Descriptions du produit

Présentation de l'éditeur

First published in 2012. Routledge is an imprint of Taylor & Francis, an informa company.

Biographie de l'auteur

Elliot Grove currently teaches professional screenwriting and filmmaking courses internationally, and in 2009 Open University awarded him an Honorary Doctorate for his contribution to education. In May 2013, not long after launching Raindance Raw Talent―a production company devoted to producing movies that follow the Raindance producing principals―Elliot wrapped his first movie: Love.Honour.Obey.

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  • Format : Format Kindle
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  • Nombre de pages de l'édition imprimée : 488 pages
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  • Editeur : Focal Press; Édition : 2 (7 novembre 2013)
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Commentaires client les plus utiles sur (beta) 4.6 étoiles sur 5 11 commentaires
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Updated edition of a useful guide for film production. 3 novembre 2014
Par Michael J. Edelman - Publié sur
Format: Broché Commentaire d‘un membre du Club des Testeurs ( De quoi s'agit-il? )
Make a film with what you have, not with what you want, says author Elliot Grove. That's easier than ever today, with the astounding advances in video technology of the past decade or two. Years ago i learned to shoot and edit 16mm sound film using several tens of thousands of dollars (in today's money) of rented equipment. Film stock cost a fortune, as did developing, and making a print to send out wasn't cheap, either. Today i can shoot 70 hours of HD video on my phone (!) and there are cameras costing between one and three thousand dollars that can produce theatrical-quality video. In place of the expensive film editing machines we have software that can run on a relatively inexpensive laptop. And thanks to the internet, there's a ton of free information out there that can show you the ins and outs of the technical side of film making.

Thing is, that's the easy part of making a film. The difficult part is, well, everything else. How do I get people to act in my video? How do I get permission to shoot in a restaurant/theater/office/library/whatever? Can I get financing? What about music? Once I've made my masterpiece, how do I get others to see it? That's what Grove addresses here. The first edition of this book was written when film still dominated, and for this updated edition the emphasis is on digital video. There are still a fair number of film references, like discussions of 35mm versus 16mm, but again, that's a small part of the book. Grove spends a few pages outlining digital options- DSLRs, dedicated video systems like the Blackmagic- and then gets down to the real businesses of filmmaking.

While the book's titles states that it's for "Lo to No" budget filmmaking, your idea of low budget may not be the name as the author's. He starts out with what a professional would consider a bare-bones budget of 1,000 pounds Sterling (or about $1,600) and talks about the different options available you have a budget of 10,000, 50,000 and so on up to a million pounds. A lot of the material assumes the would-be filmmaker does have enough budget for equipment rental, professional talent, PR and the like. But there's also a fair that's applicable to the bare-bones filmmaker as well, particularly the material on publicity and distribution. Knowing how something is done by the pros can also help the bare-bones filmmaker, who may find a way to do something for free- like publicity- that the professional crew will hire a specialist to do. The focus is on the British (and European) currency, practices, legal contracts and so forth, but again, most of the information is general enough to be applicable in North America as well.

I see this not so much a guide for the absolute beginner as for the individual who has been writing, filming, and editing video for a while, who understands the basics of filmmaking, but who is looking to move up to the next level- making more ambitious videos, using skilled actors, making raising a bit of money from investors, and distributing a professional product. For that audience, I think this book should be a valuable resource.
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 If I had this a half-century ago, I coulda been a contender. 30 octobre 2014
Par Jerry Saperstein - Publié sur
Format: Broché Commentaire d‘un membre du Club des Testeurs ( De quoi s'agit-il? )
A long, long time ago, I was a child who yearned to be a filmmaker. Back then, there were few film schools, no film festivals that I knew of, few jobs in the film or commercial industry. So I simply set off to make 16mm commercial films, selling them, producing them, writing them, photographing them, editing them on a rented Movioa on a rickety card table, doing my own sound, everything except effects like dissolves and fades that had to be sent to a lab.

I didn’t make it as a filmmaker.

Today, there have been several revolutions and several more are clearly8 visible on the horizon.

Today anyone with a few hundred dollars, a couple of credit cards, understanding parents, family and friends can make a video, even get it distributed.

There are several four-letter words that would be appropriate here. Bad timing in my choice of birthdates.

I still keep up with film and video. I am typing this on the laptop I also use for editing video. Less than a thousand dollars for the computer and a few hundred more for the software.

I can do things absolutely impossible for anyone with multi-million dollar budgets just a couple of decades ago and totally impossible four or five decades ago.

And now I am drooling and pining for my long past youth. Because if I had this book, Raindance Producers' Lab Lo-To-No Budget Filmmaking, five decades ago, I might have had a chance of achieving my dream.

This book is a highly readable, very idiosyncratic, extremely informative film school and industry apprenticeship between covers. It’s great.

The style is punch, almost like an assemblage of numerous bullet-pointed PowerPoint presentations.

Hints from the author’s vast experience and from his friends, acquaintances and people he’s cribbed quotes from abound. For example – and this is extremely good advice – “Make a film with what you have, not with what you want”. If a smartphone is all you have, learn how to use it and tell your story.

This is not a classic textbook. It’s alive. It jumps from subject to subject, but does indeed cover each and every aspect of contemporary film and video production. There are checklists. There are stories of successful penniless producers turning out films that got them noticed. (Before you can get to fame and fortune, you have to be noticed first.)

Elliot Grove is up-to-the moment, covering crowdfunding and everything else that’s current as of 2014.

There’s a glossary, there are forms, there are budget matters – everything.

This is a great book for the aspiring filmmaker. I really, truly do wish I had it or something like it fifty years ago.It would have made, I think, a huge difference.

1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 An Unbelievable Amount of Information - A Treasure Trove 10 novembre 2014
Par ChristineMM - Publié sur
Format: Broché Commentaire d‘un membre du Club des Testeurs ( De quoi s'agit-il? )
Everything you need to know to become an indie filmmaker is in this book, this 2014 edition is the 2nd edition which has been updated from the original 2004 book to include changes in the industry with promises for the future.

Eliot Grove of Raindance Producers' Lab has put a a treasure trove of information within one book. Grove senses a paradigm shift is in progress and filmmaking will move away from the traditional disconnected actions of the artist and the business end to an artist who understands all aspects of the process from budgeting to the necessity to keep costs low to production. Here the filmmaker interacts with the audience and being active with marketing and advertising. So the model will be make - sell or sell - make as a more seamless process where the artist is involved with every part of the process from idea conception to being shown in theatres.

This book is written for the autodidact who can learn information from this book and put their dreams of filmmaking into action. Grove feels that film school is not necessary for all, and with this book the information previously only known to film school students can be known and used by artist-makers.

The book is almost 500 pages of tiny black font with good notes in the sidebars. It is a ton of information crammed in, everything from the types of personalities commonly found in the Hollywood movie scene to how to get permits for shooting on location, how to get into film festivals, how to make your own press kit, lighting, costumes, props....everything is here. Everything is here except color images and graphics, that type of fluff is not here. There are charts and there's a lighting illustration and a few movie posters in the marketing section.

I love books that share information that empowers people to learn on their own and to be able to create and do things without gatekeepers such as college degrees (or multiple degrees) that keep some people locked out of doing what their creative self is moving them to do. I love the spirit of folk artists and independent filmmakers who are self-taught.

This is a wealth of information for a low price. I rate this 5 stars = I Love It.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Excellent book for everyone in LA and movie makers everywhere else 10 décembre 2014
Par iiiireader - Publié sur
Format: Broché Commentaire d‘un membre du Club des Testeurs ( De quoi s'agit-il? )
Having lived in LA for a number of years, I can say with some authority that almost everyone living there is making a movie. So all of you in LA should all go out and get this book. For everyone else that wants to make a movie, I recommend that you also get this book.

The book points out that if you can gather together $1 million dollar or more for a movie budget then you probably don't need the book. But if your budget is somewhere between $0 and $100,000 then you probably do need the book. This book has tons of advice for movie makers of all budgets, but especially for those whose budgets are at or near the $0 - $5000 range. The book highlights low budget movie making by walking through how to make a movie with a budget of $0.

The book covers all phases of low budget movie making and focuses on using what you have, making do or limiting what you need. Most importantly, the book focuses on doing it now rather than waiting until you buy that thing you think you need or procrastinating for some other reason.

There are many humorous antidotes, examples and interview questions/answers from other very successful filmmakers who started out and often continue to make low budget films. The book is packed with useful advice and I highly recommend reading it. I really enjoyed this author and I learned a lot from the book.
4.0 étoiles sur 5 To Be Read with A Highlighter, Sticky Notes, and a Pen 29 novembre 2014
Par T. Adlam - Publié sur
Format: Broché Commentaire d‘un membre du Club des Testeurs ( De quoi s'agit-il? )
To start, it's important to note the meaning of "Lo-to-No" in terms of dollars and cents: No-Budget = $1-$100,00; Lo-Budget = between $100,000-$1M. The book does, however, disclose a few ways for a filmmaker to raise capital (i.e. bank loans, investors, credit cards, etc.) and ways to get certain tasks done for free.

Also, this book is written from a UK perspective, so there *will* be differences within the US or other countries--for example, there's a section called 'Co-Production and European Tax Incentives', which won't be of much use to US filmmakers since tax laws/filmmaking subsidies vary greatly--but if you have some ingenuity, you'll figure out ways to modify the tips offered to your own advantage.

I especially enjoyed the interviews with various industry professionals, to include producers, agents, CEOs, a YouTuber, etc. The questions asked varied, rather than using stock questions, and the answers given are invaluable and enlightening (some more so than others).

To offer a couple examples, asked of Mark Shivas (Perpetual Motion Pictures), "How would you describe your role as producer", to which he answered, "I would describe it as a mixture of a cajoler, a wet nurse, someone who raises the money, someone who keeps the movie on track, someone who looks after the crew." Or, asked of YouTuber TomSka, "So viral content has its own structure, very different to, say, short films or even features" wherein he answers with "You can get away with things like features, but if I wanted to put a feature on YouTube what I'd do is make some viral videos around it. ... I'd put out a marketing campaign beforehand where I had put out like three 1-minute videos, sketches or whatever, set in that film universe. Put those out and then suddenly the 3 million people who watched that video will want to watch that film...."

The only reason this book didn't get the full five stars from me is because there were several sections where the layout became haphazard, in the sense that you'd need to jump around a bit to find pertinent information, and also because much of it is geared toward the UK market while this is actively being marketed to the US filmmaking audience.

Overall, for those willing to read between the lines, take the initiative, and do further research as necessary, this is an entire film development course in a book. No, really, it is. If you aren't an autodidact, however, there's a good chance you'll be overwhelmed. It contains information that ranges from anecdotal stories to hard facts and figures, plus plenty of pull-outs, definitions, action plans, and advice for the budding film maker. But even with the quibbles, this is still a worthwhile investment.
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