How to Work in Commercial Production?

by | Dec 9, 2016 | production |

Commercial producers have an work in all phases of media production. As a commercial producer, you are responsible for a media project from concept through completion, including budget, timelines and production values. You may work on projects for several clients simultaneously. The field is growing as new venues emerge for commercials through developing media such as flash video commercials embedded in web pages. Commercial sales are the primary revenue sources for media outlets. Enroll in a degree program in broadcast media, television production, communications or advertising. Most production companies and television stations will require a Bachelor’s degree in addition to work samples when hiring. You will also have the opportunity, as a student in one of these programs, to create projects for your portfolio. Learn the basics of each position in media production. Commercial producers will hire and supervise directors, videographers, graphic artists, audio technicians, lighting professionals and talent. Having knowledge of all of these positions will help you when, as a producer, you must draw on all of their talents. Get an internship at a television station, cable system or production house. Try to observe one or more commercials through the entire production process: client meetings, budgeting, concept and scripting, location scouting, talent selection, field or studio production and editing and post-production, as well as the client review and approval. All are significant aspects of commercial production. Include some marketing courses in your studies. Commercials sell products by appealing to certain demographics. Understanding consumer behavior and trends is an important component of commercial production. Build your network within the industry by participating in such groups as your local Ad Club or American...

‘Ruin and Rose’ extreme ski film to premiere at Palace Danbury

by | Dec 1, 2016 | sport film |

“Ruin and Rose,” a feature-length movie that takes extreme skiing to new heights, will be screened at the Palace Danbury. The film is much more than a series of breathtaking maneuvers — it’s also an imaginative tale about a world without snow, which offers a message for the future. Zack Giffin, who lives in Colorado, is among the movie’s all-star cast of skiers. “Every stunt you see is 100 percent real,” he said, referring to sand skiing and snow skiing in no-fall zones, where if you slip up, it’s all over.  “When you’re out on a glacier, you don’t have a helicopter right there that can whisk you away to a hospital,” he said. “We try to find the line where you’re right on the verge of catastrophe.” Saturday’s screening will be the Connecticut premiere of “Ruin and Rose.” Giffin said the title refers to the movie’s essence: “a planet ruined, and the spirit of humanity overcoming that, and finding beauty in the ashes.” Written and directed by award-winning filmmaker Ben Sturgulewski, the movie was created by Matchstick Productions, a Colorado company known for its incredible ski flicks. They are filmed everywhere, from France and the Swiss Alps to the African deserts of Namibia. Unlike other ski films, “Ruin and Rose” begins not in the snow, but on the edge of an endless desert where a group of children survives on their own. When a young boy unearths an ancient relic, hinting at the lost wonders of winter, he sets off to find the ghosts who once called the mountains their home. “I have lived my life immersed in...

Bonita offers you Alexa XT Plus Camera

by | Nov 29, 2016 | Equipment rental camera |

The ALEXA Plus adds integrated wireless remote control, the ARRI Lens Data System (LDS), additional outputs, lens synchronization for 3D, and built-in position and motion sensors. It shares ALEXA’s image performance, simplicity of operation, reliability in extreme environments and versatility of workflow, and is available either as part of a complete camera package or as an upgrade for the original ALEXA. An advanced electronics side cover permits real-time wired or wireless remote control of camera REC/STOP and lens functions like focus and aperture, using either ARRI hand controllers such as the Wireless Compact Unit (WCU-3) or cmotion’s modular cvolution system. The lens mount of the Plus model incorporates LDS contacts, allowing lens data and depth of field to be displayed in the viewfinder or on monitors, and making speed/iris ramps easier. Lens metadata can be recorded using ProRes, HD-SDI or...

Is the MacBook Pro good enough for video editing?

by | Nov 24, 2016 | video editing |

Apple’s redesigned MacBook Pro has been surrounded by controversy since it was first announced a few weeks ago.   Even though Apple says the new MacBook Pro is its best-selling version of the computer to date, it has received loads of blowback from the professional community. Those are the power users that need high-end computers for video editing, coding apps, or photo editing.   The most common complaints are the lack of ports and power compared to rival computers. For example, you can only get up to 16GB of RAM, while many are asking for 32GB of RAM. The MacBook Pro also only has one type of port called Thunderbolt 3, which makes it tough for those who need SD card slots or HDMI ports to connect their external monitors.   So while I already tested the MacBook Pro from a generalist’s perspective, I thought it’d be worth it to have one of our own in-house professionals give the computer a spin. Justin Gmoser, one of our video producers here at Business Insider, has been testing the 15-inch model of the MacBook Pro for a little over a week. I had him detail some of his thoughts from a video editor’s perspective.   There are four Thunderbolt 3 ports on the 15-inch MacBook Pro. These are used to charge the computer and connect accessories using the new USB-C standard that will eventually replace the “regular” USB you’re used to. Justin said Thunderbolt 3 was a big issue for him, since he often uses a USB thumbdrive to transfer video to his Mac. But with Thunderbolt, he has to use an...

5 Essential Tips on Producing Documentaries

by | Nov 22, 2016 | documentary |

Dan Cogan, Executive Director and Cofounder of Impact Partners and producer Howard Gertler have worked together on two films: the Academy Award-nominated “How to Survive a Plague” and DOC NYC Opening Night film “Do I Sound Gay?” In a Masterclass on Producing on November 17th, Cogan and Gertler will used these two films as case studies to explore creative and business challenges in documentary producing and ways to overcome them. Here are five tips they shared about producing a documentary: Get shit done.  The producer’s main job, according to Cogan, is to “get shit done.” The producer is responsible for financing, running the production, handling people and crews with care and grace and creating a positive experience for everyone on board. Story structure matters. Gertler said “How to Survive a Plague” had no structure at all when he came on board. They had 700 hours of footage with an eight-month deadline looming. Its first-time director, David France, was a journalist who knew how to tell a story but not how to craft or cut a film. So Gertler had to help France find his focus and bring his vision to life. “People won’t remember all the facts,” Gertler said. “They remember the characters and what happens to them.” When asked if he feels like he’s taking away power from the director, Gertler said, “The producer is there to help the director accomplish his or her vision. I’m like a handmaiden to the director. We challenge them and push them, we don’t challenge their authority.” Make it as strong as possible. The pair suggested that filmmakers shouldn’t send their films to festivals,...

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