End of Direct to Video market

What is feature length?

Marie's Pizza

Movie Set Job Description - Camera Department

Car Chase!

edit a CAR CHASE!

Framelines (www.framelines.tv) presents an interactive online editing exercise. Download all the footage and sound FX and create your own edit of a Car Chase. Use the clips we are providing to create your very own unique action scene, using your own editing software. There are a million ways to take the same footage and put it together. Feel free and show us your edit!

This is royalty free footage that anyone can use and publicly display. Put your edit online with our permission!

ON VIMEO (use the “download clip” function to get the footage now!) CLICK HERE TO GET FOOTAGE


This footage is 23.976 Frames Per Second (24P) - 1920x1080P

Each clip is MOS, meaning without any production audio. Also, each clip has multiple shots in it separated by a cigarette burn hole.

Download free sound FX to complete your edit HERE http://www.sonnyboo.com/downloads/soundfx/car_chase.zip

Make sure to get permission for any music you use in your edit! Need royalty free music? try Sonnyboo’s Royalty Free Music http://www.sonnyboo.com/music/music.htm

Please credit any usage of these shots to:

Cinematography by Mike Tavares

Produced and Directed by Peter John Ross

Starring Brandy Seymour

shot on location downtown Columbus, Ohio

footage courtesy of www.Framelines.tv and www.Sonnyboo.com

© Copyright - Sonnyboo.com™

FREE RAW FOOTAGE - Car Chase - INT close ups from Framelines TV on Vimeo.

FREE RAW FOOTAGE - Car Chase - INT cutaways from Framelines TV on Vimeo.

FREE RAW FOOTAGE - Car Chase - EXT WS car 03 from Framelines TV on Vimeo.

FREE RAW FOOTAGE - Car Chase - EXT WS car 02 from Framelines TV on Vimeo.

FREE RAW FOOTAGE - Car Chase - EXT WS car 01 from Framelines TV on Vimeo.

FREE RAW FOOTAGE - Car Chase - EXT cutaways from Framelines TV on Vimeo.

FREE RAW FOOTAGE - Car Chase - EXT crane shots from Framelines TV on Vimeo.

FAST & SLOW CUTTING - Moviemaking Technique from Peter John Ross on Vimeo.

Movie Cliche - Plans Never Work Out

Compression of Time in the edit

Film Buzz: "Producers Roundtable" gives insight into indie fi...

Film Buzz: "Producers Roundtable" gives insight into indie fi...: While looking at the different filmmaking groups around the world I found the Mid Ohio Filmmakers Association (MOFA) and saw some ver...

CUTTING ON MOTION/MATCH CUTTING

Movie Cliche - SPACE EXPLOSIONS

Copyright vs. Trademark

Movie Cliches - Extras

Million Dollar Movie Deal

On Location - Cell Phone Monologue

Movie Cliches - Reality TV

a new webisode on REALITY TV featuring Tessa Gordon, the lovely host of this podcast http://www.youtube.com/watch?v=BqNw2nkNFaw

http://www.youtube.com/watch?v=BqNw2nkNFaw

Uncle Pete's Playtime - SHARING

Blue Murder kills Whitesnake

 

So my first foray back into a blog in several months, and this time I’m going to examine a moment in 80’s metal history.

Most people are familiar with the epynomous 1987 album WHITESNAKE with David Coverdale and his merry band of long haired heavy metal hitmakers. The seminal music videos for such songs as IN THE STILL OF THE NIGHT, HERE I GO AGAIN, and the power ballad IS THIS LOVE featuring flame haired actress Tawney Kitaen were huge hits on MTV back when the “M” stood for “music”. These videos took the group and the album to the top.

On a side note, Tawney Kitaen, star of such hits as the Tom Hanks movie BACHELOR PARTY and THE PERILS OF GWENDOLIN, was dating lead singer David Coverdale, but had also been dating the American metal group RATT…. Not a member of the band, the ENTIRE band. Her legs appeared on the cover of one album and she was also on the cover on her hands and knees for another album.

Back to WHITESNAKE, the music videos featured a new lineup for the group including the entire rhythm section from Ozzy Osbourne’s Randy Rhodes days with Rudy Sarzo on bass and Tommy Aldridge on drums. On guitar Adrian Vandenberg and a young Vivian Campbell, who had just wrapped up a tour with Dio. This was a super powered 80’s metal gathering…. Except none of them played on the album (although Adrian Vandenberg did play a single guitar solo on the track HERE I GO AGAIN).

The unsung hero of the 1987 super hit album WHITENSAKE was guitar player, co-songwriter, and backup singer John Sykes. Sykes’ contributions to the sound, tone, and feel of the songs and album cannot be overstated. For reasons that have never really been made too public, Sykes and the band that played on the album were fired. Allegations of ego, etc. caused them to be fired.

Sykes then created his own super trio called BLUE MURDER. Although the group never achieved a fraction of the popularity of WHITESNAKE, the musicality and compositions were vastly superior. Bringing in drummer Carmine Appice (from HUMBLE PIE) and bassist  Tony Franklin (from Jimmy Page’s group THE FIRM), and taking over lead vocal duties, BLUE MURDER made some incredible music.

Like this little ditty, JELLY ROLL, Sykes shows a depth of composition and lyrical poetry.

Unfortunately, the public never saw past the hit videos of 1987. BLUE MURDER never got the chance to catch on without the clever music video hits, but on the plus side, WHITENSAKE never came close to achieving the same degree of success either. The superband made to look good in videos never got the chance to really record together. After the tour Vivian Campbell left the band, never to be recorded on any album with the biggest group he was with. Adrian Vandenberg had surgery on his hand and could not record the follow up album, being replaced by David Lee Roth guitarist Steve Vai. The follow up albums never came remotely close to touching the sales of the Coverdale/Sykes collaboration.

Hell Hath Frozen Over

Spielberg has edited two movies non-linear in a computer! He himself vowed never to do such a thing, but with TINTIN and also WAR HORSE, Steven has come over to the darkside. Now I understand TINTIN, as that is a CGI movie, but WAR HORSE is live action, shot on film.


Spielberg resisted the new school approach to editing, which is like comparing typing with a typewriter versus using a word processor. Your options become near limitless and takes so little time to edit with a computer versus editing with a work print, a moviola and some splice tape. For 40+ year of a career, this has been the only way Spielberg has edited, and now he has done two movies back to back in the computer.

At least he’s still using editor Michael Kahn. He has edited all of Spielberg’s movies except for 2, JAWS (Verna Fields) and E.T. (Carol Littleton, because Michael Kahn was editing POLTERGEIST for Spielberg superseding director Tobe Hooper).

Raucous Rapscallions

I’m doing some minor writing of late. Whether it’s scribbling on a notepad at work, typing in Google Docs on the laptop waiting on a render, what matters most is that words from my head are being committed to some form that others might see and eventually say/shoot.

I’ve got a few ideas tumbling over. One compels me because I have never attempted a process shot, that is a shot in a car that appears to be moving when it is in fact stationary. There is the “poor man’s process” which is to say it’s all done with lights rotating across the windshield and windows. That is an option. Next is rear-projection, which is to go out and shoot the street views ahead of time, then project them on a screen near the car to give the illusion that they are moving. You’ll still have to do the lights, but there is clearly a background of moving streets outside the windows. The benefit is that everything is in camera, no post production work on either of those. The last option is greenscreen, which is to “key” in the street scenes in the computer after the fact. This option doesn’t cause the same problems it did as little as 2-3 years ago since technology has improved so much.

I’ll pick one of those and that will be the core of this shoot. The rest of it will tackle some more adult themes, something I haven’t done much of. It will deal with sexuality in a way I do not usually put in film. There is no nudity, as I have not matured enough as a person or director to handle that yet, but since I turn 40 years old next month, maybe with the death of my youth I might gain some of that maturity I’ve heard so much about.



CLIP FRAMES and FRAMELINES continue to grow to other markets. Today I made over 60 DVD’s to send out to various channels throughout the state and in the neighboring West Virginia, Kentucky, and Pennsylvania. I am pleased to hear such positive responses from programmers about the show. In a few months time, there will be no escape from my marketing machine. Too long have I been idle and silent. The time to reawaken my inner marketing whore reveals itself to be nigh. Prepare thyself, Acolytes.