Tag Archives: film

PROJECT MILAN – Upcoming Film Project

The three of us have been working on a little project that has the scope of being much bigger than we’re currently doing. But that’s the beauty of certain projects, you just go out and do them, and then you continue to build and build… then release a section of it — all the while knowing that you have more to unveil.

“You don’t need permission to be a filmmaker”

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First Festival Selection for Architects of Crime

,Proud to announce that our science fiction film noir short film Architects of Crime is an official selection of the 2016 Action On Film International Film Festival.


The Festival Game

We’ve had films in festivals before (F*ck You, Pay Me! screened at the  Hollywood Black Film Festival, Amsterdam in the Picture, and the Seattle Science Fictions Shorts Film Festival, to name a few). We even took home top prize. Which is an accomplishment, to say the least. It’s a tremendous honor to have your film screen on the festival circuit. It’s were you get a different type of exposure; the audiences are more inclined to appreciate alternative storytelling styles and endings.

One of the things that sort of sucks about making indie films and shorts (and particularly writing screenplays) is the target audience isn’t the actual viewing audience. It’s a small collection of people who then make a decision if a wider audience is going to see your film. And the big reason you seek the “I like this” decision for the Hollywood so-called taste maker ranks is that marketing dollars will be spent on your film if they get excited about your work.

Oone doesn’t need Hollywood’s permission or sanction to get your film seen by audiences, not with YouTube and Vimeo and all the other streaming platforms available. However, where Hollywood has the market cornered is marketing and advertising. It’s as if  Hollywood film distributors are actually niche ad agencies *it’s a wonder that a company like Publicis doesn’t snap up a film studio with its intricate distribution machine).

You have to do a great deal of self-promotion to raise awareness of your film just using social media. Selection and subsequent screening in a film festival adds to the audience awareness critical mass that you’re after.

We’re so excited!

Controlling the Aspect Ratio

The bulk of this article comes from Benjamin B’s article in The ASC magazine, entitled THE ELASTIC FRAME, any remarks or additions have been marked in blue.

In our current age of digital projection, the projection aspect ratio is subject to change at the will of the filmmaker, giving the filmmaker unprecedented control of how he or she wants to present their work on what canvas.

The aspect ratio of a film the “canvas” in which we filmmakers compose our images.

Let’s take a look at the options and their history.

1. Film-Projector Gates
2. Digital Projection
3. Biutiful (2010)
4. Anamorphic is not 2.40
5. Mommy (2014)
6. The Elastic Frame
7. Tradition and Innovation

11 35mm and 70mm Aspect Ratios


1. Film-Projector Gates

In the days of film projection, aspect ratios were defined by pieces of metal. In film cameras the gate is the window that lets light through to the negative. Gates have a slot for sliding hard mattes, thin pieces of metal that narrow the window to a desired aspect ratio. (Hard mattes were more frequent in European cinema than Hollywood, where producers demanded open gates to have the option to do minor reframing). Many (but not all) film prints were also exposed with metal mattes that blocked light, putting black around the intended image frame.

Film projectors were outfitted with metal gates that matched the aspect ratio of the film, though these gates were often slightly bigger than the target aspect ratio; for example, some theaters used 1.66 gates for 1.85 films so as to be sure to not impinge on the image.

In traditional 35mm, aspect ratios could be changed by optical printing, but it was a complicated process. Note also that prints of anamorphic films had squeezed images, and required changing the projector lens as well as the gate so as to unsqueeze the image optically during the screening.

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