By DAMON WEBSTER
ON MARCH 4 AND 5, THE first annual Broadcast Producers Conference was held at the Beverly Hills Hotel. All agency producers were there to share and listen to their comrades and our partners in the production world. No Kumbaya, no Hey theyre all screwing with us and we wont let them. How about two days of heavyweight agency heads of production, production company execs, directors, effects companies, composers, lawyers, union reps, HDTV experts, editors, post facility owners, all speaking about how we work together (or dont)?
Sure, a couple of grenades were tossed out. Not enough, though. Next year should be bigger and better.
I had the pleasure of moderating the postproduction seminar. Larry Chernoff (president of The Encore Group spanning post/effects facilities and services throughout Southern California), Tom Muldoon (president/editor, Nomad Editing Company, Santa Monica), Charles Day (founder/ partner, The Lookinglass Company, L.A. and Chicago) and Gina Locurcio (exec. producer, Bob n Sheilas Edit World, San Francisco) joined me.
We covered subjects that afternoon that explored process, technology and relationships. Okay it sounds like therapy. Except for that technology part.
As moderator, I tried to keep the discussion flow going and introduce topics. But this column is called Your Shot. Ill go with that.
One of the topics was director and agency involvement in postawhose spot is it anyway? First, heres a little history of directors, agencies and postproduction:
When I first began producing commercials on the production side in 78, we had flatbeds in our office and delivered a 16mm release print and a two-inch videotape master.The production company delivered a finished commercial.
In 81, the agencies took the post back because directors wanted to move onto other projects and not hang for the post without a day rate. Understandable. The agency producers role as filmmaker expanded happily.
And with the agencies, the post has stayed. In this country at least.
But whose spot is it anyway? Yes, I know it is the clients spot. Lets move on.
The agency becomes, as was discussed, the parents of the commercial. Then, as Erich Joiner [director at Tool of North America, Santa Monica] described it, the director becomes the cool uncle who gets to take it out and show it to the world. Now after the fun shoot, the spot goes back to the parents for post.
Okay, the director was hired for his vision of the concept. Personally, I want to know how that vision is realized through the cut. But I also hope that the vision serves many masters: concept, strategic message, and yes, time. If it only really works in :37, I cant use it. But you knew that.
For the director: Lets talk about the post before and during the shoot. I know youll be talking to the editor and colorist after. Lets see where your complete vision takes us. Before the production company pays for your finish, the cool uncle version could be what the committee couldnt get to.
In the end I do know this: If its a great spot, everyone is related. If it stinks, its an orphan.
Thats just my opinion.
“Memoir of a Snail” Takes Top Prize At London Film Festival
The Official Competition jury said: โOur jury was incredibly moved by Adam Elliotโs Memoir of a Snail, which is a singular achievement in filmmaking. Emotionally resonant and constantly surprising, Memoir tackles pertinent issues such as bullying, loneliness and grief head-on, creating a crucial and universal dialogue in a way that only animation can. The jury is delighted to recognize an animated film alongside its live-action peers.โ
Rounding out the winners of this yearโs films screening In Competition are:
- Winner of the Sutherland Award in the First Feature Competition โ On Falling (Dir. Lauraย Carreira)
- Winner of the Grierson Award in the Documentary Competition โ Mother Vera (Dirs. Cรฉcile Embleton, Alysย Tomlinson)
- Winner of the Short Film Award in the Short Film Competition โ Vibrations from Gaza (Dir. Rehabย Nazzal)