THE INDIE ROUND-UP #4: POLANSKI’S LENSES, LUMET’S METHOD, and GOOGLE’S DOCS

Clearly I’ve yet to get in the habit of doing this weekly. Anyway, as always there has been a lot of interesting things going on in the world of DIY and independent film production, here are 5 things that caught our eye this last week (or three…):

FOUNTAIN LOADER: Final Draft is probably still the most popular screenwriting programme in use today, with I’d guess maybe Celtx coming in a distant second, but there are lots and lots of programmes for screenwriters to use. And although many of them are built for collaborative screenwriting, I’m a Google Docs kind of guy, and I’ve always been a wee bit irked that they haven’t made their own screenwriting software. Turns out I’m not the only one, because today I discovered Fountain Loader, designed by screenwriter and software developer Simon Ganz. I haven’t checked it out yet, but I hope it isn’t too long until I get an opportunity to do so. Let us know in the comments section which is your preferred method of screenwriting.

LUMET’S METHOD: In a somewhat natural progression from the writing process, lets move into Script Supervision. Specifically, Martha Pinson’s wonderfully illustrative first-hand account into the methodology of legendary filmmaker Sydney Lumet. It is always interesting to look into how the great ones went about their business.

POLANSKI’S LENSES: Speaking of the great ones, here we have a look into the specific camera lens choices made by one of the all time masters of visual language, Roman Polanski, via cinematographer Rodrigo Otaviano.

KWIPPED: And on the topic of equipment – way back when we were prepping to shoot The Buskers And Lou, we had to figure out the best way to stretch an incredibly tight budget. The plan we finally agreed upon was to get most of our gear from the local film school and to find supplementary items such as lenses from online rental houses. I don’t recall the name of the one we eventually went with, but it was basically set up like Netflix – dig through what they have to offer, put in an order, it’ll show up in the post in a couple of days, and at the end of the period put it in the return envelop and ship it back. It was simple, and it was cheaper than renting from a brick and mortar shop. That was about 4 years ago, and I’ve always found it strange that online rentals haven’t become a bigger part of indie film world. One of the many things on my long-gestating To Do list is to develop a site where equipment owners can hire out their gear when not in use, saving DIY filmmakers a some money and getting a bit of an immediate return on their own equipment investment. t wasn’t until I stumbled upon Kwipped the other day that I’ve seen a site laid out similarly to what I had in mind. Again, I haven’t yet had an opportunity to give it a spin, but we have a few small productions in the pipeline so I might just get the opportunity to see what it is all about very soon. If you’ve had experience with Kwipped or a similar site, either as a renter or a borrower, please use the comments section below to let us know how it turned out for you.

COLOR REEL: And finally, here is a beautiful illustration of how the use of colour is just one of many tools in the filmmaker’s toolbox with a behind the scenes look into the colour correction process for the independent drama “The House On Pine Street” brought to you by GradeKC.

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