Nicholas de Wolff

iOS MOBILE APPS FOR MEDIA & ENTERTAINMENT PRODUCTION PERSONNEL

The following list was compiled by PGA New Media Council member, Susan Zwerman. It’s meant to be a work-in-progress, and comments and suggestions are welcomed:

AccuWeather ver 2.0: http://itunes.apple.com/us/app/accuweather-for-iphone/id300048137?mt=8
Gives video forecasts as well as accurate weather information. Can email weather report directly through your iPhone or iPad. (Free)
Action Log: http://itunes.apple.com/us/app/action-log/id316992969?mt=8
Action Log is a film and television-logging tool, designed for use on location or in a studio with up to 25 recording devices. At the touch of a button the logging system keeps track of all reel names and time codes for each recorded piece of action. For iPhone or iPad. (Free)
Align of Sight: http://itunes.apple.com/us/app/align-of-sight/id385134018?mt=8
For Precision Photography, Visual Effects, Match-Moving and Location Scouting. Record and log any view vector in space & time and align live camera angles to previously recorded Lines-Of-Sight and specific sun direction. Used as a digital level on a camera. For iPhone or iPad ($14.99)
Artemis: http://itunes.apple.com/us/app/artemis-directors-viewfinder/id324917457?mt=8
A Digital Directors viewfinder. For the iPhone (Free)
Artemis Remote for the iPad: http://itunes.apple.com/us/app/artemis-remote-for-iPad/id372459098?mt=8
Directors Viewfinder and Remote – Use your iPhone 4 camera as a director’s viewfinder to plan out shots, and feed that information over Wi-Fi to your iPad. You can select the lens size, ratio, etc. For iPad. ($4.99)
Aspect Ratio Calculator: http://itunes.apple.com/us/app/aspect-ratio-calc/id423170814?mt=8
Calculates video aspect ratios and pixel dimensions. Presets are provided for common formats. Results can be copied to the clipboard or emailed. For iPhone and iPad. ($1.99)
CamCard: http://itunes.apple.com/us/app/camcard-lite-business-card/id355472887?mt=8
Scans and reads business cards and convert to contacts. Can save contact information in Card Holder or iPhone Address Book. For iPhone or iPad. (Free)
Camera for iPad: http://itunes.apple.com/us/app/camera-for-ipad/id366129244?mt=8
Add a camera to your iPad – wirelessly. Easily connects any two devices to send the camera from one to the other. Simply start Camera for iPad on both devices, and they’ll find each other. Your iPad shows what the iPhone’s camera sees. For iPhone and iPad. ($.99)
Celtx Shots: http://itunes.apple.com/us/app/celtx-shots/id467370902?mt=8
Celtx Shots is the first app with both storyboarding and set blocking built-in, so you can create storyboards and block scenes in the field or on the set. For iPhone or iPad. (Free)
Storyboard Composer: http://itunes.apple.com/us/app/storyboard-composer/id325697961?mt=8
Storyboard Composer is a mobile story boarding application. No need to know how to draw. This app allows you to portray your vision to others in an easy controllable format. Designed for Directors, Directors of Photography, Producers, Writers, Animators, Art Directors, film students and anyone who wants to be able to visualize their story. For iPhone or iPad. ($14.99)
Daylight: http://itunes.apple.com/us/app/daylight/id324528814?mt=8
Display sunrise and sunset times for your current location, at any point in time. For iPhone or iPad. (Free)
Documents To Go: (Office Suite) http://itunes.apple.com/us/app/documents-to-go-office-suite/id317117961?mt=8
Enables you to read and edit Word and Excel docs from your computer on your iPhone i.e. call sheet. This app can also view PowerPoint, PDF, iWork, Text, and RTF files on both the iPad and iPhone. Need to sync iPhone or iPad with a Desktop application to use. ($9.99)
Documents 2: http://itunes.apple.com/us/app/documents-2-free-spreadsheet/id314894105?mt=8
Mobile app that lets you see any type of office document on your iPhone, iPad Also can transfer documents to/from your iPhone via FTP or Wi-Fi, Google, or Email. For iPhone or iPad. (Free)
Doddle Premium: http://www.doddleme.com/registration/pro-preview/
Create Digital Interactive Call Sheets right on your iPhone. Auto Update Weather and Emergency info for your shoot by just adding a location and date. Get interactive Map locations by adding in set address. If you make a change on your call sheet you can send out an email notifying the crew in your address book of that change. For iPhone and iPad. ($2.99)
DOFMaster: http://www.dofmaster.com/iPhone.html
Calculates depth of field for photography and provides best f-stop and lens combination. For iPhone. ($1.99)
Dropbox: http://www.dropbox.com/iPhoneapp or http://www.dropbox.com/ipad
Save and restore documents for moving to multiple devices. Bring your files with you wherever you go. Easy to upload photos and videos to Dropbox. For iPhone or iPad. (Free)
Easy Release: http://itunes.apple.com/us/app/easy-release-model-release/id360835268?mt=8
Create release forms for talent. There are pre-canned release forms to get you started, simply fill in the blanks, save the form as a template. Hand this form to your talent so they can sign with their finger. Email the PDF to them and yourself. For iPhone and iPad. ($9.99)
Movie Slate: http://www.movie-slate.com/
All-in-one digital slate, clapperboard, shot log, and notepad are used for film, TV, documentaries, music videos, and interviews. It records both for the iPhone and iPad all of a shot’s production, GPS location, and time code data and is stored to the MovieSlate’s shot log history. This report can then be exported and viewed on your web browser. iPhone 3GS or later and iPad ($24.99)
Evernote: http://itunes.apple.com/us/app/evernote/id281796108?mt=8
Evernote is an easy-to-use list maker that helps you remember everything across all of the devices you use. This app lets you take notes, capture photos, create to-do lists, record voice reminders–and makes these notes completely searchable. For iPhone and iPad. (Free)
Fahrenheit: http://itunes.apple.com/us/app/fahrenheit-weather-temperature/id426939660?mt=8
A weather application that uses latest technology to show the current temperature of any location. This app gives you detailed weather information of unlimited cities worldwide with an easy-to-use user interface. For iPhone and iPad. ($.99)
FDX Reader: http://itunes.apple.com/us/app/fdx-reader/id437362569?mt=8
Reader for Final Draft scripts for the iPhone and iPad. Final Draft uses a file format called .FDX. If you’ve ever attempted to open one of these files on iOS, you get raw XML. With FDX you get a screenplay nicely formatted. For iPhone and iPad. ($7.99)
FiLMiC Pro: http://itunes.apple.com/us/app/filmic-pro/id436577167?mt=8
This app gives you more control over iPhone movie recording. It turns your iPhone into a fullfeatured HD video camera. For iPhone and iPad. ($3.99)
Flashlight: http://itunes.apple.com/us/app/flashlight-o/id381471023?mt=8
Works like a real small flashlight. This app helps you see when it’s night exterior inside or outside. For iPhone and iPad. (Free)
Final Draft Reader: http://www.finaldraft.com/products/mobile/reader/
It precisely displays production scripts, including colored production pages exactly as they appear on your desktop – perfectly paginated. You can make script notes directly on your iPad. For iPad only. ($19.99)
Flipboard: http://itunes.apple.com/us/app/flipboard/id358801284?mt=8
For both the iPhone and iPad. Internet access to web, Facebook, Twitter, Linkedin, etc. Creates a personalized magazine out from shared files. For iPhone and iPad. (Free)
Genius Scan: PDF Scanner http://itunes.apple.com/us/app/genius-scan-pdf-scanner/id377672876?mt=8
Genius Scan turns your iPhone into a pocket scanner. It enables you to quickly scan documents on the go and email the scans as JPEG or PDF. For iPhone and iPad. (Free)
GoodReader for iPhone: http://itunes.apple.com/us/app/goodreader-for-iPhone/id306277111?mt=8
PDF reader with advanced reading. You can read virtually anything, anywhere: books, movies, maps, and pictures. The ability to mark-up PDFs opens up new doors to GoodReader users who can now use typewriter text boxes, sticky notes, lines, arrows, and freehand drawings on top of a PDF file. This version is free for iPhone. For iPad, get “GoodReader for iPad.” ($4.99)
GPS by TeleNav: http://itunes.apple.com/us/app/gps-by-telenav/id414817704?mt=8
3D maps with live traffic flow, turn-by-turn directions with manual re-routing, local search, and cheap gas price finder. Now with Facebook integration & enhanced map discovery. For iPhone 3GS, 4, 3G and iPad and iPad 2. (Free)
Group Email: http://itunes.apple.com/us/app/groups/id407855546?mt=8
Create and manage groups of contacts . Email a group of contacts as well as attach images to your group emails. For iPhone and iPad. (Free)
Group Text: (textPlus free texting & group text): http://itunes.apple.com/us/app/textplus-free-texting-+-group/id314487667?mt=8
Can use this app for free texting. . For iPhone and iPad. (Free)
Helios Sun Position Calculator: http://itunes.apple.com/us/app/helios-sun-position-calculator/id311648870?mt=8
This application graphically predicts the path of the sun from dusk to dawn, on any given day, in any given place. Good for Cinematographers and Still Photographers working in natural light. For iPhone and iPad. ($29.99)
iAnnotate PDF: http://itunes.apple.com/us/app/iannotate-pdf/id363998953?mt=8
This app has a fully searchable library to organize, find, and read your documents. It is used for taking notes on lecture slides, annotating important business documents, revising screenplays, and grading papers. For iPad only. ($9.99)
IMDB: http://www.imdb.com/apps/iPhone/
Specifically for IMDB access on the web. Internet industry database – large connection of movie, TV and celebrity info. For iPhone and iPad (Free)
iMovie: http://itunes.apple.com/us/app/imovie/id377298193?mt=8
Great way to do simple edits on the go. For iPhone and iPad. ($4.99)
Instapaper: http://itunes.apple.com/us/app/instapaper/id288545208?mt=8
Save and access web pages to read later when you are without Internet connection. For iPhone and iPad ($4.99)
iSlate: http://itunes.apple.com/us/app/islate/id295464071?mt=8
Simple slate and easy to use as a portable digital clapper board. Digital Slate for Red Camera. For iPhone and iPad. ($2.99)
iVideoCamera: http://itunes.apple.com/app/ivideocamera-record-video/id332166209?mt=8
Now with tons of effects, this app records videos for older iPhones as well. For iPhone and iPad. ($.99)
LightMeter: http://itunes.apple.com/us/app/light-meter-free/id410228606?mt=8
A simple light meter. For iPhone and iPad (Free)
LiVE-PLAY: http://lightiron.com/services/live-play
Automated Video Playback – LiVE PLAY is a streaming playback tool designed to enhance existing VTR setups on the set. With LiVE PLAY, iPads can be used as monitor for serving an unlimited amount of clips and are completely secure. It lets users view, share, and comment on clips from their LiVE PLAY-equipped iPads. For iPad. ($34.99)
MapQuest 4 Mobile: http://www.macworld.com/appguide/app.html?id=113106&expand=true
FREE voice-guided, turn-by-turn, GPS navigation for iPhone. Your phone speaks to you, telling you when to make a turn. Easily search with a single click while on the go. Stay on schedule by checking live traffic en route. If you take a wrong turn, MapQuest re-routes you automatically. For iPhone and iPad. (Free)
MatchLens: http://itunes.apple.com/app/matchlens/id315223799?mt=8
This calculator computes the equivalent lens focal length to produce the same field of view between two cameras with different aperture/sensor sizes. It will do a “Match Lens” calculation, and produce the closest equivalent angle of view lens, in millimeters, for both vertical and horizontal frames. For iPhone and iPad. ($9.99)
Movie Magic Scheduling To Go for the iPad http://itunes.apple.com/us/app/movie-magic-scheduling-to-go/id428072812?mt=8
It only works with a file that is created in Movie Magic Scheduling 5 and can make changes with the touch of a screen. Movie Magic Scheduling To Go provides a mobile companion solution to the desktop version of Movie Magic Scheduling 5 for use on the iPad. It allows you to make changes to your existing schedule in a simple touch screen interface. For iPad. ($29.99)
Movie Slate http://www.movie-slate.com/
With each closing of the clapper, MovieSlate automatically creates a shot log with your production, timecode, notes, and even the GPS location of your shots. For iPad and iPhone. ($24.99)
MyRadar: http://itunes.apple.com/us/app/myradar-weather-radar/id322439990?mt=8
Regular MyRadar is free and fast and easy to use. It displays animated weather radar around your current location, allowing you to quickly see weather patterns coming your way. For iPhone and iPad. (Free)
Notes to Store: http://itunes.apple.com/us/app/notes-to-store/id364740608?mt=8
Create notebooks of unlimited pages, type text, import photos, draw on photos or sketch. For iPad. ($1.99)
OmniFocus http://www.omnigroup.com/products/omnifocus-iPad
This is a personal task management app. Keep it all up-to-date and take your to-dos to-in sync your devices. Categorize your tasks by the tool, resource, or location required to accomplish them. For iPhone ($19.99) and for iPad. ($39.99)
OmniGraffle: http://itunes.apple.com/us/app/omnigraffle/id363225984?mt=8
Your iPad touch screen is your canvas. It provides stencils full of objects for you to drag and drop, and it can magically organize diagrams so your ideas come to life. For iPad. ($49.99)
Orchestra to-do: http://itunes.apple.com/us/app/orchestra-to-do/id459356540?mt=8
This app is a list maker. If everyone has it, you can send out and update to-do lists wirelessly. Good for inter-department app. Automatically syncs between the iPhone and the web for home/work, and can also create tasks with your voice. For iPhone and iPad. (Free)
PanaScout –Lite: http://itunes.apple.com/us/app/panascout-lite/id371341478?mt=8
For crews scouting locations. This app shows the Cinematographer’s viewpoint from a professional cinema camera. For iPhone and iPad. (Free)
PanaScout: http://itunes.apple.com/us/app/panascout/id361799671?mt=8
This is more advanced than the Lite version, with zoom issue resolved. It allows you to upload your stills to Final Cut. 360 Panorama – take location stills and stitch them together. For iPhone and iPad. ($9.99)
pCAM Film+Digital Calculator: http://www.davideubank.com/Good_Focus/pCAM_Film+Digital_Calculator.html
Many features for Cinematographers, Camera Operators & Assistants, VFX Supervisors, Script Supervisors and Still Photographers. Calculates Depth of Field, Splits-Aperture Finder, Field of View (Picture Sizes), Focal Length, Exposure, and Running Time Length. For iPhone and iPad. ($29.99)
PDF Expert: http://itunes.apple.com/us/app/pdf-expert-fill-forms annotate/id393316844?mt=8
It lets you read and annotate PDF documents, highlight text, make notes, draw with your finger and save these changes being compatible with Preview and Adobe Acrobat. This iPad application can fill in PDF forms. You can get PDF files from desktop computers, email attachments, documents on Dropbox, MobileMe iDisk, GoogleDocs etc. For iPad ($9.99)
PDF Reader: http://itunes.apple.com/us/app/pdf-reader-iPad-edition/id367816156?mt=8
PDF Reader can read all PDF files. For iPhone ($1.99) and iPad. ($4.99)
Phone Aid: http://itunes.apple.com/us/app/phone-aid/id293019352?mt=8
Phone Aid contains real-time slideshows with clear, intuitive pictures and voice instructions that guide you through CPR and how to help a choking person when it really happens. You will also get an A-Z First Aid guide where you will find simple, straight forward advice on how to initially handle the most common injuries and illnesses such as, drowning, convulsions, burn injury, snake bite etc. For iPhone and iPad. ($1.99)
Photosynth: http://itunes.apple.com/us/app/photosynth/id430065256?mt=8
This is a panorama creation app that makes it easy to capture and share interactive panoramas of the locations. Photosynth allows you to make a panorama from left to right, as well as up and down, thus enabling you to capture a full “sphere” (3D image of the location). For iPhone and iPad. (Free)
PlainText: Dropbox text editing http://itunes.apple.com/us/app/plaintext-dropbox-text-editing/id391254385?mt=8
This app is a simple text edit and allows you to create and organize your documents in folders and sync everything with Dropbox.com. For iPhone and iPad. (Free)
ProPrompter: https://apps.bodelin.com/
The universal app can sync between iPad and iPhone, so you can use your iPhone to remote control the iPad scrolling. For iPhone and iPad. ($9.99)
Rdm+ http://www.rdmplus.com/
Remote desktop for mobiles. This uses your computer on your iPhone if both are running. Works with both PC and MAC. For iPhone and iPad. ($9.99)
ReelDirector: http://itunes.apple.com/us/app/reeldirector/id334366844?mt=8
Video editor that can create and edit movies right on the iPhone/iPad and includes a drag-anddrop timeline. For iPhone and iPad. ($4.99)
Screenplay: http://itunes.apple.com/us/app/screenplay/id322410822?mt=8
Writing scripts index card -write up index cards and group, color them accordingly. For iPhone and iPad. ($4.99)
ShotList -Movie Shoot Planning: http://itunes.apple.com/us/app/shotlist-movie-shoot-planning/id424885833?mt=8
ShotList shows a production stripboard to your mobile device, allowing the planning and tracking of every scene of a shoot as it happens. For iPhone and iPad. ($11.99)
Speedtest: http://itunes.apple.com/us/app/speedtest.net-mobile-speed/id300704847?mt=8
Tests Internet speeds – one tap connection under 30 seconds to find out your upload, download and Ping speeds. For iPhone and iPad. (Free)
Squiggles: http://itunes.apple.com/us/app/squiggles/id284927554?mt=8
This is a paint and image app that can create some sophisticated looking artwork with ease. Take a photo or select an image with your device and then doodle on it. Decorate with many overlay images and special stamp brushes. For iPhone and iPad. ($.99)
Storyboards: http://itunes.apple.com/us/app/storyboards/id392533504?mt=8
Storyboards allows you to create your movie’s storyboard without requiring any drawing ability. Hundreds of characters and props are included inside this library. The free version lets you create up to 2 storyboards of 10 drawings. For iPad. (Free)
Sun Chaser: http://itunes.apple.com/us/app/sun-chaser/id428454778?mt=8
SunChaser is an app to calculate sun’s setting and rising time with the use of iPhone that detects your location. For iPhone and iPad. (Free)
Sun Compass: http://itunes.apple.com/us/app/sun-compass-for-iPad-ipod/id367001553?mt=8
This compass app determines your direction by calculating the current sun position. Sun predictor, less advanced than Helios. For iPhone and iPad. ($.99)
Sunrise Sunset Pro http://itunes.apple.com/us/app/sunrise-sunset-pro/id319184913?mt=8
Displays sunrise/set times, dawn, dusk, solar noon, sun positions throughout the day. For iPhone and iPad. ($1.99)
Sun Seeker: http://itunes.apple.com/us/app/sun-seeker-3d-augmented-reality/id330247123?mt=8
Provides a flat view compass and an augmented reality camera 3D view showing the solar path, its hour intervals, its winter and summer solstice paths, and rise and set times. Find the sun, even when it is hidden by clouds. For iPhone and iPad. ($4.99)
The Weather Channel®: http://itunes.apple.com/us/app/the-weather-channel-for-ipad/id364252504?mt=8
The Weather Channel for iPad combines interactive imagery with weather report. Full screen, customizable weather maps. M Push alerts for severe weather in your selected location. For iPad only (Free)
Time Card 24 Converter http://itunes.apple.com/us/app/time-converter-24-free/id444154009?mt=8
A simple application to help convert clock times into decimal times. For example: 6:42pm to 18.7. This helps in filling out time cards. For iPhone and iPad. (Free)
To-Do-List: http://itunes.apple.com/us/app/to-do-list/id293837047?mt=8
Keeps track of all your to-do lists. For iPhone and iPad. ($.99)
Toodledo: http://itunes.apple.com/us/app/toodledo-to-do-list/id292755387?mt=8
Toodledo is a powerful task and note manager. It will help organize your to-do list and notes. For iPhone and iPad. ($2.99)
Voxer Walkie-Talkie PPT http://itunes.apple.com/us/app/voxer-walkie-talkie-ptt/id377304531?mt=8
This is a Walkie Talkie app for smartphones. Send instant audio, text, photo and location messages to your crew. Your crew can listen to your message if their app is turned on and they are on Wi-Fi otherwise it will save like a text message for you to hear later. For iPhone and iPad. (Free)
WiFi HD: http://itunes.apple.com/us/app/wifi-hd-free-wireless-hard/id311170976?mt=8
Turn your iPhone into a wireless, mobile external hard drive. Works over any WiFi connection. You can now share, copy, and backup your files to and from your PC or Mac. For iPhone and iPad. (Free)
WritePad: http://itunes.apple.com/us/app/writepad/id293033512?mt=8
WritePad is a text editor that utilizes advanced handwriting recognition input for the English language as well as iPhone keyboard for text entry, and includes spell checker, context analyzer, and standard editing operations such as copy, cut, paste, etc. For iPhone and IPad. ($3.99)
WriteRoom: http://itunes.apple.com/us/app/writeroom/id288751446?mt=8
This app allows you to write text files in focus. It uses Dropbox to keep your documents organized. Also has ability to use fonts & colors. For iPhone and iPad. ($4.99)

If you have a suggestion for an app that would be useful to production personnel, or any other feedback, Susan Zwerman will be updating this list regularly, in PDF form. For details, email her at: susanzwerman@gmail.com

Nobody’s Fool

One of the many April Fools joke postings yesterday involved a claim that Nielsen was abandoning “People Meters”, in favor of tracking audience viewing data via Facebook and Twitter posts. I fell for it long enough to think about the implications of such a move. Once I cottoned on to the ruse, however, I was left with an abiding sense that an issue had been revisited that was far from resolved: Nielsen is obsolete as a tracking mechanism, and the various solutions they and their network clientele keep percolating are almost as useless as the systems currently in place.

The technology exists today to unobtrusively track actual viewing patterns and numbers, so why is Nielsen *still* extrapolating data points from subjective choice-oriented pools, such as Nilesen “diaries” and set-top boxes? Opting for social network-oriented insights would be just as subjective – even without taking in to consideration the fact that there is a drop off in usage of such apps as IntoNow, as people make a move toward reclaiming their privacy.

If IP is being patented to monetize ad-skipping, why not reward opt-ins for more granular tracking? One possible scenario: if viewers let DVR and live viewing data be recovered through hardware-embedded tracking tools, on an anonymous basis, they could get a certain number of credits. Increasing the demographic visibility of their viewership might increase their credits, and credits could be used toward ad skipping, network related bonus content, and so many other rewards. The possibilities are endless, and yet Nielsen et al prefer to look only as far as the end of their noses. The transparency of many social platforms is testament that consumers don’t mind sharing their habits, while the backlash against many misguided practices of some social endeavors (“Beacon” anyone?) demonstrates user commitment to managing their transparency, and not having it co-opted or monetized by third parties, without their consent. It’s not even about consent, in fact. It’s about collaboration. The consumer has begun to see that their life has value – monetary value – and they are willing to share that value, so long as the returns are worth the exposure. For some, it’s as simple as badges and upvotes, for others it’s perks and awards. If Nielsen gets smart, it will recognize this trend, and add a seat at the partnership table for the end-user, and audience tracking in the 21^st century could become a much more accurate, rewarding, and dare I say enjoyable exercise for all involved.

Breakfast With Champions – Nominees Breakfast for the Producers Guild Awards

As a co-founder of the New Media Council, and long-time member of the Producers Guild of America, I am sometimes able to benefit from certain opportunities that make me fall in love with filmmaking all over again. This morning was one such opportunity.

Tonight marks the 23rd annual Producers Guild Awards, precursor and controversial bellwether to the Oscars. A select few members of the Guild are able to attend a breakfast gathering, on the morning of these awards, to meet and hear from the Producers of each nominated Feature Film. It is an intimate and convivial get-together, and always illuminating.

Despite the assumption by many that Producers focus mostly on the fiscal value of a film, when pondering which box to mark on their voting ballot, the conversations this morning were only momentarily focused on financing, and largely concerned with the creative and operational processes of bringing a story to the screen.

What struck me almost immediately was how collaborative and connected to one another these producers had been on these projects, during the past year: Kathleen Kennedy was the impetus for both War Horse and The Girl With The Dragon Tattoo, while Spielberg catalyzed the realization of The Help. Amusingly, everyone on the panel credited Brad Pitt with some aspect of their production, even though the actor/producer was unusually restrained in his remarks re. friend George Clooney (strongly involved in two of the nominated films).

Even more compelling were some nuggets of wisdom and info dropped by individuals, during the course of conversation:

War Horse

When asked why he made the movie, Spielberg answered “I made the movie to get to that scene where the German and the Geordie free the horse from the barbed wire together”.

8 horses were used to portray the central character in the film, with two (“Abraham” and “Finder”) carrying the heavy acting load.

Midnight In Paris

Woody Allen‘s scripts are largely devoid of stage directions. Just dialogue. The visual is only revealed during production. More startling still is the fact that Woody Allen doesn’t write a thing until full financing is obtained. This film was made for $18 Million, all of which was obtained on his name alone. Only when the money was in the proverbial bank did Mr. Allen begin the scriptwriting process, which consisted of well over a month of “just thinking”, followed by 4 short weeks of longhand writing, and then typing up the draft (which Woody had to do himself, since nobody else could read his writing). Unlike most of the other productions, Woody Allen’s films have no rehearsal whatsoever, and every scene is shot on location (no studio shoots).

Bridesmaids

Casting drew strongly from Kristen Wiig’s compatriots at the Groundlings Improv company, and the original script was strongly augmented with rewrites culled from improv rehearsals. These revisions were themselves then altered dramatically in production, where additional improv took place. In essence, the film worked with 3 scripts as a result: two written, and one unwritten. The resulting 1,200,000 feet of film shot is testament to the production’s desire to capture the very brightest moments of performance and storytelling.

Each producer had favorite scenes in their respective film. Some examples:

• Jim Burke particularly enjoyed when George Clooney’s character in THE DESCENDANTS, Matt King goes into the ancestral family home and opens the curtains, letting in the light, and showing us the family photos, thereby giving himself and us an insight into his place in the family history.
• Ceán Chaffin was deeply impressed with the final scene in THE GIRL WITH THE DRAGON TATTOO, when Rooney Mara’s character, Lisbeth Salanader, realizes some important truths, and the actress silently shows everything going on in Lisbeth’s mind, in that painful moment.
• Brunson Green’s favorite scene in THE HELP was at the end, where the main character is about to walk into the room to be fired and confront Hilly.
• Graham King’s favorite moment in HUGO was when the scholar, Rene Tabard, goes to George Méliès’ apartment and screens the film for his wife.
• Grant Heslov was struck most by the restaurant kitchen confrontation scene between Ryan and George in THE IDES OF MARCH
• From an acting perspective, Brad Pitt especially enjoyed the trading scene in MONEYBALL

Two particularly telling comments came from Mr. Spielberg. In response to a question as to whether any of the producers would now consider shooting a silent film, given the success of THE ARTIST, Spielberg admitted his surprise and delight at that film’s success, saying “I didn’t think silent film was possible in the 21st century, until The Artist” – testament to the fact that we never need lose opportunities for learning, no matter our experience.  Later, when asked what he looked for in submissions, Spielberg strongly decried any notion that writers should submit supporting materials (Sizzle reels, previz, storyboards) when pitching their work. Spielberg asked that he and his fellow producers be given enough credit to fill in the gaps with their own imaginations, which would always be far superior to whatever one might supply in the way of pre-visualizations.

When compared to this evening’s upcoming glitzy and impersonal gala affair, attended by thousands, I think I and my peers got the better part of the deal, as we spent a relaxed morning in the presence of some very talented and unquestionably devoted stewards of creative storytelling.

Moderator:

• Gary Lucchesi (President, Lakeshore Entertainment)

Panelists:

• Thomas Langmann for THE ARTIST
• Barry Mendel for BRIDESMAIDS
• Jim Burke for THE DESCENDANTS
• Ceán Chaffin for THE GIRL WITH THE DRAGON TATTOO
• Brunson Green for THE HELP
• Graham King for HUGO
• Grant Heslov for THE IDES OF MARCH
• Letty Aronson for MIDNIGHT IN PARIS
• Brad Pitt for MONEYBALL (Producers  Michael De Luca and Rachael Horovitz were also in attendance)
• Steven Spielberg for WAR HORSE (Producer Kathleen Kennedy was also in attendance)

Who Needs Experts?

As professional reviewers and taste-makers find themselves increasingly marginalized by the aggregate insights and observations of “the crowd”, one wonders whether the demise of printed news may actually be beaten to the punch by the obsolescence of the once-all-powerful critic.

It used to be that we relied on Patricia Wells or Brad A. Johnson to guide us from one fine dining experience to the other. Indeed, reading their restaurant reviews in the Herald Tribune or Angeleno (respectively) represented something of a tasty appetizer, prior to the main experience of visiting an emerging “hot spot” discovered by their renowned palates.

Today, we are far more likely to turn to the legion of self-anointed food critics that live on Yelp, and – by parsing their experiences – so determine our choice of venue.

Of course, this trend is not limited to food: IMDB, Metacritic, and rottentomatoes.com are but a few of the resources available to moviegoers seeking to crowdsource their entertainment choices; a slew of new apps and engines, such as Weddar (location-based, people-powered, social weather reporting) and Fflick (twitter-based movie recommendation engine, recently acquired by Google), to name but a couple, are rapidly making anyone with the inclination a “retail influencer”.

It seems that for every institution, industry, and brand, there’s an app or a site ready to offer up a plethora of user-generated reviews. Amazon’s main value proposition is arguably not so much its products or pricing, but rather the fact that every one of those products is accompanied by a rich diversity of opinions from past shoppers. Groupon and Foursquare give users the opportunity to share “tips” and other product insights, and what’s Facebook if not one big moshpit of “Like/Unlike”? From PCs to software downloads, cars to cancer treatment, the experienced insights of trained professionals or deeply experienced specialists are being usurped, in favor of the massed choir of “fellow shoppers” in whom we prefer to somewhat blindly place our faith – jaded by a glut of advertising, and suspicious of prognosticators that seem less perfectionist and more political…a classic case of “quantity trumps quality”, based on the assumption that a sufficiently large aggregate of diversified opinions and reviews will yield a more truthful mean insight than one or two “professional” perspectives.

During the early days of this trend, the notion that one could turn to our peers for honest pre-purchase evaluations was both compelling and valuable. Sites such as Epinions.com and eBay fostered communities of idealistic shoppers, keen to ensure that their fellow consumers benefited from their prior experiences with a brand or product. As with most movements, the early days were a refreshing and invigorating alternative to what had admittedly become a somewhat stuffy status quo of entrenched, predictable, and unimaginative thinking. However, with mass adoption comes an exponential raising of the volume. The signal-to-noise ratio has diminished so swiftly that  I believe the “great experiment” risks expiring, gorged on the fat of its gluttony. Opinion aggregating sites such as Yelp are working frantically to develop and perfect algorithms that will mitigate the mess, but code often confounds the issue (many Yelp users – consumers and businesses alike – are complaining that their bona-fide reviews are being filtered for no apparent reason, and Yelp representatives explain that they have no control over the automated process of removing reviews that its algorithm deems “suspicious”).

This leaves us at the proverbial crossroad: either engineers or programmers discover and develop a stronger mechanism for managing the overwhelming pool of reviews attaching themselves to every book, diaper, TV, ointment, and car available on the Web; or we begin to find ourselves gravitating toward, and eventually anointing a select few regular reviewers, and making them the professional critics of the 21st Century, hired by their readership/viewership, and empowered to guide us all once more, as we seek out – albeit a little more frugally than our parents may have done – the next great meal, deal, or wheel.

What is certain, IMHO, is that crowdsourced review pools are fast reaching their saturation point and, unless someone begins to refine and maximize the resource, it will be as appealing and nourishing as sitting in a pool-full of marshmallows: the idea was thrilling, and the initial experience inspiring, but eventually the reality proves somewhat mind-numbing, and perhaps even a little sickening.

Amazon, what are you doing?

NFFTY Keynote Panel 2011

If you happen to be in Seattle in a couple of weeks, you are warmly invited to attend a panel I am moderating at this year’s National Film Festival for Talented Youth (the world’s largest youth film festival). The panel will take place at 11:30am, Friday April 29th, in the renowned SIFF Cinema (located at 321 Mercer Street at 3rd Avenue, McCaw Hall, in the heart of Seattle Center’s Theatre district).

Keynote Panel: Sharing Your Vision in the Digital Age

Financing, distribution, intellectual property, platforms and channels – these are but a few of the considerations facing today’s filmmakers, living in a world that experiences entertainment and information far beyond the confines of a theater, with all the opportunities and threats inherent in this shifting paradigm (multiplatform distribution, day-and-date, elimination of physical reel, concentric campaigns, GoogleTV/Hulu/Netflix/YouTube, streaming media, content piracy, interactive storytelling, and so much more).

This panel will comprise renowned professionals with a variety of viewpoints along the expanding content spectrum, together exploring how the modern storyteller can best ensure that their story has the greatest possible impact and value.

Panelists:

Moderator – Nicholas de Wolff

Click here to buy tickets.

NFFTY 2011

This year’s National Film Festival for Talented Youth is shaping up to be more exciting and rewarding than ever before!  225 films will be screened in Seattle April 28 – May 1, culled from a record breaking avalanche of global submissions (from 25 countries and 40 States). In addition to the films, NFFTY is partnering with Microsoft to present two very compelling events: a Film-making Masterclass session, featuring Oscar-winning filmmakers (more details coming soon on the NFFTY site), and a Keynote Panel, moderated by yours truly, and featuring some exciting leaders in filmed entertainment (panelists are being announced each week on the NFFTY Facebook Page). The panel is entitled “Sharing Your Vision in the Digital Age”, and tickets are selling fast!

For now, here’s the Festival trailer, giving you a little taste of what will hit Seattle in one month:

This is the Time of Empiricism

A fascinating, if somewhat random, interview with Stephen Fry. What do you agree with, and what do you contest? There is so much in here; it took me two viewings to begin to synthesize the content.

“The real heroism of people who think of others should be rewarded…and it usually is”

Mr. Fry, explores – among other things – his belief that experience, expertise and fulfillment come via interaction and generosity.

“Sharing the benefits of life IS the benefit of life”

It behooves today’s business leaders, perhaps, to see how some of these philosophies might be applied to their sector(s). While the commentary is more on a social scale, the applications have bearing on businesses seeking to maintain and enhance their validity in the new social marketplace.

The Problem With Civilians

Tim Gibbons is a multiple award-winning producer, director and writer. He recently “penned” an open letter to the neophytes in his industry, yet I felt the advice proffered applies beyond the celluloid walls and media moat that still comprise the “Entertainment World”. The wisdom offered will benefit any startup or new strategic alliance, despite the lofty images that may dance in our heads of multi-billion dollar IPOs and handsome buyouts:

Along the way in this business, I’ve partnered up with various people for various projects.  Most of them were already in the business, but occasionally I’ve found a project that involves someone outside the industry.  Generally, it’s an author or expert or someone with a real interesting life story.  I make a deal with them for their book/life rights/story/whatever, and then we work on it to develop a pitch.  Sometimes we agree up front that they will come on in some kind of producer role — this is generally when I feel they bring an authenticity or weight to the project that the network/studio/buyer can’t do without.  Now usually everything goes OK, we either sell the project or we don’t.

And then, sometimes it doesn’t work out.  It’s often the wannabe producer that upsets the applecart.  People seem to get it: the buyers don’t know them, they have no track record, they’ve never been in the business, they’ve never sold anything.  Oftentimes, the buyer doesn’t want anybody from the “outside” attached to a project.  It’s bad enough walking in with a partner or two, but it often seems like a really bad idea to attach someone who’s not in the business.  The buyers don’t know them, don’t know what thing bring to the party, as it were.

Everyone usually agrees upfront that they’ll take a back seat, go along for the ride, see what they can learn about the business, make a little cash along the way.  After all, it’s their first time at doing something in the business, and from my viewpoint, and they should be happy with just getting some interest in their project.  I explain that not everyone who comes to Hollywood for the first time ends up walking away on their first project with a million dollars in the bank and a three-picture deal.  I explain that it’s particularly hard to get the studio to agree to have them involved in a meaningful manner, as a writer or producer or director.  The studios don’t trust people they don’t know, and what they are buying when I walk in the room with a new project, is my track record of having delivered a lot of shows.  All that being said, I try to be honest and fair in making a deal.

Oftentimes, though, the trouble starts at the beginning.  The person, even though I suggest they find a reputable, experienced entertainment attorney, somehow ends up finding some attorney who doesn’t have much knowledge of the business, or used to be a player 2o years ago (and hasn’t kept up with current trends), or has nothing to do with entertainment law at all.  So then the dealmaking process becomes difficult.  I usually bail at this point, as this does not bode well for the future, if, we’re so lucky as to sell the project.

Anyway, we usually get past that stage and they have a contract, an established producer who can hopefully get their project sold and made (me) and someone who cares about the show (also me!).  And then we work on it, sometimes for many months (or several years), developing it, working it into something the studios or networks will want, sometimes attaching talent or directors, and then we go pitch it.  And pitch it and pitch it.  Although I have sold projects “in the room” as they say, meaning the buyer says they want it right now, before we go anywhere else, more often than not, we pitch and pitch — on one project I sold, we pitched it about 40 times before it got bought.  Oftentimes it doesn’t work out and the project eventually dies.

But sometimes, in that magical world of Hollywood, it all comes together and a buyer wants it and we move forward into dealmaking…  And this is when the most civilian problem usually occur — the civilian, in their six months in Hollywood, has talked with a lot of people and has heard all the stories (of the extremely rare events that do occasionally happen) — a million dollar script sale; the waitress who worked with a big producer and is now making (20 years later) $4 million a year as a writer; the unknown first-time director who held out and got to direct that big studio movie as his first film; the nanny who now makes $20 million a year… and all of this sounds astounding compared to the “bad” deal they now think they have with me.

Anyway, the call comes in, sometimes directly, most often from their lawyer to mine, that they are not happy with the current deal.  They’d like to renegotiate.  Or sometimes it happens in the negotiations with the network/studio… the civilians wants some outrageous amount of money or some unobtainable/unjustified credit and/or position.  And they continue to demand more and more and more… and eventually, even though I’ve talked with them, and my attorney and agents have talked with all of their people, the deal just falls apart because the network/studio does not like being held hostage — they’ve got 20 other projects they can switch their attention to.  And then the project is dead.  And it’s a shame, because ultimately, I wouldn’t have gone anywhere with a project I didn’t think was cool, sellable and amazing.  It could have been a good show.  And usually, later, the civilian who walked away from the deal because they thought they could do better, ends up getting nowhere with their project.

So a word of advice — if you’re new to the business, don’t expect to get rich and famous from your first show — be in it for the long haul.  Certainly take care of yourself — there are bad people out there — get a good lawyer, and feel comfortable about moving forward with whomever you’ve teamed up with.  But in the end, be reasonable and level-headed.  Trust me, you’ll get much farther along, and will no longer be a “civilian”.

To read more of Tim’s musings, visit his site here.

AFI Digital Content Lab to Close

For more than a decade, I’ve been involved with the Digital Content Lab at the American Film Institute, as both an advisor and supporter. The DCL, as it came to be known, was where Apple‘s Quicktime technology was launched, among other technologically important milestones. A recent winner of the Technical Achievement Award at the Machinima festival, the DCL was responsible for the deployment of such groundbreaking tech as the mobile interactive apps for WARPED, the Planet Illogica digital artist support network, and the development of the Federally supported ITVS initiative (funding a wide swath of indie films), among others.

This has been a relatively discreet enterprise, known and loved by all of us in the digital media and entertainment industries, but not much of a self-promoting organization, at least when compared to many other non-profits in the entertainment and media industries. This seems, ultimately, to have been to the organization’s disadvantage, as the AFI DCL will apparently be closing its doors shortly, to ostensibly go in to “hiatus” – a direct result of funding shortfalls.

I won’t digress too much into the whys and wherefores of this situation, only to suggest that – like many non-profits today – I suspect that the AFI Board kept focusing too much on large sponsors, and too little on grassroots individual donor channels. The game of fundraising has changed, but for some reason many of the players are still way behind the ball…Social network fundraising demands a commitment, and I wonder whether that commitment was made in support of staff efforts to adopt new models for revenue generation…

When I think of the extraordinary influence that the DCL has had over our industry’s technological advancements, I wonder whether such undeniably admirable enterprises as the ETC or IPG Emerging Media Lab will be able to step in to the breach left by the DCL. These other organizations, impressive as they are in their respect, carry with them their own agenda that inevitably color the value of their offerings. Even though the DCL presented one or two projects of less than astonishing creative, business, or technical merit, the lab’s overall output was nothing short of groundbreaking, game changing, paradigm shifting, and ultimately socially impactful. Under the guidance of Nick De Martino, Anna Marie Piersimoni, Marcia Zellers and, most recently, Suzanne Stefanac, the AFI DCL has left an indelible mark on multiplatform landscapes of entertainment and media production and content delivery.

Those of us who have had the pleasure of attending DigiFest, The Digital Content Festival, the Enhanced TV Workshop, or other DCL gatherings, retain fond memories of all that has been accomplished there (If you would like to share some of your memories, feel free to leave your thoughts on their Facebook Page, at “The AFI Digital Content Lab”).

For a fully interactive roster of the AFI Digital Content Lab’s projects over the years, click here

Sources say that there still remain efforts to keep the Institute’s annual DigiFest event afloat. In the meantime, expect an official announcement about the Lab in the next few weeks. Who knows, perhaps this article and others will encourage people to step in and save the day..? Stranger things are happening.

—UPDATE—2:00pm, Friday, March 11—

Here is a partial list of AFI DCL projects, since 1999:

1999…………………………………………………………………………………
• ACADEMY AWARDS (Telecast)
• EDDIE FILES (PBS)
• EXPEDITION 360 (Discovery Europe)
• FROM A WHISPER TO A SCREAM: THE HISTORY OF IRISH ROCK (A&E)
• LIQUID STAGE: THE LURE OF SURFING (PBS)
• News Center 4 NIGHTBEAT (KRON-TV)
• SPACE STATION ODYSSEY (Discovery Networks)
• TALK SOUP (E! Entertainment)

2000…………………………………………………………………………………
• AMERICAN FAMILY (PBS)
• BLIND DATE (Universal Worldwide Television)
• DAY ONE (Granada Television, Granada Entertainment)
• EXTREME RIDES (Discovery Channel, Discovery Channel)
• MUSIC FROM THE INSIDE OUT (PBS)
• PERFECT CRIME (Wegelius Television [Denmark])
• ROMAN EMPIRE (PBS)
• THIS FAR BY FAITH (PBS)

2001…………………………………………………………………………………
• ACCORDION DREAMS (PBS)
• ARLI$$ (HBO)
• CALLAWAY GOLF, RULE 35 (Syndicated)
• CNN HEADLINE NEWS (Turner Broadcasting System Inc)
• THE DAILY SHOW WITH JON STEWART (Comedy Central)
• THE EUKANUBA TOURNAMENT OF CHAMPIONS (Animal Planet)
• THE NEW AMERICANS (PBS)
• PEOPLE LIKE US: SOCIAL CLASS IN AMERICA (PBS)

2002…………………………………………………………………………………
• AFI LIFE ACHIEVEMENT AWARD (USA Network)
• ARTHUR (PBS)
• I LOVE LUCY (TV Land)
• MATTERS OF RACE (PBS)
• P.O.V. (PBS)
• SESAME STREET (PBS & Noggin)
• THE BEST OF (The Food Network)
• TURNER CLASSIC MOVIES (Turner Broadcasting System)

2003…………………………………………………………………………………
• BATTLESTAR GALACTICA (SciFi Channel/Vivendi Universal Games)
• BLOOMBERG TELEVISION (syndicated)
• CELEBRITY MOLE II (ABC Television Network)
• IMX – INTERACTIVE MUSIC EXCHANGE (FUSE Networks)
• INDEPENDENT LENS (PBS)
• KCET/KQED ON-AIR FUNDRAISING (PBS)
• KIM POSSIBLE (Disney Channel)
• WASHINGTON REDSKINS GAME DAY (FOX 5 [WTTG]

2004…………………………………………………………………………………
• AMERICAN EXPERIENCE: CASTRO’S CUBA (WGBH/PBS)
• DINOSAUR HIGHWAY (The Science Channel)
• DORA THE EXPLORER (Nickelodeon)
• LIVING FOR THE WEEKEND (Scripps Networks)
• THE L WORD (Showtime)
• HIJACK (MTV Networks)
• QUEER EYE FOR THE STRAIGHT GUY (Bravo)
• TV411 (The Adult Literacy Media Alliance/PBS)

2005…………………………………………………………………………………
• DoD PERSONALS (Simmons Lathan Media Group)
• CONSIDER THIS… (LACMA)
• HISTORY DETECTIVES ROAD TRIP (Oregon Public Broadcasting)
• MOMENT IN TIME: WWII (A&E/History Channel)
• MTV NEWS ON OVERDRIVE (MTV)
• MYSTERY ONLINE THEATRE (Telemundo)
• NATIONAL GEOGRAPHIC CHANNEL 2 (National Geographic)
• REUTERS ONE (Reuters)
• TOYO (Zodiac Gaming)
• WORLD WRESTLING ENTERTAINMENT (WWE)

2006…………………………………………………………………………………
• AIM SHOW PRODUCER (AOL)
• LAW & ORDER: MOTIVE. MEANS. OPPORTUNITY (NBC Universal)
• BEN 10 MEGASERIES (Cartoon Network)
• E2: GREEN MAP FOR LIVING (kontentreal)
• BUZZ (Cynergy Films)
• MC EVERYWHERE (Music Choice)
• SíTV Pure (SíTV)
• UNLOCKING MOVIE ASSETS (CASABLANCA) (AFI/Georgia Tech)
• XXXL (Hit Start)

2007…………………………………………………………………………………
• BRAVO DVR AD PLAY (Bravo)
• CITIZEN NOW (NOW on PBS)
• LEAVING THE GAME (Method, Inc.)
• FILMOCRACY (ITVS)
• PLAYERS (MTV, EA, Mekanism)

2008…………………………………………………………………………………
• VIEWING PARTY (ABC)
• WARPED ROADIE (EarthEcho International)
• HOOKING UP (HBO)
• PLANET ILLOGICA ARTIST IN RESIDENCE PROGRAM (Planet Illogica)

2009…………………………………………………………………………………
• ENVISOR (One Economy)
• FUTUREFEED (ITVS)
• INTERVIEW PROJECT (DavidLynch.com)
• LEONARDO DICAPRIO FOUNDATION CAMPAIGN (Leonardo DiCaprio Foundation)