Helped out Michael Chen for his BMW Shorties submission. We didn't get Top 10, but had fun shooting anyways. :)
Sunday, November 24, 2013
What I learnt Today
1) What is the question that you ask your self before making any decision?
- how do i do this the easiest way vs. how do i do this the best way?
2) Hierarchy of Needs
- Love/Connection vs significance
- Certainty vs uncertainty
- Growth vs Contribution
3) Magic Moments - always remind yourself of the best thing that happened to you on that particular day. Be specific. What were you feeling? What did you hear? What did you see?
4) Always anchor when you do remember something awesome.
- how do i do this the easiest way vs. how do i do this the best way?
2) Hierarchy of Needs
- Love/Connection vs significance
- Certainty vs uncertainty
- Growth vs Contribution
3) Magic Moments - always remind yourself of the best thing that happened to you on that particular day. Be specific. What were you feeling? What did you hear? What did you see?
4) Always anchor when you do remember something awesome.
Monday, July 15, 2013
Akira Kurosawa's Rashomon (1950)
The subject matter of the movie is the subjectivity of truth. One same Crime. 4 different versions.
Claimed to be the movie that introduced Japanese Cinema to the world.
Taps.
Claimed to be the movie that introduced Japanese Cinema to the world.
Taps.
A Trip to the Moon / Le Voyage dans la lune - 1902
"A Trip to the Moon (French: Le Voyage dans la lune) is a 1902 French black and white silent science fiction film. It is loosely based on two popular novels of the time: From the Earth to the Moon by Jules Verne and The First Men in the Moon by H. G. Wells
The film was written and directed by Georges Méliès, assisted by his brother Gaston. The film runs 14 minutes if projected at 16 frames per second, which was the standard frame rate at the time the film was produced. It was extremely popular at the time of its release and is the best-known of the hundreds of fantasy films made by Méliès. A Trip to the Moon is the first science fiction film, and utilizes innovative animation and special effects, including the iconic shot of the rocketship landing in the moon's eye"- Youtube Mittinscat1
Le Voyage dans la Lune on Youtube
The movie "Hugo" was related to the director George Méliès and you can find the moon prop from Le Voyage in the movie when he was burning it.
And i have a feeling that Le voyage also had an influence in The Smashing Pumpkins MTV : Tonight Tonight.
The Smashing Pumpkins - Tonight Tonight
Let's start appreciating films shall we.
Taps.
Tuesday, June 04, 2013
Friday, May 31, 2013
Thursday, May 30, 2013
Disko Baldi Dreams
And we are back with our annual Projek Disko Baldi stage show, and this year, our theme is Dreams.
"Winner of the recent Kakiseni Audience Choice Award (Theatre) at the 10th BOH Cameronian Arts Awards, Projek Disko Baldi is back to take you on another random and hilariously mind-blowing journey with Dreams. Join the gang as they entertain you with sketches and original songs that look at the flipside of our dreams, hopes, ambition and nightmares"
Please call the PJ Live Arts Box Office (0172289849) and ask for the Early Bird promotion.
More info on our facebook event page (click click)
Taps.
Wednesday, May 29, 2013
BUSAN International Film Festival - Notes
From Wiki
Busan International Film Festival (BIFF, previously Pusan International Film Festival, PIFF Korean: 부산국제영화제, Hanja: 釜山國際映畵祭), held annually inHaeundae-gu, Busan (also Pusan), South Korea, is one of the most significant film festivals in Asia.[1] The first festival, held from September 13 to September 21, 1996, was also the first international film festival in Korea. The focus of the BIFF is introducing new films and first-time directors, especially those from Asian countries. Another notable feature is the appeal of the festival to young people, both in terms of the large youthful audience it attracts and through its efforts to develop and promote young talent. In 1999, the Pusan Promotion Plan (renamed Asian Project Market in 2011) was established to connect new directors to funding sources. The 16th BIFF in 2011 saw the festival move to a new permanent home, the Busan Cinema Center. The Busan Cinema Center is a USD140 million structure designed by Austria-based architecture collective Coop Himmelblau. The about 30,000 m² Cinema Center includes a 4,000-seat outdoor theatre; four indoor screens under an LED-covered roof; media centre; archive space; and conference rooms; allowing the festival to include industry forums and educational activities.[2]
Website: http://www.biff.kr
This year's poster : 18th BIFF
Submission Guide:
| Official Selection | Film submission for the official program of the 18th Busan International Film Festival. The film must have been completed no earlier that October 2012, and should be completed no later than September 2013. | Deadline * for short films (duration less than 60 min.): June 28 * for features (duration 60 min. or more): July 31, 2013 | Submit |
|---|---|---|---|
| Asian Film Market | Asian Film Market covers all film industries with various and timely seminars and workshops for 4 days. Please register your booth and badge at the reasonable price during the early-bird period. | Early-bird Period July 1 ~ 31, 2013 | How to Register |
| Asian Project Market (APM) | APM has established itself as the biggest and most significant project market in Asia aiming to introduce new and promising film projects. APM provides directors and producers with opportunities to meet co-producers and financiers. | Deadline June 30, 2013 | How to Register |
| Asian Cinema Fund (ACF) | ACF is supporting Asian independent film productions and setting up a stable production environment. - Script Development Fund and Post-production Fund for features - Production and Distribution Support for Documentaries; Asian Documentary Network (AND) Fund | Deadline * Post-production Fund:April 20 * AND Fund and Script Development Fund:May 10, 2013 | How to Register |
| Asian Film Academy (AFA) | AFA is an educational program to foster emerging filmmakers and establish Asian filmmaker's network. Candidates older than 18 years old with Asian nationality are eligible to apply. (Koreans living overseas are also qualified.) | Deadline April 30, 2013 | How to Register |
Note :
1) Subtitles required
2) Submission in DVD, but if selected preferred format is DCP.
3) NO Entry Fee. (So cost is for shipping)
Taps.
Tuesday, May 28, 2013
Lessons to be learnt
No matter how much you think you have figured things out, there will always be something to be learnt.
Always.
Taps.
Always.
Taps.
Kartini - Tembakau (Majalah Ujang)
Nostalgia lagi.
"Tidak akan gundah gulana jika kau tahu apa yang kau mahu"
True That.
Taps.
Monday, May 27, 2013
The Kingdom
The King
The Warrior
The Magician
The Lover
All in one kingdom.
How you carry yourself defines which role you are in the Kingdom.
Taps.
The Warrior
The Magician
The Lover
All in one kingdom.
How you carry yourself defines which role you are in the Kingdom.
Taps.
Bila Tapir Bercinta
Tertunggu-tunggu buku itu
Tertunggu sehingga berbulu
Tajuk "Bila Tapir Bercinta"
Inginku tahu penghujungnya
Taps.
Let's get phylosophical (for not too long)
I think it is important to know the purpose of doing something.
But let's not get stuck on debating the why's when you can already start on the what's and the how's.
And of course, the who's and the when's.
Let's get moving.
and in the words of Reel 2 Real. : (I like to) Move it Move it!
In different context of course.
Taps.
Taps.
Saturday, May 25, 2013
So far so good.
Last 4 months plus was a hell of a ride, and went away with a blink of an eye.
Wrapped Playground's first feature film. Now in post production. Exciting ride with a bunch of talented cast and also experienced crew. I know that the word is out, but can't wait till we have an official Press Conference so that i can start talking about this further. :).
However, the biggest thing that i learn is that you give space and have trust in the people you work with. They will give you their best. Which is all that matters.
90 hari, our second tele movie was another experience. We were quite nervous because we were playing with a serious issue, but still trying to keep it light. Received good reviews, even from my aunt who rarely watches any TV. Although there were a few hurdles, alhamdulillah, it went well nevertheless.
Also, just wrapped our shoot for the Disko Baldi Show, which consisted of the live studio recordings and also the digital sketches. It was a great eperience working with Phuturephlow. They really took care of us talents and all of us had a great time. Can't wait to get to see the cuts.
Really would like to thank Phuturephlow for believing in us all the way. Let's hope for a second season. :).
This week is the first week of rest that i get.
After this we have 2 theatre productions :
"Disko Baldi Dreams" and our Family Theatre arm Box of Delights : The Fantastic Mr. Fox.
It's going to be a great year.
Amin.
Friday, January 11, 2013
2013
Alhamdulillah. After a rejuvenating holiday, we have started sprinting with a few projects, and then some more potential projects. No time to panaskan enjin. :)
It gets better because now we are operating from a proper office.
A big year for Playground Productions. Insya Allah.
Taps.
Sunday, January 06, 2013
Pesan Senior
#1 : Ramai orang cakap tuhan tu ada. Tapi tak ramai yang pegang yang tuhan menentukan rezeki (jodoh/kesihatan).
#2 : Most people are limited to material things. They do not seek to discover their true potential.
This senior has an active blog on entrepreneurship. Click Here
Good thing i joined the alumni basketball team. :)
Alhamdulillah.
Taps.
#2 : Most people are limited to material things. They do not seek to discover their true potential.
This senior has an active blog on entrepreneurship. Click Here
Good thing i joined the alumni basketball team. :)
Alhamdulillah.
Taps.
Note on : Line Producing
The Line Producer is one of the first people to be employed on a film's production by the Producer and Executive Producers. Line Producers are rarely involved in the development of the project, but often play a crucial role in costing the production in order to provide investors with the confidence to invest in the project. As soon as the finance has been raised, the Line Producer supervises the preparation of the film's budget, and the day-to-day planning and running of the production. Line Producers are usually employed on a freelance basis. They must expect to work long hours, though the role can be financially very rewarding. Career advancement is based on their experience and reputation. Where a Line Producer has a creative input to the production, he or she is often credited as a Co-producer.
Responsibilities
Line Producers are in charge of all the business aspects of the physical production of films. They are called Line Producers because they cannot start work until they know what the 'line' is between the 'above-the-line' costs, which relate to writers, producers, directors and cast, and the 'below-the-line' costs which include everything else, e.g., crew salaries, equipment rentals, development costs, locations, set design and construction, insurance, etc. Line Producers are usually recruited onto the production team during the later stages of development. They are given the script and asked to assess the likely 'below the line' cost of the production which involves breaking down the screenplay into a schedule - a timetable for the film shoot that shows how long it will take to shoot each scene. From this schedule the Line Producer can accurately estimate the cost of each day's shooting, and produce a provisional budget estimating the total amount of funding required. Once the Producer and Executive Producers have raised the required finance, the film can go into pre-production.
During pre-production, Line Producers work closely with the Director, Production Manager, First Assistant Director, Art Director and other Heads of Department to prepare the production schedule and budget, and to set the shoot date. Line Producers oversee all other pre-production activities, including hiring the production team, setting up the production office, location scouting, ensuring compliance with regulations and codes of practice, sourcing equipment and suppliers, selecting crew, engaging supporting artistes and contributors, and monitoring the progress of the art department and other production departments.
During production, Line Producers hand over control of the final budget to the Production Accountant, and delegate the day-to-day operation of the production office to the Production Manager and Production Co-ordinator. However, Line Producers are ultimately responsible for overseeing all activities, and for ensuring that the production is completed on time and within budget. This requires setting up and implementing financial monitoring systems, controlling production expenditure, controlling production materials, and monitoring and controlling the progress of productions. Line Producers usually allow a 10% contingency in the budget to cater for unforeseen circumstances, and spend much of their time juggling figures and resources. Line Producers are responsible for certain Health and Safety procedures, and for sorting out any insurance claims. At the end of the shoot, the Line Producer oversees the 'wrap', or winding down, of the production.
Skills
Line Producers must possess an in-depth knowledge of scheduling and budgeting, and of all the physical and technical processes of filmmaking. They need excellent industry contacts, and must command the respect of the production crew. Exceptional communication skills are required, as well as the diplomacy to balance the creative expectations of the director, artists and creative personnel with the financial resources available. They always need to plan for the worst, whilst simultaneously being able to inspire others to excel in their work. Unlike Producers, Line Producers are not responsible under Health & Safety legislation for setting up health and safety procedures; however, they are required to carry out risk assessments according to regulatory requirements. They must therefore know how to identify the hazards in the production environment, to assess the level of risk, to recommend action, and to carry out a review of their assessment.
Qualifications/ Experience
No qualifications can prepare anyone completely for this hugely demanding role. Line Producers must have considerable industry experience, which can only be acquired by working for a number of years in film, television and/or commercial production. Individuals usually progress to the role of Line Producer by working their way through a variety of roles in Assistant Direction, Location Management and/or the Production Office. Many start their careers as Runners or Production Assistants. Line Producers must also attend the required Health & Safety courses.
Responsibilities
Line Producers are in charge of all the business aspects of the physical production of films. They are called Line Producers because they cannot start work until they know what the 'line' is between the 'above-the-line' costs, which relate to writers, producers, directors and cast, and the 'below-the-line' costs which include everything else, e.g., crew salaries, equipment rentals, development costs, locations, set design and construction, insurance, etc. Line Producers are usually recruited onto the production team during the later stages of development. They are given the script and asked to assess the likely 'below the line' cost of the production which involves breaking down the screenplay into a schedule - a timetable for the film shoot that shows how long it will take to shoot each scene. From this schedule the Line Producer can accurately estimate the cost of each day's shooting, and produce a provisional budget estimating the total amount of funding required. Once the Producer and Executive Producers have raised the required finance, the film can go into pre-production.
During pre-production, Line Producers work closely with the Director, Production Manager, First Assistant Director, Art Director and other Heads of Department to prepare the production schedule and budget, and to set the shoot date. Line Producers oversee all other pre-production activities, including hiring the production team, setting up the production office, location scouting, ensuring compliance with regulations and codes of practice, sourcing equipment and suppliers, selecting crew, engaging supporting artistes and contributors, and monitoring the progress of the art department and other production departments.
During production, Line Producers hand over control of the final budget to the Production Accountant, and delegate the day-to-day operation of the production office to the Production Manager and Production Co-ordinator. However, Line Producers are ultimately responsible for overseeing all activities, and for ensuring that the production is completed on time and within budget. This requires setting up and implementing financial monitoring systems, controlling production expenditure, controlling production materials, and monitoring and controlling the progress of productions. Line Producers usually allow a 10% contingency in the budget to cater for unforeseen circumstances, and spend much of their time juggling figures and resources. Line Producers are responsible for certain Health and Safety procedures, and for sorting out any insurance claims. At the end of the shoot, the Line Producer oversees the 'wrap', or winding down, of the production.
Skills
Line Producers must possess an in-depth knowledge of scheduling and budgeting, and of all the physical and technical processes of filmmaking. They need excellent industry contacts, and must command the respect of the production crew. Exceptional communication skills are required, as well as the diplomacy to balance the creative expectations of the director, artists and creative personnel with the financial resources available. They always need to plan for the worst, whilst simultaneously being able to inspire others to excel in their work. Unlike Producers, Line Producers are not responsible under Health & Safety legislation for setting up health and safety procedures; however, they are required to carry out risk assessments according to regulatory requirements. They must therefore know how to identify the hazards in the production environment, to assess the level of risk, to recommend action, and to carry out a review of their assessment.
Qualifications/ Experience
No qualifications can prepare anyone completely for this hugely demanding role. Line Producers must have considerable industry experience, which can only be acquired by working for a number of years in film, television and/or commercial production. Individuals usually progress to the role of Line Producer by working their way through a variety of roles in Assistant Direction, Location Management and/or the Production Office. Many start their careers as Runners or Production Assistants. Line Producers must also attend the required Health & Safety courses.
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