Murder at the Manor – Crowd-sourcing, and how I raised $1210, 24hrs before production.

“There is, unfortunately, no better time to raise money than when you are shooting a film. When a film is in production, there’s magic in the air. You can feel the energy. It’s the “crack-high”.” – Tom Malloy, Bankroll

First of all, I want to thank again our four cash backers that really made the shoot possible. They get executive producer credits for their support. The shoot could go ahead thanks to Dapo Osinaike, Jesse Gamble, Lisa Bobrowicz and Gavin ap’ Morrygan.

I posted in this blog on Saturday 13th August the need for a cash injection in order to go ahead, and by mid-week I still hadn’t moved on it, and the need was staring me right in the face. It threatened to bring everything to a grinding halt.

Somehow I needed to raise $1000 in 24hrs in addition to the longer term Kickstarter campaign, which is still in preparation and will be launched soon.

I’m not sure why I didn’t get on the fund raising bandwagon before, I think it was partly denial, partly fear (those two factors are tightly integrated), and partly a inner voice that said “wait… it’s gonna be okay”.

There’s something to be said for raising funds during production. Tom Malloy in his fantastic book Bankroll, called it “The Dangerous Approach”, and in many ways I agree.

The pre-requisites are the same as for any form of financing beforehand, you must have a killer product on your hands, you must have a large and influential network, and you must have total and utter confidence in yourself and your team.

You MUST be able to sell yourself.

In the end, YOU are the product you are selling more than your film.

I know this, because I know that in every Kickstarter campaign I have backed, I have backed the film maker, not the film.

I could write a lot about crowd-sourcing funds for a film, I think about it a lot, along with all kinds of more traditional financing avenues. I have witnessed many fantastic Kickstarter campaigns succeed, and I know what they all had in common. I know why 99 out of 100 people that want to raise funds online (I’m referring here to using Twitter as your primary networking and communication foundation) don’t stand a chance.

Most of my film maker friends that I speak to face to face in the “real” world will fail online for one reason, the reason is because I don’t know who they are in the online world. They don’t exist… okay maybe they registered for twitter at some point, but they simply don’t exist in the online arena that matters most… Twitter.

When I try to explain that they need presence… and that means 20 tweets a day, it means constant engagement with others, with influential others… growing a network, actively and strategically selling themselves (carefully and unselfishly) to everyone they come across, I get a glazed expression of confusion as if I’m speaking some foreign language.

Here’s some of my most fundamental thoughts on the matter, and they apply regardless of when or how you raise funds.

1. You should be selling yourself, not your film.

2. Selling yourself requires confidence (not arrogance).

3. Selling yourself requires doing, not just talking. Show what you’re busy with, photos, videos, blogs, utilize facebook and Google+ to showcase your work, your passion, your dedication.

4. Trust and respect is earned not deserved.

5. Building relationships takes time… months, years before you should ask anything from anyone.

6. Honesty and transparency are key.

7. Every tweet, no matter what it is, says something about you, make sure it’s painting the right picture.

8. Be respectful and encouraging to others, take a active interest in others, in their projects.

9. Give yourself away, if you have a niche area of expertise… give it away, become a resource.

10. Humility will get you far with people.

Actually (and I’m giving away a secret here), every principle you need to apply online, and really in all of your real world relationships is in a book written long before the computer or the internet. “How to Win Friends and Influence People” – Dale Carnegie. This book will change your relationships for the better online and offline. Get it. Read it. Read it again.

How to Win Friends and Influence People is one of the first bestselling self-help books ever published. Written by Dale Carnegie and first published in 1936, it has sold 15 million copies world-wide. – Wikipedia

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Red EPIC performs beyond all expectations on Murder at the Manor!

Originally posted on Digital Cinema Demystified

As my regular readers know, I’m busy writing up a tech series on the Red One MX, Arri Alexa, and now I’m adding the Red EPIC into the mix.

I’ve had the privilege of shooting with all three cameras over the past month and a half and I’ve certainly got my favourite now.

I also want to take the opportunity to thank Media Film Service (www.mediafilmservice.com) for the Master Primes on INSIDE, and the Ultra Primes on Murder at the Manor, as well as accessories, grips and lighting, and EPIC owner and friend Jacques Mulder of Muddville Production and Post, Dubai (www.mvdubai.com).

Alexa impressed me with it’s ridiculously easy menus and setup, and it’s latitude was a noticeable few stops greater than the Red One MX, but nothing could have prepared me for the EPIC. It certainly lives up to it’s name, and has latitude to spare even without shooting HDR.

The EPIC’s small form factor also places it in a league of it’s own compared to the other two top end digital cinema cameras. Built up, it is substantially more compact and lighter than any of it’s competitors.

I love the high data rate of the 5K Redcode, I’ve never been a fan of compression, no matter how clever it is, and although compressed, the new heavier flavours of Redcode RAW are fantastic for image detail, latitude and leave nothing else to be desired as far as I am concerned.

Post is easy, just as easy as shooting Prores 4444 straight to edit with Alexa, and a million times better as you have a 5K image and tons more image data than Prores could ever hope to provide. I can import the Redcode straight into Premiere CS5.5, drop it on the timeline, adjust the “playback resolution” dropdown to a figure acceptable to the performance of the hardware and play, what could be simpler? It’s flawless.

I’ll get into HDR a bit later, but for me, a celluloid lover, the EPIC has knocked the last nail in the coffin for 35mm acquisition.

More detailed reviews are coming, please subscribe to my blog to make sure you get them, but for now below are some frame grabs from my latest project “Murder at the Manor”, shot on the Red EPIC.

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$510 raised in 4hrs yesterday, $490 more needed before we shoot!

I want to personally thank Jesse Gamble, Dapo Osinaike and Lisa Bobrowicz for responding to my call for help yesterday! They each get a Executive Producer credit on Murder at the Manor plus all the goodies that will be announced on the launch of our official kickstarter campaign.

We still need $490 to reach our $1000 goal by tomorrow, please contact me if you are able to assist in return for a valuable credit and some fun goodies.

Be a part of a great independent web series and a short film that we expect to bring in some awards!

Send me a email at: rich@sentinel-entertainment.co.za if you are able to assist us in making this happen!

Styling on Murder at the Manor

The vision for Murder at the Manor, in terms of style and visual aesthetic, is more of a glossy re-interpretation of the 1930′s than a 100% re-creation. It’s glamour, gloss, wow factor.

We did fit the men this morning, but didn’t get to do full hair and styling today, you’ll have to wait until Friday to see their transformations!

You can certainly see that our leading ladies are looking the part!

Carin Bowman plays "Ceedee Pinotage"

All our girls, "Ceedee Pinotage" (top) played by Carin Bowman, "Summer" (bottom left) played by Tarryn Saunders, and "Diemie Pinotage" (bottom right) played by Pascale Neauschafer. This photo is sadly missing the wonderful lady of the manor "Shiraz" played by Delaney Carpenter who will be styled on Friday morning but will look just as fabulous!

Pascale Neuschafer plays "Diemie Pinotage"

Another shot of Pascale in the part! Watch out for this one!

Tarryn Saunders plays "Summer"

"Summer"

Buy yourself a exec producer credit on Murder at the Manor!

With our kickstarter campaign for Murder at the Manor about to launch, and the shoot in two days, I have hit a small financial hurdle. Our wardrobe is not going to be quite as free as I thought, and I need to be able to put some cash down before they will let us take the garments with us.

I have also hit a hurdle with the vintage Mercedes we intended to have on set for a few hours. The car is available but for a price.

So, because the notice is so short, and I have only a 10 – 24 hour period in which to raise about $1000 total (or half that amount at the very least… we can then get the clothes but we lose the car from the film), you have a opportunity to get an executive producer credit by committing to contribute within the next day (preferably via paypal… but if not possible, please talk to me).

Within minutes of my first post on twitter I had my first backer… which is fantastic, bringing me to $200 (GPB100) of the total goal.

So with $800 (GBP 400) please get in touch if you are able to commit in the next day to helping make this film happen. On offer are executive producer credits (we will be IMDB qualifying), and other goodies I don’t really want to reveal until the kickstarter campaign is launched this week!

Everything else is ready… from Red EPIC to lenses, to lighting to cast and crew, locations and we are rehearsed.

Please consider helping!

Email me at: rich@sentinel-entertainment.co.za

Murder at the Manor – T minus five days and a impending Kickstarter campaign.

The script is written, ready and reads fantastically!

The characters are wonderfully cast, locations set and ready, wardrobe and make-up to be finalized on Monday with styling tests Wednesday, the RED Epic has landed in Cape Town and the camera and gear check is scheduled on Monday.

Crew is almost complete… pending confirmation of two of the best stylists in the country and a evasive location sound mixer. I am confident we’ll sort that out this week.

Shot lists, storyboards and schedules will be finalised.

Early Friday morning we will begin to turn the clock back 75 years on the Manor House and surrounding grounds at Diemersfontein Wine estate. Lights will be rigged, cast will be transformed into their characters, and cameras will roll.

However, all is not without hiccups.

Almost everything has been volunteered on this production but some critical cash expenses have remained.

Our vintage Mercedes 170S, to be used for three hours of shooting is a rental from a Museum, and our lenses, camera accessories, grips, and lighting equipment, while generously discounted will leave me with a invoice that must be settled.

So I’m going to turn to Kickstarter, and have begun to engineer a fun and creative fund raising campaign in which I will (have to) raise $4000 USD. So far approximately $70,000 worth of everything else has been given to this production, and $4000 is the cash amount remaining that we can’t avoid.

With five days remaining, the last thing a producer needs on his mind is cashflow… yet that’s what is on my mind.

I look forward to your support!

There’s going to be some fun perks, and even if you can’t give, I hope that you will spread the word!

Production of our pitch video is taking place this week, so stay tuned for the launch of the campaign!

Location, location, location

I’ve wanted to write this for a while. I’m not sure if it’s overlooked in a lot of indie productions, or if there is just limited access to emotive locations without having some money.

Notice I said emotive. There are good locations, and there are emotive locations. For me, choosing the right locations is as important as casting the right actors for the lead roles. A location says an awful lot more than most give credit for… it is a character in it’s own right and surrounds everything else that you put into it.

Here’s some of mine over the past two films.

Tribeca Bakery (Daydream, 2010)

Tribeca Bakery (Daydream, 2010)

Witsands (Daydream, 2010)

Witsands (Daydream, 2010)

Tokai Arboretum (Daydream, 2010)

Abandoned Structure, Grabouw (INSIDE, 2011)

Ungraded Redcode RAW frame grab, Abandoned Structure, Grabouw (INSIDE, 2011)

Ungraded Redcode RAW frame grab (INSIDE, 2011)

Railroad Tracks, Grabouw (INSIDE, 2011)

Railroad Tracks, Grabouw (INSIDE, 2011)

Ungraded Alexa frame grab, Railroad Tracks (INSIDE, 2011)

Railroad Bridge, Grabouw (INSIDE, 2011)

Ungraded Alexa frame grab, Railroad Bridge (INSIDE, 2011)

Eikenhof Dam, MTO Forestry, Grabouw (INSIDE, 2011)

Ungraded Redcode RAW frame grab, Eikenhof Dam, MTO Forestry, Grabouw (INSIDE, 2011)

Shooting Red One MX, Arri Alexa and Red EPIC all in the space of two months!

This post is being written in a whirlwind… the digital cinema revolution continues!

My short film INSIDE wraps production tomorrow night (Wed 3rd August) and has been a fantastic experience. We shot two days with the Red One MX and the final day with Arri Alexa, Master Primes on both cameras.

I’ve started the tech write-ups that I promised for the Red-MX side, but will only publish them once I can add the Alexa content alongside.

To add to the mix, my upcoming web series / short period murder mystery “Murder at the Manor” will be shot on the Red EPIC, so you’ll be hearing my thoughts on Red Digital Cinema’s new flagship camera platform as well.

I’m no Philip Bloom or Vincent LaForet, but if you want some real-life down to earth opinions and experiences from a grass roots indie production on the high-end digital cine cameras, this is a good place to keep an eye on!

This post is re-published from my other blog, Digital Cinema Demystified, make sure you subscribe to future technical posts by email or in your RSS reader. You can also get the feedburner feed here: http://feeds.feedburner.com/DigitalCinemaDemystified