notes for filmmaking

Interior. This scene takes place indoors. This is mostly for producers to figure out the probable cost of a film project

intoframe The audience can only see so much through the window of a movie screen. Use this term to suggest something or someone comes into the picture while the camera stays put. It's like a character or object coming from off stage in the theater. For example: Forrest Gump sits on the bench. OLD WOMAN INTO FRAME. She sits next to him.

intoview The audience can only see so much through the window of a movie screen. Use this term to suggest something or someone comes into the picture while the camera pulls back (pans, etc) to reveal more of the scene.

A transition often used to compare two completely unrelated objects. It's film's version of metaphor. This involves cutting from one object of certain color, shape, and/or movement, to another object of similar color, shape, and/or movement. For example, a circular saw to a child's merry-go-round. A commonly studied example of match cutting comes from 2001: A Space Odyssey. The classic cut comes towards the beginning of the film. After the apes have used a bone as a weapon for gathering food, an ape throws the bone into the air. As it falls, we match cut to a space ship carrying nuclear warheads. Both the bone and the ship are of similar shape and color, and both happen to be moving towards the bottom of the screen. The cut relates all of technology to the development of weaponry as it cuts out all of human history. Point of View. The camera replaces the eyes (sometimes the ears) of a character, monster, machine, surveillance camera, etc. As a result, we get to see the world through the sensory devices of some creature. This can be used to bring out the personal aspects of a scene, or it can be used to build horror and suspense. An example of horror and suspense in POV can be scene in the opening shot ofHalloween. A tracking shot involves a camera following a person or an object. As long as the camera isn't locked down in place by a tripod, for example, and is following (tracking) a subject, then it's a tracking shot. For good examples of tracking shots, watch the one take episode of The X-Files, any episode of ER or the first shots of Touch of Evil  and The Player. In the olden days of cinema, the advertisements for upcoming attractions were usually played after the end of the movie. Hence, they became known as trailers. But, as credits reels have grown in size over the years, audiences would often leave before watching these advertisements and "trailers" became "previews." But the name is still in common use. A trailer is a theatrical advertisement for an upcoming film attraction.

Raw Talent RainDance

About Raw Talent

Raw Talent is a new production initiative from Raindance. Led by Raindance founder Elliot Grove, cult director Ate de Jong of DROP DEAD FRED fame and San Fu Maltha – producer of several international award winning pictures – Raw Talent wants independent films to thrive by enabling a filmmaker-centric approach to boost unique talent.

By filmmakers for filmmakers, Raindance Raw Talent intends to produce three to five feature films per year.

Have an idea that is unconventional, controversial, provocative? It may well find a home at Raw Talent. We accept edgy, socially relevant and intellectually/emotionally challenging projects. We welcome all genres, with the exception of blatant propaganda, while pornographic material should be avoided unless it explicitly serves the story.

Our only remits for submissions are passion for the project from the creators and the ability to work within our budgetary considerations with a mix of talented newcomers and established professionals.

About the Raw Talent Submission Route

Everyone can submit a script via our dedicated online application form. All we ask is that the script be in the English language with industry standard formatting. Length should be between 80 to 120 pages.

Though we prefer original concepts we will also consider adaptations providing all rights have been pre-cleared.

Submission of a script implies that all available rights can be transferred to Raindance Raw Talent unencumbered.

For standard submissions there is a £15/€18 fee. This should be paid in advance and is non-refundable so please ensure you are happy with your submission before pushing the send button.

If you’d like to fast track your submission the fee is £75/€90. This will not only reduce turnaround time of the submission but we will also provide a copy of the evaluation conducted on your script.

Where possible we will endeavour to explain our judgement to allow you to improve your project but unfortunately we cannot be drawn into dialogue.

Your submission is confidential. The Raw Talent team will not forward your information or script to anyone outside our  own team.

Fees should be paid via Pay Pal to rawtalent@raindance.co.uk

About the Raw Talent Production Approach

Budgets can range from £50,000 to £500,000 (including deferments).

Key crew members and leading actors will get a token cash fee and defer additional fees. Support crew members and day players will get a daily cash fee.

Raindance Raw Talent will only produce films made by a mix of experienced filmmakers and newcomers. We have designated 6 key functions: director, director of photography, production sound-engineer, art-director, editor, composer. A minimum of 3 of the previous have to be experienced professionals and either the director, or dop has to always be one of those.

Raindance Raw Talent will be the responsible producer. However other, outside, producers are welcome to become co-producers. Every production will employ an independent line-producer.

About the Raw Talent Funding

Funding of the cash budget will be undertaken by Raindance Raw Talent from a variety of finance sources.

Raindance Raw Talent expects the principal “driving force” – be it the writer, director, leading actor or any (other) combination, to provide 20% of the cash budget before start of principal photography.

Raindance Raw Talent will be open to financiers using tax shelter incentives. We will sparsely use film-subsidies as they tend to be aligned to unavoidable red tape, content approval and time delays.

About Raw Talent Films’ After Life

 Profits are shared with the key creators for a total of five years following a first public screening.

All films made receive a screening during the next upcoming Raindance Film Festival in London and Raw Talent has a ‘first look’ understanding with numerous sales agents and companies in Europe that will be utilised from an early stage of development.

Now let’s make some great movies!

Submit Your Application Here

http://www.raindance.org/rawtalent/about-raw-talent/

Bois Caiman

Bois Caïman (Haitian Creole: Bwa Kayiman), 3 kilometres (1.9 mi) south of road RN 1, is the place where Vodou rites were performed under a tree at the beginning of the slave revolution. For decades, maroons had been terrorizing slaveholders on the northern plains by poisoning their food and water. Makandal is the legendary (and perhaps historical) figure associated with the growing resistance movement. By the 1750s, he had organized the maroons - as well as many people enslaved on plantations - into a secret army. Makandal was murdered (or disappeared) in 1758, but the resistance movement grew. At Bwa Kayiman, a maroon leader named Dutty Boukman held the first mass antislavery meeting secretly on August 14, 1791. At this meeting, a Vodou ceremony was performed, and all those present swore to die rather than to endure the continuation of slavery on the island. Following the ritual led by Boukman and a mambo named Cécile Fatiman, the insurrection started on the night of August 22–23, 1791. Boukman was killed in an ambush soon after the revolution began. Jean-François was the next leader to follow Dutty Boukman in the uprising of the slaves, the Haitian equivalent of the storming of the Bastille in the French Revolution. Slaves burned the plantations and cane fields and massacred French colonists across the northern plains. Eventually the revolution led to the independence of Haiti. The site of Dutty Boukman's ceremony is marked by a ficus tree. Adjoining it is a colonial well, which is credited with mystic powers.

Morne Rouge[edit]

Morne Rouge is 8 kilometres (5.0 mi) to the south of Cap. It is the site of the sugar plantation known as "Habitation Le Normand de Mezy", known for several slaves who led the rebellion against the French.^[8]

sugar notes

"This doesn't say what we really feel. For our declaration of independence we should have the skin of a blanc for parchment, his skull for inkwell, his blood for ink, and a bayonet for pen!"

Boisrond-Tonnerrer

Dessaline was much taken by the fact that the Poles tended to treat the Haitians better than other Europeans and to have less regard for the French. The Poles did not want to be in Saint Domingue and, in general, opposed the war, however, they did follow their own orders and fought for the French cause. At the same time they expressed strong criticism for the French, had great sympathy for the Taino/Arawak Indians whom the Spanish had eliminated, and were not at all as racist as the French.
With Dessaline's prodding, the Haitians tended to treat the Poles much better when they captured them. On one Pole's account this meant that they killed them straight off rather than torturing them as they did the French!

In sum there were about 5200 Poles sent to Saint Domingue by Napoleon. More than 4000 died, primarily of yellow fever. Some returned to France, some were subsumed into the British Colonial Army, and only about 400 remained in Haiti. Even then, 160 of those received permission from Dessalines in 1806 to return to France, and were even sent there at Haiti's expense. Thus, only about 240 Poles actually became and remained Haitian citizens.

Dessalines first decided to get rid of the French who were in Haiti. Early in 1804, his first year of rule, he had the French killed, sparing only a few doctors, priests and essential exporters. It is generally thought that around 20,000 French were slaughtered, and it was a brutal and harsh extermination. This had important consequences for Haiti, giving her critics something concrete to latch onto and helping to build the picture of a savage nation incapable of being part of the world community.

Jean-Jacques Dessalines became JACQUES I, EMPEROR. Unlike Henry Christophe a few years later, he did not create any other nobles, claiming that he alone was noble.
Perhaps that spirit characterizes much that went wrong with Dessalines. He was stern, even cruel, demanded unflinching obedience and ruled with an iron hand. This was not what most of the Haitian people thought that had fought a war of independence for, and discontent was widespread.

Haiti was now plunged into a chaotic period of political maneuvering and civil war that divided Haiti into two nations under two different leaders for the next 12 years. Actually, at one time there were actually 4 Haitis, but for this story I'm just concentrate on the two main Haitis.
Two of his most famous monuments were his own palace of Sans Souci in the village of Milot and the Caribbean's most famous monument, the huge citadelle on the mountain top of La Ferriere. The Citadelle had an ostensible military purpose. Like Dessalines, King Henry I expected France to attempt to re-invade and retain Haiti as a colony. Since no one formally recognized Haiti as an independent nation, she was, to the world at large, a colony in rebellion. Henry's fears were not without solid foundation. His plan for the Citadelle was to have an impregnable fortress to which he could retire with a large army and from this fortress carry on a guerilla war. The strategy was a very good one, thought the Citadelle never had to be tested for that purpose.

real hot, in the shade.

Notes for Maroon Ship

Trade Winds:

the trade winds or trades are strongly easterly winds that blow through the tropics and subtropics. They blow from the northeast in the Northern Northern Hemisphere and the southeast in the Southern Hemisphere.

Traverse Board: This was used to record the course and speed of the pirate ship during a four hour watch. the speed was measured by using a chip log, and the direction was measured by using a sea compass.

Waggoner- Sea Charts

Analemma- the figure eight pattern that the sun made in the course of a year which was used as the celestial navigation tool for sailors.

Astrolaby- star finder to make sure you were on the right path.

DP Work I Want

karlovy vary film festival

Film Entry 2014 Thank you for your interest in entering a film in the program of the 49th Karlovy Vary IFF 2014. Regular submission is free of charge. The KVIFF Program Department must receive your completed and printed online Film Entry form and DVD screener postmarked by March 10, 2014. After March 10, 2014 your film can be submitted as a late entry which is subject to a submission fee. In that case, the KVIFF Program Department must receive your completed and printed online Film Entry form and DVD screener postmarked by March 31, 2014 and pay the appropriate submission fee: feature-length films and feature-length documentaries - €50 per film short documentaries - €30 per film The film you wish to enter must meet the following general requirements: Production of the film submitted for participation must have been completed within the twelve months prior to the starting date of the Festival. Submitted films must not have been released anywhere (including festival screenings, DVD release, or television or internet broadcast) more than twelve months prior to the starting date of the Festival. Further regulations for each category are: Submitted feature-length films: must not have been released (including festival screenings, DVD release, or television or internet broadcast) outside its country of origin before September 1, 2013 (i.e. the film did not have its international premiere before September 1, 2013). must be over 60 minutes in length. Submitted feature-length documentary films: must not have been released (including festival screenings, DVD release, or television or internet broadcast) outside its country of origin before January 1, 2014 (i.e. the film did not have its international premiere before January 1, 2014). must be over 60 minutes in length. Submitted short documentary films: must be under 30 minutes of length. The Festival does not accept submissions of short and medium-length fiction films (up to 60 minutes) or medium-length documentaries (30-60 minutes). In addition, any films which are solely promotional, educational or scientific in nature are not eligible for selection by the Festival. (If you are interested in entering a short feature in the Prague Shorts Film Festival (www.pragueshorts.com) contact info@pragueshorts.com.) How to enter a film 1. Read through the festival regulations for information regarding the presentation of a film at the festival. Films are screened at the festival in competitive and noncompetitive sections. 2. Complete the online Film Entry form. You must log in to complete the form. Register here if you do not have login information. If you are submitting a late entry, the submission fee must be paid by the credit card. 3. Send us a DVD screener and the printed Film Entry form. If your film is in a language other than Czech or English, the DVD screener must be provided with Czech or English subtitles. Please clearly indicate if the submitted screener is the final version or a work-in-progress. Program Department does not accept online screeners! Send the DVD screener and the printed online Film Entry form to the following address: Film Servis Festival Program Department Panská 1 110 00 Prague 1 Czech Republic State the following on the envelope or package: NO COMMERCIAL VALUE, FOR CULTURAL PURPOSES ONLY Film selection for the program of the Karlovy Vary IFF 2014 We will inform you via email upon receipt of the DVD of your film. You will be informed of the final film selection by the end of May 2014 at the latest. If your film is selected we will send you an official festival entry form. The selection committee is headed by artistic director Karel Och. Selection committee members are artistic consultant Eva Zaoralová, programmers Ivana Novotná, Lenka Tyrpáková, and Viktor Palák, and program department assistants Anna Purkrábková, Martin Horyna and Hubert Poul. If you have any questions, contact us by email at program@kviff.com

potential

Francois Duvalier

Poppa Doc was a Voodoo Man
Purged 30,000 with his Personality Cult
Born 1907 ruled from 1957-1971
1971 is when he died.
Opposed a Military Coup D-etat
Won the Presidency on a Black Nationalist and Populist platform

DC Short Films

ENTER A FILM

11th Annual DC Shorts Film Festival
September 11-21, 2014

DC Shorts turns the spotlight on truly independent short films created around the globe. In 2013, we received over 1,200 entries from 51 nations. We ultimately programed 152 films into 18 unique showcases that played over 11 days to a combined audience of over 9,300 people.

• Our main judging criteria is STORY. Do you have an interesting, original story about developed, well-written characters? If so, then you are a good fit for us.
• We screen all genres and styles of films.
• We screen films from :30 seconds to 20 minutes. Longer films may be considered, but are generally difficult to program. We will not consider any film over 30:00.
• All entrants receive written feedback from the selection panel. This information has been invaluable to thousands of past entrants – and is the reason we have been a top pick ofMoviemaker Magazine year after year.
• Films that screened at past DC Shorts Film Festivals have gone on win countless other competitions, including the Academy Awards.
• Washington, DC has some of the most sophisticated audiences in the world. In a city with over 70 film festivals a year, DC Shorts continues to be a dominant force for film distribution in the region.
• The DC Shorts Film Festival is the largest short film event on the East Coast of the United States.
• DC Shorts just topped the list as Moviemaker Magazine’s Coolest Short Film Festival – an honor we are trilled about!

CATEGORIES

Local Films
Films created and produced within a 60-mile radius of the White House.

Food Films
Through a special partnership with Whole Foods, we seek films with strong food-related themes.

General Films
All films which do not fit into one of the above-mentioned special categories.

AWARDS

(as of December 1, 2013)

Outstanding First-Time Director
Winner is presented with a custom-made trophy and $250 cash award

Filmmakers’ Choice (chosen by filmmakers in attendance)
Winner is presented with a custom-made trophy and $250 cash award

Festival Director’s Choice (chosen by the Festival Director)
Winner is presented with a custom-made trophy and $250 cash award

Outstanding Local Film, presented by KVM Rentals
Winner is presented with a $1000 equipment rental package

Outstanding Use of Food, presented by Whole Foods Market.
Winner is presented with a Whole Foods gift card of $500. Film must be a US-based production.

Audience Favorite Awards
Selected for each screening. Award consists of a framed certificate with no cash award.

REGISTRATION DEADLINES

DC Shorts does not extend registration deadlines.

Want to save money on the entry fees? Complete the form early to pay the lower fee — then send the materials as late as the material deadline (May 9, 2014).

	DC ShortsEntry Form	FilmFestivalLife.com ClickforFestivals FesthomeEntry Form
	Lowest entry fee. High-definition online screeners via vimeo.com and youtube.com. No DVDs.	DVD entries and online screeners
Early Bird Deadline January 31, 2014	$25	$30
Regular Deadline March 31, 2014	$35	$40
Late Deadline April 20, 2014	$45	$50
Extended Deadline April 30, 2014	$55	$60

*Why is DC Shorts not on Withoutabox? »

HOW TO SUBMIT YOUR FILM

1. Read about the screening process and look through the rules, please. A lot of time and care has gone into writing the rules. There is a detailed description of what happens to your film when received by our office, as well as how our screening and selection process works.
2. Select an entry form. There are now five forms to choose from – select based on price and your submission format. Already have a private online screener? Then the DC Shorts entry form is your lest expensive option. Like the convenience of Withoutabox? Then submit through their service at a higher price. Want to explore a new and powerful system that is being embraced by other festivals? Then try filmfestivallife.com comprehensive Web site.
3. Upload your file or mail your DVD by the materials deadline — 12:00pm (Eastern Standard Time) on FRIDAY, MAY 9, 2014. Materials received after this date will be discarded without notice or refund of entry fee. Mail DVDs to:

DC Shorts Film Festival
1317 F Street NW, Suite 920
Washington, DC 20004-1151
USA

Label the outside of your package FOR FESTIVAL PREVIEW ONLY. NO COMMERCIAL VALUE.

If you are uploading a film, we recommend doing so to Vimeo.com, creating a password to keep your entry private. In our experience, vimeo.com screeners have the best HD playback, and are preferred by our screening team.

Each submission requires a separate entry form and fee. Incomplete applications, failure to include payment, or submitting materials we are unable to preview will disqualify your entry without refund. For complete details and requirements, check out the Rules and Licenses page before submitting your entry.

WAIVERS

DC Shorts champions short filmmaking. One of the reasons we have been listed as aMoviemaker Magazine favorite year after year is because of our unique scoring and feedback system. EVERY film reviewed by DC Shorts is watched by at least three screeners, whose evaluations are available for you to read after decisions are announced.

This feedback is worth every penny of our entry fee. But we understand that some filmmakers are unable to make the financial commitment—that is why we have created a new system for granting waivers.

1. Complete the online waiver application. Be thoughtful with your answers. A panel will review the requests and grant waiver opportunities based on need, professionalism, and filmmaker track record.
2. If your application is approved, you will receive an email with instructions to create 3 Tweets and 2 Facebook status updates (already written for you) to send out over the course of 5 days. When these are completed, a waiver code will be emailed to you.

That is our process. You help us out; we help you out.

NOTIFICATION DATE

July 1, 2014

All filmmakers will receive notice of acceptance or rejection via email, as well as a complete report with screeners’ comments. If you do not receive this email by the notification date, please contact the office.

THE REVIEW PROCESS

DC Shorts is proud to be one of a small number of festivals to provide feedback to ALL entrants. We also pride ourselves on our open judging process — we explain how it works before you enter, provide feedback after decisions have been made, and allow you the opportunity to call us for additional feedback and comments. For the 2014 Festival, we expect to review more than 2,000 short films and 200 screenplays. We hope to include around 150 films in the final showcases. You do the math—the competition is very tough.

After we open your package, the DVD is removed from all packaging and placed into a blank envelope with a code number for identification. From this point on, films are only referred to by this code number. If you submit via online screener, your file is given a code number for identification.

Our screeners are local filmmakers, industry professionals, film enthusiasts, and trained members of our audience. All screeners are interviewed and screened before they are trained – and all have attended previous versions of DC Shorts as paying audience members or presenting filmmakers. We believe that if they are willing to pay to sit though your film, then their opinions are valid.

Screeners are placed into teams, which are assigned films in a random process. It is possible that your film will be watched by an industry professional, just as it is possible that a team it will be watched by of other professionals or students.

Films are watched in their entirety (rare among film festivals) and evaluated online using our proprietary software on aspects such as strength of plot, originality, technical proficiency, acting, editing, and sound design. Screeners are also asked to leave a personal comment as to how they believe the film will play to our audience.

Films viewed online are subject to the computer hardware and speaker setup of the individual screener. Some have high-end speaker systems and large screens, while others still use older PC laptops and built-in speakers.

At the end of the first round, a list of the top 250+ films is generated by analyzing raw scores, rankings, trends and comments. These films are then sent to a second team of screeners consisting of former screeners, DC Shorts Board Members, local business people and sponsors. They watch each film and make programming notes, but do not add to the previous scores.

At the end of the second round, select screeners and the festival director choose a final lineup based on scores, the time constraints of showcases (each showcase runs for approximately 90 minutes, with an average of 8-10 short films featured in each showcase), and how films will play in a show with each other. We also try to include 10% of our films from filmmakers creating content around the greater Washington, DC region.

DC Shorts—and every major film festival—program the best films available to them that offer a fresh viewpoint or a unique story or character, meet programming time constraints, interest our audience, play well with the other films programmed, and are created by filmmakers we believe in.

WANT MORE INSIGHT INTO THE PROCESS?

1. Listen to a great podcast by The Scoop.
2. Watch over 300 films from past DC Shorts events to see the types of films we have programmed.
3. Explore the websites from past DC Shorts Film Festivals to read old catalogs, scan the films, and check out the many activities.
4. Check out these unedited quotes from filmmakers who both screened at DC Shorts — and some who did not make the cut.
5. Want to read the experience of a previous screener? This account in the Washington City Paper is not overly flattering, but we stand behind our process. We are proud to educate filmmakers of our system — No secrecy, no bullshit.
6. We recommend Festival Founder, Jon Gann’s book, BEHIND THE SCREENS: Programmers Reveal How Film Festivals Really Work available online at Amazon.com

STILL HAVE QUESTIONS? WE HAVE ANSWERS.

MY FILM IS OVER 20 MINUTES

The time limit of 20:00 is not an exact cut-off point — but a highly recommended TRT. The way we program — showing as many different types of film in 90-minute blocks — make it difficult to show many longer films. In addition, when we receive multiple films of the same theme/subject matter, we often tend to program the stronger storytelling, which is often the shorter versions. That said, we have screened exceptional films up to :30 in the past. In our experience, most 20 minute films could be re-edited to a much stronger 12 minute piece. Seriously. One quote we learned in film school was, “That’s a nice 13-minute movie. But it is a fabulous 9-minute film.” Ask yourself the same thing and really think about it.

MUSIC VIDEOS

In the past, we have screened music videos that are story-driven. As we state throughout this website, it is all about the story. No plot, no play.

WORKS IN PROGRESS

As stated in our rules, the only information our screening committee receives is the film title, running time and category of entry. Works in progress are mixed in with the other films — and in all cases — are reviewed as completed projects. We suggest you enter early (to save money on the submission fee), but get us the disc or online screener by the Materials Deadline of May 9, 2014.

m..

sugar editing notes

NEED VOICE OVER SUCRE SONG FROM NEYSSAN
NEED TO HAVE JASPER PREFORMING AND RUBY DANCING TO ISLAND COTTAGE IN BEGINNING
35 A GOOD ONE- REDO MY FRENCH
HAVE PAULY? JASPS FRIENDS FRIEND DO VOICE-OVER
A STORY WITHIN A STORY
VIOLIN
SAW THE HEAD () AND WAS LIKE NO!! THE PRINCE RE ENTERS BY THE HEAD.
38 GOOD TOO
58 good with alice cocteau on background
59 good with alice on background, and we can mimick the piano and the vocals, arajamaen
62 good
use moving background like windows media player in background
64 with the kiss
66 where ruby and jasp start

ideas.

incandescent beetles and scorpions.

good indiegogo site

Summary We are RAAR! Films and we are dedicated to the production of cinematic entertainment. What makes us unique is our team of enthusiastic creatives that are brand new to the industry and dedicated to supporting other new and young talent in independent film production. We are always looking to get more people involved, raise the quality of our productions and to make films that everyone involved is truly proud to be a part of, wanting to come back for more. Myself and the RAAR! team are really excited about this short. It is a brilliant script (written by Kubrick award-winning filmmaker Katie Hogan) with such potential both narratively and visually. We really believe that the majority of people out there (unless you don't like zombies for whatever strange reason) will really love seeing this come to life. We have a superb actress to take the lead in this short and so the funding is really the last thing we need to make this possible. We have everything organised for this short we just needs the funds to pay for transport, renting equipment and props! Nobody will be paid with the money raised, it will go straight into the production of the short. By helping us to make this short happen you are not only creating a great film with lots of gore and awesome eery visuals, but also helping us on the way to make our feature film which this short is based upon. We will be using this short along with the previous one seen in our video to gain funding for the feature, so this is the one way we can really show potential investors what we can all make happen together! What We Need & What You Get Finally, years of helping my dad out with his accounts has paid off! The budget covers everything we need and nothing more. No pay, no excess. This covers: Transport for crew and main cast Food to keep the crew and cast alive Hiring of filming equipment Props such as feathers to make a fake pigeon for a zombie to munch on (yes we will be making it ourselves so it's very cheap!) and renting a car for the day Costume - One set of pyjamas a character will be wearing Make-up supplies - to turn people into zombies! and to make fake guts and blood for the background. What do you get? We've tried to accomodate for all budgets, to get people involved as much as possible in the project while getting everyone excited and obtaining unique rewards. For example if you donate $100 we will pop you in the post a unique 'Flamingo Close' art card drawn for you by a local talented artist. If we don't reach our target of $1500 you get all of your donations back. As I said before the budget is spot on so we really can't do it for any less so it would be unfair on us, the film and moreover you if we took your money for and made a sub-par film. There's simply just no point! The Impact This project will give you something absolutely unique! It is crucial for us as filmmakers, as this short could be the factor which could get us feature funding for 'Flamingo Close', the feature. So not only will you be a part of this project but you'll be part of a bigger project all together. Everyone who donates this project will get a thankyou on the feature credits when it gets funded. You may be wondering who you're putting your faith and money to. So here's a bit about the team that is RAAR! Films: Emily Attwood (Myself) - Director, Writer, Editor, Producer and Founder of RAAR! Films I am an award winning filmmaker. The first short which you can see at the end of our video above was written and directed by myself and this short will have a very similar feel to this one but on a larger scale. Expect more gore and an even more striking atmosphere! Tom Butler - DoP, Editor, Producer and Founder of RAAR! Films Kubrick Award-nominated director of photography. He will be in charge of making the film look pretty, and is simply the best person at lighting I have ever met. Dare Emmanuel - Actor, Writer, Producer and Founder of RAAR! Films Dare is the writer of the feature, 'Flamingo Close', which this short and the one you can see above at the end of our video is based upon. He is multi-talented and also is one of the main cast of the feature and the second short we made which we will upload for you soon! David Wright - Production Manager Without Dave we would have had close to no zombies on our first short. He is the one who keeps us creatives on track timewise and every other wise. You'll always hear him on shoots going 'guys TIME! 20 minutes 'til lunch' when we're getting too distracted by zombies. Katie Hogan - Writer, Fox, Assistant Director / PA Having won the Kubrick Award at Vision's Festival 2012 for her film 'Space Detective' we had to have her on our crew. She is the writer of this short and will be co-directing with myself as it is half her baby! Alexander Campbell - Camera Op Though Alex is still at University he shows an extraordinary skill in filmmaking. He also has lots of filming equipment we are able to use to save money on our budget. We will be filming on his Canon 5D. Other Ways You Can Help We at RAAR! understand how tight money can be hence us asking for help with our film. Donating isn't the only way you can help. Please help to spread the word about our short 'Flamingo Close'. You can help particularly by sharing our indiegogo page as other people you know might have some spare dosh lying around just waiting to fund some zombie amazingness! You can either copy and paste this page url or use the indiegogo sharing tools! Thank you all so much in whatever way you're contributing to the success and helping us in being able to make this short!

how I want to edit video.

So i really enjoyed the way that the shots were made, the colors were fantastic, the scene with Arajamaen and The Prince of Mischief went very well, i especially like when Neyssan kissed me, that was great- very natural. The colors were empty-flat almost, but the snow was brilliant- the shot of Neyssan by himself was amazing! He looked like a Grecian God, it was exactly what I was going for. Then i liked my performance, a little over the top in some things, but in some scenes it was magnificent, i look interesting on camera, like you could do a lot with me. Then the shots with Parran and Dabou were great, calmer-more colors like gels, scary- something very fun to work with. I want it to be like a collage, and it can be 15 minutes, I can write a very scary story and put those two together.Plus we will be shooting tomorrow anyway. That is two more scenes with Arajamaen and Her child and then Parran and Dabou speaking together. It was good they didn't know their lines , it made it a lot more cohesive.A story within a story.

first time fundraising

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wonderful

I like the lighting from above. get a fucking whiteboard. three sides. like a U or V. filming people's emotion to what is being said than them saying it.reaction shots.the law of threes. foreground mid ground background.shooting from the front. breaking forth wall. shots of unmoving things while action happens.

my devil

http://vimeo.com/user255842

https://www.facebook.com/bustacapps/about

I met this guy at a house party on New Year's Eve. He was great energy and I swear til this day he had a scottish accent but I do not think he does really. He is also an amazing actor and I love his work. I cannot wait until he plays the Devil for my Sucre short. I want to make him famous. 

Making the fake blood

My actress Ruby Playing Parran

she is awesome. Here is my homegirl Ruby who will be playing Parran.
Here is a link to some of her work: http://www.youtube.com/watch?v=rqqGj2LJ7Sg

...

do you have love for mankind?

this is what i want part deux

this is what i want

shadow puppets

http://www.wikihow.com/Make-Good-Shadow-Puppets

for phillip seymour hoffman and Prince of Mischief

the beautiful hottentot

scene

bathing sequence in the film after titles

grant proposal

vision

bellicose note taking

bottomless apetite for black labor
could arajamaen power produce a hurricane?
planter had no issue with destroying mutilating entire islands and desicrating them into little englands

windmills can be used to crush sugarcane

camels in the islands vignettes of runaways slaves and men chasing wild hogs

jan 1st independance day pumpkin soup!

focus on cause and effect
reversals and recognitions
change of ignorance to knowing




lesson learned as if the
past could dream
of better days
suns to pass
since Adalam went into the river
our familes, an eternal coup de tat
a war on the inside,
outside we attempt
to hide, the wounds
though many a hateful deed
understanding the limits of majesty
the woods are begining to smell of evergreen
and sadness.

......

a scene usually changes whenever a camara shifts angles.

..

arajamaen's compulsive need for freedom
she becomes vicious
her charasmatic trait?
witty

dancing scene similar to this.

climate of haiti

climate very bad
polemical point
the sun is a danger
the evening a cool menace
the rain is not less fatal.

good health could be perserved only by the absteminous living;
and the most careful percautions

today-writes a colonist- is the 30th of january
it is four oclock in the afternoon and i am obliged to prop up monsieur d'auberteuil's book
beacause i am sweating such great drops. what is the cause of this?
the climate or monsierus asserstions?
we will let him settle the question

safe land:

tortuga
mole saint-nicolas

the governor is
a rep of the crown
military chief
medium of external relations

whites:
35,500
colored
27,500
slaves
452,000

inspiration

when the girls dance

heat 1919 fronne stettheimer