Welcome to a Post-Harvey Hollywood & Your Best Bet for a 360° Stereo Camera [PODCAST]

In this episode of Indie Film Weekly, we predict what the Harvey Weinstein fallout could means for future film sets.

Jon Fusco, Charles Haine and yours truly, Liz Nord discuss a post-Harvey (Weinstein) Hollywood and some steps being taken by the Academy, the PGA, and other film institutions to combat sexual misconduct in the industry. We also share a ton of news from Netflix, including the company's plans to release 80 original films in 2018. In gear news, we reveal how filmmakers can use Microsoft's new GPU, and Charles answers an Ask No Film School question about renting a 360 stereoscopic camera.

As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films.

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Nokia Lays OZO VR Camera to Permanent Rest

The Nokia OZO, currently the market leader in 360° video capture, will no longer be developed.

Nokia has officially announced that it will no longer develop the OZO, the company's all-in-one solution for 360° video capture. The camera platform has been the most popular in the space due to its streamlined nature, both being powered from and capturing to a single unit.

This workflow was refined in comparison to competitive systems that involved rigging and syncing multiple GoPros or custom building from parts, and it took off with filmmakers who wanted explore VR without the headaches. The OZO is particularly popular in the VR space, where events like movie premiere red carpets are streamed to ever-growing audiences in 360°.

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5th Annual ScreenCraft Screenwriting Fellowship Wants to Help Jumpstart Your Career

Tired of your scripts languishing in obscurity? Then you should look into this awesome opportunity from ScreenCraft.

If you're an aspiring screenwriter, you need to know about what ScreenCraft has been cooking up for you. For the fifth straight year, the ScreenCraft Screenwriting Fellowship is looking for talented emerging screenwriters to take part in their annual fellowship program, which not only offers mentorship opportunities but a trip to Los Angeles for meetings with and introductions to key entertainment executives, producers and representatives.

According to ScreenCraft co-founder John Rhodes, every single winner from last year have signed with managers. In fact, one of their past winners not only sold a script, but has been hired as a staff writer on a Netflix TV show. So, people, this is the real deal. Rhodes goes on to say:

We look forward to discovering emerging screenwriters whose talent and work has positioned them to make the most of this unique program.

As always, ScreenCraft has put together an exciting panel of judges to read your scripts:

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5 Ways to Make the Most of Working with an Editor

One of the most important creative relationships a director will ever have is with their editor.

As a director, you'll be collaborating with a lot of other talented artists on your films. Arguably, one of the most important of these is your editor. If you don't know how to collaborate properly, you, your editor, and your project could suffer greatly, which is why you should check out this video from editor Sven Pape of This Guy Edits. In it, Pape talks with director/editor Tyler Danna, who is also a professor at Columbia College Hollywood, about common obstacles directors and editors face together as collaborators, as well as how they can work together more effectively during the final leg of the filmmaking process. Watch the video and read our top takeaways below.

1. Choosing an editor is like casting an actor

There are tons of great editors out there, but that doesn't mean they're great for your project. Danna says that hiring an editor is like casting an actor: it's not about choosing the best, but choosing the right person for the job.

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Subtle Video Effects You Can Use to Make Your Video That Much Cooler

Not only will these 3 effects make your videos look awesome, but they're also super easy to pull off.

If you watch a lot of videos on YouTube, chances are you've seen several little camera tricks that make you wonder how they're done, especially if you want to use them in your own work, like music videos and commercials. Luckily, filmmaker Peter McKinnon shows you how to pull off three very simple, popular effects, including the classic Superman clothes-change, the wormhole effect, and a really interesting dolly zoom that you can create in post.

You may not get a whole lot of mileage out of these effects in your films, but if you do a lot of commercials, music videos, or vlogs, you can use them to add a little prestige and, I don't know, coolness to your work. The great thing about each one of these effects, too, is that they don't require a whole lot of experience in post. Most of the work can be done with a single setting, good timing, or a little masking.

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Read This Rejection Letter from Lucasfilm to Steven Soderbergh and Feel Better About Life

Soderbergh turned out alright.

In spring 1984, Lucasfilm was a rising behemoth in the production world, having successfully released all three original Star Wars films in the previous six years, and on the cusp of releasing the second in the Indiana Jones franchise. Meanwhile, a young editor in Hollywood named Steven Soderbergh was one of the presumably hundreds of aspiring directors trying to get the studio’s attention.

This week, Soderbergh shared, via his Twitter account @Bitchuation, a rejection letter he received from the company in response to his “tape directed to George Lucas.” Spoiler alert: Lucas never even popped it in the Betamax machine.

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Our Indie Problem: Financiers and Sexual Harassment

I have felt disgusted these last ten days reading the news about Harvey Weinstein as well as the angry and heartfelt outpouring from so many on social media. But like most of my colleagues in independent film, I’ve considered myself a step removed from the A-list parties and Hollywood glitterati that comprised so much of Weinstein’s world. My colleagues and I are making films, I have thought, as a high-minded alterative to the vapidness of Hollywood. But the last ten days has caused me to realize that we are not immune from the same problems that Hollywood is suffering. The […]

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Watch: Michael Mann Brings the ‘Heat’ for His Expansive Master Class

Michael Mann sat down with Guillermo del Toro and Thierry Frémaux at the Festival Lumière to share insights and his 4K restoration of 'Heat'.

Michael Mann's decades long career began in television, where he played a key role in designing the cinematic aesthetic of the crime drama Miami Vice. After that, he directed countless classics, many of them criminally underseen, including Thief, Manhunter (the first Hannibal Lecter movie, despite what you might have been told), The Last of the Mohicans, and his 1995 Robert De Niro-Al Pacino epic heist film, Heat. Guillermo del Toro and Institut Lumiére director Thierry Frémaux led Mann through an expansive conversation, in which the director discussed his long career. Here are three highlights from their talk (which you can watch below, or listen to on SoundCloud.)

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‘Curb Your Enthusiasm’: How the Editors Find the Comedy in the Show’s Unique Shooting Style

Discover the process of cutting the show's signature improvisation into carefully crafted comedic gems.

Curb Your Enthusiasm is back. HBO is now airing its ninth season after a six-year hiatus, and the grudge-holding, socially awkward, fictionalized version of Larry David we've grown to love continues in a ten-episode order.

The new season was split between pilot editor Steve Rasch (3, 4, 6, 8 and 10) and Jonathan Corn (1, 2, 5, 7, 9) who joined in the second season. Interestingly enough, both Rasch and Corn are English majors rather than film students. With a distinguished appreciation for language, they're unique as editors. For them, it's about words and wordplay and how they can carve out an engaging tone from a massive amount of footage.

The comedy's shooting style outlines a rare workflow for the editors that differs from traditional half-hour series. The two sat down with No Film School to share their experience about the Emmy-winning show.

No Film School: Was there any difficulty starting up again?

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