Next Fest Possibilities...

[Erik Olson]

Don't own, but have immediate access to.

e

 

[Elton]

How about limiting it to 1/3" cameras for competition, but all open for other formats / factors in exhibition only?

I think this is a great idea. 1/3" seems to be the one constant that each "affordable" camera , HD or SD, technically has in common. 1/4" Sony should be allowed too, for obvious reasons.

The sensor is the defining limitation more than anything.

Obviously, as a Canon user I would love to be able to compete because these festivals are just plain fun and a great motivator. I can see that for most who've participated, it's been more of a "the journey is the reward" thing, rather than a cutthroat competitive experience.

I've thoroughly enjoyed reading the different filmmaker's threads and witnessing the great feedback people offer. To me, that's what this community is about, not the mere camera platform.

Hope it can happen.

 

[Lost Water Studios]

Any idea's when the Rules & Regulations would be going up?
Obviously after the Drama-Fest voting etc, but just wondering when.

 

[Kholi]

I think the fest should be open to all dvxusers, despite their cameras. It's not the camera that's going to make or break the short film, it's the screenplay and the execution of that screenplay.

I would like, however, to see something different about the rules. In this fest the character had to be either Erick or Erica and in some of the films, there was either zero dialogue or the name never came up. I would rather see one of two things:

In 48 hour competitions they make each entry say a certain line in the film. Whether that line is spoken or written on a paper, it doesn't matter to me, but just to have that line in there somewhere;

or

Have a single prop that has to appear in each film, like a: flashlight, sunglasses, telephone, lemon, whatever. Just a single prop that has to appear, be used, in each film.

That would ensure the film to be made for this next festival. Well, that's my two cents.

Isn't it enough to make everyone have someone spying on someone within six minutes? I'm not sure how many people have actually conked out a coherent six minute short that entails spying as it's theme.

Cameras: Really, even if someone pulled a Red short out of their ass, it wouldn't matter. Better camera doesn't mean better product. I agree with Charli when I say that it's all presentation. As in, Script, Execution, and concept.

 

[Policar]

Cameras: Really, even if someone pulled a Red short out of their ass, it wouldn't matter. Better camera doesn't mean better product. I agree with Charli when I say that it's all presentation. As in, Script, Execution, and concept.

I agree about the arbitrary story/prop limitations; we don't really need them if the genre itself is already specific. The name thing wasn't bad, but a prop or something might pose a problem, and would definitely draw the viewer out of the story.

I'm still pretty against the idea of using whatever camera you want. Obviously script and execution matter most (really is there anything else?) but the equipment is a part of execution. Furthermore, using a higher end camera really alters the production techniques. You need a focus puller, a first AC, a cinematographer, as well as the director and sound guy and that changes the on-set dynamics entirely. The whole idea here is low budget stuff with an emphasis on making a movie look as good as possible under set circumstances, but more importantly, working within an environment of freedom in which people can express themselves and focus on what really matters--as you say, the script and how it's executed. The whole thing is almost centered around a mini-auteur aesthetic, and I like that.

No restrictions in equipment will spoil this, as we'll have traditional large crews competing against small crews, and the focus will be less on the style of production and more on technical finesse. Don't say this doesn't matter; every other thread I read here that's not 'what's that clunking noise' is about 'film look' 'scene file settings' 'what adapter should I get' etc. etc. Also, there's a sense of community in us all using the same equipment and being able to experience other productions vicariously thereby and learn something from this. I feel pretty strongly about this, although I think a 1/3'' CCD or under is a good rule (even if an XLH1 with fiber optic outputs would blow away a DVX or something) because it at least facilitates a common production experience and a sense of community. I'm not adverse to a "redfest" but I think it should be something different, and a "film fest" is fine but we already have those. Altering the camera requirements too much spoils the sense of community.

On that note, how about a Dogme 95 fest? (I still vote for comedy, though.)

 

[Kholi]

Furthermore, using a higher end camera really alters the production techniques. You need a focus puller, a first AC, a cinematographer, as well as the director and sound guy and that changes the on-set dynamics entirely.

That sounds like a reason not to use such a camera for a six minute short. You just kinda gave a good arguement for the opposite.

The whole idea here is low budget stuff with an emphasis on making a movie look as good as possible under set circumstances, but more importantly, working within an environment of freedom in which people can express themselves and focus on what really matters--as you say, the script and how it's executed. The whole thing is almost centered around a mini-auteur aesthetic, and I like that.

Who ever told us that we had a set budget or low budget? It's your choice what you spend on these things and how far you go. But, we were never ever limited to a low budget deal. A stipulation of competing was using DVX or HVX, not having a low budget, etc., etc.

No restrictions in equipment will spoil this, as we'll have traditional large crews competing against small crews, and the focus will be less on the style of production and more on technical finesse. Don't say this doesn't matter; every other thread I read here that's not 'what's that clunking noise' is about 'film look' 'scene file settings' 'what adapter should I get' etc. etc. Also, there's a sense of community in us all using the same equipment and being able to experience other productions vicariously thereby and learn something from this. I feel pretty strongly about this, although I think a 1/3'' CCD or under is a good rule (even if an XLH1 with fiber optic outputs would blow away a DVX or something) because it at least facilitates a common production experience and a sense of community. I'm not adverse to a "redfest" but I think it should be something different, and a "film fest" is fine but we already have those. Altering the camera requirements too much spoils the sense of community.

I completely disagree with you. This is pretty much the reason why we can't get top-notch story in these fests: everyone's overtly concerned with pixel counts.

On that note, how about a Dogme 95 fest? (I still vote for comedy, though.)

Jarred spoke. SpyFest it is. No need to argue it anymore.

 

[mikkowilson]

Sheesh .. can't we get the current fest done and over before we go off about the next one?


... SPYFEST! I am totally in! Can I use an XL1?

- Mikko

 

[Barry_Green]

Okay, here's where I see it: the whole point of the DVXFests was not to do something low budget, or whatever -- it was to get DVXUser members involved, making something, sharing something, and doing something AS A COMMUNITY.

So we had specific guidelines. We were a DVX/HVX community, so we used "our" camera. We set up specific rules to follow -- whether it was "one script to rule them all", or a genre (like ZombieFest), or a prop (like the photograph one) or a name (like Eric). The goal here is to get people working together, or similarly, as a community, sharing with the community, growing the community. And every film that gets entered gets screened and shared with the rest of the community, no matter how good or how bad. 'Cause it's OUR fest.

So when someone says something like "let's use any camera, on any genre, with no restrictions for lines or credits or running time or whatnot" -- I say fooey. There are already 10,000 other, generic festivals you could enter for that. What makes ours special? What makes ours "ours"?

We gotta have something in common that's unique to us, or it loses its special-ness. Might as well start charging entry fees and everything else that the other festivals do. 48-hour film competitions are fun and popular because there's that common bond and common restriction -- you only have 48 hours. That's the heart and soul of 'em; take that restriction away and what do you have left?

DVX/HVX has worked well for us. We've never been a "Panasonic" fest; no VariCams or SDX900s were allowed. But I think we're going to be seeing an influx of aspiring filmmakers with these new $1099 Canons, as well as when a viable AVC-HD cam appears, so maybe we'll have to redefine or revamp the camera-based notion. But I still don't think a RED would fit here. Even though I'm a RED reservation holder, RED was split off from here over to RedUser.net for a reason. It's a very specific tight bonded community, and it deserves its own REDFest.

DVX/HVX also worked well for us because, frankly, that's what we all had. The question is whether there are enough Canons and other brands, and members here using them, that they form a significant portion of the community and should be included. And if inclusion of them keeps the fest with its community nature, or if it dilutes it to the point where it loses relevance as a community-bonding event.

I don't know the answer to that. But I do know that the fest should reflect the community, and the community should reflect the fest. This is, I think, our best fest yet -- fantastic entries, excellent growth from the filmmakers, and a bigger percentage of films ranked 7 or above (on my informal ballot) than any fest we've ever had. It's on a roll. Any changes should be carefully weighed.

 

[J.R. Hudson]

SPYFEST IT IS