To try or not to try? Join us as we get an inside look into the inception of Longshot Collective, a team conceived by a group of film students grappling with the uncertainty posed by the COVID-19 pandemic.
Netflix’s Dick Johnson Is Dead explores the complex emotions we feel as our loved ones grow old in a highly imaginative and cathartic story of a daughter’s love for her father as he nears the end of his life. Award-winning filmmaker and director Kirsten Johnson celebrates her father in this bittersweet tribute as a way for them to both cope with the evitable, blending imaginary scenes and real-life events as her and her father experience pain, love and joy.
For people who are new to the world of video production, and what goes into producing a high quality piece of work, it can be a little surprising how much planning is involved. Sarah Hickey, creative director and founder of Melbourne based film and video production company Monster & Bear, helped to break down some of the key aspects of pre-production to help with the smooth sailing of your project once on set.
Video production is a potentially lucrative and rewarding sector. Video content is a key part of our digital landscape, and businesses are keen to include it as part of their marketing, training, and overall branding efforts. Not to mention that to punch through the noise of the competition, there are opportunities to be creative.
As 2020 comes to a close and the media industry begins to look to the future, it’s clear that long-term archiving and remote production will be two of the most important trends in 2021.
With translation, your films and videos, or those of your clients, can reach an international audience using dubbing or subtitles. For some of you out there in the Production Hub world, adding translation services can mean another stream of income. It also means that you can become a one-stop shop.
Located in Pleasantville, NY, the Jacob Burns Film Center (JBFC) developed its Creative Culture fellowship program to help champion underrepresented voices and diverse storytelling. Now in its fourth year, Creative Culture has helped 35 filmmakers create projects that have been selected by top tier film festivals, such as Sundance, Berlinale, and SXSW, and acquired by Fox Searchlight, POV, NY Times Op Docs, and Staff Pick’d at Vimeo. This includes recent projects such as Adam Meeks’ “Union County” which premiered at this year’s Berlinale, and Crystal Kayiza’s “See You Next Time” which was selected at Sundance 2020 and recently acquired by The New Yorker.
It just wouldn’t be the awards season (virtual or otherwise) without our very own ProductionHUB Awards of Excellence. Every year around this time the editorial staff at ProductionHUB along with some noted industry experts takes a long look at some of the latest in new offerings in production equipment and software. Of course as with everything else going on this year, the logistics were a little bit harder. But the show must go on so here we are! ProductionHUB proudly presents the 2020 Award of Excellence winners.
Color is one part of the creative process that has distinct advantages to being completed in person. Typically, you’re working with the original footage, which can be quite large and hard to transfer over the internet. If you’re the client, it’s best to see exactly what the colorist is seeing. If you’re the colorist, you definitely want your client approving the color on your color calibrated monitor.
Sooner or later, every commercial filmmaker comes across a project that, for one reason or another, requires him or her to conduct an interview. Whether it’s a brand film, documentary, or testimonial, interviews with ‘real people’ (non-actors) bring a unique set of challenges. Most producers know this, and they also know that they ought to prepare for this kind of interview-but how?
