The art of the moving image is not what it used to be. Writing and making cinematic media is more diverse than ever; from
big screen to small, from live action to gaming and machinima. It's time to embrace a new way of thinking.
Tags:How to Make a Better Story Using Motion Sketches,celtx,filmmaking,pre-production,screenwriting,scriptwriting
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I am going to attached this. Background and pop corn.
You recognized it what is this. This is Cinema.
Or at least it was. Cinematic media in the 21st Century is much bigger, bolder, and more complex and diverse it is ever been. The cinematic feed of the theatrical releases is all well and good but cinema is much bigger than a big dark room.
You will be obliged by all means go seat in the dark room and write. There is always be a place in well full, writers to work outside production process. Just is it always be directors who know by all that technology. But in between our opportunities to be media makers.
Because there is a writer on earth who is a better writer for understanding editing and there is an Cinematographer on the planet, who is a better Cinematographer for understanding writing.
And God knows, the reason a director on earth better plays to be a director than one who understands all those processes and how they fit together, and that is what the 21st Century of digital cinematic medias about. Impairment, self-sufficiency, about being media maker, not just a facilitator for it.
Traditional cinematic production could be say in three things. It is linear, it is hierarchal, and it is segmented. We make good films like this. We work in order, from left to right assembling pieces and they things happen in those orders.
It is hierarchal, because certain processes are privilege above others. We do things in a very strict order. We do not do the sound before we shoot the film for example.
So, in hierarchy and linear process and most importantly of all, it is segmented. We break the production process up to pieces. Free production, production, post production and within each of those, individual components.
That very often they communicate so well. But in the digital age, when the cinematic work is just at home on the mobile phone as it is on a bigger screen, on TVs, on computer matters, and mobile devices all kinds.
Cinematic worked, suddenly takes on a whole new paragon on delivery. And when that happens, segmented; linear; hierarchal approach is to making it just kind of done it up.
Post production tools have already moved down this past and we want editing, visual effects, sound design with separate processes performing separate systems in a, some sort of linear progression. Now, we are quite happily combine this in a single tools with unified processes.
Why not the same pre-production?
Why should not the design inform the script rather than always follow it?
Why not begin planning a sound design while smacking part?
Why not be scanning for locations to help inform the writing of characters?
And why not integrate the breakdown of production logistics into the development of the story itself?
And screen writers, running from multi platform delivery for this story from out set. Means I have to know the technical demands of those mediums for the mobile phone, for the portable device, for the game consoles, for the theatrical release for the home theater.
I need to know those technical aesthetic demands from the moment I start writing and they shape story and they shape ideas. Live action is an option. A theatrical release is not the top of the pyramid. By the time, you have gaming, cinema, mobile devices into the mix. Where all frame works have falling apart.
This where tool like Celtics, allows us to bring those things together but this is not a cell. This is about holistic way of thinking. A way thinking it is about a contemporary approach rather than trying shoe-horn an old way thinking, and a old way working into new technologies in new ideas.
It is about being a medium maker. Able to craft meaning across all the movie image possibilities in the 21st Century.