What does a film intern do?

Film production interns are sometimes asked to perform a wide variety of production tasks that can range from administrative answering phone calls, or emails, sometimes they are tasked with researching a host of different topics. Film production interns are sometimes asked to edit videos, and photographs, or work with lighting or with sound. The overall experience, for me anyway, was learning about how film production flowed when it came to capturing as much on film/video as the time, weather, and actors would allow.

In the early days of my film production life, I served as an intern on a couple of locally shot motion pictures. Aside from my first day on the set search for a C-47, I was a flag person who, armed with an umbrella, provided some much-needed shade from the hot noonday California sun for actor Darren McGavin. Providing both him and myself with some protection from the solar rays while the rest of the production crew scurried about to set up the next basketball court scene Darren told me that when his scene was over he would be headed back to Europe to join his family on a barge to continue their vacation. 

I told him that in a few days I would be taking my family on a one-week cruise of the California Delta onboard a houseboat and a boating conversation between us went on until the director sent word they were ready to shoot the scene. On the same film project, at another location my intern duties landed me and another intern, the keepers of a giant spotlight, illuminating a beachfront hotel from a pier in Santa Cruise Ca.

My internship introduced me to the army of behind-the-scenes gaffers, electricians, carpenters, assistant directors, and more necessary to being a major motion picture to life on the big and little screen. My internship also went a long way in helping me establish a network of film and video production specialists, writers, directors, and producers that would eventually result in some other film production jobs coming my way. 

That other intern I spent most of a chilly night taking turns to warm ourselves beside the giant spotlight contacted me a few years later for a movie he was directing and asked me to be the behind the scene videographer, I said yes and went to work on the movie Skin Deep.

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by TimeStore

Film production interns can get paid but there is really no internship payscale. I did not get paid but I did value the experience. The time I spent working on the production as an intern was usually my own time, meaning if a school, work, or anything else got in the way I was free to go take care of it. My time on the set as I remember was totally up to me. Not all internships work that way so take the time to get an answer to any/all questions important to you, such as "will I get paid?"

A good film production intern will find the following skills helpful and in some cases necessary. Knowledge of editing and editing software, some strong storytelling skills, and most important of all good teamwork and communications skills mixed with the ability for attention to detail and organization will open some film production company doors.

What camera does Netflix use?

There are actually quite a few different cameras that are accepted by Netflix like the Canon C-300 Mk II and III, The Panasonic BS1H, BGH1, and the S1H. The Red Komodo 6k and the Panavision DXL2 to name just a few. This post focused on the ARRI Alexa 65.

The ARRI Alexa 65, at 54.12 x 25.88 mm, is the largest sensor from ARRI. More than a few huge Hollywood movies have been shot using this camera. The ARRI Alexa 65 is a Netflix-approved camera and this post is sprinkled with some useful information about understanding some of Netflix's guidelines. The Alexa 65 has been approved for anamorphic capture. When using the Alexa 65 the following setting is preferred by Netflix 6k (6560 x 3100) in ARRIRAW which is another way to ensure that your footage can be used on Netflix, which by the way has some fairly strict image capture requirements.

The sensor has to be able to capture a resolution of 3840 pixels per width so you want to make sure that your camera will be able to shoot a minimum of 4k UHD. As mentioned above your camera should be able to record in a Raw format like ARRIRAW, REDCODE, X-OCN, or in compressed format with intra-recording and a high bit rate like ProresHQ or XAVC. The minimum data rate should be 240Mbs at 10bits UHD 2398. All files should contain Timecode, ISO, Frame rate, WB, etc., metadata. You will also need at least 10bit of log processing or a minimum 16bit linear recording.

You'll want to use as wide a color space as possible, capture as much shadow, and highlight information as possible with the log profile. I don't recommend this camera for the beginner. For the student, or beginner creating a low-budget creative film shooting with a mirrorless camera will do. Some of them can be even better than a camcorder when it comes to low light. The compact system of the mirrorless camera can shoot stills and great-looking 4k video and can fit different lenses.

Cameras capable of being acceptable by Netflix don't come cheap in most cases to rent, or to buy, but the quality you need is there.
 

How to become a filmmaker?

Most of the filmmakers I know are an interesting blend of talent and education and since there are some skills involved step number one for becoming a filmmaker would be to finish high school. Complete high school. Most of the writers, directors, and producers I have met have a sizable amount of college under their belts and have earned a college degree, so add a bachelor's degree if you can.

Seek out an internship, just about every film/video production studio and even major television station offers some kind of internship in film/video production. Produce a short film of your own. These days all you need is a good phone with a camera. Whatever you have access to capable of recording moving images use it. Do what you can to develop film-related experience.

Pillows
by GK Designs

Build your own professional network for example when I was in school I joined an organization called SMPTE (Society of Motion Picture & Television Engineers) which didn't require me to be an engineer and accepted interested non-members. Their meetings were once a month and there was no requirement to attend.

As a result, I ended up running into other film and video-related friends from other schools and just about every production manager from every major production house and television station in the SF Bay Area. One of the SMPTE meetings was held at George Lucas' Lucas Productions and another at a television production company in the south bay where I ended up being offered a job on a television sports program titled Giant's Vision.

Besides SMPTE there were the Broadcast Engineers and other film art associations that made building a professional network relatively easy with a little effort. My interest was always to write and direct my own film/video production and with the help of all the above, that opportunity finally did come earning a trip to Hollywood and everything.

When I started out I didn't know where, or when, my filmmaking opportunity would come from but following the steps above I did everything I could to sharpen my filmmaking skills so that when the opportunity came I was ready.

How long does it take to complete a movie?

 

Well, if you go by Hollywood standards the average time that passes between the announcement date, the date the project is publically announced, and the eventual release date, the date the project reaches the paying public and the cinema, is about 871 days or two years four months, and nine days.

The above encompasses the first day of pre-production, the first day of principal production, and the first day of post-production. Put all of the above in the hands of a, relatively well-oiled, production staff and there's another finished motion picture in the can. I have almost always functioned at the Low to NO budget end of the production scale and even though most of my video projects were headed more for the small screen than the big screen I was still able to get my film production tasks done.

I think the thing to remember is the less complicated and the shorter your film project is the easier it will be to bring your film/video production to the screen. To shoot on a minimum style budget try very hard to restrict your locations to 1 (as is only one) The more different locations you have the further about zero your budget will need to be.

The good thing about creating your own filmmaking production is that you are in complete control. Control of the shooting location ideas, the budget (if any) securing the talent, and production necessities. Filmmaking these days takes time and money and has become a giant and expensive undertaking.

So for those of you who want to get started and are working on close to zero/no budget here are some filmmaking cost-cutting ideas that have worked for me. Since just about every movie idea requires a location the cheaper the location the better. Keep in mind that if you're planning on shooting anything out in the public, permits may be required.

Shoot as much as you can without a production crew. For this, you will need to be on your toes production-wise when it comes to capturing good images and good sound. If you're lucky enough to have a production company in your area sometime if you get lucky they will allow you to shoot some or all of your production at their facility.

The key will be trying to find everything you will need to complete your filmmaking idea without having to sell everything you own. When it comes to low-budget filmmaking a friend of mine named George used to say when working with a budget that is under-low, mix the right plan with the right attitude and you'll be able to get your film done.

What's the difference between Film and Video

The difference between film and video is pretty large, even though both forms of capturing images are referred to as filming. Basically, the term film refers to a motion picture movie that is educational or artistic and photographed on film. The term video refers to motion picture images captured in digital form and stored on videotape or some other digital recording device. The film was usually meant for the big screen, while the video was usually confined to the small screen. Some advances in video camera I witnessed at George Lucus' new SF location can make it pretty hard to tell film from video on the big screen thanks to advances in video resolution. But when it comes to resolution, I still think that film has a video beat.

Overall film is usually a more expensive proposition than video when it comes to satisfying the budget requirement for some productions. Film requires a film camera with sound capabilities, film processing, and separate production equipment to view, cut, and edit the film. You will need to wait until your camera film is processed before you can see what your camera lens has captured. With a video camera, you can usually press rewind to instantly see what your video camera lens digitally recorded and if everything was in focus move on.

Film requires a film projector suited for the millimeter film you are using a suitable viewing screen and lights out! When I first started making movies back in the days B.C. (before cable) I was using a super 8-millimeter movie camera with sound, which meant I needed a super 8 mm projector, with a separate editing setup to show my mostly family horror films. This was of course after my two or three-day wait for my super 8-film to be processed by my local drug store.

With most video cameras you can simply press rewind to see what you have digitally captured right at the camera, or with the appropriate video player and a television or video monitor you can get instant real-time feedback while working on video production. Depending on the finished product you want to come up with (a roll of film, or some digital film storage that suits your need) and in some cases, both film and video both forms of artistic expression are good for communicating dramatic information, feelings, moods, and ideas.

Production Accessories

Even though today most theaters no longer play movies on film most of the movie makers I know still prefer to shoot their motion pictures on film and believe that film is still easier to edit than digital files. Digital filming is pretty much the standard these days but there are still movie makers out there, shooting on film every year. For me, the decision as to which mode of shooting is best depends on my budget. So whichever way you choose to go (Film vs Video) the thing to remember is that.

In its most basic form film is a series of still images that when shown on a screen, create an illusion of a moving image due to the phi phenomenon, like it says in Wikipedia. Scenes are photographed/filmed with the film camera and when all the principal photography and editing is done, you have a motion picture.

Video cameras use magic, electronic magic that uses optics, and electronics, to capture static and moving images electronically and while I used almost exclusively video cameras these days, I am still trying to understand the magic that makes video cameras work.

What is a wrap-party!?

 What is a wrap party?

It's a wrap---party! And, it's held for the crew and cast to celebrate the completion of filming on film or some digital format, the final production shots of a film or television program. Officially bringing to an end the production stage of the film/television project and the beginning of post-production. GK Designs was set up to be part of the post-production party fun even though we are usually contacted during the first stage (or pre-production) especially when customized post-production items are needed.

GK Designs is looking for production coordinators, and production managers in need of crew/staff ID badges, special made signs, with acrylic film and video theme awards, for any awards presentation. There are also customizable business cards, caps, and t-shirts available, ready to be imprinted with your company logo, name, or special message. We can help once you set up your invitation list for cast, crew, and if the budget allows it, the addition of spouse and guest invitations.

I realize that staying within budget is very important for the usually very detail orientated and organized production manager and program coordinator when dealing with a wrap party budget. They seem to walk a line between hosting an exceptional wrap party and operating within the allotted budget. GK Designs is ready to work with you when it comes to making the most of your party budget.

I'm aware of all the different bits and pieces that go into planning such a venture I mean besides hiring a bartender and entertainment, making arrangements for food, creating and sending invitations, choosing and reserving the right location, coming up with the proper insurance, and licenses the smoother each of these steps the better so that you, and your hard-working production crew is ready to party at the end of principal photography.

Want invitations with your production logo on them, party signs, specially made extra-large greeting cards? Give GK Designs a call or drop us an e-mail and I'll make sure the creation of your wrap party invitation is one of the no-worry items on your wrap party bucket-list tasks. It is always gratifying to reward a production crew for all of their hard work and dedication to a production project and I have always thought of a wrap-party as an excellent way for crew and cast to do some non-pressure relaxing and networking. 

Wrap parties have always been a great way for actors to shake off their character and for the cast and crew to set up potential future work for themselves before all moving on to their next project. This is a reminder that GK Designs is ready to help you with any post-production invitation and greeting card needs. 

Film & Digital Video Release Form

How important a release form is to your film or video production depends on how you intend to use the audio, video, or photographs your camera lens has captured? What I mean is that there are actually instances, in film and video production, where a talent or location release form may not be necessary. For example, if your work is produced for editorial purposes and you represent a news organization you don't need to worry about a release form or waver, however, if you're not a news organization you might be headed for a grey area without a waiver or release form. Even documentaries that are editorial in scope can stray into that same grey area where it might not be clear whether you need be concerned about a signed release or not, and a miscalculation could lead to a post-production snag that can prevent all or part of your work from being shown.

Who would do such a thing, you might ask? Well in one case I know of the very people who agreed to participate in your production, offering their information, location, and expertise freely at first, until you show up sometime later and try to explain to them how the simple project you put together to try and draw attention to your production skills, or your brand, has now drawn so much attention the production project they worked on had gone viral, nationwide, all over the world and we're about to be rich---so could you please sign this release so I can go accept my award?

This post explores the ins and outs of the talent and location release form and when to use a release form. There, by-the-way a happy ending to that situation referenced above, the post-release signing went well, but because they weren't sure they needed a release in-the-beginning, they had to track down the talent in the video segment to get the release form signed. (one of the signers had moved out of state) It pays to be prepared when something you worked on commercially attracts someone interested in buying your work, and among the first questions they ask is: do you have the releases for the people and the locations shown in your production? In other words, do you own all the rights to your film or video?

You want to be in a position to answer yes to questions like that so, as a rule, anyone who will appear in your film or video production, whether they have a speaking part or not, should sign a talent release form. You should also obtain consent, in writing, to use any private location's that appears in your film. Always try to be mindful of where you are shooting, some places like ballparks and amusement parks that you might think of as public places, in reality, are considered private spaces; where commercial camera work is concerned. When in doubt get a signed release and protect your future self from any future legal troubles. Another thing to be careful about is showing products in your shot. Unless you can get a signed release form from the maker of any product shown in your film/video production, especially if you can read the product label in the shot (Coke, Nike, Budweiser or any other recognizable product name) find a way to hide the product label or, even better, don't use the shot.

Make sure that anyone who signs your talent, or location release form is 18 years or older. Anyone under the age of 18 must have a parent or legal guardian sign for them. There are plenty of places online to see what a release form looks like, or download for free. I like the idea of having a release form tailored to my production needs. The reason is not every release form may apply to your production needs, so if you only deal with still photographs or audio recordings a film and digital video production release form might not fit your needs. The ideal situation would be to have your legal person go over or help you create your own production specific talent, or location release form, or waver.

Some of the things every good release form should have is a line the identifies what your release form is for (talent, private property consent, audio) a clear statement that you will have the right to sell or assign to a third party your film or video material containing the video images and any private location shown in your production. Your release form should spell out the fact that the signing is irrevocable so that you won't need to set up a two separate filing system for releases that are usable and releases that are not, your release for should also make it clear that the person signing the release knows upfront they can not terminate the agreement at any time. Noted that the release is signed by the individual appearing in the film, or the person granting consent to use a private location. Keep in mind what I said about someone under the age of 18 and you should be on your way to figuring out which release form best suits your production needs.

Unless you can prove, in writing, that you own all of the rights to the digital video or films projects you create and intend to market commercially it will be hard to get a major player like, distributor, and other media outlets, to invest in your work without the fear of being sued themselves, for accepting your work. Protect the film or video work you create with the knowledge that anything of a commercial nature (a product image) or any person that appears in front of your camera could pose a legal problem unless you take the steps to protect your work. If you can't license it, or get your talent or the person in charge of a private property location to sign a release form or wavier ( I think you know what to do) don't use that footage in a production you plan to market commercially.

Getting the Shot

This post takes a look at some of the terms involved with "getting the shot," in particular, the Cover Shot, the Master Shot, and the ever-popular C.T.O. shooting. If you have never heard these camera shot terms before then this post is for you, the newcomer or novice. This post contains the explanation for all three of the shots listed about, but let me start with this. In film and video production the word "shot" refers to two distinct parts involved in the filmmaking process, technically "the shot" represents the moment the camera starts rolling film up to the moment it stops rolling film. In video or digital camera terms that would be from the time you push the record button (recording) to the time you push the stop button, in that time you will have captured your shot.

The Cover Shot

In basic terms is the amount of footage shot and the different camera angles used to shoot a scene. Imagine setting up the cover shot for the chase scene in the Steve McQueen motion picture Bullitt where your audience will be able to see several different angles of the same chase sequence, in many cases without even knowing they're looking at the same action from a different POV (Point Of View) thanks to great editing. More cover shots for a scene will mean that there is more usable footage for your film editor to smile about as she works to assemble the final cut. In the film industry when it comes to scene footage, "it is better to have and not need---than to need and not have," as my JR. High School homeroom teacher Mr. Johnson used to say, but where Mr. M.H. Johnson spoke about that rule in more general terms I'm applying his lesson learned to film and video production, and the very important cover shot.

A Master Shot

The filming/videotaping of an entire dramatized scene from the word Action!---To Cut! (start to finish) is what makes a master shot. The master shot is usually filmed from an angle where all of the players can be seen in the viewfinder. In some of my television work, this shot was also known as an "establishing shot" which is what the master shot can sometimes double as. A long shot that keeps all of the key players in view.

C.T.O.

The last item on the shots list above, the Color Temperature Orange, or C.T.O. which is really not a shot instead refers more to the lighting people amongst us, done right as a director you can create some pretty memorable scenes shooting C.T.O., a lighting process that has more to do with the corrective gels used in lighting to convert the color temperature from daylight to tungsten or take a scene from flat to warm in screen appearance. It's the combination of all the above and knowing how and when to use them that will make your productions great. The screen, large or small, is your canvas and all of the above can help you sweeten your film and digital-cam projects enough to create the right on screen mood and keep people glued to their seats when being entertained by one of the projects you worked on, that is my hope anyway.

Location Scout

The job of the location scout is to find a location that matches, or come as close as possible to matching the location described in the script, along with any logistical information how accessible is the location to production crew and vehicles, is there electrical available on site or will you need a generator? These are just a few of the question a good location scout would be able to answer all in an effort to assist in pinpointing the exact location for a scene(s).

I'm thinking that it would be fun to be working on a big budget film as a location scout with the expense account and budget to travel the world searching out exotic locations for the blockbuster motion picture I'm sure would follow, but then again, I'm always thinking in the ideal. So let's take a look at some movie shooting locations in the bright key-light of reality. To me, a truly low budget film is basically shot in one location. Be prepared to add more zeroes to your budget with each new location you add. Unless you're shooting a major motion picture like 12 Angry Men, filmed in one location (a courthouse) with most of the scenes taking place in the jury and the courtroom, again, I refer to "the ideal," especially with all the high power talent that appeared in that the black & white motion picture 12 Angry Men.

Whether your production is locked down at one solid location, or your script calls for several different locations the job of location scout can be key to keeping your production on time and on schedule. On time because it will list your proposed shooting date(s) and the approximate hours of your shoot, and on schedule, because it should eliminate any last minuter surprises like parking, available electrical power, or perhaps the location owner's permission, in advance, to attach a piece of lighting equipment to some part of the location owner's home. (it happens!)

With nothing to slow your production roll, you can't help but stay on time, right?! Well let's just say, that would be the ideal situation. There are many sources online now-days where you can get location scouting information. You really may not need all the information I have seen crammed on to a location scouting sheet, but I suppose the more you have the fewer question about a particular location you will have, while you're setting up your camera(s) A good location scouting sheet will answer questions like: are there any fees involved for shooting, is the shooting Interior or Exterior, (or both) a route to the location, if the location happens to be hidden in the mountains. Parking fees, travel time, is there phone, or cellular service available?

What is the best day for the shoot, permit office address, police contact, the name of the property owner (especially if you have them held up in a hotel several miles away:-) In some cases, even the size of the doorways at the location, or whether or not there is an elevator can be important intel. Is there nearby construction or other unavoidable production/potential-showstoppers you might have to deal with?

Did you forget the camera, location releases, certificate of insurance---okay, I'm just messing with you. (about forgetting the camera) All of the things I have listed above and a lot more can be part of a location scouting sheet. When I first started making films, then videos, then digital I didn't follow any of the above, mainly because I didn't know about them. As my shoots grew more sophisticated and I ended up working in the industry, I learned what a lifesaver knowing as much as you can about your intended shooting location, in advance, can be to your production and your peace of mind.

I still have some of the old paper Location Scout Sheets even though my laptop holds all of my location info these days. There is also lots of other cool information about location scouting out here on the information superhighway, hopefully, you will find the above suggestions useful.

How to become a good Screenwriter

Here are a few ways to become a good screenplay writer---number one on my list is to make sure you used the correct screenplay format. I was guilty of this mistake when I first got into committing my story ideas for film/video in the spec-script-form. I made it my mission to learn everything I could about the screenplay writing format after that, and in the long run, my efforts paid off. Since that time I have read television scrips, stage play scripts each one of those scrips is unique unto itself. By the time a spec script morphs into a shooting script, you end up looking at a list of instructions for everyone in the production crew to follow. Knowing the proper screenplay script format, in my opinion, is a very important first step to becoming a good screenplay writer.

Another good quality of a good screenwriter is being able to develop productive writing habits. If there is one thing good writer do well it is to write! Every day! Good writers don't suffer from "writer's block." If their mind is not in creative mode, there are proofs to be read and writing corrections to be made in other places, on other pages, Almost every writer I know has a different way of dealing with low created energy spells, but none of them ever tells me they have run into a writer's block. Part of being a good writer, I believe is to be able to develop the ability to simply sit down and write. I am not saying write well, or write correctly, I am simply saying write. I usually get so into my writing when I'm working on a story that I need to keep writing to find out what happens next.

Another good thing for a new screenwriter to do is to read successful screenplays in your spare time, like the ones in the paperback Three Screenplays, by Barry Levinson (ISBN0-87113-435-7) that features the complete screenplays for the movies Avalon, Tin Men, and Diner or the paperback version of the screenplay for the motion picture The English Patient (ISBN 0-7868-8245-X) two of my favorites. 

Good screenplay writers are not afraid of criticism so don't be afraid to accept constructive criticism of your writing. The way I chose to get feedback on my screenplay writing was to join a small screenwriters group made up of four members from the San Jose Writer's Club where I was a member, the group met once a month. Each month one of us would duplicate and share our screenplay with the other members who would, over the course of the month, read and mark up their copy of the screenplay with suggestions, or comments. 

Naturally, I wanted to hear only positive things about the screenplay I had labored so hard to produce over that past couple of months but that was not always the case. Still, I didn't get discouraged and when something was called to my attention that I had not considered I would find a way to add or subtract the suggestion in a way that I could feel good about. The experience did teach me to think more about my audience than I had before and to take nothing for granted when it came to the development of my characters. Constructive criticism of your writing and the ability to accept or reject that criticism in a positive way is the mark of a good writer. Whatever way you chose to get some feedback on your writing will be helpful.

It's the writer's job to describe the story in detail from the mood of the characters to the physical environment the character finds herself in, remember the shooting script laundry list I mentioned above the actors, makeup artist, and gaffers are all involved in your writing. Using other ideas, or your own the driving force behind your screenplay will be you and as a screenplay writer, the willingness to accept that responsibility can usually get you paid quite well. How much money can you expect to make if you perfect all of the necessary writing skills and get very lucky? Low budget films can usually net the screenwriter $55,000 to 60,000 dollars. A comic book scriptwriter can expect an average of from $100 to $300 dollars per page (sticking with the 120-page standard). And dealing with the high budget end of the screenwriting business scale you could get paid more than $100,000 for your screenplay writing work. Good luck and don't get discouraged, I'm rootin' for you.

Royalty Free Motion Picture Sound Track

If your movie project budget won't quite let you afford a full Orchestra to play the soundtrack for your production you can still get the job done with one of the Royalty Free Motion Picture Soundtrack Music selection below. I had this problem during a documentary I was working on. Pre-production and production had gone well now entering post-production it was time to incorporate the music chosen during pre-production into the chosen scenes, and it worked, the music fits each scene like a glove. I had paid a little over $99.00 for the entire music collection which included sound effects too.

It was a combination of things that went on the make that documentary as successful as it was, but the music played a big part in creating the desired mood and adding to the overall quality of the project. I also noticed that our time in the recording studio went a little smoother too because instead of a group of highly paid musicians straining for perfection, and believe me if I was paying them I would want them to strain for that perfection. Instead, working with the Cd's and having an entire orchestra at my studio engineers fingertips I found the entire post-production exercise easy and enjoyable using my Royalty Free music library.

I started out making NO-budget films (more accurately videotape productions) In fact a friend I used to work expressed my music budget more accurately he uses to tell me that my budget was "under low." Luckily for me, I am a musician who knows other musicians and was somehow able to come up with music to fit my early projects somehow. Royalty Free Music may have been available then but it hadn't made it to my radar yet, I'm glad I know about the royalty-free production music choice now. If this helps you, you have made me smile.

Selection One

Selection Two

Selection Three

Selection Four 


If your budget is big enough---nothing beats an original music score and a live orchestra, it's just nice to know that Royalty Free Music can save the day for a low (or an under low) budget film or video project. Special note, Royalty Free doesn't necessarily mean Free Music. Almost all Royalty Free music collections have a monetary cost attached to 'em. I have seen Royalty Free Music priced from under $99.00 to over $300.00 dollars, so give the music a test drive (listen to it first).

Snowball 88, Hello World!

What is Snowball 88? It's an independent movie production written by me: Hank Gray, and directed & produced by Viquii Johannsson and, it is also the title of our new blog the---Snowball 88 Movie Maker's Blog. If you're a movie maker, screenplay writer, makeup artist, actor, or production crew pro, or semi-pro you are in the right place for news, information, and shared opportunities that will help you keep up-to-date with today's independent movie making industry. You will even find the Snowball 88 Blog a cool place to stay abreast of some of the constantly changing terms of employment in the entertainment industry as well as industry employment opportunities. Our goal is to help independent filmmakers turn a comedy of production errors into an award-winning production by sharing useful information that will help you.

I first met Miss Johannsson when I was directing television in San Jose, in the early '90s when she came to work as part of the production crew. The two of us have worked together over the years on various film and video projects and Viquii, was a part of my award-winning production A Time to be Remembered, a Juneteenth Story in the mid-'90s. The Snowball 88 Facebook site has been around for a few years and is also a good place to pick up on the independent and Hollywood industry information and insight and now we also welcome you here.

Everyone here at Snowball 88 Movie Makers has been involved in Motion Picture or Television production at one time or the other and are currently involved in film and video projects, we have all had the need for or have been a part of a film or video productions that have gone smoothly, and some that have not, some movie productions that were successful and some there were not; allowing us all to share those experiences and develop ways not only to help ourselves but help others as well. So when it comes to being involved in a film or video production, as crew, or a cast member, everything flows smoothly through all three stages of production. (pre-production, production, and post-production.)

If you enjoy writing and would like to share information about yourself, or your organization you are welcome to send your post/article to us to appear on our Snowball 88 Movie Maker's Blog. Please submit your article to us at (manager165.snowball88@blogger.com) articles should be more than 300 words, and less than 700 words, if your article is approved you will be notified when your article will appear on our blog.