Monochrome or Movement? 16th September
Updated: Sep 24
We welcomed Humberto from Columbia, courtesy of David Wright, as our latest visitor for the evening. It goes to show how far and wide word is spreading globally about BMM :-).
Reminder: the 48 hour film challenge is on from 22-24 October. The BMM Team comprises of Murray, Peter, Jenn, Emily and Johnathon
Tickets for the BMM Awards (incorporating the John Roberts Trophy) are about to go public, so make your reservation NOW by contacting the cinema directly. https://fivestarcinemas.com.au/the-elizabeth/movie/bmm-short-film-awards. QSFT have kindly donated 5 workshop vouchers to be used as prizes and there might even be a raffle at the door. The fantastic organising committee of Glenn, Emily, David and Kathleen have arranged 3 awards for the night. We have 2 judges from Sydney and 1 judge from QSFT are lined up, so get your entries in. Entries close 9th October and late entries will not be accepted.
UGG Competition We had a good number of entries in the UGG competition of which the theme was monochrome or movement with a focus on lighting.
Birds a moving - Peter Waterman - A cute and fun presentation of the antics of birds set to music, accentuated by beautiful film work that would have been stunning had it been perfectly set/timed to the music - reviewed by Catherine
Junior Athletics - Glenn Bruce - School children at play form the focus of this short film, with energetic music emphasising their movement and energy - reviewed by Emily.
Redcliffe Revealed - Col Trethaway - A gestalt production that reveals the grungy side of Redcliffe through a series of structures of visually crisp visuals counterpointed by images of human habitation and decline, starkly accentuated by the transitions from colour to black and white. The end result is a whole which is more than the sum of its parts - reviewed by Sally
The Mysterious Case of Burgular Rob - Peter Waterman (UGG Award Winner) - A petty home crime told with a sense of humour, filmed in monochrome with contrasting light and shadow play that enhanced the screen play. Comprising of 33 scenes with a variety of shots selections backed up by an appropriate choice of sound, tight and clever editing and a script with a humourous twist, it was no wonder that it was awarded the viewers choice and therefore the winner of the coveted UGG award - Reviewed by Jenn (winner of the best reviewer award for the second time running)
Thanks ladies, for four amazing reviews!
Script Writing and Narrating a Voice Over - Presented by Paul Michaels
We were in for a treat tonight from our Channel 7 producer (retired) and prolific documentary maker, Paul, who gave us the low down on things that can make or break a production. Research is the key to any production and should form a bulk of your preparation. The script writing which follows should support the vision, The choice of words and 'underwriting' such as dramatic pauses can really engage your audience. Good writers keep their sentences short, and a well written script conveys emotion, rhythm, colour and tempo. As narration is a form of acting, read your script aloud, and improve your narrative skills with repetition and practice. The trick to learn is not to read the story but tell it. Good orators such as Martin Luther King and Winston Churchill were masters of their craft in using short but powerful sentences, rhythm, repetition and underwriting to engage their audiences. Paul went on to show excerpts from the Vietnam War, a Peter Coyote Interview, a David Attenborough recording session and his own production, the Beer Drinking Horse to illustrate his points. Paul then concluded his presentation with a few pointers when in the recorded studio: use a good condensor mic, avoid recording in an environment with hard surfaces (as they reflect sound harshly), and if you are serious, invest in a pop filter to avoid 'plosives when you speak.
The eventful evening concluded with a Director's cut of Ross Stenhouse's production of 'For Love of Cinema', which told the humourous story of a hapless cinemagoer whose movie watching experience is invaded by a series of inconsiderate patrons. The task set for Ross was to apply the concept of script to screen, which he enhanced (with the creative licence of a Director, as you do) with a jazz method, in which he instructed his cast to improvise, with hilarious and effective results.
Written by our secretary, Nigel O'Neill.
(Great job, Nigel!)