Independent filmmakers panel at TromaDance Press Conference at American Film Market 2010

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BY AUSTIN BURBRIDGE. SANTA MONICA, CALIFORNIA (CINEMA MINIMA) — A panel of independent filmmakers — headed by director Lloyd Kaufman, and including actress Jaime King, producer Richard Saperstein, director Darren Lynn Bousman, Oscar-nominated screenwriter Josh Olson, writer-director Adam Rifkin, and FilmThreat publisher Chris Gore — will convene at the 2010 American Film Market to discuss the state of independent art and filmmaking during the TromaDance Film Festival press conference.

Filmmakers are invited to attend the event, which will start at 3 o’clock in the afternoon of November 4, 2010, in the Press Room of Loews Santa Monica Beach Hotel in Santa Monica, California. Space is limited; filmmakers who wish to attend should RSVP to Anne Koester at [email protected] as soon as possible.

The annual event promotes the TromaDance Film Festival as a beacon for truly independent cinema. Each year, the fest showcases groundbreaking new films, and new and talented filmmakers — all for free.

Besides the filmmaker panel, the conference will –

  • Present the Soul of Independence Award, bestowed upon one young, deserving filmmaker for embodying the spirit of TromaDance.
  • Present the break-out filmmakers Astron-6 — Adam Brooks, Jeremy Gillespie, Matt Kennedy, Conor Sweeney, and Steven Kostanski — who were discovered at TromaDance 2010, and who have been hired by Troma Entertainment to make their first feature, FATHER’S DAY.
  • Explain why the TromaDance Film Festival has moved from Park City, Utah, in the western part of the United States, to Asbury Park, New Jersey, in the northeast.
  • Announce the latest news about the 2011 TromaDance Film Festival.
  • Sceen a new TromaDance Public Service Announcement

Inspired by Trey Parker and founded in 1999 by Lloyd Kaufman, TromaDance is the first film festival wholeheartedly devoted to filmmakers and fans.

Unlike every other film festival, TromaDance does not charge filmmakers a fee to submit their films. Entrance to all screenings is free and open to the public. The organizers of TromaDance believe that films are meant to be seen, especially when it comes to new filmmakers.

The TromaDance Film Festival Committee is now accepting submissions for TromaDance 2011. Deadline for submissions 2011 February 11. [Entry form].

As the largest film market for independent films, the American Film Market complements the ideals of TromaDance; it serves as a meeting ground for contemporary independent minds. In previous years, the TromaDance panel at the AFM has boasted the contributions of Jenna Fischer, Fred “The Hammer” Williamson, James Gunn, Mark Neveldine, Brian Taylor, Penelope Spheeris, and The Toxic Avenger, among others.

Josh Olson received an Academy Award nomination for his adaptation of the graphic novel A History of Violence for David Cronenberg’s A HISTORY OF VIOLENCE. He contributes to Joe Dante’s Trailers From Hell. He is preparing to direct an adaptation of the Dennis Lehane story, “Until Gwen.”

Adam Rifkin wrote, produced, and directed LOOK, The Series for the American cable-TV network, Showtime. Based on his film of the same name, the series explores America’s camera-crazed and surveillance-based culture. Rifkin wrote DreamWorks’ MOUSEHUNT and SMALL SOLDIERS, and directed DETROIT ROCK CITY.

Lloyd Kaufman — celebrated as a co-founder of Troma Entertainment — is the director of THE TOXIC AVENGER and TROMEO AND JULIET. He is the chairman of the Independent Film & Television Alliance, which produces the American Film Market.

Color correction in features now as aggressive as commercials, videos

The current trend in motion-picture color correction, observes visual-effects artist Stu Maschwitz, is uncompromising preservation of “correct” skin tones.

As filmmakers’ sensibilities became influenced by the possibilities of the digital intermediate (DI) — popularized by colorist Stefan Sonnenfeld‘s work on Bad Boys II and that of Jet Omoshebi on Underworld — more “pushed” looks became commonplace. Aggressive color correction is more likely to render skin tones in an unflattering way, so a colorist’s capability has been judged by the skill to hold pleasing skin tones through severe corrections.

Maschwitz’s article is illustrated by examples from THE INCREDIBLE HULK and LIVE FREE OR DIE HARD. He offers specific recommendations for primary and secondary color correction, taken from his book, The DV Rebel’s Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap. [Prolost]

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