Considered to be the world’s first “Selfie” movie, #STARVECROW is also the first Hypereal film. There’s no director of photography or film crew, no production designer, no set builder, no special effects and no elaborate post-production. What you see is what you get. The focus is on “real life” acting and story-telling.
We wanted to put together a list of the top 10 free and creative commons music databases, to help you find the right music for your film. A quick search shows there’s no shortage of music databases out there. Some with fairly decent collections, others with amazing collections … And then we came across Jamendo.
Jamendo bills itself as “the world’s largest digital service for free music”. It’s been steadily growing over the last few years and currently boasts 470,000 available tracks available to download and a total of 250+ million downloads since the launch of the platform.
It’s unlimited, free and completely legal to do, which is perfect for creating the perfect soundscape for your film. Would you need anymore?
You know all about Found Footage films by now. Everyone does. Films that appear to be cut together from shaky camcorder shots, filmed by participants who are (by the time you watch the film) either missing or dead. It’s a brilliant set-up to build the audience anticipation before the the film begins. From the moment you see the trailer you know the protagonists are in jeopardy of some sort. And jeopardy is, without question, one of the key elements for building dramatic tension and hooking an audience.
You might be less familiar with found footage comedies, but they exist. It’s a formula that’s also crossed over from the cinema into TV series and TV movies too. But where did it all start? The answer most people (except for film buffs and filmmaking students) think of is The Blair Witch Project (1999). But the roots of found footage go way deeper than that.
There’s no recipe for creativity. In fact, the whole notion of creativity brings with it the implication that there are no rules to govern it, otherwise it becomes formulaic. But in reality, in the creative industries and media we have rules applied to many aspects of the work. They’re often there for practical purposes, like designing with gutters on a 2-page fold layout to avoid embarrassing type issues (like the above). We don’t load website backgrounds with hours of video. We don’t film TV ads with porn in them, design logos that need a magnifying glass to be read, use Comic Sans font for Investment Bank marketing materials and so on. The medium, whatever it is, demands a certain kind of treatment, a logic and framework within which the creativity is set. So then, what are the rules that govern HYPEREAL?
Just look at that pic. A cute “Indie” template on an iPad. Fees like the death of cinema doesn’t it? We’ve all heard the phrase “there’s an app for that” and it often makes creative types groan and roll their eyes. In the professional media production scene you’ll meet designers who can’t live without the full Adobe CC suite, editors and effects teams that won’t work without Final Cut Pro, Maya and plus a room full of high powered workstations. The conventional wisdom is apps for editing and creating moving images are just for fun, not serious professionals… right? But hang on a second. That’s not really true, is it? When you stop to think about it, some great works of TV and cinema have been cut using cheap 8mm and 16mm ciné cameras and scotch tape, which were the low-end apps of filmmaking back in the day.
The essence of HYPEREAL filmmaking is to produce films as simply and realistically as possible. This is good news for filmmakers because it means you don’t need expensive kit. In fact, you don’t actually want it either. Why? To answer that question, ask yourself if The Blair Witch Project would have been better if it was shot in HD on high end kit. Sure, the quality of the film might have looked better, no doubt, but the nature of the film would have been spoilt if the quality was too high. In fact they would have needed to spend a lot more time in post-production using effects kit to reduce the quality or nobody would have believed it was found footage shot on camcorders. The same is true of Paranormal Activity.
There’s more to open source filmmaking than meets the eye. In fact, the whole concept is a difficult one to turn into a practical working process. The concept of open source is easy to grasp and makes huge sense for software, by creating products that are “open” you grow a community of developers around it. It builds an ecosystem of helper apps, widgets and improves the interoperability of one piece of software with others which gives it better chance of success. It is a smart way of generating freemium sales, brand loyalty and, more broadly, producing better products. But for film, it’s a different ballgame.
When we started making STARVECROW nobody was sure precisely where the project would lead the team. That sort of uncertainly comes with experiments and unexplored territory. But one thing was certain: The goal was to shoot a professional, feature-length, cinema-ready film on mass market, popular tech. That kind of filmmaking on smartphones wasn’t really possible back in 2010 when the project started, and as a result, the quest to stick to the original mission presented some unique filmmaking problems.The idea came from a conversation over a beer between David Bark Jones and John Carver. It began (as often these things do) talking about how the name of John’s road “Starvecrow Lane” would make for a great horror movie title (without the “Lane” obviously). They wanted to create a film that looked real. No crew. No lighting. The actors would be at the heart of the filmmaking process, improvising the scenes and filming themselves whilst doing it. It was taking the found footage genre to its next logical step.
When you talk about HYPEREAL film to people, the “film with no script” part tends to cause a lot of resistance. It’s hard to accept. How can you make a film without a script? It doesn’t compute. Which is, of course, all the more reason to do it… because the problem with a lot of mainstream cinema is it feels like a computer wrote it.
It’s easy to dismiss this sort of sentiment as just some hipster gripe about Hollywood. But there’s a rationale behind it. A great deal of modern cinema starts out as a pitch using the classic “three act synopsis” model. You’ll recognise it. Title, logline (or elevator pitch, as it’s also called), then a three act plot synopsis. It’s a practical, workable formula. But the problems with formulas in the arts is they have a tendency to make the art formulaic.