Peter Burns writes:
The lectures we are getting - especially those regarding post production sound design, editing and mixing are on par with the best film schools in the country (HFI, NYU, USC, UCLA). Because of the legacy of the Saul Zaentz Film Center, we are privaleged to have Mark Berger as well as Dr. Andy Newell, David Bergad, and Dan Olmsted lecture on post sound production. It is remarkable to have the actual sound production experts who worked on The English Patient, The Wild, Amadeus, The Right Stuff, Apocolypse Now and many more at our disposal. These (and others) are classic pictures that changed filmmaking history in ways.

MARK BERGER OPENED HIS 3/13/08 LECTURE WITH, “THE FUNCTIONS OF EFFECTS”
This included:
[1] Defining charcaters’ emotinal states
[2] Defining the activity level and/or energy of a scene
[3] Defining the geography or space of a scene
[4] Providing transitions
[5] Embedded sounds

Other key points were:
[1] Writing sound design into the script
[2] Specific types of transitional sounds (and how to place them)
[3] Grouping kinds of sounds
[4] Using sound sweeeners and “surreal sweeteners”
[5] Cause and effect
[6] Reduced sound and the importance of pre-mixes to reduce tracks
[7] Semantic subtext
[8] An era’s film and theater sound technology and it’s application by a filmmaker in the creative decisions. For this we compared and contrasted The Right Stuff from 1989 with Test Pilot from 1939.

Mark encouraged lots of class participation.

During this lecture, Mark Berger, presented a famous clip from Apocolypse Now and ran it about 5 times: [1] with all final sound tracks; [2] with just dialog tracks; [3] with just Foley and explosions tracks; and [4] with just machine gun fire and rockets tracks. These were all final sound elements from the original mixes that went into the final product. Mark mixed these himself under Francis Ford Coppola and Walter Murch.

Check out Mark Berger’s player card at IMDB:
http://www.imdb.com/name/nm0074281/awards
http://www.imdb.com/name/nm0074281/

Mark ended the lecture with showing the individual mixes in the ProTools sound application. We’ll be picking up here next week.

I had the opportunity to run into Mark Berger in the parking lot post lecture and I thanked him for presenting such a treat to us. He met my two kids, Tyler and Zoe. He was very sweet and shared with me that, he too, enjoyed experiencing these mixes for the first time again in 25 plus years or so.

When Patrick offered me admission it was the Thursday before class started, so I didn’t have time to doubt myself, I just dove in and faced the challenge. If given more time before the start of the semester, I believe I would have been more afraid to take on the challenge, but it was just enough time to exercise denial. On reflection, I don’t think I would have the strength to go through the first film. Preproduction was the hardest thing I have ever done in my adult life.
I had some experience working as PA on other student sets, but I was never put in charge of an entire film. I don’t think I would have ever done it on my own. I knew preproduction was an enormous task where anything and everything could go wrong and then I was told the first couple of films a student makes are terrible anyway. I think I always avoided making my own films for that reason.
Now preproduction for a short film is a walk in the park. I was lucky because my shoot went very well and we had very few challenges. But even if things are to go terribly wrong during my next shoot, I feel I could handle it. Starting BDFI is like my freshman year at college. It’s the hardest, most stressful time in a person’s life, but after that first semester, college is pretty simple.
Starting Berkeley Digital Film School has made me realize how much work and skill is required to succeed in the film industry. It can be overwhelming at times, but I try to stay focus on the current project assigned. Often times, my mind wanders to the future and I wonder what it is I should do to work in film and of course earn a paycheck to pay off student debts.
I have decided I should start paid work as a PA again in the fall, meanwhile continue to take classes and find my niche. It is too early to tell, but maybe I will develop my skills in editing, or camera work or lighting. I have always have been a late bloomer, but there is no reason why I should start to work in the field.
I would like to prep myself so I can find a stable job working for a Bay Area company so I can pay off my debts at Cal. But stability and film are rarely spoken in the same sentence, but maybe I can work it out somehow. My big goal in life is to live in San Francisco with a job in the film industry. Right now the only place that comes to mind is Lucas Studios in San Francisco and Marin County. I plan to have a meeting with Patrick, go to the UC Berkeley Career Center to research companies and patch up my resume. I am very excited for the future and also a little uneasy, but I just won’t think about it. Again I’ll exercise denial, do the best I can and it will probably pay itself off.

Every now and then there are moments when time seems to stop, and I know I’ll remember them forever; today I had one of those moments. Mark Berger retrieved his footage from Apocalypse Now and had it convection dried, and transferred to digital format so that he could present to us, for the first time in 30 yrs, some of the magic and mystery of the layers of sound he used to create this sound masterpiece. Mark Berger is an exceptional lecturer, and educator, as well as sound prodigy. The artisty with which he is able to grab my attention by assembling an inspiring number of layers of sound, and suck me into the story, even when I am trying my hardest to be an observer, speaks to the power of his talent.
Patrick, thank you so much for making this all possible! I am deeply grateful for the opportunity to learn from the best teachers and individuals I could ever hope for! If you see me stuck in the editing room, like a bear to honey, now you know why.
Hope your dreams are as sweet and sticky as mine,

Ready (or semi ready) to tackle the second film, we are learning from our previous mistakes and getting comfortable with the whole preproduction process. What seemed like a nightmare with a deadline, preproduction now seems like a familiar routine.

Right when I start to get comfortable with film making Patrick gives us a whole lecture on sound and how to prevent our student films from looking and sounding like, well, “student films.” With these new challenges our work can only improve.

Peter Burns writes:
This week will be about the following for me:

[1] Location scouting including sourcing through The Oakland Film Commission
[2] Presenting my initial draft of my script
[3] Getting commitments from 3 Principal actors
[4] Casting for 2 more Principal actors
[5] Casting 30 extras (some featured extras)
[6] Reviewing comparable film scenes with my camera team and planning testing
[7] Raising production cost expenses
[8] Reserving gear (prime lenses, lens adaptor, dolly tracks and jib arm)
[9] Securing insurance
[10] Defining the project team (core crew)
[11] Creating a virtual and practical “office”
[12] Setting key production dates
[10] Defining the project team (core crew)
[11] Creating a virtual and practical “office”
[12] Setting key production dates
[13] Thinking through wardrobe, make-up, effects and art direction
[14] Leaning toward a call sheet and forming the production management book

Peter Burns writes:
I’d recommend using only PDF files at first until you’ve learned about proper screenplay formatting. Stay away from transcriptions because they are typically not formatted well at all. Pay attention to the screenplay draft you are going to read - note whether it is a “post-production version” or a “shooting version” or an “early draft,” etc. and what that means to the correlating phase of production. Read both screenplays from films you’ve watched and not watched. Read one a day. Heck, read TV scripts too!

www.simplyscripts.com

www.dailyscript.com

www.script-o-rama.com

Peter Burns writes:
Eric (senior student, camera ops and post production wizard) presented “The 300″ today and lectured a bit on the use of digital filmmaking post production tools after shooting blue/green screen. Eric is the most advanced person at BDFI regarding Final Cut Pro’s “Shake” application. He’s given me insight into how I can plan my next shoot and actually take advantage of the HiDef medium - for the first time! This is killer. KILLER!

Peter Burns writes:
I’m currently enjoying reading scripts more than watching films! This is crazy but it is true. Fred has urged us to read at least one script per week. I have gotten so used to format from breaking down scripts that I can do it automatically as I read a script AND as I watch a film. We studied “Juno” and last month and I saw it in a theater for the first time tonight. I was unconsciously focusing on casting, the director’s choices, the actors’ delivery of lines, etc. Fred has made me into an “insider.” I’m very proud and confident because of this new feeling. I would say, at this point in my film education, that the analysis of scripts and picture editing will be the most beneficial to me … and it will be something that I probably never cease to do. I think that “Juno” is a better screenplay than it is a film. Fred has asked us to focus on word-smithing when we are satisfied with a scene/script structure. This means slowly and carefully going over each line and rigorously checking that our word selections are deliberate, informed decisions. I spoke to a script editor today and he mentioned that he can spend days studying a single page of script or prose - searching for systems, choices, etc. I’ve discovered the world beneath the viel. I am no longer in the audience and I GET to spend the rest of my life adventuring in the world of filmmaking. This is an exciting dream come true! Thanks Fred!

Peter Burns writes:
I was totally impressed with Valerie’s mature writing and directing. Her first project seems to have met all “project 1″ requirements but with a wonderful advanced touch. He humor, subtlety, willingness to use quiet time and space to develop her characters and conflicts are marks of a true filmmaker. There is a layered quality to her work that speaks to her understanding of the key disciplines. She is a pure director who has payed attention to many good films. Her short reminds me of Bagdad Cafe. I’m looking forward to seeing her future projects. She knows exactly what she is doing.

Peter Burns writes:
Mark began his lecture where he left off previously - source music. He used the film Playing By Heart as an example of source music. He showed two versions of the film: the director’s cut and the Miramax-released studio cut. As a class we analyzed both versions and then Mark spoke on the director’s justification and the studio’s justification.

As a Producer-Director, it is important to know that new directors tend not to trust their actors and dialog during the sound mix. They tend to over score because they have forgotten their first reactions to their material during pre-viz and shooting. He added that even experienced Directors can make this mistake.

Good scoring should accent specific events.

I realized during this lecture that I should have a keen understanding of music theory, types of instruments and some history of music - as well as the psychology of music. The importance of clear articulation to sound crew has been mentioned by every one of our sound design instructors. The proper use of descriptors, the ability to accurately reference films, film history and music composition greatly enhances the sound editing/mixing sessions.

He then discussed effects: this included background effects, foreground (hard & sync) effects, Foley effects and the various ways each of them can be used to impact a scene (why and how they are used). Mark’s examples are dynamic in that they are entertaining, informative, directly support the lesson and end toward a clearer understanding of filmmaking as a whole.

Mark is a natural instructor and he clearly likes students. You can tell he is learning from us as he interacts with us.

Mark Berger, a genius in his own right, gave a phenomenal lecture yesterday. We focused on the ways music can elicit emotions during particular scenes. We watched clips from Touch of Evil and Playing by Heart, and we discussed the politics behind the director’s creative control and the studio’s forceful hand “trying to make things better.” The class was very engaging because we individually explained our personal reactions to a scene based on its music. Questions like: “How does this scene make you feel?” rarely are asked in practical production courses. It was refreshing to analyze the theoretical elements of these films.

Mark treated us by passing around a deck of cards used in Apocalypse Now! The students really got a kick out of that. Not only is Mark a fabulous instructor, but he is also a very warm and personable guy. His jokes about his experiences in the industry keep the classes enjoyable and fun. Each week my appreciation for Sound in film increases immensely. This is no doubt one of my favorite classes!

Peter Burns writes:
This was the second time I found myself in front of the camera. I did it to help Jules out but also to get more experience standing in the shoes of a film actor. I was nervous and wanted to have a session prior to shoot-day to work out blocking, connect with the other actors, etc. As a Producer-Director myself, this was good to feel first hand as the Actor. I had four lines and some basic blocking schtick - I had to pour and serve wine to two other actors on cue, answer a phone, walk out and then walk back in again. The crew graciously shot me out early. Here is what I learned from the perspective of the actor:

[1] Remember your blocking.

[2] Remember what subtle changes/improvisations the Director signs off on (as you go).

[3] Stay focused - only chum about if you’ve got the chops to do so while still focusing.

[4] Wear underwear because the sound recordist might be placing lav mics in your pants.

[5] Carry some make-up with you (Marty Pistone dusted my face with powder and loaned me some lip balm). This kept me cool and stopped the sweating. Made my lips less dry.

[6] Give the other actors plenty to work with.

I was privaleged to work with Marty Pistone (Berkeley Digital Production Lecturer). Marty has worked on features, perhaps most notibly, “The Mask Of Zorro.” Marty gave production tips and tidbits here and there - the kind of stuff you only learn about on big shoots. He also filled the down time on set-ups with humor, classic crew jokes, songs, etc. He’s polished to say the least.

Jules has evolved as a writer. It seems that she is finding her screenwriting voice and is clear on what she wants as a Director. I know how hard this process can be. It it a matter of trusting yourself and the instruction, and it can be frustrating but she is finding it and she’ll excell in the coming semesters at BDFI. Jules is passionate and light-hearted on set. When she laughs, she lightens the entire mood of the set. As a fellow Director, I learned a lot from that. If it does not work for me to do that, I’ll find someone who can keep such a mood for me. It’s a sweet touch.

Jules’ crew was supportive of her vision and unobtrusive - all ten of us were in a relatively small hotel room. They were obviously hand-picked by Jules. Kudos to Marlenee (PA), John (Producer), Marci (Script Supervisor), Jodi (PA), Mike (Dp) and Joel (Sound).

So tomorrow is my second shoot. I think I’m prepared, I have a great crew lined up and great actors. The location is in a hotel room in Berkeley, where the staff have been so helpful and kind. It always amazes me how much pre production work there is to do. I feel pretty confident that all will go well. Today one of my friends visited me at home and was confused. He stated that I seemed calm. He expected me to be freaking out! Well we shall see if I sleep at all tonight. I am so excited and nervous at the same time. The support that I have received from everyone around me is so amazing. I am so fortunate to have great friends and comrades! Wish me luck!

I can’t decide if I love or hate editing. Somedays, I get totally lost in the footage and hours go by like minutes. Others, I catch myself counting minutes that feel like hours. I really enjoy the process of watching the piece take form. I really dislike the process of digging through the capture scratch, looking for the gems in the mound of discarded muck. I have all sorts of theories about this duality: maybe editing itself should be seen as many processes in one. So, I enjoy editing but dislike certain tasks associated with editing, such as hooking up external hard drives or the camera, logging and capturing, organizing footage. That must be it.

This week was editing intensive. We critiqued each other’s projects each day with a different lens: with Patrick, we assessed the pieces overall, with Sharif, we talked about them from an editing perspective, and with Allan, their cinematography. Interestingly, often the advice was contradictory. More interestingly, some of us found that by tweaking the piece according to the advice given by one instructor who may have blasted the piece to shreds with criticism, the next instructor remarked on how impressive it was for a first project. It shows that the little things make big differences.

We are also working on our next round of pitches for the upcoming project. I feel like we all thrive off of each other’s ideas when we start brainstorming on someone’s original conception. I often feel like I want to plagiarize the collaborated idea at the end of the class.

As an outside project from those associated with BDFI, I’m also working on piecing together footage for a doc that I shot this summer. This past week, I’ve finally kicked that project into gear realizing that it is already March and I will have let all of the fabulous resources I have at BDFI go to waste if I don’t get cracking on this much longer project. Also, there is a very narrow range for how long we can stomach our projects—our learning curve is just so steep! Only a few months/weeks/days even minutes after making a mistake or “creative decision” as I prefer to see them, we have already learned from it and are ready to move onto a new project, destroying the archive of that mistake as we go.