THE CARR CENTER SUMMER ARTS FILM INTENSIVE WITH GHETTO FILM SCHOOL

NEW THIS YEAR: The Film Intensive is being offered in partnership with Ghetto Film School (GFS), an award winning nonprofit founded in 2000 with programs in NYC and Los Angeles to educate, develop and celebrate the next generation of great American storytellers. Check out: www.ghettofilm.org

It is a customized 2-week filmmaking workshop for young artists that will help develop their artistry through film, as well as foster deeper exposure to careers in the media and creative industries.

Filmmakers will create, produce, shoot and edit short films (2 minutes) based on original scripts developed in the workshop.

The program will close with a public screening of the winning films and a reception honoring all the young artists. No prior experience is necessary.

Registration and interview will be required for acceptance into program

Registration fee is $25

There is a $400 fee for the 2 week Film Intensive.

AGES: 14 – 18 YEARS old

DATES: July 1 – July 14   (no class on July 4th)   

TIMES: Monday – Saturday     8:30 am – 5:00 pm

WHERE: Detroit School of Arts
123 Selden St.
Detroit, Michigan 48201

How to Develop Strong Characters that Draw in Your Audience

An outline for your screenplay is a great way to start, but developing strong characters will engage viewers in the story you’re telling. Would Darth Vader’s iconic “I am your father” reveal have been as impactful if you didn’t care for the characters? They’re the driving force behind any story, and making them interesting starts early in the scripting process. Read More

8 Shooting Challenges that will Help You Grow as a Videographer

Andy Warhol shattered the mold that artists had been using for hundreds of years – the mold that made “art” and for many art critics, the jury is still out on Andy, but there’s one thing that nobody can deny – he shook up the art world. I went to a screening of “Empire” in college and, I’m guessing, like everybody else, stayed until the free wine ran out, talking through the whole thing and then went home, but still, it changed the way I looked at cinema. And that’s a good thing. What do you do when you’re in a creative rut? Here are some ways to push yourself back onto the road. Read More

Make Sure Your Video Production Clients Pay for All of the Time You Spend on Their Projects

If you’re reading this, then you know something about producing and editing video. Maybe you went to film school. Maybe you learned hands-on. Nevertheless, the business side of video production leaves no margin for error for even the seasoned professional, so if you don’t know what you’re doing, then before you consider taking on clients and charging for a service, learn how the pros work — and not just one, but as many as are willing to offer you valuable advice and show you the tricks of the trade. Knowing what to bill or not to bill a client for is crucial. Maximizing profit and minimizing the hours of your time that go unpaid starts in the project’s earliest planning stages. Read More

Sound Design: How Sound Helps Tell Your Visual Stories

Every scene in a film has a different combination of sound that helps build the atmosphere for the audience. These sounds are carefully placed to represent what is going on in a particular scene, where the scene is set and what kind of actions the characters are engaged in.

As part of the editorial team for a recently-completed  feature film, I worked closely with UK Assistant Editor Amar Ingreji. Ingreji has been working in the film industry for over 11 years and has been the assistant editor on films such as “London Has Fallen” (2016) and “The Mummy” (2017), where one of his main tasks was editing the sound for the scenes. I had an opportunity to sit down with him and ask him a few questions about sound design. Read More

Can You be Sued for Inaccuracies in Your Video?

Still, videographers are often left wondering whether they got it “right” and what, if anything, could happen if a factual error were made and portrayed in their work. Luckily, the law of libel and some important U.S. Supreme Court decisions provide a framework for analyzing content inaccuracies and understanding how it affects you.

The Legal Landscape

Libel is defined by Cornell’s Legal Information Institute as “a method of defamation expressed by print, writing, pictures, signs, effigies, or any communication embodied in physical form that is injurious to a person’s reputation, exposes a person to public hatred, contempt or ridicule, or injures a person in his/her business or profession.”  Slander, on the other hand, is limited to false oral statements.  Note that the focus of libel is not on the truth of the information asserted but instead on its effect on the subject. When published information is not just injurious but also false, guilt or innocence on the part of the publisher and any potential damages often hinge on the publisher’s regard or disregard for the truth of the content. Read More

9 Tips for Creating Better Vertical Videos for Social Media

It used to be that posting vertical video online was seen as shameful and unprofessional — the sign of a true amateur. Today, it’s how the majority of content on many social media channels is not only consumed, but also produced. This, of course, means it’s in your best interest to make vertical video a part of your workflow, in all steps of your creation process. Figuring out how best to frame your subject, choosing subjects that work best vertically, and actually knowing which aspect ratios are considered vertical are just a few of the things to understand as you start your process. Read More

Practice photography to improve your video skills

Sometimes the best way to advance a skill rapidly and with the greatest degree of precision is to be still. The idea seems counterproductive at first, but after consideration, the notion holds water. Top athletes work out the components of their mechanics slowly and methodically. They often use slow-motion video or frame-by-frame analysis to correct minute movements. In this case, still images show what cannot be detected at full speed. Being still is not something that comes naturally to most video producers. Video is about movement, and movement is the default for the majority of media makers. Read More