From Start To Finish
We offer development, pre production, production, post production, and distribution.
That's it in a nutshell, but if you would like specifics of what that entails, please read below.
Development
Discovery
Development is anamorphous and interminable period in which the film’s conception takes shape and the foundational elements are assembled. This description of the movie making process is written to be relevant to independent movie makers outside the Hollywood system.
We begin every project with a round of discovery. It’s our chance to ask and listen and really begin to learn what your story, audience, goals, and challenges are. This phase includes conversations, research into your brand, your market, your products, and your people. Through this research we find and ask for inspirational material that may influence the overall concept of the picture. These can be links to existing commercials, videos, films. It can even be books, magazine ads. Anything that will inform the style and tone of the piece. This is also the time for us to evaluate what your competition is doing, to make sure that we differentiate your brand from theirs.
Budgeting
This is by far the most frustrating and painfully tedious part of being an independent filmmaker, but movie making – even so-called “no-budget movie making” – costs money and somebody needs to pay those bills. Securing movie financing is so unpleasant, so utterly soul-destroying, that many movie makers simply blow their own money on making their project instead of waiting a few decades to secure the financing – and who can blame them?
The only other aspect of movie financing that is worth mentioning here is that no two movies ever use exactly the same financing model.
Whether you have a half million dollar budget or 25K, we work closely with you to ensure that we give you the best results for your money. Essential to every creative beginning is the question – How will you see the money on screen? For the biggest production value, we’ll scale the scope to work within your budget needs.
Concepting
Story development / treatment / scriptment / plot points / structure.
In this phase the movie’s story is developed. Every screenwriter has a personal way of developing a story, but anyone who takes the three-act structure seriously will determine the story’s structure as a matter of priority. That means deciding the boundaries between the three acts, as well as the inciting incident and midpoint of Act 2.
Having developed the basic structure of the story, for most screenwriters the next step usually involves writing a scene-by-scene outline of the whole movie. Many writers use an index card for each scene, because they are easy to arrange and re-arrange on a board.
Armed with a strong sense of your brand, audience, and goals we then begin to develop concepts that we feel would best tell your story. We will write 1-3 written treatments that loosely define our story and stylistic approach. We often accompany these treatments with relevant links to help see the idea more concretely. These treatments serve as conversation starters to really narrow in on the concept that will guide us through the rest of the process.
Scriptwriting
Only when the writer has a crystal-clear vision of the structure, plot points and scene outline can writing the screenplay truly begin. Many screenwriters make the mistake of diving straight into writing the actual script, which causes all sorts of problems, such as losing sight of the screenplay’s structure or running out of material after only a few dozen pages.
Proper screenplay formatting must be taken seriously, and although it is perfectly possible to write and format a screenplay with a word processor, dedicated screenwriting software like Final Draft will save you so much time and hassle that it is worth every penny.
Once we have our concept defined, we move into scriptwriting. We work closely with the client to develop a messaging outline that provides structure for a script. As we write, we bring in all that we’ve learned about the brand, the story, and the tone defined by the concept. This is where we bring the inspiration, or the humor, or the emotion that helps to connect the story to your unique audience. The format can range from voice over to dialogue to written graphics titles. All of these components serve to deliver your messaging in a style and tone that makes audiences take notice.
Pre Production
Storyboarding
Style and story boarding can happen in parallel with the scriptwriting. The approved concept sends us down a path of visual discovery where we develop a look for your picture. We make and find imagery that matches the style that we will capture in production. We also design any graphics and effects that bring the concept to life.
Location Scouting
Finding appropriate locations can be a difficult. Good deals can always be found, but it’s tough. In my experience the best way to get a good a good deal on fancy locations is to contact an honest film location agent and explain your situation. As always in independent movie making, if they like you they will help you, and if they don’t you are out of luck.
Depending on your budget, location scouts – just like casting directors – are worth every penny, if you can afford them. They do precisely what their name suggests: they go out with your specifications and find candidates for your locations (and in any case they have extensive libraries of locations they already know).
We know how important the backdrop of a film is to bring style, realism, emotion and we go to great lengths to secure them on a budget.
Script breakdown
The script breakdown is the process in which every single item needed for the movie’s shoot is identified. This includes locations, props, effects – absolutely everything. You need a real movie producer to do this. Don’t learn this lesson the hard way!
Shot List
This is simply a numbered list of shots, with a description of the framing and other details such as focal length, camera movement, things to bear in mind and other issues. Sometimes storyboards are included. It is a very personal document and every director has their own way of shot listing. Here is my
Scheduling by the First Assistant Director (1st AD)
After the tech scout the 1st AD uses the director’s shot list to draw up a schedule for each day of the shoot. This is one of the main roles of 1st ADs, and a new director, no matter how brilliant, should always hire an experienced 1stAD and trust their schedule. A common practice is to schedule shots in the order of lighting or camera setups (whichever is the most time-consuming), not in chronological order, so don’t argue with your 1st AD if the schedule is not in chronological order: it almost never is.
Production Design
After the scout the production designer designs and oversees the production of set pieces, and arranges the procurement of anything that needs to be purchased: plants, furniture, etc. The costume designer does the same.
Casting
Casting is taken care of by Casting Directors, who are very good at finding actors who match the director’s specifications. Obviously the director makes the final choices, but the preliminary selection – which is the most time-consuming and tedious part – is done by casting directors. They know literally thousands of actors and can quickly find the right actor for a role. They also tend to follow the careers of actors, knowing that, a decade or more down the line, a currently unemployable actor will be hot property, having developed his or her skills and maturity.
We cast for all types of productions. Whether it’s real people for a documentary / testimonial piece or comedic actors or models to bring a particular look we know how to find the right people for the video. Our staff has many years of directing and production experience to make sure that the talent in a show will make it the best it can be.
Tech Scout
The tech scout is very enjoyable. Having locked all locations and produced the shot list, the director, cinematographer, production designer, line producer and 1st AD go on the tech scout. On TV commercials the producer sometimes also attends. The purpose of the tech scout is for the director to visit each and every location with the heads of department and explain precisely what each shot will entail: where the camera will be, details of camera movement, what the actors will be doing, what the look of the scene must be, and so on. The 1st AD makes a careful note of anything the director says that has important implications for the shoot. A good 1st AD will also warn the director and other heads of department of any problems that may arise, such as background noise that may compromise good location sound recording. The tech scout is one reason for which when a film crew is setting up, it looks like the director is just sitting back and letting the crew get on with it: it is because they were already briefed in great detail during the tech scout well in advance.
Production
Once we have gone through the pre-production discovery phase and have a clear creative path, it’s time to begin production. This is where all of our pre-production efforts pay off. The script is written, we’ve casted the best actors, hired a talented production crew, the locations have been selected, and the storyboards are laid out. Production is where we execute on a well thought out creative plan.
Whether it’s a documentary approach or a production with a large cast of actors interacting with on-screen motion graphic elements, we have the experience. Our roster of directors have produced everything from national spots to intimate customer stories.
In addition to having some of the most talented creative minds and craftspeople in the business, Central Motion Pictures also has all of the resources under one roof. We are the proud owners of a variety of cinema camera packages, lighting equipment, sound gear and production vans. This provides us the flexibility to create stunning, cinematic results on time and on budget.
Rehearsal
While the crew unloads the trucks and sets up, I like to walk the actors through the shot and determine what they do in relation to the camera. This is known as blocking the shot.
Planning shots in advance and thinking about them a lot is great, but there is no substitute for experimenting with the viewfinder with the actors on their marks. This is when the shots really take shape.
Principle Photography & Setting Up
Each day’s schedule begins with the call time, which is the time at which the crew must report to the location. The 1st AD immediately begins to oversee the crew, and the director need not be around at this stage, although you would be wise to be there and start thinking about the shots
Setting up Shots
Having chosen the focal length, camera placement, the actor’s marks and other details such as camera movement, the director tells the cinematographer where to put the camera, which lens to use and the details of any camera movement. Different directors get involved with camerawork to different extents.
After a take, the director reviews the take on the video monitor and decides what needs to be tweaked. The process is repeated until the director is satisfied. Reviewing takes is a crucial part of achieving good results. You are essentially answering the questions “Is this what I had in mind?” and “How can we make it better?” I can assure you that in the pressure of production. reviewing takes with a cool head is more difficult than it sounds.
Reviewing takes in the editing room is the opposite: you have the time, mental clarity and perspective to notice every single little thing in a take that could have been done better — it’s excruciating, but very instructive, which is why I have always said that being an editor first makes you a much better director and cameraman in the future.
Post Production
Editing
Some say that this is where the story really comes together. Even if you’ve shot to a well-planned set of storyboards or gotten the exact answers to interview questions you wanted, things often change and get better in the edit suite. Beyond story, this is where the pace and the tone are often defined for the final show. It’s an exciting phase that leads to many creative opportunities around music, style, structure, composition, etc. It’s where you start to feel what the audience will feel. Since our projects range from feature documentaries to comedy spots we work with the best editors to capture the story, pace, and tone of each piece.
Motion & Graphic Animation
Once we have a rough edit, that is when the motion graphics and animating phase usually begins. Because motion graphics and animation are costly to produce, it’s best to have the overall edit defined as much as possible. When we are compositing graphics into live-action footage, we ask for a cut to be nearly final before we begin the process of incorporating graphics. We can always develop assets and even animated separately from the cut and then composite as one of the last steps to be sure the scene will not be changed or removed. It is during this graphics phase that we begin to really hone the style and look of the video.
Sound Mix
Some say sound is even more important than picture. If you have gorgeous picture but the sound is poor then it drops the perception of quality by a huge percentage. Whether it’s just getting a professional mix done or intricate sound design, this is an area not to be taken for granted. From cancelling the room noise in a shot to the most subtle design elements, good audio will also help make your message more memorable and meaningful. This is one of the final touches to a video that, along with color correction, is part of the “finishing” phase.
Music
Music is a big deal. It can be the anchor to a piece that drives the pace and emotion. Choosing great music can make or break a picture. There are many routes to pairing a fantastic tune to your show: needle-drop, composing, paying known artists. We guide you through the options that best fit your budget to give you the best bang for your video buck. There are countless music libraries that offer decent tracks that can accompany your picture for a reasonable price. We’ve also worked with some amazing composers who can cater a track to fit perfectly with your visuals — this is a wonderful option that will cost more but is often well worth it. If budget allows, bringing a known popular song can give it more punch than anything else. It’s the most expensive option and, again, is worth it if you can manage it.
Color Correction
Color correction is a sometimes overlooked craft but it can often make the difference between a nice looking video and a stunning final product. There are two main goals in color correction: normalizing the look and stylizing. Normalizing (or primary color correction) is the process of matching shots with each other in both color balance and contrast. Since things are often shot at different times, different locations, and sometimes with different cameras the footage can be noticeably varied. This brings all of the clips in-line with each other visually. The stylizing phase (or secondary color correction) is where you get to make creative choices based on how you want your audience to feel. This phase works scene by scene as well as across the entire show. By playing with color, contrast, blur, and vignettes you can help evoke reactions in your audience to each scene. Color correction can also be an opportunity to “brand” your picture so that it works visually with your other marketing materials.
Test Screenings
When you have your first cut of the movie – including music – it is always a good idea to have a test screening with a small number of people you trust for feed back.
Distribution
Social Media Distribution
When your final product is delivered, Central Motion Pictures will be there to help you navigate the deep waters of online distribution. Whether your video is going directly on your website, or being released at a specific event, making sure it creates a splash in social media is an important part of today’s production world. Our social media specialist can be there to make sure your story is consistently told to the audience who matters most to you. No matter what level your social media expertise may be, we will be there to support and advise.
Distribution Guidlines
When you come to us for a picture, we always keep the final audience for your story in mind. Whether your final project is going on Facebook, will be spread through your Twitter followers, be a news item for your industry’s blogs, or will be a mainstay on your Vimeo or Youtube Channel, we will be there to make sure your story is consistent and interesting. We’ll work with you to hold onto the integrity of your message, and hopefully open up profitable conversation between you and the world of social media.
Online Marketing Strategy
Don’t know where to start when it comes to Social Media? We can assess your needs based on your current online presence and branding, point out opportunities you may have missed, and outline specific long term actions for social media success. We can even help create a new online presence that is totally unique to the story you want to tell.
Platform Reccomendations
Building a Conversation
Our social media specialist want to help you build a conversation with your audience. We’ll point you towards the niche corners of the internet where people are talking about you. Navigating social media is just that, a social experience, and your video will be a good conversation starter. We will be there to make sure there aren’t any lulls in that conversation.
The ideal platform for your online distribution will change depending on the length and content of your picture, and your own branding strategies. Projects on Facebook and Twitter will reach a different audience than those on LinkedIn or Google+. When you put your picture out into the world, we’ll help you keep in mind the social networks that work the best for your story, and provide recommendations for the type of tracking tools and management services that will help you see how far your reach goes.