My Panel at Sundance

20 01 2008

On Friday, Michael Phillips and I gave a talk called “Creating a Low-Budget Film with High Production Value.” One of the things that we did was focus on a project that we worked on together — a low budget character-based psychological thriller called JACK IN THE BOX. DigitcalContentProducer blogged about the panel.

Michael, who is the brains of this duo, has a great technical background, which he was able to bring to his dual role as co-editor (with me) and producer of the film. He and I discussed preparing for the shoot, in a way that could help minimize post-production problems. We concentrated on two avenues. The first was the technical preparation that enabled us to finish a DI in a format that could feed multiple distribution formats as well as accentuate storytelling points. The second was the script preparation that is necessary in order to know how to shoot and edit in a way that promotes a great understanding of story.

From my perspective, the panel went very well — with a full house and dozens of people who stayed after the six o’clock finish for nearly an hour, to ask more questions. The attendees at this, and previous, Sundance panels are usually fascinating, committed filmmakers who are looking for ways to improve themselves. That’s why I love doing them.

The next day’s panel, a discussion between Saar Klein and Doug Liman (editor and director of JUMPERS) is profiled in the blog right here.




2 responses

20 03 2008
"Standing Room Only" when Michael Phillips Shows up at Full Sail - Events Rewind

[…] educational events in Avid’s partnership with Full Sail.  Phillips discussed his invaluable, real-life experience in producing his feature-length thriller, Jack in the Box, and how the Avid Media Composer toolset allowed him to be more creative and get […]

4 04 2008
Here’s Looking At You! « H o l l y n - w o o d (Norman, that is)

[…] year I worked on a film called JACK IN THE BOX, about which I’ve spoken in the past. What I didn’t mention in those earlier posts was that the film was cut long distance, with […]

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