Tuesday, June 21, 2011

My (Right) Eye Surgery Story

My (Right) Eye Surgery Story

Missing only a trench-coat and an eye-patch!
I had to wait about eight weeks to get my right eye operated on after my left eye was done. It was originally scheduled for four weeks, but the Saturday before my surgery, as I was dripping dry in a Harveys from a rainstorm and trying to figure out what on the menu that I could safely order so that they didn't throw me out the door to float until I found a stray Ark, my cell phone burped so that Dr. Galic's nurse could tell me that I would have to wait some more.

I wasn't terribly surprised. This was my original appointment date for my second surgery. My initial appointment for my left eye had been scheduled and then pushed back three weeks, so I wasn't surprised that history repeated itself, but as I squelched under the withering eye of the Harvey's cashier, I thought to myself that her timing could have been slightly better.

See, I make this patch look good!
While I had one good eye and one terribly bad eye, I found reading and working on the computer very difficult and a bit disorientating because frequently I could read better up close with the terrible cludy eye than I could with the non-cloudy operated on eye.

Finally, came the day of the second operation. I would say that I got up early, but that would imply that I spent a lot of time sleeping the night before. Even though I had gone through the eye operation once before, I was still a bit of a nervous wreck.

Which might explain why I got to the hospital forty minutes early instead of only fifteen minutes early like I did the first time around.

Steve Nash makes this look good too!
The first time, I was the last man in a line of about twenty patients. Even with one clerk at long-term admissions and one at day surgery, it took so long to go through the line that the nurses from the eye clinic were calling to make sure that I was there. This time around there was only one clerk at the long-term admissions, but he processed me while the waiting room gradually filled up.

I was scheduled to be operated on third, but the first and second patients were trapped behind everyone else in the waiting room. I saw them both but by the time they joined me on the 4th floor, I was processed, in a gown and ready to go. That, and the fact that I am diabetic allowed me to jump the line.

The Even Gayer Pirate!
The other thing that made me a bit of Nervous Nellie is that compared to the last time, this time I could actually see where I was going. The time before, the cloudy gauze of cataracts insulated me from my terror a bit. Everything sounded the same, but now I could match images to sounds.

The first time they had sedated me. This time around, they set me up for sedation but never followed through. The surgery itself was unnerving, but not painful. I was soothed a bit by the banality of the conversation between Dr. Galic and his Saudi Arabian assistant who was complaining about having to go back to Saudi Arabia to work for a hospital there, as part of the deal where his government paid for his medical education. To be fair, what he was complaining about wasn't going back to home to serve, but going back to work for a hospital that was only willing to schedule for 4-5 operations in a month, when he was used to doing 4-5 operations before lunch!

Doll-Man: Eye Enemy!
After the first operation, I could see better seconds after the operation was over. This time around I was slightly disappointed that my vision was still fuzzy - if better than before.

Over the next 24 hours, my right eye got stronger and stronger until it was hard for me to tell the difference between my right eye and left eye. I guess after the first operation, the left eye was dramatically better than my cloudy right right away and I never noticed that the left eye got even stronger as that first day wore on.

I mentioned this to Dr. Galic when he was inspecting his handiwork the day after surgery and he grinned and commiserated sarcastically that I could only see 20/20 out of right eye. He gave me a clean bill of health eye wise, two weeks later, so other than a visit in six months to follow-up with him (and keep a preventive eye out for diabetic retinopathy), my eye surgery odyssey is virtually over.

The only hurdle left for me is to go visit my optometrist after my birthday on Canada Day to have her check what kind of reading glasses that I will need. Dr. Galic's assumption (and mine) is that I will probably only need pharmacy reading glasses, but I will still visit my optometrist to be sure. After all, it was her suggestion that started me on my eye surgery odyssey in the first place.

*****

2011 YoungCuts Film Festival Selection: Castoffs

2011 YoungCuts Film Festival Selection
Castoffs

The YoungCuts Film Festival is pleased to announce that it has selected Nathan Campbell's short film Castoffs as one of our Top 100 International Short Films for 2011. The film is also shortlisted for consideration as Best Short Short Film.

Sad Cyborg

*****

The Official Final Deadline of the YoungCuts Film Festival was June 15th. While we will only announce our full selection of our Top 100 around July 15th and while there is still an opportunity for films that we haven't received yet to trickle in after the deadline, we thought that we would begin announcing some of the films that we know will be included in our Top 100.


These won't be announced in any kind of order and they should not be interpreted as any kind of ranking, just that we have all the material for this particular film and that we do consider it one of the Top 100 short films by filmmakers 25 and under that we have seen (and will see) out of more than a thousand films that we have screened from more than 30 countries.

*****

Sad Cyborg in the Park

Nathan Campbell
Castoffs
Written and Directed by Nathan Campbell

This Australian short film is the best kind of experimental short film.

It takes risks, it tells a different kind of story in a quirky way, but it does tell a story and does so with skill and beautiful imagery.

Our only minor quibble with the film is that Nathan describes the main character as a "Robot", but it is clearly a cyborg (half-machine and half man)...

Sorry, that was clearly a nerd moment.

We will program the film during our screening for the Best Short Short films. Look for more information about that screening in the months to come. 


*****

Sad Cyborg Recycles

Runtime: 5 min
Completion: 2010
Country of Origin: Australia
Synopsis: A homeless robot wanders the city streets, ignored by others; lacking any purpose, he spends his time collecting the strange, glowing shards that accumulate in back alleys and laneways. A fateful confrontation gives a bittersweet validation to his seemingly meaningless existence.

*****

Sad Cyborg Spots a Shard

Filmmaker Bio: Nathan Campbell is a filmmaker/ animator/ designer living in Melbourne, Australia. His work  ranges from live-action to fully animated pieces, often with a strong focus on visual imagery. Having recently completed a degree in Multimedia Design, he is currently working as a motion designer and completing other projects in his spare time. Under no circumstances should you ask for a demonstration of his dance moves.

Filmmaker Age: 22

*****

Sad Cyborg and Shards

The 2011 YoungCuts Film Festival will begin on Thursday, September 29th. Stay tuned for details on how to enjoy the amazing films that we will be presenting including Castoffs!

Monday, June 20, 2011

And I Can Prove It With Math! - Super-Hero Web Comics

And I Can Prove It With Math!
Super-Hero Web Comics

Chris Sims
Chris Sims of the Invincible Super-Blog, Awesome Hospital, Comics Alliance and War Rocket Ajax, recently argued that DC and Marvel should be producing Super-Hero Web Comics.

It is a seductive argument and makes a lot of sense, but the question is would it make economic sense for Marvel or DC to publish free web-comics online?

It seems like it would have to. After all, if Penny Arcade can run a small empire built off of a free web-comic. than surely Marvel or DC could figure out how to make money doing it. And if they could make money doing it, they would have to do it, unless of course (as the Internet frequently alleges) Marvel and DC hate money?

Exhibit A

Well, is there a way that we could prove that you could make money doing a super-hero web comic?

Maybe.

I am not an economist, but for the last six months I have been working on a series of short videos about key concepts on Introductory Economics for TextbookVideos.com. So, let's see if we can run some numbers and figure out if you could make super-hero web comics work.

Penny Arcade makes a profit by charging for advertising on their web-site. (Part of their inspired lunacy is that they only accept ads for games and products that they use and endorse.)

Even "unsuccessful" have a marketing budget
So our hypothetical super-hero web-comic would have to be supported by advertising. That should be pretty easy for both DC and Marvel. Given the number of Super-Hero movies coming out, the sites could do well just on advertising from within the same umbrella: Disney, Pixar and Marvel Films for Marvel and Warner Brothers for DC.

To get the super-hero web-comic launched, let's assume that the project's site will offer a sweet-heart deal to the film divisions of its partner companies and agrees to provide CPM (cost per thousand) rates of $3.00. (This is lower than industry rates, so if you can make the project work on those rates, than you can feel comfortable projecting that the project will be successful.) The film divisions benefit from advertising directly to their target audience at preferential rates. The project benefits from having a guaranteed revenue source. They only have to concentrate on delivering and building an audience.

(The one problem with this is that their might be competition rules that forbid offering sweetheart deals to partner companies. I suspect that the workaround on this would be that you would have to allow other compatible and/or competing companies to buy advertising at similar rates.)

Thor had much better marketing
How much would such a web-comic cost?

Let's forecast extremely high and say $600 per page to create the page, pay for its writer, artists, editor and to host it. At a page per week-day, your yearly cost is just over one hundred and fifty thousand dollars. This is probably high, but if you can make it work at these numbers (i.e. break even), than any money that you save is profit. At 250 pages, you would be producing the equivalent of eleven 22 page comics, plus an eight page back-up per year. Ambitious for one creative team, but doable and if you did a new story every month and rotated art teams for each story, it's more than doable.

So if we are making 3 dollars per thousand views and each page costs $600.00, than you need 200, 000 views per page to break even.

For political reasons, you probably want to use a character and title that failed on the direct market. After all, it would be hard for comic-book stores to complain about Marvel or DC giving away a comic for free, if it was a comic that they couldn't sell. Even better if this comic happens to be an internet darling.

What could we possibly pick?

In addition to the above criteria, it would help if it was a family friendly title that had as its hero a character that has already been featured in a film and will be featured in more films over teh next couple of years.
Thor!

How about Thor the Mighty Avenger by Roger Langridge and Chris Samnee? It certainly qualifies as a title that was not supported by the direct market.


Thor the Mighty Avenger Circulation Numbers
(Numbers taken from Comichron)

Thor Mighty Avenger, 1, $2.99, Marvel, 20076
Thor Mighty Avenger, 2, $2.99, Marvel, 14315
Thor Mighty Avenger, 3, $2.99, Marvel, 12112
Thor Mighty Avenger, 4, $2.99, Marvel, 10887
Thor Mighty Avenger, 5, $2.99, Marvel, 9673
Thor Mighty Avenger, 6, $2.99, Marvel, 8420
Thor Mighty Avenger, 7, $2.99, Marvel, 8244
Thor Mighty Avenger, 8, $2.99, Marvel, 8323


*****

Quick digression about the direct market. (For those who don't know anything about how comics are sold.)

Comic book publishers like Marvel and DC solicit comic-book stores (through comics distributor Diamond) generally two months in advance for how many copies of each title they want. The stores have to keep what they ordered unless they were in some way misled about what they were ordering. (The book was delivered late, the advertised artistic team changed, that sort of thing). As many people have mentioned, this means that for DC and Marvel, their real customer is the stores themselves, not the people who buy their comic at the store level.

How could a series with Volstagg fail?
The disadvantage to this system is that you have to order the third issue of a series before you receive the first issue. Which is why there is a calamitous drop-off between issues number 1 and 2 of Thor the Mighty Avenger. The retailers are just guessing how many copies that they will sell. Sometimes they guess low and sell-out. Generally, though they do a pretty good job of guessing how many copies that they can sell. (And you'll note that when they ordered issue number 4, when they knew how many copies of number 1 that they had sold, the numbers dropped even more. If anything, comic book store retailers were too optimistic about sales of Thor the Mighty Avenger.)

Most stores encourage their regular customers to give them their "pull list" of what comics that they will buy on a regular basis and the store puts those aside for those customers. This gives stores a good basis to predict how many copies of each book that they will sell. This is especially important when you need to average better than 90% sell-through to make a profit.

*****

Based on those circulation numbers it seems clear that the direct market collectively decided that an all-ages critically acclaimed Thor comic book would sell about 8, 500 copies a month at $2.99. (Or to put it another way, comic book stores were prepared to buy 8, 500 copies a month at about $1.45 each to sell at $2.99.)

8, 500 readers is a long way away from the 200, 000 readers that we need to sustain the Thor Mighty Avenger web-comic.

If only there was a way to know how many readers a free Thor the Mighty Avenger comic book would get...

....

....

Nice of Marvel to do the market research
Fortunately for would-be economists, this year during Free Comic Book Day, comic-book retailers were able to order a Thor the Mighty Avenger comic book (featuring Captain America) by Landridge and Samnee to give away.

Technically, this doesn't tell us how many people would read a free Thor the Mighty Avengers comic book available on the Internet. It tells us how many copies of this comic book that retailers were prepared to order at 25 cents each to make available for free to customers that came to their store on Free Comic Book Day. We can safely assume that they would have ordered enough to be able to make their customers happy but also to run out before the end of the day.

At the very least, the number of free Thor the Mighty Avenger comics ordered for FCBD should tell us the minimum number of readers that a free Landrige and Samnee Thor the Mighty Avenger web-comic would attract.

That number?

195, 150.

Huh.

Missing 4, 850 readers.

I guess Sims is wrong. This plan will obviously never work.

(Thanks to Leslie Jackson of Diamond for FCBD circulation numbers and Comichron for the regular price circulation numbers. All pictures copyright their respective owners.)

2011 YoungCuts Film Festival Selection: Le conte de l"orpheline

2011 YoungCuts Film Festival Selection
Le conte de l’orpheline

The YoungCuts Film Festival is pleased to announce that it has selected Katerine Lefrançois' short film Le conte de l’orpheline as one of our Top 100 International Short Films for 2011. The film is also shortlisted for consideration as Best Quebec Film.

The Orphan (Madeline)

*****

The Official Final Deadline of the YoungCuts Film Festival was June 15th. While we will only announce our full selection of our Top 100 around July 15th and while there is still an opportunity for films that we haven't received yet to trickle in after the deadline, we thought that we would begin announcing some of the films that we know will be included in our Top 100.


These won't be announced in any kind of order and they should not be interpreted as any kind of ranking, just that we have all the material for this particular film and that we do consider it one of the Top 100 short films by filmmakers 25 and under that we have seen (and will see) out of more than a thousand films that we have screened from more than 30 countries.

*****

Her Woods

Katerine Lefrançois
Le conte de l’orpheline (The Orphan's Tale)
Written & Directed by Katerine Lefrançois

Little girls who go into the woods with animals seems to be an early theme of this year's Festival. In this case, the little orphan walks her goat into the woods.

Despite being a film about the art and power of storytelling, this is not a movie that hands you exposition on a platter. It is a film comfortable in its silences (even if those silences are filled with grief.)

It is also about a small community that rallies in the most extraordinary way to bring happiness to a little girl.

Look for more information about when we will screen this film in the months to come. 


*****
Sadly, I have no pictures of her goat

Runtime: 7 min : 14 sec
Completion: April 2011
Country of Origin: Canada (Quebec)
Language: French with English Sub-Titles
Synopsis: After the premature death of her parents, Madeline, an eight- year-old girl, has to live in the country with an aunt and uncle that she barely knows. Lonely and melancholic, the young girl is intrigued by a mysterious music that is coming out of the forest.

Suite au décès prématuré de ses parents, Madeline, huit ans, doit vivre à la campagne chez son oncle et sa tante, deux agriculteurs sans enfant. Seule et mélancolique, la jeune fille est intriguée par une mystérieuse musique provenant de la forêt.

*****

Her Tale

Filmmaker Bio: Katerine Lefrançois is a young artist from the suburb of Montreal. She was Best of Diploma of the cinema program at the Cégep Saint-Jérôme in 2008. She then pursued her studies at Concordia University in film production where she directed two short films. After working on more than twenty productions, she discovered a passion for art direction and research. She is currently working on a documentary project.

Filmmaker Age: 22

*****
Her Band (Technically this picture is a spoiler of a kind.)

The 2011 YoungCuts Film Festival will begin on Thursday, September 29th. Stay tuned for details on how to enjoy the amazing films that we will be presenting including Le conte de l’orpheline!

Friday, June 17, 2011

2011 YoungCuts Film Festival Selection: The Girl and the Fox

2011 YoungCuts Film Festival Selection
The Girl and the Fox

The YoungCuts Film Festival is pleased to announce that it has selected Tyler Kupferer's animated film The Girl and the Fox as one of our Top 100 International Short Films for 2011. The film is also shortlisted for consideration as Best Animated Film.

The Girl and the Fox

*****

The Official Final Deadline of the YoungCuts Film Festival was June 15th. While we will only announce our full selection of our Top 100 around July 15th and while there is still an opportunity for films that we haven't received yet to trickle in after the deadline, we thought that we would begin announcing some of the films that we know will be included in our Top 100.


These won't be announced in any kind of order and they should not be interpreted as any kind of ranking, just that we have all the material for this particular film and that we do consider it one of the Top 100 short films by filmmakers 25 and under that we have seen (and will see) out of more than a thousand films that we have screened from more than 30 countries.

*****

Ilona finds her chickens murdered.

Tyler J. Kupferer
The Girl and the Fox 
Written & Directed by Tyler J. Kupferer

An early candidate for Best Animated Film, The Girl and the Fox is a hauntingly beautiful short film about a young girl (Ilona) who angrily stalks a chicken-killing fox into the woods at the edge of her farm.

The art is original while also tipping the hat to Hayao Miyazaki as you can probably tell from the film stills.

We will program the film during our screening for the Best Animated films. Look for more information about that screening in the months to come. 


*****

Ilona in the woods

Runtime: 5 min : 30 sec
Completion: January 2011
Country of Origin: USA
Synopsis: Ilona, a nine-year-old girl who lives in the wilderness with her mother and father, has fallen on hard times. Supplies are running low, and when a mysterious fox starts killing their livestock, she has no choice but to track down the strange creature in order to ensure the survival of her family.

*****

Ilona's lantern lights up the dark woods

Director’s Statement: The Girl and the Fox is an exploration of the different perspectives of life, and how the lines between good and bad become more blurred the closer they are examined. The film is rooted in natural colors, textures and audio to make the imaginary world of our protagonist detailed and believable. My goal as a filmmaker is to pull the audience into this world as deeply as possible, and allow them to become immersed in the conflict between different yet equal forces. The film concludes on a bittersweet note, unwilling to settle on a resolution of morality, but rather appreciate the purity of understanding. This ambiguity is intentional to further encourage viewers to explore the themes of the film and draw their own conclusions.

*****

The first snowflake

Filmmaker Bio: Tyler J. Kupferer is an American filmmaker and animator from Columbus, Indiana. He graduated from Purdue University in 2008 with a bachelor of science in computer graphics technology and received a master of fine arts in animation from the Savannah College of Art & Design in 2011. The Girl and the Fox is the fourth animated film Tyler has directed since he began studying filmmaking in 2007.

Filmmaker Age: 24

*****


 
The Girl and the Fox

The 2011 YoungCuts Film Festival will begin on Thursday, September 29th. Stay tuned for details on how to enjoy the amazing films that we will be presenting including The Girl and the Fox!

Thursday, June 16, 2011

So you missed the deadline to submit to a film festival! Now what?

So you missed the deadline to submit to a film festival! Now what?

The following advice is specifically for the YoungCuts Film Festival, but much of the advice can be applied to other film festivals.

So you intended to submit to a film festival, but you weren't ready for their Early-bird deadline, you forgot to send your film for the regular deadline and now you have successfully procrastinated until you managed to miss their late. drop-dead, final deadline.

And now this morning when you go to WithoutABox and look at the Festival listing, this is what it says:
SPECIAL SUBMISSIONS ONLY • Final deadlines have passed. If you have a deadline waiver or special instructions from the event, select a Category of Entry to continue.
Giving up is certainly an option, but many Festivals like the YoungCuts Film Festival choose their deadlines so that they can be flexible enough to give filmmakers a break on missing the deadline.  Before you ask for an extension or deadline waiver, take a look at when they announce their Festival selections.

In the case of the YoungCuts Film Festival, here is what it says:
NOTIFICATION DATE
Approximately 15-Jul-2011
The 15th of July is a month away! There is obviously some wriggle room there! And saying that the notification date is "Approximately" July 15th means that there is even more wriggle room. You can probably still get your film in. 


And to answer the next question, yes, you can get a deadline waiver for your film for the YoungCuts Film Festival. If you do decide to submit through WithoutABox, you can use "2011" as the waiver code if WOAB asks for one. 


Before you do though, a few pieces of advice.


The key to submitting your film to a Festival after the final deadline (assuming that you can get a waiver) is to imagine that you are running a race with a series of hurdles. These hurdle start out very low and easy to jump in the days after the final deadline has passed and grow increasingly taller and harder to vault over the closer to the Notification Date that you get. 


The first hurdle is Getting the Festival a Screener Copy to Review.
Since speed is of the essence, we would repeat the specific advice from our deadline reminder on Sunday:
Here is our suggestion for how to submit and give yourself the best chance of having your film picked.
If you are submitting through withoutabox.com:


Submit your film as a Secure Online Screener. (Only Festivals that you submit to can see your film.)

We will assemble a judging panel and let you know within one business day, how likely we are to program your film. (i.e. Whether or not you need to mail us physical copies of your film.)

*****

On the other hand, if you would like to submit directly to the Festival, download the 2011 application form from here: 2011 YoungCuts Application Form.

You can scan the completed form and e-mail it to us at YoungCutsFilms@gmail.com or fax it us at 514-227-5158.

Then pay the submission fee by Paypal to YoungCutsFilms@gmail.com or fax us a credit card authorization to 514.227.5158.

Finally, upload your film to vimeo.com, protect it with a password, e-mail us the link and password and again within one business day, we will let you know if you need to send us physical copies of your film.

Your second hurdle is Getting the Festival Physical Copies of Your Film.
Be sure that you understand exactly what the Festival wants. Be ready to ship them the material that they want, when they ask for it. Be extra careful to test what you are sending so that there are no errors or glitches. Try to ship it so that you can track your package and make sure that the Festival receives it. Be careful of special circumstances that could cause a delay (like say the current Postal Strike in Canada.) 


The third hurdle is Having Made a Great Film.
Keep in mind here that the Festival is in full swing watching and judging the Festival Submissions. In some categories, they may already be penciling in rough screenings of films. Before the final deadline, you just needed to get a Festival judge to fall in love with your film and champion it. Now you might need to convince a judge to fall out of love with another film so that you can take its spot. It is not going to happen if your film is as good as the films already submitted. It has to be better. And the closer to the Notification Date, the better that your film needs to be to be selected.


The fourth hurdle is the Length of Your Film
Again the Festival judges are already starting to pencil in rough screenings. If they are programming 100 minutes and they have 75 minutes penciled in, that leaves 25 minutes of film to program. If you have a 30 minute film, the judges either have to decide to make the screening longer or bump one of their rough picks to play your film. In either case, if they do pick your film it probably leaves them no room to program other films during that screening, which they may be reluctant to do. The closer to the Notification Date, the closer to being fixed the screenings will be and the harder that it will be to squeeze in a longer film. As a general rule, the closer to the Notification Date, the shorter that your film will need to be to be chosen. 


The fifth and final hurdle is Responding Quickly to the Festival
As a Festival gets closer and closer to making its Selection, it sometimes needs information or material from a filmmaker. How quickly they can get that information or material can sometimes be a way that the Festival decides between two equally good films. If the jury is divided between two films and both films are missing information or material, the filmmaker who responds fastest and best to the Festival Director's requests is going to see their film get programmed. 

*****


So, again, yes, you can have a deadline waiver, but be sure that you are ready to run the race and vault every hurdle along the way before you start running.  


Submit Yesterday! or Faster Even!

Sunday, June 12, 2011

Submission Deadline for the 2011 YoungCuts Film Festival is Wednesday, June 15th!

Submission Deadline for the 2011 YoungCuts Film Festival is Wednesday, June 15th!
Tell any young filmmakers you know!

The submission deadline for this year's YoungCuts Film Festival is this Wednesday, June 15th. As always, we are looking for: "Great Short Films by the World's Best Young Filmmakers 25 and Under"

If you have been procrastinating making your entry to the festival...

DON'T PANIC!

Here is our suggestion for how to submit and give yourself the best chance of having your film picked.

If you are submitting through withoutabox.com:


Submit your film as a Secure Online Screener. (Only Festivals that you submit to can see your film.)

We will assemble a judging panel and let you know within one business day, how likely we are to program your film. (i.e. Whether or not you need to mail us physical copies of your film.)

*****

On the other hand, if you would like to submit directly to the Festival, download the 2011 application form from here: 2011 YoungCuts Application Form.

You can scan the completed form and e-mail it to us at YoungCutsFilms@gmail.com or fax it us at 514-227-5158.

Then pay the submission fee by Paypal to YoungCutsFilms@gmail.com or fax us a credit card authorization to 514.227.5158.

Finally, upload your film to vimeo.com, protect it with a password, e-mail us the link and password and again within one business day, we will let you know if you need to send us physical copies of your film.

Good luck to all the young filmmakers submitting films!

*****

Submit Your Film Today!