The Story
Joey lives an idyllic life with his parents on the coast of Florida. His days are spent playing with his cousins, sailing with his dad, and making up stories with his mom. It’s a perfect life until the day they receive a disturbing phone call: a stranger’s decision could tear Joey away from the comfort and security of the only home he’s ever known.

One family is determined to keep the son they love, the other is determined to begin a new life, the life they’ve always dreamed of. Joey’s future rests in their hands and someone must make the bravest decision of their life.

Sometimes the greatest love is letting go.

Part 2 Preserving the Library

According to a White Paper on film storage presented in August 1994 by the National Film Preservation Board, “The goal in film preservation is to extend the useful life of collection materials so that they remain accessible to future generations.” I agree wholeheartedly with this statement and I want to focus on the word remain. The board assumes these films are currently available and they are pushing us to keep them accessible with smart preservation strategies.
The Faith Based film library has been around for quite awhile and continues to grow as we move into the era of file based cinematography. It spans from 1912 with the silent film FROM THE MANGER TO THE CROSS to the recent digital release LETTERS TO GOD. They all need to be stored and handled with their own particular set of processes and procedures.

Learning from the past – Nitrate Film
There are over a couple dozen nitrate movies that are considered Christian films. Titles produced during the era of nitrate film, which ran from the 1890s to 1950s, require specialists for handling, restoring and vaulting.
Almost everyone is aware of the great fire danger with this highly flammable film. Movie theater fires, which typically started in the projection booth, were not uncommon especially in the early years of nitrate use. People died from these fires due to the flames, gases, smoke and panic. Fire departments learned quickly that water would not put these fires out since it burned rapidly, fueled by its own oxygen. Poisonous gases such as nitrogen oxide and carbon monoxide were also released during the fire.
I remember working on a project in which we had accumulated enough small pieces of nitrate film ends to build up a 4 – 5 inch roll. These ends would have been thrown out. We decided to go out into the alley behind the lab and see what all the fuss was about burning nitrate. Within seconds of lighting the film we were in fear of burning down the neighborhood! The heat was intense so we had to stand back. We called it, “rocket fuel.” If it hadn’t run out of material, it would have quickly been out of control. I can also testify to the awful gases that fire created.
Beyond the fire danger, when we dig into the nitrate film library and open old cans, we often find decay. The photo at the beginning of this article shows how bad the deterioration can get. Some cans have been opened only to find powder left behind.
The gases building up inside those cans over many years of poor storage conditions would cause the degradation. However, there are two main culprits that accelerate the process: they are heat and humidity. Findings show that lower temperatures and lower Relative Humidity (RH) levels can slow the rate of outgassing and thus slow down the decay process.
The storage temperatures should be ideally kept cool to cold or around 40 °F while the relative humidity should be kept at or near 30%. If the RH is too low, then there is the possibility of drying out the film, which may cause it to become brittle. Additionally, special fire proof film vaults are needed to isolate each can of film.

Safety Film
In 1950, Kodak finally introduced 35mm nonflammable black and white safety film. By 1952 all movies produced were made on cellulose triacetate safety film stock. The danger of losing your life, limb and property was over.
However, it was discovered that this film is also prone to deterioration instigated by the two main catalysts of heat and humidity. There is still outgassing going on inside those cans; and if you have high temperatures and add high humidity, then the film will begin to deteriorate. This decay causes the material to release gases, which produce an acetic acid odor buildup dubbed the ‘vinegar syndrome’.
Today, if you open up a can of film and are overwhelmed by the strong smell of vinegar, then you are very close to losing that film. If it isn’t falling apart yet, then it would be prudent to get it copied so that you would at least have a back-up as a way to view the movie. Once this reaction has started, it cannot be halted.
Kodak also recommends placing molecular sieve packets in each can to absorb the acidic gasses created from film deterioration.

Long term storage in non-ideal conditions for all film types, including nitrate, can also cause sizing changes in the material. The typical effect of the size change is film shrinkage. The most noticeable result from this shrinkage is at the point where two scenes are spliced together.
The perforation distance between the two spliced film stocks may not match the normal perforation distance of the entire film. When this shrunken spliced area runs through a printing machine, the film might jump or bind causing the frames on the printed stock to appear with bounce or warped images. If not checked, it could even cause the film to break or tear at the splice.
Color safety film stocks have an additional problem besides the base material degradation. The organic dyes layered onto the film are susceptible to fading.
Again high temperatures and high RH levels are the main cause, and exposure to light can also affect color fade.
Did I mention Heat and Humidity?
To all of you filmmakers, where are your original film elements stored? If you have been able to keep them in cold storage with low Relative Humidity levels through the years, then you have attained the number one objective.
If you have not, then we need to talk.

What’s next?
In the next article, I will look into audio history. Future writings will explore magnetic tape and digital file storage problems and solutions.
My intentions are to remind Christian filmmakers of the legacy that has been created. New titles will soon contribute to that heritage. We must go back and revaluate the work that has been done and make sure the new work has a sense of preservation tied to its production.

References:
National Film Preservation Board, Film Storage White Paper, “Keeping Cool and Dry: A New Emphasis in Film Preservation” (published August 1994), www.loc.gov/film/storage
IPI Media Storage Quick Reference, 2nd Edition 2009, Image Permanence Institute, Rochester Institute of Technology

Writer Tom Zaczyk has extensive experience with over 35 years in post production including work in Motion Picture Film Restoration and Preservation, High Definition Video Mastering and File Based Data Workflow. Currently he is Co-Founder of Walk by Faith Studios LLC the Concierge to Faith-Based Entertainment. He can be reached at Tom@WBFStudios.com

Internet-enabled televisions (IETVs) have hit the mainstream among consumers and by the end of 2014 will account for 148.3 million units or 54 percent of the total flat-panel TV market, according to a new forecast from display market expert iSuppli.

This year, shipments of IETVs are expected to increase nearly 125 percent and continue growing at a rate of greater than 50 percent for the next couple of years, with out-year growth registering solid double-digit gains, iSuppli said.

To put this rapid uptake of IETVs into perspective, iSuppli contrasted the growth of Internet-enabled TV to that of 3-D television. This year, iSuppli projects 27.7 million IETVs to be shipped, while only 4.2 million 3-D sets will ship in 2010.

“Despite aggressive promotions from the industry and intense consumer interest generated by the blockbuster “Avatar” and other titles, the 3-D TV market in 2010 will be limited to a small pool of enthusiastic early adopters,” said Riddhi Patel, director and principal analyst for television systems at iSuppli. “In contrast, IETV is entering the mainstream in 2010. This is because 3-D is still dealing with a number of barriers, including cost, content availability and interoperability, while IETV provides immediate benefits by allowing TV viewers to access a range of content readily available on the Internet.”

North America and Western Europe will be the biggest consumers of IETVs from 2010 to 2014, iSuppli said. Japan will be the third largest market until 2012, after which it will drop to fifth place, ranking behind both China and the collective area designated as the rest of Asia-Pacific, iSuppli said.

http://broadcastengineering.com/hdtv/ietvs-hit-mainstream-0817

With 3D taking the world by storm in a huge comeback, it’s no surprise that consumer electronics manufacturers have started developing 3D camcorders. First we had 3D movies, then 3D TV sets in the home and Nintendo went three-dimensional for the handheld DS. Will the appetite stretch to home movies?

Electronics giant Panasonic has a world first with its SDT750 – a consumer camcorder that can shoot 3D video. Panasonic was planning a more affordable stereoscopic 3D camcorder according to previous reports. Reports stated that Panasonic’s HDC-SDT750, the “World’s first 3D Shooting Camcorder” will be unveiled on July 28th in Tokyo.

Panasonic thinks so with the introduction of the first ever consumer 3D camcorder that comes with a 3D conversion lens. When the lens is unattached you can shoot regular 1,080p high-definition video in AVCHD plus you’re getting the 12x optical zoom and Leica Dicomar lens.

The 3D conversion lens records right-eye and left-eye images simultaneously through its two lenses and the result in instantly watch able 3D video.

Interestingly enough, you won’t need 3D glasses as the actual method used to generate the 3D method is different than that of normal 3D camcorders (the professional ones). Obviously, in order to watch the 3D footage, a TV capable of side-by-side method 3D playback, 3D eyewear and HDMI cable connection are needed.

“A result of research conducted through Panasonic Hollywood Laboratory, Panasonic developed a professional 3D system camera and successfully brought high-quality Full HD 3D images to the home for viewing on Panasonic VIERA Full HD 3D televisions,” said Chris Rice, senior product manager of imaging with Panasonic Consumer Electronics.

But now, Panasonic has taken it one step further and developed the world’s first consumer 3D camcorder, the HDC-SDT750 – creating a 3D ecosystem available for consumers in the home.

Incorporating Panasonic’s professional broadcast technology and bringing it to an easy-to-use consumer model, the SDT750 makes high-quality 3D video content a reality in the home,” he added.
The SDT750 camcorder also has 5.1-channel audio recording and a Time Lapse recording feature that can record at one-second, 10-second, 30-second, one-minute and two-minute intervals.

The technology is still in it’s early stages (consumer-wise) and will most likely start to gain traction as Hollywood continues to release more and more 3D films. So, keep an eye out for these cool gadgets in the near future.

Part 1 THE LIBRARY

I am writing this series of articles as advice to some and a reminder to others about the care that filmmakers should take with their movies long after theatrical and video distribution. Ultimately, this is about good stewardship. These titles were made to honor God, so once the materials go into storage their preservation is a continuation of that honor.
My point of view comes from over 35 prominent years in motion picture restoration that includes photochemical and digital strategies. My last ten years were spent as Executive Director of Asset Management for a major studio. I managed HD and file based workflows, including digital restoration and re-mastering. My experience has given me the full range of understanding how a motion picture library should be cared for. I learned how it can be repurposed and exploited for viewing in all formats, yet be ready for the next generation of viewers and whatever new media that will become available.
These articles will cover the overall value of the Christian film catalogue, and review film, audio and digital storage. Later I will discuss photochemical restoration techniques, new digital restoration techniques, and finally advice on repurposing your films for new media.
At the end of this series I will explain an exciting new venture, which is being formed, to help unite and especially support the faith based film community.
The world is waiting and desperately needs to see and learn about Jesus Christ through your stories. The church is in need of being built up and reminded of the truths of Scripture portrayed in your work.

Value of a film library
A film library is a very precious asset. The writing, planning, money, time and sweat equity put into the making of any film project are just the beginning of its worth.
Much of the film’s original dollar value can be calculated since costs for production and post-production are generally known and recorded against budgets. Legal fees, advertising and promotional expenses, film or tape prices and video mastering charges all add up towards the total worth of a title.
Some movies may have a large audience appeal while others just did not or will not generate a huge following. While the reasons for its success may vary, nonetheless this factor also contributes towards its overall value. This becomes an emotional value attached to the movies’ legacy and might even seem to be the more weighty judgment of its value.
On the practical side, consider the Return On Investment (ROI) of a movie. Obviously the large audience equates to a profitable return to the investors and gives it an increased value to the films’ owners. It is desired by the audience and brings pride and profit to the filmmakers.
A good example is the title LOST HORIZON. The 1937 Frank Capra version is considered a classic and a fan favorite. The musical remake from 1973 is seen as a failure. This Burt Bacharach musical version of LOST HORIZON just did not appeal to the audience even though the studio produced it for $7 Million ($30 Million by today’s measure).
The cost of production eventually fades away in memory as the fiscal years go by. What remains are the quality images and performances, which were recorded onto the film, then vaulted. A studio such as Sony Pictures now looks at LOST HORIZON 1973 and finds it still has a fan base. Since it had high production qualities, they are willing to spend money on restoring and re-mastering to generate a renewed interest and a financial return. In fact, extra money was allocated towards the restoration just for research of deleted scenes and any additional material identified as added value. They also hope to generate a new audience.

Value of a Christian film library
The same physical and monetary values hold true for the faith based catalogue, but the intangibles are a huge part of the value of these special movies. One of the intangibles mentioned in the previous section is audience appeal.
The subject matter of movies in the faith based genre are more important than that of the films from the secular studios. Hollywood’s movies cover everything from true stories of heroes or fantasy heroes to bad guys or events that only happened in the writers’ mind such as the perceived end of the world portrayed in the movie 2012.
I have breaking news: gang members don’t really sing and dance in the streets as seen in West Side Story, “The Force” is not real, Las Vegas casinos were never actually robbed in Oceans 11, 12 & 13, and guys don’t really get punched in the head 12 times pumped full of bullets yet continue the fight while jumping from a helicopter onto the top of an out-of-control flaming truck speeding down the highway full of explosives heading towards an orphanage (whew!). These are stories for escapism, so dig deep for “the moral of the story” or life’s lessons. “THAT’S ENTERTAINMENT!”

Christian films exist to honor God. They can be used for Kingdom building, counseling, and teaching Biblical truths. The stories and events portrayed in these films were designed and crafted by members of the body of Christ’s church. This major intangible value makes this library worth protecting and archiving properly. This value should also cause any film in production to be crafted to the best possible standards available.

In my next article I will discuss history, technical information and, storage of your film elements.

Reference: The Columbia Story, Clive Hirschhorn

Writer Tom Zaczyk has extensive experience with over 35 years in post production including work in Motion Picture Film Restoration and Preservation, High Definition Video Mastering and File Based Data Workflow. Currently he is Co-Founder of Walk by Faith Studios LLC the Concierge to Faith-Based Entertainment. He can be reached at Tom@WBFStudios.com

I.M. / Instant Messenger—The Motion Picture is a project currently underway from Tangerine Sky Productions, Ltd. In most cases “I.M.” stands for “Instant Messaging,” but this story is about just who that messenger is, and to whom he is sending those messages. “I.M.” is based on Kevin Collier’s 2004 award-winning book, “barthpenn@heaven.org,” about an angel in Heaven who corresponds with a young boy on Earth via email. The movie expands on the theme and upgrades email to modern day texting. The Christian fiction chapter for tweeners “barthpenn@heaven.org” received 5-star ratings from Amazon. One reviewer called it “a masterpiece of communication.”

From the Book to the Making of the Movie
I.M. replaces email with instant messaging. Jordon (Caleb Bohn), at first doesn’t believe he’s receiving messages from a heavenly “messenger.” He soon discovers the angel, Bartholomew, and his messages are real. Bartholomew (Bart) is a guardian angel who thinks he’s breaking the rules at times, but is unknowingly in God’s perfect will. In effort to encourage Jordon, he sometimes appears transparent to the boy. Bart’s mischief gets him in trouble with the “higher up” angels, but, unbeknownst at the time, turns out to be all a part of God’s perfect plan. Above: Caleb Bohn as Jordon Mink, texting Bart in a scene from the movie.

Youths for Christ making it happen
The cast young members in I.M. don’t have to “act as friends,” they are friends in real life. All attended the same Christian school and their parents are friends, as well. The boys have acted in school play productions, participated as team mates in basketball, and routinely hang out. So, there is a chemistry there that will reveal itself in the movie, about true friends that care about each other in this fiction model. Pictured left to right: Adin Bohn and Connor Lange.

Shooting of the Movie Begins
Shooting has already begun and will wrap up in December. The photography is digital, high definition, 1080p. Studio tracks from the band VOTA will be featured on the soundtrack. The band will do a live performance for the movie, filmed during Unity 2010, a CCM festival. They will also have a speaking role, appearing with leading cast member Caleb Bohn. The movie is expected to be completed in early 2011. The book the movie will be based on can be purchased here online. Pictured: The VOTA band.

For more information visit the movie’s website

Location scouting is a vital process in the pre-production stage of filmmaking and commercial production. Once scriptwriters, producers or directors have decided what general kind of scenery they require for the various parts of their work that is shot outside of the studio, a search is begun for a suitable place or “location” outside the studio. Location scouts also look for generally spectacular or interesting locations beforehand, to have a database of locations in case of requests. But all that is changing thanks to Google Maps!

Thanks to Google Maps and photographers everywhere, most beautiful key filming locations are being photographed by both amateurs and professional photographers from around the world and their pictures are being posted right on Google “Visual” Maps. This makes the job of a film producer a lot easier, since these visual maps and location pics may be used to visualize the filming locations and show the cast and crew where each scene will take place. We used to take pictures and send them out, today we just e-mail them the google- visual location pics. Of course these pictures are mainly exterior locations (at least for now), but nevertheless, they are being creatively used as a preliminary location scouting and location address map, all at the same time.

Film making is about visuals and thanks to Google Visual Maps we may now scout locations from around the world without leaving the office or spending money on a location scout. To see how it works… click on the Downtown Miami Pic above (or link below) and see the Visual Map and Location Pictures. And if you move the the icon of the little Yellow-guy located on the bottom right portion of the screen, we are basically able to move around and scout the location visually from different angles while moving from one street corner to the next.

Miami Downtown Location

the first iPhone 4 cinematic film. from Benjamin Reece on Vimeo.