International Academy of Film and TV

[Blongkoy]

With pnoize2k4 yesterday over lunch with Anvil Publications and the author of a book on documentary filmmaking in the Philippines, I saw this lead technical staff of International Academy of Film and Television (IAFT) with us and who told me that he is now out of IAFT.

His main gripe is that IAFT is one big ego trip of the man named Michael and that there was nothing inside this institution but mess. He pinned his hope, though, in this Academy on the man named Rusty but who is said to have been back now in the US.

Discussion yesterday ranged from local filmmaking effort to documentary filmmaking to reality TV to independents and indies to many other significant subjects of filmmaking. All this is going to be expounded this morning, from 9 to 12, at the UP Conference Room.

Please come if this interests you.

[storaroing]

Who amongst the peeps here have attended the skewl? I'd like to know about the kind of intructors and equipment they have. Are they really Hollywood mentors with a firm grounding on theory as well as practical application? What kind of production equipment do the students get to use? How about the output of the students? Are they any good? I'm quite intrigued and would like some first hand information from people who have actually been there.

[MrBiddle]

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Who amongst the peeps here have attended the skewl? I'd like to know about the kind of intructors and equipment they have. Are they really Hollywood mentors with a firm grounding on theory as well as practical application? What kind of production equipment do the students get to use? How about the output of the students? Are they any good? I'm quite intrigued and would like some first hand information from people who have actually been there.

I believe silang Vanceloma, Exudos or Diemjudilla have joined.

I guess they have both theory and application but those 3 users I mentioned can confirm.

They use low-end prosumer MiniDV cameras and probably the best lights in town and they use Final Cut Pro as their NLE.

A lot of their output needs improvement. But they're on their way...

[storaroing]

Thats very encouraging to hear. Perhaps one day the school could produce technically proficient homegrown directors and d.p's who can start giving Manila production houses a run for their money.

Speaking of which, are there people here producing tv commercials for regional consumption?Â* If so what would a 30 to 45 seconder ad cost?

[diem]

With pnoize2k4 yesterday over lunch with Anvil Publications and the author of a book on documentary filmmaking in the Philippines, I saw this lead technical staff of International Academy of Film and Television (IAFT) with us and who told me that he is now out of IAFT.

His main gripe is that IAFT is one big ego trip of the man named Michael and that there was nothing inside this institution but mess. He pinned his hope, though, in this Academy on the man named Rusty but who is said to have been back now in the US.

The man named Michael is most likely the co-founder and CEO of Bigfoot-- Michael Gleissner, the German billionaire who has every right to make anything an ego trip because he can very well afford it. The seed money for the making of IAFTV, the near 6 million bucks, is jokingly referred to as 'play money' by some members of the pioneer batch of students.

Rusty is Ralph Lemorande, an Hollywood insider going on a career nearly 30 years. As writer, producer, and and director, he has worked with Francis Ford Coppola and George Lucas. He's working with his own production company and is eager to discover untapped creative talent. I remember plotting to play the 80s song 'Electric Dreams' on his send-off party, he wrote the film of the same title.

@storaroing, the IAFTV has great technological advantages in terms of equipment but I wouldn't rely on the students. However, The school does have an audio-visual team comprised of experienced professionals but they would cost you a pretty penny to make your commercial, i don't know what their rates are but I've heard they quite like the rates in Manila and if so, it would cost you a P150,000.00 at the least.

But here in Cebu, there are some filmmaking outfits who would relish the challenge of making a good commercial as an exercise. Just keep your eyes open.

[Blongkoy]

With pnoize2k4 yesterday over lunch with Anvil Publications and the author of a book on documentary filmmaking in the Philippines, I saw this lead technical staff of International Academy of Film and Television (IAFT) with us and who told me that he is now out of IAFT.

His main gripe is that IAFT is one big ego trip of the man named Michael and that there was nothing inside this institution but mess. He pinned his hope, though, in this Academy on the man named Rusty but who is said to have been back now in the US.

The man named Michael is most likely the co-founder and CEO of Bigfoot-- Michael Gleissner, the German billionaire who has every right to make anything an ego trip because he can very well afford it.Â* The seed money for the making of IAFTV, the near 6 million bucks, is jokingly referred to asÂ* 'play money' by some members of the pioneer batch of students.

Rusty is Ralph Lemorande, an Hollywood insider going on a career nearly 30 years.Â* As writer, producer, and and director, he has worked with Francis Ford Coppola and George Lucas.Â* He's working with his own production company and is eager to discover untapped creative talent.Â* I remember plotting to play the 80s song 'Electric Dreams' on his send-off party, he wrote the film of the same title.

I met both gentlemen.

Mr. Michael --- when he was still holding office in that building infront of Gaisano Country Mall in Banilad. If not for the notion of Hollywood and the monster traffic that afternoon (which prevented from picking up the small black bag that contains my portfolio), I would have joined Big Foot. Hollywood or something Hollywoodish are something I always felt avoiding if I could; for me, the images nearest to Hollywood (that I would want to watch) are those coming from Miramax, Lions' Gate Films, October Films, Fox 2000 and Bilboa. Others I can do without.

Mr. Rusty --- over coffee and cheese cake in that Big Bucks facility below that Big Foot building where we discussed "The Mirror Has Two Faces" and how he had painted out all humans in 5th Avenue in that early morning scene.

I am not quite a stranger at Big Foot. For one, many of my friends --- from Executives like Lilu and Jkawa to animators like Michael (not the Big Boss) --- are gainfully connected with the company. For another, I was part of the team of Rick Robertson and Andrew Durbin which made the editing module titled "Si Malakas at si Maganda" for the editing trainees to cut and repair.

The esrstwhile Big Foot director I met over lunch last October 6 was simply saying, in fairness to him and Michael G, that if the Big Boss could afford to bankroll his ego tripping, he could very well afford to mount a full lenght feature-narrative Cebuano/Visayan film and thus spin off the revival of this lost cinema.

[MaximilianGrave]

dont you think its unfair to judge the film school since it hasnt been formally opened yet? I mean, it may have some classes before in Bigfoot Ramos but I think that was just some sort of experiment if a film school in cebu is viable. I dont think Mr Gleissner would invest in something this much if he is not sure to make profit out of it -- he is a businessman after all. How do you think did he make his millions?

[MrBiddle]

How do you think did he make his millions?

By cunning duplicity...

By the way what was their project about a Caucasian fellow who becomes wealthy and only here in Cebu because competition is very tough where he lives? Pa Eninglishan nasad tanan artista diri ;-b

I hope naa sad ni'y pagka Anti-Stateside murag PANAGHOY SA SUBA.... I mean, diri gud na datu ang Kano.

[storaroing]

Rather than seeing this facility as a "threat" to our Cebuano voice, I think it can only do us good, really.

I mean Cebu now has an honest to goodness film school with state of the art soundstages and equipment ferchrissakes!! Not even Manila has such a facility. Think of the benefits it will provide when it starts churning out fresh Cebuano graduates! The quality of Cebu's video production will increase drastically. When people realize that Cebuanos can churn out productions that are at par with Manila's at half the cost, there will be a shift towards film and video production towards the Visayas. Isn't this what we all want?

As for most of the student output being in English, I believe it is quite immaterial. For it is the technical training in lighting, directing, screenwriting, sound production etc. that is important. Once you have a firm background in all these aspects, you can then proceed to make original shorts, or features in Bisaya.....or even Swahili if you prefer!

As for the "Hollywood" mentors, we don't have to like them to learn from them. Lets pick their brains for all the information and expertise they can give us. Filter out the aspects you don't like. But don't automatically reject the idea altogether.

I hope I'm not alone in this thinking. Because if we remain close-minded then we will never progress in the art and craft of moving images. C'mon people! Wake up!

[MrBiddle]

As for the "Hollywood" mentors, we don't have to like them to learn from them. Lets pick their brains for all the information and expertise they can give us. Filter out the aspects you don't like. But don't automatically reject the idea altogether.

I hope I'm not alone in this thinking. Because if we remain close-minded then we will never progress in the art and craft of moving images. C'mon people! Wake up!

You have a point here hehehe

As for most of the student output being in English, I believe it is quite immaterial. For it is the technical training in lighting, directing, screenwriting, sound production etc. that is important. Once you have a firm background in all these aspects, you can then proceed to make original shorts, or features in Bisaya.....or even Swahili if you prefer!

"Training" indeed. Again, you do have a point