sholay2011:
Lol

Na only 'lol' you fit tok?

Jayboy124: No cinemas.
Nollywood dey fight CGI dinosaurs.

Hahahaha oloshi... agbero boys done sell all the dinosaurs as grade 'A' meat. Even aliens dey fear come Naija make boys no rough them up, pull their shoe and send them packing.

sholay2011:
Well yeah, applying things we've learnt. Mr Villageboi...I duff my hat. I hope to see you in real lyf someday.

Of course you will see me in real life. There's a whole bunch of you guys on NL I can't wait to meet. Damn, that'll be crazy fun.

Paentera:

A rough mental calculation with the figures you provided shows that each ticket would cost an average of N4,071 to see Ije. Except the movie was shown to a large crowd outside Nigeria, the grossing figures do seem rather far-fetched in my opinion going by the cost of tickets here topping N1,500 max at even the best cinemas in town. The exception is that more people might have watched the movie.

My other question is this - how difficult is it to actually verify such figures? Are there no monitoring/regulatory agencies that can verify such figures on request?

Exactly! Throughout the post I kept on mentioning 'not verified'... who knows where they pull these figures from? I personally don't even believe most budgets posted. I think the N57m quoted for Ije might be domestic & worldwide or maybe because it returned to the cinemas 3 times or so if I remember correctly.

It's hard to say anything for a 'fact' as we don't see a paper trail of evidence. But still N57m is a mega loss for a film that supposedly cost $2.5m to make.

I'm not sure if you've seen the film 'Ije' but I really find it very hardly to reconcile many films with their 'budgets'. Simple truth I can say is that for the 'claimed' budget it sucks. The producers must have completely wasted money.

How did this cost $2.5m??

https://www.youtube.com/watch?v=kowbWZcBfaU

sholay2011:
Getting it right CONSISTENTLY no easy oh...but persistence with willingness to learn should get us there.

People can do things 'consistently' abi we dey fear? Willingness to learn won't get us there but a willingness to apply what we have learnt will.

sholay2011:

Nollywood has to get it right sooner than later o.

*Goes back to studying hooks in scriptwriting *

Not just getting it right but getting it right CONSISTENTLY... one off flukes are not enough.

Come oh, na right hook abi left hook

Diaris God o!!

Article by - Oris Aigbokhaevbolo

Nollywood took a beating at the Durban International Film Festival due to the quality of most of our films. In fact, my presence as a critic was greeted with surprise. One participant asked how it was possible to be a critic in so ‘chaotic’ a movie industry.

Too much happens at festivals. Most of it, not within the cinema halls—the conversations, the flirting, the drinking, the debates, the communal meals, the lingering animosity of a heated exchange.

With the Durban International Film Festival (DIFF), a lot happened onscreen as well. I saw a low-budget sci-fi vampire flick set in 1930s Ethiopia; I saw a tale of corruption set in Kenya; I saw a young man, on account of a woman—what else?—go from ménage a trois to murder in Johannesburg; I saw the faces of several critics whose only proof of life earlier, to me, was text; I sat beside the beautiful star of a movie premiering and listened as she, with happiness and alarm, spoke to her partner about the shock of her father’s presence at the screening of a film with risqué moments.

But mostly I saw Nollywood take a beating.

Take these incidents. One. After the screening of Veve, the film on political corruption in Kenya, I turned to my compatriot Terh Agbedeh. He was looking at me. We shook our heads: “Nollywood never start.” This, even as we agreed Veve wasn’t excellent.

Two. At the end of the much-hyped South African production Cold Harbour I was impressed even as the film’s black lead’s uncertain fate in an ambiguous ending was a letdown. (The white director later explained she couldn’t go through with the scripted tragedy after Marikana—to always consider racial politics is the burden of a public performer in South Africa.)

Cold Harbour Trailer

https://www.youtube.com/watch?v=EnIwascAUXo

Separate discussions with two South Africans produced different opinions. Film critic Kavish Chetty touted the film’s quality, hinging his praise on two politically charged scenes.

Jozua Malherbe, a filmmaker taking part, as I was, in the Talents Durban program was unimpressed. He said Cold Harbour gave the impression—from its trailer I assume—that it was a thriller but it failed to be a good example of one. Unburdened by both hype and trailer, I explained that the film was drama with action diversions. I believe(d) so, yet that was talk; I was thinking: here is a man spoilt by a national cinema producing excellent films regularly.

Nigerian cinemagoers don’t have that luxury. A film half as well made as Cold Harbour will meet with deserved acclaim. Expression of chagrin at the little letdowns of a film with such production values as Cold Harbour is a privilege exclusive to customers of better fare.

Gavin Hood’s Best Foreign Film Oscar for Tsotsi is the acclaim-peak of a cinema tradition that has, save for commercial appeal, eclipsed the Nigerian film industry. As a country in love with excess, we citizens, surrealists, are quick to tout volume of production that places the country as third in production, after the other –woods, as proof of success. The volume of releases of the Nigerian film industry is, however, a tribute to the industry of the Nigerian—it is not evidence of artistry.

Because a film festival is mostly about artistry, it was certain Nollywood will be excluded; yet with evidence came a sting.

Living Funeral Trailer

https://www.youtube.com/watch?v=GRqxVja0KPo

The 2014 DIFF catalogue listed two and a half films from Nigeria—half because Biyi Bandele’s Half of A Yellow Sun is credited to both the UK and Nigeria. The others, Udoka Oyeka’s short film Living Funeral and Chika Anadu’s B for Boy, are wholly Nigerian. None of these films screened in competition. (A fourth film Gone Too Far, also not in competition, was directed by Destiny Ekaragha, who is of Nigerian parentage.)

Such is the Nollywood stigma that when I asked Chika Anadu at the Q and A session after the screening of the super-serious B for Boy if she considers her film Nollywood, she said no. She went on to clarify. Nollywood had made her career possible; but while its very visible viability gave her aspirations credibility, she feels unconnected to its sensibility.

B for Boy Trailer

https://www.youtube.com/watch?v=QEhTbVimeX4

The filmmaker is of course free to profess a dissociation from her country’s major cinema tradition. But with the Nigerian film industry only into its third decade, is total dissociation necessary? Might it not be prudent to profess a change in direction as opposed to freeing oneself from a tradition that has given young filmmakers freedom in the first place?

Again, Anadu’s use of Ngozi Amarikwa, famous for her role in some of the earliest Nollywood films, and Oyeka’s use of Liz Benson, star actress of 90s Nollywood (avant la lettre), means the novel directors are yet to discover novel tools. And here the irony of expressing an exception to Nollywood shows: these young non-Nollywood filmmakers in going forward are using tools of the past. Not to say there is no place for Nollywood vets, but the situation is akin to a farmer using hoes and cutlasses while speaking endlessly about mechanised farming.

Destiny Ekaragha on Gone Too Far!

https://www.youtube.com/watch?v=c3d2ZapWDSg

On several occasions my presence at the Durban Film Festival as critic was greeted with surprise. A participant asked how it was possible to be critic in so ‘chaotic’ a movie industry.

That was a hard one, but in the grand scheme of hard questions presented to Nollywood-backing Nigerians at the Durban International Film Festival, I got off easy.

A Nigerian journalist was discussing the existence of Rwandan cinema, when, perhaps in jest, he was asked by a filmmaker from that country: “is it not better to produce nothing than to produce crap?”

SOURCE - http://thisisafrica.me/lifestyle/nollywood-nightmare-durban-int-film-fest/

___________________________________________________________________________________________________________________

My people, na so we see this article. What do you all think?

Orikinla:

MTN, Shoprite, Sheraton, Protea, Radisson Blu and others have been able to succeed in spite of the shortages of power supply.
If the tourists have good guest houses and hotels to stay, they will come to see the exotic locations of Nigerian movies. So, let us use our awesome landscapes in our movies.

Tourists are not residents, so we can even use solar power for the guest houses on locations where they can stay for the short period of their visit.

That is quite interesting but remember the BIG difference between these businesses mentioned and tourists.

These 'Businesses' are here to TAKE our money and as long as any nation is giving them a ton of it they will stay no matter the 'conditions'.
Tourists go somewhere to SPEND their money and if they don't think they are getting the best 'comfortable' deal... they won't go there.

Orikinla: Let us make informed comments based on the booming hospitality industry that is the vehicle of tourism and which is good for us to upgrade the Nigerian film industry for film tourism.
Some people are commenting from wrong perspectives.

I mentioned the film adaptation of Soyinka's "Aké: The Years of Childhood" which can come with a theme park on the location of the film in Abeokuta and that will certainly attract local and international tourists to visit the scenic backgrounds of the childhood of the first black Nobel laureate in Literature.

That is all well and good.

This is the first thing Wiki says about tourism in Nigeria - "Tourism in Nigeria centers largely on events, due to the country's ample amount of ethnic groups, but also includes rain forests, savannah, waterfalls, and other natural attractions.[1] The industry, unfortunately, suffers from the country's poor electricity, roads, and water quality".

Simple fact; despite our 'patriotism' Nigeria is in no shape for the sort of large scale tourism that this thread is about. There will not be a mass influx of tourists to Nigeria until most places in the world look at Nigeria as a pretty safe place.

No idea how to do the 'quote' thing but this is a pretty truthful article from the Guardian - http://www.theguardian.com/commentisfree/2012/jun/29/nigeria-tourism-safe-to-travel

Come to Nigeria, if you like a bit of edge with your natural beauty
Tourism is a growth industry in Africa, and Nigeria wants to cash in, but is the country a safe place to travel to?

Travelling around west Africa is an unpredictable business, but if one thing is certain, it is this – whenever fellow travellers sit down and talk, the conversation often turns to an exchange of horror stories.

There are the old former-Soviet planes that used to fly passengers – and crates of chickens – from Ghana to Sierra Leone, stopping off at almost every country along the way whilst the liquor-soaked pilot disembarked to exchange God knows what with some bloke on the border.

One experience I sometimes recall is of the Lagos-Abuja flight that waited on the runway for two hours, then mysteriously escorted the VIPs off the plane but refused to tell other passengers why, before taking off, flying shakily in a large loop over Lagos and then landing there again. It turned out the plane didn't have enough fuel to make the trip, but the airline wanted to avoid charges for cancelling the flight.

The point is, getting from A to B can be a serious logistical challenge in west Africa. It pays off, of course: the rise in business-plane travel is just one of many indicators that intra-African trade, rather than the well-entrenched extraction of all African resources to other continents, is the future.

But are these experiences you would really choose if you were on holiday? The UN World Tourism Organisation (WTO) thinks so, and has this week held its Africa meeting in Nigeria for this first time, in Calabar – an old city in south-eastern Nigeria's Cross River State.

The Madrid-based WTO is pushing eco-tourism, fashion, art and culture, and Nigeria's abundant natural beauty – waterfalls, caves and national parks. For diaspora tourists, also a growing phenomenon in west Africa, Calabar's slave trading past is also a major attraction, and offers a chance to see increasingly endangered centuries-old relics from part of African history that still shapes people's lives.

But is it even responsible to encourage tourism to Nigeria? The country's infrastructure – particularly its aviation safety and security – is worse than ever. Nigerians themselves are avoiding travelling to Boko-Haram affected northern cities, and the national youth service scheme – which since the 1970s has placed university graduates in different parts of the country to foster national unity – has now stopped posting people to Kano and Kaduna due to the terrorist threat.

In this context, there is an air of unreality about glossy publications like Come To Nigeria , which encourages tourists to visit Kano – centre of the 18th-century Hausa empire – to see its old walled city, famous Kurmi craft market, Emir's Palace and dye pits, but doesn't mention the frequent bomb attacks by those un-tourism minded Islamic extremists.

The WTO insists it would be an injustice to discourage tourism to Nigeria as a whole because of these pockets of instability.

"It is absolutely realistic to encourage tourism to Nigeria," said Taleb Rifai, secretary general of the WTO. "If you can create tourism in even more volatile areas, like the Palestinian territory, Pakistan and Iraq – which we are helping with – then why not Nigeria? We don't believe there is any place under the sun not open for travel and tourism."

And it's true that, despite the challenges, tourists have been voting with their feet. Africa as a whole was the only region in the world whose tourism grew continuously at a double rate of growth over the last 10 years. The continent's 50 million tourists are predicted to almost triple to 140 million by 2030. No sub-Saharan African country – where growth has been the most intense – wants to be left out of this influx of foreign cash.

Nigeria can't compete with the package holidays of comparatively tiny and more manageable countries like the Gambia or Cape Verde, or the (relatively) more reliable infrastructure of Ghana or Senegal. Nigeria's strategy seems to be to embrace its flaws and sell itself as a rough and ready product nonetheless. Advocates such as Nike Oshinowowo, a former Miss Nigeria who organised the WTO Calabar event, capture this in a typically Nigerian brand of optimist-realism.

"Nigeria doesn't come in a tidy box with a nice ribbon around it," said Oshinowowo. "But once you get over that hard edge that my country has, once you have passed through the airport, you are welcomed by wonderful, warm people, the food is phenomenal, the climate is constantly nice."

"Yes there is poverty, but there are also beggars on the Champs Elysées, and that doesn't deter tourists to Paris," Oshinowowo continued. "If you come and sit and eat with us you will see that we are not thieves and our girls are not all prostitutes."

It's not exactly a conventional sales pitch, but then Nigeria is not going to be a conventional tourism destination any time soon.

The bolded sentence says a lot - We 'presently' have no package to sell to anyone. And the last sentence hits the nail on the head - It's just not a 'conventional' tourist destination and won't be anytime soon.

This is not a "It will happen today thing". I personally still stick by it being decades away.

tonyayo1:
Abeg o, no be if your lappy come spoil now you go come put the blame on me, wetin funny about my post?

Lol nooooo, if I spoil something I no dey ever blame anoda persin... oya buy me one new lappy
That ya post funny well-well, you take style dodge wetin the guy dey ask as per him questions dey very odd lol.

@ OP, Nigeria no dey produce camera so any kpako camera is... *ahem*... professionally made

****

AkoEja: Irrespective of what you may have on the ground, tourism cannot grow in Nigeria until we have organised cities. How do you Expect a visitor to survive in a place like Lagos for example? Irrespective of what the present government has done, Lagos is still not a city for a tourist

Almost all our cities are disorganised, you have to be a Nigerian before you can know how to move around.

True that. The amount of work to be done before this can ever become a reality is astonishing... might also never happen.

tonyayo1: Bros I don't really get you, do you mean a movie that is directed by a hollywood director and it's shown at an international film fest? Just exercise some lil' patience the pros in the house will attend to you sooner.

Oh boy, you just make me spray coffee all over my laptop with laff hahahahaha!!

Onyegecha:
I agree, but Nollywood must first stop defrauding those who patronize them. [b]The virus of fraud will not allow them to go far unless they get rid of it. The idea of packaging a one-hour story into six or eight parts is soooo very annoying. What about the endless adverts that often take up half of the film? [/b]Nollywood needs urgent rebranding. Anyhow, i am proud of their accomplishments so far.

Is that still going on? That is very, very bad practice.

DaVinChiSam: It will. But first before it attracts outsiders the insiders also have to play their parts. Mayhaps if we all join in to support, promote, advertise it to the outside world then hopefully we can achieve this feat. [b]What am I talking about? Buy original films, watch nigerian films at the cinema etc. [/b]Thanks

@ Bolded is a very good point for starters. Let's be honest... there are a ton of threads and comments that show we think piracy-freebies na our birthright - that is just so wrong. If we want a better Nigeria we need to stop waiting for the ever-elusive and possibly fictional 'them' and be the ones to start change - you, me, we.

^^^
Well said Lynx. What we really have to do is build an 'industry' first which simply means everything found in a film industry of which cinemas are a HUGE & crucial part and then 'other' things, in time, will follow.

@ We-Know-You Thanks for the unblock and fixing the previous post - that spambot can catch me well-well.

Orikinla:

The quality movies qualify for international awards and film festivals. But the 'Alaba' movies remain circulating in 'Alaba'.
Chika Anadu's "B for Boy" won the AFI's Breakthrough Award and the 'Alaba" movies cannot even get an IV.

True talk. Quality will always stand out! And if what we're talking about happens even 'Alaba' will step up... there just won't be a choice if that sort of money is being made from cinema viewings.

^^^
Then let them screen 'Z' grade too... it's still a ton more money into the economy. But things will definitely change and I'm pretty sure it will be 'A' grade vs 'B' grade after a short while. Alaba quality will have no other choice than to step up ten fold. What was that Naija sci-fi that was so bad the audience asked for their money back?
Just like in Hollywood it'll turn into 'Grade A', 'Grade B' and 'arthouse' films... anything lower than that will have to be straight to TV/Iroko/online... and to even give the 'pirates' an even bigger kick in the teeth - give 5% of the population of Nigeria piracy-rate N150 tickets. With 3000 screens Nigerians will be living at the cinemas. At N150, 8 million people is N1.2b for a Hollywood-type opening weekend.

With our miniscule number of screens Nigerians spent $3.9m on 'Wolf Of Wall Street' (yes, it's the HIGHEST grossing film ever in Naija cinemas, let's not pretend we don't like jigi-jigi die). And the film did that amount on ONLY 24 screens over a 7 week period. Imagine what just 50x that number of screens would do talk less of 100x.
Wolf Of Wall Street - screen facts - http://boxofficemojo.com/movies/?page=intl&country=NG&id=wolfofwallstreet.htm

I have been thinking about this topic/thread and hope I can lighten up the current bleak reality so permit me to butcher & paste from some of my old posts from different threads. Sorry it will be a bit long.

As mentioned earlier here I personally believe that 'Nigerian film tourism' on the scale being thought about is decades away from being a reality. However, a 'reality' that is very much possible ASAP is Billions if not Trillions of Naira can still be pulled in yearly.

HOW?

We've all heard the Govt yackety yack of oh we've given $200M and now even a new N3B for entertainment or filmmaking or whatever. The best thing for the Govt to do is not give out a penny to anyone - instead use that money as an investment in the right thing - Theartical Distribution Infrastructure... in other words CINEMAS.

Let's quickly look at some figures (I will state right now that none of these have been verified by me, however, these float around on various forums, threads and articles). First here is the last paragraph of an article found HERE[/quote]

"But Okhai still emphasizes on the quality of production, he says: ‘Cinemas cannot project poor quality films,’ explains Okhai, as ‘your flaws as a film producer are blown in proportion to the size of the screen. Film makers in the Diaspora are returning home to show how good films are made abroad. Their films are changing the way local film producers are making films’. True to Okhai’s theory, movie producers can recover tremendous amounts from cinema viewing. A couple of examples are In 2009 for instance, Stephanie Okereke’s movie, ‘Through the Glass,’ premiered at the cinemas making over N10 million. This was followed by Kunle Afolayan’s ‘The Figurine’ becoming the first local film to make over N30 million in the cinemas. Chineze Anyaene’s film, ‘Ije,’ also recorded tremendous success at the cinemas, making over N57 million and viewed by an estimated 14,000 people. In 2010, ‘Ije’ was reputed to be Nigeria’s highest selling movie in the cinemas, returning to the cinemas three times that year. Its success was next to Hollywood’s ‘Avatar.’ ‘Anchor Baby’ produced by Lonzo Nzekwe also made over N17 million"

So for returns at Nigerian cinemas we have -
Through The Glass - N10m = ($61,957)
The Figurine - N30m = ($185,873)
Ije - N57m = ($353,160)
Anchor Baby - N17m = ($105,328)

BUDGETS (claimed)
Ije - $2.5m
Jeta Amata's 'Black November' - $12.5m
Invasion 1892 - $16m??

To go a bit further, from the budget section, let's pick the film Ije since it has the lowest budget and 'we've heard' it made N57m or just $360,000 – Let us also remember that it took 6yrs to get this return (not verified). Take this post as just ‘general conversation.

I have for a long time been saying that Nigerian filmmaking has to become far more indie-like with much, much smaller budgets. No Nigerian film should have a budget of more than N10m-15m for high-end films. Shall we say a rounded dollar perspective of $100,000. And much lower budget films of $20,000 – 50,000.

Back to the $200m Govt grant or whatever it is and the other N3b floating around.

BUILD CINEMAS!!

Follow my small mathematics of a completely dream scenario and do correct if any figures are wrong.

Dreamland Govt-help scenario –
Let’s say every State in Nigeria has only 2 major cities and in ‘each’ of these cities they build 2 cinemas that have 2 x 200 seater screens… that makes a total of –

36 states x 2 cities = 72 cities to build in
72 cities x 2 cinemas x 2 screens x 200 seats abi? = 57,600 SEATS

Remember we’re only talking 288 screens in total and that isn’t much at all. Let’s put that into perspective –
The UK that doesn't even make films has 3258 screens (Population 62.6 million)
The US has 18,410 screens (Population 311.5 million people)
And OUR population is 160-180 million people.

So we have 57,600 SEATS!!

Remember we’re still talking about a ‘dream-scenario’ here. So a dream OPENING WEEKEND for a film, let’s assume the film is 2hrs long and each change over prep is an hour – ‘duration’ to get the audience in, for them to watch the film and get out is 3hrs – each screen should then be able to show the film at least 4 times a day right?

So a weekend opener of 3 days is 12 showings of said film –

We get 12 x 57,600 seats = 691,200 tickets sold. Let’s make each ticket dead cheap at N250 – afterall cinema is ‘escapism’ for the general population and they are not the rich. N250 is just above the N150 rate of pirated films – but come on for the ‘cinema experience’… why not? Every man chasing a babe will take her to the cinema and yes our men are very randy so that’s all good

691,200 x N250 only = N172,800,000 for just an opening weekend – a possible $1,070,632.
Remember this is a Govt ‘help’ thing so The Govt & filmmakers get a 50:50 share, however, they both put in 5% each for running costs of the cinemas + staff salaries and so on.
So a Nigerian film producer prospectively makes $481,784 on a 3-day opening weekend. What about the rest of the week and say the film runs for 6 weeks?
Let’s do another crazy calculation - $481,784 is over 3 days so 1 day is $160,594 and a 6 week run is 42 days = $160,594 x 42 = $6,744,976
You will NEVER EVER pack a cinema for 6 weeks… so lets say one manages to do only 25% cinema capacity for that period we’re still talking about - $1,686,244

Can anyone here say for a fact that NO Nigerian filmmaker/producer wouldn’t be over the moon making such a figure in 6 weeks off a $100,000 film?

Even the Govt that built this stuff is laughing all the way to the bank afterall we’re bragging some rubbish of how we’re churning out 50 films – an average of 2500 films a year and if just 10% of those can make it into the cinemas we’re talking about 250 films? Sod it that is a lot… let there just be 50 films a year that make it in.

If this could be the case on a common ridiculously tiny number of screens (288), remember Yankee get 18,000 screens.
Not one single filmmaker in Nigeria would ever dare make a low quality film. I said Naira at the start so tell me this is not Billions & Trillions we’re not tapping every year?

Lack of cinema infrastructure simply means we have no ‘industry’ – plain and simple.

Let's got further and imagine 1200 screens in Nigeria for our population of 160-180 million people. Get 2% of that population into the cinemas every week and think of the mind-blowing figures.

Don't you remember people used to rush to video houses to watch video cassette films. Nigerians are people that will madly go to the cinema if we had them... don't underate how Nigerians love to watch films... talkless of GOOD Nigerian films.

How many screens pulled in $202,368 for the Avengers figure in Nigeria? E reach 50? So imagine 1200 screens. Also to take a note of is that is the figure for for just an OPENING WEEKEND & ONE WEEK - from 4-13 May, 2012. That is N31 million for a week on almost zero screens.

Let me take the liberty of adding yet another angle to this – US population = 300m; big box office weekends are an average of $150m – say tickets there are $10 each so we have on average 15 million of a 300m population going to the cinema for a big weekend. That is 5% of the population. Say 5% of the Nigerian population goes for an opening weekend – isn’t that on the low end of 160 million people – EIGHT million people – then multiply by N250 = N2,000,000,000 or $12,391,580 – sounds crazy doesn’t it?

These figures above are far more 'real' than the millions of tourists dream. This is doable in TODAY's age... within 5yrs all of those cinemas can be built. If we actually gave a damn and stopped running around chasing 'bragging rights'.

We have no idea what is being thrown away by not having cinema screens.

Nomski0:
The very same one.

I thought the movie was all hype till I saw it.

You try well-well, I no fit siddon watch any of them. Saw the trailers and that was that lol

I like the show a lot.

Also just started watching 'The Leftovers' today.

Nomski0:

Sharknado (I'd rather shoot myself than be in this movie)
[/color]

Is that the one with flying sharks or some avalanche shark thingy? lol

^^^
Lol, na so e be.

^^^
You're welcome Oga Prof.

Hahahah love this little film you posted. We also have a little lesson to learn from it. Play it again but jump to when she goes to the bathroom - then close your eyes and listen... what do you hear??
Teehee, you will hear someone 'urinating' complete with the 'end-piss squeezing out dribbles' lol. Thumbs up for indie sound design. Now had the framing been a little different and they showed the tap running.

morsadh: [b][/b]You know, I'm about writing a script for my feature story, and its my first. Pls can I get tips?

With all honesty 'Google' is your best friend there... there isn't any info you can't find on scriptwriting online. Do that for starters and if later you're still stuck, open a thread.

^^^
True @ Originalsly. We look at what others are doing 'now' without realising there is a whole heap more that makes such a machine work - the very basics - Roads, electricity, water and so on.
What is one thing we know tourists are always doing? Walking in one direction while looking in another with their camera ready to snap. How many of us would dare walk around absent minded with a camera in our hands? That's Xmas for agbero boys nah. Tourists want to feel 'free & safe'... and that is one simple vibe we do not have so the dream that tomorrow millions of people will be visiting Nigeria is just that... a dream.

Until the nation is built up to a certain level of security prior to us even marketing ourselves as a destination to be at, talk less of even putting films out there that will make the average westerner drool at locations this is kind of a very far fetched though.
Rather, we have to, for now, actually concentrate on bettering our craft of filmmaking and building an 'industry' first with infrastructure. We want to run before they even born us sef. One step at a time.

prof800: The picture looks nice.
there is much to expect.

True... let's see if it delivers.

musicwriter: Good points but one thing I find not correct is they go searching for inspiration. That's not correct, cause inspiration can hit you anywhere!. As a matter of fact, it happens when you least expect it. And when you get a serious inpiration it feels like a thunder storm. Most powerful inspirations occure when doing mundane things like when taking your bath.
Also, one more thing you forgot is we don't have friends.

I believe it is correct. I understand your point though. All artists do go searching for inspiration just as the article mentioned... it doesn't mean it hits you immediately you go searching. When doing a mundane thing like 'having a bath' as you stated, the inspiration that hits you then is still a result of you having filled up your conscious and subconscious from the 'searching' you've always been doing from books, plays, walks, observing people and so on.

Oga Prof, how now? I don answa ya 'mirror' shot kweshion for that 'horror' trailer thread.

prof800: How can one achieve that mirror effect?

Oga prof e no too hard to do.

The main thing is having your cam locked down on a tripod - and that must NOT move at all.

Frame your actor so he/she shows in one half of the mirror then move them so their reflection shows in the other half of the mirror. To make it even easier make sure they don't overlap - then in post mask out the 'empty' side of the mirror of each shot and presto - you have the person showing twice.

Adding screen shot of an old Uni film of mine. The guy waka go wash face for morning and his ghostly reflection appeared with the 'magical' clock, scaring the sh*t out of him. In the filming I had someone 'hiding' where 'ghost' is so the actors eyeline would be perfect; the person just had to stand up on cue. The film was called 'Tempus Fugit' - Latin for 'Time Flies'. Oh the days of filming on Sony PD150 lol

EDIT: Just watched 'horror' clip again. It's the same principal of 'masking' two different shots. Guy stands still and does the scary face and shot two is guy quickly turns around. Cut out the reflection of him turning around and replace it with scary face.