MMQ Mediaworks Brunei

The cube is shipping..HD revolution!!

2010-09-12T00:40:00.002+08:00

The production units are substantially better than where we started with the Beta units. Based on the feedback we had from Beta testing we made several important changes. Here are some highlights:

New WiFi Radio – we ended up opting for a more expensive, harder to find, but well worth it WiFi Radio with longer range,and practically no frame drops. 3rd party testers said “90% better video quality at long range”. If you liked the last one, you’ll be blown away.
Lemo power connectors - the terminal block was a wimpy mistake.
More compact antenna – less obtrusive, same performance.
Analog Audio input – for those using external mics, that does not embed in HDMI/HD-SDI. Embedded still fully supported.
Audio / Video / Power cable repositioned – to all be on one side
Several software updates to make WiFi more stable, and video dropouts far less.
Simplified Web UI and s/w configuration – my mother in law got it working.
Reduced latency - independent testers pegged it at 5 frames. iPad app still in process, so mobile Safari still has several seconds buffering.
Anti-Rotation lock – on hot shoe mount
Many other tweaks we would love to share with you.

Lead time is around 10 days right now, until we sell out of existing stock. Please order now to avoid disappointment, we will only get stock again in 6-8 weeks.

To all the Beta testers : thanks for your valuable inputs so far, if you haven’t yet, you need to complete the online results form.

Welcome to The Cube™ Revolution !

blue leader, out !

The creation behind the still..still..the story counts

2010-03-06T11:19:00.002+08:00

We used a Sennheiser MKH416 for the boom and a couple of Lectrosonics 400 series wireless systems paired with a Countryman B6 lav and a Lectrosonics lav, I believe it was an M152. Everything went through a Sound Devices 442 mixer into a Sound Devices 702t recorder.

So yeah, we used Kino Flo's for both the security office and in the taxi cab. For the exterior lot of the warehouse we used a 2k (and 2 650W's for the rooftop shot of the truck). For the gas station, we just rocked that as-is pretty much!

Pena Patriot 2010

2010-02-06T09:23:00.005+08:00

Writings of a patriot OR the patriot's pen - a story of a young man, learning about life from a novelist, whose life is shattered with the death of his wife. Together, they both learn about love, sacrifice and life.

The drama was written in commemoration of the 26th National Day Celebration of Brunei. Usually TV dramas, broadcasted in RTB for the occasion, revolves around the military spirit, community spirit which translates to the same drama stereotypes. So MMQ engaged Mr. Hj. Mokhtar to write a drama that focuses on specific characters and themes rather than have blatant nationalistic messages in an obvious manner.

Due to constraints in terms of time and creative differences with RTB, the drama will be done to the best of what MMQ can offer, considering limitations in terms of budget and time.

The drama will be broadcasted on RTB Channels on the 23rd of February 2010.

Written by Hj. Mahathir Hj. Mokhtar for MMQ Mediaworks Brunei.

Production and post production in process.

Recording Sound separately..

2010-01-31T16:05:00.002+08:00

The article below comes from DXNMedia at Clubsnap.

I guess for most people, as long as there is sound, they're happy, but if we're to be anal about our sound quality, we should be more aware of how our audio signal path flows.

Both method of recordings are valid solutions, but I would think that Videoman's solution is a better one.....Firstly, his Sound Devices 302's microphone pre-amps is a lot cleaner than the H4n. By using line level signal to feed into the H2 recorder, he's definitely getting a cleaner audio signal into the H2. As such, he could probably record a much 'clearer' audio with lesser noise and hiss in his recordings at a much lower level (better Signal to Noise ratios).

If we are to use the H4n's internal mic preamps to drive the shotgun/lav mics, I dare to say that the noise level in the recording will definitely be higher as opposed to using a line-level input into the H4n (Tested, proven & learnt from our mistakes).

Personally, I have a few workflows to suit most of our client's needs for 5D/7D's audio recording.

Option #1:
Super simple, low-quality requirements setup.
Using a Beachtek DXA-5D, we just record directly into the 5D/7D...
Drawbacks of this is that we cannot accurately monitor input signal, mic preamps of the Beachtek is noisy, if not worse than H4n solutions......
Benefit of this is that we save precious time syncing audio in post...but we'll only recommend this if clients really, really have no budget.

Option #2:
Simple & no fuss, 2 channel recording setup...Similar solution to using H4n, but instead of using H4n with rather noisy mic preamps, we use Fostex FR2LE CF recorder or another high res 1 bit audio recorder.
Both recording units have very clean mic preamps to drive the microphones.

Option #3:
Parallel recording into 5D or 7D.
Together with option #1 & #2, we add a Beachtek DXA-5D for parallel recording into the 5D/7D.
Different from option #1 is that we run a direct line signal into the Beachtek from our recorders with top-end mic preamps. If audio signal is clean enough in the .mov file, we save a whole lot of time from syncing. If not, we have a high resolution audio file as backup.

Option #4:
When more mic inputs are needed, we add a mixer to the chain.
4 channel field mixer, line input into our recorders and parallel output into the 5D/7D.

Option #5:
Most troublesome setup for recording up to 8 individual audio tracks.
Using our multitrack field recorder, we can record 8 independent audio tracks, do a mixdown stereo output into the 5D/7D for sync.

Of course, there are better and more top-end setups from other professional location sound recordists, but given today's budget for production, it's hard for us to justify investing in audio recorders or audio recording solutions that can cost even more than a Sony EX3 camera....

Having said all that, it's also not just about having top end hardware & equipment....one of the key factors other than having good equipment is always the skills and knowledge in mic placement and mic selections to do the audio recording job.....very much like how we change lenses & position the cameras to suit different framing and shot sizes.

If you've reached that kind of level of sound recording requirements, it's best to hire the pros for their services.

Tiket to Anugerah RTB 2010...sort of

2010-01-23T16:22:00.001+08:00

Location Recce Jan 2010

2010-01-09T08:21:00.002+08:00

Knowing limitations in Brunei, we are now proceeding with two concurrent RTB projects requiring location recce.

Will update soon.

Seindah Ombak - RTB Production - MMQ Script Dec2009

2009-12-10T22:03:00.001+08:00

RTB to produce Drama by MMQ scriptwriter

2009-12-09T09:13:00.001+08:00

Script reading session at RTB Sungai Akar on the 7th and 8th December 2009. They loovvveee the characters written by MMQ writers. However, RTB find it difficult to find suitable places and good casting.

AG-HPX series Gamma Modes

2009-12-04T23:16:00.002+08:00

HD NORM:	Suitable for HD recording
LOW:	Works to flatten out a high contrast scene
SD NORM:	Normal setting for SD (this was available in the DVX100 series)
HIGH:	Provides more contrast and color gradation
B.PRESS:	Provides more contrast and blacks in low contrast scenes
CINE-LIKE D:	The Cine-Like mode shifted to prioritize dynamic range
CINE-LIKE V:	The Cine-Like mode shifted to prioritize contrast

Advanced Image Adjustments Built-In

Casting Call 2009

2009-10-21T08:34:00.002+08:00

Kami sedang mencari bakat-bakat baru dalam bidang lakonan untuk watak-watak berikut. Pastikan biskita sesuai dengan watak berkenaan, profesional dan insyaAllah kami akan membimbing sedikit jika awda masih baru dalam bidang lakonan. Sila hubungi kami sekarang!! 8191455.

Drama The light
Adnan - Lelaki, 30an, matang, penyayang, suami rania
Rania - perempuan, lewat 20an awal 30an, cantik, matang, isteri adnan
Huda - perempuan, 30an masuk 40an, cantik, professional, matang. Eksekutif look.
Ibu Adnan - perempuan, lewat 50an, ibu adnan.
Sufri - Lelaki, 30an, nakal.
Imam Mazini - lelaki, 40an - 50an, beriman.
Isteri Sufri - perempuan, 30an-40an, gempal dan mudah cemburu.

Drama The pen
Aiman - Lelaki 20an., sedikit cuai, muda, mengharapkan kasih sayang keluarga.
Sulaiman - Lelaki 50an-60an-70an, satria sastera, bengis, marah kepada anaknya haris.
Haris - lelaki 20an-30an, anak sulaiman, mengharapkan ampun sulaiman.
Ibu Haris - perempuan 40an-50an, isteri sulaiman. meninggal dalam bencana dua alam.
Shahreza - perempuan 20an-30an, rakan baik aiman, berisi dan suka makan....literally.
Ibu Aiman - perempuan 50an, jarang di rumah. ibu sibuk.
Ayah Aiman - lelaki, 50an, sibuk.
Dr. Ismail - lelaki, 30an-40an, mentor Aiman.
Penjaga Kedai - indian, tua atau muda, miskin atau kaya..all go :-)
Pembantu Rumah - bangsa..

Drama Gerbang or ' The Arc'

2009-09-12T22:13:00.004+08:00

Alhamdulillah, the Drama Gerbang was finalized and submitted, our 1st try using the Panasonic System. So far so good. Since it is an SD production, we just down res the whole footage. Its a beginning for something lined up for the new year actually. Thanks for watching.

This is how Singapore do its casting call!!

2009-09-03T07:35:00.001+08:00

Casting Call: Pride of the Dragon 龙的尊严

Film Synopsis: A young man returns from overseas after 15 years to take revenge on those who killed his parents. He also wishes to take over his father’s previous reign as king of the underworld. As he goes through the journey of his motives, he finds out that his uncle was behind the assassination of his parents. He kills everyone and lives with his childhood sweetheart, finally as dragonhead of the underworld.

Important Note: This story deals with the use of guns, cigarettes and is under a triad setting. So if you’re not comfortable with it, please do not apply.

Filming stipulated to be 3-4 days within the period of Oct 1st to 7th
Audition Dates: 16 September 2009
Time: 10am-6pm
Location: To be Confirmed

Tai Zi (Male Main Lead #1)

Age 20-25
Personality: Cold and Revengeful.
Able to speak with an Ang Mo Accent. And able to fight
Chinese

Uncle Chin Boo (Male Main Lead #2)

Age 30-40
Personality: Manipulative, Evil and Uneducated
Able to speak Cantonese
Chinese

May (Female Main Lead#1)

Age: 18-25
Personality: Soft Spoken and Shy
Beautiful and Pretty, able to establish a making out scene
Able to speak English

Long Wei (Male Supporting Actor)

Age: 30-40
Personality: Smart, Manipulative and Cold Hearted
Chinese

Extras: People Gambling x 5
Age: <16

Gangsters x 5
Age: <16

Police x 2
Age: <18

Long Wei’s Wife
Age: 20-30

Long Wei’s Child
Age: 10-14

Uncle Chin Boo’s Wife
Age: 20-30

Uncle Chin Boo’s Child
Age: 10-14

Body Guards x4
Age: 18-25

Being student film-makers and since this is a self-funded film, we apologize that we would not be unable to provide any form of remuneration. However, meals would be provided during the film shoot.

Interested parties, please drop us an e-mail, sms, pm, msn, call or via any platforms to discuss with us.

Those interested in participating our film as crew, give sponsorship, interested to get involved can also contact us.

Royston Tan
Executive Producer
91880731 Email/MSN:Royston@roystontan.net

Hope to get good response!!!

Recording at RTB Bandar Seri Begawan

2009-09-03T07:13:00.005+08:00

RTB thru the Da'wa Unit, held an interschool religious drama competition. Here are some pictures shot at the Grand Hall, Radio Televisyen Brunei, Bandar Seri Begawan of students from Maktab Sains performing the Arim Flood Story from the Quran.

Apple Snow Leopard 2010

2009-08-25T12:48:00.002+08:00

Thats why we waited before getting five new systems..:-)

Filem Malaysia pun 2 kali 5 :-)

2009-08-13T15:59:00.002+08:00

Masalah yang sama berlaku di Brunei..well not just in Brunei, Malaysia and indon pun lebih kurang sama. Teknologi seharusnya membantu industri menjadi lebih baik. Contohnya penggunaan SFX dalam filem-filem hollywood. The holy grail bagi mereka ialah apabila satu satu FX wujud dalam satu filem TANPA disedari wujud oleh penonton. Ini kadang2..aduuhh membagi sakit kepala. Cerita satu hal, lain lagi audio dialog dubbing. Cubatah buat macam Kungfu hustle saja dulu. Benar, cerita atu cerita komedi, tapi cara stephen chow membuat, combine lagi dengan SFX nya..hmm..kirakan musiknya pun jua kalau dapat mewarnai filem atu. Jadi killernya.

So no wonder i like cemana mulah yasmin membuat cerita. i was hoping membuat something utk puasa n raya ani, but alas, project terlampau banyak sampai terpaksa jadi sotong..

as u can see dari article di bawah ani, orang malaysia pun sanak kan filem hancur durang hehe...sama la bros and sis.

ps. i love watching selubung...dulu..

Cari formula kuatkan jalan cerita filem

Oleh Hardi Effendi Yaacob

Produser filem elak bergantung dengan teknologi canggih hingga abaikan kualiti karya

FESTIVAL Filem Malaysia Ke-22 (FFM22) yang berakhir di Kota Kinabalu, Sabah semalam seharusnya dijadikan medan mencari formula bagi memajukan jalan cerita sesebuah filem tempatan untuk menjadikannya sesuatu yang luar biasa tanpa terlalu bergantung kepada aplikasi teknologi.

Pensyarah Kanan Jabatan Pengajian Media Universiti Malaya (UM), Dr Abu Hassan Hasbullah, berkata komponen utama dalam memastikan sesebuah filem itu berjaya bukan terletak pada teknologi pembikinan semata-mata, sebaliknya jalan cerita yang dihasilkan.

“Filem bukan mesin tetapi suatu karya seni yang harus bercerita dengan sendirinya. Orang Mongolia boleh berbangga dengan filem mereka, begitu juga Thailand. Jika kita bercakap fasal teknologi seperti CGI (Imej Janaan Komputer) dan sebagainya, mereka lebih dulu menggunakannya daripada kita.

“Mengapa filem mereka boleh berjaya di negara sendiri dan peringkat antarabangsa. Semuanya sebab jalan ceritanya kuat dan menarik. Kenapa harus dibanggakan sangat penggunaan CGI dan teknologi penggambaran lain sedangkan aspek yang harus dititikberat ialah jalan cerita,” katanya.

Katanya, di mana-mana saja industri perfileman di seluruh dunia, hampir semua teknologi penggambaran yang digunakan adalah sama tetapi yang membezakan sesebuah filem itu ialah jalan ceritanya.

“Itu yang membezakan filem kita dengan negara lain. Penggunaan teknologi tidak sepatutnya dijadikan kayu pengukur sama ada filem kita bagus atau tidak. Sebab itulah, dalam mana-mana festival (filem) pun, penilaian lebih bertumpu kepada jalan cerita atau screenplay, bukannya teknologi.

“Lagipun, kita bukan bercakap fasal persaingan teknologi di sini. Malah, kebolehan untuk mencapai semua teknologi itu bukannya payah. Sebaliknya, jalan cerita yang memainkan peranan penting dalam menjadikan karya kita unik dan berbeza dari negara lain,” katanya.

Beliau turut melihat penganjuran festival kali ini selari dengan perubahan iklim politik di dalam negara, selain ekonomi dan sosio-budaya masyarakat, terutama dari segi peningkatan jumlah penyertaan yang disifatkan tertinggi dalam sejarah penganjuran FFM.

“Diakui, transformasi ini cukup unik, terutama pada naskhah filem dihasilkan walaupun penerokaannya masih bersifat komersial dan belum mencapai tahap intelektual. Namun, apa yang penting di sini bukanlah jumlah filem yang dihasilkan, sebaliknya pencapaian boxoffice filem berkenaan di pawagam.

“Ini yang perlu difahami bagi memastikan zaman kejatuhan filem tempatan sekitar 80-an dan 90-an dulu tidak berulang. Kita mungkin boleh `berpekik’ apabila filem kita berjaya di pawagam kerana kebetulan ada ruang kosong ketika itu apabila tiada persaingan dari produksi besar Hollywood.

“Atau, ia turut dipengaruhi penayangan filem dari seberang yang menarik audien ke pawagam hingga mereka menganggap filem Melayu sudah berada pada tahap terbaik sedangkan masih banyak yang perlu diperbaiki, terutama pada aspek jalan cerita,” katanya.

Katanya, bukan menjadi satu kesalahan jika penggiat filem tempatan bercita-cita tinggi mahu membawa karya masing-masing ke persada dunia seperti tema yang dipilih bagi penganjuran festival kali ini, malah tidak mustahil hasrat itu mampu dicapai jika diusahakan.

“Memangnya kita selalu menginginkan filem kita ke persada dunia. Ia tidak salah, malah bukannya mustahil untuk dijayakan,. Namun, yang paling penting sesebuah filem haruslah berjaya di negaranya sendiri terlebih dulu.

“Apa guna menang sampai 40 anugerah di peringkat dunia kalau tidak ditayangkan atau gagal di negara sendiri. Kesimpulannya, anugerah bukan sebagai penentu, sebaliknya penerimaan masyarakat terhadap sesebuah filem. Itulah penanda aras yang sebenarnya,” katanya.

FFM22 - Kota Kinabalu 2009 dianjurkan Perbadanan Kemajuan Filem Nasional (Finas), Persatuan Pengeluar Filem Malaysia (PFM) dan Gabungan Persatuan Karyawan Filem Malaysia (Gafim), selain mendapat kerjasama Kementerian Pelancongan, Kebudayaan dan Alam Sekitar Sabah.

Ia yang kali pertama berlangsung di luar Semenanjung sejak mula dianjurkan pada 1981, turut mencatatkan sejarah tersendiri apabila menerima jumlah penyertaan terbanyak iaitu 193 karya untuk dipertandingkan, masing-masing filem cereka, digital, dokumentari, animasi serta filem pendek.

Produser perlu ubah budaya pemikiran

SEMENTARA itu, Ketua Pengarah Finas, Mahyiddin Mustakim, berkata pemilihan tema Filem Malaysia Ke Persada Dunia bukan bermaksud mahu mencari filem tempatan untuk dihantar ke luar negara, sebaliknya lebih kepada usaha meningkatkan kualiti karya tempatan agar menepati standard antarabangsa.

“Ia perlu dilihat dari skop lebih meluas, membabitkan segala aspek dalam proses penerbitan filem. Ia bermula seawal proses penulisan dan pembangunan skrip, diikuti aplikasi teknologi penggambaran terkini, pasca produksi, seterusnya urusan pemasaran dan pengedarannya.

“Sebenarnya, objektif utama pemilihan tema itu adalah untuk meningkatkan kualiti filem tempatan. Kita mahu produser kita menghasilkan lebih banyak filem yang berpotensi dibawa ke luar negara, sekali gus membuka pasaran lebih luas dengan syarat mesti berjaya di negara sendiri terlebih dulu,” katanya.

Bagi menjayakan misi itu, katanya, mereka yang terbabit dalam kerja perfileman perlu mengubah budaya pemikiran bahawa setiap filem dihasilkan bukan sekadar untuk tayangan tempatan, sebaliknya mempunyai potensi ke pasaran luar negara.

“Diakui, memang ada produser tempatan yang mengambil inisiatif memasarkan filem ke negara luar, dengan ada di antaranya belum ditayangkan di negara sendiri pun. Kami menyokong usaha ini tetapi tidak ramai produser yang berani melakukannya disebabkan beberapa faktor penghalang.

“Justeru, dalam beberapa siri pertemuan dengan pihak produser sepanjang festival ini berlangsung, Finas ada memberikan penerangan mengenai bentuk bantuan yang boleh diperoleh dari kerajaan dalam menjayakan usaha itu, bukan saja membabitkan filem cereka tetapi filem dokumentari,” katanya.

Beliau berkata, melihatkan pencalonan filem yang bertanding kali ini, beliau turut merumuskan memang berlaku tranformasi yang cukup ketara dalam industri perfileman tempatan, bukan saja dari segi teknologi penggambaran, malah genre filem yang diterbitkan.

“Banyak genre filem wujud sekarang ini, sekali gus menawarkan lebih pilihan kepada penonton. Saya melihat ada keberanian di kalangan produser kita menerbitkan filem aksi, fantasi dan animasi yang menggunakan pelbagai teknologi penggambaran terkini.

“Perubahan ini cukup drastik berbanding tiga tahun lalu, di mana ketika itu pasaran filem tempatan lebih terhad kepada filem cinta, romantik dan komedi. Bagi saya, ini satu perkembangan baik, yang mampu memberikan implikasi positif terhadap pertumbuhan industri perfileman kita,” katanya.

Casting Call July 2010

2009-07-29T13:33:00.005+08:00

Drama The arc - Casting DONE and shooting October 2009

Hanafiah - Lelaki, 26 tahun, Bujang, Produktif. Hero
Haji Masri - Lelaki, 57 tahun, rational, Ayah Hanafiah.
Hajah Kamsiah - Perempuan, 48 tahun, isteri Masri, ibu Hanafiah.
Liau Ludin - Lelaki, 45 tahun, Antagonis.
Amida - Perempuan, 22 tahun, cantik, manja.
Ramlan - Lelaki, 24 tahun, protagonis, GAY
Kamal - Lelaki 49 tahun, atas pagar.

Drama The light - Casting ongoing. Shooting early 2010.
Adnan - Lelaki, 30an, matang, penyayang, suami rania
Rania - perempuan, lewat 20an awal 30an, cantik, matang, isteri adnan
Huda - perempuan, 30an masuk 40an, cantik, professional, matang. Eksekutif look.
Ibu Adnan - perempuan, lewat 50an, ibu adnan.
Sufri - Lelaki, 30an, nakal.
Imam Mazini - lelaki, 40an - 50an, beriman.
Isteri Sufri - perempuan, 30an-40an, gempal dan mudah cemburu.

Drama The pen - Casting done..shooting Jan 2010
Aiman - Lelaki 20an., sedikit cuai, muda, mengharapkan kasih sayang keluarga.
Sulaiman - Lelaki 50an-60an-70an, satria sastera, bengis, marah kepada anaknya haris.
Haris - lelaki 20an-30an, anak sulaiman, mengharapkan ampun sulaiman.
Ibu Haris - perempuan 40an-50an, isteri sulaiman. meninggal dalam bencana dua alam.
Shahreza - perempuan 20an-30an, rakan baik aiman, berisi dan suka makan....literally.
Ibu Aiman - perempuan 50an, jarang di rumah. ibu sibuk.
Ayah Aiman - lelaki, 50an, sibuk.
Dr. Ismail - lelaki, 30an-40an, mentor Aiman.
Penjaga Kedai - indian, tua atau muda, miskin atau kaya..all go :-)
Pembantu Rumah - bangsa..

Final Cut Pro Studio 7 is here

2009-07-28T00:04:00.001+08:00

Final Cut Pro 7

After two years, solid but modest improvements

by Mike Curtis, Macworld.com

It has been more than two long years since Apple released Final Cut Pro 6 (), its flagship pro-level nonlinear video editing app. While there are a few extremely sexy new features in Final Cut Pro 7— among them new ProRes flavors, iChat Theater, and Easy Export that will attract lots of attention—the main focus of this new version seems to be enhancing stability, speed, and productivity.

New ProRes flavors

ProRes, a high-definition lossy video compression format developed by Apple for use in post production, was introduced in 2007 with Final Cut Pro 6 (FCP). The new variations are designed to broaden the codec family’s capabilities into higher-end post production, news markets, and offline editing. In the most compelling new feature of this release, Apple builds on the success of its excellent ProRes codec family by adding three new flavors: ProRes 4444, ProRes 422 (LT), and ProRes 422 (Proxy). ProRes 4444 is designed for highest end work or compositing with alpha channel. The LT version is for lightweight deliverables, such as broadcast, while the 422 (Proxy) is specifically for offline editing. That’s in addition to the two flavors for “normal” editing and finishing—the regular flavor for most projects, and the HQ for higher end quality, which are still included from the previous version.

ProRes 4444 For video editors like me who try to push FCP as far as it can go, there is now a ProRes codec for working with high end formats (think HDCAM SR or Redcode) or for higher quality when rendering from FCP or other programs, specifically compositing applications. ProRes 4444 supports either the traditional Y'CbCr video color space or RGB at full 4:4:4 color sampling, at up to 12 bits per pixel according to Apple. Wait, what is the fourth four for? It is for your alpha channel, and yes, Virginia, they did it right and it does have 10 bits per pixel as well. This codec runs at 330 megabits per second in a “worst-case scenario” of 1080i60 video, not including the alpha channel. The alpha is “mathematically losslessly encoded” Apple says, at a variable data rate, which hints that the codec is using some kind of compression that makes the file size smaller than an uncompressed alpha channel but of identical quality.

ProRes 422 (LT) If you know the regular ProRes 422, you like it, you use it, then think of this as ProRes 422 on a bandwidth diet. So why bother? Turns out a lot of broadcast equipment is built around 100 megabits per second pipelines—Panasonic started it with the Varicam and its DV100 (aka DVCPRO HD) codec, and continued with its AVC-Intra codec, both of which run at a maximum data rate of 100 megabits per second. So a lot of folks had their digital plumbing set up for 100 megabits per second, and regular ProRes 422, which can run up to 145 megabits per second for 1080i60 footage, could gum up the works since it was nearly 50 percent larger than the anticipated data rate. So along comes ProRes 422 (LT). It’s the same thing as ProRes (10 bit, full raster, 4:2:2 color sampling), just at a lower data rate, and it'll fit nicely into existing broadcast infrastructure. Sports and news editing for broadcast, for instance, will love this codec, since the decrease in quality will never be noticed by the time is it is compressed even further and sent out to air.

ProRes 422 (Proxy) The other ProRes codecs are fine for online editing (at final quality) for various quality expectations, but what about for offline editing? That's where ProRes 422 (Proxy) comes in. It is still full frame, 10 bit, and 4:2:2, but is much more heavily compressed. It takes the data rate all the way down to 45 megabits per second for 1080i60 video—or a touch over 5.5 megabytes per second. How small is that? That’s about 20 gigabytes per hour, or a bit less than twice the data rate of DV, if that gives you a better seat-of-the-pants sense of how tight this new codec is. But instead of DV’s Standard Definition resolution, this is 10-bit full raster 1080 resolution video at less than twice the data rate. Most impressive, but how does it look? It is clearly of inferior quality, compared with the other ProRes codecs or DVCPRO HD, but this is for offline editing, not finishing work. When editing for offline purposes, you don’t need the quality, nor storage capacity and throughput of a codec meant for finishing or online work. My non-scientific vibe after looking at some samples of ProRes (Proxy) footage is that this is the “Dish Network”-quality codec—it looks like fairly heavily compressed satellite or cable HD footage.

The new Easy Export function, found under File ->Share, allows exporting directly from within Final Cut Studio to a variety of formats and can also handle finishing steps—like making a DVD or Blu-ray disc (including custom graphics), publishing to MobileMe or YouTube, or sending to iTunes for syncing with Apple devices.

Easy Export

Easy Export will probably be the favorite new feature of most editors for its ease of use and time savings. Found under File->Share, it replaces Export Via Compressor. At first glance, it looks like Apple has just lifted a page from the Share interface of iMovie ’09 () , but there’s more to it than that. There are three new aspects of the Easy Export feature that significantly enhance productivity and flexibility.

• You can assign settings for target outputs such as Web, iPod, AppleTV, or DVD, directly in Final Cut Pro without having to launch Compressor, thus keeping the editor in the friendly and familiar confines of Final Cut Pro. You can assign multiple settings right from this interface, as well.

• You can assign post compression Job Actions to any of the queued targets, which are more extensive than the options you could to assign in Compressor in the past. You can, for instance, do any of the following (or more) with the click of a button: Post directly to MobileMe upon completion of compression; import into iTunes to sync to AppleTV, iPod or iPhone; publish directly to YouTube; burn a DVD or Blu-ray disc directly from this interface without going to DVD Studio Pro; or create your own post render process within Compressor, even launching Automator scripts. Then of course, you can make them available via the Share interface.

That's right—you can burn a Blu-ray disc directly from within Final Cut Pro 7. The downside is that Apple (as of this writing) still doesn't sell a Blu-ray capable SuperDrive, so you have to get a third-party drive. You can, however, burn AVCHD Blu-ray content to a standard recordable DVD disc in your SuperDrive via Share, and that will play in a Blu-ray player. DVDs and Blu-ray have a limited slate of templates to choose from, but you can at least assign custom graphics (with alpha) for background, logo, and title graphics, and even generate a chapter menu.

Another significant catch—this is the only Blu-ray support offered in the entire Final Cut Studio suite. DVD Studio Pro does not support Blu-ray in any fashion, and gets only the smallest of increments—from version 4.2.1 to 4.2.2. It does not support Blu-ray authoring, encoding, or burning. Easy Export is powerful, convenient, and useful, but that is the extent of Blu-ray support in this release. Considering that Adobe has offered Blu-ray authoring support on Intel Macs for two years, this is a startling hole in Final Cut Studio's capabilities

• All of the above can happen in the background, meaning, you can export from Final Cut Pro in the background and keep editing, even the same sequence you’re simultaneously exporting. The exported files won’t show any changes you’ve made since export started, but you can keep on working, regardless. This feature will probably be the biggest productivity boost, since you don’t have to sit and twiddle your thumbs unproductively while waiting for Final Cut to finish feeding Compressor frames, as you had to in the past. Final Cut Pro even takes advantage of Compressor clusters to accelerate the process.

iChat Theater

iChat Theater will be a boon to editors cutting remotely. OK, so you’ve used iChat’s video chat feature, right? What if you could send the live output of your edit session to someone over iChat? And wouldn’t it be nice to have a picture-in-picture of yourself over the video so you could talk to the remote client on video chat while editing? And wouldn’t it be nice to have a timecode burn-in on screen while you did it? Now you can. That is iChat Theater’s whole point—you can video chat with the client the same way you would normally with iChat, but instead of seeing the client up close, you (and they) see the live output of your edit session, either the sequence or individual clips you're working on. This has been possible in the past with an AJA Io or similar device, or with a second Mac and a DV hardware codec, but now it is possible with no additional hardware from within Final Cut Pro 7.

Of course, how well this works is entirely dependent on how fast your outbound internet connection is. From my home-office cable modem, I get 500 to 800 kilobytes per second for downloads, but at best about 125 kilobytes per second for uploading, which is what you’re doing when you send a video stream to someone. And of course, their download speed has to at least match that–they have to be able to catch as fast as you can pitch.

The clever new iChat Theater capability allows you to share the Canvas or Browser as a video feed for a video chat over iChat. This is the view that the editor (guy in the hat) sees. The editor (also the author) is apparently having a conversation with himself—normally the client would be visible in the background image in the editor’s iChat window.

In the same converation as above, this is the view from the client’s perspective.

New Change Speed tools

A new interface for the Change Speed window lets you set Ease In and Ease Out and has an option that lets you keep the timeline from rippling so you can doodle without pushing the rest of your timeline further down the sequence, which would mess up your audio sync. Also, a new interface element gives you keyframes in the timeline and a graphic display of how stretched your video is in time. You can either drag stretch for constant speed changes, or set keyframes for variable speed changes, right in the timeline. Unfortunately it does not take advantage of Apple’s Optical Flow technology (high quality motion and pixel blending technology from Apple’s Shake) that is present elsewhere in Final Cut Pro, Motion, and Compressor that could result in smoother frame blending. However, you can always run the clip through Motion for more accurate control and smoother results.

More fixes and features

Native AVC-Intra Support: Final Cut Pro 7 now supports native editing of this format–you can import it and edit it directly in its native file format (as it was captured), rather than having to import and wait for it to transcode to ProRes before it is editable in Final Cut Pro. Native support also includes RT Extreme acceleration for real time transitions and effects.

Alpha Transitions: Alpha transitions are scene transitions that use an animated graphic element with a matte (or alpha channel, thus the name) to do a wipe between two shots. This demos well–palm leaves brush across the screen to transition from the beach to the bungalow shot—but I’d file this in the “fluffy” category of often demoed, rarely used features outside of travel and sports shows.

New Timecode window: Previously only available as a third-party option, now you can display a resizable floating window that shows the timecode. This is ideal for that client on the couch in the back of the room.

Improved Markers: You can now color-code your clip and sequence markers, search and jump to them, and add information to them as the clip plays, and more.

Automatic Transfer: XDCAM and P2 footage now optionally copies to designated scratch directories as soon as the media is detected, and custom metadata can be added automatically via a new Log and Transfer window. Footage can start importing as soon as media is connected, which opens the door to faster, more efficient workflows as well as potentially automated workflows.

New Redcode Log and Transfer options: When importing Redcode via Log and Transfer, you can transcode to any of the ProRes flavors on import, or just import it as native. But there are no new options for cropping or scaling which I had hoped to see, nor will the 2K layer of 4K native files play back in real time in Final Cut Pro 7. Footage shot in the default 4K 16:9 will come in at a nonstandard (for video) size of 2048 by 1152, and there are no options in Final Cut to scale this to 1920 by 1080 ProRes. Similarly, if 4K footage is shot in the 2:1 aspect ratio, no provision for cropping or letterboxing to fit into 1920 by 1080 ProRes is provided by Apple. This can be done with Red provided tools, however.

This version of Final Cut Pro includes much improved closed captioning support, the ability to globally change transitions (or cherry pick the ones you want to change in bulk), improved tabs (color coding and other improvements), trackpad multi-touch gesture support for timeline navigation, and a new version of Cinema Tools for working with file-based workflows like image sequences and Redcode footage. This is a huge improvement over prior versions, but not clearly documented within Cinema Tools.

The new Change Speed interface allows for either clicking to create and then dragging keyframes directly underneath clips in the timeline, or a dialog that offers Ease In and Ease out with Ripple Sequence options—very slick!

Great job overall

The upgrades and new features in Final Cut Pro 7 are good, solid, worthwhile improvements that will increase every editor’s productivity. Final Cut Pro 7 will enable new, even higher quality workflows with ProRes 4444 for those demanding it, without requiring the massive storage and throughput that uncompressed media demands. Easy Export will save time, and iChat Theater solves the remote editing problem if everyone has sufficient bandwidth. Blu-ray support, while limited, is welcome if long overdue.

The Final Cut team has clearly listened carefully to customer requests, properly prioritized the features they did implement, and appears to have done a solid job implementing them. However, there are still a few things that haven’t been fixed from version 6, such as proper handling of pulldown and cadence in the Open Format Timeline capabilities, and a proper RGB processing pipeline that can handle more than 8 bits of precision (especially now, with ProRes 4444). Apple says the Y’CbCr 32 bit float is good enough. Red workflow still has lumps in it if you don’t shoot in the Quad HD setting. While Apple states that there will be performance benefits from running Snow Leopard with Final Cut Pro 7, no new features are enabled by running it.

If this version had shipped within a year after Final Cut Studio 2, I’d be thoroughly satisfied with Apple’s rate of progress. But it has been two years, and at this point I’m a bit surprised at how many long-standing issues haven’t been sufficiently addressed, and how relatively little bold new ground this version explores.

That said, the several days I worked with it prior to release, it did not once crash on either an 8-core Mac Pro/8-Core Xeon 2.93GHz () or a 17-inch MacBook Pro ().

Macworld’s buying advice

With Final Cut Pro 7, Apple started with an already excellent market-leading tool and takes it further with significant improvements that will benefit editors doing realistic day-to-day tasks and enable them to get better work done even faster. The background processing, Easy Export, and new ProRes flavors alone make this a worthwhile upgrade for the entirely reasonable upgrade price of $299 for the entire Final Cut Studio. The plethora of other minor improvements makes for a smoother, faster version of Final Cut Pro to work with. What’s not to love about that? I would have liked to see a few more things get fixed, and seen some dated or flawed infrastructure ripped out and rebuilt, but that is not to be for this version. As a product, this is very strong, a definite A. As an upgrade, it feels like a Macworld Expo without Steve Jobs grinning and saying, “One more thing....”

Takziah untuk keluarga Yasmin Ahmad

2009-07-26T19:43:00.004+08:00

Sincerest condolence from MMQ Mediaworks Brunei to the family of renowned director Yasmin Ahmad. I talked about the human factor which i touched on clips made by the late director.

So now we lost another creative person, which unfortunately unable to break (in a way) the conservative ways of certain parties.

AlFatihah

My previous post on Yasmin.

Reflecmedia Pros and Cons

2009-07-23T10:57:00.003+08:00

We have a 8ft x 8ft ReflecMedia pop-up backdrop that folds into a 3ft diameter circle. We love it because:

LED light ring produce even green on the ReflecMedia screen.
No need for additional lighting for the screen.
Talent can be as close to screen as they like. No spill.
screen can be tilted, wrinkled, even wet without affecting the chromakey.

Only complaints are :
Can only be used indoor.
microscopic reflective beads on the screen starts to fall off due to wear and tear.
Cannot be used with mirror-style teleprompter.
Expensive to replace

Music Video AKU BUKAN MILIKMU 2009

2009-07-20T11:22:00.004+08:00

We are finalizing our 'small' project. A music video entitled AKU BUKAN MILIKMU (I am not yours).

Our 1st try using RED, guess which one? :-). A great great system, so those in Brunei, interested to play around our new 'toy', give us a call 8191455, while stock last..

Cheers,
Adam

Casting Call July 2009

2009-07-19T21:45:00.003+08:00

We need actors and actresses to play various roles in our upcoming projects.

Young Adults Male and Female around 20 - 30 years old.
Elderly Male and Female around 40-60 years old.

Bruneians, PRs and foreigners may apply.
Please sms 8191455 or email mmqmedia@gmail.com

General compression guidelines for web

2009-07-08T20:53:00.000+08:00

Codec

Choose H.264 for the video codec. Choose AAC for the audio codec.
Frame rate

This is usually 29.97 for USA/Japan/Canada, while in Europe and rest of the world it's usually 25. If there is an option that says "current" just go with that.
Keyframes

Every 30 frames. This is basically how often the compressor references your uncompressed video.
Data rate

1800 kbits/sec for standard definition 4:3 video , 2500 kbits/sec for widescreen DV, or 5000 kbits/sec for high definition. Making these numbers higher will increase both quality and size.
Size

640x480 for standard definition 4:3 video, 872x480 for widescreen DV, or 1280x720 for high definition. It is also best to export 1920x1080 or 1440x1080 video as 1280x720 too.
Deinterlace

Yes. If you do not deinterlace, you will often get weird-looking horizontal lines in your video.
Sound sample rate

44.100 kHz
Audio quality

You want audio with a bit rate of 128 kbps. You can set your audio to really good quality without increasing file size too much.
Those are the basic principles that will apply to almost all of the video programs out there. Eugenia, an active member in the Vimeo community, has made some tutorials for specific programs that you can view:
- Tutorial: Vimeo HD exporting guides from many editors
- Tutorial: From miniDV to Vimeo in High Quality

Exporting with Quicktime in 720p

2009-07-08T12:04:00.000+08:00

This is a guide on how to export using Quicktime Pro (PC or Mac), iMovie, Final Cut Express or Final Cut Studio using the Quicktime Component. First, make sure your project’s properties is correctly set to HDV or HD with the right frame rate and aspect ratio, and then edit as usual. At the end, select “export” (it’s probably called either “export” or “advanced” on the new iMovie ‘08) and select one of the two methods.

1. This Quicktime export creates .mov h.264 files. This method has good options, but it crashes frequently when you click “Settings” to configure your video (for me, this crash is reproducible on both my Mac and my PC). However, you might get lucky. Uncheck de-interlacing if your footage is not interlaced.

2. This MPEG-4 export creates .mp4 h.264 files and it’s easier to use, but it does not have a de-interlacing option (which might leave “jaggies” on your video), and it occassionally creates a “tick” on the picture (a keyframing bug that Apple hasn’t bothered to fix for over a year now).

Between the two options, I would go with the first one if it doesn’t crash for you. The only change you might need to do is to select either PAL’s 25 fps instead of the suggested NTSC’s 29.97, or 23.976 if you shot in 24p mode (note: iMovie and Final Cut Express don’t support native 24p editing). That’s it, now sit back while your video is encoding and after a while you will be having a progressive 720p file for usage with Vimeo/Youtube HD, or AppleTV (.mov/.mp4), and the XboX360 or the PS3 (.mp4 only).

Warning: Apple’s Quicktime has a stupid bug for over a year now, where de-interlacing just doesn’t work, even if you tell it to. In that case, or if you are using iMovie ‘09, check this guide.

Panasonic P2 drivers for both MAC and Windows

2009-07-04T12:44:00.000+08:00

Hi all,

thanks to our venture into the latest HPX series, we would like to share the P2 drivers for the MXF files for the MAC and windows systems, for editing suites ; Edius, Premiere, AVID and FCP and maybe Vegas.

Since the P2 readers prices from Panasonic are a bit too pricey dicey. You can use any laptop using the PCMCIA type II cards as long as you have the drivers install. Get them here.

So hopefully, not for the run and gun shooter, we can backup in the field. PC use USB, Macs FW. Have FW800..better :-).

Cheers
Adam

Broadcast Asia 2009 update

2009-06-21T10:15:00.006+08:00

Finally we made it to BroadcastAsia 2009, as usual the Singapore Expo venue was at Hall 7 and 8. Held concurrently with CommunicAsia, EnterpriseIT and iGov. Its unfortunate that the registration was a bit confusing with people coming from the Expo MRT and the 'unofficial' taxi stand near the mrt would be lost and 'guided' to Hall 3 or 4.

Anyway, we managed to talk to a lot of people and met some new friends and business associates. I was looking forward to seeing the Sony, Apple and other big honcho's booths. Panasonic was having a blast being the only brand that showcased new cams for their P2 lineup and putting up the global customer list including RTB of Brunei :*).

I talked to one the Panasonic technical engineer, coming from Thailand and he courteously guided me through the smaller 152, 172, 202 and the larger Varicam. Its interesting to see his 'view' about the complexity of Panasonic's approach to codec and sensor technology. Unfortunately, small production house will feel the heat as the HD technology has not mature in a sense that Sony has their proprietry codec and media ; XDCAM EX Long GOP and SxS and the Panasonic with their P2. Please be reminded that even Philip of the UK mentioned that p2HD is quitely costly, not just the media but also the amount of data contained in their AVCHD 100mbps. 1GB per minute?!!! wow! here in Singapore the 32GB p2 card costs around SGD1150.

Anyway, let us be realistic. What matters most is the quality of your programming. A culmination of creative, intelligent, purposeful and enjoyable watch. with the targeted audience in mind. Here its the MAN/BRAIN behind the cam is important. I have come across many an instance where the most expensive equipment is used by an unskilled and uncreative individual. I hope you know what I mean. The same goes with photography. It is simply not the camera.

Apologies for not putting the caption for the pictures. Some pictures are not posted for security reasons hehe..Will be updating them soon.

Cheers.

Watch XDCAM HD, XDCAM EX and HDV QuickTime Movies

2009-06-19T09:23:00.006+08:00

Now the latest in HD digital workflow with regards to file accessible under FCP. The source.

Calibrated {Q} XD Decode is a multi-threaded QuickTime Codec (Decode Only) that enables you to view QuickTime XDCAM HD, XDCAM EX, and HDV Movies(.MOV Files Only) in QuickTime Player and other 3rd party applications that support QuickTime.

Calibrated{Q} XD Decode supports the following Apple .MOV encoded files:

HDV : 1080i30, 1080i25, 1080p24, 1080p25, 1080p30, 720p60, 720p50, 720p24, 720p25, 720p30

XDCAM HD (35Mb VBR) : 1080i30, 1080i25, 1080p24, 1080p25, 1080p30

XDCAM EX : 1080i30, 1080i25, 1080p24, 1080p25, 1080p30, 720p60, 720p50, 720p24, 720p25, 720p30

XDCAM HD 422 : 1080i30, 1080i25, 1080p24, 1080p25, 1080p30, 720p60, 720p50

Playback XDCAM HD MXF Files in QuickTime

When Calibrated {Q} XD Decode is used together with Calibrated{Q} MXF Import, you can playback XDCAM HD MXF files in QuickTime Player. See Calibrated{Q} MXF Import for OSX or Calibrated{Q} MXF Import for Windows for more details.

Advanced Decoding Features

Calibrated {Q} XD Decode allows users the ability to select how gamma is reported to QuickTime and a variety of other color options within the Calibrated{Q} XD Options application.

Perian for Pro Codecs - Free HDV/DVCProHD/XDcam decoders

2009-06-19T09:21:00.001+08:00

Somebody has been hacking on some patches for Perian to allow it to playback the "pro codecs" that you normally can't play without Final Cut Studio installed.

So, he is posting four different Quicktime components. These are playback only (no encoding). He chose to break them into separate components so you can pick and choose only what you need. Just put them in your Library/Quicktime folder.

These are, of course, UNSUPPORTED, and may very well leap out of your computer and murder you with an axe. On the plus side, they let you play all those Quicktime files that your Final Cut using friends give you.

So, here we go:

PerianDVCProHD.component.zip

PerianHDV.component.zip

PerianXDCam.component.zip

PerianMPEG2.component.zip

And of course, the source for all of this. This is based on Perian 1.1.3. You'll notice he modified the Xcode project to add separate build targets for each component (plus a few others, not posted here). This allows him to spit out a half dozen different components without having to modify source.

Perian.zip

Canon cameras on the draw for Crank 2: High Voltage

2009-06-16T20:30:00.006+08:00

The new Crank 2: High Voltage film was shot entirely on prosumer Canon camcorders, utilising five HDV XHA1's and fifteen AVC-HD Vixia HF10s, even stretching out with EX1 for 60p slow-motion scenes.

The filmmakers however, are clear they were not trying to ape the look of a bigger camera. The cameras were used precisely for their smaller size. The tiny cameras were strapped onto the end of 10-foot poles to get unique looks that have never been seen before.

Brandon Trost, the film’s cinematographer, told HD Video Pro magazine what they were trying to accomplish. “We wanted to shoot with the highest-quality cameras that would allow us to do fast hand-held camera moves with super wide lenses - basically running with the action. If the action was happening, we, as camera operators, were just feet from what was going on,” said

Trost.“We never had a steadicam or dolly on this movie.

The XH A1 isn't a very big camera but was too big for some of the applications that we wanted to do, which is why we used the HF10s,” he added. As for settings, Trost explained that they shot flat except for detail.

The directors wanted every pixel of every frame to be so incredibly sharp. “Something that we did differently on this film was crank up the sharpening, or detail setting. The directors wanted a look for the movie that was so sharp that it would kind of hurt your eyes just to watch. The detail is super crispy.

We shot the whole movie at either 1/1000 or 1/2000 shutter speed, giving the image a very staccato look. With the wide lenses and deep stop, it's a deep focus movie, and with the sharpening, it's a look that has never been seen on the big screen.”

Shukery Hashim kembali ke rahmatullah

2009-06-11T11:01:00.005+08:00

MMQ Mediaworks Brunei berhasrat untuk mewujudkan projek usahasama antara Brunei dan Malaysia, Filipina, Indonesia dan Thailand. Semoga hasrat ini mendapat sokongan pihak-pihak yang berkenaan sebelum lebih ramai lagi artis Melayu 'meninggalkan' kita.

Salah seorang artis yang MMQ anggap sebagai pelakon yang cemerlang ialah Shukery Hashim yang kini telah kembali ke rahmatullah. Semoga roh beliau dicucuri rahmat. AMIN. Yang menyayat hati saya ialah wasiat beliau kepada isterinya yang tersayang, untuk menjaga anak bungsu mereka. Sebagai seorang ayah, saya mengerti hasrat beliau.

AlFatihah.
read more about Shukery Hashim.
read more about pancreas cancer

National Casting Call - Developing Brunei Talent Industry

2009-06-08T16:00:00.002+08:00

Bandar Seri Begawan-- June 13, 2009 – Got Talent? Bruneians certainly have talents in the broadcasting industry, be in music, acting, singing, dancing, and the performance arts. However most of the talents are either not listed in a database or simply hope that competition organizers will be their ‘agent’ for a career follow-up.

With the support of Radio Televisyen Brunei, MMQ Mediaworks is planning to establish a database record for all talents, especially in the broadcasting industry to simplify talent searches and publicize local talents to the world.

If you have the talents for acting and TV hosting, MMQ Mediaworks like to hear from you. MMQ Mediaworks is looking for actors and actresses of all ages and race, shapes and sizes. All are welcome to register and stand a chance to be involved in MMQ Mediaworks upcoming projects. One of the talents already registered is Hj. Mahathir, the former Brunei Siuk presenter who are now training new hosts and presenters at MMQ Mediaworks.

MMQ Mediaworks specializes in Televisyen and Radio programme production as well as broadcast training behind the camera like video editing, screenwriting, script writing among others.

For more information: http://mmqbrunei.blogspot.com
Contact: mmqmedia@gmail.com

Sample Press Release

2009-06-08T02:02:00.002+08:00

Sample Press Release

Here is a sample press release. When submitting a press release it is important to use the right format otherwise it may be rejected.

Headline Is in Title Case Meaning You Capitalize Every Word Except for Prepositions and Articles of Three Words or Less and Short; Ideally it is Not More Than 170 Characters and Does Not Take a Period

The summary paragraph is a synopsis of the press release in regular sentence form. It doesn’t merely repeat the headline or opening paragraph. It just tells the story in a different way. The summary paragraph is mandatory at FPRC.

City, State (FPRC) Month 1, 2010 -- The first paragraph know as the "lead" contains the most important information. You need to grab your reader's attention here. And you can't assume that they have read the headline or summary paragraph; the lead should stand on its own.

A press release, like a news story, keeps sentences and paragraphs short, about three or four lines per paragraph. The first couple of paragraphs should cover the who, what, when, where, why and how questions.

The rest of the news release expounds on the information provided in the lead paragraph. It includes quotes from key staff, customers or subject matter experts. It contains more details about the news you have to tell, which can be about something unique or controversial or about a prominent person, place or thing.

"You should include a quote for that human touch" said Awang Kadir, Janitor of the Free Press Release Center. "And you should use the last paragraph to restate and summarize the key points."

This is example press release template for use at the Free Press Release Center. The last paragraph can also include details on product availability, trademark acknowledgements, etc.

About ABC Company:

Include a short corporate backgrounder about the company or the person who is newsworthy before you list the contact person's name and phone number. Do not include an e-mail address in the body of the release. Your e-mail address goes only in the "Contact Email" box when you submit your press release. To stop spam, your address will not appear on the site, but rather people will be able to contact you via a special contact link displayed with your press release.

Contact:

Hj. Bungsu, director of public relations
ABC Inc
5555555
http://www.YourWebAddress.com

If applicable, include safe harbor statement.

###

Formatting your press release or "Presentation can be just as important as content."

Mixed case
Never write your press release in all UPPER CASE LETTERS. Your release will not be approved by the FPRC editors and if it was, it would be ignored by journalists.

Check your spelling
Errors in spelling and grammar will lower the credibility of your press release.

No HTML
Never include HTML or other markup languages (like XHTML or XML) in your press release.

Make sure it is long enough
There is a minimum of 250 words at FPRC, if your press release is shorter than that then it probably isn't newsworthy.

Email addresses
Do not include an e-mail address in the body of the release. Your e-mail address goes only in the "Contact Email" box when you submit your press release. To stop spam, your address will not appear on the site, but rather people will be able to contact you via a special contact link displayed with your press release.

Production in Singapore. BoatQuay May 2009

2009-06-08T01:34:00.004+08:00

Problems with Zacuto Z-Finder

2009-06-06T23:30:00.003+08:00

It seems like somebody has problems with the Zacuto Z-Finder here. Fogging it seems being one same problem we have when we use our viewfinder.hmm..interesting. Zacuto did'nt mention this of course. So unless the fogging problem is solved, I would rather look somewhere else for now. the Zacuto is too expensive for a viewfinder, not to mention soon there will be a better stabilizer solution for the Canon.

Besides, since it costs USD395, it should'nt be having the fogging problem in the 1st place dont you think? Like to hear from Steve about this. The picture above is the prototype version 2 tho. Maybe they got the solution for the v2, but since its a prototype, we'll never know.

Somebody DID make a cheaper version for USD199 and even USD170!

This is excellent!!! Thanks guys

2009-06-04T10:57:00.000+08:00

Open -- The Hospital, intensive care unit. Pan past the Nurses' Station, past Dr. Cox going into one of the cubicles, and enter the neighboring one where J.D. sits at the bedside of a man who is obviously unconscious.

J.D.'s Narration: The human brain is remarkable. Once a day for nine years, I thought I lost my watch 'cause I can't remember which wrist it's on.

J.D. looks at both of his wrists then, relieved, goes back to his patient.

J.D.'s Narration: And yet, just after two weeks, all the little things that scared me at first are like second nature. Catheters, chest tubes, IVs...

After a relaxed yawn, J.D. efficiently inserts an IV needle into the arm of his patient.

J.D.'s Narration: ...Everything has started to click.

He reaches down to turn on his walkman, Leroy's "Good Time" begins to play. He looks around the activity of the hospital to see that everyone is working to the beat of the music playing in his ears. When his patient suddenly wakes up and mouths some of the words to the song, J.D. looks up, somewhat confused by the surreal moment. Dr. Kelso is now directly in front of him, exaggeratedly lip-sync'ing the chorus of the song: "Are you having a good time?"

Dr. Kelso: [pulling one of the phones off of J.D.'s ear] Are you? Because if you have time to listen to music, then I assume you have time to finish your paperwork!

J.D. hustles down the hall past the Janitor, who is standing against his broom.

Janitor: [singing to self] "...Having a good time...."

J.D., somewhat baffled, stops to look at him.

Janitor: Keep movin'.

~*~
OPENING THEME
COMMERCIAL
~*~

The Hospital, exterior, daytime.
J.D. is coming to work.

J.D.'s Narration: That workday started like every other.

Cut to: Hospital, interior - Admissions Area.
J.D. is leaning on the front desk, writing in a chart. The Janitor is on a ladder in front of him, ostensibly fixing a light, but he just stares at J.D.

J.D.: How's it going?

Janitor: I'm 37 years old, and I'm a janitor; how do you think it's going?

J.D.: Now, there is nothing wrong with being a janitor.

Janitor: Really? Thank you. You...you've turned my life around. I'm gonna have to go tell my janitor wife and all our janitor kids that life is worth living; and that comes straight from our hero, Dr. Whoozitz.... Dr. Nothin'.

J.D., tired of being mocked, closes his chart and walks past

Janitor: [continuing] No, seriously, come on. You can come over to my humble house and point out things that are cheap.

~*~

Exterior shot of Turk and J.D.'s apartment building, nighttime.

J.D.'s Narration: Luckily, I had that night off to regroup.

Cut to: Interior - the living room.
J.D., Turk, and Elliot are here.

Elliot: Your dog is creepy.

J.D.: Aww... be nice to Rowdy. The guy we bought him from used to keep him in a box full of old hats.

He pets "Rowdy" who is a preserved Yellow Labrador

Elliot: Ew.

She goes into the bathroom and closes the door.

Turk: Okay, dude, why is she here all the time?

J.D.: Just give her a chance, man.

He picks up Rowdy and carries him across the room.

Turk: Ohh... you want to hit that!

J.D.: Nooo....

Turk: Yeah!

J.D.: No. She's just a friend, man.

He sets rowdy down in front of a door

Turk: [not buying it] Yeah.

J.D.: I think it's healthy hanging out with a girl without the ultimate goal being sex. You know?

Turk: I'm not following you.

Elliot emerges from the room, nearly running into Rowdy. She shrieks

Elliot: Creepy.... I had a run-in with that Nurse Carla yesterday. She forgot to check out the stats on a patient, and then she gave me attitude about it.

J.D.: What'd you tell on her, or something?

***Flashback: The hospital.
Dr. Kelso, Elliot, and Carla stand at the bedside of a patient.

Dr. Kelso: Who's responsible for this?

Elliot: [turning to Carla] She is.

***End Flashback.

Elliot: I don't remember... And why would you automatically assume it was my fault?

She continues explaining herself, but is drowned out by...

J.D.'s Thoughts: It would be a good point, except that Elliot puts her foot in her mouth. A lot. She can't really seem to stop.

Elliot: [continuing] Just because I occasionally say something stupid doesn't mean I'm in the hospital going door to door annoying people, like some crazed Jehovah's Witness.

J.D. uncomfortably gestures towards Turk, who has been sitting on the couch next to Elliot reading the paper.

Elliot: [to Turk] Oh. You're not?

Turk: No.

Elliot laughs, relieved.

Turk: But my mother is.

He gets off the couch and leaves the room as Elliot chokes on her beverage.

J.D.: He's black, too. You should tease him about that.

Elliot gives him a "thanks for nothing" look.

~*~

A private hospital room, daytime.
Carla is checking a patient as J.D. looks on.

J.D.'s Narration: Me, I'm doing better with new people. Like Carla, for instance.

Carla: Hey, Bambi; that blond stick you hang out with? Tell her...(something in Spanish, laced with much attitude and authority).

J.D.: You might have to write that down for me.

J.D.'s Narration: And Dr. Cox, we've really connected.

Dr. Cox enters the room.

J.D.'s Narration: I'm kinda like his protege.

Dr. Cox: I need to see his chart---

J.D.: [talking over him, and handing him a chart] Done. Copied. And Highlighted.

Dr. Cox: Unfortunately, Radar, I'm fresh out of gold stars. [reading] Multilobar pneumonia at 31...? How much does this guy smoke?

J.D.: I dunno.

Dr. Cox: You realize, of course, it's your attention to detail that impresses me most. [to the patient, Will] How many packs a day, genius.

Will: Half a pack.

Dr. Cox: Oh, I'm sorry, I phrased the question wrong. How many packs a day... really.

Will: Eleven.

J.D. looks shocked

Will: [pleased with his wit] Now you don't know where I'm coming from!

Dr. Cox utters an attention-getting, no-nonsense whistle

Will: Two or three packs.

Dr. Cox: [to J.D.] Well, let's hear it...

J.D.: Oh, I don't smoke, so... zero packs.

Dr. Cox, obviously tensed, stretches some of the kinks out of his neck. We hear exaggerated cracking sounds.

Carla: [quietly to J.D.] What tests have you ordered?

J.D.: Oh. [laughing] I know, I was just totally kidding with you.

Will: [sitting up] He was... We're all in on it.

J.D.'s Thoughts: I like Will. That actually makes this harder.

J.D.: I ordered blood cultures, and a high-resolution CT.

Will: What are you looking for?

Dr. Cox: Cancer.

J.D.'s Thoughts: When you say the word "cancer", every person reacts the same way.

Will: [giving a thumb's up] Excellent.

J.D.'s Thoughts: Not like that.

Will's face drops, and he collapses back on to the bed.

J.D.'s Thoughts: There it is.

~*~

The Hospital Cafeteria.
J.D. sits at a table across from Turk and Todd, who are enthusiastically eating

J.D.'s Narration: I never really know what to say to Turk's stupid surgery buddies. But I'm getting better.

J.D.: So....How's surgery?

Todd: It rocks... But my bedroom, that's where I really operate! Am I right? [laughing] Come on, show Todd some love!

He holds his hand high to J.D.

J.D.'s Thoughts: I hate showing Todd love.

J.D. tentatively holds his hand out, and Todd slaps it hard, causing J.D. to whimper softly.

Carla: [approaching the table] Hey, Bambi. Why are you over here slumming with these scalpel jocks?

Turk: Please baby, this, here, is the V.I.P table.

Carla gives him an unimpressed look.

Turk: Why don't you sit your fine self down?

Rolling her eyes, Carla walks on.

J.D.: [mocking] "Baby, this, here, is the V.I.P table..."

He and Todd laugh.

Turk: I'm not really interested in her.

Todd: Yeah? Then maybe the Todd'll show that little biscuit some love! [he laughs]

**** Fantasy shot: J.D. watches from across the table as Turk grabs Todd's head, twists it, and lets it drop to his tray of food.

J.D.'s Thoughts: Maybe he's a little interested.

Todd: Fine. Todd'll show himself some love.

~*~

The Hallway.
Turk and J.D. are walking towards the Nurses' Station

Turk: I'm thinking about asking Carla out today. What do you think?

J.D.: I think the janitor's out to get me.

Turk: Wow. Thank you so much for your help. You know what? Why don't you be just a little bit more paranoid.

J.D. stops, and Turk continues on down the hall.

J.D.: Wait, Turk.

Directly in front of him is the janitor, standing next to a tough-looking bald man.

Janitor: [to tough guy] That's him.

Cut to: Nurses' Station.
Elliot approaches the desk in front of Carla.

Elliot: Hi, how are you? [met with silence] Um... I need, uh, David Farr's chart?

Nurse Roberts: We all need lots of things.

Elliot: [sarcastic] Great.

Dr. Kelso passes behind her. Elliot stops him

Elliot: Uh, Dr. Kelso! [she faces the nurses] You're the Chief of Medicine, is there a 'special' way to communicate with the nursing staff that I'm not getting?

Dr. Kelso: [saccharine-tone] Well, uh, sugar won't work because they're already so sweet.

The nurses smile as he pulls Elliot aside.

Dr. Kelso: Now, listen Dr...Whatever-the-hell-your-name-is, you tattled yesterday, I responded -- I feel closer to you than ever, really -- but the ramifications are yours. So don't try to drag me into your pathetic, whiny, little squabble with that God-awful bunch of malcontents. I hope you all kill each other! [turning back to the nurses, smiling and saccharine once again] Have a great day, ladies.

He walks off and the nurses wave after him demurely.

Elliot: [helplessly] I hate this place.

~*~

The Hallway.
J.D. strides toward Dr. Cox who is impatiently waiting for the elevator.

J.D.: Dr. Cox; I got, uh, Will's CT results back. No cancer! So, uh, what should I tell him?

Dr. Cox: I'd open with that.

J.D.: Right, it's just, you know, he's headed down such a bad road, I thought you and I could talk to him....

J.D.'s Narration: When you really lock in with a mentor, you start to understand the meaning behind their words.

Dr. Cox: [disinterested] You do whatever you want.

J.D.'s Narration: Means, "Great idea!"

Dr. Cox: [grinning] I'm, um, I'm just happy you haven't messed up yet today.

J.D.'s Narration: Means, "You're really coming along as a doctor."

J.D. pats Dr. Cox on the shoulder.

Dr. Cox: Don't. Ever. Touch me.

J.D.'s Narration: Means, Don't ever touch him.

Dr. Cox, tired of waiting for the elevator, walks off.

J.D.: [to self] Just thought it was a nice moment.

We finally hear the "ding" of the arriving elevator.

~*~

The Hallway.
J.D. walks with Elliot, his hand on her shoulder. Suddenly, she turns in the other direction.

Elliot: No, I don't wanna.

J.D.: [pushing her on] No, c'mon, c'mon, c'mon.

They approach the desk at the Nurses' Station. Carla looks up from her computer work.

Elliot: Carla...I...shouldn't have told Dr. Kelso on you.

Carla: No, you shouldn't have.

J.D.'s Thoughts: Ahhh, the comfortable silences.

Carla: But thank you for apologizing.

J.D.: [on Elliot's look] Okay, good!

Elliot smiles and begins to walk off, but suddenly she turns back to face Carla.

Elliot: I--I just want to make one thing clear.

J.D.: No, see, nothing needs to be clear.

***Fantasy Sequence: A cemetery, daytime.
A group of people dressed in black stand around an open grave. Elliot, dressed in her scrubs, is standing in the bottom of the grave, shoveling out more dirt.

Elliot: I still think you were in the wrong. Checking for the statics is your job, and I need to know that you're going to take care of it.

Cut to: a shot of Elliot's perspective from inside the grave. Carla, dressed in black, coldly flicks the ashes from a cigarette (in an antique holder) into the grave.

Elliot: [now lying in the bottom of the grave] That's all I'm saying.

***End of Fantasy Sequence: J.D. tosses a single rose into the grave.

Elliot: [smiling] There. All better!

Carla stares daggers at her.

~*~

Will's Private Room.
Will sits on his bed, as J.D. paces in front of him.

J.D.: So... yes! As of now, you have no signs of cancer.

Will: [jumping up, excited] Woo! Who rules? Will rules!

J.D.: Uh, Will, it's important you realize this isn't great news.

Will: Are you sure? 'Cause, that's how it first hit me.

J.D.: Yeah, well, Will, you're on a slippery slope, man.

He begins explaining the situation to Will, and is drowned out by...

J.D.'s Narration: I had to scare him, but I had the sense he'd heard it all before. Luckily, part of being a doctor is your ability to improvise.

J.D.: [continuing] So, right now, the one thing that I want you to think about...

J.D. takes a small rectangular object -- an electrolarynx -- from his pocket and holds it to his throat. When he speaks, his voice has a fake, tinny quality:

J.D.: ...How would you like to sound like this?

Will: Let me see.

With a solemn look, Will takes the device and sits on his bed. He holds it to his throat and speaks:

Will: This is so cool!

J.D.: No, it's not.

Will: [still with the electrolarynx] Bwiddy-bwiddy-bwiddy. Okay, doc.

J.D.: [grabbing it] It's not a toy.

He looks at the device in his hand, then holds it up to his throat again.

J.D.: Would you like to play a game? [laughs]

Will grabs the electrolarynx, playing with it again. What he says with it is drowned out by...

J.D.'s Narration: Sometimes, if all you have is old words, all you can do is put them together and hope they say something new.

J.D., taking the electrolarynx back, sits down on the other bed across from Will.

J.D.: Look, man, you're a great patient. I like you enough to hope I never see you again. But, I promise you, if you keep smoking, you'll be back here. I bet my own life on that.

Will nods.
~*~

The Hospital Hallway
Elliot races through, past a few staff members. A man over the hospital intercom is calling her:

Intercom: Dr. Reid to room 402. Then down to 201. Then back up to room 403.

Elliot looks at her watch as she breathlessly runs past the Nurses' Station. Carla and the other nurses break into laughter and give each other five.

Turk and Todd approach.

Turk: I'm nervous, man. Why am I nervous?

Todd: Todd's your wing-man, buddy. I will not leave your side. [To Carla] Hey, baby.

Carla: Keep moving, frat boy.

Todd: [taking off] You got it.

Turk looks surprised and extremely nervous over his abandonment.

Carla: [to Turk] Come on. Out with it.

Turk: Don't rush me!

Carla gives him an "Excuse me?" look.

Turk: I mean... [suave] You shouldn't be impatient with what I think is the opportunity of a lifetime.

Carla: [deadpan] Mmm. Okay, so I'm gonna go sit down because, you're so sexy, my knees are weak.

She walks away.

Turk: Really?

~*~

Hospital Hallway
J.D. is chasing after Dr. Cox.

J.D.: Oh, Dr. Cox, I know I'm being annoying. But I--I'm really getting used to talking to patients. I mean, this is why I became a doctor; right? Right?

Dr. Cox: I heard "I know I'm being annoying," and then...white noise.

J.D.: Will, the pneumonia patient, I got him to quit smoking.

Dr. Cox: Forever?

J.D.: Yuh-huh!

Dr. Cox: No "last one"? 'Cause the last ones are better than sex, trust me, I've had about a thousand of them.

J.D.: Done forever. He swore to me. I just, I reached him! I reached him.

Now standing at the door which was his destination, Dr. Cox gives an impressed look before turning to open the door. Revealed is Will, standing in his hospital gown, smoking a cigarette.

Dr. Cox: [back to J.D.] You're having a big day, there, Susan.

With a wink, he walks through the door, past Will.

The Janitor then appears in the doorway, and blows smoke straight into J.D.'s face.

Janitor: Private party.

He slams the door.

~*~
COMMERCIAL
~*~

Re-Open: The Doctors' Lounge
A shot of a TV screen, on which a woman is removing her top for her co-star. Dr. Cox sits in a chair watching the television; another young intern, Doug, sits behind him, also watching. J.D. enters.

J.D.'s Thoughts: Gotta get right back up on the horse.

J.D.: Dr. Cox, about Will.

Dr. Cox: Not now. I have a ten-minute break, and my soap is on.

Doug, not enjoying the soap, picks up the remote. Even though Dr. Cox can't see this, he senses it.

Dr. Cox: [to Doug] Hey, uh, skeetch, if you do go ahead and change the channels, I swear I'll suture your hands together.

Doug drops the remote.

J.D.: Right, so with Will....

Dr. Cox: [referring to the soap] Oh, this woman is just fantastic. I mean, the breasts are probably fake, but, by God, those tears are real!

J.D.'s Thoughts: Time for a bold move.

J.D. approaches the television set and switches it off. The camera zooms in on Dr. Cox. We hear a snorting growl, and steam seems to come from his nostrils.

J.D.: I need to know how we're going to fix this thing with Will.

Dr. Cox: Do you know what you've just done? You just lost all lap-dog privileges.

J.D.: Excuse me?

Dr. Cox: No more walkies, no more treats, no more following me around the hospital.

J.D.: [embarrassed] I'm not your lap-dog.

Dr. Cox: Hey you, back there, what do we do with lap-dogs who can't behave in the house.

Doug: [nervous] Make them stay outside?

Dr. Cox: That's right. [he begins to roll up some papers he had in his lap, and speaks to J.D.] You now have five seconds to get out of this room, otherwise I'm gonna start whacking you on the nose with this.

J.D. laughs nervously.

Dr. Cox: Don't laugh. This isn't a joke, newbie. Get. Out.

J.D.: But I was thinking that---

He is interrupted by the roll of paper that flies through the air in his direction. He flees the break room.

Dr. Cox: GO!

As soon as J.D. has cleared out, Dr. Cox snaps his fingers over his shoulder as a request for Doug to hand him the remote. He flicks on the TV.

Dr. Cox: [to Doug] What do you wanna watch, there, Captain Courage.

Doug: 'Days of Our Lives'?

Dr. Cox: Atta boy.

~*~

J.D. and Turk's apartment.
Turk is lying on the couch watching TV and J.D. sits on one of the barstools behind him, eating cold cereal.

There's a knock on the door.

J.D.: Come in.

Elliot enters, looking further into the apartment. She screams as she nearly trips over Rowdy in the doorway. Turk and J.D. laugh.

Turk: Smells the food.

Elliot approaches the couch with a small paper sack in her hands.

Elliot: [to Turk] Hey, move your butt.

She sits next to him, and presents the sack.

Elliot: Umm... peace offering?

Turk gives her a token glance as he digs into the sack. He removes a large sandwich from it and begins eating, barely looking away from the television to listen to Elliot.

Elliot: Look, Turk, I know that I don't always make the best first impression....Or second, for that matter. [she, alone, laughs at the joke] Anyway, I'd like us to be friends, and I thought, you know, maybe I could get to know you a bit better....

J.D. picks up Rowdy and carries him across the room.

Elliot: ....See what you're about.... Uh....

Glancing around for some sort of safety net, Elliot notices a picture on the end table and picks it up.

Elliot: For instance, when did you meet Morgan Freeman?

Turk: That's my mom.

Elliot: [with her mouth full of her foot] I like her freckles!

As she goes to place the picture back on the table, she comes face-to-snout with Rowdy and nearly jumps out of her skin.

Elliot: Geez!!!

J.D.: [half-assed] Rowdy, no!

Elliot shoots him a dirty look.

J.D.: So, I still can't figure out why Dr. Cox tore me a new one today.

Turk: [close up] Oh, man, enough already. He's a jerk.

Elliot: [close up] He's a jerk.

Cut to: The Hospital...

Doug: [close up] He's a jerk!

Dr. Kelso: [close up] He's a jerk.

Janitor: [close up] You're a jerk.

Carla: [close up] He's just Dr. Cox.

The camera pulls back to reveal J.D. and Carla at the Nurses' Station.

Carla: He's always like that.

J.D.: Well, who really knows him? I mean, who does he hang out with here?

Carla: No one.

J.D.'s Thoughts: That must be lonely.

Carla: [reading one of the prescriptions she was sorting] "Take two Turks as needed, apply to sensitive area..." Who wrote this?

Turk: [stepping from around the corner] Whazzup.... [he and J.D. laugh] Oh, come on, Carla; give me one good reason why you won't go out with me.

Carla: Well, you're a surgeon. So, you've got the god-complex, the cockiness, the whole "married to the job" thing. You're cute, but you're very, very aware of it. You have no idea what I'm like, so all of your feelings for me are coming from [she points to his midsection] down there. But most of all, I'm looking for the real thing; and you're nothing but a little boy who's not used to being told "No." So there's a bunch of reasons. Pick your favorite.

With that, she walks away.

J.D.: I'd go with the "god-complex".

Turk shoots him a look.

J.D.: But it's hard to choose, you know, they're all so good.

Frustrated, Turk walks off.

~*~

The Hospital Cafeteria.
Elliot has just assembled her tray of food, and heads toward the tables.

J.D.'s Narration: A hospital is a tricky place. I mean, it's very cliquey, and you have to watch what you say. It's a lot like high school.

***Fantasy Sequence: The hospital cafeteria as that of a high school.
Dr. Kelso as the principal, and the nurses as the cheerleaders watch Elliot walking past the tables in full "geek" regalia: horn-rim glasses, oral retainer, band uniform. Not watching where she's going, Elliot trips and spills her tray of food all over the floor. The nurses/cheerleaders, surgeons/jocks, and other "students" laugh at her.

***End of fantasy sequence as Elliot, in her scrubs in the hospital cafeteria, hurries to pick herself and her tray of food off the floor and scurries over to an empty table.

J.D.'s Narration: I'd like to think that if I didn't have somewhere else to be that I'd gone and sat with her. But, you see, tonight, there's somebody else I have to take care of.

Cut to: J.D., in casual clothes, with a 6-pack in hand, approaching the door of an apartment. He rings the bell. The door opens to reveal Dr. Cox. The sounds of a televised sporting event can be heard from inside the apartment.

J.D.: I know that watching Will slowly kill himself hurts you, too. That's even harder if you don't have anyone to talk about it with. So, when I got off work, I figured -- you know -- I was gonna pick up a few cold ones, right, and then maybe you and I, we'll--we'll talk it out, we'll just break the whole thing down. Right? What do you say to that?

Without a word, Dr. Cox slams the door on J.D., hitting him in the knee. J.D. grasps his leg and falls to the floor in pain.

~*~
The Hospital Hallway
Elliot walks, talking to herself.

Elliot: I'm sick of this, everyone keeps ignoring me. I'm like a damn plague around here.

She glances back to see Turk walking behind her.

Turk: Please, don't look back at me when you're talking.

Elliot stops near the Nurses' Station, where she is met by Dr. Kelso.

Dr. Kelso: Oh, uh, Dr. Reid. I just wanted to say you're out of my dog house. That was a great catch on that patient with meningoccocus.

Elliot: Well, that actually wasn't me, sir. Carla noticed the rash on his legs.

Dr. Kelso: Well, that's fascinating. You could have fallen back into my good graces, and instead you passed the credit on to a nurse.

He laughs, which makes Elliot laugh with him.

Dr. Kelso: How noble! I'll tell you what, I'll get the cafeteria staff to write "Was it worth it?" on a big cake for you!

He laughs heartily and walks past her down the hall. Turk, who had been standing by listening, suddenly "notices" the sign on the wall.

Turk: Nurses' Station.... So this is the Nurses' Station....

Using that as his excuse, he jets off in the other direction.

~*~

Dr. Cox's Apartment -- Living Room
The room is decorated with muted gray tones and very angular furniture.
J.D. is sitting on the couch with his foot propped up on the coffee table. Dr. Cox kneels in front of him, applying an ice pack.

J.D.: Do you think I've damaged the ligaments?

Dr. Cox: [getting up] I don't care.

He approaches his wet bar and makes himself a drink.

Dr. Cox: Now, can I count on you to never drop by here ever again, or should I just go ahead and move?

J.D.: Oh, you can't leave a place with this much warmth. I especially love the shelf filled with personal photos of your friends and family.

Shot of: A very sterile-looking glass shelf with several "blank" pieces of modern art.
Dr. Cox swallows his drink bitterly, and, to illustrate his mood, we hear thunder clapping.

J.D.'s Thoughts: Okay, if he comes at you, just try and roll out the door.

Dr. Cox: Well, actually, you have a point. [he sits on the couch next to J.D.] I guess watching the game by yourself with a scotch isn't, really, the only way to watch a game, huh. I don't know. I just, I've always thought of needing people as a sign of weakness.

J.D.: It's not.

Dr. Cox: Then, would you stay... and watch the game with me? Maybe have a slice of pizza?

J.D.: [smiling] Of course I will.

Dr. Cox: I can braid your hair.

J.D. looks worried

Dr. Cox: [turning] No, I know the couch isn't very deep, but we can move the back cushion... and spoon.

J.D. looks terrified. Just then, Cox's front door opens, and several men happily walk in and greet him.

Dr. Cox: Hey, guys, whatta ya say. Beer and chips in the back.

The guys move on.

Dr. Cox: [to J.D.] Just ignore them. Will you tell me the answer to this question: Do you want to be the big spoon, or the little spoon?

~*~

The Hospital -- hallway.
Turk and Carla are walking towards the Nurses' Station.

Turk: I'm telling ya, Kelso didn't even ask, and she gave you full credit.

Carla: I don't care. Too little, too late. Plus, I know why you're really here. So, I'm gonna park myself right here in the "V.I.P section," so you can give me what'cha got.

They giggle a bit before Turk's expression turns sincere.

Turk: I was gonna tell you how I busted J.D.'s chops the other day for wanting to be friends with a girl. And now I find it so amazing to see how strong you are, how well you carry yourself, how I'd give anything just to wake up in the morning and watch you read the paper. [his tone turns authoritative] But instead, I think you should hop off your broom for a second, try and remember what it was like when you first started here, and give Elliot a break. Because she may be a chore, but she is a good person. [then, quietly adding] Your ass looks especially fine today.

He turns around to leave.

Carla: Pick me up tomorrow at seven.

Turk: [under his breath] She's not the only one that can do a speech. I can do a speech.

~*~

Dr. Cox's Apartment.
Dr. Cox holds the front door open for J.D., who is limping towards it with the help of an umbrella.

Dr. Cox: You are to return that umbrella to me at the hospital, not here, is that clear?

J.D. hobbles out the door.

Dr. Cox: Hey, newbie. You know what your problem is?

J.D.: My bones hurt?

Dr. Cox: You were gonna, what, rescue me from loneliness with a three-dollar six-pack of light beer? It turns out, you can't save people from themselves, newbie. We just treat 'em. You treat that kid with a respiratory problem, and when he comes back with cancer, go ahead and treat that, too.

J.D.: [sarcastic] Well, thanks for the pick-me-up!

Dr. Cox: Hey! Smokers, drinkers, druggies, fatties, whatever. All I'm saying is that if you keep living and dying on whether or not a person changes, well... you're not gonna make it as a doctor, that's all. Now... come here and gimme a hug.

Dr. Cox holds out his arms to him, but J.D. looks untrusting.

Dr. Cox: It's okay. Come here...Come here.

J.D. steps towards him.

Dr. Cox: Aw, get outta here! And take this piss-water with you. [he shoves the six-pack into J.D.'s hands] It's embarrassing to have it here.

Deeper inside the apartment, one of Cox's buddies pipes up...

Cox's Buddy: [out of view] I'll drink it!

Dr. Cox: Eh! [jerks the beer back] I'll take the beer. You beat it.

He slams the door.
~*~

The Hospital -- Admissions Area.
Elliot stands, obviously asking a patient some questions. Turk pushes Carla in her direction.

Turk: Go apologize.

Carla: No, I don't wanna.

Turk: Okay, come on, come on, come on. Just do it really fast, like a Band-Aid.

Carla: [handing some papers to Elliot] Here, I wrote out the pharmacy renewals on all your patients.

Elliot: Wow. Great! Hey, you know what else would be really helpful...

Turk, standing behind Carla, frantically waves his hands at Elliot.

J.D.'s Narration: I think the one thing we never stop looking for is acceptance.

Elliot: [stopping herself] Thank you, Carla.

Carla: You're welcome.

Turk proudly throws his arm around Carla and they walk off.

J.D.'s Narration: Acceptance of our own shortcomings...

Elliot turns back to her patient, a woman with a bulging abdomen.

Elliot: So, when's the baby due?

Female Patient: What baby?

J.D.'s Narration: ...Acceptance that some things are gonna be what they're gonna be.

J.D. pushes Will, now dressed, in a wheelchair through the waiting room and to the front door of the hospital.

Will: This is a strange resort, man. I mean, this wheelchair service is great, but that suite I rented... there's another person in it. And for some reason, the bellhop gave me an enema.

J.D.: Yeah... he's new here.

Will stands.

Will: So... anything you wanna say?

J.D.: You know it all, man.

J.D.'s Narration: Still, I hated Will a little....

J.D. watches Will step out the door and light up a cigarette.

J.D.'s Narration: ...'Cause, thanks to him, I started to look at all the people who were important to me in terms of what will probably kill them.

Over a shot of Turk in their apartment, eating a sandwich:
J.D.'s Narration: Heart Disease...

Over a shot of Dr. Cox in his apartment, taking a sip of liquor:
J.D.'s Narration: Liver disease...

Over a shot of Elliot grimacing after saying something stupid:
J.D.'s Narration: Somebody choking her...

Over a shot of J.D. looking at his reflection in one of the hospital's front windows:
J.D.'s Narration: I dunno... Probably stress.

J.D. turns from the window and walks back in to the front desk of the hospital, where Dr. Cox stands, filling out a chart.

Dr. Cox: Say anything else to him?

J.D.: Nope.

Dr. Cox: But you wanted to.

J.D.: Yeah, but you told me not---

Dr. Cox: [cutting him off] Geez, J.D., would you be a man? Lookit, if you can't stick to your convictions, you'll never make it as a doctor.

J.D. squeezes his eyes shut and screams in frustration. Suddenly, his head explodes, and smoke billows around his shoulders.

Dr. Cox: [to J.D.'s neck] I can't believe your head exploded. If your head explodes, you'll never make it as a doctor. [the screen fades to black] I mean, come on, you look ridiculous.

END

JOHN DUCEY as Will Forte
NEIL FLYNN as Janitor
ROBERT MASCHIO as Todd
RANDI KAPLAN as Patient #1 ("Female Patient")
JOHNNY KASTL as Doug
JACK WALSH as Unconscious Patient
ALOMA WRIGHT as Nurse Roberts

RTB Invites Local Writers To Compose Drama Script

2009-06-04T09:39:00.002+08:00

Bandar Seri Begawan - Radio Television Brunei (RTB) would like to welcome members of the public especially local writers to 'mite a drama script, which will be telecast.

The participation is encouraged as it gives the public the opportunity to expose their talents in the drama script industry, Participation is divided into four categories: Production of Children Series — 30 minutes x 13 episodes, Special Teenagers Drama - 30 minutes x 13 episodes, Special Ramadhan Drama (Kids) — 15 minutes x 29 episodes and the Ramadhan Production Series — 30 minutes x 29 episodes.

Forms are available at the reception counter of RTB. For more information, contact 2236855 (Direct Line) / 2243111 ext 221 during working hours.

Separate Audio Recording Time limit

2009-06-03T14:41:00.001+08:00

A good video done by a Bruneian?

2009-06-03T13:24:00.004+08:00

I believe that Brunei has many talents that surpasses many. Unfortunately, they have yet to be discovered. Even if they are discovered, there no follow ups from relevant agencies (if you know whom Im talking about), I just wish we can be a more culturally open and creative society. The Brunei Art Forum is there, what else? hmm..

Anyway, this rant is to support one of the Talents that I've come across in Vimeo. I think he is Bruneian, but then I saw admiralty etc..then maybe he is HALF Bruneian? I dont know

See his video here..

Another one was done using 3D software and frankly I know that his work is worth more than the competition he's participated in. I hope to hear from him soon. Will be linking his video soon.

From Afar
Adam.

Shuttle Bus Services during Broadcast Asia 2009

2009-06-02T15:18:00.004+08:00

As usual, Singapore hotels will be packed, especially the budget hotels. Just in case that you are wondering about Singapore' s transportation, its one of the most efficient as long as you are aware of the location and timing. If you are an iphone using, getting the sgtransport app will be even nicer.

Here are the shuttle bus service available during the event. Make sure either you live at one of the hotels mentioned or live nearby the hotels. No worries.

You can also use the MRT which stops at the EXPO directly.

Getting There

By Taxi

There are numerous taxis available in Singapore that offer a reliable service. The taxi fare from the airport to Singapore Expo is about $10 and to the city about $15, subject to surcharges.

Please visit http://www.smrt.com.sg/taxis/fares.asp for full details.

Note: There is an additional surcharge of $2 for all taxis departing from the Singapore Expo.

By MRT - Mass Rapid Transit

Singapore Expo is served by its own station, Expo MRT station. To get to Singapore Expo from Changi Airport, take the east bound train. It is just one stop from Changi Airport MRT and the journey lasts only 4 minutes. Average frequency from Changi Airport station is 12 minutes.
If you are coming from other parts of Singapore, transfer trains at Tanah Merah station (on the East West line) where the train will take you to Expo MRT in 3 minutes.
The station is behind Hall 6.

Click here to view the MRT route map.

Download a PDF of the MRT route map here

By Bus

There are 3 bus stops from which you can alight to get to Singapore Expo:
Beside Carpark G on Upper Changi Road East
Bus route numbers 12, 24 and 38

Outside Hall 1 on Upper Changi Road East
Bus route numbers 12, 24 and 38

Beside Carpark J on Xilin Avenue
Bus number 35

Click here to view the Bus route map.

By Car

Three major expressways link Singapore Expo to the rest of Singapore. They are:
East Coast Parkway (ECP)
Pan Island Expressway (PIE)
Tampines Expressway (TPE).
There are 2,200 car park lots dedicated solely to visitors at the centre.

Driving directions from city:
Take the PIE (exit 4A)
Turn into Simei Avenue
Head into Upper Changi Road East
Turn into Expo Drive where car park lots are located

Take the ECP (exit 2B)
Connect to Xilin Avenue
Connect to Upper Changi Road East or Changi South Avenue 1 or 3
Turn into Expo Drive where car park lots are located

Take the TPE
Turn into Upper Changi Road East
Turn into Expo Drive where car park lots are located

Singapore Expo Car Park Charges
- Rates apply from Monday to Sunday including public holidays
i) 7am - 5pm
First two hours = $2.30
Subsequence 1/2 hr = $1.10

ii) 5pm - 7am
Per entry = $2.30
Subject to a maximum of $13.00 per day.

Public announcement

2009-06-02T12:29:00.003+08:00

The Singapore Arts Festival 2009

2009-06-02T10:16:00.000+08:00

The Singapore Arts Festival first began in 1977 as a national arts festival celebrating the local arts activities of Singapore's diverse communities. Over the last three decades, the Festival, organised by the National Arts Council, has played a symbiotic and catalytic role in the development of the artistic and cultural life of Singapore. It has helped to transform the city's cultural landscape, turning it into one of Asia's major cultural capitals today. It has influenced the work of artists and has since generated a growing public demand for the arts, spawning new cultural platforms, events, and movements that help underpin the lively cultural scene in present Singapore.

Today, the Festival is characterised by a bold, progressive and innovative spirit, committed to commissioning new works by Singapore, Asian and international artists; investing in works that bridge disciplines, cultures, language and geographical boundaries; exploring, among others, contemporary issues related to history, memory, migration, and urban living; discovering emergent and promising artists; and encouraging regional and international artistic exchanges and collaborations. The Festival also features an extensive programme of free outdoor performances island-wide, bringing the arts to the doorsteps of Singaporeans.

Placing festival networking as an important process of cultural dialogue and festival collaborations, the Festival championed and co-founded the Association of Asian Performing Arts Festivals in 2004, and has since served as its chair and secretariat, overseeing a membership of 30 organisations in the Asia, Europe, America and Australasia.

The Singapore Arts Festival remains the largest singular event on Singapore's arts calendar, inviting artists from more than 20 countries, offering more than 400 activities and attracting up to 500,000 attendances – a 4-week infusion of performances and events that inspires and captures the public imagination of the city.

Singapore Arts Festival 2009 - Video Contest

2009-06-02T10:12:00.001+08:00

Just one of many..

‘My Festival Video’ Contest

Create your own 30-second Festival Video, tell us what the Singapore Arts Festival means to you, and stand the chance to win $1,000 cash! What’s more, the winning video will be aired on TV!

Do pre-register here first. The deadline for video submission is 11 May 2009.*

From the submitted entries, five videos will be shortlisted based on originality, creativity, and how best the videos capture/promote the spirit of the festival. The shortlisted videos will then be put up at this website for online voting between 15 May and 26 May 2009. The video with the highest votes will be declared the winner!

So get cracking and submit your 30-second video to us by 11 May 09!

For enquiries, please email to toh_wei_zheng@nac.gov.sg or call 683 79735 during office hours.

*Submit the CD or DVD by post to:

The National Arts Council
140, Hill Street, MICA Building, #03-01
Singapore 179369

For in-person delivery, do submit the CD/DVD to the above address during office hours.

The CD/DVD must be clearly labelled (title, name, NRIC number and contact number).

Casting Call Brunei June 2009

2009-06-02T09:49:00.002+08:00

Calling Bruneian Talents of all ages and ethnicity. We are also looking for pan asian, caucasian, chinese, indians for play various roles in our upcoming projects.

Please email us your biodata and a picture of yourself to bruneicasting@gmail.com.

We are looking for talented actors and actresses to play the following;

Devoted Father - 40-70 years old - all races
Devoted Mother - 40-70 years old - all races
Young boy - 5-10 years old
Young Man - 19-25 years old
Young girl - 19-25
Woman - 20-45 years old
Man - 20-40 years old

Training will be provided in script reading, camera blocking and method acting.

Thanks and looking forward for your email.

For reference, please read the following;
Audition Tips
Helpful Terminology

"My Pledge" Short Film Competition

2009-06-02T09:44:00.001+08:00

"My Pledge" is a film competition organised by Temasek Polytechnic and supported by Nexus, in conjunction with National Day 2009. It hopes to promote deeper reflection of much-recited but seldom pondered-upon national pledge.

Submit your entry today and your short film cound be selected for screening at various NDP 09 and other platforms.

Winners also stand to win attractive prizes, including a chance to re-create their films with the guidance of industry professionals.

"My Pledge" is an inaugural project of the "Short Films @ SG" series which is spearheaded by Nexus and slated to be held annually. This series encourages Singaporeans to reflect, discuss, express and embrace our Singapore identity through film. At the same time, it serves as an incubator that cultivates budding film-makers so as to boost the local film scene.

The Theme - "My Pledge"

Some of us recite iur national pledge daily, but do we pause and ponder on its words? What does the pledge mean to us?

Crafted to provide a young nation with a foundation to build upon, the pledge has become the personal vow of each Singaporean.

Each line of the pledge guides us in our values and relief as Singaporeans.

Each line is significantly different, yet as a whole, the pledge symbolises the dreams of a young nation and lifts us to inspirational ideas.

Each line may hold a different meaning in our hearts, make us remember an incident that happened to us or inspire us to form stories that can represent them.

So come up with an idea for a short film that expresses your interpretation of the pledge. You can base your short film on just one line, a combination of the different lines or the whole pledge.
Express your personal interpretation of our National Pledge in film and win attractive prizes, including the opportunity to recreate your winning films with the guidance of industry professionals.

For more details, please visit www.mypledge.sg.

Prizes :
Secondary Schools Category

First prize - $3,000 cash
Second prize - $2,000 cash
Third prize - $1,000 cash

In addition to the cash prize, each winning team will get a chance to re-create their film with the guidance of experienced industry professionals.

The top school will also receive a trophy.

Post-Secondary Schools Category

First prize - $3,000 cash
Second prize - $2,000 cash
Third prize - $1,000 cash

In addition to the cash prize, each winning team will get a chance to re-create their film with the guidance of experienced industry professionals.

The top school will also receive a trophy.
Open Category

First prize - $3,000 cash
Second prize - $2,000 cash
Third prize - $1,000 cash

In addition to the cash prize, each winning team will get a chance to re-create their film with the guidance of experienced industry professionals.

Casting call will be announce soon

2009-05-30T13:25:00.004+08:00

Assalamualaikum and Hello Bruneians...

Does Brunei got talents? we certainly hope so. Actually we do, its just we know how hard it is to make it in Brunei. Some of the Bruneian talents we discovered are based outside Brunei surprisingly.

So watch this space. Application, FAQs and forms will be downloadable here. SOON!!

Adam

Helpful Terminology

2009-05-30T13:22:00.001+08:00

CALL TIME - This is the time you are to report for work. You should be in the holding area at this time for check-in.

HOLDING AREA - This is where the extras report for work. Anytime you are not actually working on the set, you must be in the holding area. Please do not make it necessary for
the AD's to go looking for you when they might need you. You could miss your opportunity
in front of the camera.

BASE CAMP - This is where the cast and crew report for work. Basecamp is easily recognized (not in Brunei tho) by the massive trucks and trailers and equipment moving about. Please stay clear of this area.

THE SET or LOCATION - This is where that actual filming will be taking place.

BACKGROUND or EXTRAS or ATMOSPHERE - This is you! A background performer or extra does not speak lines alone. Extras can make crowd noises or be singing in a group, but cannot be scripted.

PANTOMIME or MIME - To act with only facial and bodily movements.

FEATURED EXTRA or SPECIAL EXTRA or SILENT BIT - May be used to describe an extra in a scene who is very recognizable on camera as a character or someone who is interacting directly with a primary actor, but still does not speak.

"QUIET!" - Means quiet. Whenever you are on the set there should be no talking. If you must talk to a production assistant or assistant director, please whisper and only if it is absolutely necessary.

"PICTURE'S UP!" or "STAND BY!" - Means everyone - even crew - must be absolutely quiet, we are about to roll.

"ROLLING!" - Means film is rolling; we are shooting.

"ACTION!" - This cue is usually for the primary actors or "stars" to begin the scene.

"BACKGROUND ACTION!" or sometimes, simplified to "BACKGROUND!" - This is the cue for the extras. Most of the time it will be called immediately before the actors get their "action" cue.

"CUT!" - We have stopped shooting. Wait where you are; where you ended the scene for further instructions.

"BACK TO ONE" or "FIRST POSITION" - The AD is now asking everyone to return to the point where they began the scene; their first position. We will be doing another take. Remember you should do exactly the same thing for each take unless an AD asks you specifically to change something.

"NEW DEAL" - We are ready to move on to another scene or set up. Wait for instructions. You will most likely be directed back to the holding area, but it could be that you need to change your wardrobe for another scene.

1st ASSISTANT DIRECTOR (AD) - The person running the set; keeping the crew, the actors, and the director on schedule. The 1st AD works closest to the director.

2nd ASSISTANT DIRECTOR (AD) - The person to set up the background in the scene and direct the extras. The 2nd AD also assists the 1st in scheduling, etc.

2nd 2nd ASSISTANT DIRECTOR (AD) –This person may also set background. The 2nd 2nd assists both the 1st and 2nd AD’s.

PRODUCTION ASSISTANT (PA) - The go-fers on the set. They work for the AD's.

Audition Tips for Bruneian Talents

2009-05-30T13:15:00.003+08:00

A generic Audition Tips for Bruneian Talents eg; actors, actresses, models, singers, dancers, performance artists, musicians..etc..

On the phone with your Agent (skip this if you do not have an agent) but it is worthwhile to be prepared:
* WHO am I auditioning for? Casting Director? Director? Producer? Get names of contacts ahead of time, if possible.
* WHAT am I auditioning for?
Film? Is it a comedy or drama? Commercial? What is the product? (check conflicts)
* WHAT is my character?
Get written character description, if available.
* WHERE is the audition?
Always get address and directions even if you have auditioned for the casting person previously. Not only do offices move, but it is NOT uncommon for a callback to be in a different location than your initial audition.
* WHEN is the audition?
Day/Date/Time
* WHEN is the shoot or shoot dates?
Check your calendar. Do not accept an audition if you are not available for the shoot. It is unprofessional and not appreciated.
* ASK if sides (or copy for commercials) are available ahead of time. Also ask if the whole script is available. ARRANGE TO GET WHATEVER IS AVAILABLE TO YOU!
In the Audition Lobby:
* Arrive 10 minutes prior to your audition appointment, the earlier the better.
* Sign-in with the casting assistant - Remember that today's assistant could be
tomorrow's casting director. Act accordingly!
* Check for changes in sides or script or copy. ALWAYS!
* Check # of headshots/resumes needed. Always have, at least, 5 copies with you.
* STAPLE HEADSHOT & RESUME BACK-TO-BACK NOW - Resumes should also be the same exact size as the headshot.
* Check for change in Shoot Date(s) - If you have conflicts that cannot be changed, you should decline the audition.
* Also check about Callback Audition Dates. Ask here. DO NOT ASK IN THE AUDITION ROOM!
* Quietly wait for your appt. Be courteous of surroundings.

In the Casting Room:

* BRING HEADSHOTS/RESUMES IN - Have them out & ready to hand over (not tucked in a briefcase, notebook, envelope, etc.).
* Quick greeting - No physical contact (handshake, hug, etc.) unless you are
approached first.
* Keep questions simple & specific - Do not be afraid to ask, but ask only what is necessary for the read itself. Never ask vague "What are you looking for" questions and DO NOT ASK "LOBBY" QUESTIONS about callbacks, shoot dates, etc.
* Read facing the reader for film & into the camera for commercials. Ask if unclear.
* Read scene.
* If asked to read again, LISTEN to direction, ask questions if necessary, make
adjustment.
* Quick thank you and exit.

Post Audition:

* Sign out quietly, remaining courteous of actors waiting to be seen.
* Follow up questions or updates should be asked to your agent if you have one. Represented talent should NOT call the casting office directly. If you do not have an agent, it is acceptable for independents to check in with the assistant who set the audition appointment, but please be mindful of the busy office and limit the number of calls.

THANK YOU!

Canon Enable Manual Exposure in Video on EOS 5D Mark II

2009-05-28T02:05:00.003+08:00

Good news for Canon 5D mk2 owners in Brunei... Since I myself am a 5Dmk2 user, I know that this will be an advantage to those have an inclination to use the 5dmk2 as video camera as well..here goes..cant wait!! Canon has announced a firmware update for its EOS 5D Mark II digital SLR enabling manual exposure when shooting videos. With the updated version, users will be able to manually adjust the shutter speed, aperture and ISO settings in the video mode. The new firmware will be available for download on 2 June 2009 from Canon's website here. Available 2nd June 2009

LONDON, UK, 27th May 2009: Canon announced today it will release a firmware update for the EOS 5D Mark II allowing users to manually control exposure when shooting video. The new firmware will be available for download from 2 June 2009 on Canon Europe’s support web site.
Following the launch of the EOS 5D Mark II in September 2008, Canon’s Research and Development team has listened closely to customer feedback to develop additions to the camera’s movie recording functionality.

Allowing EOS 5D Mark II owners to achieve even more stunning video results with the camera, the firmware update will include the following manual controls when shooting video:

Full aperture selection
ISO speed: Auto, 100 – 6400 and H1
Shutter speed: 1/30th – 1/4000th second

The EOS 5D Mark II integrates full HD movie capability into a high-end 21.1 Megapixel camera; opening a multitude of new possibilities for photojournalists and news photographers. Since its launch the camera has proved its appeal to professionals working in diverse fields, from studio and wedding to nature and travel. Now, following customer feedback, Canon has improved functionality for professional video users, further unleashing the potential of the EOS 5D Mark II for cinematographers and photographers alike.

Palm Jumeira for reference

2009-05-27T15:27:00.004+08:00

SDS resource

2009-05-27T12:31:00.003+08:00

Bruneian Cheated Of $1.9M By Conmen
By Azlan Othman

Bandar Seri Begawan - Indonesian national police on Monday announced the arrest of a group of alleged con artists said to have scammed Rupiah 20 billion (US$1.9 million) from a Brunei national by impersonating a representative of a prominent Indonesian political party and asking for a donation, Jakarta Globe reported.

The group, most of whom were from South Sulawesi, had been operating since 2006 and made their living by impersonating government officials. They would make phone calls to their victims and ask them to deposit money into various bank accounts.

"Thank God we were able to apprehend them now," Inspector General Hadiatmoko, deputy chief of the National Police's criminal investigation department, told a news conference. "We have arrested 13 suspects in different places since last week." The 13 were in custody in Jakarta, he said, adding that two others, including the alleged mastermind, were still at large.

Hadiatmoko said the group compiled information about high-profile figures from Indonesia and elsewhere via the Internet, newspapers and the White and Yellow Pages. "In their latest effort, for reasons related to the election, this group started to seek out other countries," he said.

"They called at least 32 foreigners, including the one from Brunei who transferred Rp 20 billion to their account at Bank Mandiri last month."

Hadiatmoko declined to name the Bruneian or the Indonesian official whom the group had impersonated.

Indonesian presidential spokesman Andi Mallarangeng said the government had told the public to beware of people identifyingthemselves as officials and asking for money."We'll be glad if all those people are arrested, because what they're doing is a crime," he said. "We already issued (warnings) to the public, and told them to beware and be careful if anyone calls from the (State Palace) asking for money."

Hadiatmoko said the group would open bank accounts under the names of public figures to convince victims they were legitimate. In one case, he said, they opened an account in the name of Director General of Customs Anwar Supriyadi.

"They made a fake (ID card) with Anwar's name to open the account," Hadiatmoko said. With this account, the victim would believe that it was Anwar who called asking them to transfer money. -- Courtesy of Borneo Bulletin

I, like many people here, am mystified about the Brunei government official allegedly giving away US$1.9 million to a group of Indonesian conman in Jakarta. If so, whose money was it? Is it government money or it came from somewhere else? But who really is this government man?

Here then is the Jakarta Globe story about this strange episode. See if you can make head or tale of it. Now read on:

Police to Question Brunei Citizen as Witness in Scam
By Farouk Arnaz
May 27, 2009
http://www.thejakartaglobe.com/national/police-to-question-brunei-citizen-as-witness-in-scam/277690

The National Police announced on Wednesday that a Brunei citizen would be questioned as a witness in connection with a scam investigation.

The police are seeking to determine the identity of a senior Brunei government official who reportedly transferred Rp 20 billion ($1.9 million) to a bank account set up by a group of Indonesian con artists.

"We will question [the Brunei citizen] as a witness," said Insp. Gen. Hadiatmoko, deputy chief of the National Police's criminal investigation unit.

However, he did not give the name of the witness or say if a summons had already been sent.

Last week, the police arrested a group of people who reportedly posed as representatives of a prominent local political party to solicit money from foreign and Indonesian officials.

The suspects allegedly compiled information about high-profile figures from Indonesia and elsewhere via the Internet, newspapers and the White and Yellow Pages. A member of the group reportedly posed as Andi Malarangeng, a presidential spokesman, to swindle the Brunei official and other victims.

Police officials said on Tuesday that they were unable to determine the sources of the funds because two suspects, including the alleged mastermind of the scam, were still at large.

Asked if the police would enlist the help of the Financial Transaction and Report Analysis Center (PPATK) to track down the sources of the money, Hadiatmoko said, "We have not decided yet."

PPATK spokesman Natsir Kongah told the Jakarta Globe the center was ready to assist the police in tracking the flow of money and identifying other victims of the scam.

"If the police ask for our help, we will be glad to help them," Natsir said, adding that the PPATK could track down suspicious financial transactions.

"If we find any suspicious accounts, we will make an analysis and report it to the police," he said, adding that it was legal for a foreign national to transfer Rp 20 billion to an Indonesian account.

Efforts to track down the victims may also be hampered by the fact that the suspects closed the bank accounts immediately after withdrawing the money.

The recovered, Hadiatmoko said, is now being held in a frozen bank account at a Bank Mandiri branch in Cempaka Putih, North Jakarta.

There have been rumors that the Brunei official involved was Sultan Halsanah Bolkiah, but Hadiatmoko said that there was no evidence to suggest the sultan's involvement.

Under election laws, political parties are not allowed to receive donations from foreign companies or individuals, and any such violation could result in their disqualification from elections.

"We will charge the suspects with the Anti-Money Laundering Law and Article 378 of the Criminal Code on using fake identification," Hadiatmoko said.

Violations carry a maximum jail sentence of six years each.

Production resources

2009-05-27T10:27:00.003+08:00

Bah...ani untuk siapa kan belajar storuboarding which one of the understated skill in a production. I, myself, use this to 'materialise' the idea for the client/staff/people. So they can see/hear/read what I have in mind.
Download them here..Storyboard 1, 2 and 3.

Regards,

Adam

Thank you for the success of ABM

2009-05-26T00:19:00.006+08:00

It seems like 'somebody' is watching the drama and hopefully, with the help of dhask- attune studio, my 1st try on creating a song suitable for the drama's theme will be ok. It seems so too. So thank you and for those who are stalking Pg. Rokiah, let be reminded that it IS acting only. Pg. Rokiah is a great actress, she did it well in this drama to the point that she is being stalked, even when she goes to the restroom. Anyway, we have a big project coming and we need to have talents..new ones to fill the big shoes. If you have what it takes to be an actor/actress or trying to see whether you have the talent, email us at bruneitalents@gmail.com, our representative will contact you.

See you soon in SDS and PP.

Adam

ProHD to WebCast

2009-05-18T22:45:00.001+08:00

quicktime pro h264 7000kbps mp4

Nightmare FX

2009-05-12T09:45:00.002+08:00

Just an example of visual treatment and sounds that made the video effective. Nice? just don't be bother to see what camera he used. You see, we can say that he used a very expensive camera but then he used the light and cheap Canon HF100.

So when you use the SONY HD CineAlta but do not know how to use it, more or less what you shoot/do is pretty much useless..

See the video here, entitled Nightmare.

Casting Call Singapore

2009-05-11T17:40:00.001+08:00

Casting Call for Zombie Flick (23rd and 24th of May)

From Ngee Ann Polytechnic - Film, Sound & Video. I'm doing our Advanced Film Production assignment and it's a Zombie Flick. We need a male lead, 6 Zombies and 10 ignorant public people, an artist (a guy who acts like one).

Zombies:
Details: No blood, gore. Just act really zombified (Zoned out, haggard, blur, blank etc.)

Ignorant Public:
Details: Ignorant. Zen. Unconcerned with the situation.

Artist:
Details: Act like an artist (painter or sorts?). Tall & young (preferable 20+ yrs old). Hair MUST NOT be after-NS-shave kind of look.

Details for Male Lead:
Physicals:
•*Male
•*Age: 25 - 35
•*Fitness: Fit. Good muscle tone.
•*Skin Tone: Light
•*Features: Strong, Sharp
•*Height: 1.7 Meters
•*Hair: Longish. But not a necessity.
•*Facial Hair: Somewhat bearded, neatly trimmed.

Acting Preferences:
•*Language: English
•*Experience: Theatre Background, or experience with Toastmasters.
•*Accustomed to Soliloquy

Shoot Dates: 23rd, 24th (BOTH FULL DAYS)
Time: TBC. If you're interested, tentatively leave both days free.
Location: Ngee Ann Polytechnic (Tentatively)

There will not be any form remuneration. However, we will be providing free meals and a copy of the film when it's done.

If you're interested, please send me a PM or send an email with the heading: Casting Call for Zombie Flick (Clubsnap Forum) at therampagingtomato@gmail.com (Attn: Keenan).

Thank you!

The D90 DOF test

2009-05-09T22:48:00.002+08:00

Its interesting that Nikon D90 is said to have the first DSLR to create the video here. What do you think? It is also interesting that they did not put a high iso video coming from the camera, unlike REVERIE.

But then the camera used in REVERIE is different. 2k-3k different.

Final Cut Pro Quick Tip #47

2009-05-08T11:14:00.002+08:00

One of the best new features in Final Cut Pro V4.0 Final Cut Pro 5 is multicam editing. This handy feature allows those do multiple camera productions to gang the clips together to make editing a breeze. In this Final Cut Pro Quick Tip, we?ll quickly look at how it works.

Final Cut Pro 5 allows you to create a multiclip that can group up to 128 camera angles together and switch between them in real time. When working in this mode in the first thing you need to do is create a multiclip.

This is relatively easy to do by highlighting the clips in the Browser window, then right clicking and selecting Make Multiclip or Make Multiclip Sequence.

more info here

Casting Call Singapore

2009-05-06T14:24:00.000+08:00

"STOP! ALLEN"

Synopsis:

The Dragon Syndicate is still at its best in its game. The Dragon Master at an old age
still has his grip on power except on his failing health. When the Dragon Son
realizes that power and everything that goes with it is useless without being able to
live – possibly forever, and indeed the criminal underworld took notice that this
becomes the syndicate’s new business which will catapult it into the future of world
dominance.

They only have one unexpected glitch to this perfect plan – Allen.
Allen is no police. He is no social or religious reformer either. He is not even
intelligent according to our standards. But once his fixation turned from his turtle pet
to Gigi, a woman syndicate member they crossed, the whole syndicate just couldn’t
help but say, “Stop!Allen”.

Shooting Dates:

June 22-27, 2009

Audition Dates:

May 15, 2009, Saturday, 3-6pm @ SAE Institute Singapore, 71 Bencoolen St.
#02-01 Singapore 189 643

Bus No: 64, 65, 139, NR6

Production Information:

Low/ no pay basis. Credits and DVD copy of the final film will be given as a small token of
appreciation to all the cast and crew. The final film will be submitted to the different film
festivals around the world. Food provided.

Contact Information:

Name: Jone Renier
Tel: 90669802
Email: jonerenier@bathalastudio.com

*Please contact via email or phone to arrange for a timing of auditions. If you are unable to
make it for the above dates but still interested in casting for the film, please email us too,
we may be able to arrange for a separate session.

Character Breakdown:

1. Gigi / early 20’s / Chinese
- To play as an undercover operative, attractive looking

2. Mr. Lim / 40’s / Chinese
- As Gigi’s father.

3. Ric / mid 20’s / any race
- As Gigi’s ex-lover, an undercover operative

4. Grandma / mid 60’s / Chinese
- To play as a loving, tolerant mother

5. Auntie / mid 50’s / any race
- As Allen Mother’s friend in the Hawker Centre

6. Dragon Son / mid 40’s / Chinese
- An innocent looking man, to play as the leader of his late father’s
Dragon Syndicate

7. Prince / 8 – 12 yrs. Old / Chinese
- To play as the son of Dragon Son

8. Hugo / mid 30’s / any race
- As Dragon Sons’ personal assistant

9. Dr. Darmo / 50’s / any race
- To play as Dragon Sons’ doctor/ experiments on organ transplant,
Thin man, any race.

10. Maid / 20’s
- Filipino maid

12. Inspector / mid 30’s / any race
- Head of police operatives

13. Operative 1 / mid 20’s / any race
- as police

14. Operative 2 / mid 20’s / any race
- as police

15. Rev / mid 20’s / Chinese
- Gang Leader, as a cool but vicious gang leader with motorbike

16. Yao / early 20’s / Malay
- As an extreme gangster look with motorbike

17. Ming / early 20’s / Indian
- As an extreme gangster look with motorbike

18. Teacher / mid 30’s / any race
- woman, knows about special children / autistic

19. Nicole / mid 20’s / any race
- as special child student

20. Guardian / mid 20’s / any race

21. Fat Gambling Boss / late 20’s / any race

22. Woman 1 / 20’s / any race
- Yao’s lover

23. Woman 2 / 20’s / any race
- Mings’ lover

24. Woman 3 / 20’s / any race
- Rev’s lover

25. Prostitution Lady Boss / late 20’s / any race

26. Homeless Old Man / mid 50’s / any race

* NOTE: Applicants with no prior acting experience may also apply.

Controlling the aperture of HD DSlr

2009-05-04T16:53:00.002+08:00

Credit to Mr. Chuckles aka Mark Fong , we now have a choice of 4 different apertures.
1. The widest/lowest aperture of your lens eg 1.4, 1.8, 2.8
2. 5.6 or nearer in the case of f4
3. f16
4. f22

So here it is..

A quick demo of a reliable and sound method of manipulating the aperture for recording videos on the new Canon 5D Mark 2.

Update: as I mention in the video the lowest aperture my lens could get to was f/2.8. Some folks have mentioned that for lenses that could get below f/2.8 they have found that they can set it to f/2.0 and f/1.4 (I haven't verified this btw). I also have been able to record at f/8 but it is a tricky and wacky way to get it and you won't know you got it unless you do some still references.

If you have questions or comments, leave them here or you can reach me on dpreview.com or cinema5d.com as "mrchuckles". I can also be reached at mrchuckles@gmail.com.

The magic of Tilt Lens

2009-05-04T11:45:00.004+08:00

With the advent of HD and the trickling down of technologies coming from professional equipments to consumers, it only takes a person with creativity to come up with something. The story.

Here the use of tilt lens nevertheless made the video entertaining and made you want to watch it over and over again.

So now, by having a couple of DLSR from both nikon and canon; D90, D5000 and 5Dmk2, 500d respectively, we can actually achieve this. Mind you THAT important extension of your eyes. The lens is as important as your story, but just get the story straight first, then we'll talk hehe.

enjoy

Tilt lens video

Audition Guidelines example

2009-05-04T10:39:00.003+08:00

Audition Guidelines

For Faculty Directed Productions

Auditions are open to all Bruneians. These guidelines are intended to provide you with important information as you consider your audition.

Prior to Auditions -- Find a copy of the script, read the play, and become familiar with the characters. Directors generally have scripts available and may provide a brief synopsis of available roles.

Dress and Appearance --

This is a job interview (of sorts) -- dress nicely.

· Select clothing that reinforces your confidence. It should be flattering and comfortable.

· Avoid bulky, loose clothing that might interfere with your movement and mask your physicallity.

· Wear comfortable, lightweight shoes rather than boots or athletic shoes.

· Your hair should be held back away from your face.

Initial Audition --

You will be asked to complete an audition form that includes past stage experience and your schedule. During your audition, the directors will be considering you in the context of the play being cast -- make the best first impression you can. The director will be listening to your vocal quality, assessing your stage presence and projection, and observing your movement. Be prepared to answer questions from the director.

Audition Material --

Students are encouraged to use a prepared monologue. Students may bring a rehearsed reading. Students without a monologue will be provided with one and given the opportunity to prepare briefly before their cold reading.

Prepared Monologue Guidelines

Content:

· Select a monologue from a modern, published play.

· Choose a character with whom you identify.

· It should be no longer than one minute in length.

· It should allow for vocal and emotional variety.

· It should allow for a variety of movement.

· Do not use self-written material; it generally does not give you an opportunity to portray a character and provides less dramatic impact than a proven play.

· Avoid excessive strong language and profanity.

Presentation:

· "Prepared" means rehearsed and fully memorized. If you do not have time to prepare the monologue completely, read it for your audition. Rehearse the reading as much as possible.

· Performance energy and stage presence are important.

· Incorporate gestures and facial expression.

· Motivated movement during the audition is desirable.

· Avoid using chairs and other props.

· Avoid sitting or kneeling on the stage.

· Use standard Language. Avoid accents and dialects, unless requested

Callbacks --

The director will use this opportunity to have auditionees read scenes from the play being cast. Directors callback auditionees based on the information from the audition form and on observations from the audition including but not limited to:

· Availability and compatibility of schedule.

· Past experiences with particular attention to those at Appalachian.

· Vocal and physical characteristics.

· Stage presence and projection.

· Appropriateness for the character being cast.

· Willingness to grow, cut, or dye hair.

Casting --

This is a highly subjective process involving artistic choices that are influenced by many factors including but not limited to:

· The factors listed above under Callbacks

· Compatibility with the ensemble in terms of physicality and interpersonal "chemistry."

· Demonstrated ability to take direction during callbacks.

· The artistic judgment of the director.

If you are not cast, please consider the number of factors that led to the director's decision. Everyone who has ever auditioned, including most directors, knows the anxiety of auditioning and the pain of not being cast. In an academic environment, most directors are willing to discuss their casting decisions with you.

The moon shot

2009-05-02T07:07:00.003+08:00

Rigs to match the HD setup

2009-04-20T15:22:00.004+08:00

Going full HD is certainly not cheap. Having a thorough research and technical understanding of your own requirements are crucial since different products have different codecs and capabilities

As for the setup ups. The pictures are a bit on the extreme side for some but is necessary none the less. You will know once you are in the field. I've used the PAG shoulder mount for the PD170P and it was really useful to handle is more or less like an ENG shoulder type cam.

Looking for Post Production Hse or freelance FCP editor

2009-04-20T13:57:00.001+08:00

Hi All,

1. Looking for an Editing Suite preferable with VO facility.
It has to be cheap because this is a below the line job. Final real should be between 20-30secs and total of six scenes only.

2. We're open to work with full-time Freelance FCP editor who can work fast.

3. Also, would like to work with freelance Grip and Gaffer. Need NOT to be very experience. Basic experience with grip equipment and Arri lightings should be good enough.

As for 1 & 2, we need a quote ASAP after talking to us.
For position 3, we need someone who can travel and preferably speaks Mandarin as we have projects in China.

Please email to jonathan.jkp@gmail.com

Thanks and have a good day.

Hey!!! this is great!!

2009-04-17T17:19:00.004+08:00

A dolly DIY and a great video as well...

By click this you profess that you love MMQ

and this hehe and this

hehe.

The human factor in ads

2009-04-17T13:37:00.004+08:00

Petronas. the famous national oil company of malaysia. its been years that when they make a tv ad, they usually relate to simplest theme that invoke your emotions. The last ad that watched was the burung murai ad. This year..its the color blind ad for the national day.

I wish i know who made it but i assume they're the ones that they have engaged before for the previous ads. oh! wait!! its yasmin ahmad!! i think she was the director for 'muallaf' which was banned i think in Malaysia and I think she is the one that is behind the family ad in Singapore as well.

Bravo!! bellissima!! Yasmin Ahmad.

More on the color blind ad is here and here and one of her work is here. I love the ad.

Coming back to the human factor. We are all so engross in technology and life now, we tend to forget what matters.

And oh! btw, MMQ's upcoming project will be on soon. The thinking started more than 5 years ago which more than what Yasmin has done/did. So its gonna be a Bruneian Original. Watch this space.

We had a dream once...lets dream again

2009-04-16T09:50:00.001+08:00

The youTube sensation, Susan Boyle wowed the cynical world at British Got Talent 2009.

I wanna watch her sing

Certainly made my day haha. Nice melodies by the way.

Draft opening montage style for ABM

2009-04-14T03:09:00.005+08:00

draft one..not complete.

Thats what I call a Voice Over

2009-04-13T17:18:00.002+08:00

If you were to be on a Royal Brunei Airlines, most probably you will see the SkyShow hmm..show when the plane is about to land.

The voice over was done by Abbe Holmes and you can listen to her here.

Nicely done Abbe..

Photographers needed for TV programme

2009-04-13T16:40:00.000+08:00

If you have a KEEN INTEREST in photography, believe you have GOOD EYE for capturing the moments, want to DEVELOP your skills, be MENTORED by a RENOWN PHOTOGRAPHER and be on TELEVISION at the same time...

THIS ONE is for YOU!

Just some prerequisites:
• You have to be 25 years and above, Singaporean, a Singapore PR or even an Expat
• Have done some photography (need not be a professional)
• Speak fluent English
• Have a fun-loving and vocal personality
• Not camera shy

If you meet the above, email us the following to film@originasian.com:
• A short write-up about yourself and INCLUDE a picture of yourself
• A short write-up about what you like to photograph (people, landscape... etc)
• A short write-up about what you really like to capture in Singapore
• Attach along at least 5 of your favourite photography works

Please submit your application to film@originasian.com and we will get back to you if you're shortlisted.

Thank you very much and we look forward to your applications!!!

Audio as well as visual stimuli

2009-04-13T15:58:00.004+08:00

I think the advertisement industry in Brunei needs an update. Usually its just straight forward B rolls and names of agency/product/brand/model face 'plastered' through out the video.

I think its time that we realize, in Brunei at least, that we can mix the ad with other elements, be it humorous, suspense or even cinematic rather than the normal "usual" ad template.

Remember the 10 secs rule? why not we make it 5 secs since the airtime is pricey.

I saw a family advert which I thought was about medicine or insurance or something like that. It was in fact a community service ad coming from the FocusOnTheFamily Agency.

The ad begins with a sombre note of death of a family member. Wife of the deceased talked about farts and snoring sounds rather than the usual good/bad memories of the deceased. There were no music at first. As soon as she finishes her speech and started talking about family, then a slow string of melodies (violins) fade in.

It was a good ad. I know that most people will see it as a simple ad. But for me, that what makes a great ad GREAT. A good ad need not be of explosions, slapstick comedies, huge set and grand special FX. What matter was the message. Of course different product needs different treatment. Its the human factor and simplicity of it all that counts. However in my mind, sometimes an ad is so simple, how come the client needs to pay vast amount of money to have it made?. They can come see me!!

Well, maybe thats what separates a good ad agency and a good ad agency. Many factors come into play.

As for me, I still like the LEARN English ad. Where an innocent looking family listen to a vulgar English song and enjoyed it. They dont understand the English lyrics. Google for ; banned commercial. You know what i mean.

Just my rant for today.

Adam

Interesting rates coming from Singapore

2009-04-13T15:54:00.002+08:00

Somebody asked me about how should he rate by editing 20 plus minute worth of video. In Brunei, I usually look at what RTB rates are and calculate for that. With a pinch of salt, I told him that by industry standard for broadcast & tv work, you should be paid about >$100 per hour of time worked if you are using your own facility.

By corporate video standards, you are probably paid about >$60 per hour of time worked if you're using your own facility.

By current wedding video standards, probably $20 per hour of time work?

By home video or amateur video standards, you're probably not paid anything for your hard work.

Quote based on how much do you think your time is worth and how long do you plan to return the investment of your software and equipment...in these economic times, clients will always go for the lowest, and there's always a next lowest bidder dying for that job.

Sample NDA for reference

2009-03-30T11:54:00.001+08:00

     ** A general Non-Disclosure Agreement for a specific project **


                       NON-DISCLOSURE AGREEMENT


This AGREEMENT is made by and between ____________________. (the "Company")
and _______________ (the "Recipient") effective as of ______________, 1997.



Project Reference: Information related, but not limited to, development
projects and assignments to be performed by the Recipient for the Company.



The Company possesses competitively valuable Confidential Information (as
hereinafter defined) regarding its current products, future products,
research and development, and general business operations.  Recipient may
enter or has entered into a business relationship with the Company and in
connection therewith may need to review or use the Company's Confidential
Information and Materials or to create new Confidential Information and
Materials for the Company. In consideration of the promises and covenants
contained in this Agreement and the disclosure of Confidential Information
and Materials from the Company to the Recipient, the parties hereto agree
as follows:

1. Confidential Information and Materials

  (a)  "Confidential Information" shall mean any nonpublic information
  that the Company specifically marks and designates, either orally or in
  writing, as confidential or which, under the circumstances surrounding
  the disclosure, ought to be treated as confidential or which the
  Recipient creates or produces in the course of performing services for
  the Company. "Confidential Information" includes, but is not limited to,
  product schematics or drawings, descriptive material, specifications,
  software (source code or object code), sales and customer information,
  the Company's business policies or practices, information received from
  others that the Company is obligated to treat
  as confidential, and other materials and information of a confidential
  nature.

  (b)  "Confidential Information" shall not include any materials or
  information which the Recipient shows:
      (i) is at the time of disclosure generally known by or available to
      the public or became so known or available thereafter through no
      fault of the Recipient; or
      (ii) is legally known to the Recipient at the time of disclosure by
      the Company; or
      (iii) is furnished by the Company to third parties without
      restriction; or
      (iv) is furnished to the Recipient by a third party who legally
      obtained said information and the right to disclose it; or
      (v) is developed independently by the Recipient either before or
      after the term of the Recipient’s engagement as a consultant or
      independent contractor to the Company where the Recipient can
      document such independent development.

  (c) "Confidential Materials" shall mean all tangible materials
  containing Confidential Information, including without limitation
  drawings, schematics, written or printed documents, computer disks,
  tapes, and compact disks (CD), whether machine or user readable.

2. Restrictions

  (a)  Recipient shall not disclose any Confidential Information to third
  parties without the prior written authorization of the Company. 
  Notwithstanding the foregoing, Recipient shall not at any time disclose
  to any third party any Confidential Information comprising a trade
  secret of the Company or any Confidential Information of any other party
  to whom the Company owes an obligation.  However, Recipient may disclose
  Confidential Information in accordance with judicial or other
  governmental orders, provided Recipient shall give the Company
  reasonable notice prior to such disclosure and shall comply with any
  applicable protective order or equivalent.

  (b)Recipient shall not use any Confidential Information or Confidential
  Materials of the Company for any purposes except those expressly
  contemplated hereby or as authorized by the Company.

  (c)  Recipient shall take reasonable security precautions, which shall
  in any event be as great as the precautions it takes to protect its own
  confidential information, to keep confidential the Confidential
  Information.  Recipient may disclose Confidential Information or
  Confidential Materials only to Recipient's employees or consultants on
  a need-to-know basis.  Recipient shall instruct all employees given
  access to the information to maintain confidentiality and to refrain
  from making unauthorized copies.  Recipient shall maintain appropriate
  written agreements with its employees, consultants, parent,
  subsidiaries, affiliates or related parties, who receive, or have access
  to, Confidential Information sufficient to enable it to comply with the
  terms of this Agreement.

  (d)  Confidential Information and Confidential Materials may be
  disclosed, reproduced, summarized or distributed only in pursuance of
  Recipient's business relationship with the Company, and only as
  otherwise provided hereunder.  Recipient agrees to segregate all such
  Confidential Materials from the confidential materials of others to
  prevent commingling.

3. Rights and Remedies

  (a) Recipient shall notify the Company immediately upon discovery of any
  unauthorized use or disclosure of Confidential Information or
  Confidential Materials, or any other breach of this Agreement by
  Recipient, and will cooperate with the Company in every reasonable way
  to help the Company regain possession of the Confidential Information
  and/or Confidential Materials and prevent further unauthorized use or
  disclosure.

  (b) Recipient shall return all originals, copies, reproductions and
  summaries of Confidential Information and/or Confidential Materials then
  in Recipient's possession or control at the Company's request or, at
  the Company's option, certify destruction of the same.

  (c) Recipient acknowledges that monetary damages may not be a sufficient
  remedy for damages resulting from the unauthorized disclosure of
  Confidential Information and that the Company shall be entitled, without
  waiving any other rights or remedies, to seek such injunctive or
  equitable relief as may be deemed proper by a court of competent
  jurisdiction.

  (d) The Company may visit Recipient's premises, with reasonable prior
  notice and during normal business hours, to review Recipient's
  compliance with the terms of this Agreement.

4. Miscellaneous

  (a) All Confidential Information and Confidential Materials are and
  shall remain the sole and exclusive property of the Company.  By
  disclosing information to Recipient, the Company does not grant any
  express or implied right to Recipient to or under the Company patents,
  copyrights, trademarks, or trade secret information.

  (b)  All Confidential Information and Materials are provided "AS IS" and
  the Company makes no warranty regarding the accuracy or reliability of
  such information or materials.  The Company does not warrant that it
  will release any product concerning which information has been disclosed
  as a part of the Confidential Information or Confidential Materials. 
  The Company will not be liable for any expenses or losses incurred or
  any action undertaken by the Recipient as a result of the receipt of
  Confidential Information or Confidential Materials.  The entire risk
  arising out of the use of the Confidential Information and Confidential
  Materials remains with the Recipient.

  (c) Recipient agrees that it shall adhere to all U.S. Export
  Administration laws and regulations and shall not export or re-export
  any technical data or products received from the Company or the direct
  product of such technical data to any proscribed country listed in the
  U.S. Export Administration Regulations unless properly authorized by
  both the Company and the U.S. Government.

  (d)  This Agreement constitutes the entire Agreement between the parties
  with respect to the subject matter hereof.  It shall not be modified
  except by a written agreement dated subsequent to the date of this
  Agreement and signed by both parties.

  (e)   None of the provisions of this Agreement shall be deemed to have
  been waived by any act or acquiescence on the part of the Company, its
  agents, or employees but only by an instrument in writing signed by an
  authorized officer of the Company.  No waiver of any provision of this
  Agreement shall constitute a waiver of any other provision(s) or of the
  same provision on another occasion.  Failure of either party to enforce
  any provision of this Agreement shall not constitute waiver of such
  provision or any other provisions of this Agreement.

  (f)  If any action at law or in equity is necessary to enforce or
  interpret the rights arising out of or relating to this Agreement, the
  prevailing party shall be entitled to recover reasonable attorney's fees,
  costs and necessary disbursements in addition to any other relief to
  which it may be entitled.

  (g)  This Agreement shall be construed and governed by the laws of the
  State of Illinois, and both parties further consent to jurisdiction by
  the state and federal courts sitting in the State of Illinois.

  (h)  If any provision of this Agreement shall be held by a court of
  competent jurisdiction to be illegal, invalid or unenforceable, the
  remaining provisions shall remain in full force and effect.  Should any
  of the obligations of this Agreement be found illegal or unenforceable
  as being too broad with respect to the duration, scope or subject matter
  thereof, such obligations shall be deemed and construed to be reduced to
  the maximum duration, scope or subject matter allowable by law.

  (i)  All obligations created by this Agreement shall survive change or
  termination of the parties' business relationship.

IN WITNESS WHEREOF, the parties hereto have executed this Agreement by
their duly authorized representatives as of the date first set forth above.


  Party 1

  By: ________________________________________

  Name: ______________________________________

  Title: _____________________________________

  Date: _________________



  Party 2

  By: ________________________________________

  Name: ______________________________________

  Title: _____________________________________

  Date: _________________

Digital Workflow. Going Tapeless using 5Dmk2

2009-03-23T11:49:00.002+08:00

Please note that this is a reference article for MMQ proStaff.

Well, this one is going to be a major stumbling block for some. Eliminating tape is certainly appealing to me. Who doesn’t love drag and drop file transfer? But if I have to transcode the files into something more editing-friendly, then I’ve lost that convenience. Apple, Canon, someone, please help us out here and do something to make these files easier to edit!
Here’s the deal, as best I can understand it: The files from the camera are in h.264 format (in other words, they appear as a .mov file and are encoded using h.264 codec). Well, h.264 is a great codec for display and distribution, but not for editing. Once I finally got my Final Cut Pro working with the files, I still have to tolerate some dropped frames on playback. I won’t be exporting out of the timeline in the h.264 format, either.
I’ll run through my setup and what I had to do to get it going so far. I have a Mac Book Pro. It’s a 2.5 GHz Intel Core 2 Duo with 4GB RAM. My hard drive has been upgraded lately to 360GB, 7200 rpm. I was running Tiger and finally realized that the 10.4.x OS wasn’t getting it done for me. I couldn’t even play two seconds of video before it would stall. After upgrading to Leopard, I’m finally able to use my laptop. It’s important to make sure that your FCP and quicktime are up to date. We ran a quick test on another laptop in the department and found that the files were mostly editable in Final Cut Express as well.
Now many folks who have been testing the video files from the 5D MK II are suggesting that they be transcoded/recompressed before you begin editing. Again, I find that a ridiculous concept for me and completely negates the gain of shooting to a compact flash card. I want ease of use, speed, and simplicity. I want fewer hoops to jump through, not more. I want things to work fast and I need to be as mobile as possible. External hard drives are a luxury.
If you want to learn how to transcode the files before you edit, here’s a good link for you (with a very thorough review). I may make recompressing part of my workflow on medium to long-term pieces, but I think it’s essential for daily work that I be able to edit in h.264 on my laptop without an external hard drive.
Here are some tips that might help if you chose to edit in h.264
The first time you drag a clip into the timeline, you may get a message from FCP suggestion that you change the timeline settings to match your clip. You should agree to that and let FCP change it for you.
Then, go into User Preferences/General and UNcheck the box next to “Report dropped frames during playback”. If you get a notice every time a frame is dropped, you’ll never get anywhere during playback in the timeline. Expect to see some skipping and dropped frames while editing, but I found it tolerable and they weren’t there after export. Most of the dropped frames happen for me at the beginning of each clip - in other words, when the playhead has moved to the next clip there is a bit of a stutter.

In System Settings/Playback Control, I have the following:
RT: Unlimited
Video quality: low
Frame Rate: Dynamic
Pulldown Pattern: 2:3:2:3
Gamma Correction: Accurate
Frame offset: 4
Record: Use Playback settings

I initially had some trouble with transitions and lower thirds. They would play fine in the timeline, but on export, the video would just completely wig out on playback when it would hit those spots. Originally, I was exporting to quicktime movie, using current settings. So that amounted to taking an h.264 video and coding it again in h.264. Apparently that wasn’t a good thing. After I exported again to quicktime movie, but this time changing current settings to the Apple ProRes 422 1920 x 1080 60i 48kHz (not the HQ version), the transitions came out fine. I used that big file (2.5 GB for 3 minute of video) as my master to encode further for the web.

Feature Film @ Blk 514

2009-03-16T14:15:00.002+08:00

Level 11 at 11pm

fitting studio

2009-03-15T11:58:00.002+08:00

Sample English Scripts - Adult Woman Mother

2009-03-12T11:59:00.004+08:00

RTB history and future according to the director

2009-03-10T17:08:00.002+08:00

25 Years On, RTB Still Growing Strong
By Rohani Hj Abd Hamid

Bandar Seri Begawan - RTB (Radio Televisyen Brunei) has gone through many changes over the years, especially after Brunei Darussalam gained its independence in 1984. Twenty-five years on, RTB continues to grow strong. RTB's Acting Director, Awg Haji Mahrub bin Hj Morni, recently spoke with the Bulletin about the history of the state-run radio and television service.

In 1957, Brunei Radio was the only broadcast channel in the country. Nasional Radio Brunei, Pilihan Radio Brunei, Harmoni Radio Brunei, Nur Islam Radio Brunei and Pelangi Radio Brunei are among the radio broadcasting centres that constitute part of the RTB network.

RTB, which was formed in 1975, currently has three television channels namely RTBI, RTB2 and RTB3 (is it RTB International of RTB3? We’re confuse?)(a 24-hour international channel that can be viewed across Asia and some countries in the Middle East).

Besides broadcasting local news, RTB has also collaborated with various international broadcasters including Asia Vision, Euro Vision and Commonwealth Association.

Besides aiming to be a leading coordinator for Asean news exchanges, RTB is also committed to developing local talents in the field of arts and culture (by running competition? How about following up AFTER the competition?)

Once RTB's new building at Sungai Akar is fully operational by 2012, the state-run radio and television service hopes to be at par with its international counterparts.

Penulisan Skrip Drama untuk TV - reference

2009-03-09T12:16:00.008+08:00

artikel berikut terkandung dalam satu blog yang mungkin tidak sesuai untuk diaplikasikan di brunei, but might as well see right?..

Panduan Penyediaan Proposal Drama TV - Siri 1

Salam Bahagia Penuh Penghormatan...

Sejak saya memulakan topik Panduan Penulisan Skrip, saya selalu mendapat email dari ramai pembaca yang bertanya berkenaan dengan cara untuk mereka menghantar skrip dan cerita mereka ke Stesen TV. Mungkin masih ramai penulis baru yang tidak jelas dengan cara dan amalan yang selalu digunakan di negara kita.
Bagi drama TV perlu saya ingatkan di sini bahawa, tidak perlu kita membuat skrip penuh terlebih dahulu. Apa yang perlu kita sediakan ialah proposal bagi cerita yang kita nak buat itu. Proposal yang telah lengkap itu haruslah kita hantar kepada Produser di Syarikat Produksi pilihan kita supaya mereka boleh menghantar ke Stesen TV.
Sebenarnya tidak ada format khas bagi seorang penulis menyediakan proposal untuk syarikat produksi ini. Kita boleh buat mengikut kreativiti kita. Namun begitu, ada elemen-elemen penting yang perlu ada di dalam proposal tersebut yang kita tidak boleh tinggal dan mesti ada.
Kebanyakan format proposal yang perlu disediakan oleh penulis untuk produser sama saja bagi semua televisyen kecuali RTM. Ini kerana sejak RTM memperkenalkan sistem tender, cara penyediaan proposal yang perlu disediakan untuk RTM haruslah mengikut kehendak mereka. Biasanya RTM ada menyediakan format tersebut untuk rujukan penulis dan produser setiap kali tender dibuka. Oleh yang demikian sebaik-baiknya untuk RTM, penulis dan bakal penulis ikut format yang dikeluarkan pada waktu tender dibuka.
Apa yang ingin saya bincangkan di sini, saya ingin mengutarakan kaedah atau cara yang biasa digunakan oleh saya di dalam menyediakan proposal untuk drama TV bagi Stesen TV Rangkaian Media Prima dan Astro. Sekali lagi saya ingatkan bahawa setiap penulis itu ada cara mereka sendiri dan mungkin sedikit berbeza, cuma apa yang saya paparkan di sini ialah element yang perlu ada di dalam proposal tersebut.
Cara penyediaannya adalah seperti berikut.

1) Maklumat Produksi

Sila nyatakan sama ada Telemovie / Drama Berepisod?
Untuk : Nyatakan Stesen TV Mana? TV3? Astro Ria?
Slot Cadangan : Slot Apa? Cerekerama? Teleprima?
Tema : Nyatakan Tema. Contohnya Hari Raya, Hari Bapa?
Konsep : Kekeluargaan? Percintaan? Jenayah?
Sasaran : Umum

Tajuk : Apa Tajuknya?
Genre : Semi Heavy Drama? / Romantic Comedy?
Running Time : 90 Minit? 45 minit X 13 episod? 30 minit X 25 Episod
Oleh : Siapakah Anda?

2) Sinopsis / Storyline

Ini merupakan bahagian yang paling panjang yang anda akan tulis. Nyatakan dengan terperinci jalan cerita yang hendak kita buat. Tulis subjek kita dengan jelas dan terperinci untuk main plot dan sub plot.

Jika ia merupakan sebuah drama berepisod, sila nyatakan sekali sinopsis bagi setiap episod.

3) Watak dan Perwatakan

Senaraikan setiap watak di dalam cerita tersebut beserta perwatakannya sekali dan cadangan artis yang akan mendukung watak tersebut. Berilah dua atau tiga orang calon bagi setiap watak.

Asingkan antara Watak Utama dan Watak Pembantu supaya ia senang dilihat. Perwatakan bagi setiap watak haruslah ditulis dengan terperinci seperti usia, jantina, sifat, protagonis atau antagonis, hubungan dengan watak lain dan sebagainya.

4) Moral

Di ruangan ini, sila nyatakan moral dan pengajaran yang ingin anda sampaikan kepada penonton. Apakah mesej di sebalik cerita anda itu.

5) Cadangan Lokasi

Berikan cadangan lokasi yang anda fikirkan sesuai dan menarik.

6) Sasaran Penonton

Sila nyatakan siapakah sasaran penonton anda. Adakah remaja berusia 13 hingga 20 tahun? Atau dewasa 25 hingga 40 tahun dan sebagainya…

Propsal Tamat.

Di dalam menyediakan proposal ini, menjadi tanggungjawab kepada penulis untuk memastikan permintaan di dalam cerita tersebut tidak terlalu tinggi sehingga akan menelan perbelanjaan yang banyak. Ia perlu dielakkan dengan cara meminimumkan watak sama ada watak utama dan pembantu, pemilihan lokasi dan props yang tidak menelan perbelanjaan yang tinggi. Ini kerana pada kebiasaannya proposal yang akan menelan perbelanjaan yang banyak biasanya akan ‘dibakulsampahkan’ sebelum ia sempat sampai kepada stesen TV.
*Setelah proposal anda itu lengkap, maka mulalah berurusan dengan mana-mana produser yang anda rasakan boleh berurusan dengan anda. Berilah proposal tersebut kepada mereka untuk mereka nilai dan hantar ke stesen TV yang sepatutnya.

Sekian dulu untuk topik kali ini… Sila nantikan topik berikutnya… Jika ada sebarang kemusykilan silalah bertanya...

*Betul jika saya silap… Kita sama-sama belajar…

Salam Terhormat Penuh Kasih Sayang Sesama Insan…
Zaini Kosnin (Iniaz, K.)

Masalah Penerbitan Drama- satu analisis

2009-03-09T11:55:00.009+08:00

Ramai yang berpendapat menerbitkan drama adalah senang. Ada kamera, pelakon, lampu..sedikit wang untuk makan nasi katok sepanjang penggambaran. Semua jadi ok.
Inilah yang semakin menjadi-jadi. Bukan sahaja di Brunei, malah di Malaysia, Singapura dan Indonesia. Mungkin di tempat lain juga, tetapi kita sekarang berbicara tentang penerbitan drama Melayu.
Kenapa dulu ada jika ada drama seperti darah kedayan, keluarga liau badar, kita semua duduk diam melihat. Mungkin kerana kita tidak disajikan pelbagai 'menu' seperti adanya astro sekarang, tetapi mungkin juga kerana cerita/pelakon yang dipaparkan dapat kita kaitkan dengan kehidupan kita sekarang.
Darah kedayan mewakili kisah salah satu puak Brunei yang menonjol, manakala keluarga liau badar mewakili majoriti masyarakat Brunei albeit in a comedic background.
Artikel mengenai masalah ini juga ditulis dalam satu artikel seperti di bawah ini; its funny that orang Malaysia sendiri sakit jiwa melihat arah tuju perfileman di sana..kecuali yang sebelum 90-an. Da di du ok, setinggan ok, Tun P. Ramlee apa lagi..
Just read on… the following comes from a MALAYSIAN..not me.

Drama Melayu Mencari Kematangan

Ada kemungkinan saya ini dilahirkan bukan untuk menonton drama-drama Melayu mutakhir. Saya masih ingat lagi ketika zaman kanak-kanak dan awal remaja, pasti tidak ketinggalan menonton drama-drama seperti Opah dan PJ. Entah mengapa, pada ketika itu, drama-drama tersebut begitu mencuit rasa. Apabila tiba zaman permulaan drama-drama swasta, minat saya untuk menonton drama semakin merundum.

Kalau ada pun yang saya tonton ialah sewaktu di kampus, ketika drama disiarkan pada sekitar jam 6.30 petang - waktu membeli makan malam di kafe. Apabila sudah 'tertengok', mahu juga ikuti kesudahannya. Pun, dalam hati seringkali mempertikaikan hal-hal logik dalam cerita. Apa ya drama yang masih saya ingat? Mungkin Cinta Antara Benua kerana ia kisah pelajar di luar negara yang berusaha keras menunjang jati diri dalam hal yang tak berapa logik seperti sentiasa berbaju kurung nipis ke kuliah walaupun pada ketika itu awal musim bunga.

Selepas daripada itu, saya semakin meninggalkan drama-drama Melayu kerana saya tak tahan dengan dialog-dialog yang disampaikan dengan nada cresendo oleh pelakon-pelakonnya. Kalau tak bertempik, menengking sesama sendiri, tak sahlah drama Melayu itu. Atas alasan tersebut dan alasan-alasan lain seperti pengulangan kisah-kisah yang itu-itu juga, semakin menjarakkan saya daripada menontonnya.

Apabila saya dipelawa menonton sebuah drama tulisan seorang sahabat penulis malam tadi, saya cuba untuk menontonnya. Apatah lagi, drama tersebut merupakan adaptasi daripada sebuah novel pop yang agak meletup pada siri pertama novel tersebut. Sebagai sebuah novel, ceritanya meruntun perasaan walaupun aspek pemikirannya masih dangkal. Cerita tersebut semakin menuju kematangan apabila sampai pada siri terakhir novel tersebut.

Saya cuba betah menunggu sekitar 10 minit pertama siarannya. Saya tak tahan mendengar dialog-dialog cresendo - contohnya, mak datin yang mempuyai perwatakan klise - memarahi pekerja yang datang lewat.

Ah, mengapa watak itu tidak boleh digambarkan seperti Maryl Streep dalam The Devil Wears Prada? Beliau digambarkan sebagai majikan yang tidak berperikemanusiaan. Tetapi tidak pernah sekalipun Maryl Streep menengking kepada mana-mana pekerjanya. Semuanya dilakukan dengan mimik muka, senyuman sinis dan perwatakan sombongnya itu langsung tidak perlu hilang suara menjerit-jerit.

Pernah juga saya tanyakan kepada beberapa orang sahabat penulis yang terlibat dalam penulisan skrip drama tv tentang hal ini. Kata mereka, masalah pertama yang bajet. Kita harus akur bahawa bajet untuk drama tv tidaklah sebesar mana. Jadi, kalau nak buat cerita kereta meletup ataupun helikopter terhempas, alamat bajet tu cukup untuk siri pertama saja. Mana cukup nak bayar pelakon lagi.

Kedua, nak cari pelakon. Semua orang nak pelakon yang 'best-best'. Tapi, tak semua pelakon untuk lapang untukshooting. Kadang-kadang sudah ada komitmen untuk berlakon dengan drama/filem lain. Oleh itu, apabila sudah tidak ada rotan, kenalah cari akar-akar yang boleh dianggap berguna, walaupun adakalanya tak boleh digunakan pun. Itu hakikat, kata mereka.

Ketiga, skrip. Ada juga penerbit / pengarah yang campur tangan dalam hal skrip. Itu belum dicampur lagi dengan stesen tv yang turut sama sibuk dan mengubah-ubah skrip yang telah ditulis. Kalau kena dengan stesen tv yang bersifat kapitalis dalam darah daging mereka, tentu lebih parah lagi.

Itu antara yang pernah dikongsi kepada saya. Justeru, tidak hairanlah kalau saya kerap kali meninggalkan televisyen ataupun beralih saluran tv jika tertonton drama Melayu. Hati ini, ingin sekali menyokong industri filem/drama tempatan, tetapi selagi industri ini mementingkan rating, rating, rating, mungkin selama itu jugalah saya tidak berupa menonton drama-drama sebegini.

Kalau saya katakan di Malaysia kita kekurangan pelakon yang berbakat seperti itu, nanti orang kata, 'kalau kau pandai sangat berlakon, cubalah!' dengan nada cresendo juga. Apa boleh buat, saya yang berhasrat untuk mengikuti siri drama ini, mungkin tidak dapat berbuat demikian. Seperti juga, saya tidak mungkin dapat membaca novel-novel pop yang bersifat melodrama seperti ini. Apabila dialognya mula bertele-tele dan hilang signifikan, mulalah saya membayangkan novel-novel yang tebal itu sebagai lapik untuk meninggikan bantal ataupun kadangkala sesuai untuk menjadi penyendal daun pintu saya yang gemar ditiup angin. Ah, nakal sekali fikiran itu!

Mungkin benarlah, saya tidak dilahirkan untuk menonton drama Melayu mutakhir, lalu saya hilang cara untuk menghayatinya...

Penulisan skrip drama untuk radio

2009-03-09T11:50:00.004+08:00

Tidak dinafikan bahawa penerbitan skrip drama radio tidak serancak penerbitan cerpen dan novel.
Skrip seumpama cerpen jua. Ia disokong oleh enam elemen utama; tema, plot, watak, dialog latar belakang dan bahasa. Kalau cerpen berasaskan penulisan deskriptif, skrip drama radio memerlukan kesan bunyi dan muzik bagai menggambar dan menghidupkan suasana.
Kalau sedih ditinggal kekasih, barangkali lagu ‘jangan kauucap selamat tinggal…’ sesuai digunakan. Kalau berada di tepi pantai, kesan bunyi desiran ombak dan nyanyian camar amat diperlukan.
Tema mesti ditetapkan terlebih dahulu. Kemudian tetapkan pula plotnya sama ada kronologi A hingga Z, imbas kembali atau monolog. Watak pula perlu digambarkan dengan suara yang sesuai. Dicadangkan, bilangan pelakon kurang daripada enam orang.
Dialog haruslah kata bual, ringkas, padat, rancak, ada sampuk-menyampuk dan sambut-menyambut. Anggaran panjang skrip; 20 halaman (45 minit), 12 halaman (30 minit) dan 8 halaman (15 minit).

Ending Credit for reference in Happily Ever After

2009-03-08T18:37:00.003+08:00

Jack Neo's Happily Ever After is great. Enjoyed watching it, and enjoy the dark side of marriage even further.LOL

I cant believe how they handle things here..

2009-03-08T00:47:00.010+08:00

The media fiesta 2009 at Marina Square attracted quite a lot of people..to come that is. My encounter with Jonathan from Stomp.TV was interesting, especially with MDA acknowledging that they knew nothing about the 'gray' line in the niche market Stomp.TV is in. I sincerely hope that the girl (soory. forgot ur name :-)) is happy with what she's doing.

As usual..the 5 country guess applied. Jonathan guessed correctly. I wonder whether HM is interested in implementing their workflow in the new media in Brunei.

Anyhow, coming back to the PH that conducted the audition. OMG. The fact that quite a few elderly people came to the audition, i dont think they were considerate enough to at least ; make their audition earlier rather than combine them with other younger people. I mean, letting them stand in line more or less around 3 hours has to mean something to how the PH handle the production. Talk about killing two birds with one stone. They have the audition AND a show running concurrent.

Nevertheless, I just let the picture speak for themselves. Now that I have seen TWO of Singapore PH auditions, I realize that what we have been doing in Brunei is better.

Collaborations with respective agencies and entities are in order.

Ryan
Principal Consultant

RTB Calling All Script Writers - 2009

2009-03-06T20:03:00.004+08:00

1st of all, we in Brunei need a revamp of stories being spinned to become drama in RTB.
Radio Television Brunei is giving members of the public an opportunity to showcase their drama script writing skills.
There are two categories — 'Production Series' (30 minutes, 13 episodes) and 'Special Drama' (60 minutes, one episode).
Forms are available from the reception counter of RTB.
For more information, call 2236855 or 2243111 (extension 221) during office hours.
We at MMQ also welcome all submission to drive the entertainment industry in Brunei. Email us at mmqmedia@gmail.com

Motion Graphic Sample ScreenShots

2009-03-03T16:34:00.010+08:00

the 10 second or even 5 second rule in making a visual impact, for clients or user is crucial. I tend to imagine even while talking to a client what sort of approach the user required hence the standard that I am aiming for.

These are just some of the stunning work that I have found interesting.

Adam

MMQ Mediaworks Brunei

MMQ Mediaworks Brunei

The cube is shipping..HD revolution!!

Welcome to The Cube™ Revolution !

The creation behind the still..still..the story counts

Pena Patriot 2010

Recording Sound separately..

Tiket to Anugerah RTB 2010...sort of

Location Recce Jan 2010

Seindah Ombak - RTB Production - MMQ Script Dec2009

RTB to produce Drama by MMQ scriptwriter

AG-HPX series Gamma Modes

Casting Call 2009

Drama Gerbang or ' The Arc'

This is how Singapore do its casting call!!

Recording at RTB Bandar Seri Begawan

Apple Snow Leopard 2010

Filem Malaysia pun 2 kali 5 :-)

Casting Call July 2010

Final Cut Pro Studio 7 is here

Final Cut Pro 7

After two years, solid but modest improvements

New ProRes flavors

Easy Export

iChat Theater

New Change Speed tools

More fixes and features

Great job overall

Macworld’s buying advice

Takziah untuk keluarga Yasmin Ahmad

Reflecmedia Pros and Cons

Music Video AKU BUKAN MILIKMU 2009

Casting Call July 2009

General compression guidelines for web

Codec

Frame rate

Keyframes

Data rate

Size

Deinterlace

Sound sample rate

Audio quality

Exporting with Quicktime in 720p

Panasonic P2 drivers for both MAC and Windows

Broadcast Asia 2009 update

Watch XDCAM HD, XDCAM EX and HDV QuickTime Movies

Playback XDCAM HD MXF Files in QuickTime

Advanced Decoding Features

Perian for Pro Codecs - Free HDV/DVCProHD/XDcam decoders

Canon cameras on the draw for Crank 2: High Voltage

The new Crank 2: High Voltage film was shot entirely on prosumer Canon camcorders, utilising five HDV XHA1's and fifteen AVC-HD Vixia HF10s, even stretching out with EX1 for 60p slow-motion scenes.

The filmmakers however, are clear they were not trying to ape the look of a bigger camera. The cameras were used precisely for their smaller size. The tiny cameras were strapped onto the end of 10-foot poles to get unique looks that have never been seen before.

Trost.“We never had a steadicam or dolly on this movie.

The XH A1 isn't a very big camera but was too big for some of the applications that we wanted to do, which is why we used the HF10s,” he added. As for settings, Trost explained that they shot flat except for detail.

We shot the whole movie at either 1/1000 or 1/2000 shutter speed, giving the image a very staccato look. With the wide lenses and deep stop, it's a deep focus movie, and with the sharpening, it's a look that has never been seen on the big screen.”

Shukery Hashim kembali ke rahmatullah

National Casting Call - Developing Brunei Talent Industry

Sample Press Release

Sample Press Release

Production in Singapore. BoatQuay May 2009

Problems with Zacuto Z-Finder

This is excellent!!! Thanks guys

RTB Invites Local Writers To Compose Drama Script

Separate Audio Recording Time limit

A good video done by a Bruneian?

Shuttle Bus Services during Broadcast Asia 2009

Public announcement

The Singapore Arts Festival 2009

Singapore Arts Festival 2009 - Video Contest

‘My Festival Video’ Contest

Casting Call Brunei June 2009

"My Pledge" Short Film Competition

Casting call will be announce soon

Helpful Terminology

CALL TIME - This is the time you are to report for work. You should be in the holding area at this time for check-in.

Audition Tips for Bruneian Talents

Canon Enable Manual Exposure in Video on EOS 5D Mark II

Palm Jumeira for reference

SDS resource

Production resources

Thank you for the success of ABM