Sam Longoria - Does It Have To Be A Pumpkin? - Halloween - Photo Studio - Movie Studio - Film Video Production Studio

Sam Longoria - Does It Have To Be A Pumpkin? - Halloween - Photo Studio - Movie Studio - Film Video Production Studio







halloweenphoto studiomovie studiosfilm video production studio

Seattle Videography - LeftJet Studios

Seattle Videography - LeftJet Studios

South of Seattle's Downtown and Sports Stadium, on Airport Way, across the street from the Mercedes Dealership, is LeftJet Studios. Owned by Joshua Redmond, who created it as a labor of love, both for himself and many Seattle Photographers and Videographers and Filmmakers, for whom it is their creative home.

LeftJet Studios has two main stages.

"Hangar A" (above) has a curved Cyclorama wall, which means persons and objects may be photographed with no apparent horizon or shadow.

Before the "Cyc," objects can be photographed as separate from the real world, to be recombined with other backgrounds and elements, for a seamless representation of a new and created "reality."

With 24 hours notice, the "Cyc" can be repainted a particular shade of electronic green, to allow combination of all the elements, in the Visual Effects compositing computer.





"Hangar B" is a large open space, with flat walls, and many rolls of photo background paper. Any setting or location can be created in it. Recent use has yielded a bedroom, a kitchen, a spaceship, and a shanty kitchen for a black-and white period comedy!

(818) 533-8538 (LEFT-JET)

LeftJet Studios

2020 Airport Way South

Seattle WA 98134-1603

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SODOPHOTO - SODO-PHOTO - SODO PHOTO - LEFTJET STUDIOS - LEFTJET STUDIOS LLC - LEFTJET STUDIOS INC. - 2015

SODOPHOTO - SODO-PHOTO - SODO PHOTO

LEFTJET STUDIOS - LEFTJET STUDIOS LLC - LEFTJET STUDIOS INC. BIG GET-ACQUAINTED THANK-YOU FOUR-DAY 4-DAY 4 DAY SALE!

Thank You for being our Customers, we are proud to do business with you! We want to say "Thank you" to our Long-Time Customers, and also to "Get Acquainted" with our NEW Clients and Customers.

SHOOT SEATTLE PHOTOS OR MOVIES? THIS IS YOUR SALE! THERE WILL NEVER BE LOWER PRICES! PROBABLY EVER AGAIN!
HALF PRICE IS WHERE WE START! 50-70% OFF! ONLY 4 DAYS! 4 DAYS ONLY!

Shoot Your Feature, Battle A Creature,
Ballroom Dance, Big Weepy Romance.
Glamour Or Fashion, Capture Your Passion!
Shoot On RED Cameras, Keeping It Glameras,
Battle A War, And Then Shoot Some More!

9-12 OCTOBER 2015

LeftJet Studios
2020 Airport way South
Seattle WA 98134-1603

BIG GET-ACQUAINTED THANK-YOU FOUR-DAY 4-DAY 4 DAY SALE!

(818) 533-8538 (LEFT-JET)
4DaySale@mail.com

http://bit.ly/leftjet-studios-4-day-sale

Prices Dropped - Rents Lowered - Fees Waived - Prices Shaved!

We have Stage and Screen, (White or Green),
Paranormal, Panorama, Cyclorama, Comedy-Drama,
Baby and Mama, Vasco De Gama, President Obama!

Still Photos, Moving Pictures, Digitally Composed.
LOWEST PRICES OF THE YEAR! SHOOT SO WE GET HOSED!

Audio, Video, Applicated, Pixillated, Animated Movies,
MANY FRAMES PER SECOND, OR ONE FRAME AT A TIME!

CGI, ADR, JFK AND FDR,
Happiness and Gladness, October Movie Madness!

TELL US WHEN YOU WANT TO SHOOT!
WE WILL GIVE YOU PRICES GOOT!

YOU HAVE NEVER HAD IT CHEAPER OR EASIER RENTING A STUDIO!
SHOOT YOUR MOVIE OR STILL PHOTO, WEBISODE, TEASER, TRAILER, FEATURE, SHORT FILM, COMMERCIAL, PODCAST, WEBINAR, TV SHOW, STILL PHOTO, PORTRAIT, WEDDING, BIRTHDAY PARTY, PASSPORT, ACTOR/ACTRESS HEADSHOT, GLAMOUR, FASHION, PORTRAIT, GROUP, AERIAL, ACTION, SPORTS, PETS, ARCHITECTURE, MUSIC VIDEO, REAL ESTATE, ARTISTIC, ASTRAL, ASTRO, BLACK & WHITE, COLOR, DIGISCOPE, DRONE, MACRO, MICRO, NATURE, SCENIC, LANDSCAPE, CITYSCAPE, SATELLITE, SCIENTIFIC, TIME-LAPSE, SPECIAL EFFECTS, ANIMATION, URBAN, AND UNDERWATER!

IMAGES, IMAGES, IMAGES, HA HA HA HA HAHAHAHAHAHAHAAA!
SHOOT YOUR PROJECT!

YES, YOU CAN SHOOT IT LATER, BUT YOU GET
SALE PRICES ONLY IF BOOKED DURING THE SALE!
CASH, CHECK, PAYPAL, CREDIT CARD! ONLY 4 DAYS! 4 DAYS ONLY!

Photography Jobs - Cinematography Jobs - Where The Cameras Are

Photography Jobs - Cinematography Jobs - Where The Cameras Are

First, don't look for Camera work on Craigslist. He wants you to bring your own camera and gear, which means invest in his show, so maybe all you get is screen credit - if you get that. Don't take those jobs, if you can avoid them.

Let me tell you a secret. When you decide not work for free, all the Paying Jobs show up. Once you're good enough to charge money - Charge it, and be proud to be worth the money. Don't take hobby-jobbies!

You have a Gift. You know what the shot should look like, and which two shots it goes between. They wouldn't know a well-composed and beautifully taken photo, if it clutched them around the neck. So they need you. They really must pay you - You have the gift, and they don't.

Look on Mandy, and look on ProductionHub, and work little jobs for cheap at the start, but always get paid and always do a Pro job, to build your Pro reputation. Your reputation is really all you have - protect it. If you hear somebody talking smack about you, bring it to his attention, fast! But get to be friends if you can.

Don't pass along bad rumors about anybody. Denigrating somebody is amateur night, both in real life and (especially bad) online. Some guys think they're safe behind a computer screen, so they print outrageous things about you. If he does that, he's just jealous. Report bad behavior, and go on.

Just focus on your own job - and do it, quickly and well.





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Seattle Film Industry - Where Is It?

Seattle Film Industry - Where Is It?
"You wouldn't say there was a Beef Industry somewhere, just because they eat a lot of hamburgers there. Even if they bought a lot of forks, and discussed forks and hamburgers and cattle incessantly. You wouldn't call them cattlemen, you'd call them enthusiastic beef consumers." -- Sam Longoria


Lots of Film Classes - Speedy Film Contests - Endless Local Film Festival

I've been working here in Seattle (the city of my birth, where I made my first 35mm feature) on projects for the last two years, just working and holding my tongue, really.

I don't see a "Seattle film industry" here. All I see here is "meetings," and "begging for state money," and "meetings about begging for state money." I see people working in media, and in television, and corporate video, but no movies. If you don't know those are different businesses, you don't get it. I see a great big Seattle film TEACHING industry.

I'm about to move along to the next phase of my projects, and I'm mentioning this in passing. I don't expect anyone to listen to it, because I grew up here, and I know how resistant people can be.

I am discouraged so much energy here is spent making short films that will never be seen, (except at the local endless film festival) and filmmakers rushing to "the next one" when they don't even bother to sell "this one." Not my problem, but it is discouraging, even to watch. 

An "industry" means SALES. No sales, no industry. Just a lot of activity. Busy for no reason.

If you knew a pumpkin farmer, and he grew fine pumpkins, but never took them to market to sell them, he just piled them in his yard, and left them to rot, wouldn't you think he was crazy? What if there was a club for "Pumpkin Farmers," and that's all any of them did? And they got together often, to discuss it endlessly? Pretty weird, it seems to me.

There is much talk in Seattle about the local "Film Industry." Honestly I don't see one. Certainly not the "Selling The Film" part, which is what pays for all the other parts. 

I see a whole lot of enthusiasm here for making movies, and God bless it, but very little attention is paid to "Selling The Film." (Which, I can tell you, takes away all the problems of filmmaking). You get money, time, and wherewithal to make "the next one," and even get enough to eat, and to buy new gear, by "Selling The Film." 

All those mansions in Beverly Hills? They were paid for by "Selling The Film." They were not paid for by "Making The Film," and certainly not by "Talking About Making The Film."

Why is there no emphasis here on selling? (Not just the lame discussions of "Distribution," or which streaming service is best). I mean learning how to SELL your movie, and sell tickets to it, which is more than just hanging them up for people to take or leave.

It is obvious ALL the money in Filmmaking comes from "Selling The Film." So why is Seattle film focused only on cameras and gear, endless pointless meetings, and on making lame-o, poorly conceived, poorly written, poorly acted, poorly made, unfunny, undramatic, unpaid shorts, and NOT on making one good marketable feature movie, and selling it? Why?

Somebody explain it to me. There is a disconnect here, and it's not mine. I've spent a good deal of time thinking about it, and I still don't get it.

If you're a Seattle Filmmaker, and you want to spend your time making commercial full-length movies that get SOLD so you can make the next one, and the next, get in touch.

If enough people get together who feel that way, and take ACTION - great things will happen.





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Beatles In My Life - Paul Rutan - Restoring The Beatles Films

Beatles In My Life - Paul Rutan - Restoring The Beatles Films

It was the middle of the Burbank night, 3 or 4 am, working late at my film printer, and Paul Rutan called me. "Sam, get over here, you're gonna want to see this."

I got over there. Paul is a master film restorer, and archivist, always working on great stuff, and he'd showed me some amazing things. I was really not prepared, though. Really not.

The room was dark, lit only by his printer, clacking away,
and Paul handed me a film can. Black and white.
"That is the original negative for "A Hard Day's Night."
Wow. Slowly sinking in. I carefully read the label. Beatles.

I set it carefully down on the film bench.
"And this is the original for 'Help!"
Beatles. Colour. Wow.

I was dizzy. A lot to take in. I held in my two hands the original film from two favorite movies. Light bounced off John, Paul, George, and Ringo, and was focused onto this very roll of film I was holding.

"Hard Days Night" was photographed by Gil Taylor BSC, who also shot "Dr. Strangelove," and "Star Wars."

"Help!" was photographed by David Watkin, who shot "Three Musketeers," "Four Musketeers," "Out Of Africa," and "Chariots Of Fire."

Just wow. Overload. What could top this?

The door creaked open, and an elderly man entered the room,
and Paul politely introduced us.
"Mr. Shenson, this is Sam Longoria."
I was dumbfounded, and answered, "You're Walter Shenson."

Mr. Shenson smiled, and said, "Do you know me?"
I said, "Of course, you Produced the Beatles movies."
He said, "We're just finishing up. Mr. Rutan has just restored them."
We chatted a bit. I had to remember to breathe slowly.

Mr. Shenson had an amazing deal with United Artists. They paid for the Beatles films to be made, and because they didn't think pop stars had market longevity, the rights reverted to Mr. Shenson, fifteen years later.

He'd released "Hard Days Night" through Universal in 1981 (I ran it at my movie theatre), and wanted them to look even better now, so Paul had done a high-quality photochemical restoration.

That was in the '90s, and I just found Paul Rutan Jr. on Facebook. Hurray! Such an amazing person, still restoring great movies, so great to re-connect with him. Paul knows all there is to know about movie picture and sound.

Paul restored many films, including "Spartacus" and "The Good, The Bad, and The Ugly," and two other Beatles films, "Magical Mystery Tour," and "Yellow Submarine." He's been restoring classic films for 40 years.

If you want to restore your classic movie, or make a new one, Paul has my highest recommendation.

You can reach him at filmdoctor@earthlink.net or http://phoenix-archival.com

http://time.com/2959651/fifty-years-ago-today-beatles-hard-days-night/

Here was the process.
The restoration of "Help!"




"Help!"Paul Rutan
"Spartacus"Sam Longoria
"A Hard Day's Night"
"Yellow Submarine""Magical Mystery Tour"
"The Good, The Bad, and The Ugly"

REVIEW - "FIRST YOU JUMP" by Eva Moon - Directed by Gary Schwartz

REVIEW - "FIRST YOU JUMP" by Eva Moon - Directed by Gary Schwartz

I love North Bend, and saw a great show there. Eva Moon wrote and Gary Schwartz directed "First You Jump," 24 January, at the Valley Center Stage, which is a modern black box theatre, located in the North Bend Masonic Hall for the past 11 years.

North Bend is East of Seattle, past Issaquah and Snoqualmie. All trees and little town. Pound for pound, so much more going on than in Seattle. Nice movie theatre and restaurants, world-class improv and jazz, wonderful live theatre, and the original "Twin Peaks" diner. (Mar-T's, now Twede's), beneath majestic Mt. Si.

"First You Jump" is a deceptively simple show. Up on the raised stage, its clever set unfolds differently for each of the show's five scenes. Director Gary Schwartz introduced the evening on that stage, with only a flag and lectern, draped in red, white, and blue, there with him.

Each of the show scenes is introduced by its own song, written by Eva Moon, and sung by Kathleen Roche-Zujko. The songs are sweet songs, bluesy, funny and ironic. Not too "on the money," which is the danger here. They don't give away the scene beforehand either, and they are good.

Each scene is essential comedy, leading us to believe a certain situation, and then... something important is revealed, which changes everything.

I love a good story, especially with a good surprise. I don't enjoy being able to predict what will happen next, or when it turns out there is no surprise. Each scene in "First You Jump" has a good surprise, and delivers it.

Eva did a wonderful job of protecting her five little surprises until exactly the right script moment, while Gary's direction delightfully heightens and explores the implications of where those surprises lead. The Cast nimbly played the material really well.

I can't really tell you exactly what happens here, because I don't want to wreck it for you, but obliquely...

Scene 1 - Damage Control
Sharon (Rocelle Wyatt) spins an odd situation.

Scene 2 - Red Algernon
Dolores (Robin Walbeck-Forrest) has to decide
which candle to be - bright, or tall.

Scene 3 - Gepetto's Funeral
Pinocchio understands control, more than most.

Intermission

Scene 4 - Growing Feathers
Corinne (Robin Walbeck-Forrest) is drawn to a new
situation, by a dark and compelling need.

Scene 5 - Terminal Velocity
Esther (Gretchen Douma) meets her hardest choice.

Scenes are almost certainly not what you think from their titles. Early scenes tease their structure, in their setup and reveal, but after Intermission, they play with the form, pack serious emotional power, and the stakes are high. I was still thinking about them the next day, which is the test of good show and ideas, for me.

Props and Sets created by Fred Rappin, Jonathan Seaton, Gary Schwartz, and Craig Ewing.

Simple and effective Lighting Design by Fred Rappin, Brandon Comouche and Gary Schwartz. Brandon Comouche rendered Lights & Sound, perfectly.

Capable House Managers were Wanda Boe, Tina Brandon, Gary Schwartz, and Becky Rappin.

This show is over far too soon, and I can't really say that about many shows. I really enjoyed it, and I'm sure you will, too. After the show, I really recommend Boxley's, for live music and good food and drink.

SAM LONGORIA

http://valleycenterstage.org
http://boxleysplace.com