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Koala call sheets from gorilla4/29/2023 ![]() ![]() ![]() It was brought to my attention that her unit doesn't follow these basic guidelines and it makes her head spin sometimes. Also, the director can be the only one to give his actors notes, and they must come personally. ![]() As per the DGA Creative Rights Council, the director can only get notes from two people: the client, and the producer. I know that I would rather take notes from a few trusted people, my AD, a fellow producer, and maybe - maybe - the actor I'm working with as it pertains to their performance.Ī friend of mine who is starting on her long adventure in the TV arena and I were talking about notes earlier, and the conversation made me think of this little rule that most directors take advantage of: the limitation of who gets to give notes. However, if everyone had open lines to give voice to their own notes, the set would become total chaos. These things that we in the industry call notes are vital feedback for directors and actors. Updates on the film will be posted on this blog as they become available, but until then, go forth and produce! My forthcoming short film, The Morning After, was produced using Gorilla 6 and its companion applications as described above, and is set for the Film Festival circuit in early 2016. I will be using this wonderful tool in all of my endeavors in the future, and I recommend this software for professionals and amateurs alike. To put it concisely, this wonderful piece of programming is a one stop shop for making the organization nightmare that is preproduction a quick and thorough logging of data that leaves you with more time being creative with the peace of mind that everything is accounted for and planned. These great apes don't do "fun & games," but they do welcome you into the jungle. It makes the process of writing up that budget incredibly simple. Ratebook interfaces with Gorilla, and loads everything into the budget automatically. Once those two are linked, all of the data from scheduling will migrate over to the budget. The connectivity between schedule and call sheets was pretty cool, but what impressed me more was the connectivity between Scheduling and the Budgeting panes. All of this was then linked to the scenes, and had been scheduled with a fantastic strip board manager that made scheduling scenes to be shot with so much ease that once I was done, all I needed to do was send my Gorilla data to Koala and double check all of my data, and boom! Call sheets, on the double. ![]() I was even able to attach storyboards and shot lists, and all of the various things that are needed to express what I wanted out of each scene to my crew without continually talking my voice hoarse. As I had linked elements together, I realized that my breakdowns got easier and faster as I went on with it. I had a breeze of a time breaking down my scenes. When the tassels and rug come together, the end result really pulls the room together. The other programs are just tassels, and Gorilla is the rug. What really piqued my interest in these programs was the potential interconnectivity of them.Īnd then came Gorilla 6, the connective tissue plus the heart of the whole operation. I knew right then that I'd have to continue collecting their software they're just too useful. Then, I had won their Gorilla Ratebook in a contest they threw last halloween, and drawing up budgets became much easier with the thorough collection of rates. That's pretty handy, quickly drawn up Call Sheets. Next, I got the Call Sheet program, Koala Call Sheets, and I have impressed quite a few actors with the speed and slick look of the call sheets on my productions. First, I got the story planner called StoryO 2, and I have had some great ideas worked on by that nifty story editor it then builds a Final Draft document to finalize the story in great format, beautiful. Every time I mastered a program of theirs, it became my go to app.
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