The annual '60 Hour Film Challenge' begins from 1st – 4th of September 2017.
Filmmakers from across the world are challenged to write, shoot and edit a film no longer than 5 minutes in length in just 60 hours. The challenge is free to enter and teams can register online (www.60hourfilmchallenge.com) until the 31st August.
The challenge begins on Friday 1st September at 9pm (UK Time). Teams will receive an e-mail containing a title, line of dialogue and prop/action they must include in their films. Each team has to make their films over the weekend (1st-4th September) and upload their final films to our Vimeo group no later than Monday 4th 9am (UK Time). The shortlisted films will be screened and the winners announced at Colchester Film Festival on Saturday 4th November.
The challenge will be judged by our expert panel, directors Olly Blackburn (Donkey Punch), Tom Geens (Couple in a Hole), The Blaine Brothers (Nina Forever) and producer Jennifer Handorf (Prevenge).
Entering the challenge is a great way to get noticed, films from the challenge have gone on to feature at festivals around the world. Rob McLellan’s 2012 entry ‘Love and All That’ went onto inspire MGM’s feature film ‘Abe’, which is currently in pre-production.
Winning teams will receive over £10,000 worth of prizes which have kindly been donated from: Adobe, AKM Music, Beachtek, BlueStarProducts, Boris FX, Boxx TV Ltd, Cartoni, Cinedeck, Contour Design, Daz 3D, EditShare, FilmConvert, Filmstro, FXGuide, IndieFlix, Lenspen, Logickeyboard, Loopmasters, MindShift Gear, Musicbed, Peli, PowerProduction Software, ProMediaGear, RØDE Microphones, Snapperstuff, Spiffy Gear, Stan Winston School of Character Arts, Toon Boom Animation, Vid-Atlantic and Vocas Systems.
Facebook Group: www.facebook.com/groups/60hrFilm
Facebook : @colchesterfilmfestival
By Elliot M
Hoping someone can help with this edit workflow question:
I currently shoot video on Canon DSLRs (in H264 MOV format), and edit on a late 2009 iMac (2.8ghz i7 processor, 16gb memory).
The films I make are mainly for web rather than TV broadcast, and beyond basic colour grade / tidying up, have minimal effects added (no CGI).
Until recently, I used Final Cut Pro 7, using FCP's Log & Transfer function to import and edit footage in Pro Res 422 format.
Having just moved to Premiere Pro CC 2017, I'm trying to figure out the most efficient workflow with the best resulting image.
Should I import and edit in native H264 MOV? Or ingest and edit as either Pro Res or DNxHD?
If Pro Res or DNxHD, what's the best way to ingest (or import / transcode)?
I've been reading mixed things via Google; mainly Adobe-related articles explaining a native workflow, vs various articles sponsored by transcoding software companies, saying that transcoding will have a better result.
Any thoughts would be much appreciated.