While actors, directors, writers, and producers often get the limelight, the film world is full of unsung heroes and heroines: the workers of the camera, grip, electric, costuming, sound, art, and other "below-the-line" departments. You only have to look at the end credits of a movie to see how integral they are to production. Watching a good crew in action is like watching a well-made clock. Timely, steady, and dependable. Without them, films could not get made-- plain and simple.

Since moving to Los Angeles in 2001, Jennifer Lai has worked with the camera department on such films as “Me, You, and Everyone We Know,” “Walk Hard,” and “My Blueberry Nights.” She's also been involved with so many commercials and television shows there's not enough space to go over them all. Filmmaker.com was lucky enough to catch her on a day off, sit down with her, and pick her brain.

FM.C: What inspired you to get involved in film?

MacNN is reporting that Apple has updated Final Cut Pro and Compressor to new versions in anticipation of the NAB conference in Las Vegas.

The release notes are here.

Moviola Digital Education Center in Los Angeles has created a free Resource Center, where they've posted tutorials, tips & tricks and articles for Final Cut Studio and Avid Media Composer / Xpress Pro. In addition to FCS and Avid specific information, they've compiled a good deal of useful information related to video and post production which they put into their "Knowledge Zone." And stay tuned, because they'll be updating and adding information to all these sections in the coming months.

Need a break? Want a laugh? Moviola has started a section called "Humorous Diversions" where they're collecting funny videos, audio clips, pictures and text that relate to the world of post production. If you know of something funny and post-related you'd like to share, send it on on in, using the Web Site Feedback selection on their email form.

In a recent interview, Moby talks about licensing some of his music free for non-commercial use in indie films:

MOBY: Well, when I went to university, I was a philosophy major, but because I'm not very bright I chose to study philosophy at a performing arts school, maybe because the philosophy program there wasn't too rigorous or challenging. And at school I made a lot of friends in the independent film world. They have always complained to me that the most difficult part of making a film is actually licensing the music because they have to deal with record companies and publishing companies who don't want to return their calls. It's also expensive and onerous and time-consuming.

So I started this Web site, mobygratis.com, which very simply gives away free music to indie filmmakers, nonprofit filmmakers and experimental filmmakers. Right now I've got about 70 pieces of music up, and any filmmaker can go there and download the music and use it in their film.

Today the Richard Rolland Foundation announced a $10 mil filmmaking grant promoting the theme of "We're No Strangers To Love." When asked about the submission deadline, a spokesman replied, "you know the rules, and so do I." Submissions must be under five minutes length and no longer. "A full commitment's what I'm thinking of," added the red-haired spokesman. "You wouldn't get this [offer] from any other guy."

Filmmakers are asked to strive for emotional realism and "to tell you how I'm feeling. Gotta make you understand." More information on the grant is on their site.

Today editing software company Avid has made a major announcement of "new thinking" regarding the pricing and delivery of its editing software.

Among the key points-- cheaper software (prices cut by 50%), a consolidated product line, and a more "modern" approach to building a modern, glistening Web 2.0-ish online community in this age of youtube and blogging and RSS.

Is this an exciting new start for Avid? Or the final gasp of a company desperate to re-invent itself? Myself, I'm interested in looking more at this "new thinking" before drawing any conclusions...

Writers-- check out this short article by Mystery Man", which takes screenplay pages from four films and discusses how the writing style is cinematic. (Another great source for such practical screenwriting advice is John August's blog.)

They might not admit it, but every writer needs a muse. And that's just what Script Frenzy! is trying to be-- on a large scale. This free, month-long writing event pits you against a thirty-day deadline where your goal is to deliver at least 100 pages of screenplay. Filmmaker.com interviewed Jen Arzt, Script Frenzy's Program Director, to find out more.

FM.C: What is Script Frenzy?

An interesting little blog entry on how changing camera angles and cutting between them can disorient a viewer when contrasted with physical movement of the camera. Kind of a cool read about how coverage can affect a viewer's perception and memory of a spacial layout.

There's a company in Newfoundland, Canada where software engineers have re-imagined the potential for the pre-production process. They are the masterminds behind Celtx, the world's first free and open source pre-production program. A cutting-edge program that includes an ever improving screenwriting feature which is quickly becoming as easy to use as their propriety counterparts and definitely more international. Filmmaker.com got a chance to interview Mark Kennedy, the President and CEO of Celtx and Greyfirst Corporation, and discuss this little program that could and now does.

FM.C: Can you tell me how Celtx came about?