Filmmaker Blog - Mario J. Novoa

RED Scarlet VS BMPC. Full tests and low light torture to see which camera is better. The blackmagic production 4k or the Red Scarlet. 

George Lucas describes fighting for his film American Graffiti against Universal Studios Executives. He wrote and directed a personal film about his life that ignited something for the audiences that flocked to see the movie. American Graffiti stayed in the movie theaters for a year! 

Hollywood Studios to Make $6.8B from SVOD Players Like Netflix, Hulu | VideoInk

RSVP: http://www.eventbrite.com/e/trona-screening-tickets-13587952933?aff=eorg We are excited to announce that we will be screening  Trona  up on the big screen  Thursday, October 30th  with the cast and crew.  Official Trona Trailer from Daniel C. on Vimeo . For those of you in the Los Angeles area, we would love to invite you to join us and thank you in person for all of your support.  The screening will begin  promptly at  7:00 pm  at the Los Angeles Film School,  so please arrive a little early to check in.  There will also be a short Q&A, to begin immediately after the screening.   We have a limited number of spots, so you must  RSVP  to ensure your seat. Trailer:  http://vimeo.com/98506374   http://vimeo.com/98506374   http:/ Wesbsite:  http://www.tronathemovie.com Looking forward to seeing everyone! Daniel Cotreau, Director Mario J. Novoa,...

The production design, editing, performances, music and overall look of this commercial is awesome. A great little piece that I really enjoyed watching. 

The Gear: The Making of L.A. A Queer History by Mario J. Novoa http://kck.st/1DukNzt You can talk about making anything till you are blue in the face, but you'll never make it happen, unless you work with what you have. When I was approached to make L.A. A Queer History (a feature documentary), I knew that the interviews would be a little difficult to shoot because we had to shoot on location. We had to worry about light and sound recording issues. Since we had no budget, we could not pay or hire anyone to really help out. Using a PANASONIC LUMIX GH2, a Panasonic 14mm zoom lens, a $25 CCTV lens and adapter, a Zoom H4N sound recorder, a SENNHEISER lavaliere microphone and a consumer tripod, we went to work. Having had over 20 years of experience shooting and editing interviews, I took on the task of being the main production person. Something I haven't done in years. I ran through the scenarios with the director about how to set up, set up time, sound and lighting ...

How to Make the Most of the Festival Circuit Film Independent  >  Blog  > How to Make the Most of the Festival Circuit HOW TO MAKE THE MOST OF THE FESTIVAL CIRCUIT Why take your movie to a film festival? It seems like a funny question—doesn’t everyone want to premiere at Los Angeles Film Festival or Sundance or Toronto? But earlier this month when festival insider Peter Belsito of  SydneysBuzz  came to Film Independent to talk about festival strategy, he asked it quite seriously. “They only cost money,” he said. “You don’t make any money at a festival. Why do you want to go there? To get a deal? You can probably forget that. Sundance in their biggest year had 30 deals. And even a lot of those were just representation deals—they weren’t distribution or anything. So why do you want to go to these events?” The answer: Marketing. “To get the review,” Belsito said. “To meet the people from the trade. That’s why you go to these events. S...

http://variety.com/2014/scene/news/terminator-30th-anniversary-screening-james-cameron-gale-anne-hurd-1201331750/ Humble Beginnings:  Shot for a paltry $5.6 million, Cameron and Hurd attribute their ingenuity and rebellious spirit to their mentor:  Roger Corman . “We were ready to take on Hollywood and show them how it could be done cheaper and faster, because we’d learned from the master,” Cameron said. “The first thing he taught me,” Hurd added, “is belief in myself.” According to Hurd, 99 people rejected “The Terminator” when it was first being shopped around, “but all you need is that 100th person to say yes.” And the final lesson that Corman taught her? “You can do just about anything with some bailing wire and  grip  tape.”

On the set of Ay Jose. Director of Photography and Editor Mario J. Novoa. On the set of Ay Jose. Director of Photography and Editor Mario J. Novoa. On the set of Ay Jose. Director of Photography and Editor Mario J. Novoa. On the set of Ay Jose. Director of Photography and Editor Mario J. Novoa. On the set of Ay Jose. Director of Photography and Editor Mario J. Novoa.

Unedited Star Wars Cantina Scene by chano y

I recently sat down with Latin Jazz music producer Art Jackson to talk about his new undertaking, "Underground Masterpiece". I asked Art if I could sit down and find out more about his work and collaborators. While this 12 minute video was part of a longer conversation, I pieced together a promo for his album and upcoming concert in Oakland. The concert will take place Saturday October 24th, 2014 at Geoffrey's Inner Circle. I will be releasing a track by track commentary with Art Jackson in the next few weeks on my YouTube channel. For the those that love Latin Jazz, enjoy! For those that don't, I hope you discover the joy from Art Jackson's newest collection, Underground Masterpiece. Website:  http://jacksonbravo.blogspot.com/?spref=fb Available: http://www.cdbaby.com/cd/artjackson http://www.amazon.com/Underground-Masterpiece-Art-Jackson/dp/B00K49VMNQ

The Style: The Making of L.A. A Queer History Pt.2 by Mario J. Novoa Director of L.A. A Queer History, Gregorio Davila, has been an artist for a long time. He comes to film by way of art and music, and has created quite a body of work as a multimedia artist. Gregorio at heart, is a creator and storyteller. It was a culmination of painting, mixing music and film editing that brought him to direct L.A. A Queer History. Taking all that he is and all that he has learned, he has assembled a film that will have it's presence known in early 2015. With style and intrigue, L.A. A Queer History will take people on a journey to uncover the beautiful and ugly past of Los Angeles history. What intrigued me about Gregorio, was Gregorio's visual style. I first met Gregorio via a film I produced, "Gay Latino Los Angeles: Coming of Age", where he was editing a trailer for the film. When I viewed the trailer he created, I was elated to meet such a talented filmmaker. As I go...