Independent film

An independent film, or indie film, is usually a low-budget film that is produced by a small movie studio. Additionally, the term is used to describe less commercially-driven art films which differ markedly from the norms of plot-driven, mainstream classical Hollywood cinema. These films are often produced by subsidiaries of larger studios, such as Sony Pictures Classics, as long as less than half of its budget comes from a major movie studio. In 2005, about 15% of the U.S. domestic box office revenue was from independent studios. Independent films are often distinguishable by their content or style. The writer or director's original authorial intent or personal creative vision is usually maintained in the final film.
The independent film scene's development in the 1990s and 2000s has been stimulated by a range of factors, including the development of affordable high-definition digital video cameras that can rival 35 mm film quality and easy-to-use computer editing software and the increasing visibility of independent film festivals such as the Sundance Film Festival.
History
The roots of independent film can be traced back to when the early pioneer filmmakers in the 1900s who resisted the control of the a company called the Motion Picture Patents Company and the Edison trusts. Independent filmmakers built their own cameras and moved to Southern California where they laid the foundations of the American film industry as well as the Hollywood studio.
The studio system eventually became so powerful that some filmmakers once again sought independence as a result. Independent filmmakers around the world have created a diverse range of filmmaking styles that symbolize their own unique cultures and subcultures such as experimental film and underground film. Some independent filmmakers use digital video techniques. While most of the U.S. film industry is located in Los Angeles, one-third of all independent films in the U.S. are produced in New York City.
Technology
Until the advent of digital alternatives, the cost of professional film equipment and stock was a major obstacle to independent filmmakers who wanted to make their own films. The cost of 35 mm film is steadily rising: in 2002 alone, film negative costs were up 23%, according to Variety. Studio-quality filming typically required expensive lighting and post-production facilities.
But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-definition digital video in the early 1990s, have since lowered the technology barrier to movie production considerably. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVD, FireWire connections and professional-level non-linear editing system software make movie-making relatively inexpensive.
The first independent film released on HD DVD was One Six Right on November 1, 2006.
Software
Popular software (including commercial, consumer level and open source) includes:
Mac OS X
iMovie
Final Cut Express
Final Cut Pro
Avid Xpress Pro
Adobe Premiere Pro
Final cut Studio
Windows
Windows Movie Maker
Avid Xpress Pro
Avid FreeDV
Sony Vegas
Adobe Premiere Pro
Linux
Cinelerra
Kino
Equipment
Popular digital camcorders, mostly semi-professional equipment with 3-CCD technology, include:
Canon
SD: XL2, XM2, GL2
HD: XL H1, XH G1, XH A1
JVC
HD: GY-HD100
Panasonic
HD: AG-HVX200
SD: AG-DVX100
Sony PD-170, DCR-VX1000, VX 2000, HVR-Z1U
Most of these camcorders cost between US$2,000–$5,000 in 2003, with costs continuing to decline as features are subtracted, and as models depreciate. Additionally, open source software holds the potential for increasing high-level editing capabilities being available for also increasingly lower prices, both for free and paid software.
Independent versus major
On the business side, the cost of big-budget studio films also leads to conservative choices in cast and crew. The problem is exacerbated by the trend towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987). An unproven film director is almost never given the opportunity to get his or her big break with the studios unless he or she otherwise has significant industry experience in film or television. Films with "unknowns" in the cast, particularly in lead roles, are also rarely produced by the Big Six.
Furthermore, another key expense for independent movie makers is the music for the film. The licensing fees for popular songs can range between US$10,000–$20,000.
The increasing popularity and feasibility of low-budget (but not necessarily low-quality) films over the last 15 years has led to a vast increase in the number of aspiring filmmakers -- people who have written spec scripts and who hope to find several million dollars to turn that script into an independent film sensation like Reservoir Dogs or Little Miss Sunshine. These aspiring filmmakers often work day-jobs while they pitch their scripts to indpendent film production companies, talent agents, and wealthy investors. Their dream seems much more attainable than before the independent film revolution because these novice filmmakers no longer need to gain the backing of a major studio and access to perhaps a hundred million dollars to make their film. (See the filmmaking documentary Dreams on Spec.)
Independent movie-making has also resulted in the proliferation and repopularization of short films and short film festivals. Full-length films are often showcased at film festivals such as the Sundance Film Festival, the Slamdance Film Festival, the South By Southwest film festival, the Raindance Film Festival, or the Cannes Film Festival. Award winners from these exhibitions are more likely to get picked up for distribution by major film studios.
Srivenkat Bulemoni