Interesting to note that the French are starting to take notice of the Philippines.
First there was this show called Koh-Lanta, a Survivor type show. Koh-Lanta: Palawan has the highest viewership of the show with about 9 million viewers. The host has noted that the experience that he had in Palawan is “two of the best” the other being New Caledonia. A Filipina blogger has pointed out that this show has helped her a bit…
Well, at the school, my teacher and European classmates asked me about Philippines and to describe them how it is… This program has helped me in a way that people here will have some knowledge about Philippines like how beautiful it is, how kind and welcoming the people are and how abundant we are to have these beautiful and wonderful nature. – Petite Cherie
The series ended in September but if you like to watch it, you may do so via streaming video (after the break)
Caméra Café
On another note, a French Producer has stated the Philippine version of Caméra Café top his his list. Based on an exclusive interview with the Inquirer he stated:
“I’ve been to a lot of countries [and] seen the different versions. But, for me, the best is the Pinoy cast.” “The Filipinos are even better than the original French cast—who are my friends!”
The two futures of mobile media entertainment in the Philippines and the world:
Mobile TV is set to take off in the Philippines in the later part of this year, but the following must be done so it will have a broader reach:
Output to TV/HDTV:
A universal device must be made so any cellphone that has DVB technology in it can be output to TV/HDTV. Some of the middle class Filipinos have bought HDTV, but of course there are no good unless they can watch HDTV broadcast on it, with DVB there’s that possibility.
Cellphone networks to be the new cable companies:
I’m paying a service to watch my TV but in the future, I want whatever I watched on my cellphone to be easily accessible too when I get home. And thus, if ever they get the output to the TV thing working, cellphone companies will become the new cable companies.
P2P Cellphone Router:
Each cellphone will become somewhat like a wireless router. A common wireless network for those who are willing to share their net access. Internet access penetration in the Philippines is not that high. But cellphone is. So being able to share the net access to whoever is willing share will hopefully expand the internet access in the country.
WiFi+3G+Skype
Ever heard of Skype? You can anyone for free in the world as long as they have an account with Skype. The problem right now with Skype is somewhat you’re next to your PC and/or with your WiFi router. Well with access to WiFi spots and 3G this will hopefully change.
Flash Lite
You’ve seen the impact of user generated videos by sites like Youtube, Google Video and Metacafe, etc., demand for such videos will continue. By having Flash Lite technology in the cellphone will you watch such sites. Of course we also want to be able to record directly from our cellphone to upload it to such sites.
Paolo Dy is the mastermind behind the short film suspense-thriller titled “QWERTY” which is featured on the site “On the Lot”
Background and about yourself:
So what was your background like? Did you go to a film school? If so how did you like it?
I didn’t start out in a full-time film school; I graduated with degrees that were just about as far from film as you can get (Management Engineering and Economics) haha. But my film education started in college, or rather, in the DORM of Ateneo. There was one summer when I borrowed my dad’s video camera, and with the help of a bargain-basement rinky-dink editing card (that would only do 320×240 video at 15 frames per second) I and my friends would do our own little music videos and short films. We’d also do some small ads for the dorm resident’s association and so on.
One of my friends was studying to be a priest at the time; he showed my work to Fr. Johnny Go of the Jesuit Communications Foundation, and that’s how I got my first professional job as an editor.
Afterwards I sought out every chance to study the craft. I burned through every book about filmmaking that I could get my hands on. I soon moved up from editing to directing (I still believe that all directors should start out as editors!) and worked on a number of corporate and music videos.
I had a short stint as a director in one of the major networks, but I was frustrated by the experience — I had a pretty recalcitrant crew and they just wouldn’t follow some of my instructions, claiming some technical issue or another. I don’t know how much of that was motivated by the old-timers being stubborn and sticking to what’s worked for them before, and how much was because I was a young wet-behind-the-ears whipper-snapper director who didn’t know their jargon and thus couldn’t communicate to them in their own language.
That’s when I decided to study cinematography — I didn’t want any cameramen or lighting crew giving me any more mumbo-jumbo excuses that I wouldn’t be able to refute. I joined a workshop on film and commercial lighting given by renowned cinematographer Roberto “Boy” Yniguez, who later invited me to apprentice under him. It’s safe to say that I’ll always owe 98% of what I know about cinematography to this genius.
I was also fortunate enough to have been able to study under some world-famous cinematographers in New York and Rockport, Maine, under the International Cinematographers Guild and Rockport Film Workshops. The instructors were members of the prestigious American Society of Cinematographers (those guys who have “A.S.C.” next to their name in Hollywood film credits) — Declan Quinn ASC, Fred Elmes ASC (Eraserhead, The Hulk), Freddie Murphy ASC, Barry Markowitz ASC (Sling Blade), Steven Fierberg ASC (Secretary, Entourage), and Jacek Laskus, ASC (The Whole Shebang). It was fascinating to see how they approached lighting challenges and learn about how they prep for a feature film.
Today I’m usually busy with a mix of projects: commercials, music videos, corporate work. I rarely do TV though.
What was your first film? (you have links for it?)
My first short film was ‘MIKO’, which starred Sam Concepcion and his dad Raymond. You can find it on my website, www.paolody.com
‘MIKO’ was screened at the 2006 Cinemanila International Film Festival, and won First Place at the Bogen-Manfrotto Short Film Competition in New York
I started helping out a subbing group for the show “Rounin” by ABS-CBN and realize the standard of Philippine television is very, very low (Note: I also saw “Lupin” by GMA). Yet, they dare call it “world class,” they should watch more television shows from around the world.
Philippine TV directors have low standard themselves and thus it is reflected by the show, by the shows actors, photography, sets, stunts, visual effects, and post production. Ultimately it is reflected by the studio to the public. This is unacceptable. The new generation of Filipino film makers are hard at work in making their names heard around the world, showcasing their talents and yet this is the standard Philippine TV. Laughable and sad at best.
First of all let’s talk about the lighting of the set. It seems like the Philippines is trying to set their lighting as if it’s an American set. Watch any Philippine TV, program compare it to other shows around the world. The problem here lies that most countries i.e. China, USA, Korea, Japan where we import TV shows from are relatively north of us. And the Philippines is nearer to the equator. How you light a scene will differ substantially. Another thing is that the tone of skin of Philippine actors is different, this also affects the lighting of the scene.
This also makes me wonder if they even adjust their NTSC reference television on their sets. Possibly they also shoot their stuff in video too, instead of film.
If you know anyone who works of Philippine TV, Rounin please let them read this and I would like to know their input.
The only positive thing I can say about "Rouin" right now are the music, intro in the 1st episode (thanks to the motion designers) and the website
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