3DFXW 3 Dimensional Special Effects Writing (pending book and seminars) (contributing writers, Fred Davis, Jason White, , William Ellis, David A. Postma, Sloan Golden, David Zerock, others pending)
Thank you for visiting our new Internet site. We are building an up-to-date state of the arts, cutting edge new pioneering 3 D technology and the writers to carry that vision into the next levels of 3 D writing and the production teams to make it all come to the screen, to the flat screen, to the handhelds and beyond.
David Postma writer, executive producer and film consultant.
Film technology almost always brings with it the promise of revolutionary breakthroughs with often spotty results. For every maverick gamble like Warner Bros and the Vitaphone brings to movie culture such classics as the Jazz Singer another fumbling around leads to immense misses like Polaroid’supposed instant movie making technology, Polavision. The blunt truth is that technology is much like the California gold rush – a lot of fool’s gold mixed in with the real thing. With that being said, has 3-D technology brought us the next Jazz Singer in Avatar? Or the next flop in Clash of the Titans? The real answer behind this lies not in analytical interpretation, but in the most polarizing force for interpreting art – Psychology. (this full article to be publish in a 3 D magazines to other traits papers and will be fully posted after the publication)
Sloane Golden, Co-Founder, and The Script Whisperer - writer with approximitly a dozen screenplay, with 3 optioned to Hollywood Producers. Published writer in a hobby turned pro, Fish On!: Secrets of The Snook. Published Newpapers articles on fishing, Auto Restoration, and pending submittion of a 3DFXW article.
Welcome to the age of 3-D. With the advent of Avatar, the hi-tech revolution of 3-D cameras, more and more movie theatres switching to 3-D friendly projectors and screens, and now finally and forever—the new Star Wars in 3-D, the three-dimensional age of emotional and psychological special effects in screenwriting, is coming to a theatre near you. Be ready for that change, or be ready to get left behind, a two-dimensional story-teller, trapped on the one dimensional page.
We dream in 3-D. Why not write our movies in 3-D, that most dream-like of the arts, to behold our cinematic subconscious, unfolding before our very eyes, as we sit there in the dark, enveloped in an alpha state of dream-like wonder, the images and imagios of our darkest dreams and brightest hopes, as they step off the stage and wander down the aisle to stand beside us, to leap into our laps, to slip into our hearts and minds, our very psyche until we can no longer distinguish what is real from what is illusion.
With this new art upon us, the screenwriter becomes an emotional and psychological translator of words and deeds into action, an illusionist of space and time, a word conjuror of this new world, a magician of the printed page, translating action from one dimension into three.
But just how does the modern screenwriter accomplish this daring feat of turning water into wine? Notwithstanding bad art, a 3-D gore-fest; fake 3-D horror and blood—a shark jumping out of the screen at you, as in that detestable Jaws 3-D, what the screenwriter must understand is the psychology of 3-D. Working in 3-D is like, as Jimi Hendrix said, “being a thief in God’s storeroom.”
(this full article to be publish in a 3 d magazines to other traits papers and will be fully posted after the publication)
We are compiling notes, research, talents, and interviews for a book or books and articles on 3 Dimensional Special Effects Writing ( 3DFXW ) and 3 D Productions in Film, TV, and hand-held systems.
Post your comments and share your thoughts, your creativity in this new horizon in 3 D special effect writing and help bring the 2 dimensional screens into the lifelike 3 Dimension through 3DFXW. Posting can be done at 3DFXW Blog or you can send us a note at the comments section to the left.
If you think you have what it takes to write in 3 D, its psychological special effects in writing for 3 D in a new way that matches what music does with a Score, in a way that Foley does with sound effects, to the emotions that a Long shot to a Close Up, a High camera angle shots, etc, and at just the right moment that brings in the best emotion, then lets us know in our mail form.
Available now, writers books, writers programs, writers online seminars with hollywood professionals and win trips to hollywood to meet with the pros.
