Monday, December 20, 2010

Thoughts on Roberto's Left Behind post

From: Chuck Green
Date: December 20, 2010 6:08:26 PM EST
To: Roberto Mighty
Subject: Re: Left Behind

Roberto,

That was quite a fine post. Thanks. I don't remember being so stirred up by any email before. Yours got to me, and the wheels are spinning fast inside. I fully agree with a main issue: no equipment will make us better filmmakers. The messy area for me is what will we need to do/rent/buy to avoid being left behind.

I'm troubled by lots of the HDSLR problems that we and others have discussed, but I now get that this large sensor look is hot, and in big demand as the current wave - probably. For how long, and how deep is it? Perhaps the essential issues are whether the current set of offerings are good enough to put how much money into, where, and when?

The Internet is where most things are rapidly heading for us and our paying clients, and it is heading, as with broadcast TV, into higher image and sound quality: In 4 years broadcast TV will have a new standard called Quad HD (also Quad HDTV and 2160P), with video resolution of 3840 x 2160. I think better-than-CD quality sound will be expected too. A little over a year ago YouTube was unable to handle most HD video. I expect that YT will be handling 2160P video before broadcasters do. At the same time as iPhone-sized screens are another massive trend in the opposite direction... I think we are going to need to produce high enough quality original image and audio to handle the demands of the very high-end media, not just enough quality for the mini screens, mp3 players and the Internet's current state. Future-proofing to some degree.

In the 70's I did not grow sideburns, buy a Nehru jacket, or bellbottom pants, unlike various friends and their fathers. Perhaps that would have helped in getting dates, but it seemed like a fad and I wasn't buying in. This is of course different, with real work that may or may not demand new gear. The point of all this is that I've long tried to determine what has a feel of endurance, what feels truly right at the moment, and to see what is maybe merely hot at the moment, then to make choices from there. That said, I am expecting to get an new digital camera soon, so I will aim for one that can shoot good useable video too. I've been a photographer since elementary school - I got my first home darkroom in 6th grade - yet I happily put aside my 35mm Nikon SLR and a large-format panoramic Horseman camera around 10 years ago, taking them out now only when the subject material is too rich to be done justice with a digital camera. Digital photography was a movement that made a lot of sense and had profound promise, with some major advantages over film. I'm really not sure about HDSLRs, but do want to record with larger sensors.

As far as seriously investing in my next primary working video recorder, I still expect that I'll hold out for the Red Epic S35 or Scarlet. The Epic's first version began shipping this week - www.studiodaily.com/blog/?p=5043 - and the Scarlet was brought out publicly too (almost 2 years late): http://vimeo.com/17819409. They seem to be upgradeable, shoot 3K and up, are likely to be hot items but not flashes in the pan. It's mostly a question for me of budget, and whether they - and I - are likely to go the way of the dinosaurs because of waiting too long to move ahead (or evolve).

I'd really like to hear from people on this, before my head explodes from all the spinning in there.

Chuck G.

Left Behind

I was in NY this weekend. I got a chance to watch TV while visiting with relatives. I was struck by the sheer number of TV commercials being shot these days with DSLR's. There is a certain "look" to 5D and 7D footage, and holy mackerel, it was in evidence on every channel.

Furthermore, we saw an outstanding independent film at the Kendall cinema in Cambrdge last week - "Tiny Furniture." The film is about a sort of female Holden Caulfield character.  Writing, directing, acting and cinematography were all fabulous. It's an oscar-worthy feature, shot entirely on a Canon 7D.

So, I concluded that those of us who are not yet shooting with these tools (or at least a T2i/60d) are being left behind in today's commercial market. Indeed, lots of brand-paid, purpose-made web content is being shot on Canons. It's a *look*. And, all things considered, it's not expensive. An entry-level T2i/60d kit is just about 1K. And I don't buy for one second that the kit lenses are "unusable," that we MUST have Red Rock rigs, follow-focus, LCD monitors, etc., that bring the price up to and beyond the cost of an EX-3.

The fact is, we already *have* EX-3's, EX1's, or 170's, or NX-5U's or V1U's. Buying an entry-level DSLR, working with it, practicing with it and getting what is currently a hot look is a very good idea as we further our careers. We can buy more lenses later. - Roberto

Saturday, December 11, 2010

Unstoppable

I recommend Tony Scott's new movie Unstoppable to the group. Maybe it's because of the place I'm in now that I learned so much from this movie on first viewing, and have much still to learn from it. I intend to see it several more times before the new year. This is a movie that in film school we'd have viewed over and over, in many places frame by frame on an analytic projector. Tony and Ridley Scott have visual sensibilities equal to any working filmmakers, the sound work was fantastic, and the acting top notch. A lot of learning points came up for me, and I want to open a discussion with others in our group about these things:
• The sound mix somehow was able to handle dialog in the locomotive of a racing train with a helicopter hovering above. I hate it when a loud bus drives simply drives by during my shoots…
• There were places near the beginning where slow motion was clearly made by repeating each frame 3 or 4 times. This kind of production could easily afford a truckload of Phantom rigs, and there were places where high speed cameras were used. Why did they include the low budget slow-motion parts?
• The color was so finely done, keeping near-saturated colors but still setting a controlled and gritty look, including film grain that may have been exaggerated. I'd welcome some insights into the color grading that was done, and why.
* The editing was incredible, but then the editors probably had an overflow of fine material to work with.
* There were helicopter shots that were shaky and others as smooth as could be, while at least twice the path of the camera was in a direction counter to that most films would have travelled.
* I did not consider the acting to be over the top, or overly restrained given the intense nature of the action, but it could have easily been that way. Acting and directing actors are still areas I have a couple of lifetimes of learning to go ahead on.

I haven't read anything that others have written about the film yet. I'm looking to start off with the NEMC insights first.

Happy trails,
Chuck

Tuesday, December 7, 2010

Next Meeting: Monday, 01/03/11

New Media Coalition next meeting: Monday, 01/03/11

Last night's meeting was great...

Hearty hello to Rich from JP. Thanks for coming to your first meeting, thanks for the delicious cheese balls and kudos for showing us your editing prowess on the biopic of conceptual artist Lynda Benglis. (Brian, pls forward this email to Rich)

Brian Galford brought and carved the roast beast and taught us all iPhone CPR (!) with his cool new video (snazzy editing, cinematic directing, sweet mustang, sharp EX-1 photography) on his client's new iPhone CPR instruction app.

Chuck Green brought truffled mashed potatoes and organic candy canes (!), hauled his full EX-3 rig in and demonstrated his new Manhattan portable HD video monitor. Impressive.

Brian Henderson brought chocolate stars and  showed clips from the newest episode of the Doritos Super Bowl spec he shot recently with the Phantom high-speed HD camera and the TV series he's shooting (EX-3, A-camera; V1u, B-Camera) for Discovery Channel.

Mike Yip brought pasta/broccoli/grilled chicken and screened a staggeringly beautiful timelapse film (Canon + Red MX) from Tom Lowe on Vimeo.

Chuck Green couldn't attend, but he did post some cool audio processing info on Sunday night to our BLOG.

Roberto Mighty prepared rice and beans and shared a tragicomic story about getting a Master rejected by a TV station because of audio dropouts. Lessons learned: 1. Think twice before accepting work for broadcast involving legacy formats, even DigiBeta. 2. Bad audio will mess up great video every time. He then showed the first short film to be completed on the new Sony PMW F-3, Convergence, by Martin Scanlan. Shot in Paris, at night. Two Talent. We oohed and aahed at the seemingly effortless control of depth of field, regardless of focal length. Envy meters were pinning throughout the room.

Finally, at the end, we solved the economic problems of the world and the federal government's challenges, too. That was really fun.

Overall, it looks like coalition members are stepping up their game in conceptualization, composition, shooting, editing and overall technical/aesthetic knowledge. This is evidenced by the increased quality of work on offer last night. That's what we're here for, isn't it? Kudos to all.

Happy New Year! Here's to an even better 2011.

Sunday, December 5, 2010

Jill Stein audio processing from Freedom Rally

Hi group,
Here is something I wanted to share last meeting but didn't get the chance to.
It is audio only...basically....but I had to add some irrelevant photos and convert audio with photos to quicktime just to get it up on this site. Wonder if something can be done about that....
Anyway the background. Way back in Sept, I covered the Freedom Rally on the Boston Common for radio. I had 2 flash recorders with me, one for board feed, the other for ambient sound and one on one interviews.
Board Feed was fine, except for Jill Stein, who spoke a foot off mic and very softly. She was Green Party Candidate for Gov. at the time, and the "star" of my piece. Being that she was so soft, I had to boost her levels. There was an ever so slight buzz that wasn't noticed in normal level feed, but quite apparent in her. (clip 1, Solo left).
I used a Noise Reduction program that comes with Amadeus, an audio program for Mac. Buzz gone - but unnatural drop outs of silence between words. (clip 2, Solo Right). I then mixed that unnatural sound with some basic ambiance, masking the gaps. (clip 3 - Marathon runner in pain).
More about putting audio on this site tomorrow (There MUST be an easier way). I've had the flu all weekend and was even thinking of skipping the meeting, but now I've been drafted,
so I'll be there....though I'll want to leave early to save my strength to teach 6 hours of classes on Tuesday.
See yas then.
- Audio Chuck

Monday, November 22, 2010

Sunday, November 21, 2010

It may be quixotic, but I'm truly aiming to hold off on buying my next camera until Red releases the Scarlet (there will be 3 versions). Sometime next year. Maybe.

I join a long line of the passionate - or total obsessives - waiting or seeking for their target/beloved/Holy Grail. See the attached photo.

Speaking of Red: I wrote a few months ago about wanting a video camera with an image sensor the size of a playing card. Who knew I was not aiming high enough? Red (not them again!) recently announced a sort-of schedule for their upcoming cameras, with each having a bigger sensor. The Epic 617 is to have a sensor the size of my large format panoramic film camera, 6 x 17 cm ( 6.6 x 2.2 inches)! It will have over 280 megapixels?

Patiently,
Chuck

A real short film.

"Convergence" is a short film by Director Martin Scanlan made with the new SONY PMW-F3. The below short was directed by Martin Scanlan and DP’d by Steve Lawes who shot the amazing BBC series Sherlock. If you have not seen it, then watch it. It’s amazing and a visual feast.

In a fight between Panasonic and Sony, don't count Sony out. Here's a link to Philip Bloom's blog article about the F-3 and the new Super35 NXCAM camcorder (sure enough, a pro version of their recent NXCAM 2K prosumer device). - Roberto

http://philipbloom.net/2010/11/17/f3nxcam/



Convergence - Short Film shot on Sony PMW-F3 from Martin Scanlan on Vimeo.

Thursday, November 18, 2010

test

hi,
so I see add video and add image, but what about adding audio? If I post an mp3 to video, would that work?
Or should I convert files to Quicktime?
Answer: The mp3 didn't work. Wouldn't even upload. I'll work on converting to quicktime and publish later.
Audio Chuck

Wednesday, November 17, 2010

5d question

hi,
i think I'm finally in.
I have a question.
One of my students has the Canon 5D, but can't seem to monitor audio on it while shooting.
I checked it out and found an output, 3 ring 1/8 mini for audio and video. I concocted a series of adaptors to plug in headphones, but to no avail.
Any suggestions?
thanks
Audio chuck
ps
I'll post audio soon.
thanks

Tuesday, November 9, 2010

Next Meeting: Dec 6th

Last night's (November) meeting November was outstanding.

Thanks to Chuck Green for bringing guest speaker Ben Pender-Cudlip, a certified Apple Genius and a certifiable editing freak and cameraman. Ben gave a lecture/demonstration of his new Canon 60D HDSLR; demonstrated Color on his 17" MacBook; and shared the painstaking behind-the-scenes editing work on a recent production of Yiddish Opera at Harvard. Mazeltov, indeed.

Food was in abundance. Grape leaves from Brian Henderson; Halloween candy from Chuck Rosina; Chocolate ice cream from Brian Galford; Bean salad from Chuck Green; Spicy chicken wings from Mike Yip; Fruit Salad from Robert Beinhocker; Chocolate cupcakes from (?); plus hummus/chips; roasted chicken, etc.

Roberto demo'd the new group blog site

In the studio, Mike Yip brought in a clip on the making of linen in the EU, from flax to racks. Group critique ensued, regarding color, depth of field, etc. Chuck Green showed clips from a fire-dancing client video. Roberto previewed two observational pieces from his current round of museum installations, previewed an upcoming Roberto & Kathryn music video and showed the latest Berklee College video that several club members shot video/audio for.

The general talk was about all the exciting new camera choices this week...including the Panasonic AF-100; the brand new Sony PMW F3; the Canon range; etc.

Brian Henderson shared fun and artsy stills from his recent trip to China. Wow.

Monday, November 8, 2010

Meet the YouTube Stars Brands Love - From Roberto

Raking in six-figure ad revenue deals from Google, commanding up to $20,000 a pop for branded videos
Nov 7, 2010
- Brian Morrissey

The dirty secret of cable TV is audience numbers are often pitifully small, with many programs drawing under 100,000 viewers. That's not the case for a select group of YouTube creators.

Link

iApps for Filmmakers by Maud Dillingham

For those who missed Taz Goldstein's talk at the Apple store, here's what he talked about. Remember, Google is your friend.

Maudness



DV REBEL'S guide
Bento database for casting
Rehearsal - scripts
Rodriguez list  Steve Maciewicz
Panascout
iDrelease
Storyboard Composer
Colorsnap
Owle Bubo camera adapter
Steadicam Smoothie
Suction Clip
Pro Prompter
Micro Remote - follow focus
AR Drone - flying camera
Mikey - external microphone
Artemis Director's Viewfinder
Artemis Remote
Omnigraffle. Mind map
MovieSlate HD for iPad - batch digitize
Keemee - keying
Filmmaker's Dictionary
Air Video for screening dailies
Animation Creator
iMOTION
REELDIRECTOR
Pro Video Guide
Final Cut Pro Field Guide
Autostitch Panorama
Gradiest for cineform first light
Pro Remote
AC7 Pro Control Surface
Air Display
Optimism Maximus - iPad as keyboard
Runpee mobile
Camera a and camera b for ipad
Photoshootout

Videomaker's Resource List - by Chuck Green

This is a group email about a site I came across (it lists many online resources for videomakers.) The article is at: http://youtube-global.blogspot.com/2010/10/digital-filmmakers-map-to-web.html

Used Gear For Sale - by Robert Beinhocker

You might already got this email from someone else, but if not you might be interested. David Smith of David Smith Productions is closing shop and selling his equipment. Below is his list of gear.

Rob B

*************************************************************************

DAVID SMITH PRODUCTIONS
EQUIPMENT SALE – 10/27/10
***********************************************
LIGHTING EQUIPMENT
ARRIFLEX Lighting Kit, including 2-650W lights, and 2-300W lights, with barn doors, scrims, stands, AC, PORTABRACE soft case

LOWELL ‘D’ Kit, including 4 ‘D’ lights, barn doors, scrims, and stands and AC

LOWELL ‘Tota’ Kit, including 2 tota lights, 1 Omni light, barn doors, umbrellas, stands and AC

2 PHOTOFLEX Soft Lights, 1000W and 650W, with Speed Rings, stands, AC, and PORTABRACE soft case

2 CHIMERA Soft Lights, with speed rings, stands, and soft case

2 FLEXFILL soft reflectors (gold and white) 36” and 48”

LOWELL Fren L light with barn door, scrims, AC

LOWELL On-Camera VIP System Pro Light, with barn door, hard case

MISC grip equipment (clamps, stud nuts) to hang lights from

Hard Drives for HD video editing - by Michael Yip

These are drives that I've heard are solid performers for video editing:
http://www.bhphotovideo.com/c/product/659809-REG/CalDigit_720504_4TB_VR_External_Hard.html
http://www.bhphotovideo.com/c/product/650739-REG/G_Technology_GR4_4000_4TB_G_RAID_External_Hard.html

I typically like to use 2-drive array enclosures like this with my own raw drives. Total cost for 4TB would be about $340 or you can have OWC install drives for $380 (less than half price than CalDigit and $180 less that G-Tech):
http://eshop.macsales.com/item/Other%20World%20Computing/MEFW936AL2/

This is the quad-port docking station that will allow attaching a raw drive to eSata (for very high speed transfer) or FW800/400/USB port on a Mac tower:
http://eshop.macsales.com/item/Newer%20Technology/FWU2ES2HDK/

This is a 4-drive array that allows RAID 5:
http://eshop.macsales.com/item/Other%20World%20Computing/MEQX2KIT0GB/

Canon 7D Manual Audio Control - by Brian Galford

Don't buy anything until the 7D has manual audio control. Because so many of us are one man bands much of the time, notwithstanding talk of two-person double system sound, are we really going to change our mode of operation just because suddenly a tool was taken away from us in one model? As the article intimated, maybe a firmware upgrade is all that's needed. It sounds like the 7D has everything you want (rolling shutter included ; > ) except for a serious compromise in sound. When that is fixed, the camera will be lots more ready for primetime.

Final Cut Pro Custom Image Mask - by Roberto Mighty

Final cut pro custom image mask tutorial

http://www.youtube.com/watch?v=cPAJZCw1i5U&feature=related

High Dynamic Range Process - by Reggie Lofton

Here is a link one of my students sent me about the "High Dynamic Range Process".

HDR Video Demonstration Using Two Canon 5D mark II's  http://vimeo.com/14821961

Panasonic Micro 4/3 Camera - by Brian Henderson

I'm in the market for a new camera and this is one of the ones I'm considering. I have a gut feeling that Sony will come out with a better one fairly soon.

The description of the kit on Able  Cinetech's web site includes, "...two Panasonic Mirco 4/3 lenses that when combined have a focal length from 7 to 140 mm. No adapter are needed to use these lenses, and they work with the focus, iris, and optical stabilization systems in the camera. This allows for control over focus and iris with the Varizoom controller included, as well as the use of auto iris and focus options."