Slugline

Simple, elegant screenwriting.

Needables
  • Panasonic LUMIX DMC-GH4KBODY 16.05MP Digital Single Lens Mirrorless Camera with 4K Cinematic Video (Body Only)
    Panasonic LUMIX DMC-GH4KBODY 16.05MP Digital Single Lens Mirrorless Camera with 4K Cinematic Video (Body Only)
    Panasonic
  • TASCAM DR-100mkII 2-Channel Portable Digital Recorder
    TASCAM DR-100mkII 2-Channel Portable Digital Recorder
    TASCAM
  • The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Peachpit)
    The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Peachpit)
    by Stu Maschwitz

Entries in Filmmaking (178)

Friday
Aug032007

Two Days, Two Rigs

Eric Escobar hit me up to DP his latest short, Sex Positive, last weekend. It was a two-day shoot, the first of which was a standard-def affair using my venerable DVX100a. The second day we shot with the prototype M2 rig seen here earlier.

Having the back-to-back experiences of using the DVX100a, with its ample manual control, familiar ergonomics, and dual XLR input; followed by the Canon HV20 with its barely-adequate controls but oh-so-lovely 1080p24 images, was a great education in what's terrific and what's still sorely needed in the DV Rebel's arsenal.

The M2 rig is experimental, so I won't review it except to say that both Eric and I would jump at the chance to use it again. He wants to shoot a feature on it, and I can't blame him. It worked well and we are channeling our feedback on its finer points directly to Redrock.

Enough typing—how about some pics? Here are two color corrected frames from day 2. In the second, that's day 1's footage playing on the TV in the background. Both of these frames happen to be made with that amazing Nikon 50mm f1.4 prime.

More later on the experience, the rig, the cameras, and our post path!

Thursday
Aug022007

Keep NYC Rebel-friendly

From the picturenewyork.org press release:

NEW YORK CITY: Picture New York WITHOUT pictures of New York. In one of the most photographed cities in the world, photographers and filmmakers, both professional and amateur, would be shut down by proposed regulations making it illegal for them to film or tape in NYC without a permit and a million dollars of insurance.

The proposed regulations would affect much of the small scale filming and photography in the city. In addition to artists, those making Industrials, fashion, wedding and architectural photographs could need a permit. The regulations would require a permit for 5 people with one tripod who shoot for 10 minutes or more in one place. (And this would include set up and break down!). A film school graduate with a camcorder, four friends and a dream could have to pay comparable insurance fees with HBO to shoot in New York City. Even parents making home movies in public parks could fall under the new rules.

Full press release

Petition

More info

Thursday
Aug022007

Trapped in a closet

...with actress Colleen Foy, DPing a short for director Eric Escobar using the Redrock Micro prototype rig. My first gig as a DP for someone else, and the first test of this rig in the field.

That's my Nikor 50mm f1.4 on the M2, and what you can't see is the Ikan V8000HD HD LCD monitor mounted to the rig on a Noga arm.

More images and words soon.

Thursday
Jul192007

¡Colorista Fiesta!

Dave Basulto of Filmmaking Central has a new article on mastering his latest feature film, Fiesta Grand. He followed the DV Rebel's Guide methodology to the letter and is delighted with the results.

Color correction can make or break a movie. It’s as important as having good sound. Having the right color can set the moods you are trying to convey to your viewers. Golden tones can help make things more cheerful. Bleach bypass made Saving Private Ryan look extremely authentic. My movie, Fiesta Grand, had a nice look in its raw format but I really wanted it to make an impression. But how do you color correct? This was something I fooled around with but never got too involved on prior films. Luckily we are in an age where powerful tools are at our disposal. No longer does the independent filmmaker have to dream about using the DaVinci. Let the rebellion begin!
For those who don't yet have The Guide, or for readers who haven't yet tried out the DV Rebel Tools, this is a great overview of how they help automate the process of mastering in After Effects.

(And for the record, there's nothing about the correction I did on Lola from A sus órdenes that I could not have done with the DV Rebel Tools and/or Colorista in After Effects.)

Coloring the Fiesta on Digital Media Net