After my Fetishists post, I was invited by Mike Seymour to join he and Jason on Red Centre to discuss in greater detail the points I raised. It was a welcome opportunity both to drill down on each of the specific issues, and to clarify a few things that some of the many comments seemed to miss—namely, that I chose my “fetishists” out of respect (so please, those of you with the pitchforks, put ‘em away), and that as crowd-pleasing as a “shut up and shoot” post can be, this actually wan’t meant to be one. The truth is, all your favorite filmmakers are fetishists, and you should be one too if you want your films to be their best.

Technology and gear are not the first things I think about when I think about filmmaking, but they do tend to be the first things I blog about. If “none of the tech matters, just make a movie” was the end of the conversation then that would be the end of ProLost. Talking tech is great, and nobody does it better than Red Centre, so please subscribe if you haven’t already, and give a listen to episode 66.

If you’d like to play the home game while listening, here are full-size stills of the image of Mike from the post, before and after color correction. These stills are pulled from 5D Mark II footage I shot of Mike in the Tsukiji Fish Market in Tokyo, and you can decide for yourself if it’s compression, 8-bit-ness, or an insidious combination of the two that makes it tough to brighten Mike’s face.

Click for full-res camera original imageClick for full-res, graded image

Click for full-res, graded image with some preprocessing

On the show Mike also mentioned that he’s embarking on a new fxphd DSLR Video course as a follow-up to the popular-but-aging session that he and I shot in Japan. This time, Mike has nabbed someone who actually knows what he’s talking about, none other than Tyler Ginter of the 55th Combat Camera Company. I look at a helicopter and think, “how can I put this in my movie?” Tyler looks at one and says “I think I’ll jump out of that with 90 pounds of gear strapped to me (including a 5D Mark II). Check out Tyler’s videos on Vimeo and stay tuned to fxphd for more updates.

In my last post I made a barbed remark about the Sony NEX-VG10, based on early reports that it only shot 60i (NTSC) and 50i (PAL). Turns out it may actually have a progressive mode, which would make the PAL version an option for filmmakers in PAL countries, or those in the U.S. willing to jump through the 25/24 speed-change hoops like we old fogies once did with the first DV cameras. Personally, I’ll wait for real 24p, the importance of which Sony, unlike Canon, cannot pretend to be unaware. Now that so many camera manufacturers are fighting to give us DV Rebels exactly what we want, I won’t be expending any energy on cameras that don’t.

And last but not least, if you’re not on Twitter, this might be a good week to start.

From The Hollywood Reporter:

Bold Films has picked up PSYOPS, an action thriller from Scott Stewart and Gus Krieger.

Stewart, who is directing the vampire action thriller Priest, came up with the initial story, then developed it with Krieger, who will write the script.

Stuart Maschwitz, who co-founded visual-effects company The Orphanage with Stewart, is attached to make his directorial debut.

PSYOPS revolves around a covert U.S. military unit of psychological operatives who specialize in exploiting their target’s deepest fears. When on a routine mission to the Amazon Basin, they discover something more terrifying than they could have imagined.

Read the full story here.

When he’s not producing my directorial debut, Scott Twitters his adventures from the director’s chair of Priest. Follow him at @robotproof.

There, I got that all typed up without using any exclamation points. How’s that for self-control?

Can Mike Seymour and Stu talk about cameras for hours? Is Japan the greatest place on Earth? How bad do you want the Redrock Micro “Subling” rig? These and other pressing questions are answered in episode 61 of fxguidetv.

(Plus also lots of great moments from the now-underway DSLR Cinematography course at fxphd)

Subscribe in iTunes.

Registration is now open for the new July09 Term of fxphd, the most in-depth visual effects training you can find. This term I’m joining Mike Seymour in teaching a course on DSLR cinematography, for which Mike, John Montgomery, and I traveled to Japan to train our lenses on some of the most tantalizing and notoriously film-unfriendly settings on the planet.

The double-chin is due to either the awkward pose or all the amazing food we ate—possibly both.

Here you see me hand-holding my Canon 5D Mark II with Mike’s Canon 70–200 f/2.8L IS in Tokyo’s teen fashion capital, Harajuku. This ill-advised activity is made somewhat more tolerable by the funky support rig I’ve created by bending my Gorillapod GP8 (the badass metal one — coolest thing I’ve added to my kit in months) into an outrigger that lets me support some of the lens’s weight with my focus-pulling arm.

Mike has a couple of updates (first, second) on his Dean’s Blog, and there’s a terrific “o-week” video (right-click to download) that provides a sneak peek at some of what we shot and how we shot it, as well as teasers for the amazing array of other classes in the term.

If you can’t tell, I’m a (somewhat biased) fan of fxphd. Mike, John, and their worldwide team of professors give you the good stuff, the likes of which I’ve not seen anywhere else. If you want to learn visual effects from real artists working in the field, fxphd is the place to do it.

Complete course listing for the July09 term here.

Red Giant Software today announced the addition of a new Creative Director for the Magic Bullet product line. Me!

“The Magic Bullet vision is to create software that gives any production, regardless of budget, the look of a high-end feature film. We are immensely pleased that Stu is dedicating his time and vision to enhance and grow the Magic Bullet tools in 2009 and beyond. He has already begun to work on new Magic Bullet products, and you will see many new and updated tools coming later this year,” said Sean Safreed, Co-Founder and Director of Products at Red Giant Software.

The full press release also goes into some detail about the history of Red Giant, Magic Bullet, and The Orphanage.

While the announcement is exciting, it doesn’t actually represent a big change for me. My relationship with Red Giant has always been strong, and has always been about sharing with the world the tools that I create out of necessity when making films. I promise you that my filmmaking will always come first, and that anything I design for Red Giant is a tool that I wanted or needed or found missing in my arsenal.

Colorista and Magic Bullet Looks are perfect examples of this, and to kick off the party with Red Giant I recorded a little tutorial on how to use them to match the looks of this summer’s big movies.

Red Giant TV Episode 22: Creating a Summer Blockbuster Film Look

Thanks very much to Aharon Rabinowitz, host of Red Giant TV, for tidying up my tut and wrapping it in pure (and embarrassing) pimp. Aharon does a great job with Red Giant TV—if you want to catch every episode, subscribe in iTunes.

Update on Monday, March 15, 2010 at 10:12AM by Stu

Shortly after this tutorial, Red Giant Software released Magic Bullet Mojo, which makes it dangerously easy to give your footage this look. Check out my guided tour of Mojo.