JACK CABBAGE

Ian Pfaff Demo Reel

2009-08-17T13:37:00.001-07:00

Well, there is creative marketing and then there is CREATIVE marketing. In this case, we have FCP editor, prop builder, director (and other things) Ian Pfaff, who has put together one of the more original demo reels I have ever seen, showcasing what I assume to be most of his creative talents, though he may well have more...

Chances are, if you throw a rock in LA, you are going to hit somebody's demo reel with it, so take a page from Ian Pfaff's book and do something creative with yours!

Ian Pfaff's Demo Reel from Ian Pfaff on Vimeo.

Canon HF100: A Good Camera for Web Content

2009-08-08T23:53:00.000-07:00

One HD camera that is currently being produced by Canon (makers of the HV20, HV30 and XH-A1 among other models) is the HF100, an affordable and compact piece of equipment that has been rendering some pretty impressive results in terms of simple web content.

One example of the camera being put to use for these purposes is the work of personal trainer and fitness expert Brianna Graves, who runs the WitnessForFitness website. In the below clip, you can see the HF100 recording some of her instructions on static stretching.

As you can tell, the camera is rendering some pretty good detail, is handling sky and subject contrast quite well, and is just an all-around decent piece of equipment for recording and uploading to YouTube or the video hosting site of your choice.

As an additional example, here is a clip from the same site that focuses on some leg strengthening exercises. Over the course of these two videos, you get to see the camera operating and dealing with skies of various brightness. Given the relatively limited manual controls available for cameras in this price range, on the whole it does a pretty decent job of maintaining detail without silhouetting the subject or blowing out the sky.

Anyway, it's another option for you to consider if you are shopping in the sub-$1,000 range or looking for a "B" or "C" camera for your film projects.

As an "A" camera, I can imagine that with a very talented eye and some attentive color correction, you might be able to achieve something comparable to Ayz Waraich's "White Red Panic" but don't underestimate the amount of preparation and post-production that Ayz endured in order to get those results with a camera of that price range (the Canon HV20).

Sony EX1: Ultimate Boston

2009-05-01T11:03:00.000-07:00

The following clip is a nice compilation of footage put together by Tom Guilmette that gives us a nice sampling of two pieces of equipment of interest.

In addition to the Sony PMW-EX1 camera, Tom has added the Letus Ultimate depth of field adapter, a model up from the popular Letus Extreme.

In the following clip, in addition to a pretty good remix of The Killers, we get to see these two pieces of equipment working in conjunction (though the Letus Extreme was used for a few of the shots) and some experimentation with overcrank and undercrank.

Ultimate Boston - Letus Ultimate 35mm Film from Tom Guilmette on Vimeo.

Colin Timberlake: The Wall of Underappreciated Actors

2009-04-20T10:49:00.001-07:00

Well, here is a link for those of you who focus more on the acting side than the technological side of filmmaking. Over at Colin Timberlake, they have established the...

WALL OF UNDERAPPRECIATED ACTORS

It is a collection of some of the most underrated and under-recognized performers of the last few decades. For one, it may inspire you to watch some good films and TV shows to get ideas for what you would like out of your own supporting players. For another, those on the wall that are still with us are underappreciated, so they may well be within your price range for your indie films!

Slumdog Millionaire: The Rolling Shutter Frames

2009-04-19T01:45:00.000-07:00

Given the great deal of interest that has been expressed not only in the landmark film Slumdog Millionaire and its groundbreaking and technologically innovative director Danny Boyle, but also in the film's use of the Silicon Imaging SI-2K camera for some of the key shots in the film...

...it will probably come as no surprise that there has also been expressed some interest and questions about the rolling shutter employed by the camera and its ramifications for the film itself.

With those questions in mind, I will say the following: there are some rolling shutter artifacts that do appear in Slumdog Millionaire, and while I myself am one of those who tends to avoid the use of a rolling shutter in potentially troublesome situations, I am also one whose eye has been trained to a ridiculous degree to spot these sorts of things.

So while I will state that the rolling shutter does reveal itself in a couple of instances, I will also state the following even more loudly: The film won the Oscar for Best Freaking Picture. The point is, that those on the technical side may obsess on the minutia of a given shot or film sequence, while even the voters for the Academy will be forgiving if a sequence or film works emotionally. This does not mean that you should abandon sound filmmaking principles - it only means that a couple of rolling shutter artifacts in a feature-length film are not going to be what the audience goes home talking about if you have done your job as a filmmaker.

With that said, here are a couple of frame grabs from about one hour and forty minutes into the film, as our protagonist is in a car, trying to make his way through a throng of camera-wielding fans.

As you will know if you have read any of my musings on the rolling shutter, camera flashes present a specific problem for this method of image capture. As you can see, only a portion of the sensor was active for the miniscule moment in time when the flash was active. By the time the rest of the sensor had taken in the image, the flash was gone. Likewise, we have a partial exposure in the frame below.

So I guess it all boils down to this. Even the pros -- even the Best Picture Winner pros can get some partial exposure artifacts in their work. But before you freak out, ask yourself... Did you notice when you watched the movie? I highly doubt it. So while I don't want to talk you out of being a perfectionist in your filmmaking, do also realize that some things are more worthy of your finicky obsessions than others. I, for one, am glad that Danny Boyle didn't cut these shots from the film.

Canon XHA1: The TAKE CANCER OUT Interviews

2009-04-16T21:05:00.000-07:00

For another example of what is being done out there with the Canon XHA1, we have the following interview of mixed martial arts star Kultar Gill, put together by the people at TAKE CANCER OUT. The footage was captured with the A1 and is part of their continuing campaign to combat cancer.

TAKE CANCER OUT - Kultar Gill - Part 1 from A Dawg on Vimeo.

TAKE CANCER OUT - Kultar Gill - Part 2 from A Dawg on Vimeo.

TAKE CANCER OUT - Kultar Gill - Part 3 from A Dawg on Vimeo.

JVC Everio HD: Footage with DIY DOF Adapter

2009-04-03T22:26:00.001-07:00

The following is just a short clip of the JVC Everio (GZ-HD7 model) being used in conjunction with a homemade depth of field adapter. As you can see, there is a shallower depth of field than would typically be expected from three 1/5" chips.

The footage is a pretty rudimentary test, and as you can see, while somewhat filmlike, the footage does also have a bit of a 1970s porn or home-movie feel to it as well. This would actually make this combination of tools quite useful if you are going for either of these looks (your reasons are your own!) with an example being an insert for a film like 8 MM or the opening credits of The Wonder Years.

But for higher-end requirements or the bulk of a narrative piece, this may or may not be to your liking.

Canon XHA1: Panalook Preset

2009-04-03T19:54:00.001-07:00

The following video clip is simply a glance at the "Panalook" preset in action. This is one of the many presets that have been developed by devoted users to maximize the performance and color rendition of the Canon XHA1. In this case, it is just a collage of outdoor shots.

One particularly noteworthy (and unrelated) aspect of the video is the creator's use of a rack focus between different titles that are on screen simultaneously (in the opening moments). This was an effective technique that also highlighted the relatively shallow depth of field used in the video.

Canon XH-A1 - Panalook preset from Pathelin on Vimeo.

20,000 Visitors in the Last 6 Months

2009-03-26T16:50:00.000-07:00

Just a quick note to observe that today marked the 20,000th visitor to Jack Cabbage over the last six months. I just wanted to make a short posting, given the occasion, for the visitors who stop by regularly to see what's happening in the JC world of independent film and video.

I've received a good deal of feedback from visitors over the last while and always appreciate the positive responses and hope that I've been able to be of assistance on the occasions where readers have asked for advice and pointers.

All in all, producing JC has been a rewarding experience and I'm glad that there are people out there pursuing their goals, with respect to filmmaking and videography, that have been able to find this humble resource useful in their continued endeavors.

Thanks for visiting and making JC one of the stops on your tour of the filmmaking interweb.

Nikon D90: "Elecric" featuring Melanie Jade

2009-02-19T18:04:00.000-08:00

The following clip is one of the best examples I have seen of effective filmmaking with the Nikon D90's video capabilities. In this instance, a PROJECT SUNDAY music video was put together featuring Melanie Jade.

In this instance, there was extensive post-production and image correction work done on the footage. However, the final result is indeed more than one might think possible at first glance from what is essentially a beefed-up still camera.

Project Sunday feat Melanie Jade "Electric". from kenny azeez on Vimeo.

HVX: "Corrado" Teaser Footage

2009-02-17T23:38:00.000-08:00

The making of "Corrado" is a project we have been following, particularly since a first-time feature producer began to document his plans and experience as he went in this FORUM THREAD at DVXuser. The thread makes for great reading, as the process is described in which talent such as Tom Sizemore and Frank Stallone were secured, as well as much of the experience from script to screen.

The cameras have been rolling and some teaser footage from "Corrado" is now available below. It is particularly relevant to our purposes as the project was compiled with a Panasonic HVX + depth of field adapter combination.

Enjoy the footage...

Corrado Trailer from Rob Verrilli on Vimeo.

Nikon D90: Pulling Focus (Video)

2009-02-17T03:38:00.000-08:00

When it first appeared on the market, the Nikon D-90 DSLR camera made a lot of waves because it not only provided the capacity to take excellent still photographs -- but also added the ability to record 720p video, at a true 24p frame rate.

Naturally, there is the ability to change lenses as with most still cameras. But the ability to change lenses in conjunction with the D-90's chip allow the potential to record video with a much shallower depth of field than would normally occur with more expensive prosumer video cameras such as the Canon XHA1 or Panasonic HVX with their three 1/3" CCD chips.

As an example for your reference, I have collected a few videos taken by D-90 users, with an emphasis on the camera's ability to pull focus (providing a shallow depth of field) while in video mode. Ths shallow depth of field is typically only achievable with prosumer video cameras when a depth of field adapter is employed (with its resulting light loss).

D90 from Drew Ott on Vimeo.

Testen Nikon D90 from donker:oranje on Vimeo.

Nikon D90 from Laurence Davis on Vimeo.

Canon HV30: Slow Motion Footage

2009-02-17T02:19:00.000-08:00

Here at the Jack Cabbage Camera Battles, we have spent a fair bit of time examining the affordable but effective Canon HV30. In the interests of a more complete survey of the camera and its performance, I have collected several clips of the HV30 being used to capture slow-motion footage. This will naturally be a consideration for many filmmakers, and hopefully the following clips will help illustrate the results that are being achieved by current HV30 users.

The following clip shows tap water in slow motion, passing through a wine glass (also acting as a prism for light).

Slow Water HV30 Slow motion from Copenhagen on Vimeo.

The clip below shows people diving (with resulting water splashes) and a strong blue color-correction.

HV30 Slow Motion Cinematography from Brett on Vimeo.

A hummingbird in action...

Slow-motion Hummingbird from Paul Konopacki on Vimeo.

And some talented soccer that would even look cool at normal speed...

slow motion test. Canon HV30 from styleload on Vimeo.

SI-2K: Slow Motion Footage

2009-02-17T01:59:00.001-08:00

Continuing our exploration of the Silicon Imaging SI-2K, we'll take a look at some slow-motion footage of a water splash that has been recorded by Louis Silverstein. In this instance, the footage was recorded at 150 frames per second (300 FPS with interpolation) and is being played at 24P.

SI2k Slow-Mo Test from Louis Silverstein on Vimeo.

SI-2K: Low Light Performance Test

2009-02-16T22:18:00.000-08:00

Here we have another video clip from the survey files of the Silicon Imaging SI-2K, the camera most famous for being Danny Boyle's choice of recording medium for Slumdog Millionaire.

In this instance, Louis Silverstein has set up the SI-2K with only a 75W bulb (bounced off a wall) as the light source. This provides a makeshift test of the camera's low light performance. The additional camera settings for this test were ISO:400 and 2k@24P.

Low Light SI-2k from Louis Silverstein on Vimeo.

SI-2K: Initial Setup Video

2009-02-16T19:29:00.000-08:00

You may be familiar with the Silicon Imaging SI-2K, the little piece of equipment that Danny Boyle used to create his critically beloved sleeper hit Slumdog Millionaire.

For those considering purchase and/or rental of the camera, or just simply interested in comparing ergonomics and ease of use between cameras, the following is a video provided by WorleyWorks, illustrating the out-of-the-box initial setup of the SI-2K.

Initial Setup SI2k from WorleyWorks on Vimeo.

Slumdog Millionaire and the SI-2K

2009-02-16T18:19:00.000-08:00

Director Danny Boyle (28 Days Later, Trainspotting) has always been at the forefront of maximizing his storytelling ability with the innovative use of less-than-cutting edge technologies. He has been wowing the world with theater-worthy productions utilizing equipment that is almost exclusively reserved for the "straight to video horror" market and TV reality shows.

His latest success story is the critically acclaimed Slumdog Millionaire, a masterpiece that was put together using the Silicon Imaging SI-2K camera. Chalking up a victory for the CMOS side of the camera debate, this piece of equipment features a single 16mm CMOS sensor.

The camera is presently positioned in the $22,000 range (rough estimate, with price including both the head and recording unit). One can purchase the head only ($13,000 or so) and record directly to computer with the appropriate setup, but that is a matter for another post.

This latest coup by Mr. Boyle is significant in that he has garnered 10 Oscar nominations for a digitally recorded film. This is undoubtedly a trailblazing feat for the independent filmmaker, who is now seeing firsthand that talent and skill plus a digital camera can lead to the very pinnacle of filmmaking achievement.

ColinTimberlake.com: The Movie Montage Hall of Fame

2009-02-03T00:44:00.000-08:00

Just a quick note to let everyone know about an interesting collection of video clips that has been assembled at ColinTimberlake.com.

Colin has amassed the MOVIE MONTAGE HALL OF FAME, which features a collection of Hollywood's greatest montage sequences, taken from several films ranging from Rocky to Teen Wolf and beyond.

Anyway, it's a good collection of 3-minute "passage of time" movie magic that makes for entertaining viewing, a few good memories, and also some good guidance if you are a montage-oriented filmmaker. Enjoy.

Canon XHA1: A User's First Day with the Camera

2009-01-27T07:57:00.001-08:00

The following video is simply a decent example of what people are doing with the Canon XHA1 directly out of the box, on the first day. The filmmaker here (Nathan McClendon) did a little bit of research and downloaded Steven Dempsey's VIVIDRGB preset (wisely avoiding the Canon factory settings) but beyond that, did not benefit from any accessories such as a depth of field adapter, steadicam, dolly or such. The end result? Just some pretty good images for someone's first day with the camera.

Xha1 First Day from Nathan McClendon on Vimeo.

"Dangerous Women" with Ellen Sandweiss: Episode 1

2009-01-27T05:52:00.000-08:00

I mentioned previously that a new web series called "Dangerous Women" featuring the three actresses from the original "Evil Dead" film was in the works. The 1981 Sam Raimi film starred Ellen Sandweiss, Betsy Baker and Sarah York, and the three have now reunited for the StrikeTV web series. I am particularly interested in watching how the web model for content production (particularly with respect to drama) evolves.

You are now put on notice that EPISODE 1 of "Dangerous Women" is online.

"Dangerous Women" starring Ellen Sandweiss

2009-01-20T20:11:00.000-08:00

In another example of how made-for-the-web programming is developing as a prolific and commercially viable form of programming - though the profit model has yet to fully mature - we have the initial trailer for the upcoming web series "Dangerous Women."

The series stars horror scream queen Ellen Sandweiss, most famous for her work in the initial "Evil Dead" movie, directed by Sam Raimi (the "Spiderman" series of films). She has also gone on to a fairly prolific DVD horror film career.

At present, there is no embeddable version of the trailer. However, it can be easily viewed on Facebook video by visiting the following link: DANGEROUS WOMEN TRAILER.

Enjoy!

Canon XHA1: "Sweet Talk"

2008-12-16T11:36:00.001-08:00

The following clip is a homemade video to "Sweet Talk" by The Killers, put together by Montauk Media with the Canon XHA1.

Sweet Talk-The Killers from Montauk Media on Vimeo.

It goes to show that you can do some decent stuff with a camera, no money, some set design and a bit of editing practice.

Website: Acting-Resource.com

2008-12-14T12:49:00.000-08:00

It is so often the case that people involved in one area of filmmaking will neglect the other areas that seemingly have little do with their own area of expertise. The worst offenders by far are directors who are oblivious to the nature of acting, and who are indifferent to remedying that shortfall.

I personally know one director who transitioned to calling the shots from being an expert in make-up and prosthetics. To this day, he works as though he is crossing off a checklist of shots, each one a success as long as certain technical criteria are met. It makes virtually no difference if the acting was good, bad or ugly, or if there was any emotional content whatsoever. If the actors were in frame and they said the right words, it is time to move onto the next shot.

To his credit, he gets work done quickly and efficiently, and the make-up and prosthetics are always spot-on, but the acting performances are often a crapshoot, and the characterizations are limited to what the actors are able to bring almost entirely based on their own preparation, with minimal guidance or motivational assistance on "the day."

I advise actors and those on the other side of the camera to check out:

WWW.ACTING-RESOURCE.COM

This site will not make bad actors into good ones, nor instantly make any director an acting and characterization expert, but it does present some helpful tips, clips and exercises for actors. A review of some of the materials will help keep actors sharp and also give those working on the technical side of film an opportunity to glimpse into how the actor works, and what to look for in their performances.

Canon XHA1: "Sleeper"

2008-12-03T18:35:00.000-08:00

Just another quick note, in the interest of helping get the word out on indie productions. The following clip is a sample from "Sleeper", a low-budget vampire feature being shot on the Canon XHA1. It's another example of what people are out there doing with prosumer cameras these days. In this case, it was shot in 25f mode. My understanding is that a Letus Extreme adapter was also employed in the shoot, which is continuing at Catsby Films Ltd.

Sleeper: how to kill a vampire - SCENE 19 - Rough Cut/WIP from Catsby Films Ltd on Vimeo.

Canon HV30: Birth.Life.Death.

2008-11-21T00:10:00.001-08:00

I'm not quite sure what to make of this. But I do think I have to say that whatever the filmmaker was going for, it was achieved. It was a combination of sexy-turned-disturbing and bleached-humanoid-something. Anyway, the point is, the filmmaker had a Canon HV30 and a depth of field adapter, and was able to achieve the not-so-simple goal of creating a mood, ambience and character...with the benefit of music but without the advantage of dialogue.

As well, there are some simple but effective editing tricks used in this piece. The filmmaker does a very good job of using post-production to create a sense of progress and motion, even when a number of the shots were locked down on a tripod.

Birth.Life.Death. from Tadas Svilainis on Vimeo.

Canon HV30: "The Shepherd"

2008-11-12T08:15:00.000-08:00

Here, we get another glimpse at some of the work being achieved with the Canon HV30. In this instance, the project is "The Shepherd," directed by John Merizalde and David Torcivia. The directors are pre-film-school teenagers who simply had the initiative to "get out there and do it."

While it may not be the epitome of perfection when it comes to the technical side, there are some good moments and at this stage of one's career, just gettin' er done is a significant achievement. The piece has rightfully received some positive feedback.

Below you will see both the trailer and the finished piece.

The Shepherd HD Teaser from Via Optima on Vimeo.

The Shepherd HD (Full Film) from Via Optima on Vimeo.

Canon HV30: Green Screen by Richie Muniak

2008-11-07T20:40:00.000-08:00

People are achieving some pretty decent key work with the consumer-priced Canon HV30.

I have previously put up a couple of clips by Richie Muniak from his posted ADP work but it is an interesting exercise to look at the variety of clips he has achieved by keying one simple shot (a few seconds of an unusual dance).

Some of the finished products will illustrate the possibilities for matching your keyed image to various backgrounds, including classic 1980s video games. And even if you find a couple of the placed keys aren't color corrected to perfection, the series is still worth it for a laugh.

What the fractal noise?

ADP: Raw footage from Richie Muniak on Vimeo.

ADP: Multi-Man Marathon from Richie Muniak on Vimeo.

ADP: Leisure Suit Larry 1 (EGA) from Richie Muniak on Vimeo.

ADP: La Muette on a good day from Richie Muniak on Vimeo.

ADP: Billy Blanks from Richie Muniak on Vimeo.

Book Review: "Set Lighting Technician's Handbook" by Harry C. Box

2008-11-05T20:48:00.001-08:00

Yeah, that's right. The guy's name is Harry Box. Get it out of your system and then continue reading.

Okay, back to business. This is a book that is very good for what it is, but which may not necessarily be exactly what you're looking for. If you are indeed a set lighting technician, and you are learning or want to specialize in the technical side of lighting sets...then you have struck gold.

This book breaks down the various tools of the trade, describes the technical nuances of the equipment and principles in a digestible manner, and if you read attentively, you should walk away with a good understanding of electricity as it applies to the set, the organizational structure and chain of command involved in a shooting day, and some valuable tips that will enhance your efficiency and professionalism in this area of filmmaking.

However, a lot of people may be purchasing this book as an introductory guide to the artistic and mood-based elements of cinematography and set lighting. If this is your goal as you stock you library, then be notified that you still stand to benefit from having this book in your arsenal, but that those elements of the field are not the strong point (nor are they the intended aim) of this particular book.

There is a good (but fairly cursory) discussion on Lighting Objectives and Methods that will address these aspects of cinematography. But these are largely supplemental considerations to how you, as a set lighting technician, can better do your job as a technical professional. Nonetheless, in filmmaking, the technical cannot succeed without the artistic...and the artistic cannot succeed without the technical. So you had best verse yourself in both to some degree.

Harry Box is a... Quiet, class. Harry Box is a sound professional with good, experientially-based advice. Provided that you are purchasing this book for the appropriate reasons, it has the JC stamp of approval. You can visit his IMDB PROFILE to check his credentials for yourself.

Below is a link to the book where you can peruse the first few pages for yourself and, of course, draw your own conclusions...

HVX: "Should You Return" by Copeland

2008-11-03T21:47:00.000-08:00

Here we have some interesting work done with the HVX. It is the music video to Should You Return by Copeland, which is quite an evocative song.

Here is also a link to the QUICKTIME FILE if you would like better resolution.

In this DVXUSER THREAD, the filmmaker briefly discussed his method for the piece, including his use of the frame rate hack and varying camera setups to achieve different looks for two different worlds. You can visit his OFFICIAL SITE to learn more about his work.

Twilight Fest: Films Are Up and Ready for Voting

2008-11-02T15:42:00.000-08:00

Well, I mentioned earlier that the folks at DVXuser had implemented Twilight Fest, an online short film festival with a theme inspired by The Twilight Zone and other eerie / bizarre programming from the past.

The entries have been submitted and are available to be viewed and voted upon HERE. You may need to log in but the site provides a "test_user" login ID and password.

Take a chance to watch and enjoy what your colleagues around the world are up to.

Canon XHA1: Green Screen - Footage 2

2008-10-27T02:26:00.000-07:00

I already posted a previous EXAMPLE OF GREEN SCREEN FOOTAGE with the Canon XHA1.

I figured this video warranted a further post not only because you get to see the green screen and a pulled key, but because the poster (Jon Lawrence) also takes a few moments to describe his lighting setup.

Chroma Key Demo - HD from Jon Lawrence on Vimeo.

You can also visit Jon Lawrence's blog HERE, where he discusses his photography endeavors among other things.

HVX: "Stand By Me...As Cops"

2008-10-26T03:47:00.000-07:00

Here we have an example of the HVX being put to good use. Regrettably, the clips are YouTube-hosted and subject to less-than-ideal quality. Nonetheless, a Toronto-based "comedian turned filmmaker" has taken the dialogue from "Stand By Me" and transplanted it into a "Hill Street Blues" setting with pretty good results.

DIY: Microphone Pop Filter

2008-10-24T04:38:00.000-07:00

A pop filter for your microphone is not an onerous expense. You have to really go out of your way to spend in excess of $50-100, and you can even get away with spending $20. That being said, here are a few DIY videos with respect to making your own pop filter for $10 or less.

In a filmmaking context, a pop filter will be of use particularly when it comes to ADR. You will know what the absence of a pop filter sounds like by recalling audio cases where a hard "P" or "T" hits the microphone with excessive air pressure, creating a noxious sound. Also, painfully hissing and airy "S" sounds can be corrected with a filter.

The principles are pretty straightforward. Enjoy the videos.

Also, here is a step-by-step ARTICLE from DeanSabatino.com on constructing your own pop filter.

HVX: "Play the Wall" by Jaylyn Ducati

2008-10-14T03:46:00.000-07:00

Just another note on some of the things being done with the HVX these days. The combination of the Panasonic HVX-200 (not the updated HVX-200a) and a Brevis35 depth of field adapter have been used to film the music video for "Play the Wall" by Jaylyn Ducati. The work is being done over at PUFFIN FILMS.

You can view a .MOV file of the test-edit by clicking HERE.

Also, you can check out a DVXUSER THREAD on the topic, where there are more screen captures.

HVX: "Corrado" Production Blog

2008-10-08T23:20:00.000-07:00

I have, on more than one occasion, mentioned things of interest happening at DVXUSER, a forum I consider to be one of the better discussion communities for filmmaking. In this case, though it has been around for a while, I am not sure that everyone is familiar with the production blog for an independent feature called Corrado, written and directed by Adamo Cultraro.

The discussion encompasses his equipment list (which is based around a Panasonic HVX and Letus Extreme adapter), as well as the process he went through marketing the script, and ultimately signing name talent including Tom Sizemore (Heat, Saving Private Ryan).

So anyway, I wanted to make you guys aware of this FORUM THREAD so that you can glance through it and hopefully glean some useful information from the process discussed.

As the thread continues, it does degenerate a bit into some off-topic discussions and bickering. But it's not too difficult to stay on course and separate the wheat from the chaff as you read.

You can view the film's IMDB profile HERE.

Canon HV20: Green Screen Footage

2008-10-08T15:31:00.000-07:00

We have seen some green screen work with various cameras from the Sony EX1 all the way down to the Canon HV30, so why not take a baby-step down further in price range and see what is being done with the Canon HV20.

In the following clips you'll see green screen key work of various quality, which should represent a decent sampling of the key work being achieved in the trenches with the HV20.

Second Green Screen Attempt from Mike Parkinson on Vimeo.

Green Screen Test w/ Cheap Shop Lights from purvistv on Vimeo.

HV20 Greenscreen Tests from Edgar Swooth on Vimeo.

Green screen test from Wes Vasher on Vimeo.

1st Green Screen Test from Kevhead101 on Vimeo.

Green Screen : Dance Evolution from Derek on Vimeo.

And the following two clips show a raw-footage and post-key combination with the HV20.

green screen(before) from dandacameraman on Vimeo.

greenscreen test(after) from dandacameraman on Vimeo.

Note, as always, that the technique of the people involved and their color correction will be large factors in the ultimate success of a given key, to the point where you can't attribute everything you see (positive or negative) to the camera itself.

Canon HV30: Green Screen Footage

2008-10-06T03:22:00.000-07:00

In the interests of a comprehensive look at what people are achieving with the Canon HV30, I have rounded up a bit of green screen work that has been produced with this camera.

Note that in the following clip, some color correction to match the lighting of the skin with the background could have produced a reasonable final key product for a camera in this price range.

First Canon HV30 Green Screen Test from Brett on Vimeo.

And here, we see the raw footage in the first clip, followed by the keyed-out work in the second.

ADP: Raw footage from Richie Muniak on Vimeo.

ADP: Multi-Man Marathon from Richie Muniak on Vimeo.

Kind of reminds me of the opening of Superbad for some reason...

Philip Bloom Short Film Competition #2

2008-10-05T23:09:00.000-07:00

The 2nd Philip Bloom film competition has just been announced, with an open call for anyone and everyone to participate. In the vein of Mr. Bloom's own work, the contest involves taking a track of pleasing music and interpreting it through images as you see fit, possibly with a cinematic collage, possibly in some other way if it suits your fancy.

The deadline for entries is November 15.

Further information can be found on this THREAD at Philip Bloom's forum.

I'm not sure what prize there is, if any. In Mr. Bloom's words, he is "hoping to get a couple of good prizes this time." That said, it sounds like great practice and an interesting challenge. With the amount of time most of you probably spend in the editing room anyway...

The familiar but royalty-free music can be downloaded HERE. Give it a listen and see if anything comes to mind...

Addendum:

We have been informed that the prizes include a $500 voucher from Letus Direct and a copy of Magic Bullet Looks, a piece of software that can do wonders for your color correction, even if you're a beginner. Anyway, if you were on the fence about participating, that should present a bit of motivation.

Canon HV20: "White Red Panic"

2008-10-05T22:42:00.001-07:00

Well, this piece of work by Ayz Waraich has received a great deal of fanfare, both in the online casual viewing community, where it has been well-received by the public, and also by critics and experts, as it has been covered in professional write-ups such as this PROLOST ENTRY by the venerable Stu Maschwitz.

The Prolost blog post also includes a few before-and-after screen captures of the color correction process used in the film, which was undoubtedly a huge contributor to the short film's moody success. The color correction techniques are further discussed in this FORUM THREAD at the Rebel's Guide community.

This short film generally speaks for itself.

White Red Panic - SHORT FILM (HD) from Ayz Waraich on Vimeo.

With this piece of work, Mr. Waraich and company may have possibly (in their own small way) done as much for the reputation and marketing of the HV20 as any international advertising campaign that Canon could have launched. They generally took the "Robert Rodriguez Approach," working with simple equipment (a bare bones HV20) and focusing on shot setup and cinematic style.

Below is the trailer for the short film.

White Red Panic - TEASER HD from Ayz Waraich on Vimeo.

The point is...the limitations in filmmaking are usually the people and not the equipment. In the right hands, you can take a Canon HV20 and do something pretty impressive. That said, if you have a buddy willing to sell you his RED ONE for the same price...

Also available online is a PODCAST INTERVIEW with director Ayz Waraich.

Useful Image: Red Resolution Chart

2008-10-05T20:44:00.000-07:00

Before you try to slap me in the face and yell, "Hey, you're feeding the corporate machine!" just relax. I previously posted another useful image, a RESOLUTION CHART comparing various digital recording formats.

This is a secondary follow up, as Red-centric as the post may be. Nonetheless, if you were unaware of the resolution of the various Red chips and how the models related to each other (whether they be the Red One, Epic, or the currently purgatory-resident Red Scarlet), this may be a bit of useful trivia.

Useful trivia...is that an oxymoron?

JVC Everio HD: Footage from the Trenches

2008-10-05T18:27:00.000-07:00

Well, it's almost impossible to get away from the commercials on TV. It's here. The JVC Everio. Affordable HD filming with easy one-button upload to YouTube, etc...

In this case, we are looking at the Everio GZ-HD low end series (meaning the HD3 through HD7). This should be noted because there are several models of Everio and even several models of Everio GZ-HD.

The HD3 through HD7 all utilize three 1/5" CCD chips. Obviously, at 1/5", this is not the camera for you if you happen to be a shallow-depth-of-field fanatic. When you get up to the HD30 and HD40 models, you have 1/3" CCD chips (like the Canon XHA1 or XLH1, or the Panasonic HVX).

The low end GZ-HD series is fairly cheap at $1000-ish (with some upward and downward range depending on the model and rebates). They feature a 10x optical zoom and some manual controls, as well as a limited tapeless recording option. So make no mistake, this item is not too bad for its price point.

However, it is more or less the "point and click" of HD cameras, and while it does provide a bit of ability to manually change the settings, this unit is really not marketed toward consumers with the knowledge or experience to take full advantage of a wide range of manual tweaking options.

That said, the footage you are likely to see out there from the JVC Everio is likely to have a hard time living up to the XHA1 / HVX / EX1 footage out there - not only because of any inferiorities of the camera, but because it is likely to be placed in the hands of consumers who are less likely to have a cinematography or technical background. It's not their fault. They're just buying some affordable HD quality and running around having fun.

Anyway, here is a small handful of clips from JVC Everio users. And in one or two instances, you have to give the users credit for trying to take full advantage of the camera's (limited) manual controls.

JVC EVERIO GZ-HD7

JVC Everio GZ-HD7 (Mini Test) from Joseba1 on Vimeo.

JVC EVERIO GZ-HD3

Short Trip to the Audubon Zoo with the Everio JVC GS-HD3U Camcorder from Robert Dabdoub on Vimeo.

The Jack Cabbage Shopping Guide

2008-10-04T16:29:00.000-07:00

Just a quick note to let everyone know that I have added (in the top left) the JACK CABBAGE SHOPPING GUIDE.

This is essentially a collection of items that can be purchased online, organized by type and function. Whether you are planning on purchasing any particular items or just doing some window shopping, hopefully this will help you get a quick handle on the going rates for certain common, necessary and optional items in your filmmaking / videography pursuits.

All of the items in the shopping guide I either own, have owned in the past (and did not hate them), or have given serious consideration to purchasing. In otherwords, some items on there I would personally vouch for. Others, I am not able to say anything bad about from personal experience. But none of them do I consider to be poor items or not worthy of consideration.

I know that when I was starting out, just finding out (a) what items might be necessary or useful and (b) what were reasonable prices for those items, could be a fairly exhausting, overwhelming and (at times) discouraging exercise. The items in the Jack Cabbage Shopping Guide are by no means exhaustive and many seasoned pros would have alternate preferences. But if it gets you started on the right path, then I'm a happy man.

Canon XHA1: "The Remarkable Gift"

2008-10-04T12:43:00.000-07:00

Well, I'm not going to make a post every time Steven Dempsey puts something up on vimeo. However, "The Remarkable Gift" is a fairly recent offering and while "Disjecta" has clearly shown that he knows how to nicely frame a shot, capture maximum detail with the Canon XHA1 and masterfully color correct the footage...

This particular short represents a nice collage in terms of creative editing and filmmaking techniques, as well as the achievement of a truly meaningful narrative. It seems in some ways to be a creative culmination of the visually pleasing photographic pieces to date.

The Remarkable Gift from Steven Dempsey on Vimeo.

This piece was shot with a combination of the XHA1 and Letus Extreme depth of field adapter, and also some shots were done with the Canon XLH1, the sister camera to the XHA1 which allows interchangeable lenses but utilizes an identical 1/3" CCD chip to that of the XHA1.

Website Layout Augmentations

2008-10-04T11:44:00.001-07:00

Hey everyone, thanks for continuing to stop by and for the support. As you can tell, we're undergoing some augmentations in the layout of the website. Hopefully they'll be to your liking and facilitate your navigation as you continue your quest for knowledge in cameras, stabilizers, depth of field adapters, and all things digital media.

Canon XHA1: VIVIDRGB Preset

2008-10-01T10:29:00.000-07:00

It has been around for a little while, but it is one of the more popular and effective custom presets for the XHA1 and deserves a bit of special attention.

The VIVIDRGB preset was developed by XHA1 guru Steven "Disjecta" Dempsey (of Pine Lake Films).

The preset itself can be downloaded HERE.

VIVIDRGB actually underwent a couple of incarnations during its development and refinement. The above link is to the final version.

Here are a few clips of VIVIDRGB in action.

Trying out the VividRGB preset (XH A1) from Jesper Dudal on Vimeo.

Canon XHA1 Test1 VividRGB preset from videonivaria on Vimeo.

And here is an interesting "behind the scenes" from a music video shoot using the VIVIDRGB preset on the XHA1.

Judas Feet :: "Mockingbirds" from Taylor Rudd on Vimeo.

Be sure to thank Steven Dempsey for his fine work and generosity in sharing as your captured images become infinitely more compelling versus the XHA1's out-of-the-box settings.

Book Review: "Acting for the Camera" by Tony Barr

2008-09-28T07:01:00.000-07:00

I will grant you that most of the topics we deal with here at JC relate to what happens either behind the camera or once the camera is turned off and everybody has gone home.

But when you are directing, do you not expect the actor to trim his or her movements and expressions in an extreme close-up? Do you expect them not to whip quickly all over the frame in a choker? Well, that's because either explicitly or implicitly, you want them to respect the challenges faced in the editing room with matching motion and physical pacing. There are dozens, if not hundreds, if not thousands, of tiny little things actors do that aren't necessarily related to the emotional truth of their performance or character, but rather are geared toward making the job of everyone else on the film easier. As a result, their performance is more effective.

Good, experienced actors do these things as a matter of second-nature. And at least on some level, they have an intuition or knowledge of how their work relates to what is happening on the other side of the camera.

Well, wouldn't it be nice if the same went for directors? Many, many times I have seen directors so focused on a checklist of shots and simply recording the dialogue on the page - to the point where the ability of the actor to prepare or even give a good performance is largely hindered. Just watch the latest low-budget horror being filmed in your neighborhood.

"Did she say line X?"
"Yep."
"Was she in frame?"
"Yep."
"Did the audio peak?
"Nope."
"Okay, moving on."

Acting for the Camera by Tony Barr is written for actors. It is not written for directors or editors, but it could be. In 300-some-odd pages, you should be able to glean a pretty good understanding of what a (professional) actor goes through, both in terms of preparation and research, as well as on "the day."

Quite frankly, I think this could be the most concise and efficient instructional piece I have come across regarding the method of acting. I came from an acting background myself and have studied the field full-time. I would not be exaggerating by saying that there are many acting schools and teachers out there whose curriculum is basically a chapter-by-chapter implementation of this book.

And that does not necessarily make for a bad program. This book is not the only place where you are going to find a good structure to the principles of solid acting. There are some universals in these pages that, should you so choose, you will find elsewhere if you look. But there is a reason that this book is generally considered one of the fundamental pieces of reading in the field.

The words themselves are not important; it is what makes the words happen that has significance.

Always choose to care about what is happening as much as you logically can within the context of the material.

The book is filled with memorable axioms (related to acting) that are not given as Morpheus-like faux-wisdom, but rather are presented as conclusions to fully completed instructions and arguments. They will sink in.

The covers are filled with praise from screen luminaries such as Karl Malden, Sharon Gless, Henry Winkler, David Paymer and Eva Marie Saint, all of whom have themselves produced some memorable work. "Heyyyyyyyyyyyyy..."

So anyway, whether you are a director (in which case I recommend this book) or an actor (in which case I highly recommend this book), you are likely to benefit from the wisdom within. If you are a director who focuses primarily on visuals or checklists but is not terribly attentive to emotional truth, knowing something about the other side of the camera may help you spot it when you see it, not settle for imitations, and even improve your casting decisions from the audition room.

A link to the book can be seen below, where you can take a look inside the covers if you wish.

Paul Newman: 1925-2008

2008-09-28T00:18:00.000-07:00

It does not bear directly on most of our topics, beyond Mr. Newman's numerous and immeasurable contributions to all things entertainment-related, but today the JC: Digital Media flag is flying at half-mast.

Rest in peace.

Canon XHA1: "New Soul" by Steven Tapia

2008-09-26T07:47:00.001-07:00

Whenever I see something noteworthy achieved with one of the prosumer cameras we tend to look at, I like to bring it to the attention of readers, prospective camera buyers, and the public in general.

The following is a video piece put together by director Steven Tapia. While it benefits greatly from the post-production and effects work done in the editing room, it was shot on the Canon XHA1. Just don't think you're going to be able to buy the XHA1, pull it out of the box, and whip together something that looks like this without putting in your hours.

No more RED SCARLET, at least not as we know it...

2008-09-26T05:51:00.001-07:00

Well, in the words of the RED people themselves, "We have changed everything about Scarlet because the market has changed and we have discovered a lot of things in the process. We have a new vision."

Given all the stupid ergonomics that can pop up with first models, as well as the troubleshooting that guinea pig early buyers often have to go through, this may be a wise move if it results in the (not too distant) introduction of a model with increased practicality. However, I know not what goes on in the minds of the RED people.

"Wipe you[r] minds of the past announced Scarlet. Forget the design and forget the price. It is all different now. We think you will be surprised. Glad we didn't take any deposits..."

I know a few people who were holding off on purchasing an XHA1, HVX or even EX1 because they were worshipping at the RED altar and couldn't wait for the ultra-affordable Scarlet messiah camera to appear. Well, with the interest they have made by not spending that money a year ago, they can now get whatever camera they were thinking of getting...and some Pez.

For confirmation and some ensuing discussion, feel free to visit this SCARLETUSER FORUM THREAD

Either way, it should be interesting to see what incarnation of RED prosumer camera comes down the pipe. Their foray into the higher-end cameras has visibly affected the market and the $3000-$8000 camera battlefield can only be made more sleek, versatile, practical and efficient with increased competition.

HVX: Bronx Bottom Feeder

2008-09-22T00:15:00.000-07:00

Well, I remember hearing a bit about an independent gangster flick that was in the works not too long ago called Bronx Bottom Feeder and for some reason it sprang to mind. Anyway, it is relevant for our purposes because it stands as an example of work done with the combination of the Panasonic HVX and the Brevis35 Adapater by Cinevate.

I'm not sure what ultimately came of the flick, or even if they eventually finished and polished the final cut. But they did post this "rough cut" scene a little while back and it does serve as a decent example of what can be done with the aforementioned pieces of equipment if motivated.

If you want to check it out, click on the link below. It shouldn't take too long to download.

.MOV CLIP

And THIS .MOV CLIP is some behind-the-scenes outtakes.

Canon XHA1: VISION02 Preset by John Hope

2008-09-21T21:59:00.000-07:00

In the continuing search for the perfect XHA1 presets to combat its drab out-of-the-box color rendition, we have a new and pretty effective entry. As we know, there have been a wide array of presets developed, including some fine work by Steven Dempsey and Paolo Ciccone, among others.

Here, John Hope has developed VISION02.

Feel free to take a look at it in action in the following clip.

New VISION02 preset test from John Hope on Vimeo.

The preset is also used in the Phil Kneen video I refer to in this other POST of mine (the seagull footage only).

If you like what you see from this preset, you can download it HERE.

And be sure to thank John Hope. Here is his VIMEO PAGE.

But at least now you have another option.

Canon XHA1: SGPro Adapter Footage

2008-09-21T21:29:00.000-07:00

Courtesy of Phil Kneen, we get to see the XHA1 combined with the SGPro depth of field adapter.

**Addendum: Unfortunately, the embedded video, "Videodoodle by Phil Kneen" was deleted by the producer. Please explore the site for additional footage of your camera of choice with your adapter of choice.**

In this instance, he has used two lenses, a 17-40mm, and a 70-200mm.

The shot of the seagulls was using the VISION02 preset by John Hope.

All in all, some pretty nice work. Hopefully the kid grows into the sunglasses one day...

Cinevate's Video University: A Useful Tool Whether You Buy or Not...

2008-09-20T13:59:00.001-07:00

Canadian independent film supplier Cinevate has been around for a while, and is best known probably for their development of the Brevis 35 depth of field adapter, generally considered to be one of the primary players in the oligopoly that also include Letus and Redrock, etc.

I am not here to promote Cinevate products in particular, nor to drive traffic to their site. I personally don't have a great deal of experience with their items and can't give a well-educated recommendation on whether to use or not use their dollies or mattebox. I certainly can't recommend against using them.

But one thing I can suggest that is worth your time, whether you are interested in buying Cinevate products or not, is checking out their VIDEO UNIVERSITY, which includes tutorials on the setup and use of various items in their catalogue.

Granted, these videos are intended as promotional materials for their products, but that doesn't mean they don't have informational value in general. These tutorials can be of particular use, in my opinion:

(1) If you are pretty new to the field or to film equipment and just want an orientation as to the purpose and basic function of items such as dollies and matteboxes.

(2) If you are a DIY fanatic and like to build your own equipment, you may get some ideas and benefit from the more extensive R&D that the professionals have been able to do.

Anyway, the videos include tutorials on their dollies, adapters, matteboxes and such. And the company has a pretty good reputation for product quality, as well its founder Dennis Wood being known for a pretty helpful disposition. So, feel free to check the video university out. If it's too basic and you find the videos too commercial, feel free to move on. But if you learn a little bit from the videos, all the better.

TwilightFest at DVXuser

2008-09-20T00:51:00.000-07:00

Just a quick note to let everyone know that TwilightFest is now on at DVXuser.com, a forum that both provides discussion on media production and filmmaking matters as well as housing regular short film competitions. The theme is six-minute (maximum) films in the vein of The Twilight Zone.

The community over there is pretty good. Constructive feedback is generally given and it is a great place for Q&A about almost any area of the business.

Anyway, here is the link to the COMPETITION RULES, and be sure to let me know if you submit something. I'd love to check it out.

Are you posting your HD work only on Youtube??? Vimeo, Vimeo, Vimeo...

2008-09-19T15:37:00.000-07:00

If you have looked through the posts in my Camera Battle comparisons between the Canon XHA1, Panasonic HVX, Sony EX1 and so on, as well as the comparisons of depth of field adapters and camera stabilization systems, you will see that there is not a whole lot of pixelated YouTube-hosted footage in there.

It's not because I hate YouTube. It's because generally speaking, people with cameras costing over $1000 are tending to shoot HD and want that high resolution to be presented to their audience, even if that audience is online. And they are turning to other video-hosting options that have developed to fill this niche.

Even YouTube's "high resolution" clip hosting is not really going to cut it. Pro and semi-pro videographers and filmmakers are turning more and more to sites such as VIMEO where the clear and crisp resolution can be made apparent to the online viewer.

Vimeo isn't perfect. It generally has a 500 MB / week uploading limit, so if you send up your magnum opus and realize there was a spelling mistake in the end credits, you may be stuck until next Monday. And it is not the only option out there. But if you are one of the people with a decent camera who is relying exclusively on YouTube to reach your internet audience, get out there and take a look at your options and alternatives. And while you're at it, make sure you update your MySpace page, heh heh...

(Note that a courteous reader posted a correction in the comments, stating that "Vimeo does allow you to re-up the same footage as a replacement without docking you more MB. That way your incorrect titles can be fixed without penalty.")

Depth of Field Adapters: REAL Stops of Light Loss...

2008-09-11T06:49:00.000-07:00

This is going to be another one of those posts where the seasoned veterans are like, "oh come on, thanks again Captain Obvious," but for someone just learning about lighting and cinematography and how they relate to proper exposure, or someone just entering the depth of field adapter market but not sure where or how to start, the following information will be of some assistance in determining:

(a) Whether a depth of field adapter is for you, and

(b) How to prepare yourself to properly take advantage of this tool if you do indeed acquire one.

So they're out there: The Redrock M2, the Letus Extreme and Ultimate, the Brevis, and a myriad of other adapters, most of them generally claiming that their adapter loses "only half a stop of light". While these claims themselves are the subject of much discussion and debate (we'll assume them to be true for our purposes), one fact that anyone new to the concept of adapters should consider is that even if your adapter brand of choice loses only half a stop of light...you will lose much more than a half-stop by incorporating a depth of field adapter into your filming.

For those without a photography background, a decrease of one f-stop means that half as much light is being allowed into the camera to reach your sensor. And in these terms, a decrease in f-stop would actually mean increasing the F value on your lens. So going from, say, F2.0 to F3.0 would cut your light in half.

So a half a stop of light... Not too big of a deal. Maybe you can just open the aperture on your camcorder itself if it wasn't wide open and you haven't lost anything, practically speaking. Certainly shouldn't be much of an issue shooting outdoors in the daytime.

But here is the reality with your adapter.

Not only will you lose the half-stop or so that is inherently lost by the adapter mechanism. You will also lose light in additional ways...

ONE

In order to focus your camcorder on the ground glass in the adapter (where the image is projected), you have to zoom in so that the ground glass fills the frame. If you have your camcorder fully zoomed out, your image will be small in the center of the frame, surrounded by a black rectangle (elements of the adapter). You have to zoom in until these black edges are not visible.

What happens when you zoom your camcorder in? The aperture shrinks and the f-stop value increases. And you lose light.

TWO

What do you attach onto the end of your depth of field adapter in order to film your nice, shallow depth images? An additional lens.

Depending on the lens (smaller minimum F-stop lenses increase greatly in price), you may have a very fast one (perhaps F1.4) or something slower, with minimum values from F2.8 to F4.0. That means that the lens itself is already costing you possibly two stops of light before the image even gets inside the adapter, where it loses more light and then hits the (zoomed in) camcorder sensors.

APPLICATIONS

So what does this mean, that adapters are crap and the manufacturers are liars? No, of course not. But it means that you will really need to augment your indoor shooting methods from what they may have been with a bare camcorder. You will be losing 2+ stops of light and getting some seriously underexposed images if you don't attend to lighting much more enthusiastically.

If you want to get a feel for why you will have new lighting requirements, set up your camcorder in a fairly dark setting that is still reasonably filmable with your bare camera. Maybe your living room at night with the main light on. Make sure your camera has its aperture wide open and no ND filters operating, pretty much the way it would be if you were trying to get usable footage in this situation. Then just start dialing down the aperture. Increase the f-stop by 1, then 2, then 3, and you'll get a rough feel for how you may end up fighting the darkness as you add all of this wonderful gear to the front of your camera.

And anyway, this "drawback" is actually not such a drawback, because if you haven't paid this level of attention to your lighting design so far, chances are that your images have suffered for it. Now, as you're making sure you fill your nighttime indoor set with enough light to get that image through all of that glass, it really isn't that much additional work to focus on some foreground / background separation, or toy with the contrast ratio. You're setting up the lights anyway...

DVD Review: Sound for Film and Television by Barry Green et al.

2008-09-08T22:15:00.000-07:00

I recently had the opportunity to view the instructional DVD Sound for Film and Television by Barry Green, Art Jimmerson and Matt Gettemeier. The DVD came with good reviews from colleagues and rave reviews on some forums, and particularly at DVXuser, where the makers of the DVD are frequent posters and/or moderators.

This could be interpreted as a negative in the sense that there may be a bias at that particular forum. However, I will state that having anyone with notable expertise posting on community forums with any regularity is an overwhelming positive for the filmmaking community and especially for those trying to learn their craft. On many occasions, I have come across helpful Q&A sessions in the forums with the answers provided by Barry Green or his colleagues.

That said, when looking at the utility of this DVD, I would have to look at the characteristics of the viewer, their needs, and their level of expertise with respect to sound design and boom technique, etc.

First off, this DVD is very well put-together. Barry Green and company do an excellent job of keeping things moving along and making the subject matter interesting with colorful and creative examples. Not too often will an educational DVD put this kind of thought toward keeping you entertained, and it works well for subject matter that would be considered dry by many. The producers go above and beyond by writing and filming scenes that illustrate their principles in quirky and humorous ways, and it is a credit to their effort that viewers will not have a difficult time getting through this DVD.

While I found the DVD extremely entertaining for its genre, I believe that it is ideally suited for the following user: An aspiring filmmaker or film school graduate who has had little experience or training in proper sound design and recording.

This does not mean that other users won't benefit from the DVD. Even a seasoned professional will probably find it to be a relatively enjoyable couple of hours that reinforces some of their basic and intermediate knowledge. But who really needs this DVD is the director or producer who considers sound to be an annoying hurdle and necessary evil. The director who would prefer to ignore sound altogether if he or she could. The director who still records scenes using the camera's on-board microphone or who doesn't care if his boom operator has the boom mic pointed horizontally from a distance at the talent.

Green, Jimmerson and Gettemeier do a good job of driving home the basics and how to avoid beginner pitfalls that leave many first and second films irredeemable due to fatally flawed audio. They provide some basic rules to follow and while they may seem really basic, many people aren't following them (and many of these people should know better).

I see it regularly when I work, especially when I am around indie productions. Barry Green and company do an excellent job of really hammering in the principles of "Sound 101" and if you aren't already sure whether you know and follow these basic principles in your filmmaking, then you are likely to benefit from their tutelage.

As a minor note, a few of their references to microphone brands may be slightly dated, as models and relative prices change. The Oktava MK012, for example, has gone up significantly in relative price to the other models as North American currencies have slumped in comparison to those enjoyed by the Russian manufacturer. But such details will not detract from the universality of the principles in the DVD.

For your convenience, here are the IMDB profiles / resumes of BARRY GREEN and MATT GETTEMEIER.

If you want to learn more about the DVD, you can also take a look at its profile on Amazon.

Put a UV Filter on your Camera!

2008-09-03T17:28:00.000-07:00

For God's sake, put a UV filter on your prosumer camera lens, people!

If you are on this site, then you are already doing some due diligence and chances are you have long been aware of Rule Number One.

However, you have no idea how many people I know who run out and (apparently on a whim) buy a Canon XHA1, Panasonic DVX or HVX, or even a Sony EX1 and then run around with nothing but the lens hood on front. You shouldn't even be using a remotely decent SLR lens for your still camera without protection. But not protecting your built-in lens on a $3,000 to $7,000 camera?

A UV filter costs $20 (or less) to $100.

Chances are I am preaching to the choir here, but there are many people out there who are not yet converted. And if you don't want the (minor) color tinting that can result with the filtering out of UV rays on your prosumer cam, then just get a clear glass protector. They screw right on the front and you never have to think about them again. Plus, they're much easier to clean with your microfiber wipes than the lens itself.

What are you gonna do when some sneezes or flings stage blood on the bare lens of your $5,000 camera? Or puts their finger on the lens and leaves a permanent thumbprint? Throw a protector on there and the Wrath of God can attack the front of your camera and all you'll have to do is spend $50 for a new filter.

I know this is beyond basic, but there are a lot of people with cameras out there still learning and trust me, you don't want to learn this lesson the hard way.

For your reference, the following cameras have the following lens thread measurements...

Canon XHA1: 72mm

Canon XLH1: 72mm

Canon XL1 and XL2: 72mm

Panasonic HVX: 82mm

Panasonic DVX: 72mm

Sony PMW-EX1: 77mm

Below are a couple links to some UV filters online to give you an idea on prices...

And here is an example of a FORUM THREAD on the topic.

Finally, here is ANOTHER THREAD which shows that some people recommend using a UV filter only in situations where there is a tangible physical threat to your lens (such as sand blowing on a windy day at the beach). My personal choice is to use a filter at all times unless there is a strong tangible visual / cinematography reason to not have the UV rays filtered. You will ultimately determine your own comfort level, visual preferences and risk tolerance.

Letus Extreme: Push the Release Button BACK

2008-08-30T11:56:00.000-07:00

Here is another quirky problem I have come across a couple times, regarding the Letus Extreme depth of field adapter.

Example, FORUM THREAD.

It's not really a design flaw, as the unit works perfectly well. It is simply a button on the Letus that works slightly counter-intuitively. If you have got your 35mm lens in the Letus and want to change to another lens, don't press the release button (the silver button on the bottom) INTO the adapter, which would essentially be pushing the button UP.

In this case, you have to push the button BACK toward the camera in order to remove your lens.

Best to learn this one now before somebody gets frustrated and breaks their unit with their "stuck" lens still caught in the Letus.

A Useful Image: Resolution Chart

2008-08-29T19:48:00.000-07:00

This is one of those cases where we just have an image that is a good reference chart you may want to return to in the future.

It shows the relative sizes of the various resolutions used by different digital chips (or which can be selected) in modern production. NTSC, PAL, RED, etc...

HERE is a chart that focuses more specifically on the resolutions of the various RED models.

Book Review: The Five C's of Cinematography by Joseph Mascelli

2008-08-29T18:45:00.000-07:00

It's not that often that I'll go out of my way to review or promote a book, but I was going through my shelves recently and came across and oldie but goodie that I hadn't looked at in a while.

I was quickly reminded what a useful beginners' tool / professionals' review book I had in The Five C's of Cinematography by Joseph V. Mascelli.

If you're experienced in the area, Mascelli still does a good job of reviewing things in a digestible way. If you're just starting out, he introduces concepts and principles that will largely form the basis of your cinematography work. It can be an especially useful read if you don't come from a strong still photography background and are therefore not heavily versed in shot composition, form, mass and the like.

Mascelli provides a wealth of relevant illustrations of each concept, framing and lighting actors and capturing the images that represent his principles in movie "screen capture" format. The book has been around for some time, and while techniques have evolved somewhat since the first printing, the fact remains that these principles do form the foundation of modern cinematography. You can't do trigonometry if you never learn arithmetic.

The New York Times review on the back states that "Mr. Mascelli provides the attentive reader with the equivalent of a complete course in filmmaking." While this may be a slight overstatement, it is true that there is great value for the time and money to be had within these pages, and especially so for the attentive reader. But attentive reading is generally required for all instances where you are reading to learn, rather than reading to escape. And Joseph Mascelli does a pretty good job of making it easy to remain attentive from cover to cover.

In case you want to take a glimpse inside the covers or at some samples of the writing, the link is available below.

Scriptfest 2 at DVXuser

2008-08-27T09:53:00.000-07:00

Just a quick note to let everyone know that the top scripts have been selected over at DVXuser in this round of their ScriptFest 2 competition.

DVXUSER SCRIPTFEST DIRECTORY

It looks like they had a very good number of submissions this time around, with aspiring writers putting their best feet forward. All of the submissions are still there if you want to get a taste of what the competition is like. The scripts can be viewed HERE, but a (free) DVXuser account is required to reach this page.

Anyway, congratulations to the finalists and there are still further developments to come from the competition.

And good work to DVXuser for providing another venue to keep people active and encouraged as they move on up in the business.

Canon XHA1: Turn the AGC Off!

2008-08-27T09:39:00.000-07:00

I don't know how many times I've seen the same issue pop up in forums, time and time again...

AGAIN...

AND AGAIN...

AND AGAIN IN DANISH...

The Canon XHA1 comes with a button called the Auto Gain Corrector (AGC). Generally, this is switched on and what happens? The camera interprets the environment and determines how much gain it will add to the footage for its idea of a better image. The result: Grain, grain and more grain.

If you are working with this camera, just start by switching the AGC off (located on the left side of the camera, just in front of the power / filming mode dial).

Then try getting the image you want in other ways, like aperture control. You can always switch the AGC back on if you're overwhelmed by the manual controls. But at least you'll have the option of not getting swamped with unwanted digital grain.

Canon XHA1: "An Uncluttered World" by Steven Dempsey

2008-08-23T19:14:00.000-07:00

For all the posts that I have done with regard to the Canon XHA1, it is about time that I actually devoted one to the work of Steven Dempsey, who is one of the more proficient users of this camera and out there improving its name by employing it with some artistry and expertise.

Not too long ago, he finished his most recent nature short (the genre within which he generally works) and it is titled An Uncluttered World.

Within the confines of the genre he has chosen, he has certainly shown an ability to bring the best out of the camera with some of his imagery. If this particular short doesn't blow you away, he does have a fairly extensive library and you are bound to find something that pleases your eye.

An Uncluttered World from Steven Dempsey on Vimeo.

His website for Pine Lake Films can be found HERE.

And the link to his cinematography DEMO REEL.

Canon XHA1: "The Signal" Continued...

2008-08-23T18:58:00.001-07:00

As a follow-up to my original POST regarding The Signal and its being made with the Canon XLH1 (the almost twin sibling of the XHA1), I wanted to add a bit of additional information, given that this film does represent some of the most effective narrative work done to date with this camera.

Below are a couple of clips from the film, to get a taste for the style and results that were achieved by director David Bruckner.

And the official trailer...

According to IMDB, the film had an estimated budget of $50,000 and made triple that in its opening weekend, culminating in $250,000 American gross revenue (theatrical).

Online Resources: SoundSnap.com

2008-08-19T22:03:00.000-07:00

Whenever an online resource comes along that is of potential use to the "little guy" out there trying to get his or her movie, short, production company or web content off the ground, it is always worth mentioning.

To that end, it is incumbent upon me to pass on the link for SOUNDSNAP.COM, which provides royalty-free audio clips that can be used for your projects and save you either a copyright infringement suit or hours and hours of foley work.

Cheers.

Funny Stuff - Bas Jones Self Defense

2008-08-18T18:35:00.000-07:00

And a brief departure from the technical / professional side...

These are, of course, a play on the educational video Bas Rutten's Lethal Street Fighting. I think the real Bas would appreciate the humor.

DIY: Prop Gravestone

2008-08-15T16:23:00.000-07:00

Well, I came across a recent forum discussion where someone was looking to get a prop gravestone made in short order. And one of the answers provided was to the following link, where an indie filmmaker had done the same for one of his projects.

Anyway, since lots of movies involve gravestones, and real gravestones are expensive, and not everyone wants you filming the final resting place of their loved ones, here is one solution...

HAUNTERSHANGOUT POST

And HERE is another solution.

Stabilizer Battle: Steadicam Pilot Video

2008-08-14T07:36:00.001-07:00

Here is a video from the Steadicam website that explains some principles involved with using the Steadicam Pilot. It may be of use for those still trying to wrap their heads around the science of camera stabilizers, or those still plugging away at a competitive DIY solution.

VIDEO

DIY: Softbox Lighting

2008-08-10T02:22:00.000-07:00

And here is a FORUM POST I came across with a DIY flourescent softbox (by STYLZ at DVXUSER). It doesn't have the recipe for construction, but it does have pictures of the (not overly complex) finished product and some screen grabs with contextual description.

DIY: Jib / Crane

2008-08-09T23:50:00.001-07:00

Here are a few select posts on DIY solutions for jib / crane shots.

CLOSETFILMS JIB

STICKTOWHATYOUKNOW POST

YAFI UNDERGROUND VIDEO

DIVERGENTTHINKING PDF INSTRUCTIONS

JORENCLARK JIB

MAKEZINE JIB

INDYMOGUL JIB PLANS

And some videos...

DIY: C-Stand

2008-08-09T09:01:00.001-07:00

Well, for people putting together micro-production-houses and counting pennies... One area where you may be able to save some money without hurting your quality too much is by constructing your own c-stands.

The dude (TCINDIE at StickToWhatYouKnow.com) who posted this blog entry made his c-stand for about $39 in materials, which is a pretty substantial saving over what is on the open c-stand market.

Anyway, here is the LINK and if it helps you, fantastic.

Accessories: IndiSlider Footage

2008-08-07T07:20:00.000-07:00

As a follow-up to my previous post on these accessories, I am gathering up a bit of footage of such items in motion for you, as always, to be the judge...

INDISLIDER

Ghosts I-IV Video with XH-A1 and indiSLIDER from Dmitry Futoryan on Vimeo.

blossom from stephen hutton on Vimeo.

Indislider Demo from James Stone on Vimeo.

Untitled from James Stone on Vimeo.

Pixelcarve's "Under Construction" from Pixelcarve on Vimeo.

And a fellow unpacking and setting up his IndiSlider right after it has arrived...

Indislider Arrives from Rusty Rogers on Vimeo.

DIY TRIPOD-MOUNTED DOLLY

Tripod Mounted Dolly from Alastair Brown on Vimeo.

Jack's Links: A Collection of Valuable Forums

2008-08-04T21:01:00.000-07:00

Here ye shall find many online forums where you can and will hone your area of specialty in filmmaking. And believe you me, there is a great deal of learning to be done in them...

FILMMAKING AND MORE...

DVXuser... has forums for virtually every area, from acting to audio...
DVinfo.net
CreativeCow
Philip Bloom's Forum
StickToWhatYouKnow
IndieTalk
Cinematography.com
DVcreators.net
DVfreelancer
HomeTheaterForum
MicroCinemaScene
IndieClub

POST-PRODUCTION...

VFXtalk

AUDIO...

HomeRecording.com
Recording.org

PHOTOGRAPHY...

Photo.net
ShutterTalk

DIY DISCUSSIONS...

DIY Chatroom

Lighting for Video: Instructional Links

2008-08-04T16:25:00.000-07:00

Given that proper attention to lighting and technique is one of the things that beginning and amateur filmmakers can gloss over, and that it is also quite possibly the number one way to make your project look professional, here are a few useful and instructional links on lighting for film and video...

A good ARTICLE at CineObscure.com.

AMERICAN CINEMATOGRAPHER: A great resource, and they have back issues online with helpful photos.

The ARRI LIGHTING HANDBOOK, with information not solely limited to use with Arri's.

A FEW TIPS at FilmSchoolOnline.

Some QUICK TIPS on 3-Point and Interview Lighting, and a COUPLE MORE.

Some PODCASTS from Izzy Digital Video.

And a quick VIDEO from DVCreators on how to set up a 3 point shoot.

And finally, a good POST over at BlueSky-Web.

Accessories: IndiSlider, T-Slide and Competitors...

2008-08-01T17:19:00.000-07:00

For those independent filmmakers building their kits and making decisions about what is a must-have, what would be nice but isn't quite necessary, and what is simply just a gimmick, one item that has probably crossed their paths is a tripod-based slider.

These items are essentially a substitute for a dolly and have a track length of two to five feet along which a sled (with the camera mounted) can smoothly travel.

Examples of such items are the INDISLIDER and the T-SLIDE.

These items will generally run somewhere from $500 to $1,000, depending on track length and other accessorization like optional tripod heads.

A FORUM POST that deals with these items also has some discussion on the practical advantages and drawbacks of these accesories. Generally speaking, in order for them to be fully functional with a camera move that sends the camera to the far end of the track, the ends of the track should be supported with additional (not provided) structures like monopods in order to ensure stability. Others are sandbagging the primary tripod on which the sled is mounted for peace of mind.

All in all, it seems like a good tool for very short dolly moves, short "pushes in" and reveals from behind doorframes, etc. But it does not seem like it is necessarily an ultra-convenient tool that you just keep on your tripod, barely notice it's there, and turn every locked down shot into a dollly shot with barely any setup time. By that standard, it would fall into the category of "if it seems too good to be true..."

But there are many satisfied customers and people do speak well of the entrepreneurs themselves that have developed these products, in terms of professionalism and support.

Here is an example of a MOVIE TRAILER (No Greater Love), where the makers stated that the majority of the visible dolly moves were performed on an IndiSlider.

Also, at first glance, this does seem to be one of the accessories that would lend itself more easily to a DIY solution than some devices with more complex engineering.

In that vein, here are a couple of forum discussions on developing your own "DIY IndiSlider"...

THREAD 1

THREAD 2

HVX: Being used in "Childless"

2008-08-01T14:42:00.000-07:00

Well, given that I've gone out of my way to mention some of the works being put out there with the XHA1, it is worth noting some of what is being done with the HVX as well, other than Cloverfield, of course.

Currently in production is Childless, starring Joe Mantegna (The Godfather III), Diane Venora (Heat) and Barbara Hershey (Beaches).

You can review the IMDB PROFILE if you wish. I haven't seen any production stills but at least the HVX will have some famous faces being focused on its CCD chip.

Depth of Field Demystified

2008-07-24T05:12:00.000-07:00

Here is a pretty solid tutorial from D. Eric Franks at Videopia that goes over some of the principles and techniques of achieving a shallow depth of field. Definitely recommended viewing for beginners, and it still can't hurt if you're an expert either.

DoF Demystified from Videopia on Vimeo.

Canon XHA1: Green Screen - Footage

2008-07-24T02:13:00.000-07:00

Well, we've seen some green screen work from the other cameras. Here is a bit of recent XHA1 keying work in the form of a music video.

Ace Mob Records "Boom" from Manu on Vimeo.

Canon XHA1: "Standing Firm"

2008-07-20T03:47:00.000-07:00

And once again, Jack is here to help spread the word about people pushing hard to pursue their dreams.

In this case, we have another independent feature where the filmmakers are employing the Canon XHA1. It is called Standing Firm and it is worth taking a look, as their site and blog include some photos and information of their equipment and techniques.

OFFICIAL SITE

PRODUCTION BLOG

Canon XHA1: "The Signal"

2008-07-20T02:50:00.000-07:00

I thought, in relation to the XHA1 projects discussion, that I would mention The Signal, a feature that was shot, I believe, not with the Canon XHA1 but with the XLH1. However, the two cameras utilize extremely similar systems and the same chip, the primary difference being only the interchangeable lenses of the XLH1. In many forum discussions, people almost use the two cameras interchangeably...

The project has met with some notable recognition and is considered one of the success stories of the Canon prosumer line.

OFFICIAL SITE

IMDB PROFILE

Indeed, in terms of narrative cinematic work, it may be the Canon prosumer line's high water mark in terms of cinematic feel, film look and effective storytelling.

Canon XHA1: Sanda100 Steadycam Footage

2008-07-16T11:33:00.000-07:00

For all the Glidecam vs. Steadicam discussion, here is a bit of footage of the Canon XHA1 with another competitor, the Sanda100.

Canon xh-a1 with steadycam Sanda100 in Turin, Italy. from Luca Ghione on Vimeo.

Canon HV20: 35mm Adapter Footage

2008-07-15T10:49:00.001-07:00

And, as a follow-up to what people are achieving with the consumer-level HV30, here is a bit of footage from people combining the HV20 with 35mm adapters...

Even in the sub-$1000 camera market, users are achieving an impressively shallow depth of field (even with an el cheapo camera) when employing it in conjunction with an adapter.

HV20 and TWONEIL ADAPTER

Canon HV20 + Twoneil 35mm + 50mm Nikon Nikkor - DIY Test from Justin Durban on Vimeo.

DIY35mmPro from twoneil on Vimeo.

And here is a FORUM THREAD with pictures of his setup.

HV20 and DMPRO35 ADAPTER

HV20 and DIY ADAPTER

Canon HV20 + 35mm Adapter Test from Eric Wu on Vimeo.

Garden DOF adapter, hv20, 35mm from oliver walker on Vimeo.

And another, with some pretty heavy vignetting...

Canon HV20 test with DIY DOF adapter from juan badel on Vimeo.

HV20 and DIY ADAPTER on a STEADICAM MERLIN

35 mm Adapters: Lens Selection - Suggested Readings

2008-07-14T16:36:00.000-07:00

For those who have and are learning how to use, or are in the market for, a 35 mm depth of field adapter... If you are not from a photography background, then you may need to take a bit of time to learn about precisely what lenses you will want to accompany your adapter (make sure you buy the proper lenses for your adapter mount of course).

Anyway, for those starting out, these are just a few links that will explain the differences between the various types of lens and what they will do for your perspective, depth of field and shot composition...

LENS SELECTION at PhotographyTips.com

LENS CHOICE TIPS at RomanZolin

The WIDE ANGLE LENS by RomanZolin

LENS USES at Luminous-Landscape

UNDERSTANDING DEPTH OF FIELD at Cambridge in Colour

APERTURE AND SHUTTER SETTINGS at PhotographyCourse.net

USING DIFFERENT LENSES at All-Things-Photography

A PODCAST by Redrock on Lens Selection for their Adapters

And as for Forum Threads...

NEWB QUESTION at PhotoTakers.com

STICKY at DVXuser.com about Lenses for your 35 mm Adapter

And here is ManualFocus, a good FORUM on Lenses...

Canon XHA1: Used with Glidecam 4000 + SmoothShooter - Footage (Part 1)

2008-07-13T07:11:00.001-07:00

The majority of these clips are actually from one particular videographer, James Hooey, but I am including them as a collection because he has done a good job of documenting his learning curve with these pieces of equipment and producing a continues stream of video footage along the way.

The clip below is his first day with the SmoothShooter system, after some experience already with both the XHA1 and the Glidecam 4000. He does some tests such as running flat out to see how the system responds. He describes the experience of filming without a SmoothShooter to be somewhat hellish.

Kind of makes me think of the GlideCam systems a little bit like my Mach 3 razor. The handle (Glidecam) is almost free, but then you have to take out a mortgage for the razor blades (the SmoothShooter). Anyway, here is some footage.

Glidecam 4000/Smooth Shooter Tests from James Hooey on Vimeo.

And some more clips of the combination at work...

Night of Living Louder - Meet the Suspects from James Hooey on Vimeo.

Bowery's Lament - Underground 66 Music Video from James Hooey on Vimeo.

Steadicam Merlin: Tutorials and Instructional Links...

2008-07-12T06:37:00.001-07:00

And here are some links for figuring out your Steadicam Merlin...

I'll begin with a link to a good TUTORIAL VIDEO by Shiv Kumar on setting the Merlin up for the Canon XHA1. The general principles will apply to other cameras.

Here is a BLOG POST by Steven Dempsey on his experience setting up his Merlin with the XHA1.

And here is a FORUM DISCUSSION on Steadicam Posture over at DVXuser.

Glidecam: Tutorials and Instructional Links

2008-07-10T04:31:00.000-07:00

Well, the waters are deep in the Glidecam vs. Steadicam vs. X, Y and Z discussion, almost as deep as cameras, adapters and microphones... Except that (even to a worse degree than the adapter market) there are really not a lot of hard and fast answers.

Anyway, for those with a Glidecam and having trouble, or those considering the option of a Glidecam, here are few links on how-to, personal experiences, and so on.

Here is one man's experience with the GLIDECAM 2000 and the CANON XHA1. It includes videos of his stages of learning. And here are a few pointers from the DVXuser FORUM on the XHA1 with the Glidecam 4000.

A tutorial video on balancing it with the XL2:

How to balance a Canon XL2 on a glidecam

And I am generally not one to promote corporate sites, but this VIDEO from the Glidecam site goes over the balancing mechanisms to a degree.

Sony EX1: Used with the Glidecam 2000 - Footage

2008-07-10T04:05:00.000-07:00

This particular piece of video was included in my lengthy post filled with footage of the Glidecam models, the Steadicam Merlin, and their combination with various cameras.

However, this clip warrants special note because of the interest users have been showing in the Sony EX1 and its rolling shutter.

Glidecam 2000 Test Footage from Andrew Gupta on Vimeo.

Here, we see the Sony EX1 employed with the Glidecam 2000, and according to the notes on the clip, no stabilization vest or arm, etc.

This struck me as a situation where EX1 users and those considering one would want to know how the shutter performs.

Undoubtedly, many who have or may buy cameras in the $3000-7000 range will contemplate using it with a stabilizer in the Glidecam 2000-4000 / Steadicam Merlin range. As well, given the front-heavy design of the EX1, it is good that some people are out there testing its ability to be counterbalanced effectively.

Just for the hell of it, here is a brief DVinfo FORUM DISCUSSION on the Glidecam and the EX1.

HVX: Used in "Cloverfield"

2008-07-09T05:46:00.000-07:00

Well, this isn't exactly breaking news in the film community for those who have been following such matters, but it is worthy of a post nonetheless - especially in the wake of my post on the Canon XHA1 being used in Crank 2 (if you think I'm playing favorites).

Indeed it is true, that much of the whacky hand-held stuff from Cloverfield was shot on the Panasonic HVX200.

Of course, it may not necessarily be the most glowing advertisment possible to use a camera to reincarnate the Blair Witch phenomenon, but then again, if it's good enough for J.J. Abrams...

Since this is hardly a JackCabbage exclusive, I will refer you to a few others who have covered the topic some time ago...

VIDEOGRAPHY ARTICLE

CINEMANOVELS BLOG POST

BARAK EPSTEIN BLOG POST

FRESHdv POST

Stabilizer Battle: Glidecam 4000 vs. Steadicam Merlin - Forum Discussions

2008-07-09T01:25:00.001-07:00

Below are just some collected discussions on the topic of these two stabilizer options. As usual, each has its proponents and detractors...

DVinfo THREAD

GLIDECAM vs. MERLIN for the XHA1

GLIDECAM 4000 on DVforums

MERLIN or GLIDECAM: DVXuser

And here is an HV30 FORUM DISCUSSION about the Merlin, the 4000, and a couple other competitors.

And last but not least, a BLOG POST by a fellow who loves the Steadicam Merlin for use with his XHA1 much more than his old Glidecam. That fellow is, of course, Steven Dempsey, one of the more well-reputed users of the XHA1.

Stabilizer Battle: Looking at the Glidecam, the Merlin and others - Footage

2008-07-07T00:36:00.000-07:00

If you are starting up your own budget production house, and you've chosen your camera(s) and possibly your adapters, your tripods, and so on and so on...

You are going to at least want to give some thought to your apparatus for dynamic motion shots...

With that said, prospective buyers or renters tend to focus on a few brands in their search. Among the options are the various Glidecam models and the Steadicam Merlin. And further accessories are possible, for example, adding the Smoothshooter stabilizing vest to the Glidecam. Easy to spend a lot of money here...

And as usual, the proof is in the footage, so I've gathered up a few clips of these various alternatives being put to use.

GLIDECAM 2000

The following is a clip of the Glidecam 2000 Pro being used with a Panasonic DVX100.

Glidecam 2000 + Sony HC7...

Glidecam 2000 pro test from ccproducciones on Vimeo.

And here is a clip by a person with 4 days experience with the Glidecam 2000. He speaks well of the product but insists that it takes a significant amount of time and practice to become competent with it - saying that the Glidecam is no quick fix for your shooting techniques.

Glidecam 2000 Test Footage from Andrew Gupta on Vimeo.

GLIDECAM 4000

SONATINA from martin marzidovšek on Vimeo.

With the Canon XHA1...

Canon XHA1 Test1 from Edge Line Studios on Vimeo.

With the XL2...

Strung Out on Eriatarka from Kevin Johnson on Vimeo.

GLIDECAM with SMOOTHSHOOTER

Glidecam and Smoothshooter with Canon XL2...

Glidecam 4000 + Smoothshooter + Canon XHA1...

Christi from ben on Vimeo.

Another Glidecam 4000 Test...

And last but not least... The Glidecam 4000 and Smoothshooter - with the Canon XHA1 and a Letus Extreme...

STEADICAM MERLIN

Steadicam Merlin - Driving "Bump Test"...

Steadicam Merlin - Bump Test from Marlo I.B. on Vimeo.

Steadicam Merlin with the Canon XHA1...

Steadicam Merlin with the HV30...

Canon HV30 & Steadicam Merlin: Walmart from Nate Long on Vimeo.

Canon HV30 & Steadicam Merlin: Target from Nate Long on Vimeo.

Steadicam Merlin with the HV20...

Boxers (Dogs) at Park from B C on Vimeo.

Steadicam Merlin and Canon HF10...

Steadicam Merlin and Canon HF10 demo from Paul Benbow on Vimeo.

Steadicam Merlin with the JVC-GR-D290U...

Steadicam Merlin with the Sony A1U...

Steadicam Merlin with the Sony HDR-SR10 (Running Alongside the Subject)...

HD - Dirtsurfer - Steadicam Merlin from Simon Watmore on Vimeo.

Steadicam Merlin with the Sony V1...

Premier essai du Steadicam Merlin from opop on Vimeo.

Steadicam Merlin with the Panasonic DVX...

Steadicam Footage from Mike Padilla on Vimeo.

More Steadicam Merlin footage...

Steadicam Merlin First Test from Michael Marygin on Vimeo.

And finally, here is a Steadicam Merlin Video Review...

Steadicam Merlin from Elliott Cost on Vimeo.

DIY STABILIZERS

Canon HV30: 35mm Adapter Footage

2008-07-06T22:41:00.000-07:00

Well, I don't spend a whole lot of time delving into the sub-$1,000 camera category. And it is slightly an odd situation when your adapter can cost more than your camera itself.

But the fact of the matter is that the Canon HV30 is making a bit of a name for itself as a reasonably useful camera.

So, I thought I would at least show a little bit of what people are getting done with this affordable little puppy.

HV30 and BREVIS 35

HV30 + Brevis35 - First Footage - HD from Matt E on Vimeo.

HV30 and RNG35

RNG35 and HV30 test footage from RNG35 on Vimeo.
With a Nikon 50mm f1.8 lens...

HV30 and RNG35 35mm adapter from RNG35 on Vimeo.

And this next one is just too cool...

HV30 and TWONEIL 35mm ADAPTER

Canon HV30 Twoneil 35mm Adapter Demon Face Test (VideoCopilot) from David Hays on Vimeo.

Canon XHA1: "Oversold" Independent Short

2008-07-06T22:29:00.000-07:00

Again, in the vein of supporting independent filmmakers and not necessarily knowing all that much about what's going on or the final quality of the project, I thought I would mention another project I have come across in my travels. Indie filmmakers do need all the support they can get, as we know.

This project is of relevance in that it was shot entirely on the Canon XHA1. From what I can tell, there is not the apparent use of an adapter. Dynamic focus shots in the teaser / promo piece tend to be more of the "everything out of focus to everything in focus" rather than the rack focus variety. So I do believe we're seeing the stock lens at work most of the time (and they did achieve some moderately shallow depth in some shots by backing out and zooming in).

So anyway, here is the OFFICIAL SITE for OVERSOLD.

And below, you'll see embedded a promo piece on Vimeo.

Crissy Moran: Oversold from David Cowan on Vimeo.

Apparently the film stars a retired adult film actress and is biblically related. Let's wish them good fortune with this one. For everyone considering the virtues of these various cameras, they're doing us all a favor by putting their time and money where their mouth is and using the camera in a committed context.

Addendum:

A complete version of the film's trailer has since been completed. It can be viewed below.

Oversold: Crissy Moran, Stephen Zimpel, and Grant Henderson from David Cowan on Vimeo.

Canon XHA1: Stock Lens - Footage

2008-07-05T22:54:00.000-07:00

Again, as a response to the interest in the topic, I am going to present specifically some clips that are done with the cameras and their stock lenses only. In this case, we're going to look at the Canon XHA1.

Many of the complaints about this camera are that people don't like the HDV codec, they don't like the compression, they don't like the color reproduction (especially out of the box) and some will say that this camera offers less latitude in post. Anyway, I've gathered up some clips done with the XHA1 stock lens and as always, I will let you be the final judge and jury.

I'm going to open up with two of my favorites...

Vin LeSoulier - Families in the Park from Vin LeSoulier on Vimeo.

Si Bheag Si Mhor - harp tune by Carolan played by Mark Harmer from Mark Harmer on Vimeo.

I think these two clips show some of what can be done with a bit of effort in the editing room and also knowing how to take advantage of the XHA1 despite its limitations and 1/3" chip.

Enjoy, as well, some additional XHA1 stock lens clips...

Ellwood Bluffs from Stephen Lewis on Vimeo.

And here is one by Steven Dempsey, another fellow who has shown a notable aptitude with this camera.

Monday - HD from Steven Dempsey on Vimeo.

Autumn from Sergey Stefanovich on Vimeo.

Canon XHA1: "Families in the Park"

2008-07-05T22:48:00.000-07:00

In the further interests of comparing the cameras in question, I thought I would create a quick post for a new video (XHA1 stock lens) that shows some of what can be achieved with the XHA1 "out of the box."

It is called Families in the Park and it is by Vancouver cinematographer Vin LeSoulier.

Vin LeSoulier - Families in the Park from Vin LeSoulier on Vimeo.

I will follow shortly with a piece specifically on XHA1 stock lens footage.

HVX: 35 mm Adapter Footage

2008-07-05T04:50:00.000-07:00

And in the interest of being comprehensive, we'll get a chance to look at what is being done with the Panasonic HVX in combination with 35 mm adapters. As always, my caveat: Don't judge a camera or adapter too harshly if those behind it are not using it to its full potential - but don't allow yourself to be fooled into thinking that a consumer handicam is amazing simply because Steven Spielberg or James Cameron can make magic with it.

And of course, you don't always know everything about the quality of lenses people are using with their adapters...

LETUS EXTREME

Letus Extreme Test (HVX200) from Blue Tree Productions on Vimeo.

Random Shots (HVX-200 / Letus Extreme) from Martijn van der Sanden on Vimeo.

Test Letus35 Extreme and HVX from Bewegtbildarbeiter on Vimeo.

Lensbaby 3GPL / Letus35extreme / HVX-200 from Studio Nine on Vimeo.

REDROCK M2

Redrock M2 Micro + HVX200 P2 + Fujinon (M42 mound) 85mm f/2.0 from Patrick Yegor on Vimeo.

RedRock Micro M2 Adapter - 38 Water Street from Michael Hurdle on Vimeo.

BREVIS 35

Homeless Portraits from Philip Bloom on Vimeo.

The above is a Philip Bloom piece. I think I've hyped his stuff enough. Suffice it to say, he'll be doing the HVX and Brevis a service by putting his eye behind them.

Coney Island/Battery Park Spring 2007 Montage from Puffin Films on Vimeo.

"Sorry4" Madison from Puffin Films on Vimeo.

P+S MINI35

HVX / Firestore / P+S mini35 Adapter Test from Benjamin Tucker on Vimeo.

HVX: Stock Lens - Footage

2008-07-05T04:39:00.000-07:00

There has been a significant amount of interest from the readers regarding what sort of footage can be achieved with the various cameras using the stock lens.

It is true that not everyone will be purchasing and using a depth of field adapter. Even if they intend to do so, it may be some time away financially and so the use of a camera with the stock lens will be a necessity, whether temporary or permanent.

That said, it is worth taking a look at what people are achieving with the cameras out of the box. No additional $2,000 plus on adapters and 35 mm lenses.

Again, don't necessarily blame the camera if someone fatally overexposes or underexposes a shot, but also don't necessarily credit the camera if someone has an amazing eye for composition either...

Here is a glimpse at some Panasonic HVX 200 footage. Stock lens.

SHE - Mike the Swan- Music Video from Grant Baldwin on Vimeo.

ACQUEST CLIP

In the clip below, all shots not using a fisheye lens are with the stock lens. You should be able to detect the fisheye shots pretty easily.

Allston Session from RE1000 on Vimeo.

Day at the park from Jason McMurtrey on Vimeo.

Canon XHA1: Independent Feature shot with the A1

2008-07-02T21:43:00.000-07:00

In the vein of the CRANK 2 POST, though this may not be the same marketing windfall for the Canon HDV line, I thought I would mention another feature where the Canon XHA1 is being used as the primary camera. In this case, it is the Canon combined with a Brevis adapter.

The website for the feature, with a teaser, is online.

I will note that the teaser essentially includes no audio from principal photography, only scoring and sound effects, so I am not sure what the audio setup was, nor am I sure of the results that were obtained.

However, let it not be said that I did not support independent film and help spread the word.

There is a BLOG for THE DEAD OUTSIDE (IMDB profile) and here is the OFFICIAL SITE, which includes the teaser.

This FORUM POST is also noteworthy because it includes photos of their suped-up XHA1 and some indications of how you can accessorize.

And HERE is their Myspace.

Good luck guys.

Canon XHA1: 35 mm Adapter Footage

2008-07-02T03:37:00.001-07:00

It also seemed like a good idea, in addition to the "Best of XHA1" post, to compile some clips of the XHA1 being employed with 35 mm adapters. In addition to serving as a bit of a comparison between adapters, it will also show what level can be achieved with the XHA1. Could it be worth buying the XHA1 and spending the savings (compared to the HVX or EX1) on your filmmaking kit?

And yes, of course you should note that the artistry and filmmaking choices of those behind the camera will be a greater factor in the quality of any footage than the differences between the competing adapters.

BREVIS

Here is a clip of the XHA1 and the Brevis 35:

XH-A1 + Brevis35 - First Footage - HD from Matt E on Vimeo.

Note that the videographer added the vignetting in post.

LETUS

And here is the XHA1 working with the Letus Extreme.

Letus Extreme and Canon XHA1 - First tests from Kjewbee on Vimeo.

You gotta love that cat, even if you're a dog person.

The TAMAR - "A NEW DAY" VIDEO was also filmed with this combo.

Some more...

Story Telling using Canon XHA1 and Letus35 Extreme from Shiv Kumar on Vimeo.

And this one's for the dog people...

(Edit: The video was removed.)

And some XHA1 + Letus tests by a Japanese dude.

And this dude documented his process from opening the Letus box to having it up and running with his XHA1...

Letus Extreme out of the box from Kjewbee on Vimeo.

REDROCK M2

A music video shot with the XHA1 and the Redrock M2:

Music Video: Heaven In My Heart from Paul Zadie on Vimeo.

And Marlon Torres is back with BROOMMATE, courtesy of the XHA1 / M2 tandem.

And a dude's test of the same two pieces of gear...

And again...

RNG 35

And the XHA1 with the RNG 35 Adapter...

Canon XHA1 + RNG35 35mm adapter from RNG35 on Vimeo.

SGPRO

Test with 35mm adapter SGPro Rev.3 from Luca Ghione on Vimeo.

FURTHER READING...

If you are interested in further dicussion on the topics of adapters in conjunction with the XHA1, here, for example, is a FORUM DISCUSSION on the XHA1 and a Letus / Brevis setup.

Canon XHA1: The Primary Camera for Crank 2

2008-07-01T18:47:00.001-07:00

Just when you thought I was ignoring the Canon XHA1 in the whole camera analysis, I thought I'd bring up a piece of (relatively recent) news. It is somewhat out of the ordinary, but word on the street is that Crank 2 (starring Jason Statham and Amy Smart) is being filmed primarily with the Canon XHA1 and its little brother, the sub-$1,000 Canon HF10.

Apparently this is because they are planning on having many, many cameras rolling at once for the action sequences and the XHA1 is known for providing great bang-for-the-buck. Well, even the serious Hollywood players are homing in on that value.

Below are a couple articles on the topic:

COLLIDER STORY

SLASHFILM STORY