I've not posted a DIY film tool link in a long time, but the Car Dash Camera Mount listed in this morning's "Weekend Builder" email from Instructables grabbed my attention. If you need a way to film yourself (or someone) straight-on while driving, this could be pretty useful. Unless, of course, you're using a big-ish or heavy camera... in which case you probably can afford to rent the "proper" tools.
Wyoming Film Contest
I usually don't post film contest, and especially film festival, deadlines and guidelines. There are just too many out there to keep up with it all. But the Wyoming Film Contest got my attention. First, I like to promote regional cinema efforts. Secondly, the winner receives $25,000 towards producing a feature film (in Wyoming, 'natch). You don't have to be from Wyoming or live there to enter the contest, but your film must "reference Wyoming in some way."
Visit the Wyoming Film Office's blog for more details.
joinmycrew.com
SRF reader Jeremy Parker recently alerted me to a website he's been building called Join My Crew. Just as it sounds, it's a completely free website that hopes to help independent filmmakers find cast and crew for their next productions. The site Beta launched last week and will only get better as more and more filmmakers start to use the site.
iPhone Film Calculator application
The folks at 2.1 Films have just released an iPhone Film Calculator. From the description:
Film Calculator has three basic functions:
Length & Time Converter: This function allows the user quickly convert length to time and vice versa for a variety of film stocks and speeds. Choose from Super-8mm, 16mm, 35mm or 70mm stocks and preset frames per second rates (12, 24, 25, 48) or enter your own. Then enter the time and you'll get the length or enter the length and you'll get the time.
Hard Drive Storage Calculator: Select a format and enter a time and this function will tell you how much hard drive storage space you need. Dozens of formats are included. Contact us to request more!
Script Supervisor's Assistant: This function provides a stopwatch that counts both time and length. Select the stock and frame rate and then operate this like a regular stopwatch. Saves scripty's from having to use a calculator at the end of each take. Always know exactly how much you've shot on a reel!
Customize Your Camera
Here's a cool little article courtesy of Creative Cow: "Want to be ready for Reality? Mod your camera!" This isn't for everyone, especially those that don't own their own equipment or those that are concerned with resale value. But if you're going to use your camera until the wheels fall off, so to speak, then this article may provide some tips or, at the very least, inspiration.
Production Boards and EP Scheduling with Chris Cobb
Assistant Director Chris Cobb has two sets of tutorials up on Expert Village that are worth a look. The first is a tutorial on setting up a script production board. If you've never done a script breakdown, you'll want to check it out.
The other tutorial demonstrates how to use EP Scheduling, the industry standard software for film shoot scheduling. Granted, EP Scheduling is not cheap ($499 msrp), but film school students may have access to it or may be able to afford the academic version (around $145 online), hence the linkage.
Red Centre at fxguide
For those who are trying to stay up to date on the Red One camera, let me recommend fxguide's Red Centre podcast. Each episode features Jason Wingrove and Mike Seymour discussing the latest news, accessories, and tech tips (both production and postproduction). I recently dug into these episodes and found they're a good way of staying informed about this in-constant-development camera without having to spend a lot of time on the Reduser forums.
For a list of other Red-related links, go here.
Matte Box and Filters - An Intro
It's a few days old, but B&H Photo/Video has a nice introduction to Controlling and manipulating the light (that enters the lens of your camera). The article describes the functions of a follow focus, mattebox and filters. If you're convinced you need these tools after reading the article, you might check out DV Magazine's Matte Box Roundup and Follow Focus Shootout, two fine articles by FresHDV's Kendal Miller and Matthew Jeppsen.
DIY: MiniCrane
Here's a link I missed promoting because I was off the grid when it was posted back in May: Stu "DV Rebel" Maschwitz shares a link about a "mini-crane you already own." This isn't exactly DIY as it's normally defined (i.e., building stuff for cheaper than it can be bought). But it's still pretty darn inventive.
iPhone WebApps for Filmmakers
iPhone 3G is being released today. If you are submitting to the mania, or already have a (non 3G) iPhone, these web apps are for you. I'll do a version of apps from the iPhone apps store at some point. Until then, enjoy these web apps on the set or off... All descriptions are pulled from Apple's iPhone web apps site.
ON THE SET
Power Load Calculator Allows you to calculate the load on a particular circuit when certain devices are plugged in. For example, you can calculate whether or not the circuit breakers in a location can handle the lights you want to use and if not, the size of the generator that needs to be hired. This sort of thing is better discovered during pre-production and not on the day of shooting, so this calculator is very useful in that regard.
Depth of Field Calculator This tool will calculate the depth of field for a given sensor or film type, aperture, focal length, and subject distance (the distance from the camera to the person or object you are focusing on). A lower number means that a large proportion of the background will remain in sharp focus and a higher number means that a smaller proportion (if any) will be in focus.
Footage Calculator Enables you to calculate the amount of disk space required for various video codecs at varying frame rates. It offers an easy-to-use interface that allows you to quickly and easily view the required information whilst on the move - perfect for those awkward on-the-spot questions from clients.
Film Rate Calculator Calculates the relationship between film reels and shooting time. Use this calculator to work out how many rolls of film are required for a certain shooting ratio, or alternatively calculate how many minutes have been shot for a certain number of rolls. This is a useful tool for any script supervisor or producer.
Red Footage Calculator For Red users. You select your resolution, frame rate, Redcode, aspect ratio, and amount of footage. The calculator tells you how much disk space is needed. Cool.
Weather Underground The Weather Underground, now on your iPhone. View current conditions, animated radar, forecasts, and severe weather alerts. [Note: Not to be confused with the radical leftist organization of the 1960s-70s or the Sam Green documentary of the same name.]
Sunrise & Sunset This applications helps to calculate the sunrise and sunset times for each location in the world on each day of the year. Enjoy planning your next holiday, trip or photo session where ever and when ever you want to go. Just click on the location, choose date and timezone and optionally add 1 hour daylight saving.
The Weather Channel The Weather Channel for iPhone delivers current conditions, hourly and 10-day forecasts, severe weather and maps in a fully interactive environment. [Note: I prefer the Weather Underground web app's interface to this one from the Weather Channel, but some will prefer this one.]
Stormchaser Cloud Reference Chart An on-the-go webguide to common cloud shapes and patterns and what they mean to the stormchaser or weather buff who wants to predict the coming weather via cloud formations.
OFF THE SET
IMDb iPhone Client Web interface with support for looking up actors, characters and movies. The client also helps you find trailers that are suitable for viewing on the iPhone and view additional information such as: Goofs, Soundtracks, Trivia, Quotes, and Crazy Credits.
Fandango Movie Showtimes and Tickets Buy movie tickets on the go with Fandango. Access showtimes, read movie details and reviews, find theater info, and get maps - all on your iPhone or iPod touch!
Moviefone for iPhone Give us your Zip Code and we'll give you the world -- of movies. Find Movies and Showtimes near you, as well as Upcoming Releases, our Top 20 Movies list, and Top iPhone Trailers.
iNetflix An iPhone Netflix client. It will let you see your queue, whats at home, recommendations and new releases.
The Cut List The Cut List displays a list of movies from the top 100 DVDs to new releases from your favorite online movie rental store.
EDIT (7/11/08 @ 12:30): iPhone App Store is open
Red One - Information Page
I've read a lot of stuff on the web in my efforts to educate myself about the Red One digital cinema camera's new approach to motion picture image capture and its workflow. Below are some of the better resources I've encountered. If I've left off something helpful, let me know in the comments.
COMPANY WEBSITE
RED DISCUSSION FORUMS
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Reduser.net
The Red company-sponsored site.
Creative Cow Red Forum Mostly oriented around Red post-production workflow.
Cinematography.com Red Forum Lots of skepticism and passionate disagreement about the Red here.
DV Info.net Red Forum Infrequent posting; lots of overlap with reduser.
WIKIS
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Redhax.net: a wiki for Red users. Very incomplete, but useful in spots.
Wikipedia:Red Digital Camera Company entry
RED: BASICS
Octamas.com: Red One user menu guides
FresHDV: "All Things Red" - another links listing
Creative Cow: Dress for Success with RED
Creative Cow: Shooting with RED: Testing, testing...
SHOOTING RAW:
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ProLost: Exposing to the Left vs. Exposing to the Right
Pro Lost: Digital Cinema Dynamic Range -- an epic post
Pro Lost: Digital Cinema Dynamic Range [abbreviated version]
Reduser.net: Thread on Working with RAW
Bealecorner: John Beale's camera tests
WORKFLOW:
American Cinema Editors: Podcast discussion for A.C.E. members about the workflow for Red with Avid and Final Cut Pro.
RedHax Wiki: Footage Protocol on Set
RedHax Wiki: Footage Conversion
Editors Lounge: Handling Red One in Post-Production [link to page with pdf file]
Coremelt: Red Camera 10-bit Color Online Workflow with FCP 6.0.2
DV Magazine: Posting RED
Scott Simmons' Editblog: posts tagged "red"
Indie4k: Red Workflow posts 1 and 2
Pro8mm: Red & Super-8 Telecine (!)
ONLINE TUTORIAL/DEMO VIDEOS
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Wonderhowto: Learn All About the Red One Camera - 12 videos!
Studio Daily: Shooting Red
Studio Daily: What You Can Do with Red Alert
Studio Daily: Final Cut Pro - Red Workflow
Studio Daily: Edit RED Footage in Avid Media Composer
Studio Daily: RED / Avid Workflow
Studio Daily: Maintaining Red Metadata to Avid
Studio Daily: Assimilate Scratch / Red Workflow
Official REDCINE Training Videos
FOOTAGE
Red Relay Repository of Red One footage.
PODCASTS
RedCentre @ FX Guide Weekly podcast on all things Red from FXGuide.
RED 3rd-PARTY SOFTWARE
Crimson Workflow FCP round tripping application.
RedTrip Essentially an early, free version of Crimson Workflow.
Red Portal Allows you to double-click R3D files to open in RedAlert!
AliasRDC Helps with footage conversion (see http://www.redhax.net/wiki/Footage_Conversion).
MetaCheater Allows MetaData use in Avid.
Spotlight Plugin for R3D Files Lets you easily find and identify r3d-files on your computer.
3rd PARTY ACCESSORIES
Some might ask why this site is posting about Red, considering it is, for many readers, a high-ticket item (especially when you add in the cost of lenses, support, etc.). My answer is that this is a site that's devoted to all forms of maverick filmmaking, including the invention of maverick filmmaking tools. By this standard, Red certainly qualifies.
Panasonic HVX-200 for sale...
I'm selling my venerable Panasonic HVX-200 and its 8GB P2 card. No, I'm not giving up filmmaking; I just don't need the camera. I was looking to rent an HVX this summer for a few weeks to do some shooting in Knoxville and Roanoke. For the few weeks I needed it, a rental wasn't really cost-effective, so I just bit the bullet and bought the camera. Now that we've got a few HVX's at Virginia Tech, I don't need to hang on to this one. As many people who read this blog would probably testify, it is an awesome camera. The DVCPro HD codec at 24P is totally impressive. Anyway, if you're interested, email me personally [ pharrill AT you-know-what DOT com ]. You can ask me all about it and I can let you know all the details, accessories, etc. I'd rather sell it to a reader of SRF than put it up on Ebay, so I'll entertain any reasonable, sincere offer.
UPDATE: Looks like it's sold folks. Thanks for your interest!
Gels, and their Proper Care
Gels are useful, but pricey. Any budget-minded filmmaker should take good care of them. Here's a helpful post from David Tames at Kino-Eye that details some simple ways to organize your gels so that they last longer.
Dimmer Boxes
When I was looking through the new edition of The Filmmaker's Handbook, I noticed a lot of little changes and additions. An example: In a list of equipment to bring to the set, in the lighting category I noticed one addition: "dimmer boxes." I can't argue with that -- dimmer boxes help one light with finesse, and they're fairly easy to come by. I went to the trouble of making a couple dimmers (aka "hand squeezers") myself about a year and a half ago. I made a couple of 600 watt boxes, as well as a 1000 watt box. The supplies I got from the local home improvement store, though I remember that the 1000w dimmer was not widely available. If I remember correctly, I built all three dimmer for about $100 in supplies. They would have been cheaper, but the 1000w dimmer was considerably more expensive than the 600w.
In retrospect, instead of making those boxes, I would have been better off simply purchasing one of the many dimmer boxes or router speed controls (which can be used as a dimmer box) that are commercially available. They're cheaper, they're probably more reliable than anything I could build, and the heavy duty router speed controls can handle more power than the ones I built. Plus, the router speed controls have a safety fuse, which my self-built dimmers lack.
Shopping for some last week, I ran across lots of varieties. Here are some:
Dimmer Boxes:
Ikea Dimma - 300 Watts and under - $7.95 Note: Not useful for most motion picture lights, but if you just need something for practicals, these are nice and cheap.
Smith Victor - DC-1 Dimmer Control
Router Speed Controls:
Harbor Freight Tools - 15 Amps and lower - $19.99
MLCS Router Speed Control - 15 Amps and lower - $20.95 and $28.95, respectively, for the "home" and "industrial/commercial" use boxes
Grizzly G3555 Router Speed Control
Rockler Router Speed Control - 20 Amps and lower - $39.99
If, however, you wish to build your own, you can find instructions in Blain Brown's Motion Picture and Video Lighting, 2nd Edition
Pulling Focus
Focus is such a downright elemental part of the filmmaking process that it's often taken for granted. Like sound, most moviegoers only notice it when it's bad. Aside from the occasional rack-focus, the work of a good 1st AC (or whoever's pulling the focus) probably shouldn't call attention to itself. And yet it's work that takes nimble hands, good eyes, and a near-balletic sense of timing and movement.
I enjoyed FresHDV's latest 3-part tutorial with Bob Sanchez on The Art of Focus Pulling, in which the FresHDV guys document Sanchez revealing how he approaches his work and some tricks of the trade.
Here are the links:
Aside from learning some things, after watching the series I went away appreciating even more how, when it's done right, the craft/art of it is simultaneously invisible and right before your eyes. How's that for a paradox?
Update from Matt Jeppsen of FresHDV:
When we posted the last clip in our three-part "Art of Pulling Focus" series, I had quite a few people e-mail me and specifically ask for a quicktime and/or HD version. Well at long last, here it is. We're sharing the 15-min Part 3 hands-on demonstration video as a 720p H.264 clip, available here.
Filmmaking and the Environment
Though the press reports usually got it wrong, as AJ Schnack reminded everyone yesterday, Gore did not win an Oscar for An Inconvenient Truth (because he didn't direct it), but I have little doubt that the film -- because of how it drew attention to the cause of global warming, and because it drew attention to Gore's advocacy in the process -- was a factor in Gore sharing this year's Peace Prize. Looking over the list of previous Peace Prize winners, I couldn't think of another instance in which cinema played such a central role in the awardee's recognition.
Anyway, in the spirit of the announcement, I thought I would share some links and notes on environmentally-friendly filmmaking for those folks out there that, whether or not they like Al Gore, accept the findings of hundreds and hundreds of scientists from around the world that shared the Peace Prize for their work on man-made climate change research...
First, you might check out the Environmental Media Association's website, particularly their EMA Green Production Checklist (PDF download on the linked page). Most of their tips are basic "reduce, reuse, recycle" guidelines within a filmmaking context, but they're worth a look.
On a related note, in my searching online for other green filmmaking resources, I came across New Mexico's "Green Production Best Practices", which were outlined by Gov. (and Presidential candidate) Bill Richardson. No surprises here - this is a very similar list to the EMA guidelines above -- but it does have New Mexico-related resources to help you "go green." It would be great if all the other state film offices would draw up similar resource pages. If you agree, contact your local film office and make the suggestion. Or go a step further -- do the research yourself and provide it to them!
If you consider yourself deeply committed to these principles, you might want to track down a copy of Larry Fessenden's Low Impact Filmmaking. The book was originally published in 1992, so some of the information is dated. Still, this is the most extensive green-guide to filmmaking I've ever seen, and it's written with a true spirit of self-reliance. I only wish Fessenden would make it available as a PDF -- that would help disseminate the book more widely AND it'd be that much more environmentally friendly.
Finally, one of the most -- if not THE most -- significant things we filmmakers can do to help (or at least not hurt) the environment is to "work small." As I looked over the EMA Production Checklist I couldn't help but think about how the EMA's and the New Mexico film office's guidelines are geared toward Hollywood productions that feature hundreds of crew and dozens of vehicles and trailers. Without even considering the extensive things that happen in front of the camera on some of these sets (stunt car chases, explosions, etc), the fact remains that Hollywood filmmaking practices leave a big environmental footprint, no matter how much re-using and recycling they do. "Reduce" is the first step -- and it's one that the producers of so-called "Major Motion Pictures" would do well to remember.
Indeed, some of the most basic elements of low-budget, DIY regional filmmaking -- working with a small crew, shooting films in your own city with local crew, and using a modest amount of equipment (lights and vehicles, especially) -- also happen to be great practices for environmentally-sound filmmaking. Most filmmakers that "work small" (including a lot of people reading this right now) may not do so out of a commitment to the environment, but you know what? That doesn't diminish the effect. We can all do more, but working small is a big first step.
Review: The Filmmaker's Handbook, 3rd Edition
My earlier post on the 3rd edition of The Filmmaker's Handbook
Now that we've got that out of the way, here are some quickly-jotted observations:
There are lots of changes, but few surprises. And that's probably a good thing. There's only one new chapter, at the beginning, which lays out basic questions that filmmakers should consider before beginning their work. Aside from that, the changes are all revisions. The biggest change, because it's something of a philosophical shift, is that the chapters on Video now take precedence over the chapters on Film. And, of course, the video chapters have been (predictably) overhauled and expanded. The film chapters have largely gone (predictably) untouched.
It's still essential. I don't know of any single technical manual related to filmmaking that collects so much information in one place. None of its chapters can compete with my favorite books on sound, lighting, etc. but this is a great place for novices to begin and it's a great single reference book for the rest of us, particularly on the things that won't change as quickly as video (sound, lighting, film).
It's already starting to become obsolete. Steven Ascher notes this in the preface: "Right now, the pace of change in video and computer technology is so rapid, some things in this book could be dated before you get to the end of this sentence." There is a small, one sentence mention of the Red Camera (bottom of p. 34). I expect there will be more on 4K and RAW imaging in later editions.
There will be new editions, and probably sooner than later. The cover of this edition conspicuously notes that this not the "3rd Edition", but instead the "2008 Edition." Aside from noting that, well, it's still 2007, I have to imagine that this is a hint that we'll see this tome updated more regularly. And it is a tome.
Readability is reduced. The Handbook has been such a staple of film education because of its (relative) readability. Ascher and Pincus do a fine job of making complex technical concepts understandable for novices. But as the book has grown (see below) it has sacrificed some of its readability. There is simply so much stuff in this new edition that it can be a little difficult to navigate through it to find what you need. Luckily the index is above-average for this type of book.
It's big. Really big. I remember a film professor of mine once waxing nostalgic about how the precursor to the first edition of The Filmmaker's Handbook was a small pocket-sized book by Ed Pincus called Guide to Filmmaking. That book, my professor argued, was superior in some ways to editions of The Filmmaker's Handbook because you could stash it in your back pocket while you filmed. He had a point. This is a "handbook" in name only -- it has 830 pages and weighs nearly 3 pounds! (Here's a similarly sized work of fiction
In sum, while this isn't my favorite film book, if you are new to filmmaking, or if you are beyond the basics but need a single desk (or on-set) reference for tons of technical stuff, this is probably about the best $16.50
Two Hands are Better Than One: LevelCam and "RebelCam"
Earlier this month, Matt over at FresHDV posted some photos of a new, fairly inexpensive ($50) gizmo called the LevelCam, which helps stabilize camcorder footage. This is no Steadicam -- there's no counterweight, no spring-loaded arm, no gimble. It's just a small horizontal mounting surface that allows a camera operator to hold a camera level with two hands instead of just one. The LevelCam looks throw-it-in-your-backpack small, which is an added bonus.
Of course, if you're too cheap to spring for something like the LevelCam -- of if you just want to see how such a thing works -- you could build a similar contraption. Stu Maschwitz's DV Rebel's Guide
I just built a "RebelCam" to see just how much it helps stabilize the image, and I have to say that it works better than I expected. The materials cost less than $10; building it took about an hour. The two downsides are that a) it's kinda bulky and b) getting the camera mounted with a thumbscrew is a pain. For $40 more (and no effort) you can get a smaller, possibly more convenient version.
Of course, you can just try to hold the camera steady with one hand. People have done it for years. Or at least tried.
The Bible, Revised
In some fields, there's that one book which, without it, your collection would be hopelessly incomplete. In my opinion, every kitchen needs a copy of The Joy of Cooking, a library's not a library if it doesn't have the Oxford English Dictionary, and filmmakers... well, I would argue that all of us need a copy of The Filmmaker's Handbook by Steven Ascher and Edward Pincus. At least that was true a few years ago. First released in 1984, The Filmmaker's Handbook was one of the first, and best, books to cover almost all technical aspects of the filmmaking process. Its presentation of technical concepts was accessible to beginners; its depth of detail meant experienced filmmakers could return to it again and again, always sure to learn new things.
For years, the Handbook didn't need an update. Film technology had gone largely unchanged for decades. An f-stop's an f-stop, right? Then, in 1999, the Handbook was updated to include developments in digital video. A necessary nod to the present, no doubt, but also an invitation to obsolescence.
The 2nd edition was first published in March 1999 -- one month before the unveiling of Final Cut Pro 1.0. Things have changed. Radically. Needless to say, the Handbook's been long overdue for another update.
So when I say that the new edition of The Filmmaker's Handbook
In many ways, though, it's a bittersweet celebration. At this point, I don't expect The Filmmaker's Handbook to present any especially new information, exactly. The internet keeps me up-to-date on this stuff far better than any book can now. And, like so much of the technology it will no doubt discuss, I suspect that much of the information found in this 3rd Edition will be out of date within a year or two. If not sooner.
Yet, even when discussing evolving technologies, books have their place. Books demand (or at least request) more attention than digitally-presented information does. That's a good thing, especially when you're trying to learn something. You can also carry a book to a remote location where you might never have the internet access that would allow you to google for a solution that might crop up on set. But most importantly, a book lets you dog ear its corners, mark up key passages, and write in the margins. At least, that's what I plan to do with my new edition as soon as it arrives on my doorstep.
And besides, a lot of what this new 3rd edition of The Filmmaker's Handbook will have to say has never gone out of style and won't for a long, long time. After all, an f-stop's still an f-stop.
First Red Cameras Slated to Be Delivered Today
More news on the Red Camera's release as updates and footage become available. Until then, assuming you haven't been following this camera's (fairly open) development, you can get caught up by reading the official propaganda from Red and Apple. Then check out the various forums:
UPDATES (last update 9/6/07):
FX Guide - "Red One Starts Shipping" Words and photos about the release.
FX Guide - RED Podcast Discussion
"First Pictures" thread posted at RedUser.net Links to first known still grabs and short clips from Red users. Registration is required to view the photos.