Whether to use the Canon XH-A1 or the Panasonic DVX200 is more than just HDV versus HD, or tape versus P2 solid state. It comes down to what you know, and I know the Panasonic better than the Canon. Brand wise, I'm all over Canon. The first film SLR I purchased with my own money was a Canon FTb. Tough as a tank; I loved that camera.
It's just that I believe that it's easier to create when the tools being used are transparent, that is, they're so familiar that they're effortless to use, acting as an extension of your body. At this point I can't say this is true for any video camera I've used, but the Panasonic is the closest. In the show I give a little detail on the advantages it has over the Canon.
One of them is the ability to shoot in true slow motion. I've put some examples on my YouTube page of slow motion and accelerated motion footage and as well as a video demonstrating rack focus.
We've spent a lot of time in class reviewing the data forms we need to fill out to create our production book. The book, which is a collection of forms signed, lists of names and shots, drawings, sketches and other information that represents the roadmap to our final destination, the finished film. It's a work in progress, but we do have to something to show before the end of the module.
Don't forget to send me questions you want answered while I'm at NAB, the National Association of Broadcasters conference, coming up in mid April. I'm available for meetups if you're in Las Vegas at the same time.
Thursday, March 27, 2008
Saturday, March 15, 2008
#77 Wk57 Cinematic Storytelling
In this show, proposal creation and the review process, developing your pitch and getting started.
I forgot to mention a conversation we had during class about the documentary - narrative continuum, so let me talk about it now.. We looked a a variety of documentaries that range from straight talking head to what appears to be a narrative feature.
Errol Morris has long used the technique of dramatizing reality in order to advance his narrative arc. It's very different from something like the History channel where they dramatize a scene within a documentary. And of course there are a lot of feature films that try very hard to represent an event as meticulously and accurately as possible, not only in the look and feel, but also in staying very close to documented record. Zodiac is a good example of that. Certainly there are fictional elements, but the story revolves around the written record of the events as they happened. As a result it has more of a fictionalized documentary feel to it
There is a divisive sentiment in filmmaking, as there seems to be in all things where people get passionate, of choosing sides over either/or - better/worse. Either you are a narrative sell out feature filmmaker, or a libertarian socially conscious documentarian.
Of course there is a middle ground, and it isn't a separated from either extreme . There are documentaries that have strong narrative arcs and there are narrative films that have a cinema verité character.
The reality is that there is no best, truest form of filmmaking; you choose to do what you like. Cinematic storytelling is a continuum. How you tell a story, either through fiction or documentary is a matter of degree. Each has components of the other and the polar opposites are just in a different location along the same path.
To me, that means I can at least mentally escape the label of being one kind of filmmaker and be free to tell a story in the way that best suits it.
Links:
Errol Morris
http://www.imdb.com/name/nm0001554/
Zodiac
http://www.imdb.com/title/tt0443706/
cinema verité
http://www.sensesofcinema.com/contents/00/11/verite.html
Tags:
zodiac, cinema verite, documentary, proposal, pitch
I forgot to mention a conversation we had during class about the documentary - narrative continuum, so let me talk about it now.. We looked a a variety of documentaries that range from straight talking head to what appears to be a narrative feature.
Errol Morris has long used the technique of dramatizing reality in order to advance his narrative arc. It's very different from something like the History channel where they dramatize a scene within a documentary. And of course there are a lot of feature films that try very hard to represent an event as meticulously and accurately as possible, not only in the look and feel, but also in staying very close to documented record. Zodiac is a good example of that. Certainly there are fictional elements, but the story revolves around the written record of the events as they happened. As a result it has more of a fictionalized documentary feel to it
There is a divisive sentiment in filmmaking, as there seems to be in all things where people get passionate, of choosing sides over either/or - better/worse. Either you are a narrative sell out feature filmmaker, or a libertarian socially conscious documentarian.
Of course there is a middle ground, and it isn't a separated from either extreme . There are documentaries that have strong narrative arcs and there are narrative films that have a cinema verité character.
The reality is that there is no best, truest form of filmmaking; you choose to do what you like. Cinematic storytelling is a continuum. How you tell a story, either through fiction or documentary is a matter of degree. Each has components of the other and the polar opposites are just in a different location along the same path.
To me, that means I can at least mentally escape the label of being one kind of filmmaker and be free to tell a story in the way that best suits it.
Links:
Errol Morris
http://www.imdb.com/name/nm0001554/
Zodiac
http://www.imdb.com/title/tt0443706/
cinema verité
http://www.sensesofcinema.com/contents/00/11/verite.html
Tags:
zodiac, cinema verite, documentary, proposal, pitch
Wednesday, March 12, 2008
#76 Wk56 Cinematic Storytelling
Lots of loose tangents of thought this week. I'm continuing the refining process for my documentary proposal. We didn't spend much time talking about scriptwriting since it was covered in previous modules. You can review previous episodes for more information about that practice. Check out the Grim Reader podcast (be aware that this link will open iTunes) for quick, but insightful advice about preparing your script.
Here a link once more to some video that I produced on my company's website.
Some of the topics this week are about creating a proposal; a written document that describes the film's goals and outlines production responsibilities. Others topics are more personal, illuminative. Such as,
You, the client and the film - always choose the film first. There's always going to be conflict, and the client is going to think they can add just one more thing, or they'll insist you act on a really bad idea. Instead of coming back with what you, IYHO as a "professional" would do and further alienate the relationship, take the middle ground. Come in on the side of the film. When you advocate what's best for the film, you demonstrate that you care about the product. That gains you a lot of respect and keeps the focus off what individuals want.
I've included some ideas about interviewing people. Lots of places on the web give advice about interviewing people. I like to listen to podcasts on the subject, they give me insight into different approaches and as well as something to compare my own skills against.
Relax and ask a lot of questions. Listen to the person and instead of running down a bullet list of unrelated questions. Tie each answer to the following question, or ask them a question that expands what they're saying. Find subtle ways to direct the speaker along paths you want to explore, so it feels as though they are a part of the conversation.
It continues to surprise me how willing people can be to talk if you demonstrate you're interested.
A brief note about the minimum for producing video for the web. Don't go too bare bones in production or post if it's going to reflect poorly on the client.
Finally, I'm going to NAB. It's a great training conference and a chance to see the latest and greatest hardware and software for digital film and video. I'd love to meet up, if anyone listening is going to be there. If you're not, you can send in requests for information I can report on. Let me know either way.
I posted a couple shows last year, #21 and #22. I plan on posting a show each day this year.
Here a link once more to some video that I produced on my company's website.
Some of the topics this week are about creating a proposal; a written document that describes the film's goals and outlines production responsibilities. Others topics are more personal, illuminative. Such as,
You, the client and the film - always choose the film first. There's always going to be conflict, and the client is going to think they can add just one more thing, or they'll insist you act on a really bad idea. Instead of coming back with what you, IYHO as a "professional" would do and further alienate the relationship, take the middle ground. Come in on the side of the film. When you advocate what's best for the film, you demonstrate that you care about the product. That gains you a lot of respect and keeps the focus off what individuals want.
I've included some ideas about interviewing people. Lots of places on the web give advice about interviewing people. I like to listen to podcasts on the subject, they give me insight into different approaches and as well as something to compare my own skills against.
Relax and ask a lot of questions. Listen to the person and instead of running down a bullet list of unrelated questions. Tie each answer to the following question, or ask them a question that expands what they're saying. Find subtle ways to direct the speaker along paths you want to explore, so it feels as though they are a part of the conversation.
It continues to surprise me how willing people can be to talk if you demonstrate you're interested.
A brief note about the minimum for producing video for the web. Don't go too bare bones in production or post if it's going to reflect poorly on the client.
Finally, I'm going to NAB. It's a great training conference and a chance to see the latest and greatest hardware and software for digital film and video. I'd love to meet up, if anyone listening is going to be there. If you're not, you can send in requests for information I can report on. Let me know either way.
I posted a couple shows last year, #21 and #22. I plan on posting a show each day this year.
Monday, March 10, 2008
#75 Wk55 Cinematic Storytelling
Once again I'm starting another module. This one is called Cinematic Storytelling and its about using visuals to tell the story. The final product for this class is either a script, if we're creating a narrative film, or a documentary proposal.
I just got a Zoom H4 and I have few things to say about it. I'm using it for the next few episodes, so you can expect me to update my impressions.
We've learned some important details about the requirements for our final project. More importantly the class is given a couple of writing exercises that, for me at least, releases me from writer's block. It all comes down to collecting ideas and then refining them until they're in sharp focus.
Grammar Girl has a great episode on writing tips and dealing with writer's block. Check out episode 56. I like this show because it's interesting and practical. I learn a lot about writing clearly and it's pretty painless.
I also heard on a recent episode of Digital Production Buzz a link to an HD Production Workflow Tips. This is a great show to listen to if you want to know what other people are doing in digital video production right now. I haven't had a chance to review the tips yet, but the guy who produced it sounded experienced and knowledgeable.
I just got a Zoom H4 and I have few things to say about it. I'm using it for the next few episodes, so you can expect me to update my impressions.
We've learned some important details about the requirements for our final project. More importantly the class is given a couple of writing exercises that, for me at least, releases me from writer's block. It all comes down to collecting ideas and then refining them until they're in sharp focus.
Grammar Girl has a great episode on writing tips and dealing with writer's block. Check out episode 56. I like this show because it's interesting and practical. I learn a lot about writing clearly and it's pretty painless.
I also heard on a recent episode of Digital Production Buzz a link to an HD Production Workflow Tips. This is a great show to listen to if you want to know what other people are doing in digital video production right now. I haven't had a chance to review the tips yet, but the guy who produced it sounded experienced and knowledgeable.
Sunday, February 24, 2008
#74 Wk54 Edit Lab III
Strapped onto a log, riding the sluice of learning
Check out the links to some interviews and B-roll I produced for a conference put on by the company I work for. It may not look like a lot, but I did it all on my own and it represents most of my life during January. It feels so good when it stops.
I recorded this episode in pieces at different times. Once I met the deadline for my day job I was freed up to complete The Killer edit. At the end of the show I talk about the critique and the different ways other people in the class approached their edit of the story.
I wanted to recommend student screenings to anyone interested in learning more about filmmaking. Your response to the weaknesses of the film provides good insight into what you already know about filmmaking. They're a good source of insight into potential errors and oversights when producing your own film. A cautionary resource, particularly for a student filmmaker like you and I.
The entire experience of producing The Killers has given me a lot of thoughts about getting the coverage you need to tell a story. The fastest path to success is planning through preproduction. Pre-visualization tools like storyboards and shot lists are valuable tools as well. It doesn't matter how you do it, what matters is that you create the edit before you begin shooting.
Check out the links to some interviews and B-roll I produced for a conference put on by the company I work for. It may not look like a lot, but I did it all on my own and it represents most of my life during January. It feels so good when it stops.
I recorded this episode in pieces at different times. Once I met the deadline for my day job I was freed up to complete The Killer edit. At the end of the show I talk about the critique and the different ways other people in the class approached their edit of the story.
I wanted to recommend student screenings to anyone interested in learning more about filmmaking. Your response to the weaknesses of the film provides good insight into what you already know about filmmaking. They're a good source of insight into potential errors and oversights when producing your own film. A cautionary resource, particularly for a student filmmaker like you and I.
The entire experience of producing The Killers has given me a lot of thoughts about getting the coverage you need to tell a story. The fastest path to success is planning through preproduction. Pre-visualization tools like storyboards and shot lists are valuable tools as well. It doesn't matter how you do it, what matters is that you create the edit before you begin shooting.
Monday, February 18, 2008
#73 Wk53 Edit Lab III
I'm having difficulty hunkering down on the edit for our third major film project which we call The Killer. Ambivalence, apathy and fatigue
I've made some comments about HDV again. Thanks to Mike Jones at Digital Basin for his comments, posted in the show notes of VSG #68 about the viability of editing HDV native in FCP.
I'm realizing the importance of pre prod and especially previz in preparing for shoots. Getting enough coverage is increasingly a concern. We just never seem to get enough. It's not the quantity, but the quality, the number of different types and the exact type. FrameForge 3D is a previz tool that I have and I need to get to know it better.
Take a look at the book, In the Blink of an Eye, by Walter Murch. It's a great read and a good introduction to editing.
I've made some comments about HDV again. Thanks to Mike Jones at Digital Basin for his comments, posted in the show notes of VSG #68 about the viability of editing HDV native in FCP.
I'm realizing the importance of pre prod and especially previz in preparing for shoots. Getting enough coverage is increasingly a concern. We just never seem to get enough. It's not the quantity, but the quality, the number of different types and the exact type. FrameForge 3D is a previz tool that I have and I need to get to know it better.
Take a look at the book, In the Blink of an Eye, by Walter Murch. It's a great read and a good introduction to editing.
Wednesday, February 13, 2008
#72 Wk52 Edit Lab III
Doug Plante is instructor for this module, Edit Lab II. He is an ex-Avid employee - Avid is in Tewksbury Massachussets. He is also, according to Howard Phillips, the programs associate director, a FCP god.
This week Doug spoke about the fine points of the rough cut and fine cut
He was all business and was there to see we got to the fine cut done. There's not going to be a lot of instruction in this class. It's all going to come as he works with us individually as we massage our edits.
I had a heck of a time working with Avid, lost a whole class before I moved on to FCP 6. Now I have a problem where I upgraded to 6.02 and the school is at 6.0. and guess what, the file types are not compatible. Can you believe it?
I know, Avid files created between a long list of revisions in that software don't cause a hiccup for Avid users, but FCP apparently is very touchy. But a x.0.2 release? It's enough to make you a hater.
But I don't hate FCP, I just feel I would benefit from continuing using Avid. I know FCP well enough to learn the rest on my own. But Avid, I'm surrounded by Avid gurus and I want to take advantage of that knowledge.
I know I tend to treat this like a dog with a sock monkey, but I once again discuss the archival problems with P2 footage. You can't keep it on the card, it's too expensive. And the life of the solid state card is unknown for long term storage. Drives are a problem for long term storage. What are we going to do once we have to give up tape forever?
This week Doug spoke about the fine points of the rough cut and fine cut
He was all business and was there to see we got to the fine cut done. There's not going to be a lot of instruction in this class. It's all going to come as he works with us individually as we massage our edits.
I had a heck of a time working with Avid, lost a whole class before I moved on to FCP 6. Now I have a problem where I upgraded to 6.02 and the school is at 6.0. and guess what, the file types are not compatible. Can you believe it?
I know, Avid files created between a long list of revisions in that software don't cause a hiccup for Avid users, but FCP apparently is very touchy. But a x.0.2 release? It's enough to make you a hater.
But I don't hate FCP, I just feel I would benefit from continuing using Avid. I know FCP well enough to learn the rest on my own. But Avid, I'm surrounded by Avid gurus and I want to take advantage of that knowledge.
I know I tend to treat this like a dog with a sock monkey, but I once again discuss the archival problems with P2 footage. You can't keep it on the card, it's too expensive. And the life of the solid state card is unknown for long term storage. Drives are a problem for long term storage. What are we going to do once we have to give up tape forever?
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