This Savage Art

Wired takes an in depth look at the RED digital wundercamera.

Popularity: 8% [?]

The above video is a gleaming example of what can be done with very little. It is an impressive looking short film called White Red Panic from Ayz Waraich and it shows us we don’t need all the bells and whistles equipment-wise to make something that visually stimulates. This is desktop filmmaking shot with a Canon HV20. A tiny kick around HD camera that goes for under a grand [the new replacement model is the HV30.] Yes, you heard me right. 1080p24 for under $1,000. The film itself is a simple sequence but you can see how far color correction can take you if you do your homework. I own the HV20 myself and I’ve shot a few things around the apartment but I can’t wait to beat this thing into submission and get some serious images. I’m planning on the next short film to be shot with this camera.

I first found out about this film and the camera through Stu Manschwitz’s ProLost site. He’s kind of a digital DIY guru of sorts that has an excellent book that informs and educates and I highly recommend it. He’s also one of the founders of The Orphanage and chief creator of Magic Bullet Looks. The film, the site and the book might be the boost you need to get you to sharpen your skills and get you excited about creating again. Remember what I said, a $1,000 camera.

We are moving into a new phase of independent filmmaking, beyond the crappy looking mini-dv cameras of just five years ago. Don’t get me wrong, use what you have. It’s not about the tools. It’s about the vision and ultimately, the story. HD isn’t everything and not everything needs to be HD but the options are there and at an extremely affordable price and with some ingenuity all things are possible.

Popularity: 24% [?]

Four filmmakers recreate this infamous historical scene on desktops [via HD4NDs.]

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A good nuts and bolts filmmaking blog from San Francisco digital filmmaker and friend of Stu “Red Giant” Maschwitz, Eric Escobar. [via Making The Movie]

Popularity: 10% [?]

Here’s a collection of articles via CinemaTech that illustrate the making of David Fincher’s new film Zodiac.

Popularity: 6% [?]

In the first scene of Michael Mann’s recent theatrical incarnation of the 80’s pop culture television show Miami Vice, you are placed in a night club from frame one. You are dropped into the night. You are in the action immediately as if the film was this weeks episode picking up where last weeks left off. This is not this week’s episode of that series but a brooding, more intense interpretation. Read more »

Popularity: 14% [?]

With the advent of the new line of digital video cameras from Canon (XL2) and Panasonic (DVX-100A) the term “24p” has become a serious buzzword among the independent filmmaker community. It has allowed the filmmaker to emulate the look of film with the ease of using DV. In this article written by Graeme Nattress, the sometimes confusing, often talked about subject of shooting 24 progressive video frames per second is explained in detail.

Popularity: 9% [?]

I found this in one of my folders. I think I was trying to write an article for one of the online film resource sites. I just came off of making my digital short film, The Face of the Earth, and I had all this information fresh in my head. Kind of a postmortem analysis. Looking back now, I’m glad I wrote it down.

1. Use SAG talent (if you can) – If the budget can take the hit go for people who have experience and know how to conduct themselves on a set, rehearse, etc. It will save you time and aggravation in the end. The last thing you want to do is teach someone how to act while your making your film. If you can’t go this way, get non-union but make sure all the talent is non-union. If you have a cast of ten actors and one actor is SAG then you still have to become a SAG signatory. An audience can forgive a scene that’s shot a little too dark but they will never believe a film that has poor acting.
2. Cast with a pro – Again, if you can afford it, cast with a casting agent. It definitely doesn’t have to go this way but if you are going union get someone who has a pipeline to that water supply.
3. Date the DP – When looking for a DP look at it like you are searching for the perfect mate. Can you agree on a similar style of filmmaking? Bring them into your world. Show them the script, storyboards, photography, art books that reflect what you’re trying to capture. Is this a person you can confide in for the next X amount of weeks. If a DP says you can’t do that shot and doesn’t give you an alternative, get rid of him/her. The last thing you want is someone who is going to shoot down your ideas. Know what you want and bring as much information to the table to see what the DP thinks of your ideas.
4. Let someone else supervise the script – You have enough on your mind, you shouldn’t be worrying about continuity.
5. Snap, Crackle, Pop – Make sure the sound person checks and field-test the equipment before using it for your film. If there is something wrong you really don’t want to find this out when you’ve wrapped and you are looking and “listening” to the footage.
6. Timetables and momentum – When you are prepping for your shoot arrange to have it done within a period of time. Meaning, people get busy and if you have them locked up for three consecutive weekends for your film try with all your power to finish it within those three weekends. Cast and crew are already setting up their next job when they are done with yours so if you don’t get it within your timetable the next time will be within ALL of theirs.
7. Psychology rules – Try to understand everyone before you go into your project. There are so many personalities on a film set, if time allows take the time to find out who you are working with. Is this person upbeat? Is this person cranky? In the 25th hour do you really want someone who is petty or incompetent.
8. Call in back up – For every choice you make whether it is location, an actor or a camera have two other go to choices in an emergency.
9. A man’s got to know his limitations – You can’t exploit your resources if you don’t know what they are. If you are limited by budget understand fully what that means for your film.
10. Finish the film – Find a way to make this happen no matter what.

bonus!

11. The script isn’t the only thing made out of paper – When writing your short script write it to budget. If you have $500 to make a film don’t write a scene with car interiors, twenty SAG extras and a trained llama.
12. Time is of the essence – Time is not just money, it is gold.
13. The three r’s – Read, research, review. Be the absolute expert on making your film before you even buy film/video stock. It’s an overwhelming task but the more you know the better off you are. Read articles on filmmaking. Ask those who have done what you are about to do. Go over it all and use what applies to your film.
14. Signs are everywhere – On a limited budget you might have to make compromises with some crew members but don’t hire if you have second thoughts. If they show up an hour late or not at all without a courtesy call, bad sign no matter how good they are. This behavior will continue in one form or another through out your production. Make sure they are serious about working on your film. Let them know up front what they are in for with regards to money or other challenges. There are hundreds of talented people working on films, get the best you can afford on yours.
15. Thanks are in order – Filmmaking is hard on everyone especially during production. Tempers can run high and patience can become a luxury. Delegate with authority but respect is key in all situations. Thank your cast and crew for being part of your dream especially in the case where money is thin which is always. They are doing the unthinkable for you.

Popularity: 15% [?]