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The #1 Educational Resource for Film and Video Makers 2018, Vol. 13, No. 2 US$9.95 The Art of Location Scouting PAGE 8
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STUDENTFILMMAKERS MAGAZINE ANNOUNCES MUST VISIT BOOTHS AT CINE GEAR EXPO 2018 Hollywood, CA
Cine Gear Expo 2018 is the Don't Miss These Booths Azden Corporation premier annual event for Cine Gear Expo Booth #101, professionals engaged in the Carl Zeiss New York Street Exhibits www.azden.com technology, entertainment Cine Gear Expo Booth #49, 49A, 49B, New York Street Exhibits Founded in 1952, Tokyo, Japan, Azden and media industry. The www.zeiss.com/cine/cp3 show lasts four days in has over 60 years of experience to back its expertise in audio equipment There's a great many new cameras Los Angeles this June in manufacturing. Started as an OEM being launched this year with full frame Hollywood, California. manufacturer, Azden has provided sensors and ZEISS has lenses for its products to many of the top audio Cine Gear features 300 all of them. With superb sharpness and electronics brands. Now a well- exhibits, new product and and excellent control over aberration, established and independent brand service introductions, 30+ full frame cine lenses from ZEISS name, Azden is well known in the assure you complete coverage of audio market around the world. complimentary seminars led every sensor used today. ZEISS also by industry leaders, master Specializing in microphones and offers you full control of your metadata wireless audio for video production, classes, film competition, with its line of Compact Prime, CP.3 Azden’s mission is to provide video awards ceremony, special XD lenses. Want to see for yourself? creators and film makers with quality Drop by the Carl Zeiss booth at Cine audio gear at an affordable price. screenings in state of the Gear Expo in Los Angeles, CA, in art theaters and ample June! ZEISS has you covered. www.facebook.com/AzdenUS opportunity to network www.instagram.com/azdenproaudio with peers within a Whether you are shooting a www.youtube.com/AzdenUSA commercial where exquisite color www.twitter.com/azdencorp studio environment. rendition and high contrast is important, or a tense, dramatic www.cinegearexpo.com sequence in low light situations for a LaCie feature film, ZEISS cinematography Cine Gear Expo Booth # S115, Stage 17 Dates: May 31 through June 3, 2018. lenses offer you the performance collective.lacie.com/pushplay you need to get the scene right. • May 31: Film Series www.lacie.com Competition Screenings With a wide range of focal lengths in twelve different lens families Come by LaCie’s booth (S115) to • June 1-2: Exhibits, Premier Seminars, each tailored for your needs, experience the new LaCie DJI Copilot: Exclusive Screenings, Awards ZEISS cinematography lenses The new LaCie® DJI Copilot is a Presentations, Special Events give you always the best quality complete backup on-set solution • June 3: Master Classes to make your project stand out. (BOSS) that changes the game by
www.studentfilmmakers.com 2018, Vol. 13, No. 2 3 EVENTS Must Visit Booths at Cine Gear Expo 2018
enabling creative professionals and Filmtools Global Vision still photography consumers to ingest quickly, playback, lenses featuring 100% retained Cine Gear Expo Booth #202, copy and manage their footage from a New York Street Exhibits optics. Combined with the 100% camera without the hassle of leaving www.filmtools.com new mechanical lens body design, the field or booting up a computer. the Cine lenses meet the needs of Quickly connect and reference the Filmtools is the go-to destination for advanced 6K-8K cinema production. built-in screen to initiate a direct file content creators looking to source transfer from an SD card to Copilot production equipment such as: without the need of a laptop or a mobile cameras, camera support, lighting, Panasonic network. The Copilot BOSS app by studio carts, grip, electrical, recordable Cine Gear Expo Booth # S210, Stage 18 LaCie allows users to playback video in media, hard drive and memory card us.panasonic.com/VariCam full resolution, manage, and organize storage, audio equipment, and on- files with a mobile phone or tablet, set expendables. "We love what we Panasonic is the leading supplier and a built-in power bank recharges do! We’re a passionate company of professional 4K cinematography mobile devices. With 2000GB (2TB) of built by filmmakers, photographers, gear for high-end studio productions storage, the LaCie DJI Copilot easily educators, animators, developers, and low-budget indies. Their cinema stores up to 65 hours of 4K 30fps video and creative doers that love to products range from the 4K VariCam footage and 20K+ RAW photos. It is share our experiences to help our PURE with Codex VRAW 2.0 shipping now for an MSRP of $349. customers achieve their goals." Recorder to the small and robust VariCam LT, which adds multi-camera LaCie, the premium brand of Seagate capabilities for live events with its new technology, designs world-class Tiffen “CineLive” free firmware upgrade. For storage solutions for photographers, indie shooters, Panasonic recently Cine Gear Expo Booth #25, videographers, audio professionals, introduced the 5.7K compact EVA1 New York Street Exhibits and other power users. With leading cinema camera, which now includes www.tiffen.com technology, performance, quality, RAW data output and ALL-I recording and customer support, LaCie helps codecs and the Lumix GH5s, a 4K you realize your creative vision. They Tiffen is a leading manufacturer of imaging accessories for the consumer/ mirrorless camera that contains differentiate themselves with a focus Dual Native ISO technology. on design, unmatched technical professional imaging and the motion performance, and long-term reliability. picture and broadcast television industries, including: Tiffen Filters; Chapman/Leonard It is easy to replace a keyboard, Steadicam; Lowel; Domke and Studio Equipment, Inc. processor, or printer — but not Zing; Dfx digital effects software; Cine Gear Expo Booth # B104, B-Tank your data. Irreplaceable photos and Davis & Sanford tripods. www.chapman-leonard.com and your life’s work are stored on your external digital storage, so Chapman/Leonard Equipment Inc. the product you choose should Sigma provides custom camera support provide you with complete peace Cine Gear Expo Booth #71A, equipment worldwide for the Television of mind. For this reason, all LaCie New York Street Exhibits and Motion Picture industry since professional desktop solutions feature www.sigma-global.com 1945. Specializing in remote stabilized durable aluminum enclosures, high- systems, telescopic cranes, mobile quality hard drives or SSDs, and SIGMA - Unique to the imaging bases, camera dollies, mobile cranes, components that are built to last. industry, the family-owned business pedestals, arms, bases, steadicam produces its high-quality, award- walk-off platforms, camera sliders "At LaCie, we protect your life’s work. winning cine and camera lenses, and camera cars. Valuing the art And we expand what’s possible." cameras, flashes, and filters from of camera movement, Chapman/ its state-of- the-art manufacturing Leonard is here to assist the art of facility located in Aizu, Japan. filmmakers by providing state of the art Sigma’s Cine lenses leverage equipment “create moments through the outstanding optical design of movement”. Follow Chapman/Leonard the company’s world-renowned on instagram @chapman_leonard
4 2018, Vol. 13, No. 2 www.studentfilmmakers.com Must Visit Booths at Cine Gear Expo 2018 EVENTS
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Publisher and Editor Kim Edward Welch The #1 Educational Resource for Film and Video Makers https://networking.studentfilmmakers.com/ 2018, Vol. 13, No. 2 profile/Kim_Welch PRE-PRODUCTION Editor-in-Chief Jody Michelle Solis https://networking.studentfilmmakers.com/ PAGE 8 profile/jodymichelle The Art of Location Scouting Look, Access, Schedule and Control | By John Klein Contributing Writers Thomas Ackerman, ASC, Jack Anderson, CAMERWORK Anthony Q. Artis, David Appleby, Arledge Armenaki, John Badham, Christopher Ball, CSC, PAGE 12 Karl Bardosh, Kristen Baum, Jeremiah Baumbach, A Conversation with Steadipod Creator and Inventor Al Caudullo, Michael Corbett, William Donaruma, Multi-Emmy Award Recipient Eddie Barber Pamela Douglas, Scott Essman, Carl Filoreto, | Interview Conducted by Jody Michelle Solis Jon Firestone, Fred Ginsburg, CAS, Ph.D., MBKS, Dean Goldberg, Charles Haine, John Hart, Jared Isham, David Kaminski, Michael Karp, SOC, AUDIO Carole Kirschner, John Klein, David Landau, Neil Landau, Kwanshun Lau, Daniel LeBlanc, PAGE 14 Matthew Lott, Monty Hayes McMillan, The Science of Microphone Windscreens M. David Mullen, ASC, Steve Myers, Wind Protection for Your Microphones | By Matthew Lott Gleb Osatinski, Ryan Pickett, Theresa Meeker Pickett, Patrick Reis, Gabriel Garcia Rosa, AUDIO Peter John Ross, Dr. Linda Seger, Sherri Sheridan, Sujata Singhal, Michael Skolnik, Pamela Jaye PAGE 42 Smith, Scott Spears, Peter Stein, ASC, What Audio Format to Use and Why? Mike Valentine, BSC, Saro Varjabedian, Working with Music | By Daniel LeBlanc William F. Vartorella, Ph.D., C.B.C., Bart Weiss, David Worth, Dean Yamada SCREENWRITING Advertising & Sponsorship Opportunities: PAGE 18 Kim E. Welch: 917.743.8381 Make Your Comedies Stand the Test of Time The Importance of "Theme" | By David Landau Contact StudentFilmmakers.com www.studentfilmmakers.com/contact-us 917.743.8381 (US and International) PAGE 24 THE NEUROTIC SUPERHERO Subscriptions, bulk orders, and collections: From Comic Book to Catharsis | By Neil Landau www.studentfilmmakers.com/store 6 Issues $59.70 NETWORKING 12 Issues $119.40 24 Issues $238.80 36 Issues $358.20 PAGE 20 Running a Film Club For subscription, mailing address change Helpful Tips and Pointers | By Scott Spears and distribution inquiries, send an email to www.studentfilmmakers.com/contact-us PAGE 22 Filmmakers Global Networking Community Online StudentFilmmakers Magazine, established in 2006, COMMUNITY SPOTLIGHT | Shane Stanley is published in Dallas, Texas, by StudentFilmmakers. com. Opinions are solely those of the authors. Letters, article queries, photos, movie stills, film INTERNET submissions, and unsolicited manuscripts welcome, but returned only with SASE Submissions are PAGE 17 subject to editing for style, content, and to exclusive So, You Want to Create a Podcast? rights provisions in this publication. What You Will Need to Record and Broadcast | By Sujata Singhal Advertising: Rate card upon request. POST PRODUCTION Copyright 2018 StudentFilmmakers.com (All rights reserved.) Printed in the USA. PAGE 28 Postmaster Kolor Panotour Expands the Immersive World Send address change to: The Industry Standard | By Al Caudullo StudentFilmmakers Magazine 400 N. Saint Paul St., Suite 750, Dallas, TX 75201 6 2018, Vol. 13, No. 2 www.studentfilmmakers.com TABLE OF CONTENTS
POST PRODUCTION
PAGE 32 DaVinci Resolve 15 You are a filmmaker, The Go-To Color Grading Software | By Bart Weiss a storyteller, an innovator.
COLOR You are a visionary.
PAGE 33 Graduates - Shoot for Ideal | The X-Rite i1Filmmaker Kit EVENTS Make PAGE 8 Must-Visit Booths | Cine Gear Expo 2018 & Show PAGE 36 Cine Gear Expo 2018 | Hollywood, CA Your Films.
PAGE 38 Jon Firestone NAB 2018 Wrap Byte | Blackmagic Design and RED Excellent FESTIVALS, AWARDS, AND CALL FOR ENTRIES PAGE 44 Learning & CAS Student Recognition Award | Call for Applications PAGE 41 Teaching Film Festivals and Networking | Calls for Entry and Calls for Participation Tools For PAGE 43 2018 Summer Shorts Film and Video Contest | Open to both Students and Professionals Filmmakers
PAGE 45 Next Generation Filmmaker Series | Exclusive Screening studentfilmmakers.com/store
RENTAL HOUSES
PAGE 34 Top 3 New York Rental Houses | For Filmmakers, Videographers, and Crew
PAGE 34 California Spotlight On | Camera, Video and Digital Equipment
LENSES
PAGE 46 Meet ZEISS at Cine Gear Expo | Cinema Zoom and Compact Prime Lenses
TOOLS / GEAR
PAGE 37 Sekonic Flashmate L-308X-U | The World's Most Versatile And Affordable Light Meter
BOOK REVIEWS
PAGE 40 "Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image" | New Book on Lighting Written by David Landau
CONTRIBUTORS PAGE 35 www.studentfilmmakers.com 2018, Vol. 13, No. 2 7 PRE-PRODUCTION The Art of Location Scouting
THE ART OF LOCATION SCOUTING Look, Access, Schedule and Control By John Klein
Access Location scouting is an often-overlooked aspect of micro- Where can we park? How do we get budget filmmaking. Filmmakers are content to rely on either into the space? If it’s a building, are there elevators, or will you be hauling their own apartments or their friends’ houses or that bar gear up several flights of stairs? Does down the street that your cousin’s former roommate owns. the elevator run on Sundays? Are there And hey, if it works out, great! But too often, you’re walking extra fees involved? What’s traffic like at the times you need the location? Are into a situation you can’t control, without any regard for the there enough “staging areas” – places aesthetics of the space or the power distribution or where where you can store your gear or feed the windows are or if the location has bathrooms nearby. your crew – or will you run afoul of (Seriously.) It’s available, so you got it. other people who use the space? But if you want your film to stand out, especially when you Schedule don’t have the money to spend to build the set or trick it out When is it available, and for how long? Are they only available on with all sorts of production design and lighting, odds are weekends from 2-5pm? Is the owner you’ll have to do some location scouting, even if you may or manager flexible with your needs have written the script with a specific location in mind. and understanding of how filming schedules can change? Can you get That means looking for answers to a variety of questions, in the night before to drop off any gear each centered around one of four variables: look, access, or props? schedule, and control. Control What direction is the sun coming from? Can you black out the windows? Are all Look enough space or does it look like an the chairs nailed to the ground? Is there Does this location match the feel of the 8x8’ room? Does the money still show a Pee Wee football game across the film? Are the colors and textures right? up on the screen (i.e. does it look like field that will cause sound issues? How Are there logos or artwork on the walls the film cost a million bucks)? Where many outlets are there, and where and we may have to remove? Is it a large CAN’T you look? how many lights can you safely plug in?
8 2018, Vol. 13, No. 2 www.studentfilmmakers.com Open to All Filmmakers, Videographers, and Animators
Professional Category, College Category & Highschool/Junior High Category
Accepting 2018 Submissions from April 7 through September 22, 2018
Learn more online at: summershortscontest.com
Sponsorship Opportunities available. Contact us online: www.studentfilmmakers.com/contact-us PRE-PRODUCTION The Art of Location Scouting
This is where the art of the • Take pictures, both wide and • When you’re pitching your compromise comes in. You may have close, from every angle. Use project to the location, try to find the perfect restaurant location, but cloud-based apps like Dropbox ways in which your production it’s only available for a very short or Google Drive to sort them by can help out that business. If it’s window in the morning or costs several address and scene. a bar, say you’ll hold a screening thousand dollars to rent; by contrast, there or that you’ll plug them on your friend’s restaurant may give you • Have production insurance. It your social media feed. If it’s an unfettered access, but it doesn’t quite may not be cheap, but even basic office, maybe volunteer to take have that high-end feel your characters liability insurance will open so stills of their space. Bartering or story demand. It’s up to you to is a time-honored part of low- many doors for your film, and it’s decide which is more important by the budget filmmaking. also the right thing to do for your end, but that’s why it pays to scout as company and crew. many locations as possible and give There’s a real art to location scouting; yourself multiple options! a whole part of production on larger • Bring your cinematographer, sets is dedicated to location scouts Other tips to maximize your production designer, and your and managers. But in the micro-budget efforts when location scouting: sound mixer along. They’re world, it may be just you and your wits. looking for things you may not The right location can sell your movie. • Create a lookbook before going in, notice on first glance or at all, It can elevate every aspect of your so you know what you’re looking and the tech scout (when key film’s world, from the cinematography for. You can always adapt, but crew survey the location for to the production design to your actors’ better to plan and change your more specific needs) may be too performances. So make sure you give mind than rely solely on instinct. late to fix it. location scouting the time it deserves!
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StudentFilmmakersMay.indd 1 5/15/18 1:44 PM CAMERAWORK A Conversation with Steadipod Creator and Inventor
A CONVERSATION WITH STEADIPOD CREATOR AND INVENTOR Multi-Emmy Award Recipient Interview Conducted by Eddie Barber Jody Michelle Solis
What is an example of a shot that 3. Point it in the directions drive up in front of the school in a BMW you are most proud of to date? that you choose. Convertible, park in a no parking spot, then abandon the vehicle and run up the 4. Use your imagination and have Eddie Barber: This one L-O-N-G Shot steps and into the school. ALL without fun getting AWESOME SHOTS! "Mannequin Challenge" that we made even a Film Permit, Police or Security. for a contest and won $20,000 (for https://www.youtube.com/ (Lucky) Solution: watch?v=tFuEBB3XJi8 something that was shot in less than Fortunately, there was a rally there a minute)! https://www.youtube.com/ that day and the Police seemed watch?v=2XUc0F4lUqU preoccupied with the Rally, and paid no https://www.youtube.com/ attention to us. We were even able to watch?v=Y-YL5OSJikc https://www.youtube.com/ watch?v=vGAhWblgtTs&t=97s get a few dozen of the Rally Folks to be extras in our video which added huge Steadipod operating techniques https://www.youtube.com/ production value to the shots. depend on the nature of the shot. watch?v=jV47JRxVCII Could you share with us your favorite By the way, what are your favorite steadipod operating techniques Did you ever experience Murphy's cameras to shoot with, and why? along with some examples of shots? Law on set? If so, what was the Challenge and Solution? Eddie Barber: Canon 80D & 77D, Eddie Barber: SteadiPod operating mostly because they allow for Eddie Barber: techniques are simple: playback on the Camera's screen Challenge: of 60p shots @ 40% (24p slow-mo). 1. Hold it by the swivel handle with Was once shooting (and directing) a And they’re affordable! three fingers and your thumb Music Video for "The Newtrons" (they making sure that you don't touch were Michael Jackson's little Cousins). If you could share with filmmakers the shaft unless you are wanting They had an over bearing Manager around the world your insights or to control the direction. (their Father) who approved a school Top 3 Tips related to camerawork location, but then on the day of the shoot what would they be? 2. If you do want to control the changed his mind and decided that he direction then barely touch the wanted to shoot at "Hollywood High Eddie Barber: Practice, be creative, shaft with your pinky finger using School" on Sunset Blvd. To make things think outside of the box, and know that it as a brake so that you can then even more dicey he wanted his son's it's OK (even AWESOME) to tilt on the pan and or tilt it with your wrist. (none of which had a driver's license) to horizon axis!
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Post Your Behind-the-Scenes Production Stills for a Chance to Get Selected and Featured for a COMMUNITY SPOTLIGHT in StudentFilmmakers Magazine! AUDIO The Science of Microphone Windscreens
THE SCIENCE OF MICROPHONE WINDSCREENS Wind Protection for Your Microphones By Matthew Lott
What are Windscreens? protection for your microphone is the or faux-fur in various combinations) best way to combat unintelligible audio. to create a “chamber” of sorts, with Any high-end visuals caught with the the microphone capsule suspended Capturing professional audio outdoors best cameras on the market will be and protected in the middle. These can be very tricky and requires not materials make up much of what we only the right knowledge, but the almost unwatchable if the sound is bad. see available today to protect your right tools to help you get the job done. Outdoor audio capture will The Science of audio from the forces of nature. almost always see the utilization Wind Noise of some sort of wind protection for Any time a pressure change occurs, your microphones. There are many air will move from a high-pressure area Wind noise can be a nightmare to factors at play, and these can include to a low-pressure area. In an indoor anyone recording audio outdoors. the actual environment (nature of setting, small air pressure changes The noise would sound to most like a the airflow/wind flow), the type of like a slight draft from a door opening/ bass-heavy, low rumbling, “thumping” microphone being used and its closing, or a forced-air heating/cooling characteristics, and what the sound or “fwapping” in your video’s audio system, etc., are the most common engineers/viewers would deem track. This would typically happen in occurrences. Even quickly moving a acceptable for use. Outdoor conditions the sub-500 Hz range of the audio boom pole with a mic attached to it can are ultimately very unpredictable, so frequency spectrum. Since the cause a similar effect. it’s best to be prepared for these types fundamental frequencies of the human of situations. voice typically lie between 85 Hz – 265 Capturing pro audio indoors is much Hz, dialogue can be directly affected less of a challenge than outdoors. There are 3 basic types of wind by wind noise and potentially could Outdoors, pressure change can be protection for microphones: be made completely unintelligible and much more drastic in nature, thus unusable. causing much more severe wind. • Foam windscreens The most effective microphone wind • Windsocks / windjammers What an audio person or camera protection must first diffuse the wind • Baskets / “blimps” operator wants is some sort of noise and normalize the air pressure near attenuation (noise reduction). Wind the mic capsule, essentially deadening These products are needed to help noise and its attenuation are typically the air disturbance all around the prevent wind noise from ruining measure in dB (decibels). This microphone. With a bare microphone your important audio. Even in harsh attenuation can be achieved with barrel, air can easily flow over the environments or poor weather, footage some sort of porous and/or wispy microphone’s outer case, causing still needs to be captured and wind barrier (foam, plastic mesh, fabric, disturbance in the immediate vicinity of
14 2018, Vol. 13, No. 2 www.studentfilmmakers.com The Science of Microphone Windscreens AUDIO
Types of Microphone Wind Protection
Foam Windscreens
Most beginner videographers/sound- recordists know that many microphones are supplied with a typical foam windscreen but may not know when or when not to use it, or when to upgrade their setup to better protect their audio. These foam-type windscreens are fine for indoor use, as air movement indoors is typically less than 1 meter per second. Something like the Azden WS-250, that comes with the SGM-250 or SGM-250P microphone, is perfectly suited for indoor the microphone capsule. But, adding use. This will provide plenty of noise the protective barrier of a windscreen protection, with up to 15-20 dB of noise will diffuse wind around the mic attenuation, while keeping the mic’s high capsule, forcing air to move out and frequency loss to a minimum. around the foam, while still allowing Usually, these types of foam soundwaves to penetrate the material. windscreens are an open-cell foam material like polyurethane. For outdoor Various wind protection products use and microphones mounted to ENG/ have different acoustic properties, EFP-type cameras, you may want to with differing acoustic transparencies. invest in a higher density foam material The acoustic transparency of any that’s even better at wind reduction than particular windscreen cover will have the included foam windscreen. a greater or lesser effect on the audio, depending on the material. Windjammers A less porous material made of a thicker, denser fabric, would show The foam/faux-fur combination longer fur allows air to freely pass through an attenuation of sound at higher windscreens are typically referred to as and over the microphone’s capsule, thus frequencies. A more porous and less “windjammers.” A synthetic flocked “fur” providing an extra layer of noise protection dense fabric would have a lesser material is attached to the outer part without sacrificing much the microphone’s effect on high frequencies (therefore of a polyurethane foam windscreen to high frequency response. This style will more transparent), but would be more better disperse air movement around typically provide upwards of 25 dB in wind vulnerable to noise created by wind. the microphone capsule. A perfect noise reduction with winds up to 6 meters example of these types of windscreens per second. Sometimes, a windjammer There is always a trade-off between are the Azden SWS-100 and SWS-200 is designed to slip directly over a the acoustic transparency and furry windscreens. A longer fur material microphone’s included foam windscreen, the wind-blocking capability of a (typically 1-1 ½” or more in length) is just like the Azden SWS-CX windshield windscreen cover. The bigger the desired, as it creates less air friction that protects the Azden SGM-250CX dead-air “chamber” created around the near the mic capsule, allowing air to microphone. mic capsule, the better. So basically, move through it. the more protective material you put around the microphone, the more A very short material, by contrast, would adjustments you may have to make to have less of a noise reduction effect, since achieve the desired sound. there would be more air friction closer to the mic capsule. With little resistance, the
www.studentfilmmakers.com 2018, Vol. 13, No. 2 15 AUDIO The Science of Microphone Windscreens
Baskets/Blimps To Wrap It up
Lastly, “baskets” or “blimps” are At a minimum, a microphone should essentially some sort of plastic mesh always have a foam windscreen on it, material, with a thin layer of foam inside but for any type of shoot outdoors, the the mesh. These will have a much camera operator or sound professional larger circumference than the typical must be aware of their surroundings foam windscreen or “windjammer” one and choose the protection they deem might see, and usually come in a “pill” necessary. Environment plays a large shape, but much larger in size. Thus, the role in choosing the proper wind nickname of a “blimp” is easily justified. protection, but with preparation and making sure you choose high-quality Blimps provide a larger open-air products from reputable companies, chamber around the microphone, capturing professional audio to match creating even more space between your professional video will be less the moving air and the mic’s capsule. daunting and make all your post- Using a blimp with an additional faux- production work much easier. To fur slip-on windshield will add the last paraphrase an industry adage: great level of wind protection, and with these sound quality can save bad footage, measures in place, one can achieve up but great footage will never save bad to 50 dB of wind noise reduction with sound quality. wind speeds more than 6 meters per second. However, with the large static air chamber, foam layer and faux-fur material surrounding the mic, there’s a greater potential for loss of high- For windscreens, microphones frequencies in your recording. Boosting and audio solutions visit: the high frequencies in post-production is one way to help counteract this effect. www.azden.com
16 2018, Vol. 13, No. 2 www.studentfilmmakers.com So, You Want to Create a Podcast? INTERNET
SO, YOU WANT TO CREATE A PODCAST? What You Will Need to Record and Broadcast By Sujata Singhal
You might already have an area of but there are successful podcasts make sense and in others a weekly interest in mind or you know you want over an hour in length. Consider or monthly one will do. to start one but have no clue as to how your average demographic – will to structure the content, how long each they be listening to your podcast on WHAT YOU WILL episode should be and whether you the show or more the type that can should have co-hosts. You also aren’t give more time NEED TO RECORD sure what type of equipment you will • The number of cohosts – it can need to create your podcast and how be good to have a co-host to create This is what you’ll need at the and where to broadcast it. a bit more variety in your show. minimum: a USB microphone (if your CONTENT However, there are many one-man/ microphone doesn’t have a USB then woman podcasts that are very you will also need an audio interface for You want to pick an area of interest for successful. your computer), a headset, a computer, which you are passionate and curious. • The outline of each show - Will recording and mixing software (for If your podcast becomes successful, you/your co-hosts introduce the beginners I recommend Audacity as it you might have several years in which topic and then introduce your guests is a free open source program but there you need to create episodes that keep and make it interview style or will are others that require a subscription your listeners returning for more. it be more of a show in which you fee that are also very good). Also given the number of podcasts and your co-hosts pick a topic and out there, see how you can add value bring different types of expertise BROADCASTING within the industry you pick. While to the table? One way to get down it’s important to stay true to your own your structure is to come up with an Once you have a couple of episodes style and approach, doing a little bit episode topic, create a basic outline recording, you will want to find a of research on podcasts that might be of what you want to cover, and do podcast host and podcast directory. similar to the one you are interested in a dry run. Record it, play it back to While there are a number of services may be a good point of research. yourself and then you can create a for both, SoundCloud is a good place STRUCTURE more definitive outline from what you to get your podcast hosted if you are did/didn’t like about the flow. new to the craft. Similarly, once you You also will want to consider the • How often an episode is released have a host, you will need to find a following: – This will really depend upon how podcast directory. Some examples of • How long each episode will be often information is being renewed podcast directories are iTunes, Stitcher - On average a good length for a or added to in your field. In some and Blubrry, with iTunes being the podcast is between 30-45 minutes, industries, a daily podcast might most popular.
www.studentfilmmakers.com 2018, Vol. 13, No. 2 17 SCREENWRITING Make Your Comedies Stand the Test of Time
MAKE YOUR COMEDIES STAND THE TEST OF TIME The Importance of "Theme" By David Landau
What makes some comedies They raised him. But Val wants to marry conservative family. But May makes it stand the test of time while others the daughter of a conservative politician work with great moments, delivered to running for re-election on family morals. perfect from the great cast, as when the fade as fast as the news in Daily Would it be funny if it were just about flaming Albert dresses in a severe dark Variety? Theme. I can honestly drag queens and a conservative suit to meet the potential in-laws. say I’ve never had a development politician? Sure. But would it be a person or a producer ask me what lasting comedy? Probably not. ALBERT: What? No good? Why? I’m the theme of any of my work is. dressed just the way you are. I took off But it’s there all the same. If it While the original "La Cage aux Folles" all my rings. I’m not wearing make-up. I’m just a “guy”. weren’t, they probably wouldn’t is a bit over the top, May strived not to let that happen in her screenplay. Yes, there ARMAND: (Points to Albert’s socks; they get past page five or even ask to were eccentric fun characters, like Albert are pink) What about those? read it. I believe theme is even and the house boy Agador, but they more important in a comedy were written very real. They had feelings ALBERT: Oh those?... Well, one does than in a drama. Elaine May’s The and desires. May added the subplot ant a hint of color. Why? What are you Birdcage is a perfect example. that Albert wants a palimony agreement thinking? You’re thinking that dressed with Armand. This becomes his goal - a this way I’m even more obvious, aren’t formal commitment from his life-long love you? You hate me. I so wanted to help and partner. Isn’t this something we can you... and you both hate me. (63) While the original story is by Jean all identify with? But adding this under Poiret, May modernized not only the current, the comedy is driven home even The scene is bitter sweet, because the time and place, but the prejudices, the more. There is more at stake. truth is there in the humor. Albert loves humor, and with that, the theme. Rather Val so much he’s willing to pretend than a comedy just for fun, May’s The Val’s goal is clear, but he changes to be something he isn’t. But he also Birdcage literally sings its theme in by the end when he finally admits knows it wouldn’t work and he’s hurt, the opening credit, “We are family.” that Albert is his mother and not his deeply. It is these types of emotions that This is a story about commitment, biological mother who has arrived transcend the mere funny to pathos. It love and family, and what people will late for the dinner. He learns there is is why May’s work will live longer than put themselves through for it. Sounds nothing to be ashamed when you truly, Dumb & Dumber and Ace Ventura. like Romeo and Juliette. But the deeply love someone. They are part of While they were certainly funny movies, Birdcage isn’t a tragedy. It’s one of the your family. they had no soul - no theme. They funniest movies I’ve ever seen. Val’s existed purely for the laugh - and that’s father owns the transvestite nightclub, Yes, it is a rather standard plot ploy to fine for the moment. But for comedy to The Birdcage, and is in a life-long show that the unorthodox family is closer last, it must have a theme. May does relationship with the lead singer, Albert. and more loving than the traditional that it with The Birdcage.
18 2018, Vol. 13, No. 2 www.studentfilmmakers.com FREE TO JOIN StudentFilmmakers Magazine Forums Online Moderated by Experts Topics covering the 5 stages of filmmaking and motion picture creation: Development, Pre-Production, Production, Post Production, and Distribution. www.studentfilmmakers.com/forums NETWORKING Running a Film Club
RUNNING A FILM CLUB Helpful Tips and Pointers By Scott Spears
Filmmaking is collaborative I need to say that I did not start MOFA Maybe it will run a local film contest or but those who did start it, did the festival? These are just some of the art and at all levels what right thing by writing up some decent options for the club. makes that collaboration bylaws. They were invaluable for Networking is the life blood of any work is networking. At the running the organization, setting up expectations and resolving disputes. local film community because unless you’re an animator who can do all local level, outside of cities There are many resources online kinds of wacky voices you’re going with major film production, where you can find rules, procedures to need actors and crews. Offering a and parliamentary procedures to set a film club (or if you prefer monthly meeting where people can the playing field. These bylaws should rub elbows and talk about their skill organization) is one way include the following: sets will help grow local filmmaking. to bring the community I recommend that you have people together to help create • A mission statement introduce themselves after you have relationships so you can • Election of officers and a board of some announcements and share their skills and pitch their projects. This directors and their terms build better crews and always worked great to help build better films. There are many • Procedures for meetings successful projects. things a film club can do • Paying dues The social aspect of the club is a big to help do this and there factor in running a film organization. are pitfalls that can hurt • A code of conduct for officers and When I became president of MOFA, members I tended to ignore the social part or doom the group. In this of the group, but it builds a sense article, I’ll explore some of Everybody dislikes legalities but once of camaraderie which cannot be the things I learned from they are established, they will help to measured and should not be ignored. avoid any bumps in the road. You can have cookouts and maybe running a film club, (MOFA) hold an evening screening of local short Mid Ohio Filmmaker’s What kind of film club are you running? films or a feature in a park. Is it just networking and social Association in Columbus, activities? Or will it offer educational I am huge supporter of education, Ohio, for several years. aspects like classes or seminars? having come from a long line of
20 2018, Vol. 13, No. 2 www.studentfilmmakers.com Running a Film Club NETWORKING
Supercharge Your Audio! Greater range than a shotgun mic. Reject ambient noise better than a shotgun mic. Less wind noise than a shotgun mic. teachers, and I teach screenwriting money covered printing cost and filmmaking at a local university, and paid for food at events. so I think a film club should offer Other options for the money Find out more at classes, seminars, or just bringing in could be: SoundSharkAudio.com guest speakers who willing to share their knowledge. • Prizes at film contest or screening There will be drama with people Some offerings could be: • Travel for guest speakers bickering and complaining about this and that. This article would turn into a novel • A class or guest speaker who • Offer grants for filmmakers talks about how to audition if I detailed all the craziness I had to deal Picking a meeting place is important. with running MOFA, so I’ll just say this. • A lighting class It can set the tone for the meeting. If Lean on your officers, board and bylaws. • Invite a local rental house to you’re budget challenged, you can go demonstrate a piece of gear for libraries. MOFA started out meeting Also, I recommend that you always wait at bars but ended up meeting at non- at least 24 hours and after consulting • Have a person working in profit movie theatre because it would Hollywood with local ties skype in your team before addressing the drama. allow folks of all ages to attend. • Visit a local production facility In the heat of the moment, you can say When I took over MOFA, I decided things you regret and that do not reflect Everything in filmmaking costs money that I wanted to get people making well upon the organization. and I think you should charge something movies, so I had MOFA start a to the members, so they value what they Halloween-based, horror, timed Helping bring the community together, are getting. People will tend not to value movie making contest. It rallied the something they get totally for free. MOFA community spirit and created some educating up-and-coming filmmakers, had a policy that anybody could attend healthy competition. We charged and getting people making films was the meetings for free but to get discounts an entry fee which was cheaper for my greatest reward, and if you decide at local rental houses and reduced rates members, so it encouraged non- to either start or step up to run a local for screening films at local theaters members to join. film club, be giving and thankful and you had to be dues-paying members. Deciding what to charge is a balancing Ok, if I just painted the good side, I’d be encourage people to get on set. act. MOFA charged $24 per year. The white washing the whole experience.
www.studentfilmmakers.com 2018, Vol. 13, No. 2 21 NETWORKING Filmmakers Global Networking Community Online
https://networking.studentfilmmakers.com FILMMAKERS GLOBAL NETWORKING COMMUNITY ONLINE
COMMUNITY SPOTLIGHT father and I made which the #1 Box Office hit was based off of.
Shane Stanley Can you describe your indie filmmaking process? www.shanestanley.net Shane Stanley: My indie filmmaking Shane Stanley is a lifer. His process is probably a little different career began in front of the than most. Since I come from the documentary background, my philosophy camera at 9 months old before has always been 'get me a subject and a becoming a two-time Emmy camera and everything else will fall into Award winning filmmaker and place.' I never look at a project from the launching his own company, viewpoint of needing a certain budget to tell the story. I work backwards and say, Visual Arts Entertainment. Best 'how much do I have to make this...Okay, known for Executive Producing let's pull the trigger and get it done.' From the #1 Box Office hit, Gridiron there its just a matter of finding the right Gang for SONY Pictures group who wants to sign up and go play. Being an all-encompassing filmmaker starring Dwayne "The Rock" helps, as if you're writing, producing, Johnson, Stanley's resume directing and editing a film, you can get as a filmmaker spans three a lot more done with limited resources. decades. Shane offers a wealth Tell us about your current projects. After 30-plus years, I've made a career out of doing just that and frankly, wouldn't of knowledge in his new book, Shane Stanley: My latest project is want it any other way. "What You Don't Learn in Film "Mistrust" starring two-time Golden School" from several aspects Globe and Emmy Award-winner, Jane Can you share with us an indie of the industry focusing on Seymour and Parker Stevenson. The filmmaking-related Challenge and film premiers on Showtime June 1st. Solution? educating future storytellers I also just completed working on the and helping them bridge the special anniversary BluRay edition of Shane Stanley: Finding a good and gap between what’s taught in "Gridiron Gang" starring Dwayne 'The marketable cast for small budget films the classroom and what they'll Rock' Johnson which will go into over can be a challenge. Of course, having 2,500 retailers this summer and include a good reputation is key and strong experience in the real world. the original documentary from 1992 my relationships with agents and managers
22 2018, Vol. 13, No. 2 www.studentfilmmakers.com Filmmakers Global Networking Community Online NETWORKING
are essential. But at the end of the day to do things beyond their abilities and can comes from my 30-plus years of trial and you have to have good product, as pay dearly for it. I'm all for asking people extreme error, most in which was totally you're not in the position of offering a fee to step up their game and accept the avoidable if only pre-production was that'll bowl anyone over. To out kick your challenge, but there are some people who given proper attention. punt coverage in casting, be creative are just not up for the task and buckle and approach talent you can gain under pressure. If you waste too much Finally, don't rush the process. When access to and those who can relate to time trying to fit people into something you're working with the studios often your material. Once you get your script they're not, your project will suffer and there's a release date set long before read - and hopefully its well received you'll go insane during the process. you begin rolling camera - its part of - push to meet with the actor, as a face- the battle plan that's built in during to-face meeting significantly elevates the Another important thing is preparation, their exhaustive development. As indie chances of it all coming together. The especially during pre-production. There rats, we don't always have the time or actor's guard comes down and allows a is no reason (or excuse) for a set to be recourses for prolonged development, connection early on that is never made tense, running behind or on the verge nor can we dictate where and when our when an agent is playing middleman. Of of becoming unglued. It always amazed project is going to be released. Because course, sometimes you'll get rejected but me how little attention to detail goes in of this, its not uncommon for people hey, Michelle Pfeiffer passed on "Silence to a film during pre-production which, to either take too long to get a project of the Lambs" and Mark Wahlberg too often causes the wheels to come off finished or even worse, rush it out into turned down "Brokeback Mountain" the wagon during a shoot. Problems will the wild. Once you get your film in shape and that didn't stop anyone. Always happen - they're inevitable - but when and before you lock it up, be sure to hold remember there's a huge world out there you're over prepared, they're merely screenings for people who have nothing and many territories are happy to pay speed bumps that are easy to overcome to lose or gain by giving their input. You fairly well for names who don't move the and not major obstacles that can shut will never please all of the people all of needle much here in the states. down production. In my book, "What You the time but the last thing you want is Don't Learn in Film School: A Complete to assume your project is ready for the If you could share your Top 3 Tips Guide to (Independent) Filmmaking" the world to see when only the 'team' has related to indie filmmaking or longest chapter is on pre-production and seen it and fallen in love with it assuming working with film projects and the importance of it. Everything I share its a winner. I can promise you, it isn't. inspired by trial-and-error and your own discoveries through working on projects what would they be?
Shane Stanley: To lead, you have to be able to delegate and put the right people in place. Don't try to make people in to who you want them to be. As independent filmmakers we often ask or expect others SCREENWRITING THE NEUROTIC SUPERHERO
THE NEUROTIC SUPERHERO From Comic Book to Catharsis By Neil Landau
(Christian Bale) who crosses that line: he’s not just heroic but deeply flawed. There’s a historical pattern around the popularity of He resorts to violence to get answers the superhero—he or she is most needed during dark out of The Joker (Heath Ledger). The Dark Knight sacrifices his own legacy times in the real world. In Captain America: The First and reputation, branding himself Avenger, when Steve Rogers/Captain America (Chris as a remorseless outcast, all in the Evans) visits the US troops to boost morale, it’s more service of the people of his beloved city, Gotham. The decision leaves than mere fiction; it’s art imitating life. Sales of comic him tortured and alone. No longer books actually increased during the Second World are superheroes just flirting with the shadows; they now have neuroses, real War. Service men and women needed such stories problems and live in the shadows. of bravery and triumph as an inspiration, to which they could also escape. Comics were portable, easy According to Freud, neurosis is “an ineffectual coping strategy caused by to share and inexpensive. The Golden Age of Comics emotions from past experience which began during the Great Depression, and it’s perhaps overwhelm or interfere with current experience.” i A neurotic individual has no coincidence that the game-changing movie for previously experienced tremendous our current generation of superheroes, Christopher psychic pain (usually in childhood), Nolan’s The Dark Knight, was released in 2008— but has been unable to process it; he or she may not even recall the original the same year that saw the worst global economic trauma. As a coping mechanism, crisis since the 1930s. We needed a hero; 2008 also the individual has unconsciously suppressed this unbearable pain, which happened to be the year that President Obama was now manifests itself in the present first elected into office. as a nervous symptom (depression, anxiety, negative thinking, drug abuse, etc.). Perversely, the superhero’s The Dark Knight paved the way for the Burton’s version of Batman had started being humanized and psychological superhero shows and movies we’re still to push the boundaries, together with complexity means that he/she has also watching, a decade later. Of course, it the X-Men franchise, which focuses wasn’t the first edgy, darker iteration on the persecution and genocide of Note: i Christian Nordqvist, “Neuroticism and of the comic book superhero—Sam minority “mutant” superheroes. But Neurosis Explained,” MedicalNewsToday. Raimi’s Spider-Man series and Tim it is Nolan’s Bruce Wayne/Batman com, December 1, 2016.
24 2018, Vol. 13, No. 2 www.studentfilmmakers.com THE NEUROTIC SUPERHERO SCREENWRITING
Although DC and Marvel, the two comic book powerhouses, dominate the superhero arena, there’s nothing to stop us writers from developing our own, distinct, original superheroes. You might even be so lucky as to write for one of the comic book giants’ shows—or even a movie: Nicole Perlman, while taking part in a Marvel Screenwriters Program in 2009, was given the opportunity to write a script based on any of the properties Marvel owned. She ended up writing the wildly successful Guardians of the Galaxy (2014). Whether creating original material or writing on an existing show, become easier for us to relate to. And from invincible, as well as having having a nuanced understanding of though they are grounded superheroes, psychological, sometimes existential the psychology of the superhero helps just like the strongest protagonist problems. Comic books are published when formulating our characters. heroes, they are somehow still able to in installments; these new live action transcend and deliver us to the light. superheroes and their alter egos At this writing, there are a number In times of increased frustration with have issues of their own. Many wear of live-action, superhero series and reality—Trump, Brexit, persistent wars capes, masks and hoods and appear movies, so here’s the lowdown on a and crises—we don’t just need our to be confident, but they’re actually few of the distinct issues that today’s superheroes to entertain us in a bout of vulnerable and filled with neuroses. superheroes—and a couple of unique escapism. We need them to save us. And so are their villains: Protagonist characters who appear in dramas— and antagonist are equally complex, experience. As the lines between TV As the first movie based on a comic no longer wholly good or bad. It’s a and cinema continue to blur, along with book that grossed over $1 billion at cause-and-effect relationship. Plus, the shrinking window between theatrical the global box office, many studios TV gives us time for both hero and release and TV premiere, I’m including wanted to emulate the success of The villain to grow as we get to know both movie and TV superheroes here. Dark Knight. DC and Marvel have them. While The Joker in The Dark continued with a plethora of shows Knight was given limited backstory • “I’m not who I and movies, on an array of platforms, due to time constraints (he’s also an thought I was”: both live-action and animation. TV has unreliable narrator as a result of his Wonder Woman, Legion, long embraced the supernatural, but traumatic scars from childhood), TV Deadpool, Doctor Strange the current arena is more than genre, series give us room over multiple fantasy or unreality: Now, we have episodes and seasons to richly Diana/Wonder Woman (Gal Gadot) has superheroes in the world of “normal” construct the villain’s perspective. been brought up believing a myth about TV. Lead characters appear to be Both hero and villain develop, in some human existence and her own identity; more average. In a naturalistic world, ways, on parallel tracks. What’s even David/Legion (Dan Stevens) has been fantastical things happen. In Legion, more relatable now is how vulnerable led to believe he’s schizophrenic as a troubled young man who’s been superheroes are, even though they an explanation for his behavior. Wade/ diagnosed with schizophrenia discovers seem invincible—they experience Deadpool (Ryan Reynolds) is knowingly tremendous powers—but is it all in the same fear, guilt, doubt, anger, obnoxious but comes to realize that his imagination? His brain is so drug- sadness and insecurities that we all when it counts, he unexpectedly has addled after constant medication (and do. They gradually overcome their some propensity for good. Physically, addiction), it’s initially hard to tell. issues and find catharsis. And herein he’s been acutely disfigured in an lies the key: When we watch deeply experiment and struggles to come The latest crop of live-action humanized superheroes prevail, to terms with his appearance and television superheroes experience despite all odds, we somehow feel as how he’s perceived by others. Doctor pain, can get hurt and are far if we can take on the world, too. Strange (Benedict Cumberbatch)
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loses his practice as a world-class their best to pretend they don’t have look strong and poised, but starts out her neurosurgeon after a horrific car any special abilities. Luke has the superhero life making rookie mistakes crash damages his hands; his anger, chance to help prevent serious crime just like you and me. Quake/Daisy/Skye desperation and arrogance cause him but shies away from it, until he can no (Chloe Bennet) in Agents of S.H.I.E.L.D. to lose his one true love as well as his longer bear to stand by and do nothing. is confused and frightened by her newly money. These characters go through When Dr. Banner is first enlisted in discovered powers—and it doesn’t help a crisis/confusion/dilemma when they The Avengers, the mild-mannered that others around start to fear her. As realize that everything in their world scientist intends to stay in the lab; of both superheroes begin to master their up to now has been a prelude, and course, he ends up overcoming his abilities, they grow in confidence and the going forward their lives will change denial when Hulk’s physical might is virtuous circle means their abilities also, forever. They overcome personal crises needed. Young Selina Kyle/Catwoman in turn, flourish. to emerge as heroes; in a coming-of- (Carmen Bicondova) is at first just age tale, Wonder Woman rises to the concerned with solo survival in Gotham, • “I have intimacy issues”: occasion to stop a world war. uninterested in helping others until she Batman, Jessica Jones, later demonstrates her bravery. Even Daredevil, The Flash • “I’m orphaned and won’t Zack Snyder’s latest iteration of Clark rest till I find meaning/ Kent/Superman (Henry Cavill) hides his Like Batman in The Dark Knight, uncover the truth”: abilities for most of his life, preferring to Jessica Jones (Krysten Ritter) lost pretend they don’t exist and moving on Jessica Jones, Daredevil, Supergirl, her family as a child and was unable when people discover they do. Again, The Flash, Bruce Wayne (Gotham), to save them; now she has intimacy when it counts, he gradually emerges Iron Fist, Superman, Legion, multiple issues and pushes people away. Matt as his true self, even though being characters on X-Men, The Flash, Murdock/Daredevil (Charlie Cox) and feared by many pains him. Peter Quill/Star Lord (Guardians of Barry Allen/The Flash (Grant Gustin) the Galaxy)—and more also lost parents and avoid getting too • “I must avenge my father’s/ close to romantic prospects. They’re Sometimes adopted, sometimes with mother’s/parents’/ monumentally scared of getting their a guardian, sometimes solo, these friend’s/lover’s death”: hearts broken—or endangering those characters have suffered the immense Arrow, Iron Fist, Jessica they love. Despite their impressive tragedy of the loss of their parents, Jones, The Punisher powers, today’s superheroes have perhaps their whole family or entire typically human hearts. planet, at an early age. Their pain Feeling hollow after losing those defines them and their quest for the who are important to them, these • “I can’t control myself—and truth—seeking the perpetrators/seeking superheroes feel that if they kill the it’s dangerous”: understanding about what happened— villain, their pain and suffering will be Agents of S.H.I.E.L.D., Legion, leads to complications along the way, eased. Sometimes they feel guilt, which Homeland, Hulk and sometimes their pursuit puts both fuels them but drives their neuroses loved ones and themselves in danger. deeper. Of course, vengeance is not They may later learn to master their Gradually, with or without answers, the answer: Slowly, they heal with time powers, but when Quake or Legion’s they heal and start to learn what’s most and the love of those around them. emotions first spiral out of control— important: Love. whether through fear, anger, sadness or • “I don’t have faith otherwise—these superheroes unleash • “I’m in denial”: in my abilities”: raw energy that threatens the lives of Luke Cage, Bruce Banner/ Supergirl, Agents of S.H.I.E.L.D. anyone nearby. It scares others, not to Hulk, Selina Kyle/Catwoman, mention themselves, until they learn to Clark Kent/Superman Kara Zor-El/Kara Danvers/Supergirl develop control. In the Avenger films, (Melissa Benoist) doubts herself, having Dr. Bruce Banner still struggles to Like us, superheroes shy away from spent most of her life trying to fit in—and master the anger which fuels his alter tough decisions and their truth. Luke like her cousin Superman, initially she ego, Hulk, but maintains the ability to Cage (Mike Colter) and Dr. Bruce too pretends her powers don’t exist. instantly become “The Big Guy” when Banner (Mark Ruffalo in The Avengers Neurotic and insecure even when she circumstances warrant it. movies) both want quiet lives and do puts on that outfit and cloak, she may
26 2018, Vol. 13, No. 2 www.studentfilmmakers.com THE NEUROTIC SUPERHERO SCREENWRITING
On Homeland, CIA agent Carrie (Claire their own era, they haven’t achieved hero, as are all of our neurotic Danes) is somewhat a superhero in enough. It feels relatable that they superheroes. Although some are reverse: When she goes off her bipolar want to do something meaningful initially reluctant, others shy away from medication, she devolves into manic with their lives and prove that their being a “hero”—they do what they do episodes in which she possesses existence does matter. Meanwhile, because it’s the right thing to do. Even incredible recall and insight, enabling Spider-Man: Homecoming has Peter when they face tough decisions and her to deduce patterns and prove Parker (Tom Holland) desperate to are caught between two wrongs, they beyond paranoia that she’s onto join the Avengers and prove to Tony strive for the greater good. They rise something meaningful. When Carrie Stark (Robert Downey Jr.) that he’s to the occasion instead of hanging up is in her “supermind,” she’s dazzlingly ready, despite his tender age of 15. the cape. Through their journey and astute, and it’s exciting for the audience As Parker’s investigations into a catharsis, we learn, grow and develop to watch even though we know it’s series of crimes spiral out of control, with them. There’s sometimes joy along dangerous for her to be off her meds. he eventually finds the inner strength, the way, such as when the Runaways maturity and clemency to confront it. discover their newfound powers, or It’s an uplifting message for those of • “I need to prove something”: Spider-Man tests his awesome new suit us even beyond our teens. Agent Carter; Legends of (shrewdly voiced by Jennifer Connelly). Tomorrow; Spider-Man And when our superheroes find love. • “I’m haunted by something”: Luke Cage, Iron Fist, Jessica Peggy Carter (Hayley Atwell) wants to Against all odds, as Diana/Wonder Jones, Arrow, The Flash, Man continue her work as the brave secret Woman defeats a nemesis, we feel of Steel, Daredevil, Legends agent who we were first impressed by the thrill and rush of power somehow in Captain America: The First Avenger. of Tomorrow, Punisher transferred to us as viewers. Moved by But in post-war New York in the 1940s, her fearlessness, which is ultimately she encounters a workplace rife with All frequently experience flashbacks fueled by her love for Steve Trevor sexism and ageism. Agent Carter to their troubled, damaging—yet (Chris Pine), we’re encouraged— constantly has to prove herself, even defining—pasts. They come to realize perhaps not to engage in one-on-one though she shouldn’t have to—she’s that if they want to move forward (and combat, but to harness our own powers more competent than the men she they do), they need to grow, evolve and works with. They see it as a threat and take action. and face our own deepest fears. To do try to squash her ability by assigning the best we can. To transcend for others. her to frustrating secretarial duties. • “I’m an addict”: It's not about me, Doctor Strange learns Peggy is not naturally a neurotic, but Jessica Jones, Mr. Robot, Legion as he loses the demanding mentor he such undermining is enough to bring has grown to love. about new neurosis. Although Elliot Alderson/Mr. Robot (Rami Malek) is not a comic book We are all one tribe, the groundbreaking The team brought together by superhero, he possesses some Black Panther (2018) posits. time-traveling Time Master Rip superhuman traits. He is a genius, Hunter (Arthur Darvill) in Legends whose cyber hacking ability allows him of Tomorrow is falsely told that to take down an entire conglomerate, The more they are known as “legends” in the despite its sophisticated safeguards future, and together they will stop a against cyber attack. However, Elliot tremendous evil from overcoming is addicted to morphine, as well as humanized the world. When they discover the having dissociative personality disorder. truth—that Hunter selected them Both Elliot and Jessica Jones—an merely because their lives have alcoholic—are held back by their the superhero, minimal impact upon the course addictions. David/Legion takes drugs of history, meaning that enlisting to temporarily escape (or so he thinks) the more them will likely avoid complications his difficult existence. The drugs and in the space-time continuum—they alcohol may mask their pain and need to decide whether to go back suffering, but always temporarily, as the powerful the to their lives, or take a gamble and healing must come from within. help. Several in the group feel that in The classic Greek hero is a reluctant catharsis.
www.studentfilmmakers.com 2018, Vol. 13, No. 2 27 POST PRODUCTION Kolor Panotour Expands the Immersive World
KOLOR PANOTOUR EXPANDS THE IMMERSIVE WORLD
The Industry Standard By Al Caudullo
Much as Coke has become the defacto term for cola, so too has Panotour become the defacto standard for, well, Panotour. I’m not even sure what else to call this Virtual Reality Tour Creation software! There are others out there, but no one that I know calls it anything else. For the unenlightened out there, Kolor Panotour lets you take a series of spherical panoramic stills and create a 360 Virtual Tour that you can move through and get info about the locations that you are looking at in a unique way. There are so many things that you can do with this versatile software but for now, let’s see just how easy it is to create a basic Panotour.
After Opening Panotour the first step is to click Create" a Panotour project”.
Next Drag and drop your "Scenes" into the Main Workspace. Be sure to do some scene planning before you import the scenes. This will make it easier for building your Panotour.
You will need to organize your Scenes in the order that you want the Panotour to go. This is accomplished by simply dragging the Scenes into place in the order that you want them to go.
28 2018, Vol. 13, No. 2 www.studentfilmmakers.com Kolor Panotour Expands the Immersive World POST PRODUCTION
It is also easier if you group shots together. This is done by simply dragging one shot into another.
You have numerous styles that you can choose for your hotspots, but I am going to keep this simple for this example. I have picked the iControl preset from the list of presets.
I've added three hotspots to the first image and then connected them to the appropriate images. As you add your hotspot, you also want to use the preview panel on the right to adjust your image to look in the direction that you want. Click the "Default View" to set the direction.
For the image that has the entrance to the back yard, I place a hotspot and connect that to the first image in my back yard group. At my final hotspot of the group, I put a hotspot to lead us into the next group which takes us inside the house.
The next steps involve some pre-planning. This is especially true if it is a large property or area like the Commander's Palace. The Commander's Palace is in Las Vegas, and the Commander wanted a Virtual Tour for anyone who might be interested in renting the house.
www.studentfilmmakers.com 2018, Vol. 13, No. 2 29 POST PRODUCTION Kolor Panotour Expands the Immersive World
When you get done with your hotspots and adjusting the room view, the next step is to build the Panotour for viewing.
We then go to the BUILD tab at the top and tell Panotour where I've only scratched the surface of what you can do with to build the HTML file and give your project a name. Then Panotour Pro. simply, click the "Build" button at the bottom left. The progress bar will indicate your build progress. Depending on how may Add music, web site links, both standard and 360 video, 3D scenes that you have in your project this may take a while. stereoscopic support, and even HMD support. The list goes on and on. You can also Build your Panotour from any tab by clicking the "gear" icon on the top menu bar. Once completed you can play your Panotour by clicking the Play icon located next to the "gear" icon in the top menu bar. Here is a list of the new features in Panotour 2.5.
New Features With this feature come two new plugins, Loading transition plugin "WebVR button" that allows the user to enter VR mode on mobiles, and a This new plugin allows you to change Video support "Prev/Next Keys" plugin to allow the the way the new loaded panorama appears over the older one.The Panotour Pro is now able to manage user to change scene with keyboard animations only appear with HTML5 spherical and flat videos as standard while the HMD is on. player when WebGL is activated. scenes. Web Content spots With this new feature come 2 new plugins "Video Control Bar" and a With Panotour Pro, you can now add New actions "Video Progress Bar," and a new button any web page in a distorted spot in your tour, over a wall, a screen, etc... just like combination in standard control bars There are many new available actions you already do with images and videos. "Play/Pause" to play/pause the video. into the "view control": zoom in/out, Add a booking form over a table, a move left/right/top/bottom, look to. Stereoscopic 3D video support youtube video on a TV screen, etc... This version supports stereoscopic easily. Some HTML5 plugins (Gallery, Social videos scenes. Social buttons Share, PDF viewer, Web video viewer, The stereoscopic format can be selected Website viewer) receive the open, close and toggle actions. between Top-Bottom and Side-By-Side. A new plugin to be able to add the Facebook, Twitter and Google+ share HMD support and like/+1 buttons over the tour. Some plugins (SmallGalleryBar, Compass, Radar, Simple button, Toggle Tours generated by Panotour Pro are Analytics plugin button, WebVR button) receive the compatible with HMD (Cardboards, show, hide and toggle actions. Homido, VR One, ColorCrossVR, Oculus Add your Google Analytics tracking ID DK1 and DK2, GearVR*), if they contain and you'll be able to follow the loading Snow and Rain plugins receive the spherical scenes. * partial support of all scenes. start, stop and toggle actions.
30 2018, Vol. 13, No. 2 www.studentfilmmakers.com Kolor Panotour Expands the Immersive World POST PRODUCTION
XML files generation can now resize them to facilitate tour A background overlay image can be enhanced management. set behind these plugins. • Scene order can be changed easier If your project is already built, the tour • Double click than before, and groups display Added double tap support. generation generates only the XML files. reflects the order of its scenes. We enhanced the performance of this • Scenes can be duplicated • Title Added the possibility to use the generation, so you'll be able to see your • Groups can be duplicated modifications faster on a large tour with group color when displaying the many scenes, many plugins and/or • Plugin instances can be duplicated current group title. many spots. Spot style instances can be duplicated • • PanotourMaps Improved Tiles generation • Plugins can be re-ordered with drag- Add 45° imagery support on Google n-drop maps layer Due to issues on mobile devices, MS • The default view of flat scenes can be • Panorama Menu and Edge browser with WebGL renderer, set to the whole scene more easily Panorama List the tiles of all full spherical panoramas Support of the "current group" source. All tours are now generated for are now resized to 512x512 pixels. • desktop and mobiles. And HTML5 Tour is the standard and default player /!\ WARNING: If your project is already used. So there is now only one built, all full spherical panoramas tiles • Generated tours now use the HTML5 will be rebuilt during next build to store option that allows you to enable or player by default. Flash player is now tiles as 512x512 pixels sets. not the flash player fallback. mainly used as a fallback. Panotour Pro interface is now • • Tooltips on point spots can be /!\ WARNING: If, in a previous version, available in Italian displayed permanently. you locked spherical panoramas to not Plugin Enhancements generate their tiles anymore, you'll have Tour language and generated files to unlock them during first build. • Control Bars If you run Panotour Pro in another The home button in control bars is Automatic scaling on language than english, Panotour Pro will now able to load a specific URL. mobile devices generate a "messages" xml file suffixed Previous/Next buttons can call the new by the language used in Panotour Pro. UI elements of the tour are actions "Load previous/next groups" automatically scaled on mobile devices. instead of previous/next panorama. For example if you run PTP in german, and if your main tour file is mytour. A new option in the Build properties All control bars contain a new allows you disable this option. html, the messages file is now mytour_ button that enable the activation of messages_de.xml. the VR mode. UI Enhancements A new advanced option in the Build properties, allow you to generate multiple • Search feature in Tour area : Just • Social Share enter a part of a name to select all Social share plugin now allows you languages files according to a list of the panoramas or groups containing to share the tour on VK. languages you want to embed in your tour. this text into their name • Video Box A new advanced action allows you • We have added shortcuts to Added SoundCloud as a possible to switch from a language to another the hotspot editor to enhance provider. using those new files. productivity on spotting : Ctrl+F: Fullscreen, M: Move, L: Polygon, P: • Gallery, Website Box, Video Box, Panotour Pro does not any translation, Picture, S: Spot, V: Video, C: Crop, PDF Box, Social Share plugins you'll have to edit the generated files Left/Right keys: Prev/Next pano The buttons of the Gallery, Website to translate your tour messages. Make Box, Video Box, PDF Box, Social • Group windows are now resizable. sure you you back these edited files up, They are still created by default with Share plugins can be customized they will be overwritten if you build the 2 columns of panoramas, but you Tooltips can be set over these buttons. tour again.
www.studentfilmmakers.com 2018, Vol. 13, No. 2 31 POST PRODUCTION DaVinci Resolve 15
DAVINCI RESOLVE 15 the go-to color grading software By Bart Weiss
has the full suite of apps, on steroids. for since 1987 and is a sophisticated We all know that Resolve is the go-to graphics program. In 14, it was paired If you have been color grading software, and often we with Resolve, you could send a project will use Resolve to ingest footage, now to it and round trip back, but now you following my columns you can just stay here. just go to the Fusion room, work on a you know that I have clip, and go back to the edit page. been a fan of FCP X There are some touches in the editing part, like being about to have several Fusion is kind of like After Effects but and how it has created timelines opens and letting you cut and works with a node based system that a next generation past from one to the other. And letting will freak you out the first time you you have different keyboard shortcuts look at it. But once you look into it, it paradigm for video for each room. is simply a matter of building blocks, editing. Lately I have connecting effects or tweaks to a been very intrigued by Last year they added Fairlight, the node or block, than adding more, and sound editing program but it was mostly adjusting what you add. Blackmagic Design’s a shell of what was to come and now it aggressive move into is here. There are many nice touches Each block has an input and output. here including a nice noise reduction Once you get this, integrating effects editing, and their latest and many other filters and effect, but will come easy. version of DaVinci the thing that will run your head is Resolve 15 (now in the ADR section. You can import a Indeed one of the best things about cue sheet list and have real and the the Adobe universe is being able to go public beta ) is worth a interface really thinks about what you back and forth from Premiere to After look. need to do to have a good adr session. Effects, and now the Resolve universe is a good match for that. All that and A really nice addition is a super scale you can have a free version that does upscaling which will take your SD so much. And if you purchase the We used to talk about the 3 A’s of footage and make it look better. It slows Studio version, it is a one-time $299 editing, Avid, Adobe and Apple. I think down things a bit but it can really help. purchase, instead of paying Adobe for the time add a B for Blackmagic is the rest of your life. now. For those of you that have been There are hundreds of improvements moaning about the loss of Final Cut Pro but the one that will make a difference Maybe it’s time resolve to try 7 this could be called Final Cut Pro 8. is the integration of Fusion. For those something different. The interface will seem familiar, and it that don't know Fusion has been around
32 2018, Vol. 13, No. 2 www.studentfilmmakers.com Graduates -Shoot for Ideal: COLOR the X-Rite i1Filmmaker Kit
GRADUATES - SHOOT FOR IDEAL: THE X-RITE I1FILMMAKER KIT www.photovideoedu.com
A convenient kit of two essential Benefits for your • Fully supported by Atomos monitors. color tools - the i1Display Pro color workflow: Learn more at atomos.com/x-rite/. and ColorChecker Passport • ColorChecker Passport Video is Video - the i1Filmmaker Kit allows • Professional control for on-screen the next evolution of the original discerning filmmakers to achieve color accuracy, whether in studio or 24-patch Macbeth fast, efficient color balance for in the field • ColorChecker, now celebrating 40 any video production. Perfect • Match Multiple Cameras years as an industry standard. for those looking to elevate their • Obtain Perfect Exposure • Combines 4 video production targets in work with the highest level of • Achieve Ideal Color Balance one durable, protective case. Includes on-screen color accuracy and • Reduce Editing Time white balance target, grayscale target, the ability to achieve ideal color video color target, and focus target. balance from shoot to edit. • Get to Your Creative Look Faster • Get a better camera-to-camera Graduates - act now to receive Features match, achieve perfect exposure your EDU discount. and easily shoot and edit for mixed • Combining two essential color lighting, reduce editing time and get Shoot for Ideal – From management tools in this handy kit to your creative look faster. offers filmmakers the convenience of • Designed to easily take advantage Capture to Edit a single purchase at a lower price than of color tools like vectorscopes and components purchased individually. waveform monitors in programs like The i1 Filmmaker Kit was created • i1Display Pro is the Industry- Adobe® Premiere Pro and Final Cut for discerning filmmakers looking for recognized professional display Pro, as well as on field monitors and the highest level of on-screen color calibration system with unrivaled recorders like Atomos or SmallHD. accuracy and the ability to achieve ideal color accuracy on all modern display color balance from shoot to edit. • Supported by DaVinci Resolve, technologies including LED, Plasma, i1 Filmmaker Kit consists of: Color Finale (FCPX Plugin) and 3D RG Phosphor, OLED & Wide Gamut. LUT Creator (for Premiere Pro and • i1Display Pro calibration device • Blazing fast measurement speed more) with in-software automation and software offers the perfect in an intuitive all-in-one design tools to speed up color balancing. combination of unrivaled color also adopted by leading display • Includes Lanyard. precision, speed and control for manufacturers as preferred color • The i1 Filmmaker Kit incorporates the highest level of on-screen color management device. the ideal workflow tools needed by accuracy, including mobile devices • Broadcast video standards support – hobbyist and professional filmmakers and projectors. NTSC, PAL SECAM, and Rec. 709, for capturing and editing footage, Rec. 2020 and DCI-P3 • ColorChecker Passport Video, a bringing ideal color balance to the convenient pocket-sized target kit to • Multiple Display and Workgroup filmmaking production workflow. quickly get you to a worry-free, color Matching – re-use profile settings balanced and consistently neutral on multiple displays connected to place with ideal camera exposure. the same computer or to multiple Shoot for Ideal computers within a workgroup. www.photovideoedu.com
www.studentfilmmakers.com 2018, Vol. 13, No. 2 33 RENTAL HOUSES Top 3 New York Rental Houses
TOP 3 NEW YORK RENTAL HOUSES For Filmmakers, Videographers, and Crew
CSI Rentals Scheimpflug NYC Adorama "We Focus on Your Shoot" Student Filmmaker We Buy Used Gear… Rental Discount Your One Stop Shop. Shooting in Including all models of photo, video, New York? Enjoy the convenience Scheimpflüg is committed to assisting cinema, drones, lighting and audio of your one stop shop for all your student filmmakers as they navigate equipment. If you are ready to upgrade equipment rentals and expendables, the industry. Student discounts are your system, or you have equipment At CSI Rentals convenient locations available to assist the new wave of that you would like to turn into cash, in Manhattan and Brooklyn offering creators in acquiring the tools needed Adorama will happily email you a a full variety of all Cameras, Lenses, to shoot projects and thesis films. prepaid, insured UPS shipping label Lighting, Grip, Production gear and "We're positive they we'll have a to send in your equipment. Expect Expendables at CSI Rentals you’ll find camera, lighting, and/or grip package one of their agents to contact you the latest Motion accessories Camera tailored to the needs of any shoot, promptly once the evaluation has been support and Stabilizers, Monitors, at a budget that makes sense." A completed with an honest and fair offer. Audio tools. Conveniently Reserve your valid Student ID is required to claim a If you accept the offer, the options gear on line and get your instant quote Student Discount. are yours: a check in the mail, direct at www.csirentals.com. CSI Rentals deposit, or you can immediately use the ONLINE: www.scheimpflug.com offers the latest quality meticulously credit toward any purchase you would maintained clean equipment and like to make. professional advice. And best of all ONLINE: www.adorama.com/sell best rates in town. ONLINE: www.csirentals.com
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34 2018, Vol. 13, No. 2 www.studentfilmmakers.com Contributors IN THIS ISSUE
KIM EDWARD WELCH JOHN KLEIN DANIEL LEBLANC is is Publisher and Editor is a freelance an award-winning music of Broadcast / cinematographer and producer, arranger, Film / Television director, and currently performer, and composes trade publications, teaches film in Chicago. scores music for motion StudentFilmmakers He is the producer of pictures and television. Magazine, the # 1 Glass City Films, a As a writer, Daniel has Educational Resource for production company penned songs with Film and Video Makers, responsible for several names as diverse as and sister publication, award-winning films Alanis Morrisette, Dean HD Pro Guide Magazine, the HD Production Resource for Professionals. including Chrysalis and Separation Anxiety. McTaggert, Harry Hess, Saskia Garel, Creighton The StudentFilmmakers.com and HDProGuide. (www.windycitycamera.com) Doane, Samantha Collard, and Julian Austin. com websites, magazines, and workshops Daniel has been nominated for CCMA Record bring together professionals, independents, and NEIL LANDAU is a Producer of the Year three times, has won students of all levels into one integrated resource bestselling author, numerous song writing awards and has been and network community. Never Stop Learning. producer and award- the recipient of gold and platinum records for his Never Stop Networking. winning screenwriter work. www.danielleblanc.ca www.studentfilmmakers.com who runs the Writing for www.hdproguide.com Television program in “Hi! I’m SUJATA the UCLA Department SINGHAL and at heart JON FIRESTONE is of Film, Television and am a constant learner. known for his work on Digital Media (his alma I love to write, teach, Gathering of Heroes: mater). Credits include consult and philosophize Legend of the Seven Don’t Tell Mom the Babysitter’s Dead, Melrose about almost everything. Swords (2015) and Place, The Magnificent Seven, Doogie Howser, In my free time, I like The Sensei (2008). M.D., The Secret World of Alex Mack, Twice in a to listen to podcasts, Co-directed with Mark Lifetime, MTV’s Undressed and one-hour drama read, dance, cook and Steven Grove, Gathering pilots for CBS, ABC, Freeform, Warner Bros., chill with good friends. of Heroes stars Martin Disney, Lifetime and Fremantle. Neil has served Some notable things about me are that I was a Kove (The Karate Kid, as Executive Script Consultant for Sony Pictures professor of entrepreneurship and built my own Cagney & Lacey, Rambo: Television and Columbia Pictures. Neil penned successful college coaching/academic tutoring First Blood Part II) and Christopher Atkins (The Blue Lagoon, TV’s Dallas, the cult favorite The the bestselling 101 Things I Learned in Film business.” Pirate Movie). Firestone developed and taught School, The Screenwriter’s Roadmap, The TV www.Suzieiq.com the 3D graphics program at the Colorado Film Showrunner’s Roadmap and TV Outside the Box: www.sujatasinghal.com School and works as a freelance director and Trailblazing in the Digital Television Revolution. www.linkedin.com/in/sujata-singhal-a2900a31 cinematographer when he is not pursuing his www.neillandau.com other passion as a Visual FX Supervisor and BART WEISS is an Animator. He has written technical articles AL CAUDULLO’s award-winning filmmaker, published in StudentFilmmakers Magazine. multiple award-winning educator and director/ career has spanned 30 founder of the Dallas DAVID LANDAU is the years of video production VideoFest and produces author of “Film Noir including excellence “Frame of Mind” on KERA Production: The Whodunit in HD, 3D and now 4K TV. He was President of of the Classic American UltraHD. His career AIVF and was a video Mystery Film” from highlights include columnist for The Dallas Focal / Routledge press. ground-breaking work Morning News, and He is also an award in Videowalls - the 72nd United Features Syndicate. Bart received an MFA winning cinematographer Annual Academy Awards, the Year 2000 Daytona in Film Directing from Columbia University. and author of the 500, the World Film Premiere of “Star Trek www.videofest.org book “Lighting For Insurrection,” and the 100th US Open PGA Golf Cinematography; A practical guide to the art Championship. In the field of 3D, Caudullo has MATTHEW LOTT is the and craft of lighting for the moving image” brought his vast knowledge of 3D as a consultant Export Sales Manager from Bloomsbury Press. He holds an MFA in to major industry players seeking to update and for Azden Corporation Screenwriting from Goodard college and is enhance their 3D hardware and software tools. and has been with the the co-screenwriter of the feature film “Dark company for 5 years. Tarot”, available on Amazon Prime. David is LADSON MARK He attended William a professor in the film department at Fairleigh JONES is a reporter Paterson University in Dickinson University, but also continues to work for StudentFilmmakers New Jersey, where he professionally as a DP on low budget films and Magazine and HD Pro studied Classical Music corporate videos and as the lead gaffers on Guide Magazine and Performance and Music Lifetime’s “Project Runway Allstars”. covers NAB, IBC, and Management/Audio Engineering. Matt also other tradeshows and played in many bands, touring much of the United SCOTT SPEARS is an events for Welch Media. States and has extensive knowledge about Emmy Award winning studentfilmmakers.com audio production, microphones and musical Director of Photography hdproguide.com performance. In his spare time, he loves to shoot with 30 features under photo and video. his belt. He’s also TINCUTA MOSCALIUC www.azden.com written several feature is the very beautiful and screenplays and teaches talented designer of JODY MICHELLE SOLIS screenwriting Ohio State Welch Media, Inc.’s serves as Editor-in-Chief University. You can learn StudentFilmmakers for StudentFilmmakers more about him at Magazine and HD Pro Magazine and www.scottspears.net. Guide Magazine. HD Pro Guide Magazine. studentfilmmakers.com hdproguide.com EVENTS Cine Gear Expo 2018
CINE GEAR EXPO 2018 Hollywood, CA
Drop by the StudentFilmmakers. Updates to the exhibitor list, event Networking com and StudentFilmmakers map, schedule, presentation topics, speakers, and screening engagements Community Online Magazine Exhibit Booth T136C at will be posted to the website regularly. Update or Create Your Cine Gear Expo. www.cinegearexpo.com Own FREE Profile Page Pick up complimentary copies Questions? Please contact the Cine of the newest issues and Gear Office at (310) 472-0809 or We invite you to post about your film, collectors' editions. Sign up for [email protected]. video, and motion picture productions complimentary subscriptions at and events at: the booth. Attendee Registration is Open. https://networking. All attendees must complete the Cine studentfilmmakers.com Cine Gear Expo 2018 is the premier Gear Badge online registration process. annual event in Hollywood, CA, for Going to Cine Gear Expo 2018 this professionals engaged in the film and www.cinegearexpo.com/la-expo- year? Post and share your photos entertainment technology industry. The attendee-registration show lasts four days in Los Angeles this and videos in the Filmmakers Global May 31 through June 3 at Paramount Registration is free until May Networking Community Online. Studios in Hollywood, California. 26, 2018, 11:59pm PDT. Got a similar event that you're Cine Gear features 300 exhibits, new product and service introductions, Explore and compare the latest attending, hosting, or would like to 30+ complimentary seminars led by tools and services in entertainment share with creative communities? Post industry leaders, master classes, film technology. Get educated and inspired your event in the Events Section at competition, awards ceremony, special while gaining insight from old friends, https://networking.studentfilmmakers. screenings in state of the art theaters, new friends, and everything in between. com/events. and ample opportunity to network with Filmmakers Global peers within a studio environment. Pictured: Kim Edward Welch, Publisher/Editor of StudentFilmmakers Magazine with Eddie Barber, May 31 SteadiPod creator and multiple Emmy award recipient, at Cine Gear Expo 2017, Hollywood, CA. Film Series Competition Screenings, Technical Awards
June 1 & 2 Exhibits, Premier Seminars, Exclusive Screenings, Awards Presentations, Special Events
June 3 Master Classes Sekonic Flashmate L-308X-U TOOLS & GEAR
SEKONIC The world's most FLASHMATE versatile and L-308X-U affordable light meter The world's most versatile and A legacy of accuracy pocket-sized and affordable light meter, the new L-308X-U exceptionally accurate, the Flashmate retains the compact and intuitive design L-308X-U light meter from Sekonic of its predecessors while blending their is a compact tool for metering both features and functionality into one easy- ambient and flash lighting as well as Maximum versatility last year, Sekonic to-use tool. New features include the working in video with dedicated Cine introduced their groundbreaking flag long-awaited LCD backlight, Aperture and HD Cine modes. Equipped with ship light meter, the Speedmaster (F) Priority Measurement (photo a sliding lumisphere, the L-308X-U is L-858D-U. By merging functionality for mode), and ISO 850, which will help able to measure ambient light as well both photography and cinematography cinematographers work more easily with as reflected light via a lens with a 40° into one light meter, Sekonic created a today's professional cinema cameras. reception angle. This meter also has powerful and invaluable tool for image makers of every kind. Now Sekonic Keeping pace with modern Image a wide metering range; from 0 to 19.9 is bringing that philosophy to the making demands, the L-308X-U offers EV at ISO 100, and can work with flash immensely popular L-308 series with three metering modes: Photo Mode within a range of f/1.0 to f/90.9 at ISO for still image photographers, HD 100. Repeat accuracy is also important the new Flashmate L-308X-U. Cine Mode for DSLR and mirrorless when metering, which the L-308X-U videographers and Cine Mode designed delivers with a rating of < 0.1 EV on For more information, visit: for use with cinema grade cameras. repeat exposures. www.sekonic.com EVENTS NAB 2018 Wrap Byte
JON FIRESTONE NAB 2018 WRAP BYTE
Blackmagic Design and RED Written By Jon Firestone
This NAB was a little Blackmagic Design’s surprising, RED didn’t have a all new Blackmagic Pocket Cinema booth again, and Freefly who Camera 4K is a handheld digital film makes the MōVI were also camera with full 4/3 HDR sensor, dual not at the show, and notably native ISO with up to 25600 ISO for incredible low light performance as neither was GoPro who well as 13 stops of dynamic range. often have one of the most It also eliminates expensive external popular booths. But that recorders, as it features a unique new doesn’t mean NAB wasn’t USB-C Expansion Port, which allows as big as ever! As far as gear customers to record using the internal SD/UHS-II and CFast recorders or goes, some of the more directly to the same external disks they exciting announcements will use for editing and color correction. were Blackmagic’s new The Blackmagic Pocket Cinema pocket cinema camera 4K. Camera 4K will be available from It’s a $1295 micro 4/3s 4K Blackmagic Design resellers worldwide later this year for only US$1,295. The camera that can shoot 4K Blackmagic Pocket Cinema Camera at 60 Frames per second 4K features a full size 4/3 HDR sensor and features raw recording, with native 4096 x 2160 resolution a five-inch touch screen and a full license of DaVinci resolve studio. I also did go to RED’s meeting room and got to do some low light tests with their incredible new Gemini 5K image sensor, and while it does not have as much resolution as their other sensors, the lowlight sensitivity is incredible and could open up a lot of options for cinematographers.
38 2018, Vol. 13, No. 2 www.studentfilmmakers.com NAB 2018 Wrap Byte EVENTS
and 13 stops of dynamic range for RAW recording, 3D LUTs, 4 built in true digital film quality. The full size of microphones, mini XLR audio input with the 4/3 sensor is designed to perfectly phantom power, Bluetooth wireless match MFT lenses so the crop factor camera control, HDMI on set monitoring is greatly reduced, giving customers a output and more. wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance. The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen For more information, visit monitor, 10-bit ProRes and 12-bit www.blackmagicdesign.com.
’s new GEMINI™ 5K S35 and Apple ProRes or Avid DNxHD/ REDsensor for the RED EPIC-W HR recording and adheres to RED’s camera leverages dual sensitivity dedication to OBSOLESCENCE modes to provide creators with greater OBSOLETE—a core operating principle flexibility for a variety of shooting that allows current RED owners to environments. Whether capturing with upgrade their technology as innovations GEMINI’s Standard Mode for well-lit are unveiled without having to purchase conditions or its Low Light Mode for all new gear. darker environments, RED EPIC-W 5K S35 delivers incredible dynamic range and produces cinema-quality images. The GEMINI 5K S35 sensor provides exceptional low-light performance, allowing for cleaner imagery with For more information, visit less noise and better shadow detail. www.red.com. Operators can easily switch between modes through the camera’s on- screen menu with no down time and experience an increased field of view at 2K and 4K resolutions compared to the higher resolution HELIUM sensor. In addition, the sensor’s 30.72 mm x 18 mm dimensions allow for greater anamorphic lens coverage than with the HELIUM or RED DRAGON sensor. Built on the compact DSMC2 form factor, the RED EPIC-W 5K camera and sensor combination captures 5K full format motion at up to 96 fps, boasts incredibly fast data speeds of up to 275 MB/s, and provides in-camera support of RED’s enhanced image processing pipeline, IPP2. Like all cameras in the DSMC2 line up, EPIC-W 5K is able to shoot simultaneous REDCODE RAW
www.studentfilmmakers.com 2018, Vol. 13, No. 2 39 BOOK REVIEWS “Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image”
"LIGHTING FOR CINEMATOGRAPHY: A PRACTICAL GUIDE TO THE ART AND CRAFT OF LIGHTING FOR THE MOVING IMAGE" New Book on Lighting Written by David Landau
While there are some great books with “A master class in cinematography! interviews of big time cinematographers David Landau’s conversational tone out there, there are few books mixed with 35 years of technical immediately applicable to what experience and aesthetic prowess beginning cinematographers are facing results in a very accessible text that on limited budget shoots. should be cherished by students and professionals alike… Landau’s multiple "Lighting for Cinematography: A accounts from his work in the field Practical Guide to the Art and Craft of give this book a much-appreciated Lighting for the Moving Image," the practicality and voice of authority first volume in the new Bloomsbury that is invaluable for the emerging Press CineTech Guides to the Film cinematographer.” Crafts, fills that void. Written by illuminates every aspect of lighting veteran gaffer and cinematographer Harlan Bosmajian, IATSE local 600 that I want to teach.” David Landau, the book helps the Director of Photography, Assistant Professor reader create lighting that supports of Cinematography, Emerson College, USA James W O’Keeffe, IATSE local 600 the emotional moment of the scene, cinematographer, adjunct professor of contributes to the atmosphere of the “David Landau has produced cinematography, University of Southern story and can augment an artistic style. an excellent text in Lighting for California, USA. Chapters cover such things as lighting Cinematography which manages to for movement, working with windows, cover the practicalities of production, night lighting, lighting the three plains the technical aspects of lighting and of action and non-fiction lighting. Every vitally the artistic importance of this chapter includes stills, lighting diagrams work. Constructed to appeal and David Landau teaches lighting and and key advice from professionals in be of value to the practitioner at all cinematography at Fairleigh Dickinson the field, as well as lighting exercises levels, I highly recommend [it] to all University, USA, and travels nationwide for the reader to put into practice. This those interested in the technique and giving lighting seminars. A five-time how-to book addresses how filmmakers process of film making.” Telly Award winner for lighting and on a limited budget and time schedule cinematography and a member of IATSE local 52, the University Film & Video can achieve professional looking Robert Edgar, Senior Lecturer in Film and Association and Media Communications images similar to what they see on TV Production, York St John University, UK Association International, Landau continues the big screen. The book also has a to work in the lighting industry, shooting indie website that includes a recent lighting “As a Cinematography teacher, I features and corporate videos, designing news section featuring short articles am always looking for textbooks lights for theatre and working as one of the on the latest lighting instruments and and David Landau's Lighting for gaffers on the TV series Project Runway. methods. The website can be found at Cinematography is the best resource www.lightingforcinematography.com I've come across. I think this book www.lightingforcinematography.com
40 2018, Vol. 13, No. 2 www.studentfilmmakers.com FESTIVALS, AWARDS, NABCalls 2018for Entry Wrap and Byte Calls for Participation AND CALL FOR ENTRIESEVENTS FILM FESTIVALS AND NETWORKING Calls for Entry and Calls for Participation Spread over 5 days in October 2018, The Festival’s Short Film Programme and is an Discover Film Awards involve public cinema ScreenCraft Film Fund experienced film festival programmer. screenings at the Prince Charles cinema Supporting Film Projects with in London’s Leicester Square. Quentin Grants Up to $30,000 Apply now and claim your student discount! Tarantino describes it as his favourite https://screencraft.org/fund cinema in London saying it is “everything Apply Now - Exclusive Student Discount. an independent movie theatre should be”. The Spring 2018 ScreenCraft Film Fund As well as public screenings, the festival is open for applications through June 30, Mammoth Lakes includes discussions at universities, 11:59pm, PST. This cycle, ScreenCraft Film Festival networking events, a filmmaker supper, an opening party, a closing party and awards has partnered with MUBI, which means Submit for 2019 Starting all applicants will receive a free month event that brings together investors, subscription to their excellent streaming August 15, 2018 distributors, journalists, film producers and cinema service. Additionally, the top 10 media professionals. finalists will receive a free year subscription. Mammoth Lakes Film Festival is the premier festival dedicated to discovering and Selected films get the option of various paid •Up to $30,000 in production financing supporting the next generation of filmmakers. distribution channels including trains and •Creative development consulting The festival showcases work of emerging, airlines. Distribution is optional and entirely •Production mentorship innovative filmmakers against the backdrop up to the filmmakers. •Festival submission guidance of California’s ruggedly beautiful Eastern Sierra. Industry professionals provide Final Submission Deadline: In partnership with BondIt Media Capital, mentoring and support, and relationships September 1, 2018. ScreenCraft is offering two production and collaborations are actively promoted https://discover.film/film-festival grants per applications cycle (up to 4 per and nurtured. In 2017, MLFF screened year) to talented filmmakers for narrative over 70 films with over 90 filmmakers in feature films, short films, TV pilots and attendance, and $60,000 USD in cash and Brooklyn Film Festival documentaries that display originality, vision prizes awarded. Filmmakers invited to screen June 1 through June 10, 2018 and exceptional potential. Apply with your at MLFF will receive travel stipends, housing, screenplay, treatment or in-production and festival passes to enjoy themselves The Brooklyn Film Festival (BFF), is an film footage. during their stay. international, competitive festival. BFF’s mission is to provide a public forum in And in case you didn’t hear: award-winning MLFF take chances on talented but Brooklyn in order to advance public interest independent film producer Robert Barnum little-known artists and are committed to in films and the independent production has joined the ScreenCraft Film Fund Backed discovering new voices that will shape the of films. To draw worldwide attention by BondIt Media Capital as a mentor. future of film. Numerous films from the to Brooklyn as a center for cinema. To festival have gone on to great success, encourage the rights of all Brooklyn residents ScreenCraft mentor Rob Barnum is one of including Academy Award nominations, and to access and experience the power of the industry’s most sought-after indie film have gone on to screen at many independent filmmaking, and to promote finance experts. He is the award-winning other festivals. artistic excellence and the creative freedom producer of such celebrated independent www.mammothlakesfilmfestival.com of artists without censure. films as LAWLESS (starring Shia Labeouf, Tom Hardy, Jessica Chastain), MARGIN BFF accepts submissions in six categories: CALL (starring Jeremy Irons and Kevin Discover Film Awards Narrative Features, Documentary Features, Spacey), ALL IS LOST (starring Robert Use Code: SFM15 Short Narrative, Short Documentary, Redford) and THE BRITS ARE COMING Experimental, and Animation. Selected films (starring Sofia Vergara, Tim Roth, The Discover Film Awards, in partnership in each category are eligible for several Uma Thurman). with Craghoppers, are offering cash prizes awards. Many of the award-winning films of $50,000 to filmmakers of all experiences, from the Brooklyn Film Festival have gone Producer Rob Barnum joins festival executive with a guaranteed student winner of $3,000 on to have theatrical releases, to have Alice Kharoubi as a mentor for future winners at their festival in Central London. Enter now nationwide broadcasts on PBS and HBO, of the ScreenCraft Film Fund. Ms. Kharoubi using code ‘SFM15’ and receive a discounted and to be nominated and awarded at both the serves as the Head of the Cannes Film entry fee of just $15. British and the American Academy Awards. (https://discover.film/film-festival) www.brooklynfilmfestival.org
www.studentfilmmakers.com 2018, Vol. 13, No. 2 41 AUDIO What Audio Format to Use and Why?
WHAT AUDIO FORMAT TO USE AND WHY? Working with Music By Daniel LeBlanc
have a chance to prove its worth. You can take an amazing song and export Audio formats can be very confusing at the it as a lower quality audio file and it will best of times. Here’s my take. probably still be great. You can take a bad song and record/mix/export it with the best possible equipment and it will MP3, WAV, AIFF, MP4, AAC, etc. are levels of quality. Some audiophiles will still be a bad song and sound crappy. all excellent audio formats. Within all immediately dismiss MP3s because formats, a producer can decide on the they are compressed audio files. I think In summing up, I’d say make sure the quality and size of each file. there are very good sounding MP3s file passes your ear test and trust the and crappy sounding MP3s. I choose source you’re getting it from. I have Let’s say I’ve spent many hours working to export MP3s at 320 kbps(kilobits absolutely used 320kbps MP3s on high to get the perfect mix on a song I just per second) 44.1KHz(kilohertz). Under end projects with no issues whatsoever. produced and want to listen to it in my most circumstances, it is pretty hard to I will however choose to use WAV files car to see how it translates outside of tell the difference between the WAV and when possible. my studio. First, I have to decide what MP3 version. Again, some audiophiles format I’m going to go with. Then I need will disagree, but I have tested this The problem with downloading music to choose the bit rate/sample rate/ theory many times and found it to be when you don’t know how it was encoder to use. I usually will export true. Keep in mind that so much goes exported is that one company’s MP3 a couple of formats to see how they into how a song will sound to you. or WAV is not the same as another’s. sound. These are most often WAV and Make sure you trust the source and ask MP3. WAV files are full resolution in 1. How good is the song? questions if you’re not sure. sound and file size. You can however 2. How good is the system you are choose to export WAVs at lower sample listening on? and bit rates, which will degrade 3. What kind of mood are you in? Need Music? sound and make the file size smaller. I generally go with 24 KBPS (kilobytes You can take the best possible audio Premium Stock Music in Every Genre. per second)/48KHz(kilohertz). As far file and play it through your phone 100% Royalty-Free. as MP3s go, there are also many speaker or TV and it’s not going to www.sidsonic.com
42 2018, Vol. 13, No. 2 www.studentfilmmakers.com FESTIVALS, AWARDS, 2018 Summer Shorts Contest AND CALL FOR ENTRIES 2018 SUMMER SHORTS FILM AND VIDEO CONTEST I received an email out of nowhere saying that ‘Two of These Things’ had been chosen Open to both Students and Professionals by this magazine as the best High School Short Film.”
“It’s a childhood dream. Create my own ~Logan Calder, Writer and Director; Submit your movie and be selected in a contest. That “Two of These Things,” 1st Place Awards makes me want to do more projects Recipient, Highschool/Jr. High Category films, videos, and in animation, video games, movies. animations Anyway, this project and contest are a real “It’s such an honor for a film I worked on to springboard for me. And now, I just wanna even be seen by an audience. For it to be go on!” chosen is really satisfying because it shows FREE ENTRY with Social Media Post. that other people in the world enjoyed it. For The new 2018 Summer Shorts film and ~ Simon Giraud, Animator/Filmmaker; me, anybody being moved by a film I worked video contest call for entries is open to all “Ichnos,” 3rd Place Awards Recipient, on is fulfilling in itself.” filmmakers, animators, videographers, and Professional Category content creators. There are three categories ~ Austin Segal, Cinematographer; for both students and professionals: Jr. High/ “I’m not generally an ecstatic individual “Two of These Things,” 1st Place Awards Highschool, College, and Professional. but I have been smiling like an idiot ever Recipient, Highschool/Jr. High Category Multiple submissions welcome. There is no since I heard. I had no idea we were even entry fee when you post about the Summer entered and the fact that we won a top “It’s kind of crazy! It’s exciting that our film Shorts Contest, along with the link, www. placement is, even more, jaw dropping. I just has gotten recognized for something and summershortscontest.com, on your social ultimately hope that everyone who worked on that it’s been seen by people out there. My media webpages - Twitter, Facebook, ‘Deadbeat,’ and volunteered and helped, is students worked very hard to make it an Instagram, or on your personal website. about as happy with it as I am. They worked amazing video. I’ll be sure to reach out to hard, and they deserve it.” them and let them know that their film is out We asked the Top 9 Winners of last year’s there and that I’m very proud of the work they 2017 Summer Shorts Contest for their ~ Ryan Robson, Writer/Director; put into it.” thoughts are on being selected and winning “Deadbeat Motel,” 1st Place Awards one of the top placements in the competition. Recipient, College Category ~Andrew Hwang, Media Instructor/ This is what they said. Filmmaker; “Safe Spaces,” 2nd Place Awards “I’m honestly so honored and flattered to Recipient, Highschool/Jr. High Category “I am so incredibly honored to be recognized. be selected and winning 2nd Place. It still It means the world to me that people are shocks me that people like it and motivates “I am ecstatic about being selected as one seeing ‘Lucy’ and that they are seeing the me to keep writing and creating films.” of the winners of this competition. I was significance to it. That’s what it’s all about apprehensive about sharing my work on a after all right? I can’t thank Summer Shorts ~Janice Chun, Writer, Director, Animator; larger stage, but I am very glad that I did. Film and Video Contest enough!” “Crushed In Space,” 2nd Place Awards Whether or not it won, I had a fantastic time Recipient, College Category making the video, and it helped to make this ~Libby Blood, Producer, Director, past summer the greatest yet. I am so glad Cinematographer, Editor, Story; “Lucy,” “I’m very thankful for the selection! I’d never that my hard work was recognized and that 1st Place Awards Recipient, thought my film would reach people outside I have had a chance to share my work with Professional Category my own little town, let alone outside of others.” Belgium. So, thank you very much!” “I’m stoked to have my work selected by the ~ John Bamburoski, Videographer; committee. I really hope people see my video ~Pieter Claessens, Filmmaker; “My Summer 2017,” 3rd Place Awards and have at least a little more understanding “Pass Age,” 3rd Place Awards Recipient, Recipient, Highschool/Jr. High Category of sharks’ importance to our ecosystem. I College Category also hope it inspires people to donate and get involved with the debate of sharks’ “Having a movie I wrote and directed win importance in our waters.” this award was both completely unexpected Upload Your Films and a huge honor. Because this film was and Videos Today! ~Jack White, Videographer and Editor; made for the NJ Film School, my teacher https://summershortscontest.com “Misguided Fears: The Oahu Shark Diver”, sometimes submits what we create to awards 2nd Place Awards Recipient, without the knowledge of my classmates or Professional Category me, which made it all the more exciting when
www.studentfilmmakers.com 2018, Vol. 13, No. 2 43 FESTIVALS, AWARDS, AND CALL FOR ENTRIES CAS Student Recognition Award
CAS STUDENT Call for RECOGNITION Applications AWARD
Selection Criteria send you an email confirmation The CAS is now that it has been received. accepting applications The CAS Student Recognition Award 4. Finalists will be asked to submit is given to an individual based on a 2-minute example of their work for 2018. All applications the recommendation of an instructor and an informal introductory or professor at the student’s college video, 3 minutes or under. must be completed or university and on the student’s and submitted online accomplishments, enthusiasm and Applications and all accompanying demonstrated potential in the field of documents must be submitted no later no later than October sound mixing and/or sound recording than October 23, 2018, at 5:00 pm for film, television, gaming and/or VR. It 23, 2018. The CAS PST. Incomplete or late applications will is not an award of excellence based on not be considered. Please check the Student Recognition a specific student project. CAS website for student nominations Award recipient will be November 16th. announced at the 55th Application Requirements Additional Information Annual CAS Awards 1. Students must submit the following materials online: in Los Angeles, CA on • The CAS Student Recognition February 16, 2019. • Unofficial transcript (please Award will be announced and highlight and explain relevant presented at the 55th Annual coursework). CAS Awards in Los Angeles, Eligibility • List of projects in which you were CA on February 16, 2019. Five the primary person responsible finalists will be invited to attend Students must be enrolled in good for production and/or post- the Awards as the guests standing at an accredited degree- production sound mixing. of CAS. Any related travel granting college or university during expenses are the responsibility 2. Once you have completed your of the student nominees. any school term between January portion of the application, a link 1, 2018 and December 31, 2018. will then be auto-generated and • $2,500 will be awarded to the Students at US or International sent to the professor’s email selected student. institutions are eligible provided the address you’ve provided. We school is accredited. All application strongly suggest that you follow materials must be submitted in up with your professor. For the online application English. Student applications must be accompanied by a recommendation 3. Shortly after submitting your and more information, visit: from a professor or instructor. application and documents, we will www.cinemaaudiosociety.org
44 2018, Vol. 13, No. 2 www.studentfilmmakers.com FESTIVALS, AWARDS, Next Generation Filmmaker Series AND CALL FOR ENTRIES NEXT GENERATION FILMMAKER SERIES
PRESENTED BY
Join us for Jake Davis & Andrew Rurik Justin and Alyse Riley an exclusive Andrew Rurik and Jake Davis will walk Nine X Three Films. Film: “Treats on Me” through the creative and technical process International K-POP Music Video. Music screening. behind their documentary short “In Search videos are the creative visual expression Of A Moment,” looking at specific challenges of the music we all love to listen to. Justin they had to address on this production, Riley and Alyse Kano will give you a deeper June 1, 2018 such as: How to craft a story involving wild look into how to start the creative process, Sherry Lansing Theatre 8pm* subjects that might not show up when you their professional workflow, the challenges *appetizers and soft-drinks 7-8pm need them to, if at all and what to do when of working with a spouse or significant inclement weather changes the plan. other, techniques on creating value with a Instagram: low budget, and how to produce quick and View their short films and listen as @revealedinnature effective solutions when challenges they talk through the successes and @andrew_rurik inevitably arise. challenges of creating their stunning filmwork. Jacob Scoville Tristan Pelletier My short film will craft a narrative of how I There are houses, and then there’s Buddy Interact with the filmmakers directly discovered my passion for filmmaking, and Melvin’s Treehouse: a grown-up child’s and find out what inspires them, the the journey it has led me on up to this point. dream of epic proportions, 13,000 sq. ft., equipment they use or how they Current footage of my travels through the in Rose-boro, North Carolina. A grandiose Pacific Northwest, as well as flashbacks monument constructed by recycling wood edit the perfect shot. to specific shots or events, will guide the from old tobacco barns and houses is a story along. I will be speaking about the poetic and timeless space that all centers Open screening for anyone challenges I had to overcome, techniques around a single, enormous oak tree. In this wanting to learn more about the for getting specific shots, and emphasize film, Buddy gives us a tour of his grown- the importance of “showing up” every day to up treehouse, including a dance floor, creative process. grow as a filmmaker. pool room, and a VIP bar and lounge, and Instagram: discusses his unique gift of visualizing things Prizes raffled at the screening. @jacob_scoville into existence. Instagram: @tristan_pelletier
www.lacie.com www.filmtools.com
www.studentfilmmakers.com 2018, Vol. 13, No. 2 45 LENSES Meet ZEISS at Cine Gear Expo
MEET ZEISS AT CINE GEAR EXPO Booth #49, 49A, 49B, New York Street Exhibits Hollywood, CA www.zeiss.com/cine/cp3
family of lenses in three color-matched • Uniform smooth focus action. zoom ranges, provide you the full frame • Full frame sensor coverage. coverage to meet the needs of today’s Future proof. demanding sensor design. • Interchangeable lens mounts. • Three Focal Lengths - 15-30mm, 28-80mm, 70-200mm. The ZEISS CP.3 XD features innovative • High resolution and contrast: and ground-breaking lens data ready for 8K and beyond. technology to simplify the on-set work- flow and in post-production. Using Cooke • Excellent suppression through T* /i technology, these lenses provide coatings. information about the lens distortion and • No visible breathing. shading characteristics in real time.
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Used on cameras like the Alexa 65 in The all new ZEISS CP.3 lenses offer 5K mode, or the Panavision DXL, the the perfect combination of high image CZ.2 Cinema Zoom lenses from Zeiss quality and reliable usability. They provide you with a consistent aperture, exhibit the clean, crisp characteristics superb sharpness and contrast, minimal that you’ve come distortion and a look that matches the to expect in ZEISS highest quality cinema primes including lenses and have a ZEISS/ARRI lenses. The Cinema Zoom host of new features:
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