April 2007
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Borja Cobeaga’s Eramos Pocos Makes a Date with Oscar Shooting an HD Feature in 15 Days In-Camera and In-Post Imaging Options Customize Your FCP Keyboard Lighting Realistically: The Astronaut Farmer Table of Contents April 2007
Front Line 6 Shooting an HD Horror Movie in 15 Days by Adam Biddle
Cinematography 10 Choosing Among In-Camera and In-Post Imaging Options What Can Be Done in Post vs. Capture by Ira Tiffen 14 Love the Look by Thomas Ackerman, ASC 16 Five Categories of Camera Movement by George Avgerakis 20 Employing MacGyver’s Process of Ingenuity on Set by Saro Varjabedian 6 Insights 22 Lighting Realistically: The Astronaut Farmer by M. David Mullen, ASC
Filmmaker Spotlight 26 Borja Cobeaga’s Eramos Pocos Makes a Date with Oscar by Mary Ann Skweres
Directing 30 Coverage and the Master Shot by Myrl A. Schreibman 32 Understanding Fight Choreography by Jon Firestone and Mark Steven Grove 38 Pace and Film Directing by David K. Irving
How-To 22 40 Customize Your Final Cut Pro Keyboard by Chris Cavallari
Editing 42 4/4 and a Whole Lot More by Daniel Gaucher
Music & Sound 46 Sound Design: Expect the Unexpected by Bryant Falk
Commentary 48 HD and HDV - An Addendum by David J. Weinberg
Tech Focus 26 52 Working with P2 Data Management by Paolo Dy Film Business 56 Finding Film Industry Employment After Graduation 32 by Michael Corbett 59 Pre-Sale Financing for Independent Films by Stacey Parks
Networking 60 Filmmakers Networking Community
On the Cover Shooting a scene in Eramos Pocos. José Arana (camera 2nd assistant), Alejandro Tejería, Ramón Barea and Mariví Bilbao. PBTS-0083_HPX500_ad_SF.qxp 3/21/07 4:55 PM Page 1
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This month in Las Vegas, with hordes of people pouring over new technology and the sounds of thousands of sellers and buyers roaring The # 1 Educational Resource for Film and Video Makers on the NAB2007 show floor, Publisher / Editor-in-Chief Kim Edward Welch StudentFilmmakers magazine Senior Editor Jody Michelle Solis will be celebrating its one year anniversary in booth Contributing Writers SU9626 with this issue of the Thomas Ackerman, ASC, Anthony Q. Artis, George Avgerakis, #1 Educational Resource for Sheila Curran Bernard, Adam Biddle, Chris Cavallari, Film and Video Makers. Mark Cheng, Michael Corbett, Todd Debreceni, Jeff Deel, Dana Dorrity, Patrick Drazen, Paolo Dy, We could not have reached this milestone if it were not David E. Elkins, S.O.C., Bryant Falk, Jon Firestone, for you, our readers, our website members and moderators, Brian Flees, Daniel Gaucher, Fred Ginsburg, C.A.S., Ph.D., our contributing writers, many of the members of the ASC, the Mark Steven Grove, Leonard Guercio, David K. Irving, American Cinematographer Magazine, members of the SOC, Michael Karp, S.O.C., Sam Kauffmann, Bruce F. Kawin, and the many professors and department heads at universities Mark Kerins, Brian Liloia, Jake Lovell, Matthew Marshall, across the country, as well as our small but extremely dedicated Maurice Methot, M. David Mullen, ASC, Stacey Parks, and hard-working staff; and let us not forget our current sponsors Myrl A. Schreibman, Mark Simon, Mary Ann Skweres, Glen Tickle, Ira Tiffen, Melissa Ulto, Saro Varjabedian, and advertisers. You all have inspired us with your work and Fred P. Watkins, David J. Weinberg, Steve Wright, Kevin Zanit dedication, and with your participation, and leadership, in the filmmaking industry. Media Art Director Lien-Chen Lin This issue is written by very talented authors, including our wonderful contributing writers who have been with us since our first issue. This month’s cover story is by Mary Ann Skweres, “Borja Cobeaga’s Eramos Pocos Makes a Date with Oscar” Publisher / Editor-in-Chief Kim Edward Welch (p66). Check out Chris Cavallari’s quick FCP tips for mapping Media Art Director Lien-Chen Lin shortcuts (p40). Read M. David Mullen, ASC’s featured Insights Chief Technology Consultant Russell Kumpe Column (p22), where he reveals his lighting techniques for the Editorial Intern Brandi J. Sims recently released The Astronaut Farmer. And we’re very happy Advertising to welcome this month’s new contributing writers, Thomas Kim E. Welch 212.876.0415 Sreeja Pillai 212.600.4646 Fax: 212.600.4479 Ackerman, ASC (“Love the Look,” p14) and Adam Biddle (“Shooting an HD Horror Movie in 15 Days,” p6). Contact StudentFilmmakers http://www.studentfilmmakers.com/contact.shtml We are launching three new web sites this April. These 888.222.0652 (US Toll Free) communities will be educational but also will contain interactive 212.876.0415 (US and International) 212.600.4479 (Fax) social networking tools and resources for film and video making professionals, as well as independents, students and recent Subscriptions: U.S., $24.95/year; Canada, Mexico, and all other foreign countries, the beauty of the HPX500 graduates. Visit filmmakersguide.org, animationmakers.net and $69.50/year. screenwritersguide.net, and sign up for your free networking Panasonic’s new, full-size AG-HPX500 P2 HD camcorder does more than just capture pages. To subscribe go to https://www.studentfilmmakers.com/store incredibly detailed high definition images on ultra-reliable, solid-state memory cards. It offers the Direct line for subscription and distribution inquiries, (212) 600-4646. unique combination of high-end features never before offered in a camcorder in this price range, Please stop by our booth at NAB in Las Vegas. We love meeting our readers and will have information about new and including production-quality 2/3" progressive CCDs, DVCPRO HD 4:2:2 quality, 32 HD/SD video exciting film and animation contests. See you there, and please formats, four independent audio channels, and variable frame rates for incredible quality and versatility. enjoy this issue! The shoulder-mount HPX500 features four card slots and can record 64 minutes in DVCPRO HD, 128
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Director of Photography Adam Biddle, Director Dustin Voigt, and crew on one of Shooting an the sets of the HD horror, Marked. HD Horror Movie in 15 Days A Look into Lens Choice, Scouting, Lighting, and More... by Adam Biddle
At the end of last year, I ventured for the and had a definite idea of what style of first time into the genre I’ve long been most movie he wanted to finish with. I could wary of shooting - Low Budget Horror! (The tell from the very outset we were on the production’s budget was at least $300,000, same page with both our expectations and approximately.) This to me has always concerns. We were in this together! seemed one of the most over saturated of The production company Night Light markets with numerous projects generally Films had only recently been formed, and underachieving. The main cause of this this was only their second feature. Their is scripts that rely far too heavily on post whole set up is based around shooting HD, effects and bad blood gags. To do either of so shooting any other format was never these to a believable audience standard is an option – and it had to be a Sony F900. usually totally unrealistic in the low budget Our only choice was lens type. Zoom world. A knock on effect is sequences or DigiPrimes – not both. Instinctively at having to be lit way too dark or framed first both Dustin and I wanted the primes, want to do. The other problem with Primes The next step was scouting. Dustin had much depth of focus. This puts increased too complicated straight off. In just one awkwardly to hide the cheese factor. Totally which are optically superb. But then is that to do a move you obviously need decided early on to shoot nine tenths of the emphasis on production design, as it is or two shooting days crews normally get unrewarding. when we started to get realistic about our to track. Taking the time to block and lay a movie on location in Lake Arrowhead, and far harder to ‘get away’ with background comfortable with my style, and then we So when I was given the script ‘Marked’ shooting schedule of 15 days we realized track properly in the low budget world is this was a good call. The visual palette is so dressing, bad props or small sets. can start attempting more intricate shots to read I was full of skepticism. About 112 compromises had to be made. A zoom a luxury. But by having the zoom always amazingly different considering you are only with confidence rather than apprehension. Starting principal photography, my first pages later my mind had changed. This is so much faster to work with. Constant on, I could at least add some movement to 70 miles from Los Angeles. This also gave I was particularly impressed with my 1st AC task was to assess crew members – their was a project that relied heavily on a visual recalibration checks when changing a Prime ‘quick’ cutaways then and there. We could our Production Designer far more chance to and dolly grip. Both were a little green but strengths and weaknesses. I wasn’t able mood to build tension and that challenge lens is a must by the 1st AC. That time spent therefore save our big tracking shots to key get the most out of her very meager budget. had excellent work ethic and willingness to to bring any of my normal crew onto the excited me. Next to meet the director, would very quickly add up and cause us moments in the script and plan our days Despite improvements, HD photography learn. I would much rather be surrounded production, and I really was starting fresh. Dustin Voigt. He had also written the script to start missing shots, something we didn’t accordingly. in its present form still carries far too by this type of crew member than someone In this situation I try to avoid doing anything
studentfilmmakers April 2007 April 2007 studentfilmmakers Front Line
Photos from the movie, Marked. Another piece of equipment that I always favor is the Chapman Peewee dolly. Often grips want to upgrade to a larger dolly but for me, I’d much rather have the options the Peewee gives you in tight spaces. We had one sequence that took place ‘off the beaten track’ and trying to get any other dolly to that location would have been a logistical nightmare.
So looking back I actually had fun shooting a movie in 15 days, but I wouldn’t recommend it! Any shooting time lost is just so magnified. At this stage I have only seen a rough cut of the movie, but all things considered I am very pleased with the outcome. What always gives me a particular personal satisfaction is to see what can be created with so little resources. more experienced who moans a lot. They are so versatile to use and so quick Another factor to assess when working to adapt color temperature. One day we Adam Biddle was the Director of at this level is cast performance. The vast had fallen behind, and we needed to make Photography for movies including The majority will be ‘up and coming’ actors and up time rather than drop the last scene of Gnostic (2007) and Crank (2006), and has very likely their first work of this standard. the day (a night exterior set in the town). worked on over 20 films including V for From a director’s standpoint sometimes To speed things up, I scouted a location Vendetta (2005), An American Haunting you luck out and sometimes you bust. that was nearby to a sodium security light (2005), Bridget Jones: The Edge of Reason It is unlikely you will have the luxury of and used this as the key. When we went Only DeckLink HD Extreme has SDI and analog (2004), The World Is Not Enough (1999), recasting but you can adjust your coverage in for coverage I needed some fill and in a The Mummy (1999), and other films. and blocking of scenes to focus more on matter of seconds was able to match color connections in HD and SD for only $995! temperature on the Panel Lite to the sodium what an actor is doing well. Photos courtesy of Director of Photography by playing with the gel combinations Adam Biddle. A great deal of ‘Marked’ takes place at that came with the kit. That’s the sort of The new DeckLink HD Extreme features both World’s Highest Quality night in low key interiors. One of my most flexibility that I love. SDI and analog I/O connections that instantly DeckLink HD Extreme works natively in 10 bit invaluable items was my Panel Lite kit. switch between HD and SD. Use with the latest 4:2:2 and features the industry’s only true 14 bit PCI Express Mac and Windows computers for analog conversion with uncompressed video the world’s highest quality editing, effects and capture/playback. With uncompressed 10 bit capture and playback, broadcast paint solution. you’ll always retain that pristine film look.
Connect to any Deck, Camera or Monitor Compatible with Popular Video Software DeckLink HD Extreme supports standard and high definition SDI DeckLink HD Extreme gives you the freedom to move between 4:2:2 and analog YUV, as well as NTSC/PAL and S-Video in and out. platforms with drivers for PCI Express Apple Mac OS X™ and DeckLink HD Extreme also features 2 channel AES audio and Microsoft Windows™ systems. Use your favorite video software professional analog stereo XLR audio in and out. An RS-422 port such as Final Cut Pro™, Premiere Pro™, After Effects™, Photoshop™, is included for controlling broadcast decks and a genlock/HD Shake™, Combustion™, Fusion™ and many more. tri-sync input for connecting to large broadcast systems.
High Definition and Standard Definition DeckLink HD Extreme If you’re moving between SD and HD, DeckLink HD Extreme’s SDI and analog US $995 component YUV connections will switch standards instantly. Work with the widest range of equipment, Director Dustin Voigt. On set. such as Betacam SP, HD set top boxes, HDV cameras, Digital Betacam, HDCAM, D5, HDCAM SR 4:2:2 and more. Learn more today at www.blackmagic-design.com studentfilmmakers April 2007
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Cinematography
Choosing Among In-Camera and In-Post Imaging Options What Can Be Done in Post vs. Capture by Ira Tiffen
In my first-ever seminar presentation, in our lives with data, we needed only to shades of gray between the two situations, 1977, I met two newsreel cameramen, who understand it well enough to know what to the key element is to recognize whether you were active in the days of hand-cranked save and what to delete. Similarly, there is a know enough to make certain commitments cameras. They told me that they used to get plethora of image control choices available up front, or if you need to leave yourself jobs in their very competitive business (the to today’s filmmakers that could blind us room for fine-tuning later. “Know enough,” more things change, the more they stay the with options- but again, only if we let it. refers to two issues here: do you know what same) over other cameramen because of you want the image to look like and do you So here’s the question: Just what did you their ‘little black box’- their box of filters. know how to get it to look that way? know, and when did you know it? In the era of black and white, they said, Here’s why this is important, and how Did you start out with a complete vision you could use a yellow-green filter to bring it impacts your filmmaking process. Let’s in your head, one that was bursting to come out more dramatic cloud detail in a blue sky consider those newsreel cameramen again. out intact, inviolate, and were your skills that would be lost without the filter. But you Knowing they wanted to produce a more up to the task of faithfully bringing it to the had to know how to do it. And you had to natural, correctly detailed sky was the screen? Or… have the filter at the ready. Or you didn’t get starting point. To do this, they had to first the image quality you needed to distinguish Did you begin with a concept, a learn about the effects of filters, and how your work from the next guy’s. What you feeling, a memory, something, but less to use them to advantage; and they had to If they don’t know Avid, they may always be tourists.
® didn’t know COULD hurt you, they told me. than a completely conceived path and plan on bringing the right ones as part of Academy Award winning feature films. Emmy® award-winning television shows. Grammy® award-winning songs. goal, making it necessary to leave room for their kit. If they didn’t use the right filter In those days, you had to have a pretty Most of the world’s best media is created using tools from Avid, Digidesign, M-Audio, and Softimage. For as little creative adjustment as you went along? upon capture, the cloud detail would be lost clear idea of where you were headed as $295USD, your students can learn the technology that will help them make the grade in tomorrow’s job market. forever. They would not have been able to image-wise before you took even the If the former describes you, you’re in “fix it in post.” first step. It would be very difficult, if not rare company. It happens, but it often takes impossible, to change direction later. intense vision, a team of experienced and Additionally, if the sun became brighter talented professionals, suitable budget, luck, than they had expected, they would have Today, technology offers capabilities and much more. wanted to have a neutral density filter that didn’t exist not too long ago. With the available. Being able to handle random ‘information superhighway’ that everyone If the latter is more fitting, you are changes in circumstances starts by knowing www.avid.com/education was concerned would numbingly flood certainly not alone. While there are many what is variable and what you can do ©2007 Avid Technology, Inc. All rights reserved. All prices are USMSRP for the U.S. and Canada only and are subject to change without notice. Avid, Digidesign, M-Audio, and Softimage are either registered trademarks or trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. Academy Award is a trademark and servicemark of the Academy of Motion PIcture Arts and Sciences. Emmy is a registered trademark of ATAS/NATAS. Grammy is a trademark of the National Academy of Recording Arts and Sciences, Inc. All other trademarks contained herein are the property of their respective owners.
10 studentfilmmakers April 2007 Cinematography about it. In this case, the newsreel guys together without a concern for optical the image, and you may have moved on had the experience to know up front what issues like internal reflection, which can to another job by the time that image is they wanted, and how to get it. And, in be a problem when stacking filters on the processed. these examples, they also didn’t have an lens. You can automatically maintain proper Fortunately, there are things you can alternative. exposure as well without delving into filter do to take most advantage of the new factors. And you can decide to change your Today, many alternatives exist. But, even technology while minimizing the negatives. mind, remove and re-mix effects, as much now, not everything can be fixed later. To as time allows. Give yourself a hand later by taking the capture those clouds, you would still have right steps early on. Learn more about what to use an on-camera filter. You can also extensively experiment can be done in post and what should be with digital effects on test images prior But if you wanted the sky turned a done in capture. Learn how the two can to production to help determine the deeper blue, you could do that readily in work together to best effect. direction to go. Use these tests to develop post today. The trick is being able to know a consensus on that direction among the As an example, try using half-strength which decisions have to be made up front responsible parties to minimize debilitating optical filters to help things along. and which can be deferred until later. conflicts later. Fluorescent lighting color correction is much As the training process for many easier to manage when at least some of the But these new capabilities also have filmmakers no longer requires lengthy years necessary alteration is performed in-camera. some disadvantages worth being aware of. of apprenticeship, since the technology Using half the normal optical filter strength for capture and editing is now financially You could paint yourself into a corner requires less exposure compensation and within reach of many, there’s often by not paying enough attention to prior can significantly assist the post processing. been insufficient opportunity to garner planning and image capture. Not all things Flare and resolution control, too, can the experience that would allow more can be fixed later. You also limit your be enhanced by the mix of milder optical confidence in making advance decisions. So options as it may take most or all of the effects plus later digital adjustment. You also there’s a greater need for the ability to learn digital latitude just to correct something lock in a certain amount of the ‘look’ while as you go, leaving room for experimentation that went uncorrected in capture leaving still leaving room for choices to be made and for making subsequent changes. It is an insufficient amount of adjustment for later. also important not to commit earlier to additional effects. decisions that can’t be un-made later if As you go along, experience will help The real world has an infinite amount of necessary. you learn more, and learn it sooner in the colors and luminance values- once you are filmmaking process. And your answers to The traditional opto-mechanical color in post you are limited to the color gamut the question - Just what did you know, and timing of film has its digital analogue in of your medium. Digital image control is when did you know it? - will only get better. image grading. This provides many new not infinite- there are limits to its range, and opportunities for color, contrast and there are things you can do optically that brightness control in post. But it doesn’t can’t be readily replicated. Some digital stop there. In addition, there is software effects will introduce increased noise, the In over 30 years of making optical filters, providing numerous variations on many rough equivalent of film grain, to possibly Ira Tiffen created the Pro-Mist, Soft/FX, other optical filter effects. You can detrimental effect. Ultra Contrast, GlimmerGlass, and others, introduce highlight flare; create smoother, netting him both a Technical Achievement Having the ability to make changes later softer facial texture, introduce certain types Award from the Academy of Motion Picture in the process also means that you may of ‘star’ effects; create ND and color grads; Arts and Sciences and a Prime-Time Emmy have new political issues to manage- if you the list is extensive. Award. Elected a Fellow of the SMPTE in don’t define your image through to the end 2002, he is also an Associate member of the In comparison to optical effects, these result, and aren’t around to see it through, ASC, and the author of the filter section of digital options offer unique capabilities such it is possible for another to come along and the “American Cinematographer Manual.” as allowing infinite adjustment of grades make ‘creative adjustments’ that can be far to precisely tailor the strength of an effect more invasive than before. This is especially to fit the need. You can mix several effects important if your role is primarily to capture
12 studentfilmmakers April 2007 Cinematography
to light a set for the first time, the glut of hand, that of pulling together the elements options may prove unwelcome if not self- of a great picture. destructive. Love the Look The cornerstones of a cinematographer’s In a film school setting, obsession method are observation and recall. over one part of the puzzle, exposure Paintings, sculpture, movies seen at a tender … And Leave Your Spot Meter at Home methods for example, can overshadow age make their indelible impression, just many other important parts of the process. as yesterday’s sun dapple in the back yard. by Thomas Ackerman, ASC Chief among them is intent, the values of Recently I mentored a Brooks Institute a shot as conveyed by the lighting. To run project and explored with the student DP around with a light meter, bean-counting the sorts of things that fed his process. Not long ago I received an e-mail query pulling, within the motion picture camera compared with today. There is a wonderful foot candles before things look great, is no Both of us found common ground in the from a University of Colorado cinema are fundamentally the same works that have image of Truffaut during the production way to create an image. To me, the essence observation of everyday life: the look of student approaching his first interior shoot transported emulsion through the gate for of Day for Night, in which he is poking of photography is knowing what you like Starbuck’s on a late afternoon, the way with 16mm Kodak Vision 500T raw stock. more than a century. For those accustomed up through the tiny sun roof of a Citroen even if you don’t at first know exactly how a girl’s lovely face might be nuanced by His central question was how to expose the to the user-friendly world of a Mini-DV 2CV, body crunched against his tripod- to get there. Whether using natural light a stray headlight beam, or by the glow film using studio lighting, in this case a kit camcorder, the change is sobering. The film mounted camera, making a traveling shot or a sound stage full of gear, it all rests on of a cheesy neon sign. If one were to limited to three open faced quartz lights. camera basically sits there waiting for you to from a vehicle that looked like it should be what you want to see in front of you. It boils be impossibly esoteric, music could be Although he had prior experience as a still do something. dispensing clowns at a circus. (Hollywood down to shaping light, shadow, color and included on the list of photographic photographer, and had accomplished 16mm requires the same shot to be made with texture until the results are delightful. Only influences. The trick in shooting a movie, in It would be a mistake to underestimate exteriors as part of his class work at Boulder, a specialized vehicle costing a couple of then can the decisions be made on how to part, is to find the way back to these little the challenge of shooting film for the first the prospect of shooting film inside was a hundred thousand dollars.) In the end, expose the film (or the chip). Wondering glimpses of accidental art. time. A few years ago in Paris, we attended how strong the backlight should be is not matter of some concern. however, any photographic shortcomings StudentFilmMakerAd 3-9-07 3/9/07 10:17 AM Page 1 a New York Film Academy event to witness Finally it is the photographer’s eye that of the NYFA films did nothing to undermine answered by measuring, but by looking This earnest note, from an enthusiastic the culmination of their summer session sets the only true course. In order to put their heart and soul. - how deep the shadows, and lack of fill that vision on film on a reliable, daily basis, but uncertain young cameraman, caused me at La Fémis. Much to NYFA’s credit, their light - by what your eye tells you. An affinity certain things must become routine if not to reflect on how the subject of exposure is program is mostly film-based. Students are This brings us back to whether the for risk-taking helps, although the latitude of subliminal. And the sooner the better. First almost impossible to consider on its own, provided 16mm cameras, a few hundred “correct” exposure of film is a question that most current film stocks provides insurance light the set, then read the meter to your since it is only one part of the process that feet of black and white stock, and find can be properly asked, or if, in the words against all but the most egregious newbie heart’s content. renders a photographic image. There are so themselves instantly challenged to make of my late friend and great mentor, Charles mistakes. many other crucial choices to be made, not an image instead of merely pointing a lens Guggenheim, it is a “question that shouldn’t the least of which govern the use of light. at a target. The results at the screening we be dignified with an answer.” The truth is In the best of worlds the director and Obviously composition plays an enormous attended were decidedly uneven. Focus that nowadays photographers must pursue cinematographer will share the same Director of Photography Thomas role as well. and exposure in many cases were wildly off their craft with any number of irritating approach to things. In any event, it is the Ackerman, ASC is best known for his work base. The shots themselves seemed to suffer distractions. After all they are citizens of cameraman’s sacred obligation to serve the on Jumanji, Tim Burton’s classic Beetlejuice, One can sympathize with a generation an odd disconnect, as if visual talents that the Digital Age, in the course of which director and the story. To the extent that a and National Lampoon’s Christmas of digital filmmakers approaching their had flourished in the world of easy shooting, cinematography reinvents itself on a daily Director of Photography exudes confidence, Vacation. With a filmography of over 30 first encounter with motion picture film. to the degree that she shows leadership THE FILM DIRECTOR PREPARES with elegant little cameras and endless basis. At one time, say twenty-five years ago, titles, Ackerman has worked on a wide A Practical Guide to Directing The contrast in equipment is in itself amounts of tape that cost virtually nothing, a Director of Photography might choose and exquisite taste, the visual goals of the variety of films, lensed the box office hit for Film & TV shocking. From a camera that has a menu by Myrl A. Schreibman were now foundering, thrown off by the from the instruments housed physically in movie will be achieved. The gold standard comedy, Anchorman: The Legend of Ron more sophisticated than a Trident nuclear is a photographer who loves the image he From script analysis to post-production, clunky Arri S and its 3-lens turret. a given studio’s lighting department. Today Burgundy, the hit comedy, Are We There this interactive guide from award- sub, including a vast array of automatic winning director, producer, and educator has been hired to put on the screen. Not to Yet?, and more recently, The Benchwarmers, he or she has access to an inventory of Myrl A. Schreibman takes you through features, they must transition to a rather Yet there was beauty in much of the withering size, variety, and sophistication. minimize the importance of mastering one’s Scary Movie 4, and action/sport/comedy, the entire filmmaking process. straightforward piece of machinery that work, a forced simplicity reminiscent of Although most cinematographers have their craft, a lesson which if not learned in school Balls of Fury. Includes interactive CD-Rom with is little changed in a hundred years of the Nouvelle Vague. Maybe it was the will be brutally taught the first day on the demo of the cutting edge FrameForge own favorites, and generally rejoice in the 3D Studio 2 software! extremely gradual evolution. Festooned stark black and white, or the seduction of fabulous shopping list occasioned by the job, but all the dithering with a light meter as it might be with circuit boards, video Paris as a movie set, but these short films production of a major motion picture, it is will not answer a single important question monitors, smart lenses, and every recalled the 1960’s when European shooting about photography. Worse, it offers an all- An imprint of Watson-Guptill Publications safe to conclude that more is less. Certainly 770 Broadway, New York, NY 10003 conceivable asset to the craft of focus was accomplished with far tighter budgets for a student trying to whip up their courage too-convenient refuge from the real task at Available wherever books are sold.
14 studentfilmmakers April 2007 April 2007 studentfilmmakers 15 Cinematography
Five Categories of Camera Movement Human Support, Wheeled Vehicles, Levers, Wires and Aircraft by George Avgerakis
One of the most effective means of enhancing a film from the ground to about 9 feet high, even while running! The production’s professionalism and production value is camera availability of this invention made it one of the most demanded tools movement. Camera movement can be broken down into several in Hollywood. In its first year, 1976, it was employed on Marathon categories based on the method of movement. Here, we will focus Man (John Schlesinger, Director), Rocky (John G. Avildsen, Director) on: human support, wheeled vehicles, levers, wires and aircraft. and Bound for Glory (Hal Ashby, Director). Most people, however, remember it most from The Shining (1980, Stanley Kubrick, Human camera movement depends on the musculature of the Director) when it was used to capture the POV of the boy, Danny human body, as the camera is supported by an operator, usually on Torrance, as he pedaled his trike through the hallways of a haunted the shoulder, and moved through the scene. The late Ed Emshwiller hotel, and for Jack Nicholson’s chase scene in the maze. held the record in this category having shouldered a blimped Mitchel BNC, through much of Hallelujah the Hills (1963, Adolfas Wheeled vehicle camera movement depends on the smoothness Mekas, Director). (Early film cameras were not soundproofed, and of the floor and the wheel mechanism. A dolly is the most common the Mitchell required a large, plastic cover, or “blimp,” to muffle mechanism, upon which a camera tripod, or short hydraulic boom, its sound.) This method is often referred to as “hand-held” and is is mounted. Dollies come in a wide range of sizes, from simple often used to imitate a character’s point-of-view (POV) because it is frames that clamp on the feet of a tripod, to “door dollies” that are extremely difficult to hold any camera steady enough to avoid some designed to roll through a standard 32-inch doorway, on up to large degree of unintentional wobble. dollies that require two operators to move.
Hand-held camera technique has had many eras of popularity Dollies generally employ two types of wheels to achieve smooth since the invention of film, most recently in television crime movement. Pneumatic rubber wheels require a smooth floor, most dramas, where the wobbling and quick panning between subjects is favorably troweled concrete, to achieve a smooth shot. Tracked intensified to add dramatic intent. dollies use smaller, neoprene wheels that fit snugly into customized tracks that can be assembled on nearly any flat surface. Tracks are One form of human camera movement yields incredibly smooth usually metal tubes, supported, like ladders, by horizontal cross movement. The Steadicam (invented by Garrett Brown, now off supports. Straight and curved track elements are assembled to patent, and being imitated by a wide range of manufacturers) uses create a kind of railroad, over which, the dolly is pulled. Tracked an array of weights, levers and springs, all attached to a form- dollies provide the smoothest shot, but delivering, assembling and fitting, molded plastic “body armor” worn by the cameraperson. If striking the tracks add considerably to the on-set labor cost of such well-trained, the camera operator can smoothly guide the camera dollies.
16 studentfilmmakers April 2007 Cinematography
Levers used to move a camera are called jibs, booms and Pei reveals. “So it was really practical to mount a crane on the rental equipment. Remote controlled helicopter cameras are nearly cranes. The trick of levers is that the weight of the camera at one barge. This allowed us to position the camera anywhere above the always permanently mounted in the helicopter and are usually Summer Theatre end of the lever is balanced by a similar weight on the other side of water’s surface with very little additional work. So one important included in the aircraft’s hourly rate. the lever. Once the camera is balanced, it takes very little effort to advantage of a crane is that it can get your camera into places that and Film Classes One last comment on camera movement. Over-enthusiastic, move it, and the movement is incredibly smooth. Jibs, the smallest, would be difficult or impossible any other way.” College & High School Students Welcome novice scriptwriters (I know – I was one!) often incorporate detailed can mount on a heavy duty tripod. They are handy for moving a Wired camera supports, such as the Skycam (also invented camera movements in their directorial notes. Unless they are camera through a small space, such as a kitchen dining scene or by Garrett Brown), are primarily used in large venues like football absolutely essential to understanding the action of a scene, camera a hot romantic scene on a bed or couch. Jibs usually allow the games and rock concerts. These rigs support the camera from four movements are a sign of an amateur scriptwriter. Most frequently, camera operator to guide the camera with deft finger touches, while cables, anchored at opposite corners of a stadium. Each cable is the decision to move a camera is determined by the Director in Session 1 swiveling it on its “y” axis to keep the subject in frame. While jibs www.ftc.edu wound around a motorized drum that is controlled by a central concert with his/her DP, and often moderated by the Producer and June 4 - June 20 are often rented, they are inexpensive enough to be purchased by computer. As one servo-drum pays out cable, the opposite drum his/her representative, the Production Manager, who keep control of Session 2 many craftspeople and often provide a means of “sweetening” a July 2 - July 22 takes it up, keeping the camera at a controlled altitude above the the budget. freelance job offering. Session 3 action, while moving the camera in any direction. The Superbowl Frequently, in post-production screenplays (the kind you get July 25 - August 10 Booms are long enough to require some form of remote control and most NFL games feature a wired camera flying over the field from the library, that are written AFTER the film is edited), the terms for the camera. The remote control, usually mounted at the as running and passing plays are executed; and to date, the camera for camera movement will be employed. Until that time, however, weighted end of the boom, includes a means to rotate and tilt the and its wires have always been able to adroitly avoid becoming an they are rarely written, but frequently spoken. These terms, for camera, and to zoom and focus the lens. Obviously, all this remote obstruction. The results of wired camera supports are spectacular. those who wish to use them on the set include the following. operation requires a monitor, mounted where the operator can They take the audience to new perspectives. Soaring like a hawk see it. Operation of a boom is usually complicated and requires a over scenes that could only be imagined prior to the invention of • Pan: A horizontal camera move on an axis, from right to left or trained specialist. Expect to pay several hundred dollars per day this tool. left to right. for a boom and operator, and don’t forget the time and expense • Affordable • Experienced Faculty • Housing Available Aircraft camera movement is almost exclusively the domain Call for Your Summer Packet required to deliver, set-up and strike this large piece of hardware. • Tilt: A vertical camera move on an axis, up or down. of rotary aircraft – helicopters. While one can certainly mount (or 1.631.656.2110 305 N. Service Road Dix Hills, New York 11746 email: [email protected] Cranes are really large booms, and some can go several stories hand hold) a motion picture camera in a fixed wing aircraft, the • Track (in TV, “Truck”): Moving the camera left and right or up into the air. Great, sweeping shots can be achieved with cranes, results are never satisfactory because too much vibration and too forward and back on a dolly. sometimes starting with an intimate close-up before pulling back little motion prevail. There are two ways to mount a camera in a • Dolly: Any movement executed on a wheeled mechanism, and way up into the sky to create a stunning dramatic effect. Again, helicopter. The traditional way is to use a small boom mechanism such as “Dolly in to a close-up.” cranes are highly specialized equipment that are usually rented, that hangs the camera out of the side door of the helicopter, along with a seasoned operator and can cost thousands per day. while the operator (well anchored to the floor!) sits on the edge • Ped: A term common in TV studio scripts, and based on the of the open door with his feet resting on the landing skids. The capability of a studio camera to rise straight up and down on a Directors of Photography are usually the individuals who more modern way is to employ a remote camera, mounted in a pedestal mount, as in “PED UP.” demand a boom or crane on film projects. Los Angeles-based rotating ball beneath the helicopter (usually just under the nose) Director of Photography, Edward Pei (Streets of Laredo, 1995; Steven and operated remotely from a completely enclosed position within • Boom Up, Down, In, etc.: Describes a motion using a jib or King’s The Stand, 1994), is known for his sweeping crane shots. the aircraft. This method uses sophisticated vibration dampening boom, such as, “BOOM UP AND OUT from ECU to a wide sky shot.” “I think crane shots have to do two things. First, they should do mounts and special lenses to provide incredibly stable shots from as more than simply go up and down or right and left. They should be high as several thousand feet above the action. Always remember, the most common way to position a camera used to follow a character or action,” says Pei, working on the set of My personal preference is to hang out of the door, simply is at eye level, looking straight ahead. Anything else, demands the recently released thriller, Primeval (2007). “Second, they should because it is such a thrilling way to see the world! On one your imagination. The more imagination you apply to a camera’s convey some aspect of the storyline.” occasion, however, the boom and its operator seat were not so well position, the more you are going to require some mechanism to put the camera where and when you want it. Now, go out there and When pressed for an example, Pei noted two: “In The Ten secured and our cameraman was shouting in a rather energetic think of something that has not been done before! Just imagine. Commandments [2006] I started one crane shot of an extreme close fashion as we started climbing into the sky! up of Moses weeping. You didn’t know what he was crying about Helicopter shots are the most expensive forms of camera until the crane pulls up, revealing hundreds of Moses’ dead people movement, since they require an expensive aircraft (well over $250 around him.” George Avgerakis is VP Creative Director of Avekta Productions per hour, including the time to get to the location and return to in Yonkers, New York, an e-media production company that Most of Primeval’s action occurs in, on and under water. the home airport), a well-trained pilot, an operator, and of course, produces video, CD-DVD, web content and print in English and all “Most of the time we were shooting from a barge in the river,” the camera and rig. If you’re using a rental rig, you also have to foreign languages. George’s email is [email protected]. account for the time to deliver, mount, test, strike and return the
18 studentfilmmakers April 2007 April 2007 studentfilmmakers 19 Cinematography 501HDV Employing MacGyver’s Process Fluid Action Professional of Ingenuity on Set Performance Broad Knowledge Base, Thorough Assessments, and Limitless Imagination by Saro Varjabedian
During the late eighties and early nineties a popular sci-fi A major component of being a DP is trying to take advantage of the show called MacGyver aired on network television. The premise shooting location. Earlier in my career I was faced with a situation of the show was that the main character, MacGyver, would face where the director wanted to get a tracking shot in a very small and life or death crises with limited resources and an even shorter cramped bedroom and we had no track or dolly. Taking note of the amount of time and manages to overcome his obstacles with smooth laminate flooring, I placed a bed sheet on the floor, put a only ingenuity and a Swiss army knife. Does this situation sound white card on the sheet and placed the tripod and camera on the familiar? Of course life and death would be a bit extreme, but white card. By pulling the sheet I got a surprisingly smooth track and Directors of Photography are often confronted with the same the setup time was very quick. scenario on independent films; lack of time and resources. 3.) Limitless Imagination Therefore, employing MacGyver’s process of ingenuity is critical in independent film production. MacGyver was open-minded to all possibilities no matter how ridiculous it seemed. Often times, dealing with an obstacle MacGyver’s process for employing ingenuity consists of the through a practical perspective results in hampered creativity. When utilization of three attributes. These three attributes are a broad looking for solutions feel free to explore all possibilities no matter knowledge base, thorough assessments, and limitless imagination. how fantastic or even silly. Remove all limitations; start with the
1.) Broad Knowledge Base implausible and work your way down to a conceivable solution. Shown with optional 525MVB tripod Need a bird’s eye view? Try creating a rig to hang the camera on MacGyver was a modern day renaissance man. He was something high like a tree. Don’t like a wall, build a new one in The new 501HDV incorporates many functional and ergonomic updates including: educated in science, technology, and as an outdoorsman. By having front of it by making a wooden fame with canvas material stretched a wide range of information and skills accessible MacGyver had in front of it and spreading plaster on it. • Fixed counterbalance spring with an easy-to-reach a boundless wealth of information to draw upon and combine to on/off switch for different shooting setups create new solutions or inventions. As a DP it is obviously important Ingenuity is an integral component in any creative endeavor • Innovative and ergonomic Pan and Tilt locks for to be learned in lighting principles, camera techniques, cinematic and maybe more so for independent film making. By utilizing a more solid grip and better fingertip control. • Tilt +90, -60 continuity, film processing, video formats and equipment. Less MacGyver’s process of ingenuity it is possible to elevate your work • 12 pound weight capacity obvious is to explore outside of our field by experimenting with to a higher power. • Sliding Quick release plate with safety release button • Spirit Level photography, studying art or learning metal work. Any knowledge • 3/8” female thread flat base for 75mm tripod mount attained outside of your field of specialty will add to your creative (Use Manfrotto 3284 half ball) • Same durability and reliability as the original potential. Saro Varjabedian is a director of photography based in New York and has worked on over twenty films, music videos and 2.) Thorough Assessments corporate videos for various production companies. He has recently What MacGyver did very well was assess his situations in great finished production on Erza, Story 353, Agoraphobia, and Hero the detail not only focusing on the obstacle but also taking note of every Great. Saro is currently working on the pilot Power-Outage. element in his environment no matter how insignificant it may seem. To locate a Manfrotto dealer with products on display and in stock go2 www.bogenimaging.us Manfrotto US subsidiary: Bogen Imaging Inc. 201 818 9500 www.bogenimaging.us [email protected] 20 studentfilmmakers April 2007 April 2007 studentfilmmakers 21 Insights Scenes from The Astronaut Farmer, starring Billy Bob Thornton.
On the set of The Astronaut Farmer, directed by Michael Polish and starring Billy Bob Thornton and Virginia Madsen.
you to come up with new solutions. useful in backlit applications where you For night interiors as well, it is helpful to won’t get as much of a lens flare problem as respect the real sources in the room. I like When it comes to lighting day interior long as you stay out of the direct beam. In to start out with fairly bright lightbulbs in scenes, I try to be true to the direction fact, the other nice thing about the Source- practical lamps so that they naturally light and quality that the sources in the room 4’s is that they are fairly small units and can up some of the surrounding. I don’t mind suggest – this usually means lighting through be used inside the room to put some bright that they look very hot on the film image the windows. And when I want to create window pattern on the corners of furniture, because this reinforces the feeling that they the effect of a hard slash of sunlight, it’s across a tabletop, on some vase of flowers, are really doing the lighting in the scene; important to me that this light feel very hot, etc. I started using these lamps a lot for this however, it gets trickier when shooting especially when it is concentrated to small effect after Bill Wages, ASC, was brought in video because they can burn-out too areas in the frame. There are a couple of onboard to be my co-DP on the “Big Love” quickly. Sometimes you can get around ways to create this look. One method is to TV series – he’s been using this technique this by using ND gel on the side of the use a “soft topper” – basically a diffusion for a long time now and I learned a lot by frame cutting into the top part of a very watching him on the set. strong beam of light so that you create soft light with a hard slash of brighter light Sometimes an actor stands in a place in Lighting Realistically below. Sometimes I clip a warming gel (like the daytime interior where his face is turned 1/4 CTO) to the bottom of this diffusion away from the light, and there is no easy Day and Night Interiors, and Unique Lighting Challenges in frame so that the hard spill is gelled warmer solution to getting some fill light on him than the soft light, to recreate the natural because of the distance to the camera. One The Astronaut Farmer effect where the skylight is cooler in color solution I’ve found is to direct some strong temperature than the direct sunlight. overexposed sunlight effect onto part of the room that will naturally bounce some light Another method is to create a very by M. David Mullen, ASC back into an actor’s face in the shadows. soft source using large frames of diffusion, You can sometimes augment this by hiding or bouncing the light into large frames Learning how to light scenes is a never- Sometimes it veers into what in literature is You find as you work more and more often some white cards or cloth behind some of reflective material, and then adding a ending experience for a cinematographer; called a pathetic fallacy, when the exterior that some recent lighting lessons transfer furniture to catch the light and reflect it back separate light to create the hot spots in the you are constantly picking up new mood symbolically represents the internal readily over the next job, while other towards the actor. frame. In this case, I often either use a PAR techniques yet also refining or changing emotions of the characters. The most times, you light in an entirely new manner light (if shooting on a tungsten-lit stage, I’ll Also, with fill light, it’s not always your basic aesthetic notions of how movies common example is when it is overcast and to handle a radically different situation use a narrow-spot PAR64; on location in necessary that it come frontally from the should be lit. raining when a character is sad. or to create a new look. One tool that daylight, an HMI PAR with a narrow lens), camera’s direction. Sometimes it will you thought you could never live without Most scenes in contemporary cinema My last three projects as or a projector-beam unit like a Xenon or a look more natural to bring up the indirect becomes quickly discarded on the next are generally lit in what has been called cinematographer have been the features Leko-type ellipsoidal called Source-4 (which ambience in the room just by bouncing a show for another tool. Sometimes these romantic realism – source-motivated The Astronaut Farmer (recently released are normally 650w tungsten lamps but can little light off of the ceiling or floor. Again, changes in lighting are brought about by lighting that recreates natural light at either by Warner Bros.), Solstice (a supernatural be configured with a 575w HMI Joker). The draping white cloth or hiding white cards the influence of the particular Gaffer and its most attractive moments or when it thriller shot in New Orleans), and the advantage of these beam-projector type can help increase the exposure from this Key Grip hired for that show, or they are the creates the proper mood for the story. second season of the HBO series Big Love. lamps is that they don’t spill beyond the area bounce. result of budgetary restrictions that force they are directly hitting; this is especially
22 studentfilmmakers April 2007 April 2007 studentfilmmakers 23 Insights On the set of The Astronaut Farmer. lampshade facing the camera, or a spot of involving the aluminum and steel Atlas stand (what’s often called a “menace arm” On every project, you hopefully find black tape on the lightbulb itself behind rocket inside the main character’s barn, and rig). some scene or moment to light that is so the lampshade. I’ve even used an ND grad the tiny interior of a Mercury space capsule. different from any previous experience For the re-entry scene, again, I knew filter vertically in the camera to handle The rocket was over sixty feet tall and in that you are forced to solve the problem that any firelight gag I tried to project onto a bright lamp or window on one side of both day and night scenes. I had discovered and learn something new in the process. the actor’s face would be reflected in the frame. After starting out with a bright an old color NASA photograph of an Atlas- On Big Love, it was being faced with an the helmet, so that ruled out my normal practical, I usually add some soft light Mercury sitting inside the vehicle assembly enormous interior set consisting of three techniques like shining two Tweenies with coming from the same direction as the building at night, and it was lit-up like a full-sized houses sitting under the roof orange gel through a frame of diffusion on-camera lamp. It’s not always important Christmas tree from all the small worklamps of a soundstage connected by one large and putting each light on a flicker box. I that this light be at “key” exposure on an surrounding it, which reflected over the backyard area that had to be realistically lit decided to blow smoke past the small actor’s face – someone standing several surface of the missile. So I instructed the for exterior daylight… but I think I’ll save window of the capsule and then try and feet from the lamp should feel a stop or art department to install tungsten-halogen that for a later article. bounce very bright orange light off of the more dark, depending on the mood you worklamps in vertical rows alongside the smoke itself, using the smoke as a bounce are setting. pillars of the barn surrounding the rocket, surface to illuminate the face. Then all and this provided a beautiful but practical M. David Mullen, ASC has earned two A common problem involves a shot that would be reflected in the helmet source for every scene. In another set Independent Spirit Award nominations for where someone switches off the lights and would be bright orange gasses streaming containing just the bottom third of the best cinematography, for Twin Falls Idaho then is only seen in “moonlight” (or by over the porthole window. The varying rocket and engine nozzles, I noticed when in 1999 and for Northfork in 2003, and has the light of an outdoors streetlamp) in the densities of blowing smoke would provide this often looks exactly like what I describe: the scene; the first trick is finding a field or visiting the set under construction that a photographed over thirty films, including room. I had scenes in my last three projects the flicker effect; the main problem was the moonlight suddenly switches on. road behind the woods to park the crane. single fluorescent tube near the top of the The Astronaut Farmer (2007), Solstice like that. The trouble is that in a real-life getting enough exposure of the face with And often you need a clearing in front of rocket was reflected down the entire length (2006) Akeelah and the Bee (2006), and situation where moonlight is the only source What I like to do is put the moonlight this technique, since as the smoke thinned, the scene to put the camera, especially of the cylindrical surface, which was acting Shadowboxer (2005). of illumination, your eyes would somewhat on a dimmer cue, so when the room lights the amount of bounced light fell off and the if it moves on a track. So for this reason, like an anamorphic lens to stretch the single adjust to that level – but before the room switch off abruptly, the moonlight fades face became very underexposed. But by one of the ideal situations is a narrow line of the tube. So when I shot the scene, Photos courtesy of Director of lights are turned off, the moonlight is very up -- quickly, but not so it “pops” on. This shooting wide-open on the lens and pushing strip of woods with empty space in the far I simply hung a couple of Kinoflos near Photography M. David Mullen, ASC. dim in comparison, if visible at all. Now way I can control the balance between the the film one-stop, we got a realistic effect background and in the near foreground. the top of the cylinder to create the same one could light the scene to simulate the room lighting and the moonlight, letting with enough exposure. Because everything falls off to black at night, effect. Then around the base of the rocket, (warm) room lighting mixed with extremely the moonlight be maybe three or four stops or the far background can be obscured with I placed yellow hardware store worklamps weak (cool) moonlight, and then once underexposed when the room lights are on, a little smoke, you don’t need very deep pointing at various spots in the frame. This the room lights were switched off, do an but only about two or one and a half stops woods. However, once you get the big light allowed me to shoot scenes with hardly any in-camera lens iris change to adjust for the once the room lights are off. Of course, this in the air on the condor, then you find that supplemental lighting at all. dim moonlight. Trouble with that is that you means that my moonlight has to be created it doesn’t penetrate very deeply into the may already have been shooting the scene with tungsten units (usually with 1/2 CTB In the tiny Mercury space capsule, I scene, blocked by branches and leaves. The at f/2.8 with the room lights on, and have to gel) in order to be on a dimmer. had to deal with the fact that the curved solution is then to hide some lights up high open up to a less-than-practical f/1.4 when faceplate of the spacesuit helmet reflected on the tree trunks in the near background only shooting by dim moonlight. Another Another common problem is when every light source in the scene. So I lit to augment the backlight. I find it useful technique is to put the room lights and the lighting a heavily wooded area at night for the interior mainly with a tiny fluorescent to use something like Kinoflos mounted up moonlight on separate cues so that when moonlight. You try and start out with a very hardware store lamp taped to the ceiling, high to provide a soft backlight, or a string one switches off, the other switches on – but large light on a condor crane to backlight visible in all the shots and reflected of Chinese Lanterns with blue photofloods Keith Eisberg, 1st Assistant Cameraperson (left) realistically in the helmet. I also had inside them (which are around 4800K, On the set of The Astronaut Farmer. and M. David Mullen, ASC (right) some tiny Kino MinoFlo lights taped so the effect is not too blue.) Or if I to the console that looked like more want a harder backlight, then small instrumentation lights in the reflection. For fresnels or PAR’s up in the trees. Smoke the passing sun through the tiny window can do a lot to spread the light and just above his head, I placed a large 12’x12’ increase the feeling of exposure. frame of black to hide the stage ceiling in On The Astronaut Farmer, I had the reflection, and then swung a downward- some unique lighting challenges pointed PAR64 lamp on a black-draped piece of speedrail pipe mounted to a big
24 studentfilmmakers April 2007 April 2007 studentfilmmakers 25 Filmmaker Spotlight
Borja Cobeaga’s Eramos Pocos Makes a Date with Oscar The Experiment and Challenge of the Short Film: Mixing Drama and Comedy
by Mary Ann Skweres
Alejandro Tejería, Mariví Bilbao and Ramón Barea in Eramos Pocos.
Short films are not only the most the Valdivia International Film Festival in comes up with a plan. With the help of also understands the short film format, “ You warehouse their elderly in nursing homes, would play in counterpoint to the scene. To accessible form for an emerging filmmaker Chili, Best Short Film at the Magma Festival his son (Alejandro Tejería), Joaquin takes have to be to the point in a short. Unlike a the film touched on the timely subject that successful comic effect. to hone his or her art, they also provide in Italy and three awards at Spain’s leading his mother-in-law, Lourdes (Mariví Bilbao), feature film, you only need to present one even when people are old, they want to feel In post-production Cobeaga much needed exposure and can even take short film festival, Festival de Alcala. It out of the nursing home, in order to help or two ideas.” useful. collaborated with editor Jesus Rame who he a talented filmmaker all the way to the was also selected for the International them deal with the housework. Lourdes Coming from a sketch comedy Cobeaga believes that shorts are for had worked with previously on his television Academy Awards. Competition at the prestigious Clermont- contentedly buys the groceries, tidies background, Cobeaga likes absurd comedy experimentation. The experiment and projects. Cobeaga has a traditional take Ferrand International Film Festival in France. the house and prepares real food for the Spanish filmmaker Borja Cobeaga and strange, crazy situations. He believes challenge that he faced in the film was on editing, “If you have a good master, use Best of all, it received a nomination for the appreciative men. Unfortunately, Joaquin followed that path. His short film, Eramos the best way to confront problems is with mixing the drama and the comedy. In it. It is not necessary to use everything.” 2007 Academy Award for Best Live Action discovers that the arrangement may be too Pocos (One Too Many) had an auspicious a sense of humor. When people are working with cinematographer, Ignacio He shares, “I used to do all long shots.” Short Film. good to be true. beginning, winning a Kodak award that entertained, they are more likely to accept Gimenez-Rico, he decided to make a Cobeaga gives Rame a lot of freedom in included money and 35 mm film stock, With a wink, a good laugh and a great The road to recognition came through the important messages that a filmmaker is comedy without comedy lighting. Really a the edit. As in the shooting, in the editing, and garnering a Studio Canal production twist at the end, Eramos Pocos tells the story writing about his own experience – the trying to convey. In Eramos Pocos, Cobeaga black comedy. In blocking the actors and contrast is used to draw out the comedy by deal. The film went on to win 70 awards, of a man named Joaquin (Ramón Barea), important role of the mother-figure in and co-writer Sergio Barrejon wanted to visually setting up the shots, he combined juxtaposing scenes cut internally in a quiet, including Best Comedy Short Film at Aspen who is unexpectedly abandoned by his Basque traditions and the fact that you laugh about a serious subject – the need comedy clichés and dramatic clichés – droll slow rhythm with an overall fast pace from ShortsFest, the Grand Prix at the Bordeaux wife. As the household falls into disarray don’t choose your family – which Cobeaga that people have for each other. During an physical stick, a bit of deadpan and dark scene to scene. Film Festival in France, Best Short Film at and dinner turns into a bag of chips, Joaquin admits, “Is a Cliché, but true.” Cobeaga era when modern industrial nations tend to dramatic imagery with comedic music that
26 studentfilmmakers April 2007 April 2007 studentfilmmakers 27 Filmmaker Spotlight FILMMAKING & ACTING FOR FILM ONE-YEAR Alejandro Tejería (son), Ramón Barea (father) in Eramos Pocos. . Scenes from Eramos Pocos. Mariví Bilbao(Lourdes). FILMMAKING Composer Aranzazu Calleja began retains a catalogue of short films. The sketches for Spanish television. His first writing the music during the shooting company specializes in festival distribution short film, La Primera Vez (The First Time), PROGRAM in order to have music available during and has relationships with the programmers won over 30 awards and was nominated for the editing. She has had a 10-year and press. “Distribution is the most the Spanish Academy awards in 2002. He 16MM • DIGITAL collaboration with Cobeaga. Like the actors important part of making a film, because has shared his art and craft with the students contributions Cobeaga says, “The music is films are made to be seen. An artist needs of Chapman University and the University of 35MM • HD an emotional part of the film.” Two motifs an audience, not to be in the closet,” Southern California. Cobeaga and Academy were eventually chosen from the 10 or 12 Cobeaga advises aspiring filmmakers. award nominated director, Nacho Vigalondo EACH STUDENT WRITES, themes that Calleja came up with during the are founding members of Arsenico P.C. SHOOTS, DIRECTS, AND The film was edited on an Avid Film production. (Arsenico Film Productions). EDITS 8 FILMS AND WORKS Composer. Cut lists were output for ON THE CREW OF 29 Because of the delicate balance between negative cutting. Conventional chemical ADDITIONAL FILMS the comedy and drama, Cobeaga relied on color-timing processes were used in Mary Ann Skweres is an award-winning test screenings to finesse the edit. He works finishing the film. It screens in its native independent writer/director with over a with a supportive creative community of format of 35 mm film. Eramos Pocos is dozen produced short films under her belt. TWO-YEAR CONSERVATORY PROGRAMS writers and directors that offers constructive coproduced by CANAL PLUS and was A member of the Editor’s Guild, she has feedback. sponsored by the Government of the edited feature films, documentaries and Basque Country. FILMMAKING • ACTING The film has screened at 250 film shorts. She writes about the art and craft of festivals around the world. Cobeaga Born in San Sebastian in 1977, Cobeaga filmmaking for magazines including Below 1-800-611-FILM • WWW.NYFA.COM contends that the exposure that he received graduated from the University of the Basque the Line, Film and Video, VFX World and was due to the help of KIMUAK, a film Country with a degree in visual arts. He Animation World Network. She can be HANDS-ON SHORT-TERM promotion and distribution project that directed several programs and wrote comic reached at [email protected]. MORE ONE-YEAR PROGRAMS INTENSIVE WORKSHOPS
Ramón Barea and Alejandro Tejería in Eramos Pocos. • FILMMAKING • SCREENWRITING • DIRECTING FOR FILM • DIGITAL FILMMAKING • ACTING FOR FILM • 3-D ANIMATION • ACTING FOR FILM • EDITING • SCREENWRITING • 3D ANIMATION • PRODUCING • DOCUMENTARY 1, 4, 6, & 8 WEEK HANDS-ON TOTAL IMMERSION WORKSHOPS BACHELOR OF ARTS & MASTER OF FINE ARTS AVAILABLE
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From left to right: Héctor Prieto (art direction assistant), Borja Cobeaga (director), Alfonso Pazos (cameraman) and Ignacio-Giménez Rico (cinematographer). All workshops are solely owned and operated by the New York Film Academy and are not affiliated with Harvard University, Universal Studios, or Disney-MGM Studios. 28 studentfilmmakers April 2007 April 2007 studentfilmmakers 29 Directing
to one another in the story while always the best moving moments of the dolly scene can be covered and coverage never coming back to the dramatic action with shot from multiple takes that the director should happen in a vacuum. Directors Kevin Costner who speaks to the court and may do. It also lets the editor re-pace the must look to see what and how they can Coverage and the the jury. actor’s performance, adjusting the rhythm bring out in pictures what is emotionally of the scene. Another type of master happening from the characters and allow The Master, The Moving Master, and is the moving master. This is when the that to be the driving force for the coverage. The Master That Moves Master Shot camera is a participant as opposed to a The master shot will lead you in the right One common mistake that viewer in the scene. In a moving master direction to find that coverage. And after The Director’s Visual Language inexperienced directors make is thinking the camera and the actors move to and you have done the master shot, if you are from one another engaging the audience lost in what coverage shot to do next and and ‘Chart’ that an establishing shot is a master shot when they decide on a wide angle shot as a participant in one way or another. the production crew is standing around which establishes where the characters are A moving master usually involves the waiting for you to make your camera by Myrl A. Schreibman Storyboarded image of a master shot (as opposed to who they are) and proceed camera moving in the space of one or decisions, it is time for you to be true to the created with FrameForge(R) 3D Studio. to have the actors play out the scene in that another character, employing close-ups and story and go back to the characters for your wide angle. Establishing shots are not master medium shots. Moving masters are always bearing. You will find the path there. shots although master shots can be designed intensely motivated by the movement of Coverage is the director’s visual even though directors have certain shots day. The separation point between the Myrl A. Schreibman is a Producer/ to start or end as an establishing shot. the actors. This type of moving master uses language. It is the sequence of shots that in mind but not a complete understanding two masters should be a moment in the Director, professor at UCLA Film School, primarily tight shots and angles combined are selected which impact the story in many as to how to achieve them, the creation scene where one or more characters make and author of the book, “The Film Director A master shot that is performed with with motivated changes in lens depth of different ways. And directors must plan and development of the master will be a logical emotional transition to a new Prepares, A Practical Guide for Directing no or minimal camera moves in which field to direct the audience towards one ahead and have an idea of how they will their compass and guide their creative dramatic beat and the staging changes to Film and Television.” the audience observes the action and the statement in the shot or another. The cover a scene. There are approaches that thought process as it lets directors observe motivate the beat. This way actors can characters is referred to as a master. The moving master often has actors go in and help determine the camera shots needed the actors’ process and focus on their easily focus on the discovery of the moment viewpoint of the shot is as if the audience out of the camera frame while disorienting to tell the story from a variety of angles performances. for each of the two masters during coverage is fixed, watching the scene progress and the spatial relationship for the audience. once the actors in the scene have been without concerning themselves with the actors move into the frame. Such a shot Creating the master shot as the first Directors, when employing this technique, staged. One successful method is to stage a rest of the scene. The director becomes can be seen in Tobe Hooper’s’ Poltergeist shot may inspire changes to the ideas must carefully think through coverage to master shot as a way to rehearse the scene the barometer for the continuity of their just before Zelda Rubenstein playing the you brought to the set and inspiration is a work with this kind of master shot. In the so everyone on the set can see how the performances throughout the shooting day. psychic, opens the door to Carol Anne’s wonderful creative ingredient for a director. most daring instances, there is no coverage believability of the scene plays out. And bedroom to save her from the arms of evil The master shot, like all shots, should be Although preferred, it is not always and directors must then make sure that the then, if push comes to shove and you really spirits. The shot starts on a close-up of a motivated as it is created by the story and necessary or possible to stage a master shot. performance is totally sustaining. Moving get into a time crunch and are unsuccessful tennis ball and ends on the doorknob of the what you do with the actors. In these circumstances developed coverage masters take a long time to stage and In the in completing the coverage for the scene, room while making slight adjustments for will change. For example, if the scene calls rehearse and they run off a lot of film stock. you have the master to revert to. This also Master shots, however, do not have the five characters in the shot. Boxes, eh? for a large courtroom with plaintiffs and So they must be carefully planned. allows your actors to basically experience to run throughout the entire scene. The defendants, their attorneys, the judge and Another type of master is one in which their environment and to liberate their scene can be broken up into dramatic Finally it is always a good idea to do - that’s Canadian other officials as key characters in the story, instinct without having the camera invade the camera observes the action and moves beats which is a section of dialogue or a more than one take of any master shot even Precision Test Charts along with members of the press and a along with it while observing the scene. their acting space, which can and will change in staging in which the characters when you finally get the one you want. In gallery of people watching the proceedings This is called a master that moves. The for HD, HDV, SD happen when you cover a scene. It permits are relating to one another emotionally or all probability the speed of the shot when it may be difficult to almost impossible to do most familiar is that of actors having a and Digital Cinema them to securely set their “approach or on one subject and the dialogue takes a turn projected runs slower than you perceived a master shot of the scene without the use conversation while walking. In this master, feelings to their relationships” in the scene indicating a change in the emotional beat. on the set. So after you have the master shot of a crane. And even then it will be more commonly referred to as a walk and talk, so they can either comfortably duplicate it For example, if the scene you are doing is you want, do it again and ask your dolly of an establishing shot than a master shot actors are motivated to stop along the or build on it during the various coverage more than 1 and 1/2 pages and because of grip to move faster and your actors to pick which shows the dramatic and emotional route specifically for coverage purposes. shots. In addition, the master shot becomes drastically shifting staging of the actors, you up their cues. Your continuity person will action of the scene. This was the case with When the movement stops it gives directors For white papers and more the “chart” that shows you intuitively how find that it serves the production schedule to be able to give you the running times of Oliver Stone’s JFK. Again, the director goes the opportunity for coverage before the and when to cover the scene. If staged do more than one master shot, find a place both takes and you will find that, more than to the basics; the characters in the story, dolly moves again as it is difficult
30 studentfilmmakers April 2007 April 2007 studentfilmmakers 31 Justin McQueede checks his Directing distance to ensure safety.
ILLUSION OF FORCE CONTACT
The action in a fight scene must appear The major difference between real to be realistic, but it is never real. The body fighting and film fighting is contact. There is is rarely struck hard, there is no real damage little or no contact made during a stunt fight. and no one ever really dies. This is a point Never fall prey to the actor or stuntplayer that should not be taken lightly. Real force who wants to actually strike you because is unnecessary. Unfortunately, this point they want to “Make it look real.” It is never Gauging a safe distance is easily forgotten when comparisons are acceptable if anyone hits you with an made between “Authentic” fight technique excessive strike that was obviously not an Before any strikes are thrown, the and “Artistic” fight technique. One must accident. The trick is to give the audience performers first gauge their distance by keep in mind that film combat techniques the impression of contact. In situations extending their limbs toward one another are not Martial Arts, but Theatrical Arts. where the effect of realism cannot be to ensure they are well out of reach. Once Each movement appearing on the screen is reproduced without contact, you can be a safe distance is secured, the performers designed for only one purpose, to increase sure there is a way to cheat the technique can begin launching their attacks. The true the overall dramatic impact of the film. using a creative camera angle. secret to maintaining this distance is to flow off of each others movement. If one advances, the other retreats to maintain the safe distance. Overhead view reveals Jason Coviello throws a punch. Justin McQueede reacts to the strike. a very safe distance.
Mark Grove and Jon Firestone discuss a fight scene from Seven Swords: Cult of Understanding the Dead. The illusion of impact a strike. effectiveness. Each time you engage in combat with someone on film it is simply It is easy to trick the camera when PHYSICAL DIALOGUE a matter of “Projecting” and “Receiving” fighting. Never let anyone tell you that energy. This is known as “Physical Another major difference in film fighting Fight Choreography you must “almost” hit someone to make dialogue.” In essence, the combatants is that of perception. In the Martial Arts, it look real. In most cases a punch or kick involved in the scene must communicate the focus is always on the opponent and 15 Things Every Filmmaker Shooting Action Should Know can remain at a very safe distance from the without speaking. They must talk to one how you can breach their defenses. In area it appears to strike. This is important to another using subtle changes in weight film fighting, the focus is on the actor, the remember because as adrenaline kicks in, distribution, eye contact and controlled by Jon Firestone and Mark Steven Grove staged effect (drama), and how the audience actors are prone to “Accidentally” connect attacks. If one is capable of maintaining will respond to the action. If the audience with their target. If you properly stack the this type of communicative state with their action, there is no need to get too close with doesn’t understand the fight it loses it’s Action films are popular throughout the Although this type of film is very accessible than you think. Make an honest partner, their fight will appear real. world. No matter what country or language, popular, it is difficult for independent and/or attempt to find a local established stunt action is an easily translated medium. An student filmmakers to accomplish due to coordinator with verifiable credits. Even Lauren Melone faces her She raises her weapon to reveal opponent. that she is going to attack. abundance of moviegoers love to see fights, budget constraints. However, despite the if they cannot help you directly, they may Visual communication explosions, car chases, high falls and other obstacle of money, many filmmakers still be able to provide you with names and stunt related feats; the more intense the attempt to deliver action sequences in their numbers of qualified performers. Having Non-verbal communication is action, the better. To meet the needs of this projects. Unfortunately, in order to make these performers will make scenes progress imperative to film combatants. This small audience, movie makers have put every this happen, these filmmakers make the faster, the action will look better on screen, action allows actors to understand that a effort into intensifying the action in their mistake of hiring sub-standard performers. and most importantly, they will be focused strike is coming and from which direction films. In doing so, both Stunt and Special Local martial artists, a cousin who own lots on saftey. it will travel. This technique takes years of effects budgets have increased dramatically of guns, or friends who are just willing to practice to perfect. As the skill increases, With all this in mind, here are some to produce more elaborate scenes that will put themselves in danger for the thrill of the moves become more subtle and the basic concepts that every filmmaker who is stimulate the "Adrenaline rush" that the being in the film. This is a huge mistake. ability to anticipate each attack becomes shooting action should be familiar with. audience has become accustomed to. Professional stunt performers may be more more natural.
32 studentfilmmakers April 2007 April 2007 studentfilmmakers 33 Directing Punch should be level with the opponent’s eyes.
CROSSING THE LINE
As all stuntplayers are taught, there is a specific technique used to make a hit look believable. That technique is to cross the line between the camera lens and the target being struck. If this is done properly, the strike will appear to have impacted on the target without ever actually having come Stunt Coordinator Mark Grove close to actual contact. To be effective demonstrates “Crossing the line”. in the application of this technique the stuntplayer must have a constant awareness This is especially true when the fight is shot There is a point where the person delivering to the camera’s location at all times. from behind, making the punch disappear the hit stops and the person receiving the hit behind the body of the person being struck. begins. This is all a matter of timing. Even The gate of the eye if the person striking is totally convincing, SELLING THE HIT the person receiving the strike can ruin the A good face hit usually requires that the entire scene by not taking it well. In most punches are thrown level with the eyes. This When struck, the actor must be able to cases it is best to send energy toward the is because if punches are thrown too low, it effectively receive the energy behind the camera. can appear as though the strike hit the neck. strike. This is known as “Selling the hit.”
Energy from the fist begins to Follow through sends energy Trygve Lode chambers a punch. transfer to the recipient’s jaw. toward the camera.
Upward energy. Downward energy.
Following energy
The best way to learn to sell a hit is to pay attention to the direction the incoming strike is traveling. The sell must match the trajectory of the impact. If a punch is coming from right to left at eye level, the recipient of the punch should snap their head to the left in accordance with the plane in which punch is traveling (follow its energy as it passes). A common mistake is to turn the head when punched in the stomach. This looks and shoulders in unison, which looks bad very bad on film if overdone. The best thing Hits to the head because its very rigid. The shoulders should to remember is to “contract around injury.” move only when the head has been turned If punched in the stomach, contract around The most important thing to do when to its maximum range. the injury. If kicked in the groin, contract selling a hit is to isolate the area being around the injury. It actually a pretty simple struck. In cases where the head is struck, Hits to the body rule. the actor should make sure that the head is the first thing that moves in response. Hits to the body are very hard to sell. The common mistake is to jump upward
34 studentfilmmakers April 2007 April 2007 studentfilmmakers 35 Directing
CINEMATIC TECHNIQUE Mark Steven Grove is a veteran stunt coordinator and special effects supervisor. His company, Asgard There are many specialized techniques that can Entertainment is a full service stunt and special effects Dramatic interruption in the action him backward into a pole. Actor #1 impacts on the enhance a fight scene. Special camera angles, lighting house that operates out of Denver, Colorado. Mr. pole, grimaces in pain and then looks back, meeting methods, mechanical effects and the like allow certain It is important to have separations in a fight, little Grove has also directed two feature films, Dragon and the gaze of Actor #2. It’s only a brief moment, before fighting techniques that would otherwise be impossible moments in which we can see the visual expressions, the Hawk (action/martial arts) and The Shadow Walkers the fight continues, but in that moment we can see to capture on film, possible. There are also a number of pain and psychological torment that the fighters are (horror). Along with new partner Jon Firestone, Mr. important character traits and feel what they are feeling. important people involved in the construction of a well experiencing. For example, after 5 or 6 fast strikes, Grove has established Uru Films, which will produce These little breaks can also be used to place dialogue planned action scene. The Director and/or Director of Actor #1 receives a punch from Actor #2 that sends action-related feature projects. relevant to the story. Photography will decide at what angles the scene will be shot, the Stunt Coordinator and/or Fight Arranger will develop the fight so it reads well for camera, the Combatants square off.. Powerful strike. Jon Firestone is curently in production on Seven Actor slams into pole. Special Effects Supervisor will be on hand if any SFX Swords: Cult of the Dead. He developed and taught are being used, and of course, the Actors appearing in the 3D graphics program at the Colorado Film School the scene. This is just a basic list. There are many other and works as a freelance director and cinematographer people involved in the film-making process in which when he is not pursuing his other passion as a Visual FX the stuntplayer must form a productive relationship. supervisor and Animator. The stuntplayer is simply a part of a larger team of creative specialists that are, as a unit, hired to create an entertaining scene.
Turns with a moment of Returns visual response. Combatants re-engage. intensity.
HITTING YOUR MARK / STAYING IN FRAME of “Hitting your mark” and staying there is extremely important. Marks are placed prior to filming. The There are many camera angles and set ups that cameras are then set to focus on those positions. So, if are used in a fight scene that, in effect, dictate how the actors deviate from those positions the scene can be the actor can move. Because the camera angle is ruined. “Staying in frame” is also extremely important. so important to selling the hit, it is imperative that If the actor constantly stumbles in and out of frame it is the actors do not deviate from the choreographed very unprofessional. The actor should know the frame movements. If those involved alter their positions at all boundaries prior to filming so they know their range of it can destroy the camera effect. Therefore the concept mobility.
36 studentfilmmakers April 2007 April 2007 studentfilmmakers 37 Directing
to the time it takes to light a sequence, the picture. Wait till the projection rooms does that of the company. Do whatever Pace and Film Directing although it can also be attributed to set up free. Wait while the projectionist changes is necessary to maintain. Take naps. Eat time for hair, make-up, set dressing, etc. the lamps that have just fused. Wait. Wait. wisely. Avoid drugs and alcohol. Drink The sun, clouds and weather can delay a Wait.” plenty of water. Laugh. Remember the Recognizing and Responding to shoot. These are legitimate causes to wait. Tortoise and the Hare: Slow and steady Extremely hazardous stunts, such as Then there are the illegitimate causes. Key wins the race. Or as John Ford used to say, working with fire, entail special wardrobe, Rhythms and Tempo cast or crew-members arriving on set late making a film is like a trip out west in the gloves, wigs and even helmets to guarantee and/or key pieces of equipment or props old days. The director looks forward to the by David K. Irving the safety of the stunt person. This is an lost or left at base camp. journey, but after the thirst, bumpy wagons especially important arena in which to be and desperadoes, you just want to get to The virtue of patience may best be patient. There have been cases when a Everything comes to him who hustles rolled into one. It is felt in the viewer’s 95 on day three, and have it naturally build your destination alive. while he waits. stomach. It either works or it doesn’t work. upon scene 94, which may be shot weeks experienced on a movie set. With the director has called for an unrehearsed shot Comedy competently illustrates this point. later, implies a director must orchestrate the amount of money spent during production, with stunts prematurely. Out of impatience David K. Irving is a film director, writer ~ Thomas A. Edison A joke, or a funny bit of business, either action to fit into a grand scheme. it is difficult to not to want to push forward has come injury and even death. Since and producer, and an Associate Professor at all cost. There is always a correct time the director is the highest authority on set, in film production at New York University. Pace is integral to film directing. Here works or it doesn’t work, depending on the In addition to the energy built into each to push. If the director insists on shooting injury and death is always the responsibility David’s feature directing credits include pace has dual meanings: the rhythms of the way it is told or performed. The precision shot on set, editing plays an integral role (which is his or her right), the result may of the person in charge. Night of the Cyclone, C.H.U.D. II, The film as dictated by the screenplay, and the of comedy relies on effective tempo. A in the final pace of the film. If an actor on be unacceptable. Knowing just when to Emperor’s New Clothes, Sleeping Beauty tempo of a day’s work as set by the director. joke told too slowly is excruciating, besides stage says a funny line and the audience Directors not only need to maintain which it also allows time for the listener call for a shot is an art developed through and Rumpelstiltskin. David has also written Often these two are in sync and play off their health during a shoot but their energy laughs, the actor with the next line is wise experience. One of the primary functions and directed dozens of documentaries. one another; other times they are at odds. to leap ahead of the storyteller and guess to pause before continuing; otherwise the level as well. As the leader of the company, the punch line. Told too quickly and the of the assistant director is to monitor and David coauthored an award-winning film What’s important is that directors recognize the director needs to inspire the cast and laughter will drown out the dialogue. On propel set procedure. A professional film production textbook titled, Producing and and respond to them accordingly. teller runs the risk of losing the audience. A a film set, if an actor says a funny line, crew. Most of this inspiration comes from monotone is boring. If the speaker laughs crew knows what and when to perform Directing the Short Film and Video. there is no laughter. The director provides the director’s energy. When it flags, so too Pace is important because the success all the way through the telling, the story is their tasks. The assistant director, with or failure of a project in many ways is the laughter in his or her head, counts the information and coaxing, provides the ruined. Storytelling is an art in which the THE CENTER FOR DIGITAL IMAGING ARTS AT BOSTON UNIVERSITY appropriate number of beats, and then cues dependent on these two intangible qualities. way one tells it is as important as the story grease to ensure that the set procedure the next bit of business. This is why it is When the credits roll or the lights come up itself. moves quickly and efficiently. in a theater, you, as an audience member imperative directors be allowed to screen Murphy’s Law is a prominent feature in experiencing a well-paced film, can’t A conductor blends the art and craft of their films to an audience while they are film production. The weather, for example, believe it’s over. You are satisfied. You music into a performance. Many of the cutting to recognize moments in a theater is unpredictable, fickle and uncontrollable. are thrilled. You want more. You got your practical and psychological factors that go when an audience might have an audible Directors need a tremendous amount of money’s worth. into a musical concert echo those in film. A reaction. conductor, like a film director, must know patience when it comes to the weather. The create Pace is inherent in the screenplay. The Going to the water fountain, refilling a great deal about music and each of the following are quotes from the diary of Jean director needs to discover the best way to your popcorn, looking at your watch, instruments playing notes. Cocteau during the making of Beauty and glancing around to see who is in the theater, tell the story. A talented director can read a the Beast: checking out the sticky substances on script and determine both if it’s a good story YOUR WORLD Tue am 7 o’clock. First thing I look at the Certificate Programs the floor— all are tell tale signs of poor and if it is well paced. Many films have The pace of the film is built into each sky. It is overcast! Now we are going to be Digital Filmmaking Visual Effects/Game Design pace. A poorly paced film is a struggle to great beginnings and dynamic endings with beat, each scene, and only when strung held up for days, with the actors all ready, sit through. Even if the story is interesting, middles that suffer. Only with proper pace, Photography Graphic & Web Design together is the rhythm of the whole and able to do nothing but play cards. the acting engaging, the photography and creating a momentum towards a satisfying appreciated. Therefore, the director, as the Patience is essential to this profession. You 3D Animation Recording Arts the sets captivating, without proper pace conclusion, can a director succeed. principal audience on set , determines, must wait. Always wait. Wait for the car an audience becomes antsy. It is this Intensive nine-month programs for the skills and tools you need to turn shapes and approves the pace of the Following on the heels of pace is that’s coming to fetch you. Wait till the lights ephemeral quality of pace that hooks the your ideas into reality. Financial assistance and career services available. scenes. To accomplish this, the director patience, like the forbearance of Job. Amidst are fixed. Wait till the camera’s ready. Wait audience and carries them into the final must know the script intimately and be able the mayhem and organized chaos, the while branches are nailed to their supports. CONTACT US TODAY at 800.808.2342 reel. to approximate pace prior to production. director must be like the calm at the eye of Wait for sunlight. Wait for the scene WWW.CDIABU.COM What is pace? It is rhythm, volume, This is particularly important as most films the storm. Hurry up and wait is a phrase painters. Wait. Wait till it’s developed. negative space, speed and intensity all are shot out of sequence. To shoot scene common to filmmaking. It applies primarily Wait for the sound track to be married to NEW SECOND LOCATION! Now enrolling Summer 2007 classes at our new campus in Washington, DC.
38 studentfilmmakers April 2007 April 2007 studentfilmmakers 39 How-To
8. Close the window and 3. In the right sidebar, use the try it out...Select a clip in THE AZDEN scroll bar to scroll through the the timeline or the canvas 100 SERIES — Customize Your command categories. Click on window, then type CMD + an arrow to see the options E. The speed change dialog THE STANDARD each category contains. box should appear. There FOR LOW COST Notice that many commands you have it! Final Cut Pro already have keyboard UHF The 100LT system (100UPR shortcuts assigned to them. The ability to map your own receiver, 10BT bodypack You can change any of these shortcuts to keys on the keyboard transmitter with EX-503 lav mic) Keyboard as long as the lock down at can help you to develop a shorthand is the leader in low-cost, the bottom left of the window that will undoubtedly make you a high-quality UHF wireless. is open. better, more efficient editor. The system is: 63-channel user- selectable (794-806MHz) crystal- Mapping Your Own controlled and PLL synthesized, uses 9V batteries (not supplied) and is very Chris Cavallari has been working small (3 7/8" X 2 1/2" X 7/8"). The Shortcuts in television, video, and film for 12 receiver comes with both snap-in years as a lighting cameraman, shoe mount bracket and velcro.The bodypack transmitter comes with our by Chris Cavallari cinematographer, director, video EX-503 omni lapel mic and metal editor, and grip. By day he is the belt-clip. Final Cut Pro 4.5 HD makes editing are a few steps to actually Lead Television Studio Technician "the clarity of the audio, the choice of 63 easy with its mouse based GUI 1. Open FCP and open your mapping actions to keys. As 4. Click on the “Cmd” modifier for a Broadband TV Network; by channels, the diminutive size, and the (Graphical User Interface), but project. In the menu bar, click an example, we’ll take the tab in the keyboard map night, he writes and directs films & reasonable price make the Azden 100LT an excellent value for videographers." professional editors know that making on “Tools > Keyboard Layout command for a speed change window. podcasts for his company Filmosity Wedding & Event Videography quick edits means using keyboard > Customize” to open the and map it to the “E” key using 5. Head on over to the category Productions, produces the podcast "I've yet to find a wireless mic system list, and click on the arrow “The Martini Shot: Moviemaking shortcuts as well. FCP allows you keyboard map. the “Command” key modifier. for under $500 that comes close to the to easily set up several different (It’s probably already assigned next to “Modify.” for Beginners,” and runs the New quality and performance of the 100LT." configurations of shortcuts that will 2. Take a look. Lots of keys, to something, but I like having 6. Here you’ll see all the options Jersey Podcasters Association. His Camcorder & Computer Video help you to fly through your edits. a menu on the side, and it on the “E” key with the from the “Modify” menu that website is www.filmosity.com. Here’s how: a bunch of tabs. There “Command” modifier). resides on the FCP menu bar. Scroll down to find the Azden also offers a “Speed...” command. handheld mic 7. To map the command to the option - the 10HT. key, simply click the name and drag it to the key you want to map it to – in our case, the “E” key.
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40 studentfilmmakers April 2007 April 2007 studentfilmmakers 41 Editing
Upbeat is tougher to place, but takes the viewer by surprise. killer iTunes playlist, see if you can find the rhythms; especially alternate rhythms, of whatever songs you just legally downloaded. Great, so you’ve mastered downbeat and upbeat cutting. Wait. Not all music is 4/4. Musicians, like mathematicians, love to play So, that does raise a point. Just where do shows get all their 4/4 and with numbers. In the most fundamental sense, isn’t that what music music? Although you may be able to practice with commercial is…emphasizing different numbers representing different points in music in your cuts without licensing (for educational purposes only), time? Philosophy aside, musicians long ago got over counting just any professional cut needs music that is licensed. a Whole Lot More four beats. Yes, they even got bored with upbeats. So, they mixed The first thing I do when I sit down at a new edit is to ask where it up by creating different time signatures. For an example, turn the music library is, and then I go “shopping.” That’s my slang term on “Money” by Pink Floyd, or my personal favorite “Outshined” Music as a Foundation for spending a few hours going through what music is available by Sound Garden. When counting beats you’ll notice that there and making pulls of the songs I like. I try to project what moods I’ll are extra beats that follow the first four, but not enough to make need for cutting (fast, edgy, dramatic or subdued), as well as what for Your Edits a complete second bar. The time signature they are playing is a the overall flavor will be (electronic, rock, alternative, etc.). In the 7/4 and counts like this: 1 + 2 + 3 + 4 + 1 + 2 + 3. What we have end I have a bin containing about 50 songs of different types. I use counted is seven beats, in the form of four followed by three. Try these as the backbone on which I build my edit. From there I’ll add by Daniel Gaucher cutting some practice to that signature, emphasizing any of the more songs as needed. Let’s take four specific examples. downbeats, upbeats or extra beats. Using a Packaged Music Library Okay, so you’re ready to begin your DJ career now. Keep in mind that there are 3/4 waltzes, 6/8 jigs and a whole host of other This is the most common method of acquiring licensed So, you’re sitting there with a pile of footage, perhaps a script dialogue cut. Why? Because dialogue is one of the forms of rhythms from around the world. Why are things never simple? music. I use this method in my home studio, as well as for every or outline, and a deadline to make something out of this stuff. You rhythm we are most accustomed to – if it is cut wrong you realize Because, life would be boring. Next time you are listening to your documentary I’ve cut for Discovery, History Channel and National have to get something rolling, something that will start your flow. it immediately. Watch how a conversation flows and you shall see. You kick back, fire up the iPod, and put on your headphones. There are bursts of fast-paced excitement, areas of slower-paced There’s always “that song” which carries you far away, inspires emphasis and the occasional dramatic pause. How do you know you, or makes your senses tingle. Now, about the edit…the edit…. when to answer after someone speaks to you? Internally you are Wait, how about the music? Rhythm speaks to us like nothing else. tapping that toe, counting the rhythm within the conversation. It touches a primal chord within us, creating emotions and recalling SOUNDS GREAT How does this apply to the new editor, learning to master experiences. It’s a great underpinning on which to begin building E pacing? Rhythm is your anchor, which motivates each and every XcLusivELy an edit. In this article, let’s talk about music – how to use it and not ideal front end with two balanced DEsign cut. For those of us who are not virtuosos in jazz, let’s talk a little DXA-FX ED FOR thE abuse it. about recognizing rhythm. XLR inputs, variable gain control, sOny hDR-FX1 FX1 XLR Adapter h Firstly, the timeless phrase, “it don’t mean a thing if it ain’t low noise preamplifiers and Dv cAmcORDER Rhythm consists of a series of beats. This is not news. Throw got that swing,” is a mantra every editor should repeat. I suggest on some AC/DC and you’ll hear downbeat coming through loud fast acting limiters taking a break three times a day, inhale slowly, exhale, and recite and clear. Tap your toes. One, two, three, four – the most common the mantra. Seriously, in the editing world there are two schools of number of beats in a “bar” is four. After you count one, two, three, thought: four, the sequence repeats itself. This is called a 4/4 signature. Any • Picture is the most important element, and sound is built of the numbers could be what’s called downbeat. Imagine the under to support it. drummer hitting the snare on counts two and four…downbeat.
• Sound is the most important element, and picture plays on When it comes to editing it is not too hard to place a cut on • Provides clean, powerful audio top of that foundation (like radio…with pictures). downbeat. The challenge comes when you are trying to hit upbeat. from virtually any dynamic or self What’s upbeat? Usually it is in between the numbers. If you count With all due respect to numerous fantastic editors who side with 1 + 2 + 3 + 4 + then you have another series of “in-between” beats, powered condenser microphone the first camp, I myself side with the latter. When an editor cuts, the plusses (or “ands”). Try this: in your sequence make four cuts Only whether to music or dialogue, they are usually tapping their toes. It • Limiters ensure distortion free on downbeats, then make three quick cuts on upbeats. Kind of $349 is natural for humans to live by rhythm… It surrounds us everywhere audio from overly hot inputs makes you hold your breath when you see an upbeat cut. These in daily life. Even spoken word flows with rhythm. upbeat cuts are immensely useful for adding shock value, or having One of the first exercises I teach during editing classes is a a cut fall at an uncomfortable spot, breaking the lull of the rhythm. www.beachtek.com (416) 690-9457
42 studentfilmmakers April 2007 April 2007 studentfilmmakers 43 Editing
Geographic Channel. Basically, there are several companies who You Cut in Temporary Scratch Music, (Later Replaced by a have brought together the work of many independent composers Composer) and put them together into a “collection,” from which you can In the first year of production for “Postcards from Buster,” a PBS pull any number of genres. Although these libraries used to be series for which I cut 18 episodes, the workflow was just forming. available on CD’s (many, many CD’s), the current move is towards In this case, the editing schedule was tight upfront, but loose on the company sending you a large hard drive (1TB) that has all the the tail end. Because this new series involved animation and live songs as files. This greatly speeds up the search-and-upload phases action, we needed to cut the live material quickly, locking down of “shopping.” the content and timing, so the animators could have maximum The Network Gives You Songs time to do their part after pix lock. During this animation process there was ample time for composing original music, but because Sometimes you are cutting for a network that owns the licenses the first part of the edit needed speed, we scratched in our own for songs they would like to gain more exposure. Ever wonder why personal music collections. Bet you didn’t know that Squirrel Nut every Warner Bros. show features the latest and greatest WB Music Zippers, Depeche Mode, KMFDM and the Lemonheads provided artists? Okay, obvious example. This model was the case when I the backbone for the edits. Of course not…by the time the shows cut “When Supermodels Ruled the World,” for VH-1. Who has the went to air, the in-house composer had replaced them with similar, ultimate music library? You can’t beat MTV Networks. Because of original compositions. their licensing agreements with the various record companies, we had access to thousands upon thousands of songs and music videos A Composer Creates Custom Songs for the Show for use in our edit. Although there were some legal restrictions, all This is like the Ferrari of soundtracks, custom created to your in all, this was editing heaven (of course the Supermodel footage specs. When a show can afford to hire a single composer, a didn’t hurt either). wonderful thing happens…the series has a consistent musical identity. Think “Blind Date.” Can you hear those rockin’ guitars and that underlying bass line? Why? Because there was a single composer at the helm, giving that series its unique sound. What about the music for “Star Dates,” “5th Wheel,” or “The Surreal Life?” Wait, they all had rockin’ guitar and underlying bass lines too… same composer. The guy does a lot of work around Hollywood. Seriously, it’s nice to have an in-house composer who can take suggestions, and who works hard to make the best music for your edits.
In summary, from my fifteen years as an editor, audio is it. Between the beats of rhythmic conversation, and the nuances of notes at the hands of good musicians, you should be able to drop some cuts that make your edit come to life. Remember, an editor needs to be a little of everything – part director, part storyteller, part graphics artist, and yes, part musician. Good luck with finding your groove.
Daniel Gaucher is an Assistant Professor of Visual and Media Arts at Emerson College. He established himself in the production world as one of the original editors for the hit series, Blind Date. Since then, he’s crafted a series of successes including 5th Wheel, Queer Eye for the Straight Guy, and Extreme Engineering. His work has aired worldwide on NBC, MTV, Bravo, A&E, UPN, Spike, VH-1, TLC, Discovery, PBS and the National Geographic Channel.
44 studentfilmmakers April 2007 Music & Sound Sound Designer Bryant Falk ripping tape to create a duffle bag being torn open. Here is a short list of items I keep in the studio to create a I’ve only touched number of foley effects. I’ve also mentioned one or two uses for the tip of the Foley Sound Design: each, but there are many more sounds you can re-create using the iceberg here, but hope items listed below. this helps expand your possibilities for Expect the Unexpected when it comes time to Everyday Items Sounds sound design your next Swapping Sounds Using 1. Zippo lighter ‘Open’ and ‘Close’ project. Also remember 2. Paintbrush Brushing hair; wiping shirts or that close miking an Everyday Items Zippo lighters have a great pants object can create many ‘open’ and ‘close’ sound. Pitch different ways, or reverse to 3. Different sizes of wood Door knocks; foot falls more nuances to the sound. Ever listen to the sound of a wet soapy by Bryant Falk create unique audio. sponge close up? You might be surprised! 4. Pen Caps, placed in a glass ‘Ice’ with water 5. Leather strap Swooshing sounds; jackets A lot of times when we watch movies we accept that what we slammed closed and pitched down slightly it can make an excellent Bryant Falk has been a producer and engineer for over 12 years 6. Post-It note pad Deck of cards; birds hear is coming from what we see on the screen. More times than shutting sound for a six shooter after it’s been loaded. working with such clients as The Ricki Lake Show, Coca-Cola, not, this isn’t the case. A lot of items we see on the screen don’t 7. Gaffers tape Ripping clothing Sports Illustrated, Valley National Bank, and MTV’s The Shop. Keep in mind you don’t have to use the complete sound of an make either enough sound or the right sound to work on the big 8. Walkie-talkies Intercom systems His company Abacus Audio handles many aspects of the audio object. One part of a mouse click, (when you lift your finger off) screen. It’s amusing to find out what items are used in the recording 9. Transistor radio Interference; ‘On’ and ‘Off’ production field from creative and production to mixing and final works great as a switch to turn off an old TV or fan. studio to create a larger than life sound. 10. Keys Jewelry; scratch sounds output. http://www.abacusaudio.com/ Some of the greatest sounds can be found in the most One example was when I had to sound design a scene in a unexpected places. I once dropped a handful of plumbing pipes busy barber shop. There was lots of background noise and music. down a stairwell to re-create a sci-fi robot’s internal systems coming A regular comb on someone’s head just didn’t cut through. But a to pieces. medium paintbrush on a piece of acoustic foam did the trick.
When shooting a scene your principle actor’s dialogue should Using a smooth brush on different textures is great for hair combing or really be the most important item to capture. They will be the when characters are wiping dirt from hardest to get back into the studio and the most difficult to re-sync. their clothing. Most times, items on location are padded so as not to make any noise. It is expected they will be built in the Foley Studio.
Another unique trick is the Zippo lighter. I found when
Assistant Sound Designer Jen Abrahamson creating a splintering door effect.
Sound Designer Bryant Falk creating haunted wind sounds with electric guitar and violin bow.
46 studentfilmmakers April 2007 April 2007 studentfilmmakers 47 Commentary
2. Since qualification as HD only per-second — down to a maximum of white (D6500), there are two sets of primary requires 720 rows of pixels, progressively 19.39Mbps — million-bits-per-second, coordinates — one for standard definition, HD and HDV - An Addendum scanned, a computer display with a pixel including audio and metadata), it is well the other for HD (they're close but not count of 1024x768 (a 4:3 aspect ratio, known that the direct broadcast satellite identical). Beyond this, consumer sets are A Clarification of Terms and Formats if the pixels are square) can be, and has (DBS) providers compress the bitstream universally not properly set up, and only a been, marketed as an HD display, even even further. DBS providers are starting minority of viewers spend the money to a) though interpolation will be required in to use MPEG4 (H.264 AVC) which can select sets that can be properly calibrated by David J. Weinberg the horizontal direction to make the image yield picture quality better than MPEG2 and b) pay to have a knowledgeable fit, while the image will be letterboxed by encoding at less than half the MPEG2 data professional perform the calibration (there Sam Kauffmann’s “HD and HDV” a 4:3 or a 16:9 aspect ratio, the table * The 720p data matches part of that 24 black rows, top and bottom. Even the rate. Either way, this means that the image are not that many people, even self- (StudentFilmmakers, January 2007) provides lists 704x480 horizontally squeezed/ contained in the DTV standard’s table 3. best interpolation results in image quality quality seen by the creator in production proclaimed experts, who can do this job a useful introduction to the subject, but stretched rectangular pixels (=337,920 compromises (look at the small text at the and post-production (if a properly calibrated properly). Only when this is done can the * Under 1080i, the pixels-per-frame some clarification will be helpful. pixels per frame). bottom of commercials to see the variation legitimately HD display is used) does not get creator have some hope that the consumer does not match anything in the DTV in text quality; it also shows up on pixelated to the home viewer. Watching what happens sees what was created. Given the widespread confusion about * 720 rows of pixels: the specified 16:9 standard’s table 3. computer screens when the native display to standard definition and high definition D-Cinema and DTV, and knowing that aspect ratio calls for 1280x720 square 5. Another display characteristic that The other data under 1080i and 1080p resolution is not used). commercials during an HD broadcast helps Kauffmann’s article was aimed at those pixels (=921,600 pixels per frame). needs to be properly adjusted is gamma is consistent with the DTV standard’s table bring this point home. Content creators creating material for theater presentation 3. While terrestrial broadcasting yields (the rate at which the display goes from * 1080 rows of pixels: the specified 16:9 3. should take that into account. and DTV broadcast, a reference is needed the best HD image quality the consumer black through gray to white, with a linear aspect ratio calls for 1920x1080 square against which you can compare the digital Going beyond the DTV standard, can receive (not counting the Blu-ray 4. None of this addresses the additional gray-scale input; most often acknowledged pixels (=2,073,600 pixels per frame). video camera formats’ specs in Kauffmann’s there are other issues due to the accepted and HD DVD formats), the bitstream is fact that while there are color display/ as correct is a gamma of about 2.2). For the article, thus enabling some measure of the The formats mentioned in Kauffmann’s marketing definition of what can be called greatly data-compressed using MPEG2 camera specs for the red, green, and blue camera, lens quality (including color fringing compromises these formats inflict on the article are not an exhaustive list from the HD: (from around 1.485Gbps — billion-bits- color primaries and the coordinated color of and geometric distortion, particularly near source before it gets to the viewer. DTV standard’s table 3, which lists 18 1. In the Consumer Electronics formats — five sets of horizontal/vertical There are differences between generally Association’s (CEA) effort to simplify pixel counts, two aspect ratios, driven at accepted production standards and the marketing of consumer HD products, they three or four frame rates, some interlaced, NAB 2007 Booth 15816 ™ FCC’s officially mandated DTV broadcast recommended HD television be defined some progressively scanned. This does not Creativity Stored Here . transmission standard. Since material ONLY by the number of rows of pixels: at consider the frame-rate reduction of 0.1% You have a creative idea. We have the storage is produced to be broadcast, I take the least 720p or 1080(i or p). The number of to accommodate NTSC color, which adds broadcast standard as my reference. pixels-per-row is not considered. Many solution. From a diverse line of Tempo™ SATA another 18 formats. displays, and some cameras, which qualified host cards to elegant SATA drive enclosures, our The FCC’s DTV standard table 3 Referring to the formats listed in as HD under the CEA’s recommendation, products offer exceptional performance, value, and delineates a set of recommended formats Kauffmann’s article: compromised the horizontal pixel that have been universally adopted for compatibility. Visit our website to learn more about count — such as 1440x1080 instead of Sonnet’s full line of eSATA storage solutions. transmission and consumer display. The * DV: Kauffmann’s “pixel aspect ratio” 1920x1080. There have been industry formats are recommended because they (“pixel count” would be a better descriptor) pundits who questioned whether we can are in the appendix, which is supplemental of 720x480 yields 345,600 pixels per frame, perceive, and therefore need, the full 1920- information, not mandated. However, yet he lists 210,000 pixels per frame, which pixel horizontal image resolution. Visual manufacturers treat most of them as computes back to about 530x396 square acuity, image size, and distance from the required. pixels. Plus, 720x480 square pixels yields screen determine human visual perception a 1.5:1 aspect ratio (since no pixel shape is From the FCC’s DTV standard’s table (see sidebar “Visual Acuity”). Since the specified, square is a rational assumption). 3 (in this context, specifying “p” or “i” is HD-formats’ pixels are square, if the viewer None of this matches the FCC standard’s irrelevant) and addressing the active pixels is located the optimum distance for HD recommendations, although 720x483, (those showing image content): vertical image resolution (where he can 720x486 and 720x586 (all with non-square resolve all the vertical resolution), he can * 480 rows of pixels: The 4:3 aspect pixels) are three of the many generally used also resolve the full number of horizontal www.sonnettech.com ratio calls for 640x480 square pixels production formats. pixel specified. (=307,200 pixels per frame); for either
48 studentfilmmakers April 2007 April 2007 studentfilmmakers 49 Commentary the edges), image sensor size (linearly proportional to pixel size), inherent image noise level (larger pixels usually results in lower image noise in dark images), and others need to be looked at to determine if the camera’s performance is acceptable for the specific application.
This does not mean movie image characteristics should be compromised with consumer-product limitations in mind, but that in monitoring the work during creation and evaluation, it is necessary to ensure the displays are properly designed and calibrated.
David J. Weinberg (Tobias Audio, Silver Spring, Maryland; 301.593.3230; [email protected]) is an engineering consultant and technical journalist on audio, video and film technology. He provides audio and home theater engineering consultation and professional on-location digital audio recording services to companies, radio stations and individuals. He brings to his work an MSEE, a First Class Radiotelephone license and over 40 years of continued study and active involvement in the audio, video and computer industries. He is Vice Chairman of the Audio Engineering Society’s DC section, and a manager in the Society of Motion Picture and Television Engineers’ DC section. David has authored articles on various phases of audio for video and film, is Associate Editor of Multi Media Manufacturer (www.MultiMediaManufacturer.com), Contributing Editor to Widescreen Review (www.WidescreenReview.com), plus serves as Membership Officer for the Boston Audio Society (www.BostonAudioSociety.org) and Editor of its journal: The B A S Speaker.
50 studentfilmmakers April 2007 April 2007 studentfilmmakers 51 Tech Focus Behind the scenes of Qwerty. carrying a whole stack of P2 cards (much like we now go into edit with a stack of miniDV tapes or whatnot). Sadly, the cost of P2 cards at the moment doesn’t allow this – a 4GB P2 card retails online for about $540, while the 8GB goes for about $1100. At full-resolution DVCPRO HD, a 4GB card will store 4 minutes of footage.
You can see that it’s simply not economically feasible in most cases to buy enough P2 cards for a shooting day. One solution offered by Panasonic is the P2 Store (Panasonic AJ-PCS060G), a portable storage device which allows you to offload your P2 data through its PCMCIA slot into a built-in 60GB hard drive. It connects to a PC or Mac through a standard USB 2.0 connection, with each offloaded P2 card’s data showing up as a separate “drive” on your computer.
Using the P2 Store, one can keep two or more P2 cards in Cameraman Romy Molina. rotation; while one is being used for shooting, the others are being offloaded to the P2 Store. This way – ideally – shooting will not be interrupted.
Another method is to simply have a PC or Mac laptop on-set, Working with P2 Data Management and offload the P2 data through the laptop’s PCMCIA slot to the hard drive. P2 cards can be accessed on standard PCMCIA slots as Keeping Abreast of Cutting-Edge Technology long as the laptop has Panasonic’s P2 driver installed (this can be downloaded from Panasonic’s website).
by Paolo Dy These methods have their own set of issues though. Using only the P2 Store, there is no way to check the integrity of the clips that were transferred to the hard drive. And laptops usually have limited IT’S HOUR FIFTEEN on the shoot of were cutting our P2 teeth on a personal film $50,000-and-up range, the Panasonic is a hard drive space. (Quick solution: hook up an external FireWire or my short film ‘QWERTY’, and everyone’s project, with no ad agency or corporate steal. USB hard drive to your laptop.) patience is wearing thin. We can’t proceed client breathing down our necks. The catch is that as of this writing, the with the next shot in the sequence, because In any of these situations, the biggest enemy is time. It takes At least the footage looks gorgeous. HVX200’s media is still very expensive. the footage from the last set of takes is time to offload data, back it up, move it from one place to another. Panasonic’s P2 data card format is still being downloaded to the hard drive There was considerable excitement It takes time to convert the camera’s native IMX data files into essentially a PCMCIA card housing several being used for storage on-set. This is the among small-scale production houses Final-Cut compatible Quicktime files. (Thankfully, this capability is high-speed SD memory modules arranged umpteenth time it’s happened, and if not and independent filmmakers with the built into the latest FCP versions.) In some cases, it would take 40 in a RAID array. This gives the HVX enough for the heroic efforts of our editor Jason Tan introduction of Panasonic’s AG-HVX200 minutes to offload 8GB of data onto a laptop – clearly a huge time bandwidth to handle the massive amounts (who very generously showed up on the set camera, because it put true HD acquisition eater. of HD data coming from the CCD chip. to help us out, above and beyond the call of within arm’s reach (okay, long-arm’s And because it already stores each clip in So the problem we’re dealing with right now is how to set up an duty), we’d be pretty much tearing our hair reach) of “normal” people. Giving you a separate file on the P2 card, in an ideal efficient data management workflow for an HVX200 shoot, so as to out by now. 720p/1080i HD resolution at 4:2:2, setup you can go from shoot to edit almost take advantage of the HVX’s image quality and capabilities, while with the ability to shoot at up to 60fps It’s been more than a little challenging instantaneously – just pull the video clips off mitigating the present shortcomings of the P2 system. for slow-motion footage, the HVX200 to deal with this camera’s peculiarities, and the card and throw them straight into your provides great image quality without too I’m almost afraid to write this article, because there have been more than once we wonder why we ever editing program; no more digitizing from much sticker shock: just over $5,000 from many long – and heated! – debates about the technical aspects decided to risk using a system we weren’t tape! a reputable online supplier for the base of working with the HVX200. I’d like to make it clear, therefore, totally familiar with on this shoot. We decide camera unit. Considering that most other Of course, the “ideal setup” would that the opinions offered here arise simply from the experience of to file this under “keeping abreast of cutting- HD options (excluding the workable but mean that you have enough P2 cards for my own first forays into working with the HVX, as well as a few edge technology” – thanking God that we highly-compressed HDV format) are in the a whole shoot day, so you go into edit conversations I’ve had with other HVX owners and users. I’m pretty
52 studentfilmmakers April 2007 April 2007 studentfilmmakers 53 Tech Focus
each day’s shoot, he imports the IMX files that we’ve been using film successfully for attain the digital holy grail of fantastic image into Final Cut and hands over the converted decades, and the methods and procedures quality, at extremely affordable cost. Quicktime files to the production team. He for handling film are no less complicated. Paolo Dy’s latest short film ‘QWERTY’ also doesn’t delete the P2 Store data until What’s needed is perhaps a return to the is an entry to Steven Spielberg’s filmmaking the project has been post-produced and discipline and care that’s standard in film- competition, ON THE LOT. You can view aired, just in case the worst happens and the based production, only this time applied the film at his website, www.paolody.com production has to go back and get his raw to the forefront of the digital filmmaking data. realm. With a bit of effort, we can indeed Keep an eye on USB connection issues. Make sure that you are always using USB 2.0 ports and cables; they look the same, so you’ll need to double-check. The speed difference between USB 2.0 and USB Actress Cathy Azanza. Actor Michael Williams in Qwerty. 1.1 is about 40x theoretically (480Mbps vs. 12Mbps). Some of the ports on your computer may be USB 1.1 and others may be 2.0, so make sure you use the right ports much expecting a number of tech wizards give you better quality. Also, if you’re Use P2 Log. This is a piece of software for optimal speed. to write in and disagree with some of my editing on a native 24p timeline, shooting published by Imagine Products (www. points, but the bottom line is that these are 720p means you won’t have to worry about imagineproducts.com) that serves as a sort There’s also a known issue with the settings and procedures that work for pulldown issues. of Swiss Army knife for P2 issues. P2 Log transferring P2 Store data to a Mac. me, and which I will probably adopt as my allows you to preview clips straight from the Apparently it takes only about 5 minutes to Use 4GB P2 Cards. When fellow standard method for dealing with the HVX P2 card (without having to import the IMX offload 4GB of P2 data from the P2 Store to cinematographer and HVX owner Bernard in the foreseeable future. files into Final Cut). The Pro version also a PC, but it takes over 20 minutes to do the Dacanay offered this suggestion, it struck allows you to repair and rebuild corrupted same on a Mac. Here, then, are some tips that might me as a bit odd and counter-intuitive (who P2 card volumes. make your P2 experience a bit smoother: doesn’t want more storage per card?) but his One solution that’s come up is: connect reasons were sound. First, since he shoots One great use of P2 Log: offload your the P2 Store to your Mac, fire up Final Cut Assign someone to the job. Have 720p, he still gets a full 8 minutes of footage P2 card into the P2 Store, then use P2 Log Pro and import the IMX files directly from someone on the crew whose sole job is to per card, which is not bad (in comparison, to quickly scan the files you offloaded to the P2 Store into FCP. This takes about 5 handle data management on set. Believe 35mm film magazines hold 4 minutes of make sure they’re properly transferred with minutes per 4GB card (same as the PC me, he’ll need all the time he has to keep stock at a time). Second, with each 4GB no errors. Only then should you bring the transfer) and you have your Quicktime- the workflow going. card taking only 5 minutes to offload, physical P2 card back to the camera to be wrapped files ready for editing on your hard Shoot at 720p. Okay, why shoot at it’s twice as fast as using 8GB cards and reformatted. drive’s FCP Capture Scratch folder. 720p rather than the camera’s maximum shooting 1080i. Decide on a backup system. The (Update: At press time, Apple has just resolution of 1080i? The reasons are Most importantly, with 4GB cards extreme example I’ve read about is one released the Mac OS X 10.4.9 update, arguable, but here they are: you can back up individual P2 cards production that would store the contents of which is supposed to fix this issue.) (1) 720p roughly doubles the amount of onto standard DVD-ROM disks. It’s not each P2 card four times: one copy on the Conclusion. Using the Panasonic AG- footage you can store on a P2 card. 4GB recommended that you break up the P2 Store, one on the laptop’s internal hard HVX200 camera and its P2 card media can will hold eight minutes of footage instead of contents of a P2 card; you should keep drive, one on an external FireWire hard seem very confusing and time-consuming at four. all the files in the same folder to avoid drive, and one on DVD. While I would be importing problems. With 4GB cards, the very happy to have this sort of security, first; some will decide that it’s not for them, (2) High-speed shooting (up to 60fps) is whole card’s data can fit onto a standard it might be too time-consuming to be that the hassle of P2 data management only available in 720p mode. 4.3GB DVD-ROM, simplifying your backup practical. just isn’t worth it. Bernard offered the process. Until Blu-ray and other high- insight that using the P2 system is just a (3) Some people feel that because 1080i Bernard’s own method is to keep capacity media become readily and cheaply matter of discipline and streamlining one’s is interlaced, it’s the equivalent of shooting everything on his P2 Store and have one available, this is the easiest and most cost- method. Certainly it’s more involved and 540p – in which case, shooting 720p would backup on an external hard drive. After efficient way to back up your P2 data. complicated than using tape, but remember
54 studentfilmmakers April 2007 April 2007 studentfilmmakers 55 Film Business
Equipment rental houses, production companies, film laboratories, and postproduction facilities are sources of leads for freelance employment. Organize your time and plan to go and visit these places. Take resumes and business cards with you. Make up a video “reel” of productions that you have worked on. Be ready to show it if the person you are interviewing with has the time to watch it and is so inclined.
Go see people. Look sharp, feel sharp, and be sharp. It doesn’t matter if you have long hair, no hair, earrings, tattoos or anything else. What does matter is that you look professional, neat, clean, and dressed appropriately for the job you are applying for. Always have your business cards and resume with you. Smile and use a firm handshake. Ask for work. Ask if they know about any work coming up.
Visit production companies, rental houses, production offices, the set of working productions, the film office, and your production friends (take some beverages and some chips and become better friends). Join and attend industry organizations. Volunteer to be on committees or just to help with projects. Go to networking nights and other social events. See and be seen. Enroll in seminars and classes to enhance your skills and continue your education. Go to industry conventions and conferences.
Make friends. Ask people to lunch, or dinner. Most of the work you do in this industry will come to you because an individual Guest director of photography and recommended you for a job. The more friends you have in the film Emmy award winner, Flip MInott, shoots industry, the easier it will be for you to get work. Have parties for Finding Film Industry a scene including pyrotechniques and production friends. Go to parties. Join professional organizations mechanical special effects on the PCC and attend meetings, mixers and network nights. If you are capable class project “Uriel” shot on location at Carolina Pinnacle Studios in Yanceyville, of doing a competent professional job, and if you go and visit Employment After Graduation North Carolina. sources for work and make production friends, you will succeed as a freelance production person.
To Succeed, You Must Network Telephone. Your telephone is your most powerful networking tool. Call people you went to school with, production assistants, by Michael Corbett technicians, crew members from the last job you worked on, the film office, professional friends in the industry, production Networking: n., the developing of contacts or exchanging of house, many a filmmaker has launched a career or gotten a foothold managers, production offices, rental houses, and post production information with others in an informal network, as to further a in a new market. Most rental houses are accustomed to a regular houses. Call anyone who might be able to help you find work. I career. turnover of employees, as experienced employees join the freelance know freelancers who, when unemployed, spend their entire workforce, and newcomers take their place. Our industry is growing day on the telephone calling network contacts. They don’t stay Not only do you want to be a filmmaker, but you want to work at an unprecedented pace. There is no shortage of opportunities for unemployed very long. in the big leagues. You want to be on set and work on Fortune skilled craftsmen. 500 television commercials for national clients and on studio and Mail/fax. Send a personalized cover letter and resume to independent feature films. More than 90% of the people you see The plan: Make a plan. Take the time to plan how you will seek the production company you just worked for, production offices on a film set are freelance. They are hired, sign a deal memo, and employment. Over time, your plan will change as your interests you learn about through industry publications, and to production work in their craft as long as they are needed. At the end of the job, change and you discover strategies that work better for you. The managers and production offices you discover through your phone they are unemployed. To succeed in a working environment like this important thing to note here is as a freelancer: you will always be network. Generally speaking, you won’t often get work by simply you must network. You must constantly stay in touch with other working your plan. mailing someone a resume and cover letter. This process is much freelancers and stay abreast of what is happening in the industry. like advertising done by Fortune 500 companies to establish and You must always be looking for a job. Research and identify possible sources of work and leads for maintain their “brand” identification with their customers. By using work. State and locally funded film liaison and production offices the mail and fax to persistently remind producers and production Working for an industry vendor is a great way to build your are paid for with your taxes. Almost every production will require managers that you are still in the business and seeking work, there network. Working filmmakers routinely visit and patronize industry a permit to shoot or some other service provided by the local film will be a long term benefit to your career. vendors, renting equipment, buying expendables and arranging for office. Call the film office and find out who is working and who is needed services. By working for a lighting, grip or camera rental coming to town.
56 studentfilmmakers April 2007 April 2007 studentfilmmakers 57 Film Business
Many times their pre-sale money comes in the form of international co-productions, which basically means they agree to Pre-Sale Financing pay you their licensing fees up front to put towards your budget, in exchange for a more heavy involvement in your film.
for Independent Films So if you’re one of the many out there producing documentaries, or other non-fiction programming, don’t give up hope on pre-sale financing. It takes some skill and you’ll probably have to work with Still An Option? a sales agent to secure the deals, but it can be done.
by Stacey Parks Stacey Parks is the author of “Insiders Guide to Film Distribution”, a comprehensive educational program for filmmakers and producers dedicated to film distribution and the marketplace. Stacey has worked in independent film for over 10 years, and is As many of you know, pre-sale financing is no longer. Student, Jay Johnson, serving as first camera assistant on “Scripture On the set of a PCC class project production. currently a sales executive at the BBC Worldwide in Los Angeles. Cake” with the college’s Arri SR II 16mm camera mounted on a Worrall geared camera head while setting up for a running car shot. There used to be a time when you could finance your She was previously a foreign sales agent for many years. You can independent film through two, three, or four pre-sales mostly to check out her educational programs at www.film-distribution- foreign territories. That was back when independent films were secrets.com. Read periodicals related to the industry producers that I had recently worked for. to work with his father in real estate and more in demand and foreign distributors (both broadcasters and Student Filmmakers 3.5” x 4.875” not only to look for work possibilities but wanted to know if I would feel confident theatrical buyers) were so eager to snap up films, that they paid also to increase your overall knowledge I was hired many years ago by a film “trying-out” with this production team. licensing fees well before production of the film, to secure their thereby making yourself more employable. equipment rental house to drive a 5-ton Publications such as Variety and the grip truck from Miami to St. Petersburg, That TV commercial production I distribution rights for later (and so they wouldn’t have to compete Hollywood Reporter that you can find at Florida and to keep track of the equipment worked on with producer Gary Learoyd and with other distributors in their territories once the films were and expendables used by the production. director Bob Canning turned into a 12-year most big city libraries or on the Internet, completed). IN-HOUSE CD, DVD, & VINYL routinely publish lists of feature films “in This was an equipment rental firm I had relationship that took me all over the United MANUFACTURING AND PACKAGING development.” It’s a long shot, but send developed as a network contact by virtue States on commercials for Proctor and This worked out well for filmmakers as they were able to finance of renting equipment from them. This Gamble, Pontiac, Kraft Cheese and many them a nice cover letter and resume. the budgets of their movies with actual distribution deals, and the was a breakthrough opportunity as I had other fortune 500 brands. About one-third 1000 DVD-5 Getting on one eleven-week shoot at demand was so high for indie films, that they didn’t even have to be standard industry pay rates is worth a few been working on breaking into the Miami of my income in those years came from Retail-Ready Discs cast with A-list stars (as such is the case today). hours a month of mailing out letters. production scene. When I completed that working with their team. job and returned the truck to Miami, I asked $1399.00 Persist, persist, and persist. If you for and was given an entry level job in the I applied the very same plan I have Unfortunately what happened is that many filmmakers didn’t suggested to you and experienced success. make a plan and follow it, you will succeed. rental house lighting and grip department. deliver on the promise to make decent films...they got lazy and Price includes: My work for the rental house led eventually Keep calling people. Keep going to visit sometimes produced sub-par product and believe it or not, • Glass master I sent a letter to the St. Petersburg to my first position as a production employment contacts. Keep sending out sometimes nothing at all. At the end of it, the distributors who • 1000 DVD-5s replicated with up to production manager of that job thanking manager/first-assistant-director on an resumes and cover letters. Keep attending pre-bought into the films were left holding the bag... either with a 5-color offset print on disc him for his assistance on the job and asking independent feature film with a $1,000,000 professional organization meetings, • Label film from customer supplied him to consider me for work in the future. budget. Adapt this plan to your situation second rate film or nothing at all to show for the money they spent. networking nights and other special events. digital art (in Rainbo Specs) A year later he again hired one of the and work it. It will lead to your success in Keep taking classes to improve your craft, • DVD wrap sheet (4/0) from customer companies grip trucks and asked specifically this industry. So that was the end of that and nowadays you’ll be hard-pressed your business skills and your human supplied digital art (in Rainbo Specs) for me as the driver. After that job wrapped to get any pre-sale financing for your independent film unless it’s relations skills. • Digital proofs of wrap sheet I again sent him a letter thanking him for packed with A-list stars AND you are a well-known and highly • Packed into DVD case You are only as good as your last job. remembering me and asking for me on experienced producer. Michael Corbett has worked on • Poly Wrapped The single most important thing that you the job. In that letter I mentioned to him television commercials and feature films in can do to get more work in the industry is to I was interested in moving from working However, a few years ago I was surprised to find out that roles as varied as grip-electric to producer- do a good job on the show you are on right as a technician into location scouting, director. Corbett presently serves as the pre-sales do in fact still exist for certain genres, especially now. Keep your mouth closed, your ears production coordination and production Director of the Piedmont Community documentaries. It seems that foreign broadcasters are in such high open and pay attention. Work hard, don’t management. A few months later he called College Film and Video Production demand for programming (especially with the advent of so many Since 1939 complain and thank the person who hired me and asked me if I would consider taking 8960 Eton Ave., Canoga Park, CA 91304 Technology Program in Yanceyville, North you. Several key advances in my career a position as a location scout/production new cable and satellite outlets) that they are willing to pay a their (818) 280-1100 • Fax: (818) 280-1101 Carolina. AINBO came as a direct result of sending thank- coordinator on a TV commercial in the licensing fees up front, provided you have a good plan in place and R www.rainborecords.com RECORDS [email protected] you letters to production managers and Miami area. He was leaving the business of course a product they want.
58 studentfilmmakers April 2007 April 2007 studentfilmmakers 59 Networking
Melissa’s article, “A Filmmaker’s Checklist All-Star Alphabet starring Stephen Colbert Filmmakers Networking Community and 10 Important Questions - Creating Lists and Nicole Sullivan, all the live action and from Pre-Production to Post,” appeared in celebrity segments for Exploring Together StudentFilmmakers Magazine’s March 2007 with Matt Lauer, Moving Together with This Month’s Featured Filmmakers issue. Sarah Jessica Parker, and shorts for the Sesame TV show and DVDs.”
“Sex & Camping,” a 38-minute comedy StudentFilmmakers Magazine and environment of learning so I could amass a Profile: wpersing selection of the Cannes Film Festival Short StudentFilmmakers.com launches respectable directors reel.” Location: Pennsylvania, US Film Corner last year was featured in new filmmakers networking section at http//:networking.studentfilmmakers.com/wpersing StudentFilmmakers Magazine (June 2006 networking.studentfilmmakers.com, “My favorite piece of equipment is my Profile: Multostars Issue). and welcomes all in the moviemaking Panasonic HVX 200 with the Red Rock M2 Wayne is an Emmy award-winning editor Location: New York, US community to sign up for a free account. Lens adapter. It allows me to get an HD/ and has been involved in the television http//:networking.studentfilmmakers.com/Multostars Currently in final post on two films, Seasons Embed YouTube and Google videos, post film look at a fraction of the cost it would industry for over 30 years, both staff and In The Valley is a feature documentary calls for crew, create polls, and upload your take for me to shoot on either HD or Film. freelance. He is currently Senior Editor at Melissa Ulto produces, writes, shoots and narrated by Elliott Gould, and Death On photos. Take a look at this month’s featured Plus with the advent of Final Cut Pro HD it First Generation Visual Communication edits documentaries and experimental films. Demand is a horror feature. Kevin Burke filmmakers. makes it easier to edit and output.” where he is responsible for all video content She started her career in music videos and Profile: Kingchatsby and Adam are almost done with another produced by the company, including working for MTV in production. In 2005, Location: New York, US feature script, a teen horror comedy, Featured Filmmakers broadcast, non-broadcast, web and other Melissa edited the film, The Art of Love & http//:networking.studentfilmmakers.com/Kingchatsby My Sister Bites, which they are hoping electronic media. Struggle. As a DP, Melissa shot the first part to produce next year. The two will be of an HD documentary, Art & Apathy, on Adam Matalon is a writer, director, and attending this year’s Cannes Festival with “Throughout my career I have worked location in Israel. In 2006, she edited Death producer. “I have done a variety of projects screeners of both their current features. with every videotape format created, from Before Dishonor, and just finished the edit of which makes me happy as there is no one 2” Quad through today’s MXF file based The Mighty Humble Blueberry. genre where I feel specifically placed. systems. I am glad to have the privilege I’ve done kids projects for Sesame Street: to work in the non-linear age, however, I value the lessons learned from my linear past. Projects that I have been associated Profile: filmdirt with have been viewed on ABC, NBC, CBS, Location: California, US ESPN, HBO, A&E and PBS. For those of http//:networking.studentfilmmakers.com/filmdirt you interested, my corporate clients would include AT&T, Crayola, Mack and Volvo.” Dorian Connelley is graduating in June 2007 Profile: mikedquick from the Film and Electronic Arts program Location: Los Angeles, California at California State University at Long http//:networking.studentfilmmakers.com/mikedquick Beach with an option in Production and concentration in Advanced Narrative Film Michael Quick graduated from Auburn Production. Her filmography includes Eros University in 1994 and worked as an intern (2006), Samsara (2006), Apologia (2005), at Century 3 studios, on the back lot of and Kevin (2003). Her advanced senior Universal Studios Florida. After Interning/ project, Costello, was shot last December, PA-ing for 18 months, he moved to San and premieres in May at the CSULB Student Francisco and PA’d, 2nd AD’d, Art Dogged, Film Showcase. Her final student project, Gripped, Boom op’d, you name it, on a Sucker, will be shot in April. variety of projects, from features like True Crime, Metro, Doctor Dolittle, and The “I’ve been making films since I was a kid. Game, to commercials, music videos, and But I only got serious about it when it was corporate. “I did all of this from 1996 to time to go to college. I started at Ithaca 1999. During that time I realized, for me College in Ithaca, NY in the Cinema and anyway, that doing all those jobs was a Photography program, then moved to CA great way to learn how filmmaking works; and am finishing up at CSULB.” it wasn’t the way to the director’s chair. Directors direct, and that’s what I needed Dorian has an internship at DreamWorks to do. So I enrolled in the Academy of Art Animation, working in FX on Bee Movie, networking @ College, San Francisco to put myself in an coming out this fall.
60 studentfilmmakers April 2007 April 2007 studentfilmmakers 61 Dept
WWHEREHERE HHOLLYWOODOLLYWOOD’’SS PPROFESSIONALSROFESSIONALS MMEETEET..
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Premiering the Film Series at Cine Gear Expo: June 21-23, 2007 For details on Student Filmmaker Competition and Screening Schedule visit: WWW.CINEGEAREXPO.COM 62 studentfilmmakers April 2007 A Tribute to the Visual Art of Filmmaking Events AD Index Avid avid.com/education P11 Manhattan Edit Workshop www.mewshop.com P44 Avid / NAB interviews, demonstrating cutting-edge HD post production Azden www.azdencorp.com P41 NAB 2007 nab.org P45 workflows and showcasing new distribution methods. Beachtek beachtek.com P43 New York Film Academy nyfa.com P29 Bigfoot Entertainment www.bf-e.com P62 Panasonic Broadcast Systems Company panasonic.com P5 Student Program Working the “Avid Create Now Studio” at the Avid Blackmagic Design blackmagic-design.com P9 Piedmont Community College www.piedmont.cc.nc.us P23 Technology booth, the student representatives will create Bogen Imaging bogenimaging.us P21 Professional Sound Services www.pro-sound.com P47 To Be Held at NAB, Las Vegas, programming from the stage and the show floor that will be Boston University/Digital Imaging Arts cdiabu.com P39 Rainbo Records rainborecords.com P59 broadcasted via the Avid Create Now video feed to Avid.com. Cine Gear Expo www.cinegearexpo.com P63 Scene First Festival www.scenefirstfestival.com P37 April 16-19, 2007 Additionally, the Avid student reps will blog and podcast Columbia College Hollywood www.columbiacollege.edu P19 Shelton Communications www.sheltoncomm.com P15 directly from the show floor – to share their NAB experience DSC Labs www.dsclabs.com P31 SlamDance www.slamdance.com/screencomp P53 with peers. The “team” that generates the most traffic to their Edgewise Media, Inc. www.edgewise-media.com P51 Sonnet www.sonnettech.com P49 After a successful campaign in 2006, Avid will again host its blog will receive personal copies of Avid’s Media Composer Five Towns College www.ftc.edu P19 Third Screen Films www.thirdscreenfilms.com P61 Student Representative Program at the National Association software. Fuji Film www.fujifilm.com P13 Torcomp Studica www.torcomp.com P17 of Broadcasters (NAB) event in Las Vegas, from April 16-19, FX Home www.fxhome.com P2 Watson-Guptill Publications www.watsonguptill.com P15 2007. This year, Avid will host 30 students from Film, TV, and “Last year’s student program was a success all-around,” said Glidecam www.glidecam.com P55 Weynand Training International www.weynand.com P25 Broadcast programs from across the U.S. Schools represented Patrick McLean, Senior Market Manager for Education at Avid JVC www.jvc.com P72 Writers Store www.writersstore.com P57 this year include: The Borough of Manhattan Community Technology. “Avid was able to help these students showcase Lowel lowel.com P70 ZGC www.zgc.com P35 College, Ball State University, Chapman University, Eastern their work in front of a captive audience, interact and Illinois University, Savannah College of Art and Design, network with industry professionals and create a clear career For advertising and sponsorship opportunities, University of Texas and Washington State University. path as they embarked upon graduation from college. We please contact Kim Welch at 212.876.0415, or Throughout the week, the students will work in teams and look forward to an even better experience this year.” send an email via our online form at be tasked with working the show floor, shooting and editing http://www.studentfilmmakers.com/advertise.shtml.
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