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Render and edit at lightspeed with HP Z Workstations and AMD FirePro™ graphics PAGE 24

Star Wars: The Force Awakens Editors Edition PAGE 6

PAGE 20 AMD FirePro™ Technology Powers The Next-Generation of Filmmaking Creativity The # 1 Educational Resource for Film and Video Makers WELCOME 4 Editor’s Letter Meet the Writers Visit us online at www.studentfilmmakers.com EDITING 6 Star Wars: The Force Awakens’ Editors Maryann Brandon and Mary Jo Markey Publisher Kim Edward Welch By Scott Essman DIRECTING 8 J.J. Abrams Reflects Editor-in-Chief On His Star Wars: The Force Awakens Jody Michelle Solis Collaborators | By Scott Essman Designer DOCUMENTARY Newburgh Rising: Tincuta Moscaliuc 12 A Photographers for Hope Journey 8 Contributing Writers Behind the Scenes of the Documentary Thomas Ackerman, ASC, Jack Anderson, Anthony Q. Artis, Arledge Armenaki, John Badham, By Dean Goldberg Christopher Ball, CSC, Melanie Ball, Karl Bardosh, CAMERAWORK Yeah, It is Brain Surgery: Jeremiah Baumbach, Bayou Bennett, Paula Brancato, 15 Al Caudullo, Chris Cavallari, Pete Chatmon, How to think about how to shoot Michael Corbett, Sky Crompton, Jason Croot, video like a pro. | by Dave Lent David Daudelin, William Donaruma, Pamela Douglas, David E. Elkins, SOC, Scott Essman, Carl Filoreto, DEVELOPMENT 16 The Benefits of Borrowing Jon Firestone, Fred Ginsburg, CAS, Ph.D., MBKS, from the Public Domain: Dean Goldberg, Jennifer Grisanti, Charles Haine, 17 John Hart, Catherine Ann Jones, David Kaminski, Get Your Project Up and Running Michael Karp, SOC, Carole Kirschner, Peter Kiwitt, by Scott Spears John Klein, Klaudia Kovacs, Dave Lent, Monty Hayes PRE- Preparation is Crucial: McMillan, Jonathan Moore, M. David Mullen, ASC, 17 PRODUCTION Gleb Osatinski, Ryan Pickett, Theresa Meeker Pickett, Get Things Done Creatively Patrick Reis, Peter John Ross, Dr. Linda Seger, Without Missing a Beat | by John Klein Sherri Sheridan, Pamela Jaye Smith, Scott Spears, Peter Stein, ASC, Mike Valentine, BSC, Saro Varjabedian, DISTRIBUTION 18 Online Distribution William F. Vartorella, Ph.D., C.B.C., Tony White, Five Lessons Learned | by Jonathan Moore David Worth, Dean Yamada, Kathie Fong Yoneda FILM 19 Breaking Into Hollywood BUSINESS 22 Advertising & Sponsorship Opportunities: The five things you MUST have to Succeed Kim E. Welch: 917.743.8381 YOUR NEXT WORKHORSE by Carole M. Kirschner Contact StudentFilmmakers.com POST 20 How AMD FirePro™ Technology www.studentfilmmakers.com/contact PRODUCTION 917.743.8381 (US and International) Powers the Next-Generation of Filmmaking Creativity Subscriptions, bulk orders, and collections: Bring Your Vision to Life www.studentfilmmakersstore.com 1-Year Subscription (6 Issues), U.S. $59.70. by Melanie Ball, AMD 24 2-Year Subscription (12 Issues), U.S. $119.40. 24 Render and edit at lightspeed GY- L S 3 0 0 3-Year Subscription (18 Issues), U.S. $179.10. For subscription, mailing address change with HP Z Workstations and and distribution inquiries, send an email to AMD FirePro™ graphics www.studentfilmmakers.com/contact. THAT’S JVC ON CAMPUS 22 Vancouver Film School StudentFilmmakers Magazine, Exclusive Interview with Ted Jones established in 2006, is published in Dallas, Texas, 20 by StudentFilmmakers.com. Opinions are solely those 30 The National Centre for Computer of the authors. Letters, article queries, photos, movie Animation at Bournemouth University JVC Log Mode Cinema 4K, 2K Prime Zoom stills, film submissions, and unsolicited manuscripts welcome, but returned only with SASE. Submissions Exclusive Interview with Sofronis Efstathiou Emulate full tonal gamut of film with True DCI 4096x2160 / 2048x1080 This unique feature allows you to zoom are subject to editing for style, content, and to exclusive NETWORKING 32 Film and Video Makers Community wide latitude and high dynamic range – recording at 23.98p and 24p for with fixed focal lenses or extend range rights provisions in this publication. up to 800%. digital cinema purists. of zoom lenses. Advertising: Rate card upon request. Spotlight | Andrew R. Jimenez COMMENTARY 33 Why HP Rules in the Newsroom Copyright 2016 StudentFilmmakers.com and for Daily Broadcasts (All rights reserved.) Printed in the USA. Variable Scan Mapping Super 35 Sensor 120fps Slow Motion by David Kaminski Postmaster Remaps active area of image sensor JVC-developed 4.5K CMOS sensor Create smooth slow motion effects gear and Pack, Travel, Shoot: How to Get Your Send address change to: StudentFilmmakers Magazine ACCESSORIES 34 to the correct image circle and field uniquely combined with an industry recorded in HD at 50Mbps. 400 N. Saint Paul St., Suite 750, Dallas, TX 75201 Gear Safely from One Venue to the Next of view for most Super 35, MFT and standard Micro Four Thirds (MFT) Mike Sturm, Senior Designer Super 16 lenses. lens mount. 34 Exclusive Interview FESTIVALS & New York Festivals CONTESTS 35 4K / 2K thatsjvc.com 2016 Goodness Reigns

www.studentfilmmakers.com 2016, Vol. 11, No. 1 3 EDITORS DESK MEET THE WRITERS Welcome to the 2016 NAB As a member of the MELANIE BALL, Issue of StudentFilmmakers Directors Guild of America Sr. Industry Executive Magazine. This edition marks DEAN GOLDBERG wrote for Media & our 11th year exhibiting and directed television Entertainment at the NAB Show in Las episodes for “Missing at AMD Vegas, Nevada. Visit us at Reward,” “Hard Copy,” “A booth #C12431, April 18th Current Affair,” and many through April 21st. Stop other shows featuring by to say hello and pick up dramatic recreations. your complimentary copies From 1997-2007 he of StudentFilmmakers Magazine’s new issue and was creative director and president of Wolf at JONATHAN MOORE collectors’ editions. Bring your business cards for the Door Advertising. An associate professor of is an associate networking opportunities, chat with magazine editorial Communication arts and Film Studies at Mount professor of cinema crew, and be ready for photo ops. We look forward to Saint Mary College, he is also co-director of their arts at Vanguard seeing you at the show! new Technology and Digital major. Newburgh University in Orange Rising: A photographers for Hope Journey will County, California. This wonderful new issue highlights interviews with premier in this fall. His most recent film, Star Wars: The Force Awakens’ J.J. Abrams (Page 8), “Coaches’ Wives,” can Maryann Brandon and Mary Jo Markey (Page 6) in the SCOTT SPEARS is be downloaded at Directing and Editing Departments. Turn to the Post an Emmy-winning CoachesWivesDoc.com. Production Department’s technology-driven feature cinematographer and He lives in Los Angeles with his wife and son. articles: “Render and edit at lightspeed with HP Z teaches screenwriting at Workstations and AMD FireProTM graphics,” (Page 24) the Ohio State University. SCOTT ESSMAN and “How AMD FirePro™ Technology Powers and the You can learn more established Visionary Next-Generation of Filmmaking Creativity” (Page 20). about him at Cinema in New York in Enjoy the exclusive interview with David Burnett in www.scottspears.net. 1989, moving to Los “Newburgh Rising: A Photographers for Hope Journey” Angeles in 1995. In (Page 12, Documentary Department). 2008, he won a Rondo DAVID LENT’s career Award for Best Feature Also in this issue: “Yeah, It is Brain Surgery,” (Page 15, as a news cameraman Film Commentary for Camerawork Department); “The Benefits of Borrowing and documentary work on the Legacy from the Public Domain,” (Page 16, Development producer spans forty Set of Universal’s Department); and “Preparation is Crucial” (Page years. His films include The Mummy (1932 version). His filmography 17, Pre-Production Department). Make sure to read Life Without, Hotel includes more than 28 productions including Jack “Online Distribution: Five Lessons Learned,” (Page Macedonia, and The 5 Pierce: The Man Behind the Monsters, Ten Men 18, Distribution Department) and “Breaking into Keys to Mastery. He is on the Field, and Trane and Miles. Essman has Hollywood: The Five Things You Must Have in Order author of VIDEO RULES: published over 500 articles about people who to Succeed” (Page 19, Film Business Department). How to Think about work behind-the-scenes in movies. He teaches Get tips on how to get your gear safely from one How to Shoot, and inventor of the Steadybag, mass media, filmmaking, and digital video editing venue to the next in the article, “Pack, Travel, Shoot,” PicupStix, GelFile and LensEnd—accessories used at the University of La Verne, The Art Institute and check out our exclusive interview with Mike by professionals worldwide. Based in Washington, of California, and California Polytechnic State Sturm, Senior Designer, at Think Tank (Page 34, DC and Oakland, CA, Dave is at work on a second University, Pomona. Gear and Accessories Department). The On Campus book, Master Minds.” www.daveandcompany.us Department features Vancouver Film School (Page 22) CAROLE KIRSCHNER, and The National Centre for Computer Animation at JOHN KLEIN is a Chicago-based freelance Director of the Writers Bournemouth University (Page 32). This issue’s Film cinematographer Guild of America’s and Video Makers Community Spotlight is on Andrew (windycitycamera.com), Showrunner Training R. Jimenez, (Page 32, Networking). the producer of Program, the CBS Glass City Films Diversity Writers As a reminder, for a chance to be featured in the (glasscityfilms.com), Mentoring Program and Networking Department of the magazine and and the director the Humanities New website, create and update your free profile in of Chrysalis Voices program, has the Film and Video Makers Network at (TheRestAreDead.com). a passion for helping http://networking.studentfilmmakers.com. He currently teaches at aspiring writers, producers and executives break Post your production stills, videos, and reels. DePaul University. in, stay in and move up in the entertainment Explore the new and upgraded tools and features industry. Having worked as a senior level such as the Events, Contests, Forums, DAVID KAMINSKI television development executive for eighteen and Classifieds sections. creates media for years (including her posts at CBS and as head of entertainment and social Steven Spielberg’s first Amblin Television), Carole Enjoy This Issue! change with community has heard over 3,000 pitches, bought hundreds All the Best, groups, professional of projects and was involved in developing Jody Michelle Solis organizations, students, dozens of television series. Now an international Editor-in-Chief and adults. The projects speaker and entertainment career coach, she networking.studentfilmmakers.com/jodymichelle have earned dozens of teaches creative professionals how to navigate national awards and the often mystifying field of show business. have screened across the Through her popular workshops, Carole teaches With the rapid application of country in festivals and real world strategies so writers and producers changing technologies, on television. With a background of over 20 years can thrive in Hollywood. Her book, Hollywood experience as a teacher and educator, his students’ Game Plan: How to Land a Job in Film, TV and we are all students. videos have won more than 50 awards, among Digital Entertainment, published by Michael them five Telly Awards, and have screened more Wiese Publishing, is assigned as a textbook in Never Stop Learning. than 200 times nationally and internationally. He film/television classes at various colleges and Never Stop Networking. currently resides in the New York metro area. universities throughout the U.S. 4 2016, Vol. 11, No. 1 www.studentfilmmakers.com editing Star Wars: The Force Awakens’ Editors

Star Wars production through mid-fall of 2015, with a collaborator in the editing room and will accede types of effects from ILM, now a Disney December 18 release date. to the editor’s choices if they work for the company, and other vendors. “The visual scene. “He may have an idea of how he wants effects process is slow and painstaking,” said The Force Awakens’ As production was pushed from the initial to put a scene together, but he wants to see Markey. “We turn over a sequence with the start of January of 2014 to that May, Brandon how we would do it,” she said. “There are visual effects supervisor, Roger Guyett, and and Markey were both editing other projects things that come out of it that would not come the visual effects editor, and he talks through Editors while Abrams and Kasdan were re-writing. out of it if he said, ‘Start with the master, go the scene and what he’s thinking. It’s a pretty Then, the pair began to cut Star Wars in Los into the coverage.’ I would feel so hampered open discussion at that point. The shots start Angeles for two weeks in May 2014, while the creatively. When you are cutting, one piece coming in; at first, they are very rough looking. main unit shot the scenes set on the planet of film often organically tells you where to go It wouldn’t make sense to refine them— of Jakku near the Middle Eastern city of Abu next—an actor looks in a certain direction; we are trying to get a sense on what the Dhabi, the capital of the United Arab Emirates. the moment at the end of that piece of film action will be like. Things will change Brandon and Markey joined the production in that you just put on, your instinct tells you completely even if we are far along on a London for location material filmed in England, where to go. That doesn’t happen when shot. Our visual effects supervisor will come Ireland, Scotland and Iceland, then on stages someone writes out a plan. That’s not a very up with some new concept, and we will end at Pinewood Studios outside of London. When organic way to cut a scene.” up starting all over on the process. There are production wrapped on November 6 of 2014, a couple of CG characters in the film; the Brandon and Markey set up at Abrams’ Bad With the long shooting days that Star Wars design of one of them went on for a long Robot production offices in Santa Monica, required, the editors regularly watched and time. It ended up being fabulous.” California, where they have cut all of his films dissected dailies together without their director. Maryann Brandon and Mary Jo Markey and where the company’s feature film staff “We have a very open email back-and-forth Brandon additionally explained that Abrams post-produced the film. about what his thoughts are,” said Brandon. does not review a full version of the film until “We communicate a lot through email. If he’s she and Markey are deep into the post- By Scott Essman relationship with J.J. We were very excited.” format for Star Wars was undertaken in the During principal photography, Brandon and worried about a scene, whoever has the scene production process. “J.J. doesn’t approach the editing room. “It was pretty much the same,” Markey would discuss the film in the morning will put it together as quickly as we can… so film sequentially—he jumps around,” she said. NO PLOT SPOILERS Initially, Brandon and Markey were given an Brandon noted. “We divided the film up the after getting picked up in London and being that we can refer to them together. He’s always “He doesn’t want to see the full film until he’s outline to the new Star Wars film a year way we usually do – each of us took half the driven to Pinewood. Brandon noted that they in communications. If I send him an email, I happy with every scene. J.J. takes on a lot of Having edited all of J.J. Abrams feature films, before filming started. “That turned out to film, not in order.” worked at Pinewood every day of production. usually get an answer back within minutes.” notes and listens to them all. We ended up, the team of Maryann Brandon and Mary Jo be the outline of the script that they didn’t “We had a cutting room set up near the toward the last third, trying a lot of different Markey might have assumed that they would really go with – the Michael Arndt version,” During principal photography, Markey related production office,” she said. “Our first assistants Even during stretches when he is shooting, things. A lot of roads didn’t lead anywhere; work on Star Wars: The Force Awakens, though Markey explained. “J.J. and Lawrence Kasdan that she and Brandon watched the dailies came out to London, did most of the film in between setups, Abrams will check emails and some roads led to some great things. [We a sure thing is not always as it seems in the took control of the writing. When they together and discussed the scenes in-depth London with us—two first assistants and a P.A. other information via a Surface tablet and send would] come back around to where we started. unpredictable film business. Nevertheless, decided to rewrite the script, they wanted “to see if we are interpreting what we are the whole time we were in London, and a visual feedback to Brandon and Markey in the editing We left no stone unturned.” Brandon and Markey did indeed join Abrams’ to start over; they wouldn’t make the summer seeing the same way,” she said. “It is a great effects person who was also helping out with room. “He’s the most awesome multitasker I’ve team on the seventh installment of the world- 2015 release date.” thing to have somebody to bounce the ideas motion capture. Marty Kloner, our visual effects ever seen in my life,” Markey described. As effects poured in, Abrams, Brandon, renowned movie franchise. “We knew while we off of. Then we go our own ways and cut the editor—who didn’t come to London—could cut and Markey continued to cut all the way were still working on Star Trek,” said Markey of Brandon expanded on the early stages of the material. J.J. pretty much leaves us alone. I visual effects and send it back to us.” Even with a powerhouse effects company as through the sound mix in mid-November. Abram’s second Star Trek film,Into Darkness. project. “We did get a script, and that script had the first part of the movie to cut—I did Industrial Light and Magic on the production, The final product was only screened for “He came in one day and said jokingly that he kept evolving throughout a lot of the shoot,” some work back and forth with him.” At the outset, the editors and Abrams meet to Abrams and the editors continued to evolve a few select insiders before the general had just turned down Star Wars. We laughed she said. “J.J. works that way a lot. See what divide up the editing duties. “We pretty much the effects, even in full effects shots, public was able to view it in mid-December. about it. Five or six months later, he came in he gets and evolve it from there.” Naturally, with a Star Wars film, many shots divide up the film by the script and decide throughout production and post-production. Brandon and Markey are ultimately very and said, ‘There’s a teeny tiny possibility that I require either full visual effects elements or at who’s cutting what,” Brandon said. “We prefer “He tends not to commit to the animatics,” pleased with the results. “There’s nothing am going to reconsider and direct it after all.’” One unplanned yet ultimately fortuitous event least enhancement of shots with partial effects, to do whole sequences. We try to take into Brandon stated of Abrams. Markey added, like Star Wars,” said Markey. “It’s got a grip allowed for further evolution of the new film’s so the editors strove to turn over the movie to account the schedule so that it could be divided “We didn’t have more than two-to-three on the imagination of the public like no After meeting with Disney CEO Bob Iger screenplay. “When Harrison Ford was hurt,” the visual effects team as soon as possible to and everyone could be busy all the time. We sequences that had previz. He always says to other movie. It’s absolutely unbelievable— and Lucasfilm president Kathleen Kennedy, Markey conveyed, “we had to shut down for begin the process. As Abrams and his editors can stick with a sequence all the way through, us, ‘Don’t pay any attention to them.’” it’s mind-blowing to me. I loved doing the Abrams was convinced to do the film, the first a three-week hiatus in the middle of shooting. had considerable visual effects experience come together, look at the whole, and have a Star Trek movies; the first is a favorite of of three planned sequels to the original three We shot everything we could shoot without on two massive Star Trek films, they had a knowledgeable viewpoint on what each of us Instead, ILM would receive a card from mine. But this is beyond the beyond.” episodes of the series which ran from 1977 him. It gave J.J. a chance to look at what methodology in place for Star Wars. “With has cut. You get the best of both worlds.” editorial with notes on an effect for a shot that to 1983. Of course, assuming anything in the was shot and cut, what was working, and J.J., he does all of these previzes of all the big was required, and editorial would receive back Brandon echoed Markey’s sentiments about the uncertain world of studio productions can lead what wasn’t working as he had hoped. action sequences,” said Brandon, though there Markey explained how she cut the first an animatic for it, in this case called “post-viz” project. “It’s great to be a part of something to disappointment at best. “Is anything ever He did a lot of re-writing and re-thinking. was a contingency to pre-planning. “He ends half-hour of Star Wars: The Force Awakens, according to Markey. “You get exactly what you that people are lining up to see,” she said. certain?” Brandon wondered aloud. “Both Mary I think the film is better than it would have up finding it difficult to commit to those. We then the next full hour was edited by want,” Brandon detailed. “I can ask for that— “How often does that happen in your career? Jo and I do other films and projects when we been because that happened. Woody Allen end up filling in the holes in the visual effects Brandon, and the last half-hour was taken you tell them how many frames you need.” It’s an amazing opportunity and an awesome are not working for J.J. Being freelance, we builds in a period when he stops shooting. with the visual effects editor and supervisor by Markey. “We maintain ownership of our responsibility, energizing and terrifying at the take other projects. Wanting to expand our It would be great if all movies could do that, to figure out where we go from there. Those sequences,” she stated. “We talk about each For a full year, from November 2014 to same time. It’s an alive thing.” horizons, we like to do other things. It has [but] it’s not that practical.” sequences end up becoming a big team effort other’s sequences, but each make the November 2015, Star Wars: The Force Awakens worked out till now. I took another film when in the end and get sorted out.” changes in our own sequences.” was in the throes of post-production, with the [J.J.] said he wasn’t doing Star Wars—I spent With two editors working on the film as they editors not only cutting the film for drama, a year trying to apologize. I had a long-term had done many times previously, a similar Interestingly, this Star Wars continued effects According to Markey, Abrams is the ultimate but also requiring the integration of numerous 6 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 7 DIRECTING J.J. Abrams Reflects On His Star Wars: The Force Awakens Collaborators

Director/Producer/Screenwriter J.J. Abrams and Screenwriter Lawrence Kasdan on the set of Star Wars: The Force Awakens.

J.J. Abrams Reflects On His Star Wars: The Force Awakens Collaborators

By Scott Essman have served him on previous projects in some This was a critical thing for me: that the movie cases, while retaining the services of select look and feel captured in camera and authentic Regardless of the massive expectations artisans who have never before worked within as possible. From props to set design and heaped upon the newest installment in the Abrams’ Bad Robot production company which builds to location, to shooting and lighting, Star Wars franchise, few could have imagined oversaw the new film. creatures, droids, it all needed to feel like it that it would become the highest grossing exists – tangible, tactile, and real.” film of all-time in the United States less than When Abrams first agreed to direct the film, a month into its release. Indeed, in the hands and after fashioning a screenplay first with In realizing Star Wars’ pivotal look in distant of co-writer/director J.J. Abrams, the latest screenwriter Michael Arndt and later with planets, spaceships, and exotic locales, in fresh programming entry, Star Wars: The Force Awakens even Star Wars’ veteran Lawrence Kasdan, Abrams addition to working with Mindel, Abrams • exceeded the lofty goals that the studio, met with his key collaborators to devise a recruited production designer Rick Carter, Disney, and the producers and filmmakers plan for bringing Star Wars into the 21st notable for his award-winning work on a horde eld for the project. Moreover, the film, Episode century. “It’s the process you would imagine,” of Steven Spielberg’s genre blockbusters since • immersive experiences VII in creator George Lucas’ intended nine- Abrams stated of his first meetings with his Jurassic Park. “There was no template,” Abrams part series, is still rolling out across countless craftspeople on The Force Awakens. “Sitting revealed about his liaison with Carter. “I asked redefined revenue The media and entertainment industry has become unleashed. nations worldwide, including a groundbreaking down with everyone and having conversations Rick Carter to begin much earlier than a Dynamic innovation and cutting-edge technologies are shattering release in China. When final box office tallies about intention and finding the best way in production designer would — at the story stage the boundaries of storytelling and opening up limitless come in, which have included both 3D and to accomplish the goals—all of the technical — partly because Rick is a dreamer, and I think opportunities to entertain and engage audiences. large-format screenings of the film, adding on aspects on it that are required. It was ten of him as a ‘connectician.’ He connects things future revenues from home video, streaming million baby steps with everyone, doing the that I don’t see anyone else do, between little Embrace the immersive experiences reshaping the new reality of and downloaded contact, Star Wars as a best job I’ve ever seen.” moments and the big pictures. I had him with media. Further your knowledge of connected technologies fueling property is firmly back in full as a new force in Arndt and Kasdan to be a counterweight to the the industry. To find the aforementioned young talent for the grind of breaking the story. Rick would seize anytime-anywhere consumption and collaboration, from live film’s new roles, most of whom were relative an idea that was mentioned, bring up one of and local to archived and global. Explore production innovations Starring newcomers to the film series Daisy unknowns in feature films, Abrams utilized his own, and, early on, draw up ideas based on evolving at warp speed to expand content delivery to emerging Ridley as Rey, John Boyega as Finn, Oscar a team of ‘amazing’ casting directors in the things that we were discussing. It became this channels and integrated platforms. Isaac as Poe Dameron, Adam Driver as United Kingdom: Nina Gold, April Webster, and evolutionary iterative process to see things that ® is the only place to break free from conventional Kylo Ren, and Domhnall Gleeson as General Alyssa Weisberg. “We saw some crazy number we were discussing. It would give us a sense of NAB Show Hux, Abrams’ piece also included stalwarts of different actors,” Abrams noted. “Some were where it might take place and the result. It was thinking and open your mind to new partnerships, new technology, from the original 1977-1983 trilogy of films, fantastic. Daisy and John, Oscar, Adam, there a helpful visual means of development.” new tools and fresh perspectives. The sky’s the limit, and the only famously Harrison Ford as Han Solo, Carrie was something about this particular group Fisher as General Leia, and Mark Hamill as to a person that was undeniable. Oscar or Also on board as production designer was thing you have to ask yourself is: how far will I go? Luke Skywalker, among creature performers Adam, some people may recognize them, but Darren Gilford who led operations from the such as Anthony Daniels as droid C-3PO and they were not as widely known as they could Pinewood Studios base of the film. “Darren THIS CHANGES EVERYTHING. Peter Mayhew as Solo’s humanoid partner, have been. Daisy and John were essentially came on fairly early on, but not as early as Chewbacca. The mix of old and new has unknown—brand new to the audience. A fun Rick,” Abrams explained. “He was on the seemingly intrigued fans who have been piece of casting.” ground full-time in London; Rick would come intensely curious about the return to the and go. He was hungry, brilliant, wonderfully spiritual territory of the early films while Another one of his first and most crucial collaborative. Rick was the lead, but Darren remaining hungry for fresh plot lines, settings discussions occurred in concert with was often the person I was dealing with.” register today and characters. cinematographer Dan Mindel, ASC, BSC who also shot Abrams’ two Star Trek films. Also integrally involved in developing the Free Exhibits Pass Code PA125 To realize his vision for a Star Wars world both “With Dan,” Abrams explained of his valuable world of Star Wars: The Force Awakens was brand new and familiar for The Force Awakens, conversations with his DP, “what lens package visual effects supervisor Roger Guyett who Abrams called upon below-the-line talent who we are looking for to get the look we are after. had worked in the same capacity on Abrams’

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Director/Producer/Screenwriter J.J. Abrams and Producer Kathleen Kennedy

two Star Trek films and would oversee more than 2000 visual effects shots on the new film. “Having worked with Roger a few times before, we have a shorthand and a very easy working relationship that makes the hard work fun,” Abrams conveyed. “We would often talk early on about how we were going to approach certain things. I would think it was not an atypical approach, breaking down what was required. It’s everything about breaking it down into pieces, even shots themselves. What are the elements that are needed?”

With a visual effects-intensive film, the worry of many a filmmaker is that the project becomes drenched in technical production in Director J.J. Abrams with actress Daisy Ridley (Rey) lieu of story and character, but Abrams knew on the set of Star Wars: The Force Awakens. he had a wholly narrative collaborator in Guyett. “The wonderful thing about working approach is always the same: we’re all at “The opportunity to play in this incredible with Roger is he’s very much a storyteller,” the service of the characters and the story. universe that George built is a dream come Abrams described. “He goes beyond in every They split up the film in very large chunks— true—and a pretty incredible opportunity and situation: what is necessary into what is better. there was parallel work being done in experience—and I’m nothing but grateful for it,” We would keep iterating shots, sequences different sequences.” Abrams said. “We all wanted to have fun with and moments as we go. The number of visual the movie and feel the possibility that I felt effects was always something we knew we Somewhat non-traditionally, Brandon and when I was a kid. With this cast, it’s something would have to deal with.” Markey each worked on her own specified that I’m really proud to be associated with—a M A D E I N U S A section of the film, later weaving them together movie that lets kids of color and little girls see Though many of the visual effects elements with Abrams into one complete project. During that there isn’t a corner of the universe where in Star Wars: The Force Awakens included set this period, the two editors would regularly they aren’t valued and needed. To get to do extensions plus removing rigs and puppeteers view each other’s work. “There’s an instructive that in a Star Wars universe is really exciting. Offering the very best in inadvertently captured during principal and friendly competition between the two Families are going to see this movie; people are Customer Service since 1993. photography, one key visual effects task different editors,” Abrams unveiled. “They going back with their parents. Families have a on the film regarded realizing an important each want their sequence to blow away the communal experience, for new fans and people character. “Maz Kanata, we re-wrote, re- other editor’s. They are each working to do who are going back in time. It’s so much fun shot to get it right,” Abrams explained of a something that… now will be seen by a fellow to be a part of something that seems to be diminutive character voiced by Lupita Nyong’o editor. It’s always fun working on a sequence something that people want – a return to that who provides sage advice to the film’s heroes. and sharing with the other for notes, point- place that George created and be a part of “Lupita brings to the part what we wanted: of-view; it raises the conversation. It goes on that, with new characters.” different approaches to different scenes, and longer that you would expect—it could be a G L I D E C A M I N D U S T R I E S , I N C . Maz really came alive. I saw all the work, recut or reshoot. I have two partners in crime Humbly, Abrams concluded with a measured 2 3 J O S E P H S T R E E T the amount of effort that went into bringing who are always focused on the right thing: outlook on his film’s meteoric and undeniably K I N G S T O N , M A 0 2 3 6 4 her to the screen.” telling the story.” phenomenal success. “I feel nothing but relief 1 - 8 0 0 - 6 0 0 - 2 0 11 that the movie is out and where it belongs – 1 - 7 8 1 - 5 8 5 - 7 9 0 0 Throughout principal photography, based out In hindsight, with the news of Star Wars: The with the fans.” w w w. G L I D E C A M . c o m of Pinewood Studios and for another year of Force Awakens breaking Avatar’s domestic post-production at Bad Robot, Abrams crafted box office record first coming to light, Abrams the film with his two longtime editors, Maryann was reflective about his place in this unique Brandon and Mary Jo Markey. “I’ve worked cinematic domain, now almost 40-years-old. with them quite a while,” said Abrams. “The 10 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 11 Documentary Newburgh Rising: A Photographers for Hope Journey Here’s how it worked. Our cinematographer, Apal Singh, did double duty as one of the elite group of photographers while shooting some footage with his DSLR The former Regal Handbag company factory on the shores of on location. By the time I was called in the photographers had already been in the Hudson, Newburgh, NY. Photo ©2015 David Burnett/P4H. town for a week, so we were playing catch-up. No script, no real outline, just a mandate to create a portrait of a city in transition; less cinema verite than a cool narrative improvisation.

We shot the interviews in what once was the largest factory and employer in Newburgh, the Regal Bag Factory, located on Newburgh’s waterfront. Two weeks with a location scout could not have afforded us a better location. Filled with light - or not - depending on where we chose, gritty yet freshly painted in some areas, the location was an embarrassment of riches. I wish we had more time for set ups, but what else is new? The interviews themselves were fantastic.

To echo Anna’s claim of life affirming moments, I too was infinitely moved by these nine artists. And I was plenty happy that I didn’t have to grab my passport and pack my bag to do it. Not so for Apal Singh, the DP for my Newburgh, NY September 2015. Farming at Stonegate Farm provides fresh produce to the community. Katarina Premfors/P4H Newburgh, contribution to the group, who flew in from India. Apal has lensed over NY September 2015. twenty-five documentaries and worked with leading international broadcasters On the set with David Burnett. Photo taken by Danangelowe A.J. Spencer. including the BBC, National Geographic, Discovery, ABC, ITV, Channel Four, and Newburgh Rising: Al Jazeera, besides Indian broadcasters. His Indian-made feature Highway for Deepak Rauniyar has garnered much critical praise.

Of course, the documentary held second place to the photo shoots around A Photographers for Hope Journey town, so I didn’t get to talk with Apal about what equipment we would need until the night before we were to do the interviews. Behind the Scenes of the Documentary “I’m using my DSLR for both shooting and video b-roll,” he explained in his soft voiced Indian accent, “I do need a tripod and a good sound kit.” I told him I would bring my trusty Sony FS100, as well as a couple of lavs, and if he wanted to use them, all the better. “We’ll see,” he answered. By Dean Goldberg full time pros but interesting people with a fact than any kind of hyperbole. American interesting points of view. After shooting in Photo Magazine named Burnett among the Even though I knew we were only doing interviews, that morning I practically Newburgh, NY. When I first got the call from Indonesia as well as the slums of Bangladesh, top 100 photographers of all time. Within this emptied the college equipment room. Besides the FS100, I brought two Astra the formidable team of David and Iris Burnett these photographers quickly became a close group, David is the calm of the center of this bi-colored 1x1 Litepanels, a small ARRI kit with two 350s and a pepper lite. I was, let me say, intrigued. David is one of knit group. Now they are busy leading a creative storm, center being the key word here. Gels, both CTB and CTO, lots of spun, two wireless lavs, and other assorted A painter at the Scenic Art studio makes backdrops for a Broadway the most talented of our modern American worldwide initiative for those who believe stuff. With two students in tow, we headed the short mile to the factory. As we production. Photo ©2015 Anna Wang/P4H. photographers. His photographs of famous in the power of images to support positive So why did these band of visual gypsies did I thought to myself, he’s going to take one look at this and laugh - politely athletes at the height (or low) of competition social change. To that end, the photographers pick Newburgh? Well, I’ll give you two very telling me I was bringing an army to kill a mosquito. has put him on the short list of the Olympic themselves are a global reflection of the engaging reasons; first, Newburgh is a historic committee’s invitees. He has filmed in passion and craft that is photography. They city. Home of the continental army during the In fact, not only did we use much of the equipment, Apal couldn’t have been countless war torn countries. His photographs include talents from Switzerland, Italy, Hong American Revolution, home to the second easier to work with. For me at least, it was love at first sight. That day we of political leaders from Nixon to Obama have Kong, the U.S.A., Dubai and India. Edison electric plant ever built, as well as the shot nine separate interviews, in various locations. Between interviews we helped shaped our vision of the world for the city chosen in 1939 by RCA to test market the shared stories, talked tech, and all in all, had a great shooting day. The next last forty years. His wife, Iris, is a political Newburgh, with a population of 28,000, hugs first Television sets. Newburgh sits astride the night was the opening of the Photographers for Hope Newburgh exhibition. consultant, professor, author, filmmaker and the Hudson River and is a mere 60 miles north Hudson like the proverbial “city on the hill.” But As fast as they all swooped in, the nine photographers were all packed and former chief of staff for the USIA. So I guess of New York City. An amazing city/town with a by the early seventies with a double whammy ready to fly back to their homes around the globe. Apal’s present to me was in the spirit of full disclosure, my actual historic past, Newburgh took a public relations of new suburban shopping malls sprouting up a hard drive with all the data, which I turned over to our editor Merle Becker response upon getting the call was more like, hit upside the head with a 2011 article in the all over Orange County and an urban renewal a few days later. “Hi, whatever it is, I’ll do it! Pick you up at the New York Magazine and the headline that plan that decimated a good chunk of the city, Beacon station? Get your dry-cleaning? Sure!” read, “Welcome to Newburgh, murder capital Newburgh began its downward spiral. The That all took place this past November. Four weeks ago, after a great first cut of New York.” Ironically, that piece heralded second and probably most influential reason for by our editor Merle Becker, it was decided that we needed to do another round Fortunately for me, they didn’t need a driver the end of gang leadership and the beginning this location is that ever since David and Iris of interviews to “bring some more depth” to the piece as well as to explore or a gopher - but were looking for a local of a new positive energy on the streets. moved to Newburgh to be close to their very some of the new people and businesses that are doing so well in town. crew to help cover an incredible group of nine Newburgh is now finally coming into its own large family, they’ve been pestering him to film Once again Apal made the trip from India and we returned to the factory. This photographers who were about to embark as the “in” place for artists, writers, industry Newburgh. They finally wore him down, to the time we were comfortable enough to let the students do some of the setups, Rodeo Tierra Caliente Sept. 2015. Cowboys show off their fanciest outfits at Rodeo Tierra Caliente at the Armory. Photo: ©2015 Ben Moldenhauer/P4H. on a ten-day photographic journey through and just plain folks. Today Newburgh sports thrill of all involved and all those who now can with Apal and I acting as mentors and teachers. And so the creative circle Photographers for Hope Newburgh. They also wanted a director to everything from an annual Hispanic Rodeo to share in this amazing exhibit. And it is amazing. continues, with students learning by working in a professional environment. do interviews and help fashion “some sort of a highly successful shrimp farm. New shops, The prints are uplifting, sorrowful, passionate, Sure, they’re working with the newest and coolest tools of the trade but just as www.photographersforhope.org documentary.” Since I teach film production restaurants, and galleries are popping up funny and hopeful. Just like the shooters importantly, they’re learning how to separate the frame in their heads from the at Mount Saint Mary College in Newburgh and all over the city. Some are calling it a who filmed them. Writing in an article about environment and actually see the shot. I watched as they made the connections have produced films (along with my students) Brooklyn on the Hudson. It’s all that and the assignment, Anna Wang said, “I would and it was pretty cool. As for the passion and glee that real filmmakers enjoy for non-profits in the city, I was the name that more, making great strides and building even venture to say that it was life changing, each time we get out there? I think they caught that too. After all, that’s why floated to the surface. Lucky for me, because I new neighborhoods while still dealing with life affirming and the best 10 days any of us we all come back. was about to meet some of the most talented the poverty and neglect that the sixties and photographers have spent in a long, long time.” and passionate people that I’ve ever met. And, seventies inflicted on the city. trust me, this writer has met a lot of people And how did I feel about working on a film over the years. Photographers for Hope’s spiritual leader is that was supposed to reflect these talented Lower left and right photos: what Anna Wang, the group’s titular voice and photographers’ works? I was a little nervous, Left: A lone chair sits at water’s edge of the Hudson, The group, aptly called Photographers for key administrator, as well as a super talented I admit, but let me put it this way: B-roll was on the Newburgh waterfront. Hope, began as a workshop for passionate photographer, refers to as the “legendary never going to be a problem! Photo ©2015 David Burnett/P4H. Right: Rodeo Tierra Caliente Sept. 2015; and talented photographers, not necessarily rock star David Burnett.” In this case it’s more fans watching the Rodeo. Photo: ©2015 David BurnettP4H. Photographers for Hope

12 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 13 Documentary Newburgh Rising: A Photographers for Hope Journey Yeah, It Is Brain Surgery camerawork

A Conversation with Think of a video camera not as a seeing device, but as a listening one Yeah, It Is Brain Surgery with two essential functions: As a microphone for your brain and as a How to think about how to shoot stand-in (body double) for the viewer’s brain. Cradled in your hands, David Burnett the viewer’s brain wants order, clarity, and simplicity. Composition is an video like a pro operation performed on the viewer’s perceptions. It’s as much a form After the dust settled I sat down with David Burnett at the Two Alices by Dave Lent of brain surgery, and no less invasive, as is surgery with a scalpel. café in Newburgh, our unofficial clubhouse, to talk tech. This should be a treat for those of us filmmakers who love to shoot stills as well. Beams of light translated by the lens and camera are displayed as a What came first into my life - my video image. The image is received by the eye and focused on the coveted Beaulieu 4008zm Super 8 Dean Goldberg: What camera or cameras did you shoot with retina. Millions of rods and cones translate these beams into neural camera or Marshall McLuhan’s The during the project? impulses. Using dozens of processors, the brain interprets these Medium is the Massage? Each impulses, allowing it to understand what is seen. This blend of amplified of the other. Once I began David Burnett: I shot with my Leica M9 (digital) with an old (1978 camerawork and brainwork results in new perceptions, new emotions, reading McLuhan, I knew exactly why vintage) 50mm Noctilux lens, as well as Canon 5D and 6D. One of the and new ways of thinking about ourselves in relation to the world. shooting came naturally for me. The Canon 5D cameras has been altered to shoot infrared spectrum. The camera and I were joined at the normal 6D cameras were fitted with standard 24-105 zoom, 45 and 90mm On the set with David Burnett. Photo taken by Breanna Scott. One of McLuhan’s most durable contributions was a formula for brain. McLuhan believed that the tilt shift lenses, and 70-200 zoom. Nothing very fancy. understanding the effects of any medium, old or new. Using a content of film or television is Tetrad, a “group of four,” McLuhan posed these questions: irrelevant to understanding the Dean Goldberg: What kind of techniques did you use to get What does the medium enhance or improve? What does it make medium. He explored the ‘lines of force’ of old and new media, the those very special and evocative black and white landscapes? obsolete? What does it retrieve from the past? And, when pushed environments they create, and what these environments do to us. He had to its limits, what does it reverse into? a reputation for being way ahead of his time, but he was with his time. David Burnett: The B/W was the result of converting an infrared The rest of were lagging behind, “Backing into the future while looking picture to pure monochrome. In doing so, the camera sees some things, into a rearview mirror,” he liked to say. particularly skies, clouds and water, differently than our eyes do. You can try and pre-visualize but they never quite look like what you thought As digital technology transforms us from passive consumers of information they would. That keeps it fun. to active creators, McLuhan’s discoveries are more relevant today than when he first conceived them fifty years ago. His core principle: Dean Goldberg: What’s the biggest change in this art form since we essentially moved from a chemical process to a digital process? “All media are extensions of some Has anything been lost? Gained? human faculty—psychic or physical.” David Burnett: Not knowing you had a picture made you a different photographer: when you had very little film (even a long 36 exposure Dean Goldberg and crew. Photo taken by Danangelowe A.J. Spencer. roll, which now seems puny, was big in those days) and no assurance you had a picture, you made more of an effort to try and figure out ahead of time what you wanted to shoot, and how to shoot it, and do so in a way which might even yield a good photograph. The great missing element in today’s photographers (particularly young ones who never knew film) is that they lackthat pit-in-the-stomach sense of worry, which every photographer, both legendary and awful, felt in the analogue age. That sense of doubt, of worry, was in many ways a key element in the way in which we approached a subject. But much of it was guess work, and all the more fun when it worked out.

Dean Goldberg: How has digital changed the way you work?

David Burnett: I loved the old days of shooting (say, a political campaign... where you work 12 to 14 hours a day following a candidate) when you got to the hotel in Words from the Film’s Editor the evening, put your film and captions in an envelope, called a messenger, left the

envelope at the front desk, and then headed to the bar to socialize, hopefully with some Merle Becker, Film Editor Let’s take a look at the video camera using McLuhan’s Tetrad. These of the staff people who might have tips on what was doing the next day. Now, you end Wheel extends the foot Knife extends the tooth ideas are ‘first draft’ on the subject. I’m an Open Source guy, so let’s The fact that the piece had such a loose structure in up in your room, maybe lucky enough to get a room service hamburger and deal with keep the conversation growing. pre-production has really allowed for some creative uploading your digital cards, editing late, and sending your selects over the wi-fi to the storytelling in the edit, and I really enjoy this. The home office. The film scenario was slower, but a helluva lot more fun. Enhances the reach of our voice to the entire world. photos are world class and when we paired them with With the ability to witness everything, everywhere, cosmic the heartfelt interviews that we got, it really produced Dean Goldberg: Now that “film” can be shot with a DSLR the line between consciousness is fast becoming a digital fact. something magical. I enjoy emotional pieces with deep photography and cinematography has been erased to a certain extent. connections to the human experience, and this story Do you think that has affected the art of photography - of that “moment Retrieves the past as present—tribal culture, storytelling, certainly falls into that category. frozen in time”? immortality of subjects, one-room schoolhouse (Earth). I chose to edit this project in Adobe Premiere, primarily David Burnett: Ah, the art of photography. And there are those who say it isn’t art? Obsolesces privacy and anonymity – the traditional classroom, because of the program’s simplicity and reliability. I was Video camera extends the brain Certainly the fact that you can shoot a feature film with what is essentially a 35mm corporate gatekeepers. a huge fan of Final Cut 7, but when Apple reworked the digital still camera, means the distance between the two is shrinking. What isn’t platform for the release of X, I went back to Premiere, changing is the need to see film and video from a ‘continuity’ point of view, and being As a tool for extending—amplifying—our thoughts, observations, and Reverses private life into public domain. For those who excel as and found that it had made significant improvements able to pre-visualize just how the sequences might run into each other. ideas, the camera puts the world in our hands. Video is more a tactile filmmakers, their role flips from personal choice to social responsibility. since its inception. I love having a still camera that, when I push the little red button, it starts shooting at than a visual medium. Not the finger-on-object kind of tactility, but the 25 frames per second. feeling we have when all of the senses are working together. Think of a As video craftspeople, we’re still in the pioneering phase of The Video Merle Becker is an editor/producer/writer at her company time when you were deeply touched by something or someone you saw or Age, still inventing and learning the grammar and syntax of our Freakfilms, Inc. She and her husband live in Newburgh. Dean Goldberg: Thanks David. heard. That kind of tactility. language. McLuhan’s job was to transmit what he observed through For more information about Merle and her work go to the printed word. The job for those of us willing to step up, is to be www.freakfilms.com. David Burnett: Don’t thank me so fast; you’re picking up the check. responsibly masterful stewards of the language of video and critical “A viewer can be so touched by an image that it observers of the changes our lens / brain collaboration will unleash. www.photographersforhope.org may be recalled as a personal rather than as a viewing experience.” -Susan Burgess-Lent 14 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 15 DEVELOPMENT The Benefits of Borrowing from the Public Domain Preparation is Crucial PRE-PRODUCTION Preparation is Crucial The Benefits of Borrowing Get Things Done Creatively Without Missing a Beat from the Public Domain By John Klein Get Your Project Up and Running Skimmers is a short sci-fi film set in a future where fresh water, due to a catastrophic drought, has become such a scarce commodity that a black market has developed around its sale. Derron, a veteran of a forgotten civil By Scott Spears war, is a Skimmer: a water smuggler syphoning water off the corporations who control the supply. When he receives an emergency message from his contact So the well for ideas for your next project has run dry, or you’re not ready en route to his next pickup, he must face the horrible truth about the black to go with the scripts you’ve got stacked up, but you want to get a project market and come to terms with the kind of man he really is. up and running. That could mean it may be time to look at the public domain. What is the magical thing called the public domain? Any work by For an MFA student film that needed to be produced and shot with a rough cut screened at the end of the Spring 2015 quarter, such a script was probably an author that has been dead for more than 75 years falls into the public needlessly ambitious. Having come into DePaul’s program with a fair amount domain which means it’s free for anybody to republish or adapt of production experience, though, and having also written the script myself into another form so you can make it into a movie. with specific locations and logistics in mind, I knew it could be done at a reasonable cost in a limited amount of time. Roger Corman produced a slew of Poe-based movies in the late 1960s when they fell into the public domain. In the 1980s, Lovecraft-based Or at least I thought I knew. movies like “Re-Animator” hit the screens, so there is a track record Several elements fell into place very quickly. Casting was a breeze, thanks to for mining the public domain. Other filmmakers have mined the public producer Savannah Larsen’s well-organized auditions and a flurry of domain for movie ideas. enthusiastic yet subtle performers. I lined up a cinematographer, Greg Boris, who came recommended by another DP I had worked with before, and Why would you want to grab some 75-year or older story for your next movie? period in which it was written. Had we updated it at our first meeting he brought dozens of lookbook images to the table, Well many of the stories you’ll find have stood the test of time and are just darn to modern day and had people walking around in instantly inspired by the wider aspect ratios and strong compositional and good stories. The bad stories faded away so they never got turned into movies. t-shirt and jeans, I’m not sure it would have gotten lighting choices of films likeBlade Runner and Looper. It was a match made the exposure it did. in dystopian heaven. We opted to shoot on the RED Epic at 5:1 compression Another reason to consider digging into the public domain is that having a famous with a 2.40:1 aspect ratio, taking advantage of the raw color space knowing name author associated with your movie project can be a hook for viewers. Do When the spate of Lovecraft features popped up we would have to remove as much green as possible from the foliage in post- production. you think people will pause when then hear about Bill Smith’s “Spooky Scary in the 1980s they were all updated into present Story” or Edgar Alan Poe’s “Mask of the Red Death”? I think Poe will edge out Bill. day. Some stories will survive this transition, but Meanwhile, Savannah and I set to work finding a few very specific locations, The famous author’s name can replace an expensive “name” actor and others will not. I should say that “Re-Animator” namely a wind turbine that would serve as the primary meet-up place between save you some money. was very loosely based upon Lovecraft and really Derron (Greg Hardigan) and his contact Mirielle (Emily LeClair). We traveled didn’t catch the gothic/fantasy flavor of Lovecraft’s two hours outside Chicago to the wind farms along I-65 in Indiana – of course, Some stories will not work today because they may have been good in their day, work. They had more of a comic/horror feel. You on the one day we scouted, it poured rain – and magically stumbled across a but today they have been copied so many times that they are tired or the premise can do this, but you may alienate your core local farmer who would allow us access to his farm which contained a pair of is outdated. Look hard at a story you’re considering and ask yourself, can this be audience, the fans of the author. turbines along a dusty road. It was perfect. Too perfect. fresh? I think adapting Poe’s “The Tell-Tale Heart” as written for the upteenth time may not be a good path. To switch things up, you may be able to set it in a I’ve tended to mention horror-based projects, Two days before the shoot, our location dropped out, courtesy of a one-minute science fiction world. Maybe you could adapt the story so it would have but The Merchant Ivory company has made phone call. We had researched RV costs, built our entire schedule – including political allegory to today’s world. You could make a version of the “The Red a whole slate of period pieces based upon our actors’ availabilities – around this location, and planned our equipment Badge of Courage” set in Iraq during the war. famous authors’ works. pickups to coordinate with this day of filming. Now, we were in full-on scramble mode as other locations now needed to shift around to compensate. Several filmmakers have adapted the works of the man who is considered the As a side note, Stephen King allows student From previous shoots, I knew of an abandoned factory structure in Gary that greatest writer of all time, William Shakespeare, into different forms. The sci-fi filmmakers to adapt some of his short stories would work in a pinch, and had the number of the main contact already in my classic “Forbidden Planet” was based off “The Tempest.” “West Side Story” was into movies for the whopping sum of $1. Yes, phone, so I booked it as a fail-safe and we went to work. updated version of “Romeo and Juliet.” you read that right. Only $1. Now, there are From that point on, every day was a constant reliance on serendipity. Will restrictions. You cannot make money by selling we have a location today? Will we be able to wrap up this five-page scene in One issue you will have to address is if you want to set the stories in the period your short unless you renegotiate the contract. six hours? Will there be enough parking for our cars? Would our production in which they were written or update them to present day. I shot the short “The You have to contact King and set up the deal, designer Gil Anderson be able to have the props ready to go in time? Would Birthmark” based upon the Nathaniel Hawthorne short story which was set around but it’s pretty simple. Frank Darabont got his our actors wrap early enough to get home to relieve their kids’ babysitters? With the speed at which we had to secure new permits and 1900. Now this meant lining up period costumes, props and locations. The start making a short of a King story. juggle various schedules and re-arrange scenes and locations, none of these things were always guaranteed. writer/director, Jay Woelfel, had access to a location for free (a family home) and lined up the costumes and props. This saved tons of money. Also, the cast was Considering using a public domain story means It’s a testament to one of the best run-and-gun crews I’ve ever worked with that not only did these things get done, they got done well and small so lining up three to four costumes wasn’t that expensive. Now if you want you’re going to have to read. Don’t be afraid. There the time spent on set was a total blast. One day, as we were getting ready for a big dialogue scene involving Greg and Emily, the sun – after to have a huge period ballroom scene, then plan on shelling out some big bucks are some great stories out there that weren’t written a full day of clouds – broke through the trees and gave us exactly one hour of usable, brilliant warm sunlight. The entire cast and crew, to a costume shop. in the last twenty years. You may learn a thing or without missing a beat, rushed to every single mark and we shot a four-page scene with eight different setups of coverage in that single two about how to tell a great story from some hour. When fate gives you a sunset, you use every bit of it. I will say this: period costumes and locations can really bring some class to your master storytellers in your search. production. “The Birthmark” ended up playing on PBS stations around the country. The lesson: preparation is crucial. Because when everything hits the fan, that preparation and organization is what allows you to get creative I think this was because it was a faithful adaptation of Hawthorne’s work and the and fly by the seat of your pants. 16 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 17 distribution Online Distribution Breaking Into Hollywood film business Online Distribution Breaking Into Five Lessons Learned Hollywood By Jonathan Moore DO EXPECT TO WORK HARD ONLINE 3 As any successful independent filmmaker will tell you, The five things youMUST have in order to Succeed After working on our feature documentary for much longer making the film is only half the work. Selling it, getting it out By Carole M. Kirschner than planned, my wife Karen and I were prepared to send it there for people to see – maybe even making a little money Really Smart Self Marketing – is the other half. Many filmmakers don’t see themselves 5 out into the world for all to see. We were excited. In Hollywood they say it’s all about who you know. While that’s true, as marketers or promoters, but if you’re going to do it as an Having a smart self-marketing plan means having the ability to talk it’s equally true that it’s all about who knows you… and what they about yourself in such a way that people not only get excited about you “Coaches’ Wives” is a niche film, with a very specific, but independent filmmaker, you’d better be prepared to spend think of you. It doesn’t happen by accident. It takes planning and and your work but also want to hire or help you. The whole thing might large, audience of individuals in the athletic community. a lot of time online. This includes research and marketing, skillful preparation. sound a little forced and fake, but the truth is, when you do it right Chronicling the joys and challenges of being married to a Tweeting others your website and trailer, meeting folks online and seeking out media exposure. All of this takes time -- it will be authentic to the real you and it makes the real you stand coach, it examines the complex balancing act that a woman When it comes to the entertainment business, in order to break in (and and effort. You’d better be prepared to spend a lot of hours out from the crowd. Being memorable means staying on people’s radar must perform when married to the coach of a sports team. stay in), I believe you need to have these 5 things: in front of the computer – writing people, reaching out, (which is extremely important) so when they have a job to fill or they hear about one, you’ll be the one they contact to come in. The three With some of the biggest names in American sports informing others about the film. things you need in your arsenal to create a smart self marketing plan: involved, we were positive that there would be no shortage Blazing Hot Creative Material of people that wanted to see the film. But how do you get it IT’S A MARATHON, NOT A SPRINT 1 • Your personal logline out there? Since our marketing and distribution budget was For writers/directors, this can be a portfolio of scripts, short films, 4 Many filmmakers, including yours truly, have found • Your personal A story practically nil, and with a large following on social media, we webseries, etc. Keep in mind, when you’re breaking in, your “material” is themselves under the delusion that they are not only going • Your anecdotes or story nuggets. decided to forego traditional distribution and do it ourselves. to make a ton of money – but going do so right out of the most often your cover letter and resume. We’ve done it all online. gate. It’s important to remember that the marketing and promotional process should continue on long after the film Industry Savvy Now What? So far, it’s been a great decision for us. But it hasn’t is released. There may be other media coverage or blogs 2 Now that you’re armed with the five things you need to have in order come without its pitfalls and bumps in the road. Here or journalists that give your film attention and press several Industry savvy means having a sense of the big picture and where you fit to make it in Hollywood, what’s something you can do in the next five are five (tough) lessons we learned – and are learning – months after the online release. And in a nod above to point into it and knowing how to navigate it. You may have just gotten out of minutes? Work on your personal logline. In show business a “log line” along the way: #3, you should still be working hard online, promoting, college or you may have spent time in a different business, but if you want is an intriguing one or two sentence description of a movie, television Tweeting, writing e-mails to people that can help get your to (and I want you to) succeed in Hollywood, you need to know what’s show or video series. It’s what producers pitch to sell their project. A IT PAYS TO IDENTIFY A NETWORK OF film exposure. All of this takes time. Yes, you can make happening. You do this by consistently researching and staying on top of personal log line is a few sentences that describe who you are, what some money. But it could take awhile. entertainment industry news, trends, the major players and events so you 1 FANS BEFORE THE FILM IS COMPLETED you currently do, what you want to do, and WHAT MAKES YOU If you had a crowd-funding campaign to help raise money to Perseverance is important! can talk about them intelligently. DIFFERENT from others doing it. Being clear about who you are and produce the film, then you may already have a solid group what you have to offer will set you apart from your peers. of individuals supporting you. You absolutely have to use DON’T COUNT ON YOUR FRIENDS Enough connections: them as a resource. If not, then start promoting your film 5 AND FAMILY 3 online and through social media and seeking out people and The toughest lesson for us was discovering that friends A community of people in your Which of these people makes you want to groups that you think may be interested in your film. If it’s and family, though well-meaning they may be, cannot be corner - to get traction know more about them? a narrative film about a Civil War hero, then reach out to counted on to be a significant source of sales. history buffs and Civil War museums and curators. If it’s a In other words, the “it’s all about who you know” part of the equation. “I graduated from college two years ago. I’m not sure what I want documentary film about a local football team, then get the 1 One would think that of all the potential folks that would Some people think in order to create this network of allies, they have to to do. Maybe be a cameraman or a director. I made a few student films, word out to the fans and supporters of the team. purchase your film online, that close family and friends be “networking.” However, when I think of the word networking I picture but I’m just not sure.” would be the first in line to do so. This is not always true. slick, aggressive people who are trying to get something from me. You Common sense is the key here. Set up social media pages Furthermore, many of those closest to us still regularly “like” don’t want to network. You want to “connect”. Connecting is a better word “I’m an aspiring writer. Even though I’m just out of college I know I for the film and try and get the relevant folks to like and 2 and “share” information and updates about our film online because it means you’re meeting new people and when there’s a real like to write dark crime dramas. I guess it’s because half my family are follow you. When the film is completed, those folks will be and tell others about it. But many of those same people connection you create a mutually beneficial relationship. So how do you cops…and the other half are criminals.” interested in seeing/purchasing the film. Don’t wait until the have not purchased the film. take the “eww” out of “shmooze”? By being your authentic self – and film is completed to gain a following. focusing on how you can help others without worrying what you’re going Your turn. Take the next few minutes to answer what you do, why That is not real and genuine support. It doesn’t mean you to get out of it. you’re good at it, what you’re passionate about and how you’re different YOU CAN OVER-PROMOTE, TOO EARLY have to harbor resentment toward those individuals. But from others doing it. Once you’ve written out your log line, the next 2 This one is tricky. Once you have established a following indie filmmakers need to understand that there are many most important thing is: Practicing it. Because your Personal Log and are getting some attention on social media, you’ll want who “want” to purchase the film or “intend” to. But wants Personal Mission Statement / line is something that’s continually changing and evolving depending to promote the film by showing trailers, giving information, and intentions do not make a sale. It pays to have a thick 4 Game Plan on what’s going on in your life… rehearse all your versions until they having contests, and revving up the interest in the film. skin on this topic because you will be disappointed by some come out sounding natural. Use words that fit you. Start by practicing But, don’t do it too early. Don’t get everyone in a fever of those closest to you. But if you’re prepared, you can be I meet a lot of people that are totally committed to being successful in your personal logline on five trusted friends or family members. Ask for pitch too soon – and then take another year or so to finish ready. Eventually, many of them will come around. But it Hollywood, but aren’t nice humans. You’ve heard the tales. You’ve seen feedback and tweak it until it feels second nature to you and you get a the film. Interest will wane and you’ll lose supporters. They may take some time. the characters in TV shows and movies. There will be times and situations positive response every time you say it. will get tired of waiting for the film to be completed. It is where you’ll feel like, “I gotta get this job or else!” or “I gotta meet this in a filmmaker’s best interest to time the beginning of the With a little ingenuity and a large dose of patience, you can person or else!” not caring how you do it or who you hurt in the process. You can find out more about each of the five points in my promotion so that it will hit its peak just before it is released. self-distribute your film and get it in front of many eyes. It But I believe it’s just as important for you to be a whole, balanced book, Hollywood Game Plan: How to Land a Job in Film, takes work and a strong belief in your film. There will be human being. Creating a personal mission statement will help you see TV or Digital Entertainment. bumps in the road and you will make mistakes. But if you that whether or not you land this one job, or meet this specific person, learn from those mistakes – you’ll be on your way. you’re building a career and are in it for the long haul. Who are you at I wish you the best of luck as you achieve your Hollywood dream! the end of it matters.

18 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 19 post production How AMD FirePro™ Technology Powers the Next-Generation of Filmmaking Creativity How AMD FirePro Technology Powers the Next-Generation of Filmmaking Creativity post production How AMD FirePro™ Technology Powers the Next-Generation of Filmmaking Creativity Bring Your Vision to Life By Melanie Ball, AMD

It goes without saying that as a filmmaker, having a strong vision and compelling story to tell is a must. However, it’s equally crucial that you’re equipped with the right technology to bring this vision to life. Learning to use visual effects tools and applications is a critical part of an aspiring filmmaker’s education to ensure they’re production-ready come graduation day. From graphics hardware to software power their creativity in real-time. AMD FirePro™ W7100 professional graphics delivers even more exceptional applications, AMD FirePro™ provides the ideal solution to help tomorrow’s prolific performance and special features designed to accelerate high-end creators gain the technological experience and skills they need today. When it comes to enabling amazing visual effects, it’s not just about workflows for media and entertainment professionals. As the first providing innovative hardware but delivering the tools and applications single slot workstation solution with 8GB of GPU memory, 4K multi-display For more than 45 years, AMD has driven innovation in high-performance computing, for filmmakers to bring their imaginations to life. That’s why AMD has capabilities, improved geometry performance, and HD multimedia engines, graphics, and visualization technologies ― the building blocks for gaming, immersive developed tight relationships with major players in the software world like users can swiftly elevate film projects to new heights. platforms, datacenters and visual effects. Hundreds of millions of consumers, leading Autodesk, AVID and Adobe. Working closely with the ISVs that matter to Fortune 500 businesses, and cutting-edge scientific research facilities around the world aspiring filmmakers ensures the highest level of application performance There’s an old saying, “A good workman never blames his (or her) tools.” rely on AMD technology daily to improve how they live, work, and play. stability with AMD FirePro™ graphics. While this is a noble thought, having access to the right tools and knowing how to use them is paramount for producing your best work, especially in The result is a complete platform solution to help turn your vision into a technology-centric industry like filmmaking. A proven track record of innovation reality, and meet tight project deadlines at the same time. Filmmakers can easily and quickly manipulate images or scenes without the wait process HP Z Workstations powered by AMD FirePro™ graphics have the potential In an industry as fast-paced as film and media, it’s crucial that you’re always building previously associated with computer technology. to support your next game-changing visual idea or get you closer to that on the tools and skills at your disposal to continue to evolve your work, and you need Academy award. Together they deliver a complete platform solution to know that the technology you rely on is doing the same. Ultimately, as a student you want to know that your curriculum is focused enabling the next-generation of filmmakers to bring their creativity to life. on the tools and technologies that filmmakers are using today to AMD has a history of innovation and developing technologies to push the better prepare you for the future. AMD has provided key effects boundaries of the visual experience to new heights. Its technology not only powers production technologies for a variety of motion pictures including creators’ imaginations but also produces breathtaking image quality for Baahubali: The Beginning, Revenge of the Sith, Machete Kills, Predators, increasingly spectacular visual effects and new levels of immersion. AMD looks Shorts, Spy Kids 4D, and many more. beyond today’s conventional technology categories to power a new frontier in visual computing -- the marriage of cinematic content and virtual reality, enabled by You have “The Right Stuff”, now you need technologies like AMD’s LiquidVR technology. the right hardware It’s not only technological innovation that drives the film and media industry forward, but companies’ commitments to open source applications and supporting industry For aspiring filmmakers who want big budget effects at a great value, standards. Open source raises the tide for everyone – developers and content creators HP Z Workstations with AMD FirePro™ graphics deliver high-end alike. However for film students seeking blockbuster effects on an indie budget, open visualization capabilities. With ample memory and optimized application source also has another equally important implication: it’s non-proprietary, so it’s free. performance, you can work at a new levels of detail, speed, responsiveness and creativity to push your computing boundaries and At AMD, we have a substantial track record of sharing our own work broadly with the keep up with your biggest projects. industry, contributing to open source projects for developer tools, contributing to open source applications, and supporting industry standards. We still have secret sauce, but Designed, built and thoroughly tested by AMD, creative professionals in we believe that wherever and whenever possible, it makes more sense to invest in media and entertainment rely on the power of AMD FirePro™ professional bettering the community. graphics processing units (GPUs) for their digital content creation and non-linear video editing needs. AMD FirePro™ combines cutting-edge AMD’s commitment to open source is growing. Software tools like AMD’s FireRender and OpenCL help filmmakers take advantage technologies, application certification and optimizations as well as of their graphics hardware to create photorealistic images, and AMD’s new GPUOpen initiative allows developers to create professional-grade support to deliver unmatched workflow performance, ground-breaking computer generated imagery, games and applications for great performance and lifelike experiences at no cost. application experience and reliability.

The AMD FirePro™ W5100 and AMD FirePro™ W7100 GPUs are ideal The many pieces of the performance puzzle solutions for the budding filmmaker, delivering the sweet spot between value and performance. AMD works closely with other industry innovators to ensure that students have a great experience with the hardware and applications they learn on, and that they’re equipped with the tools filmmakers are using today. The AMD FirePro™ W5100 enables you to tackle large projects backed by 4GB of graphics memory, 4K support and quad-display connectivity. As the Last year, AMD and HP announced that the Vancouver Film School (VFS), a leading Canadian post-secondary entertainment arts institution, expectation for more and more 4K content grows, the ability to accurately installed 775 HP Z420 Workstations with AMD FirePro™ professional graphics. The workstations are being used by students in the animation, view and edit that content is managed with the 4GB of ultrafast GDDR5 film, game design, programming, digital design and foundation programs, giving the Vancouver Film School students the tools they need to memory -- the most ever offered by AMD in this product class.

20 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 21 on campus Vancouver Film School Vancouver Film School on campus

Vancouver Film School our screening room, and we also have 7 advanced workstations for our projects, they’re very much short films, but regardless, long form or Exclusive Interview with Ted Jones, Head of Department, Film Production final films, which are also HP Z420s, and we also have HP clear bright shorter form, we need that stability in there, and everything works very monitors there for color correction. So it’s about 70 or so machines just well for us. Final films tend to be longer form. It could be 45 minutes, Vancouver Film School is not the determining factor, I don’t believe, in storytelling. It is one of in the Film Program alone. half an hour, 20 minutes. They are a much longer form, and when we are those partners along the way that help enhance, enrich, and promote (VFS) is a post-secondary in the position, once we’ve done all our assessments and determinations, the story that we’re trying to tell. So I think that in education we SFM: How does HP and on our new post pipeline we’ll be supporting that process as well. So entertainment arts school always make sure that technology is riding along hand in hand, and that’ll eventually be a 4K post production pipeline. In Industry right now, in some areas more so than others. For example, in Post Production AMD technology improve there’s not a lot of 4K being deployed in the world, so we try to mimic located in Vancouver, when we train, or in our Cinematography Department here in Film, but workflow for student industry in our processes as much as possible, so we’re currently cutting British Columbia, Canada. we also try to make sure that the student understands that a $3 million projects and learning? to high-def at this stage. dollar camera doesn’t necessarily make for a good story. It certainly VFS has provided can help. But it isn’t what the whole pie is about, it’s just a piece of Ted Jones: Well, I think the SFM: If you could share your insights or a piece that. So it does have importance. But we all try to keep that very much students with a unique simple fact that the HP Z Workstation in context and clear about how that helps us along the way. of advice with filmmakers around the world, what one-year educational is stable. We’re on the Windows 7 Professional platform. The stability would it be? model, and a SFM: What workstations do your students use factor is what helps our pipeline. We life-changing experience, and what applications are they using? certainly have the horse power in Ted Jones: That’s an interesting question. I think the piece of advice those workstations. The RAM, the that I give filmmakers, I give students all the time here is just no matter what, stay current. Stay current in the technologies that are out there. If for 30 years. Ted Jones, We are an HP facility. We just upgraded not too long CPU horsepower, the fact that they Ted Jones: by no means you necessarily are able to be in front of current ago to the HP Z420 workstation, and housed within that as far as are stable machines is what really at Head of Department, Film technologies, but be aware of those technologies and also be aware of throughput goes with the graphics card, the AMD W7000 card is the end of the day makes a lot of sense clearly for us especially when how those technologies can assist you in your endeavors to get your Production, has spent 20 years as a film and nestled quite nicely in there as well. Those machines we use at our the students are in their final films. For the last two months of our stories out to the world. And I think that’s the connection that we always Post Production Department. They are our workhorses. The software program, they live and breathe, and television educator. He co-wrote the book, “The want to make sure that students understand. How is this technology that drives that along is we are also an Adobe Creative Cloud school so literally live in an edit suite to cut their finals and it’s rare on a day that going to help you? How is it going to enhance? And how is it going to Movie Making Course,” with Chris Patmore, and we are using Premiere and After Effects. But the mainstay to our post we may have an issue, let’s put it that way. So I think that overall, it’s help you stay true to the story that you’re trying to tell? And be aware of production non-linear digital editing is the Avid platform, which is also just machine stability and that keeps students moving forward. has directed and produced various independent what content is needed out there in the world for sure. used within those workstations as well. So that’s that whole sort of documentary short films. Ted received the Prix world of software and hardware that we use here in the Film Program. SFM: What are some examples of student We really want to make sure that our student filmmakers come out being de Lausanne as the Director of the documentary projects? Can you tell us more about the tools and able to tell good stories, make good films, understand the basics of “Petroleum: River of Energy.” StudentFilmmakers SFM: In your part of the school are you also using workflow as it relates to computer technology? technology that’s out there, so that when they go forward, they want to Magazine talks with Ted about VFS, technology, Maya from Autodesk to do animated films? be an independent filmmaker, and they want to move into their own Ted Jones: We are currently undergoing a camera platform digital platform and cut their films themselves, they have an and advice he shares with new filmmakers. Ted Jones: The 3D Visual Effects Program is Maya, Nuke. The upgrade. We are currently rolling out the Sony FS7 camera that is a 4K understanding of what that actually looks like in relation to a film that Foundation Visual Art and Design Program also teaches an introductory platform. We are just in the midst of doing an assessment on what our may be a forty or fifty or sixty million dollar film. Technology’s been StudentFilmmakers Magazine: What is your course in Maya as well. post pipeline will look like for that. And, also we’re investigating what wonderful. It puts the tools into the hands of the new filmmaker more our advanced platform for camera would look like. We are looking at and more. But we have to be clear that there is still a separation between teaching philosophy? What is important? high-end and the kinds of things that an independent filmmaker can look SFM: Do you have a render farm ARRI, we are looking at RED. So in moving forward with that as we roll out these cameras, the computer technology that has to support forward to as well. So, it’s all about story, and that’s what we want to Ted Jones: I will speak to kind of a global VFS / Film Program separate somewhere? that is critical. We don’t shoot feature films here in the Film Program. push no matter what the tech is. teaching philosophy because all instructors I think hold the same For example, in Term 1, all the students shoot a 3-minute, two-actor, philosophy. That is we teach to ‘story’. So whether we’re teaching in post Ted Jones: Absolutely. The 3D Visual Effects Program has a render one location, no-budget film, and all 36 students in a given class get to For more information about production, and whether we’re teaching in directing or producing, the farm. We run on fiber with 10gb/sec to the desktop. shoot that. And so, they are very busy when it comes to their next term, philosophy is we always relay our curricular material back to ‘What is the in Term 2 of editing those films for presentation for grading. That makes Vancouver Film School, visit story?’ Telling a great story. SFM: How many HP Z Workstations with AMD for a very busy post production facility for sure. They are shooting on futurestudent.vfs.edu/spring-2016-film. FirePro™ did you install for the students? high-def. We’re shooting 4K, but we’re down-resing into a 1920x1080 SFM: In relation to your teaching area, what are platform, so we’re not yet with those first few projects shooting 4K. That’ll be for more advanced production later on in the program. Term 2 your thoughts on technology and how technology Across the school there was something like 720+ Ted Jones: is the same thing, it’s in studio with set builds, and another 36 films get impacts education and students? machines that we were upgraded to. In the Film Program, we have a shot. Then, in Term 3, they’re editing those films, and they’re shooting lab, plus an instructor station of 36 seats, so it would be 37 a pilot, an episode too. All of those projects, Term 1, 2, and 3, in the workstations. Then we have another lab with an instructor workstation Ted Jones: Technology has its place, that’s to say it is important. But first six months of this one-year program see an awful lot of busyness of 24 plus 1 would be 25, so 60+ there. We also run the HP Z420 in I think it’s a partner in how we tell our stories as filmmakers. It certainly when it comes to the post production side of it. They’re not long form

22 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 23 post production Render and edit at lightspeed post production

used across many creative industries. also boasts low acoustics, dual integrated Gb Render and edit at lightspeed with Editor’s Perspective Ethernet, and aluminum panels. The deskside What’s your favorite editing powerhouse is also 5U rack mountable. You will Q&A with Jeff Spoonhower software, and why? experience overwhelming silence with the new HP Z Workstations and Premiere Pro. It is stable, powerful, fast, and HP Z Cooler for the HP Z840 Workstation. Animator, Game Developer, The innovative, ultra-quiet cooling TM easy to use. Adobe has done a great job Cinematic Artist & keeping Premiere up to date as far as features solution is designed to reduce AMD FirePro graphics Editor, Professor and tools go through their subscription service. system noise in your HP Z of Film and Digital Workstation environment Media Production What do you think about the so you can focus on your at the University of HP Z Desktop and Mobile project, even under Notre Dame Workstations? the most demanding These machines look awesome! The specs workloads. The HP Z840 Do you edit on the hardware are seriously impressive includes an embedded and both the desktops and laptops should SAS controller and on PC? a second processor Yes! I edit solely have no problem handling a wide variety socket on the main on PCs these days, of high-end editing, design, and animation system board. With although I spent the first few years as a Senior projects. Although the 17” laptops are 7 PCIe slots, up to Video Editor at 2K Games editing on a Mac becoming a bit rare these days, I prefer the 10 internal drive bays, Pro. When the new Mac Pro model (the black larger screen real estate when compared to and 16 memory slots supporting cylinder) was initially announced, the video the smaller 15” models. This is really up to 1 TB of memory the HP team leads had a lot of discussions internally important when editing, or working with Z840 can do it all. Maximize about the direction we wanted to go in, as menu-heavy programs like Maya. your time and increase your far as editing hardware and software was capabilities with built-in USB, SATA and SAS or simulations at once), such as working concerned. We decided to move away from What does the AMD FirePro™ If you are looking for the strongest, fastest, 3 for I/O connectivity, HP Z Turbo Drive to ports. Set a new performance curve and reduce on applications that can split a task across the Mac platform in favor of working on PCs professional graphics card most reliable, most adaptable, most reduce graphics response times and with boot up, calculation, and graphics response processors (multi-threaded), like animation/ for several reasons. The new Mac Pros had technology mean to you? upgradeable, and most customized workstation 4K video workflows, and HP DreamColor times and revolutionize how you handles large rendering in Digital Content Creation. limited internal expansion possibilities (hard for your filmmaking, VFX, animation, and video/ technology, which helps you maintain What do its specs tell you? files with the HP Z Turbo Drive. film editing needs, this article serves as a good consistent color across digital workflows. drives, GPU, etc. - most of which are non- The higher end W7100 seems like a monster starting point. HP Z Workstations and replaceable). PCs offered user-upgradeable and would be a treat to use in Maya and AMD FirePro™ W5100 HP ZBook Mobile Workstations work well with HP Z Workstations empower your video and hardware that was at least (if not more) Premiere. The retail price point for this card HP Z440 Workstation Professional Graphics 4k and 8k workflows, HDR, high frame rates, film post-production workflows with 64-bit powerful than the components in the Mac Pro ($700) is very reasonable. Tackle larger projects with 4 GB of graphics at a more competitive price point, and we felt high-end price performer Stereo / 3D, VR, and multi-camera mount system architectures, multi-core processors, Choice of Windows 10 Pro or Linux. memory, 4K support and quad-display that the Adobe editing, animation, and motion setups, for example, 3D rigs and GoPro rigs leading-edge graphics, and large memory How does the HP Z Workstation Customize to your needs with 2 power supply connectivity. Future-ready for 4K: Equipped design ecosystem was much better suited for where you have 12 or more camera mounts capacities that allow multiple applications to and AMD FirePro™ technology options. 2x performance of SATA SSD with with four DisplayPort outputs with DisplayPort shooting multiple streams of video and run simultaneously. Whether in a desktop or a our type of fast turn-around creative work than apply to some of the needs HP Z Turbo Drive G2. 1.2a support and six display engines, the you’re editing video that is massive in file mobile system, HP Z Workstations also bring the new version of Final Cut Pro. I love editing in the industry? AMD FirePro™ W5100 can drive up to three size. With technology and workflow changes, you high system reliability, HP DreamColor in Windows. Camera shooting resolution is constantly The HP Z440 features a perfect mix of HP Z 4K displays at 60 Hz or drive up to four the minimum requirements keep going up. technology to maintain consistent colors, increasing. 4K is becoming the new standard, DNA in a performance workstation with up to 8 4K displays at 30 Hz. Upgradability of HP Z Workstations and Thunderbolt™ connectivity, HP Z Turbo Drive What makes a great editing and 6K will follow. The HP Z and higher-end discrete processor cores, up to 128 GB of RAM, HP ZBooks lets you keep up with changes. to handle large files blazingly fast, certification system, and why? FirePro™ GPUs should be able to chew through and multiple storage and PCIe configuration The AMD FirePro™ W5100 workstation graphics Additionally, with HP ZBooks, you’re from independent software vendors, and High quality, powerful components, and these pixels and allow editors to get more work options. The HP Z440 Workstation gives you card delivers impressive performance, superb provided with options for solutions without tool-less chassis designs to simplify system production-tested software applications and done, faster. Deadlines are always becoming professional expandability in an accessible visual quality, and outstanding multi-display sacrificing portability. maintenance and upgrades. plugins… The CPU, GPU, RAM, and drives shorter, and budgets tighter, so it is very tool-free mini-tower form factor, all at a capabilities all in a single-slot, <75W solution. are all equally important in an awesome important to edit, animate, render, and encode great price. The HP Z440 is the performance It is an excellent mid-range solution for film, In both desktop and mobile systems, HP Z editing system… You do not want your on a powerful, stable machine. platform designed for entry-level workstation video, and broadcast professionals who work Workstations help you boost productivity with HP Z840 Workstation system to be the bottleneck to your requirements for a wide range of professional with media and entertainment applications. multi-core processors, large memory capacities, creativity and productivity. Does this apply to some of Ultra-high end software. With a full range of graphics cards, The AMD FirePro™ W5100 features four display leading-edge graphics, and unique technologies Up to 44 cores, 1 TB of memory, the industry needs with 4k processors, and optional Thunderbolt™ 2 outputs and AMD Eyefinity technology support, built for the media and entertainment and 10 internal drive bays On the software side, my bread-and-butter technology and workflow? connectivity, the HP Z440 is capable of handling as well as support up to six simultaneous and industries, such as ThunderBolt™ apps are Adobe Premiere, After Effects, Can this handle 4k? heavy workloads and complex 3D modeling independent monitors from a single graphics Built for high-end computing and visualization, Photoshop, Audition, as well as Autodesk Maya Absolutely. Editors need as much CPU and flawlessly, something users cannot do on a card via DisplayPort Multi-Streaming. Also, the the dual-processor HP Z840 and Mudbox. I use all of these apps on a daily GPU power, and as many gigs of system RAM typical commercial PC. The HP Z440 provides AMD FirePro™ W5100 is backed by 4GB of Workstation delivers outstanding basis for my editing, animation, and game as they can possibly afford, to quickly and a robust system and a long lifecycle. ultra-fast GDDR5 memory. performance. The HP Z840 is a development work. I also consistently use efficiently create the high-quality content that The Z440 chassis is slimmed down to fit in high-end solution that provides a few awesome plugins for these programs, their clients demand. 4U rack mounting. the most configurability and including Video Copilot’s Optical Flares, Twitch, AMD FirePro™ W7100 highest compute capability and Element 3D; GenArt’s Sapphire; Red Giant’s Jeff Spoonhower is a 14-year veteran of the Professional Graphics of any workstation. The Trapcode Suite - and a few others. It’s very video games industry. Jeff has worked as a Multi-Core Processors World’s first single slot professional Z840 is HP’s ultimate, important, especially for students learning Lead Cinematic Director, Senior Animator, and Multi-core processors provide graphics card with 8GB memory— workstation-class work horse. various production and editing techniques, Senior Video Editor at Electronic Arts, Sony greater processing be prepared for large Film/Video, The sleek and sturdy HP to not rely on plugins for their projects. I Computer Entertainment, 2K Games, and THQ/ resources. Multi-core VFX, and animation projects. Z840 Workstation features encourage my production students to work Deep Silver. As both a full-time staff employee processors are Ready for 4K: Equipped with uncompromised reliability, a hard to master the foundational skills first - to and freelancer, Jeff’s work has been featured in ideal for usage four DisplayPort outputs with tool-less chassis to facilitate really grasp the basics and do great work with more than fifteen award-winning, multi-million- models requiring DisplayPort 1.2a support and six upgrades, a lockable side the “bare” programs - before attempting to dig unit selling games. Jeff is currently working multi-tasking display engines, the AMD FirePro™ panel to secure your valuable into any additional plugins. on an independent video game titled “Anew: (running many W7100 can drive up to three 4K components and data, and The Distant Light” (anewthegame.com) and is applications displays at 60 Hz or drive up to handles to easily move the The important thing to keep in mind is, these crafting the game’s narrative, art, animation, four 4K displays at 30 Hz. system around. The system’s tools are worth their prices of admission. They and sound design. elegant industrial design are stable, powerful, professional tools that are The AMD FirePro™ W7100

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workstation graphics delivers great HP Z Turbo Drive Quad Pro Editor’s Perspective HP DreamColor and Z performance, superb visual quality, and High volume at a low price. outstanding multi-display capabilities. It is Affordable scalability. Displays an excellent high-end solution for film, video, The award winning HP DreamColor and Q&A with Maria Cusumano ultra-high definition HP 4K and 5K Z Displays and broadcast professionals who work with Power through your largest data challenges doesn’t want the risk or complications Editor / Colourist are designed and engineered with HP Z advanced visualization, complex models, large and get amazing performance with the HP Z associated with building their own workstations. Workstations to outperform, so you can data sets, video editing and production. The Turbo Drive Quad Pro, which integrates up to The Z Workstations are reliable, ridiculously Do you edit outperform with striking visual results. AMD FirePro™ W7100 features AMD Eyefinity four super-fast HP Z Turbo Drive G2 modules fast, and they take out the guesswork of technology support for up to 4 directly attached on PC? worrying about hardware, and let you focus on Work in brilliant, trusted color and bring independent monitors I have edited almost your editing/motion graphics/high-end 3D. your ideas to life with the HP DreamColor from a single graphics exclusively on PC Z27x and Z32x UHD display, featuring HP’s card. Also, the AMD workstations since What does the AMD FirePro™ unrivaled integrated calibration engine, FirePro™ W7100 is I began my editing professional graphics card 4K input support, and 10-bit color that backed by 8GB of ultra- career in 2008. It technology mean to you? What drives up to 1.07 billion onscreen colors. fast GDDR5 memory. initially began as do its specs tell you? HP DreamColor and HP Z Displays are ideal working with what for a wide range of color workflows, AMD FirePro™ graphics cards are pretty was available, but after working with both including animation, visual effects, awesome. The 3D, W5100, and W7100 offer Memory (RAM) Macs and PCs I actively choose to edit on post-production, digital photography, and a huge graphics processing punch for a pretty DDR4 is the latest PC for the ease of hardware and operating digital pre-press. affordable price. With 8GB of VRAM, the W7100 memory technology system customization. pretty much slices through most 4K footage. available for main The HP DreamColor Display has been The FirePro™ series is a great choice for memory on mobile, What makes a great editing used in the creation of blockbuster and desktops, workstations, someone who needs real time video playback. system, and why? award-winning films. HP DreamColor Displays HP’s 4K and 5K resolution Z Displays offer a and server computers. A great editing system gives you the right helped bring color to life for a magnitude of complete line up of 4K UHD displays ranging in DDR stands for Double What kinds of software will the combination of out of the box ease of use, and Oscar award nominees and winners, including size from 23.8” to 31.5” diagonal size and an Data Rate, which HP Z Workstations systems run? customization. I feel PC workstations excel in “Life of Pi,” “Hugo,” “Gone Girl” and all impressive 27” diagonal 5K display. Experience transfers data on both HP Z Workstations can run pretty much this way because they offer you the kind of DreamWorks animated films from “Madagascar” amazingly sharp details with the HP Z27q the rising and falling anything from the Adobe Creative Cloud, customization that would be unheard of in a and the “How to Train Your Dragon” series. 27-inch diagonal UHD display, which delivers edges of the clock signal. to AVID Media Composer, Da Vinci Resolve, Mac. In the process of researching and building HP DreamColor Displays were used in a number an astounding 5K (5120 x 2880) resolution DDR4 supports higher AutoDesk’s high-end software family, Cinema a workstation I’ve become a bit of a hardware of the films nominated for the 2015 Best with a massive 14.7 MP, 217 ppi, a 16:9 aspect speeds and bandwidths than its predecessor 4D, and Nuke. If it’s a high-end, intensive geek, and the ability to upgrade my computers Visual Effects categories and Best Animated ratio, and high brightness. Includes pro-class, DDR3 and enables significant power savings. into one PCIe x16 card. Supported on the workflow, these workstations can handle it. specifications to maintain the pace of Film, including: Weta Digital for visual effects 10-bit color quality and up to 1.07 billion Also, with the introduction of three dimensional Z840 and Z440, HP offers both 256 GB or 512 4K and beyond digital filmmaking landscape on “Dawn of the Planet of the Apes” and colors as well as 99% coverage of Adobe® stacking, it can support higher density DIMMs. GB modules for a potential 1 TB total storage What’s your favorite is a huge advantage. DreamWorks Animation for Best Animated RGB for unbelievably rich presentation of all It is not forward or backward compatible with on one PCIe card. Drive your workstation editing software? Feature Film, “How to Train Your Dragon 2.” your projects. Enjoy immediate, accurate any other type of RAM. DDR4 is supported on workflows at blazing fast speeds 16X faster I typically edit on Adobe Premiere CC. I started What do you think about the color calibration for sRGB, Adobe, and BT.709. the HP Z840 and HP Z440 Workstations. than a SATA SSD with a solution that delivers out editing on Premiere Pro CS3 in high school, Get exceptional, consistent 10-bit color Combine all this with wide IPS viewing angles sequential performance up to 9.0GB/s. The HP Z Desktop and Mobile and with each release I am so pleased that precision, out-of-the-box color calibration, and you can make every seat a great seat. HP Z Turbo Drive G2 Quad Pro features a Workstations? Adobe has listened to editors needs by adding HP Z Workstations are pretty much industry and sRGB, BT709, and Adobe® RGB coverage Error Correction Code (ECC) PCIe Gen3 connection enabling enhanced robust features to its platform. It has fantastic standard for PCs when it comes to 3D and high from HP DreamColor technology. In fact, the Experience ultra-high definition/4K1 image performance levels of greater than 2GB/s per support for a variety of cameras and workflows Protection end video editing. They’re a great balance of Academy of Motion Picture Arts and Sciences presentation and factory-calibrated color Error Correction Code (ECC) provides protection module. It also features industry leading NVMe that has all but made offline editing obsolete customization, accessibility, and processing has honored John Frederick, Bob Myers, Karl accuracy out of the box with the HP Z24s against some data bit corruption events, either controller technology specifically architected for for a powerful workstation. Working frequently horsepower, and are a great choice when Rasche, and Tom Lianza with a Scientific and 23.58-inch or HP27s 27” diagonal IPS UHD in the DRAM chips on the DIMM, or on the low latency for SSD products giving a 3x gain with RAW footage from RED Cinema Cameras, working with multiple computers in a studio Engineering Award for developing the HP display with massive 3840 x 2160 resolution, memory bus and in the platform’s memory in Random Read performance over traditional I love the accessibility to RAW image controls workspace. As for the ZBook G3 series, with DreamColor Professional Display. Now the 185 ppi, and sRGB color gamut for your controller. On ECC DIMMs, 8 additional data SATA SSD products. Additionally, with HP Z right in the program. Its integration with After the addition of ThunderBolt™ 3’s 40 Gb/s data standard color-critical display at most of the demanding digital workflows. Additionally, you bits are implemented, giving a data bus width Workstations’ internal cooling solution you don’t Effects and Photoshop is indispensable as a transfer rate, and the ability to link up to 12 major animation and VFX studios worldwide, can instantly mirror your smart phone or tablet of 72 bits instead of 64 bits as on non-ECC have to worry about the performance throttling motion graphics designer, and Media Encoder’s devices including hard drives, monitors, and the HP DreamColor Professional Display content to the large screen through an easy DIMMs. Additional DRAM chips provide the down under heavy workloads. use of Mercury Renderer has cut down on external GPU chasses out of a single port, the powered the creation of four of the five MHL connection that also keeps your devices additional memory space needed for the ECC render times significantly. Premiere Pro is a ZBook looks like a serious contender to replace Best Visual Effects nominees at this year’s charged and ready to go. protection. For each data transfer to the DIMM Deploy an enterprise-class solution with a great option for a single editor and is making the Macbook as an On Set Standard. Academy Awards. during a write event, an ECC code is calculated solution that lets you easily combine up to four a lot of ground in the editing world, but AVID HP Z Turbo Drive G2 M.2 modules in one PCIe by the memory controller and stored along with Media Composer is still the industry standard, Explore your creativity and get expansive HP Display Assistant x16 slot for a total capacity per card of up to What outstanding features the data to be written. On subsequent reads, and a working knowledge of AVID is key to views of your film/video/animation projects 2 TB in one PCIe Gen3 x16 slot. Additionally, have you found in the HP Z Software the memory controller checks the ECC code the education of any burgeoning editor. It’s and media with 8 million pixels and 4K (3840 you can add more. The maximum number Workstations? Personalize your workspace with resizable and can determine if single-bit or multiplebit not an easy transition from a Premiere or FCP x 2160) resolution; four times that of a and capacity of the HP Z Turbo Drive Quad I think ThunderBolt™ 3 in the mobile series screen partitions and simultaneously work errors occurred. It will correct single-bit errors 7 style of editing, but is absolutely worth the traditional Full HD display, on a massive 31.5- Pro is limited only by the number of available is going to really open up the market to PCs in documents, spreadsheets, and e-mail in automatically, thereby avoiding propagation effort. Full disclosure, I understand everyone inch diagonal screen whether in landscape or PCIe x16 slots in your HP Z Workstation. The in the coming years. Its ability to link devices separate regions of the screen with HP Display of corrupted data to the system. Multi-bit has their favourite Non-Linear Editing system, portrait mode. Boost your productivity and Z Turbo Quad Pro comes standard with 2 M.2 out of a single port and its blistering transfer Assistant software. View open applications errors cannot be corrected on platforms with and swears by them. It really is a matter of customize your comfort. Connect to an array modules and can support up to 4 modules speeds might be the push to make internal on all of your connected displays with the independent memory channels, as in the preference, and the quality of the edit is in the of everyday devices right at the display with total. Modules are available in both 256GB and SATA storage obsolete, or transition the market expanded toolbar. Deter theft with a user- case on most current workstation systems. hands of the editor, not the editing platform. HDMI, mDP, MHL, and USB 3.0 ports. View 512GB versions to help you configure your to faster, PCIe based M.2 drives. The core designated PIN that deactivates the monitor if However, multi-bit errors can be detected simultaneous feeds in Full HD with picture-in- ideal storage solution. You can get all of this processing power of the Z Workstations is also it’s disconnected from a PC without approval. and, on HP Z Workstations, will immediately Maria Cusumano is an editor, colourist, and picture or picture-by-picture. trigger a Machine Check event which will halt at a price per GB that is a parity with today’s incredible. The Z8 Workstation has twice as all around post production geek based out Find your sweet spot with customizable 4-way the operating system, thus preventing the comparable SATA SSDs. many core threads as a MacBook Pro, which is of Southwestern Ontario. Graduate of the comfort adjustability including tilt, height propagation of corrupted data. an absolute necessity when rendering footage. University of Windsor Communication, Media, HP 4K and 5K Z Displays adjustment, swivel, and pivot settings—plus an and Film program, with focus in narrative and Ultra-high definition integrated HP Quick Release that allows you to Would you recommend the HP Z commercial post production. See her work at Up to a massive 5120 x 2880 resolution. mount the display on a wall. Do it all knowing Workstations? vimeo.com/mariacusumano and contact her at Up to 14.7 MP and 217 ppi. Up to a that your investment is supported by a three- I would recommend the HP Z Workstations to [email protected]. massive 1.07 billion colors and 99% year standard limited warranty on all HP ultra- anyone who needs ridiculous horsepower, but ® Adobe RGB coverage. high def Z displays. To extend your protection

26 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 27 Post PRODUCTION Render and edit at lightspeed

beyond the standard warranty, select optional anywhere by accessing your workstation or HP Care Pack Services. server-based graphic-rich applications and Editor’s Perspective The pros are collaborate remotely in real time from your Reduce power consumption and help lower HP ZBook 15 or any PC, thin client or costs with an intelligent, energy-efficient design Windows® tablet with HP Remote Graphics Q&A with Michael Phillips that is ENERGY STAR® and TCO qualified, Software (RGS). Filmmaker, moving to EPEAT® Gold registered, and has mercury-free Technologist, HP Z Workstations. Chosen by more display backlights, low halogen, and arsenic- HP ZBook 17 Production & Post creative pros every day. You no longer free display glass. Consultant have to compromise. Demand the Mobile Workstation power and expandability of the HP Z Wish you could take your desktop workstation Do you edit Workstations. With up to 44 cores with HP ZBook Workstation on the road with you? The HP ZBook 17 offers TM on PC? Intel® Xeon® processors and optimized Ultrabook HP’s ultimate in power plus portability with My main editing Mobile workstations with up to 32 GB of a 17.3” diagonal screen, massive scalability to run apps from Adobe®, Avid, and finishing system is Autodesk and The Foundry, the Z lets memory, and the innovative HP Z Turbo and configurability, and includes all the latest an HP desktop system. you conquer 4K workflows like never Z Drive PCIe SSD. power-packed features to help you showcase your creativity on the go. Push the boundaries What makes a great editing before. No wonder more creative pros The thin, powerful, and affordable HP ZBook of performance without pushing the boundaries are moving to Z every day, making us TM system, and why? * Workstation Ultrabooks give you workstation of portability. HP’s most powerful mobile I look for a platform that is flexible the world’s # 1 workstation. performance in a low cost, compact package workstation is 25% thinner and 11% lighter and extensible. Learn more at hp.com/go/mac-to-z with HP’s ZBook Workstation Ultrabooks™ than the previous generation, with a stunning offered in both a 14” or 15.6” diagonal magnesium aluminum facelift. Enjoy up to 64 What’s your favorite editing screen size. These customizable workstations GB ECC memory and dual 1 TB HP Z Turbo software, and why? deliver impressive professional 3D graphics Drive G2 for up to 4 TB of total storage. My main editing system is Avid Media and outstanding performance from the Composer, but I have the full Adobe CC suite most demanding applications in a perfect as well as Resolve. Each tool has advantages combination of mobility and cost. Complete peace of mind HP Z Workstations are designed for mission- and disadvantages for the task at hand and critical applications, where system failure is not knowing all of them as well as knowing which HP ZBook 15u G3 acceptable. The tool-less chassis makes it easy one provides the best quality or easiest path is to service and simple to access, change and key in today’s market. Mobile Workstation add components. All HP Z Workstations come Inspiration can strike any time. Be ready with a limited 3-year parts, 3-year labor, and with a mobile workstation that starts at 4.18 Are the HP Z Workstations 3-year onsite service standard warranty that is lbs., 19.9mm thin and offers an optional something that will speed up extendable up to 5 years. touch screen, integrated numeric keypad, high definition editing needs? and impressive battery life. If it’s value in a We are entering a world that even with HD lightweight design you want, this workstation HP Remote Graphics delivery, sources can be 2K, 4K and now 8K can be configured with up to 32 GB memory, depending on what is being used in production. AMD FirePro™ professional graphics, HP Z Software When you are in a service based business, Benefits from unlimited remote access include Turbo Drive G2, 1.5 TB of total storage, and an you have to be ready for whatever is being real-time collaboration, remote workers, FHD touch or UHD display. Configurable options handed to you. and workstation class mobility on a tablet. on the HP ZBook 15u allow you to create the Share your Windows or Linux workstation Ultrabook™ you need. Take advantage of the What does the AMD FirePro™ screen with multiple users simultaneously rich features of ISV certified AMD FirePro™ professional graphics card — grant view-only or full interactive access. 3D graphics with up to 2GB of video memory technology mean to you? Consolidate workstation power to the server designed to work with professional What do its specs tell you? room and allow your professionals to connect applications. Access your workstation or Much of the processing is moving over to in from remote computers at any location. server-based graphic-rich applications and GPU and has been for a while such as color Get complete remote access to the full power collaborate remotely in real time from any correction, etc. Even some codecs are of your workstation and your professional PC, Thin Client or Windows® tablet with GPU accelerated such as RED RAW, so workstation-class applications when off-site, HP Remote Graphics Software. having fast graphics cards with GPU when using a tablet. acceleration is a huge timesaver.

HP ZBook 15 Students can be granted How does the HP Z Workstations Mobile Workstation remote access to the and AMD FirePro™ technology Creativity knows no limits on HP’s thin and high-end workstations through apply to some of the needs light, portable powerhouse, HP ZBook 15, in the industry? the world’s best-selling mobile workstation. HP Remote Graphics Software It will respond to, and scale to the ever Now in its third generation, the HP ZBook (RGS). This effectively allows increasing resolution in format acquisition 15 offers an exciting blend of mobility and them to connect their mobiles as well as the render processes used in robust configurability. Work anywhere and postproduction such as animation, color, and be confident the power you need is at your to the desktops and work as effects processing. fingertips on our most versatile mobile is they were sitting in front of workstation. It’s the perfect mix of style, them. Schools are also using Michael is an award winning filmmaker and features, and portability. HP’s most popular technologist. He holds over 10 patents and was mobile workstation is redesigned from inside RGS to lock up the desktops, awarded an Academy Award for co-invention to out and now 27% thinner and 7% lighter yet still provide remote access of the Avid Film Composer. Michael is Creative than the previous generation. Run the to the high-end performers Technology Officer at Hula Post Production and same demanding professional applications VP of Development at Source Digital. as a desktop workstation without dropping remotely, whether from the www.linkedin.com/in/phillipsm performance. ISV certified AMD FirePro™ offers classrooms, or across the globe. © 2016 HP Development Company, L.P. The information contained herein is subject to change without notice. *Units shipped, based on IDC Quarterly Worldwide Workstation Tracker Q4 CY2015. up to 4 GB of video memory. Work virtually Adobe is a trademark of Adobe Systems Incorporated. Intel and Xeon are trademarks of Intel Corporation in the U.S. and other countries.

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“We have started to use the We also run both Windows and Linux OS’s cohorts, 2D and 3D – we needed across the Undergraduate and Postgraduate. something that could provide a reliable The National Centre FirePro™ GPU’s because of the and seamless experience; with technical types of works our students are SFM: Can you tell us more about support when required. undertaking – the complexity your computer technology selection process? SFM: If you could share your for Computer Animation at of our projects are becoming insights or a piece of advice exponential – students are Sofronis Efstathiou: Sure – we have a with new filmmakers and working with complex detailed 3 year cycle for workstations on the courses, so animators around the world, we need to pick a hardware solution which is what would it be? Bournemouth University geometry and simulations than going to be stable and reliable over that period. The breadth of work our students undertake is ever before; whilst tackling Hmmm – it all huge – from animation, simulation, rendering Sofronis Efstathiou: depends on what they are trying to achieve. films and games assignments to tool building. On top of the student work our The starting point with our students is to ask researchers are using the same workstations to across multiple applications. them to research and plan appropriately, make conduct their research. As mentioned earlier, sure they nail as much of the shoot or narrative The production pipelines we needed to balance great performance with down as early as possible. Addressing shortfalls affordability. Therefore we choose the HP require solid integration because you failed to plan is expensive to Z440 with an AMD FirePro™ graphics card. fix later. And normally, especially if a student across software, hardware The hardware was certified to work with our project – you may never be able to go back software package, whilst we were offered and cohorts, 2D and 3D – we and fix it. Time won’t allow it. Oh – and keep excellent customer service with a point of it simple. I can’t tell you how many times I say needed something that could contact as we started to build our computer that in a year. provide a reliable and seamless image with the relevant software and drivers. Exclusive Interview with Sofronis Efstathiou, Computer Animation experience; with technical SFM: How many workstations did For more information about support when required.” you install for the students? Bournemouth University, and Effects Postgraduate Framework Leader ~Sofronis Efstathiou visit ncca.bournemouth.ac.uk. Sofronis Efstathiou: This year it was The fundamental philosophy of The National University, continuing to teach at the NCCA within the companies – we can rely on many SFM: What are your thoughts on around 80 workstations for the NCCA, however Centre for Computer Animation at whilst also running an International VFX, of them to advise us on our course, current we have over 300 workstations for staff and Bournemouth University is that the field of Animation and Computer Games practices within the industry and ask them technology and how technology students in the building. I believe another computer animation represents the marriage festival called BFX. to give talks and set briefs to the students. impacts education and students? faculty has the same machines – but I’m not between art and science and that Currently students have been given briefs from sure how many of them were bought this year. practitioners in this innovative and exciting SFM: What is your teaching studios that have created films, TV and games Sofronis Efstathiou: Technology field need a good understanding of both the philosophy? What is important? projects such as Gravity, Inception, Interstellar, shouldn’t be a hindrance, students are SFM: How does HP and AMD creative and the technical processes involved. Guardians of the Galaxy, Elite: Dangerous, Tree expected to learn the tools as quickly as Since its establishment in 1989, the school Fu Tom, Avengers, The Jungle Book, Kung Fu technology improve workflow for Sofronis Efstathiou: Our approach has possible and then start to make things! Some has pioneered both undergraduate and Panda, The Chemical Brother, Batman and students struggle with the tools initially – student projects and learning? postgraduate courses in computer visualisation always been to blend the technical side of the Suicide Squad to name a few. It’s these subject with the arts. We have a strong working in 3D can be big conceptual leap and animation, conducted research of industry contacts and their willingness to work Well, they provide philosophy that underpins our delivery and for many. Therefore, we want the overall Sofronis Efstathiou: international significance and pioneered the with us and our students that keep us apart the stability and performance we mentioned course designs – the marriage of art and experience to be engaging and stable. When production of computer animated simulation from other schools. As mentioned earlier, we earlier. It’s important the students don’t feel science and sciences in the service of the arts. technology gets in the way, students will start rides in the UK. Students and staff have had create a unique graduate – an artist who is like they are fighting with their tools. We want This means that our students are uniquely to make compromises that are not always their work screened internationally and have taught math and how to program or script. All to create a positive environment where the placed to be artists with very strong in the best interest of their project. Staff is gained numerous prizes. StudentFilmmakers of this is underpinned with units that reinforce computer becomes an extension of their arm technical skills. I tend to teach the technical also trying to deliver processes and features Magazine talks with Sofronis Efstathiou, art history, cinematography and and their toolset. Each year student projects side of the subject, so in the classroom I want that are at the cutting edge of the industry – Postgraduate Framework Leader at the moving image. become more ambitious and complex, that’s to give the students a good understanding therefore they need stable platforms that are Bournemouth University and BFX Competition the nature of our industry. Whether working of what is happening in the background of powerful enough to run the latest software. & Festival Director. in 2D, 3D or real-time – we need a platform the 3D or 2D application we are using, how SFM: Could you share with us that allows our students to work at the very everything is interconnected and how to be some of the success stories of SFM: What workstations do StudentFilmmakers Magazine: forefront of what is being produced today. We a strong technical artist or technical director students and alumni? your students use and what need loads of memory (minimium 32GB), fast Tell us a little bit about yourself within a production pipeline. We bring a lot of applications are they using? SSD drives, excellent CPU’s and a certified GPU and your background. our industry experience or contacts into the Sofronis Efstathiou: Sure – our capable of displaying large datasets on screen. classroom, which really helps keep the students have pretty much worked on every teaching relevant and progressive. We are Sofronis Efstathiou: We currently use Sofronis Efstathiou: My background Oscar or BAFTA nominated film from the past HP Z440 workstations. It’s a great price point was in product design, which quickly moved never too proud to ask a question or look for 10 years that has required animation of VFX! SFM: Why did your school help. It keeps us on our toes. for us, offering the right types of features choose FirePro™ graphics? towards Computer Animation around 1995. As Graduates such as Andy Lockley have won and power over a three year cycle. We need a teenager I loved playing computer games Oscars for Inception and Interstellar, and this something that is reliable and expandable and making or watching films. In 2000 I SFM: What would you say year Mark Ardington has been nominated – and doesn’t mind being hit by a different Sofronis Efstathiou: We have studied for my Masters at the National Centre sets your school apart from for his work on Ex-Machina. Paul Kavanagh project every day. At Bournemouth University started to use the FirePro™ GPU’s because for Computer Animation here in Bournemouth other schools? recently won a VES for his work on Star Wars: we use industry standard software across of the types of works our students are University, which put me on the right track to The Force Awakens. Our graduates are seen the courses – for Animation and VFX our undertaking – the complexity of our projects working in the industry. I worked in Sydney for all over the world working on some of the main applications are Maya, Houdini, zBrush, are becoming exponential – students are a VFX & Animation studio called Animal Logic, Sofronis Efstathiou: The NCCA has best projects that films or games has to offer, working with complex detailed geometry and been here for over 26 years now, our Mari, Nuke, Katana, Adobe Creative Suite, and on returning back to the UK worked with whether that’s Star Wars, The Lego Movie or Motionbuilder, Unreal Game Engine, Realflow, simulations than ever before; whilst tackling Microsoft’s Lionhead games studio whilst graduates are littered all over the creative the new Marvel film. films and games assignments across multiple industries – many own their own studios, a V-Ray, Renderman and Maxwell (as well as teaching at the NCCA on the Masters courses. host of plugins!). applications. The production pipelines require I’m now a Principal Lecturer at Bournemouth lot of them are supervisors or senior artists solid integration across software, hardware and 30 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 31 networking Film and Video Makers Community Spotlight Why HP Rules commentary

Film and Video Makers Community Spotlight SCRIPT WRITING CHALLENGES AND HOW TO OVERCOME THEM Andrew R. Jimenez Some challenges I have faced when writing a Why HP Rules script are writer’s block, and having to write a script with limitations to locations and budget. Andrew R. Jimenez, originally from Santa Paula, CA, recently relocated to Escondido, CA, for film I try to overcome writer’s block by looking for school. He is a CSU Bakersfield alumnus, professional athlete, mentor, screenwriter, filmmaker, an anything to help spark an idea, depending on in the Newsroom and associate of the Mesa College Film Club and San Diego City College Film Society, and a 4-time what I am writing. It can range from listening published author in poetry. His newest book, “Loved by Day, Misunderstood by Night, Vol.3: to music, to going for a walk outside, or Entering The Real World” is coming in 2016, along with his new film, “The Crown of Roses,” which I will usually do something else I have is based off true events from his poetry book, and is currently in the stages of being shown at planned on that day first and hope when I national film festivals, set for release in 2016. for Daily Broadcasts am ready to work on the script an idea would have come to mind. Jimenez is acknowledged by bestselling authors, highly By David Kaminski to you as unvarnished wisdom and truth. acclaimed educators, former professional athletes There isn’t a whole lot you can do for HP Z Workstations and superstar business managers, including but not limitations to locations or budget if you don’t For time-critical editing and stability, HP Why do newsrooms, operations with daily limited to, 3-time NBA Champion A.C. Green, and Leila have the resources around you. So the best Z440 and Z840 Workstations are king. broadcasts, and time critical operations are used by major Steinberg (Educator, Business Women, Poet, Writer, advice I can give for this is get involved: choose HP systems? Dancer, Singer, Founder of Assemblies In Motion and Sharing the royal power is Avid. The Volunteer at film festivals, join a film club, or Hollywood film studios the former mentor and manager of superstar rapper, big newsrooms and large networked attend some type of film school to build poet and actor Tupac Shakur.) groups have remained firmly HP and relationships with people and professors who and post production Avid for all the reasons of the past: Reliability and Service will provide you with those resources over time. maximal performance, ease of use houses, animation INDEPENDENT FILMMAKING “HP is by far the most reliable.” MEMORABLE EXPERIENCES and repair, guaranteed functionality; I got into filmmaking about three years ago when massive scalability, inter-operability, and and VFX studios, as I took a class in documentary production. It really WORKING ON THE SET predictable and certain outcome. “It’s a simple system to service.” sparked a whole new passion and motivation. I just well as independent I think my most memorable experience is yet loved the entire aspect of filmmaking, and I am Doing the nightly news? Daily content? “The service contract has years considered a jack of all trades because I can be an to come with my film The( Crown of Roses) of on-site service.” filmmakers. because I just got approved for a few locations In charge of the Olympics? Choose editor, actor, screenwriter, director, camera that before were limiting my film’s potential, HP and Avid. operator, etc. And that’s the beauty of filmmaking “The installations that happen on HP because you’re not stuck doing one thing all the time but now we can bring out the best in systems are bulletproof.” like you would do elsewhere, and I don’t believe I everybody and everything in the near future. It is hard to read such a straight-forward updates, you can destroy your Apple have a favorite position because they are all However, working on the set of 6th Floor was a and non-ironic set of statements in computer with one click by inadvertently great learning experience for myself because I important to me. However, if I had to pick three, I today’s age, I am sure. Had this been updating it and then some hardware would choose directing, camera operating, and depending on the project, the third slot got to direct, act, and camera operate, as well as contribute to the script and editing. Plus, I a decade ago, I could not have written Tiers of Functionality peripheral doesn’t have a driver updated interchanges between editing, acting, and screenwriting. One more thing I must add is a professor all of this with such earnestness. Why? for the new OS yet. Your whole production of mine (Prof Cy) told us that “editors are doctors of the multimedia world.” I never thought of it had the chance to work with people who have from that perspective, but I couldn’t agree more. Editors are the people who bring the film to life. the same desire as I do, even though we all Because I have myself drifted from the “There are different tiers of functionality comes to a screeching halt.” may not agree on every single thing, it comes workhorse PCs and Avid, and on to Apple you can get out of a computer.” with a territory, and it forces us to look at the and every other software available. As “With HP, there’s no way to destroy FILM PROJECTS AND SCRIPTS bigger picture. I write this, I am working in an Apple “When you are looking at performance your system with one click the way Some of my previous film projects and scripts: editing lab that has experienced a total there is with an Apple, and that’s the I would like to thank StudentFilmmakers and different tiers of functionality...with “True Friendship: Loyalty Over Everything” which is a documentary on what [True Friendship] is all meltdown. Whose fault is it? Mine. But heart of the matter on why people Magazine for the opportunity to interview me HP you can customize the system to really about. Nowadays, having a true friend is extremely rare and very hard to find, so we take a closer and I would be delighted to do it again in the inherent flaws of the Apple and other make it what you want it to be.” really choose them over Apple.” look on what really defines a ‘True Friend’ and what it really means to be there for somebody. the future. Furthermore, to stay updated or software are also part of the problem. in contact with my poetry, basketball career, Understanding these problems in the I can only say that I have crossed the “A Martyr’s Final Endeavor: Everything or Nothing, Part 1” and “A Martyr’s Final Endeavor: “With HP’s, it’s simplest to add all the films, and just overall true life please follow, context of the network newsrooms and bridge from PC to Mac and am personally Everything or Nothing, Part 2, Psychic Evolution which is a two-part installment. I’m not down with hardware and the system is most subscribe or add me on Instagram, Twitter, the people who cheat, steal, lie and hurt others. I’m just an individual who fights back. Watch and critical operations is important. resilient towards it and there isn’t that looking back to those years of tremendous Goodreads and YouTube @AndyMoMoney learn as we go more in depth into a battle like no other. During the journey: How important true proprietary operating system tied to stability and reliability I once enjoyed. or “like” me on Facebook at friends can be, alongside a divine clemency; Only the Strong Survive, nevertheless when time is of If you ask people whose job it is With wires springing out of the back of my www.facebook.com/MrAndrewJimenez. it that is trying to force you down a the essence and it’s all laid out on the line, what will tomorrow hold? I don’t know, but I know who to keep a newsroom running, the machines, “squids” and “snakes” of wires Also, please visit my official website, as well as certain path as with Apple.” holds tomorrow. Now you’ll see how the whole story intertwines. subscribe to my newsletter, answer is simple: Buy the machines and other attachments make me wish laker8fan.wix.com/andrewjimenez. that are optimized for the most stable “If you want to be processing again for the large, boxy, well engineered My recent film project that I contributed in all aspects is “6th Floor”. This film is about: A curse To purchase Vol.3 along with my prequel network software. machines of the past and the present. on the 6th floor of the San Diego City College V parking garage makes its appearance every year uncompressed files” then having the books click here, They were made that way for a reason. on 6/6 June 6th at 6:00pm. Many are aware about the legend of Yesenia Flores being killed by an native hardware and integrated internal http://tinyurl.com/EnteringTheRealWorld. unidentified man on that specific date and time, but only a few know the truth behind the legend. I had a chance to interview Steve PCI is important.” We knew it then. And we still know why. Yesenia’s evil spirit keeps coming back choosing victims who stay at the wrong floor at the wrong McGrath, Senior Broadcast Engineer, at Twitter.com/andymomoney time just like it happened to her. HB Communications, Inc. He works and Reliability, service, and a single computer instagram.com/andymomoney “All the upgrades on the HP system travels in the northeast US, and he is one or a roomful that hasn’t been “nuked” by facebook.com/mrandrewjimenez are simple. It’s modular: you can get SCRIPT WRITING PROCESS youtube.com/andymosss of the people who keeps the television more RAM online, and it installs easily. automatic updates just makes sense. http://tinyurl.com/AjNewsletter networks, stations, and large media And very dependable.” My process begins with food: There has to be food in my system. Scriptwriting involves a lot of companies running. mental power and the mind needs brain food, because without food I can’t think to my fullest Crown of Roses and Loved by potential. Number two is isolation: I have to be alone in my own world with zero distractions. Day-Misunderstood by Night Vol.3: He said some things that I found Why Not Apple? Number three, I write and proof read and rewrite again because I am a perfectionist and great Entering The Real World have been irresistibly true. Rather than wrap them in “Why people don’t choose Mac over HP in things take time, so when it’s all said and done I’ll know that I gave it my all. copyrighted by Andrew Jimenez. long paragraphs, I want to deliver them daily broadcast is that with Apple system

32 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 33 gear and accessories Pack, Travel, Shoot New York Festivals and Goodness Reigns featured festivals

If you can’t negotiate getting Opening Ceremony Tease,” and “2015 Scripps Testimony Films; RTE Television Dublin, Beach Pack, Travel, Shoot your gear onboard, remove New York Festivals National Spelling Bee Tease.” House Pictures; KBS; NHK; Channel One Russia; heavier items from your primary DW-Deutsche Welle; WDR - WESTDEUTSCHER How to Get Your Gear Safely from One Venue to the Next bag and put them into your Other sports programming scoring Finalist status RUNDFUNK KOLN; Fuji Television Network, Inc.; overflow bag. As a last resort, World’s Best TV & include: “2015 FIFA Women’s World Cup” Fox Fox International Channels Latin America; NOVA- by Think Tank place heavier Sports; “MLB Network Presents: Billy Bean” MLB WGBH; Nature; Radio Free Europe; and RTVE. items in your pockets, as airlines Films Announces Network; “SI Now: 500 Miles and the Voices of As a visual storyteller, having access to your camera gear is essential. Here don’t consider items carried in Winning” Time Inc. 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CALL FOR ENTRIES a professional carrying thousands of dollars’ worth of gear. ESPN’s powerhouse of Finalists included special event coverage and sport journalism programming 2016 Goodness that explored a wide variety of topical subjects. Mike Sturm Senior Designer ESPN’s Outside the Lines examination of critical by our innovative “V” type issues saw multiple entries move on to the Reigns Short Film StudentFilmmakers Magazine: What makes a good production dividers system that allows medal round including: “Revisiting Donnovan bag and why? for all types of rigs to be held Hill,” “Transgender Sports Policy” The Death of The 2016 Television & Film Contest securely in place. As all built Lennon Lacy,” “Pete Rose Report,” and “College MIKE STURM: Depends on the shoot! If there is a lot of travel that could out rigs are different... Athletes and Crime.” SportsCenter, ESPN’s Awards gala will take place at mean great wheels and handle. 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34 2016, Vol. 11, No. 1 www.studentfilmmakers.com www.studentfilmmakers.com 2016, Vol. 11, No. 1 35 American Cinematographer Manual 10th Edition, (Hardcover) Limited time special offer includes e-book and 6 months American Cinematographer subscription free for U.S.A. orders! Don’t wait to get your copy. Buy it now Online at the StudentFilmmakers Store at www.studentfilmmakers.com/store and get your free 6 month subscription for U.S.A. orders and E-book version of the most respected cinematography book in the industry. Edited by Michael Goi, ASC Known as “The Filmmaker’s Bible” for several generations, the American Cinematographer Manual is one of the world’s most widely used cinema reference books. This new 10th Edition, edited by Michael Goi, ASC, is more comprehensive than ever in that it includes some aspects of digital capture for the first time.The AC Manual is available in a hardcover edition, as a two-volume paperback edition and as an E-book.

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