Just wanted to drop a quick note to let you know about an event coming up this Friday, May 2nd sponsored by DCTV and Shooting People. If you are a docmaker in NYC you need to drag your butt out of the house and attend this event.
DCTV (Downtown Community Television) is a unique filmmaking institution wholey dedicated to the mission of fostering affordable filmmaking equipment, training, and resources to filmmakers throughout New York City.
DCTV is essentially a community-based non-profit film school for people who can't afford film school. They offer a long list of classes, workshops, seminars, and even production and editing services for documentary filmmakers. They also have some free filmmaking programs that serve inner-city teens and well as the handicapped. (Yours truly gave a book tour kick-off seminar there back in February.)
It was founded and run by Emmy-Award winning veteran doc filmmaker, Jon Alpert, (Bagdad E.R., Off to War, etc.) and as far as I'm concerned, it's probably the most-down-to-earth place for filmmakers and networking in the city. These guys (and gals) really care about filmmaking and serving our indie community and they've been at it longer than I've even been in the game.
The event is titled Documentary Filmmaker's Lounge and in typical DCTV fashion, it's free and open to the public. Not only that, but there's an open bar, free food on the grill, plus a raffle and give-aways. Everytime I go to a DCTV event I always meet cool motivated like-minded indie filmmakers, some of which have become regular collaborators in recent years. The energy in that place is great. Needless to say, I will be there in-person this Friday. So holla at your boy if you come through! See you there!
Presented by DCTV & Shooting People Friday, May 2nd @ 5:00PM-7:30PM Location: DCTV (87 Lafayette St., NYC)
As digital filmmaking continues to lap at the heels of celluloid filmmaking, new tools keep emerging to help close the remaining gap in visual quality between the two mediums. Some of the most prominent recent tools in the digital vs. film image-quality battle to date are:
1. 24P video cameras 2. More affordable CMOS imaging chips 3. Affordable HD and HDV resolutions 4. Film Look Software 5. Adjustable gamma, detail and color settings
(Side Note: I wrote an article in last month's issue of Student Filmmakers magazine on 5 Ways to get a Film Look with a few more details on pimping out your video images. I'll repost it here soon, if you missed it.)
And most recently rounding out the list are a whole line up of 35mm adapters designed to attach to the huge crop of fixed lens prosumer cameras. In a nutshell, these adapters allow you to shoot with professional 35mm still camera lens which will give you a nice sharp picture and most notably the more shallow depth of field of film cameras.
The end result is more cinematic images than these cameras can produce on their own and yet another bludgeoning blow in the film vs. video battle. (Which as anyone who's not in complete denial knows that digital will ultimately win, but that's another blog for another day.)
Since the first model appeared on the market a few short years ago, a number of contenders to the 35mm Adapter crown have stepped into the ring and some have faired better than others. To help you sort through the many models and various pros and cons, my good friends at Gotham Digital, one of the better rental outfits in NYC, have just started a class to help shooters and producers understand, compare, and get better results from this powerful new imaging tool.
This brand new class will feature a side-by-side comparison of two of the popular 35mm adapter units that work with Panasonic's HVX-200 camera: The Red Rock Micro and the Letus 35mm. After the class attendees will be given a DVD with results of the work and tests performed during the class so that they can be armed with clear examples to show to prospective clients, directors, or producers who may be in the equipment decision-making process.
I wrote about this new fringe movement in the low-budget digital revoltion in a blog post awhile ago and it looks like it's continuing to pick up steam. A cell phone is no longer just a cell phone it's a mobile communication and media device. (The phone industry is partial to the term, "Mobile Device", so I'll give them that, given that these days they really are much more functional than mere phones.)
As you read this, a select number of filmmakers are experimenting with shooting their projects on cell phones. Obviously, the quality of much of these videos is at You Tube level on a good day, but image quality is always improving and the trade off is complete flexibility, super-stealth shooting, ultra-light weight, and complete spontaneity. (I feel like making a movie- right now, right here!)
I haven't actually done any myself, but I imagine that it's a very liberating way to work without all the constraints and extra attention required when shooting with standard video cameras. I imagine the other attraction seems to be the ability to quickly and easily share those digital video bits and bytes by zapping them through the airwaves instantly to your friends (and subscribers?) cell phones or possibly even an editor on stand-by if you're shooting in a remote location.
The possibilities are definitely wide-open for new ways of working and gaining easier video access to more dangerous or elusive subject matter. (Think P.E.T.A. animal-cruelty stings, war coverage, surveillance, forbidden locations, etc.)
Narrative filmmakers are also testing the waters to experiment with new ways to tell visual stories, including Spike Lee, who is working on a promotion with Nokia where filmmakers like YOU can upload their video to a site for review by Spike and assistant directors who will ultimately choose a few select clips from the whole bunch to piece together a larger film on the subject of "humanity". Anyway, you can get a more complete description of this experiment from this NY Times article and the Nokia Productions website.
Want More Info on Cell Phone Cinema? Check these out:
Karl Bardosh, is one of my colleagues at NYU and he wrote the just released, "Complete Idiot's Guide to Digital Video". He is also the author of an upcoming book on Cell Phone Cinema which he is credited with introducing to India. Here's some more words about the topic on his website: Cell Phone Cinema Essay
Here's a music video for the song "Stunning" by 8mm. It was shot by the singer herself on her cell phone. (I hope the record companies don't get any ideas about budgeting music videos from this clip!)
And here's a video tutorial on how to shoot and upload video from your cell phone onto YouTube:
It probably comes as no surprise that, like many indies, I'm a major MAC and Final Cut Pro fan. (Full Disclosure- I'm also an Apple stockholder- about 2 shares.) Apart from the sheer ease of use and effectiveness of the FCP tools, I believe in supporting companies that support indie filmmakers.
And long before AVID finally wised up and got on the band wagon to offer affordable editing solutions to indies, Final Cut Pro came out of the gate as the editing solution for the rest of us - user-friendly and at a price we could actually afford. Several generations of FCP later and it's only gotten better and more widely accepted by filmmakers at all levels, even Hollywood.
If you're thinking about crossing over to MAC or adopting FCP as your editing suite, you might want to check out the Final Cut Pro Studio Tour coming to city near you to learn more about the latest incarnation of FCP that now includes the provacative new "Color" program for a whole new level of image control and color-correction.
You may have noticed that I actually go out of my way on this blog to not go off on too many personal rants or diss films or companies (unless they REALLY deserve it). Well, the mini-rant I'm about to embark on is one in which I think the company in question has earned.
"Hate" is a strong and ugly word that should not be used too lightly. So know that I am serious when I say, I hate the Blockbustervideo chain and God bless Netflix for revolutionizing the video rental industry and putting a foot in Blockbuster's non-filmmaker-friendly ass.
Without going into all the reasons why I hate Blockbuster, I'll just share with you the very last straw in a long chain of video rental disappointments with the once mighty rental giant...
About two years ago when I last went to my local Blockbuster to rent "Scared Straight" by Arnold Shapiro (one of my all-time favorite docs) I simply couldn't find it anywhere in the store. I asked the clerk where the Documentary section was and she matter-of-factly informed me that they "got rid of" the Documentary section and that the docs they still carried were now mixed in with the other sections. They just eliminated an entire filmmaking genre of their own accord (at a time when the genre was rapidly growing, no less)!
By now you know that I'm no film snob (hell, if anything, I'm the anti-film snob!), but this was complete and total stupidity and disrespect towards an entire film genre, documentary filmmakers, and even film fans. It was yet another ill-conceived business decision on the part of a company that pretty much deserves bankruptcy.
The other big mistake that Blockbuster made in my eyes was excessive Late Fees. (To their credit, they did try to fix this policy after Netflix started cutting into their profits, but ended up botching it so badly that they inspired multiple lawsuits by various States Attorneys which I believe they ultimately lost.) I also have heard that the new CEO is making a sincere effort to try to fix the many bad decisions of his predecessors, but I think it's probably too little, too late. Netflix has already won the hearts and minds of indie filmmakers and we ain't goin' back.
Anyway, if you are one of the people that has not yet turned on to the filmmakers joy known as Netflix, because you prefer immediate access to video rentals, here's a guerrilla tip I stumbled across on the Wired mag website that just might help you avoid an exhorbinant late fee if you do get back from your Spring Break vacation to discover that you have a video that's a week past due. It's truly Down and Dirty- creative, simple and effective...
Read this little Wired How-to Article on how to dodge chain store video late fees and stick it back to the man!
Ever wondered what was out there to help the Down and Dirty producer?
I talked with working producer, Christina DeHaven, about what programs she uses, and she recommended EP Scheduling and EP Budgeting. She told me in her opinion both are industry standards and the only software used across the board, and that almost all 1st ADs in the professional world us EP scheduling.
So I did a little research:
EP Scheduling
"Movie Magic's newest release offers increased flexibility and stability. With exciting new features and a more intuitive interface, based on input directly from the user community, a new level of scheduling versatility has been achieved. Breakdown your script, create scenes and enter all elements required for a shooting schedule.
Easily add elements to your breakdown sheets through a quick and simple interface. Drag and drop strip board in an easy to use visual interface. Pre-configured Reports - Breakdowns, shooting schedules, and Day out of Days are pre-configured or you can design your own. Import elements from popular screenwriting applications such as Final Draft and Movie Magic Screenwriter."
"EP's clients have long requested a budgeting application that would address the expanded range of needs facing cost estimators today. Greater flexibility. A wide range of options for comparing budgets and examining individual components. Capacity for an additional level of detail. More time saving features.
In response we give you Movie Magic's newest release, EP Budgeting, this revolutionary new budgeting and cost estimation tool. Forwards and backwards compatible with Movie Magic Budgeting. Intuitive, flexible format allows users to create and edit comprehensive budgets of all sizes, for all types of productions. Budget Production with Greater Ease and Accuracy. Quickly becoming the entertainment industry standard!"
List Price: $499.00
Click here for more info or to buy https://webstore.entertainmentpartners.com/epstore/default.aspx?catalog_id=EP&category_id=EPB&product_id=EPB-100NW
Academic Version: $194.00 Click here for more info or to buy http://www.showbizsoftware.com/Academic_EP_Budgeting_6_p/1007.htm
Don't be confused by an older version of these programs called Movie Magic Budgeting and Scheduling. While these programs are still available for purchase and work with EP Budgeting and Scheduling, the latter are the newest releases and they are becoming the industry standard. Also note that Movie Magic will not work on Intel Macs.
But perhaps if your looking for a more economical purchase, Chistina also told me about another program that is attempting to compete by combining both the budgeting and scheduling aspects into one program:
Gorilla 4
"Producing a movie doesn't have to be difficult. With Gorilla, all of your information can be stored in one place: Budgeting, Scheduling, Crew, Cast, Profit-sharing, Editing Notes, and even Film Festival Submissions. When it's time to create reports, Gorilla can generate over 80 industry-standard reports, from stripboards to breakdown sheets, budget top sheets to variances, your entire production can be run from one program. Gorilla is the only software package built with the independent producer in mind. You have to do it all, so why not have software that can do it all too?"
14 Shoot Day Limit 50,000 Budget Limit Track Multiple Projects
"Surprise!! You don't have to be a student to buy the Student Edition, all you need is a idea, a few people to work on your project and a copy of Gorilla, The Student edition. This edition includes everything you need to help put your production together. And when you are ready, upgrade to Pro."
"Launched in 2003, the Reel Production Calendar overcomes the limitations of traditional calendar programs and is the only calendar software with features created for managing all aspects of Film, Television, Commercial, Video and Media Production projects. From tracking Prep, through Shoot and Post -- it improves effeciency, saves time and supports communication."
Reel Production Calendar can also import production schedules from Movie Magic and EP Scheduling and scripts from Final Draft.
Price $129.00 (Discount available to Current Film Students) *Works with Windows only.
"The First Ever Budgeting & Actualization Software for Film, TV, & Commercials! When production starts Showbiz Budgeting keeps working too. Its built-in actualization tools lets you track purchase orders, petty cash envelopes, payroll and more. When you’re wrapped Showbiz Budgeting delivers the reports you need to make your wrap package look sharp. Jumpstart your budget with the most comprehensive set of budget forms ever."
Unlimited Budget Formats – AICP, AICE, CICP, Corporate Video, Film and Television – including all available studio charts of accounts. Work with both Macs and PCs off one license.
Click here for more info or to buy the Standard Edition - Price $299.00
Click here for more info or to buy the Academic Edition - Price: $99.00
...So, jumping back a little in the sequence of events, as Christie and I wrapped up with our free massages and sandwiches, we observed that there was a frenzy of activity in a large dining room nearby. A dozen or so workers were setting up 200 hundred or so fancy place settings for what looked to be a lavish banquet.
Turns out they were setting up for something called Chefdance where they bring in a different world-class chef each night of Sundance to serve up a multicourse gourmet meal. It sounded very cool, but tickets were $100 a head and sold out…but back to Chefdance later.
We stopped by the bar next door for one last free Steaz organic tea / energy drink (which actually tasted much better than I expected, since half the new beverages handed out for free usually taste like crap). After some friendly conversation with the bartender who was a very nice actress, we were blessed with a few wristbands for the Ray Ban Rock Bar party later that evening.
After the Sundance Press/Filmmaker event and everything else that day, by nightfall I’d had enough and only wanted to lay my head on a pillow until my 7am airport shuttle arrived, but I was the guy holding all the wristbands for my friends who were supposed to meet me at the party. Doh!
So I dragged my ass out of a cozy warm condo later that night despite being completely exhausted from another day of humping up and down hills in chilly temperatures, I went to one last Sundance Party (you know just for old times sake and cause I had the wristbands).
Just as I arrived got a quick glance at Quentin Tarantino as he slipped into the requisite black SUV with tinted windows. (Damn! Now I’ll never get that script to him!) Met my peeps and made our way into the open-bar party which was jam-packed. Ultimately, it turned out to be the most fun night of my trip...
Met this guy (whose name I forgot, sorry) who was there with a friend promoting a new product called Icepod, which is a jewel-encrusted bling-blingcase for your iPod that comes in your choice of gold or platinum and with an assortment of jewels.- Still another item to consider when I get that big Hollywood pay day.
Met Chris Gore, founder of FilmThreat magazine and website and also author of Ultimate Film Festival Survival Guide. Turns out that Chris had recently read and was a fan of my new book, “The Shut Up and Shoot Documentary Guide”. Which is a great compliment coming from someone that has such a good book and popular filmmaking website out already. Search the bookshelves for yourself, but I’m telling you that you won’t find a better book on film festivals and festival strategy than Chris’ book. It’s the first resource I go to when it’s time to hit the festival circuit. (Check out my full list of Recommended Film Books)
Spent the rest of the night meeting more filmmakers and chilling with my film friend, Rebekah Sindoris from Cornukopia who produced Paper Chasers and some other projects I’ve worked on. We actually both worked on Maxie Collier’s feature film, B-More Hacks, back in Baltimore when I was fresh out of film school. It was the first feature film shoot for both of us and we’re still at it some 15 years later.
Also had a last drink with Nate and Meghan, occasional Down and Dirty DV bloggers and full-time filmmakers there at Slamdance with Covered Tracks.
It was another great night with good people trading indie war stories and business cards and flyers, but I was done for the night, tired, talked out and tipsy. I said my good byes, put on my fly-ass faux fur coat and headed for the door.
Just as I start up the steps to head out, a guy walks up to me and says, "Do you know where Chefdance is?". I look in his face and realize that it's Woody Harrelson and had one of those Homer Simpson brainfart moments...I drew a total blank for a few seconds then it came to me "Yes! Chefdance is right over there, my man." Still stunned in my place I wondered for a moment then said "This will make for a good story won't it?" So I followed behind Woody and his band of two friends and simply uttered "I'm with Woody" and they let me right in.
Later I tried this same tactic to get into Harry-O's, the most coveted (and likely overrated) club on Main Street right upstairs , but discovered that just saying, "I'm with Woody" only works when you actually are with Woody or at least close enough behind him walking at a brisk pace.
Got a flick with Woody who was sporting a button for the Sundance doc, Fields of Fuel which went on to win a Sundance documentary audience award (see trailer below). Hung out for awhile smoozing with a few diners, drinking fine red wine and feeding my face with the finest of pastries and ice cream.
Fields of Fuel Trailer
I expected the crowd at Chefdance to be stuffy, but the people I met were all pretty cool and friendly enough. All in all, it was probably my finest party-crashing moment. I decided to end the night on a high note and cut out now that my belly was full and I had a good case of "permagrin". So I called it a night, or so I thought...
...Until I stopped back in the Black Lounge for just a minute to catch the end of my man, Eric Lewis', performance. If you don't know who Eric Lewis in now, you likely will one day soon. Eric is a crazy talented jazz pianist that I've shot a few times and he composed the soundtrack for Pete Chatmon's feature, "Premium". He is otherwise known as "The Black Beethoven" and if you ever see him perform, you'll understand why. The man is sick with music.
There's an amateur You Tube video clip below, so you can check out his skillz for yourself. The audio is a little whack, but you'll still get good sense of the performance. (I didn't shoot this clip.)
Here's an interview and some performance fotage with Eric that I actually did shoot for the "Premium" behind the scenes DVD and the Double 7 Diaries podcast:
At the Black Lounge, I met back up with Benedict Hadley and Analyze and we ended up bugging out on a whole other adventure that ended some hours later at a very crowded party somewhere near the top of mainstreet.
There were plenty more chill people that I met along the way, but sorry peeps I can't blog about you ALL. Besides it's already taken me damn near 2 months just to get around to summing up Sundance in words and pix.
This last night ended up being my all-around most full and fun day at Sundance yet. And to think that I almost quit, when the night was only half way through.
Yet another guerrilla lesson in the rewards of persistence and balls!
Okay, I won't lie...It doesn't seem like the deepest or most complex, or historically accurate picture in the world, but it does look like a fun guilty pleasure and I also enjoy movies that just take you on a ride.
In this N.Y. Times "Anatomy of a Scene" video clip director, Roland Emmerich, breaks down some of the Special FX considerations for his new prehistoric epic action movie 10,000 B.C. It's quite amazing to marvel at how far special FX of things like fur and water have come and well they can be blended in to live action movies.
While complicated special FX like those in this scene are probably beyond the equipment and skill level of most Down and Dirty filmmakers, there are a growing number of tools and tutorials out there that can help low-budget action directors digitally accomplish otherwise impossible filmmaking feats.
(Note: The video on the left tab is the scene and the video on the right tab is the director commentary.)
Tonight's March 5th seminar and book signing at The Showbiz Software Store in NYC has been postponed. Stay Tuned for a rescheduled date in the next few weeks.
BRAND NEW!!! Indie Film Bootcamp 6-DVD Set - 8+ Hours - Only $129!
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Tired of clicking around. Wanna really get Down and Dirty? Cut straight to the chase with our ALL-NEW fully-illustrated guerrilla filmmaking manual that's topping the film book charts:
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However, you can't just fake it. There's a lot to know when it comes to covering weddings. Just because it's your first wedding video, doesn't mean it has to seem like it to your clients.
This ebook and audiobook are concise straight-forward tips and advice to help you prepare for and shoot dynamic wedding videos like the pros and never miss a beat.
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Yes this is where you will find our infamous and much sought after Crackhead + Crowbar Sweatshirts to remind your crew of set security.
Just wanted to drop a quick note to let you know about an event coming up this Friday, May 2nd sponsored by DCTV and Shooting People. If you are a docmaker in NYC you need to drag your butt out of the house and attend this event.
d very cool, but tickets were $100 a head and sold out…but back to Chefdance later.
. Turns out that Chris had recently read and was a fan of my new book, 
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