Are we geting close to where mobile devices are serious moviemaking tools? Not yet – but the question of how do you rethink workflows for different interfaces is exciting! I’ve been using iMovie for iPad and iPhone to do quick edits of the family for awhile now – I’ll be interested to see what Avid brings to the table(t), and what trickles down to professional systems.
Written by Brent Altomare
Or at least a slightly larger tripod…
The FedEx guy was a little taken aback by how enthusiastic we were at his arrival. I think I may have squealed like a schoolgirl.
However, I’ll get over the minor humiliation when I set our new beastie up for the first time!
Our EPIC is on the way, and I’ve been playing around with some footage shot at this September’s REDucation in preparation of delivery. Here is a little sample:
Written by Brent AltomareOur EPIC is on the way, and I’ve been playing around with some footage shot at this September’s REDucation in preparation of delivery. Here is a little sample:
Written by Brent AltomareOur EPIC is on the way, and I’ve been playing around with some footage shot at this September’s REDucation in preparation of delivery. Here is a little sample:
Written by Brent AltomareOur EPIC is on the way, and I’ve been playing around with some footage shot at this September’s REDucation in preparation of delivery. Here is a little sample:
Written by Brent AltomareFilm Fading to Black is a really interesting look at the current state of film from the team over at Creative Cow. What hooked me is the first paragraph (emphasis mine):
While the debate has raged over whether or not film is dead, ARRI, Panavision and Aaton have quietly ceased production of film cameras within the last year to focus exclusively on design and manufacture of digital cameras. That’s right: someone, somewhere in the world is now holding the last film camera ever to roll off the line.
And by “film,” I mean the celluloid medium (as opposed to tape or a digital storage device). The last time Groovy Like a Movie shot on film was circa 2004 for a car commercial (when I was seriously considering purchasing an A-Minima), so while this has no real practical effect on us as a business, I think there is a mind-set that is different when shooting with film vs shooting with video – and I fear the loss of this way of thinking.
Once while shooting video, I heard a director say “just keep rolling – the tape is the cheapest thing on set.” While this “just keep rolling” mentality may catch some happy accidents (unintentional moments that are good, but couldn’t have been planned for), I think overall it is bad for a production. When shooting film, every movement on set is choreographed. Everything is planned. Everyone is careful. There is artistry – there had to be – because making a mistake when shooting film could be costly.
Don’t get me wrong – I’m not pining away for the good-ol days of changing bags, maxing out at 8-minute takes, and not knowing for days if you actually had the shot you needed. Digital is an improvement in almost every way over film. However – the artistry – That’s hard to achieve when everything is so easy. People get lazy. It’s in our nature to do the least amount of work necessary – conserve energy whereever possible!
That’s part of why I like working with our RED ONE (and soon our RED EPIC). These cameras have all the benefits of a digital workflow, but many of the trappings of working on film. Because they’re not simply point and shoot cameras, it brings the necessary artistry back to production. Crews and directors take their time; We carefully choreograph moves, but we can instantly call up the shot* and make sure we have what we need. And if we have to improvise, it can be done!
So a moment of silence for the passing of film – not tomorrow, and maybe not soon – but with no major manufacturers building new film cameras, it is now inevitable.
Film is dead – long live film-style production!
*OK – Epic playback isn’t “instant” yet – but a few minutes at a DIT station is much better than 48 hours at a film processing house!
Written by Brent Altomare
We have often struggled with the concept of renting our equipment – particularly our Mysterium-X RED ONE system. Because we’re not a rental house, we didn’t necessarily have the resources to tech out a rental, nor provide service and support during a rental. This meant we were always hesitant to provide our RED to the local filmmaking, commercial, and corporate community. Now, thanks to our friends at Video Gear®, that has changed.
We are proud to announce that Video Gear is the exclusive rental provider of our RED ONE camera system. With three packages, and discounts for multiple day rentals, the power of the RED One is now available for productions at nearly any budget level.
I just got done reading a fantastic article over on FreshDV. Kendal explores a lot of things I’ve thought but never been able to quite put into words. In addition, he provides some inspirational backup in the form of quotes from fantastic cinematographers. Go read it.
If it pisses you off then you need to go out and prove him wrong.
Of course, by proving him wrong – you’ll likely end up proving him right.
The central premise is that just because you have good equipment, that doesn’t make you a filmmaker. Just because you make pretty pictures, that doesn’t make you a cinematographer. Making pretty pictures with good gear isn’t enough – you have to practice your craft make good, defendable decisions, and understand why the decision you made work in that specific situation.
There is lots of room for experimentation, montages, test footage, etc in the world Kendal describes. Just don’t (always) call those things “art.”
When I teach at both the high school and college level, I always ask the kids “What prevents you from producing films at the highest level?” I consistently get two answers:
The not enough time argument is legitimate, I tell them. While there is NEVER enough time to do everything you want when you are a filmmaker – the pressures of student life make those time constraints even more restrictive. So #1 – check… not much we can do about that.
However – the second reason – Once I get that answer, I call bullshit and show them this:
Ayz Waraich (@ayz on Twitter) is a fantastic up-and-coming filmmaker. He is consistently honing and improving his craft. He understands how his choices affect the story. Everything on the screen helps move the script forward. He is humble and thoughtful, eager to learn, and he shot that film on what is essentially a Sony Handycam.
It ain’t the gear, folks. Its the person (or more often the team) who wields it.
So go out and prove Kendal wrong. Go make a film and learn from it. Then make another (and learn from it). And another (and learn from it). And another…
Written by Brent Altomare