PBS' Circus Documentary

About two years ago, I picked up a part time gig working as a Logger for Show Of Force; a small production company who exceled in making award winning documentaries. The project I was working on has now been release. Circus follows the life of the performers and crew of the Big Apple Circus for a season as they tour the East Coast.

I realize this post is a little late, as the show primered on November 3rd, but have no fear, you can catch up on what you missed by checking out video clips of Circus on PBS' website. The next episode is on November 10th (tomorrow) and I'm really excited to see what this episode has in store.

Working as a logger can be a little boring, especially on a documentary. There are literally thousands of hours of footage which need to be viewed, broken up, and carefully labeled in order for the editors to be able to find footage easily. Some of the footage is great, but some is repetative. I can't even remember how many times I've seen the Big Top tent being put together. However, there are some good things about logging.
1.) you get to see all of the behind the scenes footage which may not even make it to the special features section on a DVD.
2.) you get to try and figure out which story the final show will follow.
and the Bonus benefit:
3.) You know the back story behind what's happening in the show, and you can share it with your friends and family. It's a dorky bonus, but it's fun.

DIY Shoulder Rig For $80 and Hoodman Loupe Modification Tutorial

Recently, IndieBudgetMovie left a very nice comment on my youtube video illustrating how to modify a Hoodman Loupe using a Delkin Pop-Up Shade so it can be attached directly to the LCD on your DSLR. If you haven't seen my Hoodman Modification Tutorial, and aren't happy with your LCD view finder and how it attaches, check out the tutorial above.

In any case, it turns out IndiBudgetMovie is a master of DIY as well, and put together this awesome video showing off an adjustable shoulder rig he made for $80 using a drywall square. What's great about this build is that it can easily be adjusted to fit many different types of shooters and styles. I've seen a lot of shoulder stabilizers built from PVC, which works well, unfortunately, once all the parts are connected, it can't be easily adjusted. This rig looks very solid, and not to difficult to build.

Combined with the Modified Hoodman Loupe, this will look like a pretty professional rig, and will be very functional. IndieBudgetMovie says he's going to try out my modification, so maybe he'll put together a follow up video. I'd be excited to see someone else using the modded Hoodman Loupe.

To date, this makes two people I know of who have used my tutorial to ditch the rubberbands, and secure their view finders in a better way.

I'm glad to see other people benefitting from it. After all, that's why I made the video in the first place.

Figuring Out Time Lapse Photography

Inspired by Philip Bloom, and many other renowned DSLR cinematographers, I decided to purchase and intervalometer, and give Time Lapse photography a shot. Using the affordable and simple to use, Aputure Intervalometer, I've run a few time lapses to try and figure out the best camera settings. Here are the results so far.

This first time lapse was recorded looking out over the Hudson River from Northern New Jersey. I used my Canon Rebel T2i, set to AV mode (Aperture Priority) with the intervalometer set to capture a 2 second exposure every 1 second. Because it was simply a test, and I am impatient, I only left the camera running for about 30 minutes. You can see me jumping through the frame checking the camera, as I wasn't really sure what I was doing. For a first time lapse, it didn't come out too bad. You'll have to excuse the quality, as I just uploaded the Quick Time videos for the sake of this blog posting. Once I get the hang of it, I'll post a proper video.

This Time Lapse was recorded from my window in Greenwhich Village. Again, I set the T2i to AV mode, and the Intervalometer to take a 2 second exposure every 1 second. However, because it was a night time shot, the camera automatically changed the exposure speed to compensate, so in reality, it was closer to a 4 or 5 second exposure per picture. The flickering green light is the faulty street light outside my window, and not an effect of the time lapse. Neither of the above videos were color corrected or edited in any way.

I definitely need some more practice, but here are my thoughts so far.

1. Knowing your math is important. How long you leave the camera snapping photos will depend on how long you want the final time lapse to be. Here's a quick example. If you want a 10 second time lapse, at 24 frames per second you will need to take 240 pictures. If the exposure of each picture is 2 seconds, you will need to wait 480 seconds, or 8 minutes. Doing the math will help you use your time more effectively.
2. Different exposure times give different effects. Short exposure times seem to give a more choppy look to the footage, where as longer exposures give a smoother dream like look. Then again, this will also vary based on what your shooting. If an object is moving quickly, a fast exposure may be the only way to capture it.
3. AV mode has it's ups and downs. Currently, AV mode is the best way to control photo exposure on the Canon DSLRs. It's only draw back would seem to be that it will automatically change your exposure time, despite what you set your intervalometer to. This means calculations discussed above may be useless as exposure times may change mid shoot. That being said, AV mode readjusting shutter speeds will most likely save a time lapse from being ruined by an overly dark, or overly light photo in the sequence.
4. Practice and Patience are key. Philip Bloom makes time lapses look easy, but in reality, there seems to be a lot of luck in making them look good. With enough patience and practice, you should begin to understand how to get consistently good shoots, but because lighting conditions are always subject to change over time, it's a bit of a coin toss.

As I get more comfortable shooting time lapse, I'll post some tips and guides I find useful. However, at this point, I'm still figuring things out.

How to Run a Dual System Film Shoot

I was recently asked to edit footage filmed using a dual system setup (video and audio recorded to two seperate devices). Recording audio seperately from video is one of the best ways to increase production value, but only if it is done properly. Based on the material I was asked to edit, I realized some people may know what is needed for dual system recording, but don't know what steps to take for their efforts to be effective. With that in mind, here is a quick guide on how to run a dual system shoot. Getting the best quality is a discussion best left for another post, this is simply a Dual System Recording for Dummies Guide if you will.

The most important thing to remember when using dual systems is that you need to record a visual AND audio cue in order to sync audio and video in post production. We've all seen behind the scenes footage were a crew member calls out the scene and take number, and proceeds to slam the gate on the clapper. This way the editor has visual data to connect to audio data. In the footage I was given, a clapper was clearly labeled, and used properly, only no one on set called out the scene or take number, meaning the audio files have no discernable information. They only have a clap, and the line reading, making it nearly impossible to match them to the video.

Another key step is making sure your camera and audio recorders, are recording audio at the same bit rates. If your camera records audio at 44.1bits, and your audio recorder records at 48bits, you will get what is called drifting in post production. Drifting is when your audio and video are in sync at the beginning of a take and drift out of sync by the end of it. this is because your audio and video are playing back at two different rates. The numbers above were just examples, as these numbers will vary based on the equipment your using. For more information, refer to the owners manual for your gear.

These are essential steps to follow. If they are ignored, you could have the best quality audio and video imaginable, but they will be nearly useless, as syncing them up in post production will be near impossible.

Filming Tempt'd at Fashion's Night Out 2010

Here is the video I filmed and edited for www.Temptd.com, a New York based fashion blog. This was shot using a Canon T2i, a Sigma 18-50mm f2.8-5.6 lens, a Z-96 LED light and a Rode Videomic. Post Production was done in Final Cut Pro. The titles and lower thirds graphics will vary between my version of the video (above) and the one that appears on Temptd.com as the graphics were changed to match the esthetics of their previous videos.

To celebrate their 1 year birthday, Temptd.com's Founder and Editor-In-Chief, Roselyn made her way through Fashion's Night Out in New York. During the night, Roselyn updated her Twitter and Facebook with clues to her location. Readers who followed the clues and found her, were rewarded with an array of prizes.

The night was perfect for filming, and the locations were less then dull, buzzing with fashionistas, ranging from laughable fashion duds, to the world renowned fashion gods. As the cinematographer, it was difficult to get steady shots due to excited patrons scrambling for swag and free cocktails, but on the upside, there wasn't a boring place to point the camera the whole night.

As a life long student, I look to learn from every project I work on, and Fashion's Night Out is no exception. Here are some thoughts on the evening's shoot.

1.) The HDV- Z96 LED Camera Light is an indispensable piece of equipment. A huge thanks to Emm at Cheesycam for discovering this powerful production tool. Without this light, it would have been nearly impossible to capture noise-free footage given the lighting conditions in the various locations we filmed in. Furthermore, using a camera light instantly bumps up production value. If used properly, it gives a polished, pro look to footage that otherwise would look like it was shot on a camera phone. Being able to dim the light allows you to use it both indoors and out, and I even used it in place of a flash.

2.) The Rode Videomic captured audio in noisy environments extremely well. In fact, the mic is so sensitive I had to knock down the sensitivity by 10db to keep it from clipping the audio. From about 7 feet away, on a busy NYC street, I figured the camera's AGC would keep the audio from over modulating. NOPE! This mic is a blessing for DSLR filmmakers, and the high pass filter works very nicely.

3.) Less is more. With the venues being jammed with patrons, it's difficult enough to walk around without a gear bag, so you can imagine what it's like carrying the bag, and trying to operate the camera. I brought my full gear bag as I wasn't sure what the night would call for. However, I only used the 18-50mm lens, the mic, and the video light. Although I would have liked to use other lenses, the locations were too crowded, and the shoot to fast-pace to swap out glass. That being said, the Sigma lens performed very well, and I'm considering getting their 18-200mm lens for future events. The larger focal range would come in handy.

4.) Producers make life easier. When on a shoot, the talent and the cinematographer (me) are usually too focused on other things to make decisions about what needs to be shot to effectively tell the story. That's where a producer comes in. They help keep the production moving forward, and in many situations make sure enough of the right stuff is filmed to tell the desired story. We did just fine without a producer, but having one, would have made the night easier for Roselyn and I, as we wouldn't have had to keep "changing hats" throughout the night.

5.) Shuttering down the lens would have been a good idea. Although I love the look of Bokeh and a shallow depth of field, it is very difficult to keep focus while moving through a crowd at faster f-stops. It's hard to stop down the lens due to on sight lighting, but the Z-96 light provides ample light in most situations.

6.) I love my camera. The Canon T2i continues to serve me well. It performs wonderfully in low light, and makes some beautiful pieces of film. Sure, I'd like a 5D mark II, but I wouldn't trade the T2i for anything. It's small, light weight, and for the price, you can't find anything better at the moment.

After only a year, Tempt'd has a loyal fan base , but is hoping the incorporation of video with their written posts will invite in even more of an audience. We've yet to schedule our next shoot, but you can expect to see more videos like this in the future.

Fashion Week and Up Coming Events

The past few weeks have been quite busy for me. I've been helping Andrew Bellware on the set of his new film Earthkiller by filling in as a Gaffer, running production audio, playing a zombie, constructing sets and just about anything else that needed to be done during the course of a day's shoot. It's been a lot of fun.

I offered to replace the photographer my Father's company usually uses to photograph art work for appraisals, but it's been such a legistical nightmare, I haven't had a chance to shoot yet. I think we've finally hammered down a schedule, and I should start shooting later this week. I'm looking forward to shooting some stills with the T2i. I shot some pictures of the sunset last week, and they came out great, so I have little doubt in the camera's ability to shoot great pictures.

It looks like I've landed a paid gig filming an event during fashion week. I found a highschool friend on Facebook, and it turns out she has built a rather successful fashion blog, and was interested in including some videos to compliment the print media in her posts. The details are vague at this point, but more information will follow shortly. It looks like the first shoot will be this Friday.

The Canon 60D Has Been Announced!

Canon recently posted this press release announcing the Canon 60D. For those DSLR film makers who already own a Rebel T2i/550D or better, this isn't too ground breaking, but for those who have yet to purchase a DSLR for it's video features, this is great news.

The 60D is replacing the older 50D, and as far as specs and features, sits in the middle of the T2i and the 7D. The above press release gives a full break down of the camera's features, but here are a few that make this camera a great buy for the new DSLR film maker

• 3 inch articulated rear LCD screen (great for low angle or high angle shots)
• Manual Audio Controls (not during video recording, but you can preset before shooting)
• Manual Exposure Controls (incremented in 64 steps like the latest firmware update for the 5D)
• The ability to trim video clips in camera (saves time in post production)

For those shooting stills as well as video, the camera boasts 5.3 shutter cycles per second (faster then the T2i but slower then the 7D) and the ability to process RAW files in camera, among many other features.

For T2i and 7D owners; the internals of the 60D aren't much more advanced then the cameras you own, so I wouldn't run out and place and order. The articulated screen and manual audio are nice, but by now, you've probably purchased an external monitor and Zoom H4N for audio. I would start saving some money, because I think it will be a short time before Canon releases a camera able to shoot in RAW, or a full frame camera with all of the erganomic features the 60D is flaunting.

If you've yet to purchase a DSLR, and are working on a tight budget, this is a great camera for you. The addition of the articulated screen and manual audio control alone will save you money on accessories. Combined with the other features, this is a powerful camera, great for the aspiring DSLR film maker.