Busy vs. Social Media

Looked at my site today and I realized that it's been a while since I've posted a proper post.  It reminded me of the funny balance of being busy and looking busy.  Any casual viewer of my site might think I haven't had anything worth posting about, but the truth is, it's been too busy to post...  I've been working on a large corporate gig, a few more art videos, and doing some TV work for some Discovery Channel recreation crime shows.  I've been able to tweet fun stuff from these jobs, including pictures from the set and other things worth sharing, but that's all on my smart phone.  It's difficult to actually get some time to sit down and write a post.  Hopefully by moving my Twitter feed to a more featured location, it will help convey that I am actually working, even if I'm not posting a lot on this blog.

Here's something new, another art video I recently shot for Particle Productions:



Produced and directed by Philip Dolin
Lighting cameraman: Me
Sound recordist: Ben Berger
Production Company: Particle Productions

Versatility (a quickie)

Part of what I love about DSLR for video is the versatility of the cameras.  They can be built up to the size of a full-size cinema camera or used in a very simple, compact configuration.

A Cinvate rig

My 550D mini setup

Case in point, my normal bag (below, left) comes with me with all my lenses, the Hoodloupe, battery grip, charger, cards, cables and more.  Today, however, I'm heading out to shoot some Second Unit stuff for a feature (getting NYC establishing shots and more) and I want to stay very light, so I packed a tiny camera case with just the camera body, 24mm, 58mm, and 100mm lenses, cards and 3 charged batteries.  This package is less than half the size of the usual kit and will work perfectly for my needs today.  Love it :)

 

The DSLR Arsenal

I'd like to introduce my DSLR kit.

The Canon EOS 550D/T2i built with a Yashica 28-50mm f/3.5 and Hoodman loupe

The wides.  (L to R) Pentax 24mm f/2.8, Nikon 35mm f/2.5

The 50's.  (L to R) Rikkenon 50mm f/2, Super Takumar 55mm f/1.8, Helios 58mm f/2

The lone tele, Nikon 100mm f/2.8

The slow, but awesome 80-300mm f/5

Adapting

Just to get it out of the way, the title is somewhat of a pun.  This post covers improvisation in filmmaking and lenses (and adapters).

One of the most taught lessons in film school is about preparation.  Preproduction sets the pace for everything else.  For our various projects, we had to submit tons of prep material for approval - scripts, script breakdowns, shot lists, storyboards and so on.  Typically by the time we got around to shooting, the film was already made on paper.  For college kids who were new to the process, this was totally valuable work but teaching it like it was the unbreakable law was a bit much.

I've learned in my years working predominantly in documentary, that forethought is great but unexpected things always happen.  In doc, you don't have the time to worry about the last minute changes or complain.  You have to adapt or you don't make your day.  So you go into these shoots with ideas of sequences, shots you want to get and other hopefuls but you always remain open to change, even looking out for it.  Surprisingly, in my own recent fiction endeavors, this way of thinking has come in handy and produced some good results.

This recently came up in a discussion with a good friend and colleague of mine, Bret the Sound Guy.  He had recently worked on a short with another D.P. and we were talking about the project.  The director and D.P. had come up with the idea that as the film progressed, they would shoot with wider and wider lenses (to support the themes of the film).  I made a joke about over-thinking the process and Bret and I got into a bit of a debate.  The thing I kept coming back to was the idea of organic filmmaking.  I've discovered a real joy in improvising on set and going with the flow.  Using mistakes to your advantage, finding little gems in what, at first, appears to be a problem.

Beyond the storytelling aspect, I've found that I like to carry these ideas over into the technical aspects of production like lighting and composition.  In a lot of documentary work - particularly in verité work - the camera is a part of the story.  The perspective and movement of the camera become character traits and there is no pretending that the camera isn't there.  Contrary to the modern belief that in doc the cameraman just gets whatever it can, there's a method to good doc shooting and this depends on the part the camera plays in the story.  I often like to carry that over into narrative work (when applicable).  This often shows itself in subtle punctuated reframing (à la "Boston Legal" - though not quite as frequent).  Today I saw rough cuts of scenes we shot Sunday for "Director's Cut."  Whether by accident or necessity, two shots where I had employed this sort of camera technique made it into the rough cut and they worked quite well.  Another sequence where three characters start arguing was completely shot this way and it really helped the tension.  Having seen the cuts so far, I can anticipate a lot of upcoming scenes where this style of shooting will really work.  And though it's not exactly how Elana first pictured the style, she's very open to the idea and willing to adapt her vision.

Now that was a good segue.  So I recently bought a Canon 550D to test the waters on the DSLR filmmaking revolution.  I knew early on I wanted to go with an APS-C sized sensor instead of full-frame because the former is almost identical to motion picture 35mm film.  Full-frame 35mm is wider and therefore has a much shallower DoF.  That sort of razor-thin focal plane can be problematic with my style of shooting and the fact that I don't often have the luxury of a focus-puller or setting marks or measuring at all.  In the recent Gevalia shoots that really turned me on to DSLRs for video, I had a great time but man, I wish I had more wiggle room than the full-frame 5D allowed.  I was constantly pulling focus because the slightest moves (like sitting up straight or an even smaller forward/backward motion) would have made the subject go completely soft.  So knowing APS-C was my choice, I had a decision to make between the 7D and the 550D.  As far as video goes, the two are basically identical.  The differences that allow for the almost double price tag of the 7D are all about the stills capabilities.  So, knowing that I would rarely be doing stills work, I went with the 550D.  So I tracked one down (one of the last in stock in the greater NY area) and picked it up.  Nobody, and I mean nobody had the body-only kits so for $100 more I got a kit with a very crappy zoom lens.  Piece of junk.  I decided to pick up a Nikon to Canon lens adapter and see how my old 70s Nikkors would fare mounted on this modern digicam.  And the verdict was... wow...  I haven't used the kit lens since.  I went and picked up more adapters (one for each lens) and began a search for other vintage lenses with character.  Got a couple of leads on some Russian primes that, from stills and footage I've seen online, seem to be very interesting.  Cool bokeh, nice contrast and consistency throughout all the stops.  Sharp enough, but subtly soft when it should be.  I'll be posting stills very soon with the Nikkors and whatever else I'm able to pick up.

Also to come are screen grabs from "Director's Cut."  Day 5 is Thursday and we're basically shooting every day (weekends off) through May 21st.  Reports and stills from the set to come...

I'm sold...

My recent work with Kinetic Fin has really turned me around on the whole DSLR for video thing, especially the Canon models.  The first two shoots I did with them, I saw the 5D, tweaked and tinkered with it and lit for it as the A cam, but ultimately the camera was confined to sticks or operated by the director (while I operated C cam - my trusty DVX).  I knew that the cam was getting really good results, but the experience was far from hands-on.  However, on the Gevalia shoot two weeks ago and another one yesterday for parent company, Kraft, I actually got the chance to operate a 5D in a doc setting.  This was something I had many reservations about - mainly form-factor and stability.  I had seen videos online of handheld DSLR video and it's not too great on it's own.  The shape and size just do not allow for smooth handheld work and stuff gets jittery very easily.  So, knowing about this issue, I brought my Tiffen Steadystick aboard both of these recent DSLR shoots.  (Just as a side note, I picked up that contraption so that I could operate hanheld cameras like the DVX and others in a way similar to shoulder-mount cameras.)  The stability it affords is fantastic.  And based on my recent experiences, it really helps DSLR shooting.  I was able to get really nice handheld stuff on the 5D and I am told by Kinetic Fin editor and shooter extraordinaire, Gene, that the footage from the 5D I operated was smooth, stable, and looked great.  With the setup I used, I was able to operate in a very familiar way and get really great results.

So that's that.  DSLR video can be really great.  And especially for Kinetic Fin's very intimate and honest style of filmmaking, shooting with a DSLR is the perfect combination of small, unobtrusive form and unbelievable cinematic quality.  As there appears to be a lot more work with them in the very near future, and since I now know I can operate the way I like to, I will be investing in a DSLR for video very soon.  Until then, though, here's a pic from the Gevalia 5D shoot.  You can tell even in just a picture of the screen of the cam, it takes some great video.  (And yes, those are my hands on there).

photo by Michael Lussos

A discussion of "format-agnostic"

In my last post, I referred to myself as format-agnostic when discussing the choice of camera for one of the projects I'm currently working on.  For a variety of reasons, lately, I've been thinking a lot about the multitude of cameras and video formats and film stocks available for motion-picture production.  As a note I enjoy shooting both film and video, though the breadth of my recent work has been exclusively some form or another of digital capture.  I am not, however, pro-digital.

So what is "the right format?"  I think every filmmaker has an idea of what is the best format for their project.  To some it's just whatever is the best quality, highest definition they can afford.  To others, it's what looks the most appropriate - a gritty, grainy stock for a post-apocalyptic drama?  Maybe a slick, clean, noise-free format for a romantic comedy?  All these requirements they have are certainly valid, but ultimately for me, the right format is neither of the above.  If I'm hired to shoot a project, I am responsible for delivering the image.  If the production has no money and I insist on shooting 35mm and we run out of money before we're done, I've failed in my job.  If the production blows their money on a RED package I wanted and then skimps on lighting, production design and other stuff that goes in front of the lens, all I'll be able to deliver is high definition crap.  See, there are so many more important look-related elements than just the format we shoot on.  With right stuff in front of the camera, it almost doesn't matter what's inside.  Good lighting, good composition, good production design, and good talent can help even the cheapest camera look great.  That's not to say that a Flip cam is the next wave of filmmaking gear.  But if there's a story to tell and the talent is all there, maybe a handycam could work if that's all the filmmakers can afford.  That said, there is one basic requirement I do have for the format I work with; control - the camera must not be Full AUTO.  I must be able to control iris, focus, shutter speed (at least to lock one down) and whitebalance.  With that, anything can deliver a good look for your film.

In the last 6 months, I have gladly shot the following formats and delivered results that very much pleased my clients with their respected release and exhibition types:

• Panasonic DVX100 (mini DV, 480/24p).  Webisodes, feature documentary, TV segment.
• Sony EX1 (XDCam EX, 1080/24p).  Feature documentary, TV segment.
• Sony EX3 (XDCam EX, 1080/24p).  Wide-release DVD/Blue Ray concert, music video, live multi-cam concert (big screen projection)
• Sony Z1U (HDV, 1080/24f).  TV segment.
• Canon 5D MkII (1080/30p).  TV spot, webisodes.
• Panasonic HMC150 (AVC-HD, 1080/24p).  Feature film.
• Panasonic HVX200 (DVCPro HD, 720/24p).  TV spot.
• Sony V1U (HDV, 1080/24p).  Webisodes.
• Panasonic HDX900 (DVCPro HD, 1080/24p).  TV segment, feature documentary.
• Samsung Piece-of-Crap-Quicktime-Camcorder.  Viral video for the web.

Again, as a final note, I must reiterate that every format needs good lighting and appropriate visual design like sets, costumes and such.  A cheap handycam with no (or bad) lighting will look terrible.  But the same thing goes with a pro HD cam.  But that very same handycam shooting a well lit scene and exposed right can look really nice - and if that handycam is the only thing you have that will shoot your story, it's the "right" format for you.

Testing, testing...

"Hi, my name is Dave, and I don't own an HD camera." "Welcome, Dave. We're all here to help."

(from a Cinematographers Who Haven't Made the Jump to HD Anonymous meeting)

I've shot HD before and it sure is lovely. I've actually used just about every different HD format currently available - they're all great. But they're not for me. I must admit, I'm wary to make an investment. Things are just shifting so rapidly, that I don't think I can safely make an investment that will pay out over time. If I always had my way regarding shooting format, I could get something, but for most of my for-hire shoots, the production decides. What if they want to use a different camera?!

That said, I think the time may be fast approaching when I should buy an HD camera - so, what to do? There are a plethora of options. If I wanted to spend more than ten grand, the decision is easier, but frankly, that's not what I want.

One of the current trends is HDSLR cameras - small cameras intended for still photography that are also quite capable hidef beauties. So, lately, I've been researching the different cameras out there - particularly the Canon 7D and 5D, and the Panasonic GH1. Number one research method is searching online for sample footage. So, I go on www.vimeo.com and search "7D." Results come up - countless videos titled "7D test." Great. Someone did the work for me. Click, open, load the video... WTF?!

By now, I've seen hundreds of shaky, out of focus, poorly lit, crappily composed, unstable footage set to great music. This tells me nothing. Just like when 35mm lens adapters were coming out, none of the videos online help me at all. What I need is real world film-style testing. Good composition, good lighting, appropriate camera movement - stuff that reflects what I'll be doing with the camera. Among the thousands of 7D videos online, but a few dozen are appropriate for my research, and they're damned hard to find.

So that's it for this post. Sorry it's just a rant, but that's what I felt like today. Tomorrow I'm shooting some product work for Gevalia coffee - I think I'll have a nice amount of freedom to do my thing, so I'm looking forward to it. If I remember, I'll take stills and finally have some shots to share.

What's Up, Doc?

My life as it relates to film has taken a number of unexpected turns over the years. When I first got into film, I did so because I had an idea for a film and wanted to follow through. That particular movie has not been made yet. It is shelved but not forgotten. Through college, I maintained my interest in narrative films, particularly in becoming a successful Hollywood director. When I started learning about cinematography, I found I had a knack for it, and my classmates noticed too. As I shot more and more, I realized that I might be happy becoming a big-time Hollywood DP. And then life happened...

When I graduated college and had to figure out how to make a living, I realized that if I was going to direct, I'd have to spend a lot of my own money. So I turned instead to the camera and lighting departments, where I'd work for all those directors-to-be who were spending their money.

Remember that whole bit about being a Hollywood DP? Yeah, not the easiest thing to do on the opposite coast. There is a lot of fiction work in NY, but the most work for a cameraman in NYC is in documentary. I assisted under some of the most notable documentary cameramen and slowly but surely began to really feel my place was there. In time, shooting documentary work became my bread and butter. There's something special about it - it's spontaneous, energetic... I enjoy it more and more on each doc shoot I do. There's always something new and interesting and I always learn something. Sometimes, I figure out a new way of shooting or lighting. Often, I learn just stuff I never knew or never thought I would ever know because of the documentary subject itself... and I love learning.

And then there's stuff like today. Today I shot an interview with video artist, Bill Viola, for director/producer, Philip Dolin. First of all, I was very pleased with how it looked. Found an excellent framing and the lighting was great. The film is about his latest installation, basically a room of screens and this carefully constructed beautiful display of audio and visual white noise. We framed his sit-down so that the background was half black (directly behind Bill) and half his piece. I set a daylight softbox as Bill's key (daylight to match the color temperature of the projections), bounced some of that back for an edge, and let the projections subtly play over Bill's fill-side. Everyone was really happy with the visuals.

On top of the look, Bill was probably one of the most kind, profound, funny people I've ever met. Such a sweetheart with such amazing things to say about his work and inspiration, life and death, love, religion... it goes on... coming out of the interview, I just felt good.

That's documentary for ya'. And I love it.

Village Vanguard recap.

The day started at the ungodly hour of 8AM. It was brisk - I was a little chilled in a fleece jumper - but the crafty frying pans were sizzling hit. I heard the "ssssssss" as I rounded the corner and my mouth began to water. I was one of the first to arrive.

Soon after, Roger, the Director of Photography, strolled around the corner. He smiled, shook my hand and proceeded towards the omelet station. Pleasantries and good, hot eats took a half hour or so.

The morning was camera setup. I set up the bazookas (adjustable pole-like camera platforms) and gave the video technicians a hand running cables. And oh, was there a lot of cable. Once all of the cable was set, I took to breaking out the cameras. We were using heavily modified Sony EX3's. The camera, a solid-state HD camera, is, in its stock form, sortof small. Perhaps 18" front to back. Ours were modified to be ideal for multi-camera live switching. The longest, were perhaps a foot longer than stock. The three main cameras were fitted with larger-than-stock lenses. 2/3" 21X and 22X HD zoom lenses from Canon and Fujinon. The left and right side cameras had 1/2" wide-angle zoom lenses. At the back of each camera was a metal plate supporting a control unit that allowed each camera to send and receive lens data, camera settings, and all sorts of other fun stuff. This also facilitate careful matching between cameras by JM, our faithful video engineer. By about 2pm, all cameras were set, matched and ready to go. So we took lunch.

Upon our return from our meal, Barbra's band began filing in. There was a soundcheck for the sound department and a Babs stand-in for all of us on the visual side. The G&E crew made lighting adjustments and the camera's ran more tests. The director informed the camera and lighting crew where exactly the Clinton family would be sitting. Yes, those Clintons.

By 4pm, Barbra had arrived (with James Brolin in tow), and we were ready to do a rehearsal and test edit so Babs and her people could take a look at what we had done. Up until this point, I had been assigned to the wide master. Once Babs got a look, though, she expressed a preference for how she looked in my camera position's closer framings. So Camera 1, my camera, became the medium to close. Can't say I was disappointed at all.

Come shoot time, it was understood that while I would dwell in the mid to close range, Roger (who was operating two feet to my right) and I would ping pong our framings. So if the director called for a slow zoom from Roger's wide into a song, I would reframe while he was live so they'd have still have a wide frame to cut back to if need be. That said, I was medium and close a lot of the time so needless to say, many of my shots made the cut.

I have to say, while I'm talking about the shoot itself, I really enjoy shooting live. I couldn't tell you how long it's been since I'd done it last and I had forgotten how fun it is. Mind you, it's a lot different than regular doc shooting. With this setup, you don't have to worry about camera setting or exposure or anything like that - there's a guy in the truck with scopes for that. It's just you, the camera and the subject. Just frame it up, focus, and stay alert. The director and the TD in your ear, talking to you, talking to someone else, talking to each other. There's an amazing energy when your offline, getting something good they can switch to. And then when they do, when that tally light in your eyepiece comes on and you are live. Hold your shot, make any moves count. It's like a performance in itself. Babs is up there, singing, and everyone is right there with her - but you're there too, catching the beats like her band, playing off the crowd.

After all was done, all of us camera ops just remained perched above the crowd as they filed past us, towards Babs, towards the exits, towards each other. Bill, Hilary and Chelsea, hovered a bit in front of me. SJP and Nicole Kidman greeted each other and caught up some ways away from me. James Brolin spoke to some fans who seemed to love him as much as they loved his wife. Donna Karan was lost in the crowd - to me, at least. For all I knew, she was the woman who smiled at me as she left - probably not, though. Not sure I know what she (or her famous daughter) looks like. I've got a belt of hers, I think. Actually, no. Mine says "CK." Just goes to show you, maybe that nice woman was her.

When the club was empty, the crew wrapped. Took down the cameras and handed them off to the video techs. Broke down the jib and packed it up outside in the rain. Camera was wrapped a good hour - at least - before G&E, so I said my goodbyes. Wished everyone well, and grabbed a tomato, mozzarella and basil sandwich on Ciabatta from crafty. Ate it on the way to the subway, and got flower from the bread all over my black shirt.

Spent the train ride home with a bit of a high - exhausted but feeling accomplished. I smiled to myself knowing what the other passengers around me did not know - that just an hour or so earlier, I had been in the presence of Yentl, Slick Willy, the Secretary of State, DKNY herself, SJP, and the glamorous Nicole Kidman. When they all went online the following day to watch highlights, or when they eventually would see the broadcast or DVD of the show, they would see my work. And they would never know that it was me, that young guy on the train, in the powder-coated black dress shirt with the tired eyes and stupid grin on his face, who executed that smooth, steady, felt-but-not-noticed, 60 second push in on Barbra Streisand.

What a night!