Oldie

In the fall of '09, I shot a piece about video artist, Bill Viola and his innovative installation, "Pneuma."

WATCH THE VIDEO HERE

This was great to be a part of.  First, I was really happy with how I was able to integrate the art into the interview shot.  You'll notice the key is clean, but the fill (shadow side) on Mr. Viola varies depending on what the art is doing.  It's subtle but I really dig what I came up with.
Secondly, the interview was eye-opening.  I had never been into video art before this job, but Bill Viola has an amazing approach to the medium, especially in this recent installation.  Take a look at the video, and I'm sure you'll agree.

Produced, directed and edited by Philip Dolin
Lighting cameraman: Me
Production Company: Particle Productions

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.

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.

Confidence (monitor)

The 3-day Lon Blais ended up being only 1. Early that morning, the s#*t hit the fan for Lon. Within hours, Lon found out that his dear puppy Aggie was sick and then Lon's escort from NY to North Carolina - 1/3 of the trip - had a medical/family emergency and would not be able to do it after all. On the ferry trip over from CT to Orient Point, NY, Lon decided he should ride as much as he can and when he's tired, just get driven home. He figured he'd be in a better space for the ass-hauling he'd need to do to rally emergency support for the next leg. So we set off to ride as far west as possible.

I hate shooting from cars with handheld cameras. Full-size shoulder cams are fine, but small guys, like the DVX100 cams we're using for this piece, are a bitch to keep steady in a moving vehicle. The DVX is probably the best-looking non-HD camera around (in the hands of a capable cameraman), but it's small size meant I was really insecure about shooting from the chase car. I brought along whatever I had that would help me keep it together. One thing was my saddlebag, which is one of my favorite tools. It allowed be to lean up on the windowframe or dashboard and really keep things together. Another thing I had was my trusty monopod. Extended fully, I was able to shoot out of the sunroof with the stick firmly pressed against whatever was nearby. So we rode and shot and rode and shot and got whatever we can. I cussed a number of times when I thought things weren't working quite well and wasn't feeling it most of the time. The stuff at the stops when were were out of the car and shooting more traditionally was good - really good. There just wasn't enough of it. One of the better moments was Lon's day-early arrival home. Lon's wife, Joanna, and of course Aggie, were thrilled to see him again after 2 weeks. Jo was concerned and supportive of the problems Lon now faced. It was dramatic, warm, and I think really nice stuff.

After we wrapped for the day, Bret (my sound guy and amazing pace car driver), went to my place and plugged into my trusty Ikegami CRT monitor just to see how things really looked. My on-camera LCD isn't exactly spot-on and it wasn't easy to tell how smooth things were when I was being tossed around in the car. But on a carefully calibrated and extremely accurate monitor... wow... We done good.

Today was uneventful - no shooting. Tomorrow, a NY1 crew will be filming a story about Lon for a nighttime broadcast. Bret and I are covering that and will shoot a little with Lon after the news crew leaves. Sunday, Lon's taking off at dawn no matter what. With an escort if possible or just by himself with the only bare essentials on his back. Elana will be taping the goodbyes and Lon riding off on what will probably be the most challenging part of his journey - and the part which happens to have no video support either :(

Monday, I'm shooting a modern art installation in the morning for producer Philip Dolin, and then at night, shooting some footage for a spec doc with director, Scott Floyd Lochmus.

Talks are continuing on the possible feature film. More on that and anything else soon...