A Lot Of Art

First off, please excuse the title pun.  You'll see...

For those of you that have known me or have followed my blog and/or tweets, you've heard all about the variety of art videos I work on.  For years, I've been shooting art-related content for Philip Dolin of Particle Productions but over the last twelve months, I've added Christie's to the mix.  Shooting artist interviews and exhibits is great fun - shooting auctions bringing in millions of dollars is, well, a whole other game.  I guess the function is similar, but to be in that high stakes auction environment is unlike anything I've ever done.  Last week, I was fortunate enough to be shooting at a record-setting sale at the NYC auction house, and you can check out the video below.  If I can track down other videos I've been a part of, I'll post them as well so check back soon and often :)

New Doc Reel

Here's the new doc reel, a montage of clips from various projects through June 2011.

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

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.

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!