Archive for the ‘HDSLR Cameras’ Category

Responsible Filmmaking

Thursday, March 4th, 2010

When I stumbled onto this HDSLR technology, I realized within minutes of using the technology that it was a “game changer” and the rulebook had to be thrown out and a new one created.

I thought if we can start a new rulebook, what if it is done to make a difference.  There is so much waste in the film business that it boggles my mind.  Sets are built, torn down, thrown into a dumpster, never to be seen again; all the wood, glue, nails, labor, design, creativity thrown into the trash.

Recycling is such an easy concept. We consume more than any other country in the world.  When will we stop? When will we say no? Every little step that one single person takes adds up to a big change.

As a cinematographer I dislike curly-que fluorescent bulbs in my home because they are not warm like an incandescent lamp and their quality is very antiseptic.  But as one who wants to try and make a difference I went out and changed every light bulb in my house to a fluorescent one.  It cut my electric bill by 2/3rds and I am trying to make the smallest difference so that my children can experience a planet that will not be destroyed.

I moved my family way out of L.A. and chose to educate them at a public school, coach their sports teams and try to educate them about how our planet is sick and needs all of us to heal it.

Now to the point.  The HDSLR technology recycles, it is small, it requires less space, less crew, less light, less power, less fuel, and less food.  I can go on and on for a long time about how this technology produces less waste. The most important point is that with less waste also comes the power for infinite creativity.  I have coined the phrase “small footprint, big vision.”  Isn’t that what we want to teach our children and the world? Leave a small footprint, but have a big vision.

I ask all cinematographers, videographers, still photographers, directors, producers, agency creative’s, production companies, studios, actors, and technicians to embrace, push, sell, believe in, experiment, inspire, convince, persuade, not doing business as usual. Think out of the box to save our planet.  It starts with one and grows to many.  By the way, this HDSLR technology saves loads of money also.  I will lead the march and unite as many co-collaborators to drink the HDSLR Kool-aid.

The Sub Shoot

Thursday, January 14th, 2010

Captain Randy Crites the commander of the USS Florida SSGN Ohio Class Submarine was so graceful in giving us permission to come along while they were doing covert ops just of the coast of Cuba.  He let us shoot on the Bridge while his amazing, talented crew piloted her through the depths of the Atlantic.  I would say “lets go back to one,” and chief David Newsome the Dive Officer of the Watch would say I will be ready in two seconds let me get her stable.  “No problem.” This is the area where the periscope lives and where they steer and maneuver this huge impressive fortress; it’s like the cockpit of an aircraft.

Customized Canon 1D hits the Sub

Customized Canon 1D hits the Sub

With all the gauges rear illuminated for night ops the Canon 1D went in and kicked butt.  The sensitivity of the sensor is absolutely incredible.  I shot at 3200 ISO at a 2.0 on a 21mm Primo Primes.  All the gauges glowed beautifully and with a little medium blue green fill light and a red light edge you felt like you were on the Bridge of the Enterprise.  I was in Man Cam mode starting high overhead looking down over the Dive Officer’s shoulder onto the control panel then I wrapped around him and moved into a close up.  This would be impossible with any other camera. For film this would have to be a set that the Production Designer builds, more natural resources being spent, he would engineer the ceiling so that it could be removed for camera and lighting assist.  The camera would be then put on a Technocrane, more labor, more fuel being consumed, etc.  We would build the control panel so that I could use movie lights to back light all the gauges.  Then add the necessary fill and accent lights to bring it up to a film exposure.

Walkway between the missile tubes

Walkway between the missile tubes

We then took the Canon 1D to the Missile Launch tubes that extend 5 stories down into her hull.  We shot the SEALS hauling ass through them, we lit with 12 MR-16 Par cans that we placed at the end of the walkway that flared the camera out, all the rest was available light.  We photographed the SDV (SEAL Delivery Vehicle) launching from the DDS (Dry Deck Shelter), which is a huge compartment that is attached to one of the missile tubes, this has a door that swings open to release the mini-sub holding the SEALS into the open ocean.

Entering the DDS

Entering the DDS

We shot a 3-page scene in the BMC, which is the Battle Management Center; again taking advantage of the low light capabilities of the camera we were able to use their practical light, their cool monitors and screens to add to the reality of the scene. With all this said and done it would have taken about 50 build days, 4 pre-light days, 8 shooting days, a crew of over 175 people to make this happen, with resources being consumed from all over and money being spent for no apparent reason.  We did this in 2 days and with five crewmembers. Gene Martin (sound mixer extraordinaire), Elite team members John Guerra: gaffer, Darin Necessary: 1st A.C., Michael McCoy the Director, and myself.  Multi-tasking to the max!!!

Mouse McCoy and Shane lens the approach

Mouse McCoy and Shane lens the approach

This does not even include the ocean portion of the operation.  Which was a recovery op. of 2 small zodiacs filled with SEALS that were ripping across the Atlantic when all of a sudden the Sub breaches in front of them, they ride the wake onto the stern of the sub, jump out and head down into a lock out chamber.  We did this all with 2 boats, 2 boat drivers, 5 Navy crew members to coordinate the sub, and talk with the zodiacs on Comms, the SEALS, 44 Pelican cases filled with lights, underwater gear, cable, cameras, props, and wardrobe in one day.

Seals activate first person helmet cam

Seals activate first person helmet cam

What makes this sub so amazing is that she is 560 feet long Special Operation Forces sub that delivers Navy SEALS to front line in very cool toys. The SDV is a mini sub that is a totally flooded vehicle that they load six SEALS into on re-breathers so bubbles won’t give them away.  The SSGN Ohio Class Submarine’s propulsion system equals 15 million foot pounds of torque, over a million horse power that catapults her to speeds way over 20 knots, (the speed is classified).  She’s fast.  Living in this community was an incredible life experience and I thank the U.S. Navy for giving me this glimpse.

Sub recovers SEALS off the Horn of Africa

Sub recovers SEALS off the Horn of Africa

So I go under the Atlantic Ocean just off the coast of Cuba for three days that expands to five because of squall conditions.  We had 3 boats bobbing around the Gulf of Mexico, with boat drivers barfing their guts out; they were there to try and retrieve us.  Not a chance.  We starting thinking about other ways that we could get off the sub, the Navy offered because the Director was an ex-stuntman to shoot him out of one of the Torpedo tubes in an air bubble with a life raft and a light beacon, but none of them came to fruition because the seas were at 8- 10 feet.

Our bunks on board

Our bunks on board

So we had a few more days to live in this incredible self-sufficient living environment.  I had no idea how awesome a nuclear sub was.  So much of the world could learn how to become green from this monolith.  It uses a nuclear reactor to power its engines, 2 steam generators that give her power with zero emissions for 25 years at full throttle or power up Las Vegas for 5.76 years.  It has its own desalination plant on board to provide water for showers, drinking water, etc. Best water I have ever tasted. It makes its own O2 from the seawater she takes in. No plastics are brought on board.  All paper and cardboards are recycled and stowed on deck till they head to port.  It seems like she has it all figured out, how to live in harmony and save the environment. Plus packed with the power to defend us.  Wow, what a novel concept.

Sub bathroom

Sub bathroom

Bandito Brothers, sticking with their small footprint approach, fit right into the eco-system of the sub.  As we recycled our flash cards they recycled paper, as we conserved on film processing, using less lights, less crew, less fuel, less food and water being consumed on shore because of this small, nimble Canon HDSLR platform, the Submariners did the same at sea. DIVE!! DIVE!!

Going Under The Atlantic For Pick-Ups On Navy SEAL Film

Friday, January 8th, 2010

I will be off the grid for the next 5 days to go under the Atlantic Ocean in an Ohio Class Nuclear Submarine.  We are doing pick-ups on the Navy Seal film in Key West. So, please give me a few days to catch up on questions when I surface!

The Elite Team and I are shooting a SEAL op that starts with 2 little zodiacs barreling across the open ocean, when all of a sudden a Nuclear Sub breeches in front of them. The zodiacs surf the swell and land onto the sub, 2 SEALS deploy and head down the hatch.  We are shooting this with a helmet cam, 4 cameras on boat to boat, a camera in a helicopter and then 2 cameras on the Sub once it breeches.

SEALS In The Hatch

Then we go in the Sub and shoot 3 sequences of the film while the Navy goes through their op schedule.  We will be shooting a briefing in the CON and a walk and talk sequence that travels through the ICBM missile silo tubes.  Then, we will be filming the SEALS doing their recon mission where they get deployed out of the Nuclear Sub in a mini Sub called an SDV (SEAL Delivery Vehicle) with 3 underwater cameras and piecing together a sequence where the 2 SEALS suit up, head into the Nuclear Silo, they flood the tube with water, they swim four stories up to the DDS, (Dry Deck Shelter) where the mini Sub awaits.

They open up the huge door that reveals the ocean, the mini Sub slides out on rails and the two SEALS take off on the mini sub.  Their mission is to gain intel on a meeting between two bad guys on a dry lake bed on the Horn of Africa. Once they get their info, they head back to the mini Sub and then to the Nuclear Sub where the mission ends.

I have just purchased 2 1D mark IV cameras and will be using the clean high ISO range of this new camera to capture the beautiful available light that exist in a Ohio Class Nuclear sub on a night mission op.  We are bringing minimal lighting and a very small camera package with a crew of 5.  One Director, one Cinematographer, one A.C., one sound mixer, and a gaffer.

In four words: Small footprint, Big Vision.

Vincent LaForet, Canon and Vimeo Video Contest

Monday, January 4th, 2010

Vincent LaForet recently announced an exiting video contest where he is collaborating with Canon and Vimeo. I am excited to be one of the judges because I know the creative product will be amazing!

Here is an excerpt from Vincent:

“There is A LOT OF POTENTIAL here for something very special to come out at the end…  each video chapter will start with and end with a still image… you need to interpret the previous photographer/filmmaker’s still to start the (your) subsequent chapter (those are pretty much the ONLY rules/guidelines (outside of the obvious))… should make for a pretty unique series of chapters in the end!

So watch the video above and find out more!  I’m on vacation with family and I’ll get rolling with regular updates and much much more information early next week!  For now – start charging those batteries… it’s your turn!

The Story Beyond the Still – Behind The Scenes from Vincent Laforet on Vimeo.

Judges for the contest include:

Philip Bloom - Director/DP

Russell Carpenter - DP – “Titanic

Rodney Charters – Director/DP – “24

Nick Childs – Director/Producer /VP Grey Advertising

Shane Hurlbut – DP – “Terminator Salvation

Stu Maschwitz – Senior Visual FX Supervisor – “The Spirit

Rick McCallum – Producer – “Star Wars

Blake Whitman – Director/Editor – Mr. Vimeo himself.

I’ll be a judge as well of course.”

Picture Style: How Do You Choose?

Sunday, December 27th, 2009

I am frequently asked about picture style.  There are so many internet sites making RAW picture styles, Flat picture styles, Panavision Genesis Picture Styles and all the picture styles in between for the Canon 5D, 7D, and the 1D. It is confusing to know which one to choose and I fell into a trap.

Coming from the world of film, I am used a lot of latitude and uncompressed 16 BIT color space. I want whatever will give me the most range so I have options when I get to the point of color correction. I like to bend it, shape it, stretch it, push it to have maximum flexibility and creativity.

So, I downloaded a RAW picture style from the Internet.  It claimed to increase latitude in the highlights as well as digging into the shadow areas.  I shot 9 shorts, 2 commercials and 25% of the Navy Seal movie on this.  What a BIG, HUGE MISTAKE!  It was fine for the controlled lighting set-ups that I had on the short films and the 2 commercials, but when it came to the big yacht take down in Key West it buried me.

Picture Style Menu

Picture Style Menu

The Elite Team and I quickly learned that while shooting day exteriors, the downloaded RAW picture style made it impossible to gauge a correct exposure on the back LCD screen due to the light contamination.  You could not tell whether it was overexposed or underexposed because it was so stretched to give you both ends. Consequently, we underexposed 25 or so shots trying to gain contrast. I will never repeat that mistake again!

After this error, we needed to rethink our approach.  The Elite Team and I had a think tank session and came up with a new strategy. We designed a RAW file that I liked with the Canon computer software, that we called SEAL RAW.  Our approach was to start with a neutral picture style with -1 saturation to expose our day exteriors and to light our day interiors, night interiors and night exteriors. Once the exposure was set on the day exteriors and the lighting was dialed in just before rolling, we switched from the neutral setting to SEAL RAW and then recorded on that picture style to give us the ultimate latitude. Our neutral picture style was equivalent to the final look of the film. In theory, it is similiar to a DIT superimposing a final picture look up table on the raw files of a RED One, Sony F35, Sony F23, Panavision Genesis, Arri D21 etc.

Neutral Picture Style

Neutral Picture Style

Getting Brave With -1

-1 Saturation to Desaturate the Reds

This is what works for my lighting and visual style.  Which picture style fits your vision?

A Media Manager Has Your Back

Wednesday, December 16th, 2009

In the world of HDSLR technology, media management is a very important position.  Every Elite Team member has held this position at some point during the untitled Navy Seal Movie to gain an understanding of HD image capture in a small footprint work-flow system and they all have jumped in head first!

The unique skill set that my Elite Team brings is that they all have a film background and are comfortable with certain rituals that accompany being a motion picture film loader and 2nd assistant cameraman.  These include: managing the truck; keeping  track of the gear and specialty pieces of equipment; creating an inventory and log; assessing how many magazines you have to load and color coding it according to the stock; labeling the magazines with the date, job, film stock and amount loaded on the magazine itself; and writing a camera report with the same information.

The system we designed for the untitled Navy Seal Movie is a mixture of the traditional film loader combined with the DIT job in the digital world. On our movie, Mike McCarthy who is a brilliant post production guy at Bandito Brothers with an IQ that I swear is above 180, set up our media manager work-flow system.  The Media Manager station is very simple and compact.  Sticking with the small footprint approach we employ a Mac Book Pro Laptop, a 24” HD Cinema Display monitor, and 4 External 500GB hard drives.

MacBook Pro

MacBook Pro

We shoot 10 to 15 minutes on a 8GB card.  I like using the 8GB cards the best because the counter on the top of the camera kicks in depending on jpeg settings at approximately 15 minutes of media recorded.  This is a great gauge.  Once the counter starts to come off of 999 we re-load the card.  Just like a 1000 foot magazine on a film camera.

Card Reader with 8GB Card

Card Reader with 8GB Card

There are three important reasons to do it this way:

  1. We can get that to the media manager and he can check the focus on his big monitor.  We all know how critical the focus is with these cameras.
  2. The cards tend to heat up and when that happens the noise factor goes up.  So keeping a fresh card in there is very good way to keep the image as clean as possible.
  3. It promotes a steady pace of backing up cards, so if for any reason something happened to the camera or the card you are not losing a whole day worth of footage.

In our work-flow system, the 8GB card from the 5D camera goes to the media manager. He downloads the media into the computer and simultaneously sends it to the 4 external hard drives.  After the download is complete, he checks for focus and exposure and labels each set-up for the assistant editor with as much detail and description as possible. Then, he formats each card before sending it back to the cameras in the field. When the cards go back to the field to be reused, the camera assistant knows to double check that each card is coming back empty.

2 of 4 Hard Drives

2 of 4 Hard Drives

Next, one hard drive is shipped to the editor to start logging the footage; one is a back up if the original one gets lost in shipping.  A third  is for the director to view on his laptop. The last one is a “cloned master “of what we sent to the editor, which is held in post.  This system has been successful in delivering the entire equivalent of 1.8 million feet of film safely into the edit room.

How do you manage media?  What successes have you had?  I would love to hear your formula.

Navy Swimmer: Mountain Rescue & Sea Rescue Sequences

Thursday, December 3rd, 2009
Click here to view the 720p & 1080p versions Navy Swimmer: Mountain Resuce

Click here to view the 720p & 1080p versions of Navy Swimmer: Mountain Rescue & Sea Rescue Sequences

Here is the breakdown for the Mountain Rescue portion of Navy Swimmer.

  • 1-camera in deep water housing which captures underwater and split level shots
  • 1-camera mounted on the Navy Swimmers helmet to capture him exiting the helicopter and being lowered down in between the rocks, and then lifting back off of the rocks and back into the helicopter
  • 1- camera mounted on a Cine flex gyro mount on an A-star helicopter giving us helicopter to helicopter shots; our scope.  The Navy swimmer helicopter leaving the tarmac, heading to mountain rescue location, hovering at a scene, and then heading back to base.  Mission accomplished
  • 1- camera in the Navy Swimmer helicopter capturing pilots communications, Navy Swimmer & Corpsman getting ready, jumping out of helicopter and retrieving climber
  • 4- cameras on the mountain terrain with 4 different focal lengths lensing the action from a distance.  1-300mm Canon, 1-600mm Canon, 1-70-200mm Canon Zoom, and 1-100-400mm Canon Zoom
  • 3-cameras hand held underneath the choppers prop washing getting more intimate coverage, seeing the Corpsman lower down, then Navy Swimmer comes down with the backboard, hand held as they help climber, and then document him getting pulled up to the helicopter
  • 1-camera on tarmac in a mini-van as Navy Swimmers get the call
  • 1- camera hand held following the swimmers to the helicopter and preparing before lift-off
  • 1-camera on wide shot as helicopter lifts off

Here is the breakdown for the Sea Rescue portion of Navy Swimmer.

  • 1-camera in deep water housing which captures underwater and split level shots
  • 1-camera mounted on the Navy Swimmers helmet in a surf housing so that it can take on water
  • 1- camera mounted on a Cine flex gyro mount on an A-star helicopter giving us helicopter to helicopter shots, our scope
  • 1- camera in the Navy Swimmer helicopter capturing pilots communications, Navy Swimmer & Corpsman getting ready, jumping out of Helicopter and retrieving pilot
  • 4- cameras on a boat back away from the prop wash and with 4 different focal lengths.  1-300mm Canon, 1-600mm Canon, 1-70-200mm Canon Zoom, and 1-100-400mm Canon Zoom
  • 1-camera on tarmac in a mini-van as Navy Swimmers get the call
  • 1- camera hand held following the swimmers to the helicopter and preparing before lift-off
  • 1-camera on wide shot as the helicopter lifts off

My Elite Team makes me shine everyday and the visuals that you see are a collaborative effort!

Navy Swimmer: Pool Training Sequence With Real Time Workflow

Friday, November 27th, 2009

The Bandito Brothers Production Company has a very unique work flow. I have adopted the Bandito Brothers “Real Time” shooting module and combined it with “traditional” filming. Here is how we made it work for the Navy Swimmer commercial.

Imagine prepping, shot listing and then letting the action play out in real time like a play. We put the cameras in and around the Navy SEALS action to document it without interrupting to get amazing moments of serendipity that would not have happened it they were broken down into individual shots.  We shot in real time.

First, we set up  “cover sets,” a concept coined by director Michael “Mouse “ McCoy.  We then discuss the operation and where to best set up our cameras to cover it.  The Elite Team is put in place and we run the image capture live as it happens.  No stopping the action and breaking it down into pieces; we run the whole thing again until we get all of the necessary coverage.

Here is the breakdown for the Pool Training Sequence for Navy Swimmer.

  • 1-camera in deep water housing which captures underwater and split level shots
  • 1- camera on a dolly tracking profile with swimmers that moves at water level and then submerges to see them swim underwater
  • 1-camera on 300mm Canon lensing medium shots of the recruits as they pop out of the water and sit at the pools edge
  • 1-camera on 600mm Canon lensing extreme close-up shots of the recruits as they pop out of the water and sit at the pools edge
  • 1-camera on a high overhead shot as the swimmers head at camera to take in the scope.
  • 1-camera high speed on a dolly tracking at water level with the swimmers
  • 1- camera hand held on 70-200mm Canon Zoom going rogue and capturing little bits

Navy Swimmer 720p

Navy Swimmer 720p & 1080p

The serendipity moments are real; you feel like you are experiencing it as if you are the Navy Swimmer, Diver, or SEAL.  We are able to lens these 3 minute spots for the Navy in 3-4 hours with our small footprint shooting module. Now, there are moments while we are shooting that have Blue on Blue filming, which is a military term that means you are shooting yourself.   For the few seconds where the other cameras are seen, we then go to Brett the magician in the After Effects room at Bandito Brothers to deliver his artistry.  He has painted me out of several shots, the most obvious one was on the swim deck of the yacht on the “Where’s the 5D MIO SEAL operation.”

This is groundbreaking filming which is unique in its style and execution and has only been possible since the invention of the Canon 5D, 7D and 1D cameras.

What Do You Think Film Students Need To Know?

Monday, November 9th, 2009

Technology has exploded since I graduated from Emerson in 1986. I am thrilled to go back to Boston on November 12, and share my passion for Canon 5D Mark II as a game changing tool for student filmmakers. It is an affordable camera for a student filmmaker with ability to deliver images that rival 35 mm film while giving them experience to enter the professional world.

Emerson College Students in front of state house

Emerson College Students in front of state house

I will be meeting with cinematography students in Dr. Harlan Bosmajian’s class to light a set and then guide them with the Canon 5D in shooting a scene, which they will then transfer and edit.

Emerson College Film Students

Emerson College Film Students

What do you think student filmmakers need to know? How can they compete with the stiff competition in commercials and film today? I would love to share your comments and feedback with the students at Emerson to guide them as new graduates.

Thank-you for helping to mentor aspiring filmmakers!

We Have A Winner To Our “Where’s the 5D” Contest

Monday, November 2nd, 2009

The “Where’s the 5D” contest was so close that the winner Josh beat our runner up Tim by a single shot.  Josh will claim his prize this Wednesday when he visits me on the set for the day.

Where's the 5D winner announced!

Where's the 5D winner announced!

We decided to add a runner up prize for Tim because he just only missed 2 shots of the entire sequence. Tim will have one hour of phone time to ask me any questions he would like.

Congratulations to both Josh and Tim!

A huge thank-you to everyone that participated for taking the time, giving your expertise in breaking down this sequence and making the contest so competitive.  Don’t be discouraged if you didn’t win this time because we will have more contests in the future. I want to know your ideas for the grand prize!

Now, here are the answers:

Where’s the 5D?

00:00:00 – 00:00:14 // Wide shots of Yacht//  Sony F950

00:00:15 – 00:1:00 // Girls on Yacht, underwater, girl next bell, girl walking down stairs with drink outside, girl walking down stairs in side yacht, girl walking into salon in yacht, guy getting shot from inside POV // Arri 235-Film

00:01:00 – 00:01:04  //Seals shoot bad guy from boat// Canon 5D MK II

00:01:04 – 00:01:06 //Wide shot of assault/ Overhead Helo//  Sony F-950

00:01:06 – 00:01:10 //Seals assault yacht on boats// Canon 5D MK II

00:01:10 – 00:01:11 // Wide shot of Yacht and all the boats// Sony F950

00:01:11 – 00:01:18 // Seals approach yacht on boats and Helo// Canon 5D MK II

00:01:18 – 00:01:21 // Profile shot of Mark V going by Yacht// Sony F-950

00:01:21 – 00:01:24 //Seals in Boat, in Helo pushing rope out// Canon 5D MK II

00:01:24 – 00:01:25 // Helo to Helo shot of Seals fast roping// Sony F-950

00:01:25 – 00:01:27 // Looking up at Seal fast roping onto Yacht// Canon 5D MK II

00:01:27 – 00:01:30 // Wide shot from Helo watching Seals fast roping// Sony F950

00:01:30 – 00:01:31 //Seal lands on Yacht from Helo// Canon 5D MK II

00:01:31 – 00:01:32 //Profile of Mark V boat tracking on water// Sony F-950

00:01:32 – 00:01:38 // Seals move onto Yacht, moving with them// Canon 5D MK II

00:01:38 – 00:01:40 // Overhead shot of Zodiac off loading Seals// Sony F-950

00:01:40 – 00:01:50 // Seals assault the Yacht, they head down the side// Canon 5D MK II

00:01:50 – 00:01:51 // Wide Helo shot of 3 Seals heading down side of boat// Sony F-950

00:01:51 – 00:01:58 // Seals track down side of boat and shoot bad guy in head// Canon 5D MK II