Posts Tagged ‘Digital Workflow’

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!!

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: 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.

Finishing The Navy SEAL Movie

Tuesday, November 24th, 2009

I am in Cambodia for the next 2 weeks to film the explosive opening of “The Only Easy Day Was Yesterday” for Legendary Pictures and Bandito Brothers about the undercover operations of the Navy SEALS.  It is the final segment that we need to shoot before wrapping the project.

Street scene in Cambodia

Street scene in Cambodia

Great visual, this is the main form of transportation

Great visual, this is the main form of transportation

On this last leg of the movie, I have only two members of the Elite Team with us, so we are in super stealth crew mode. I thought it might be interesting to describe our unique small footprint work flow.  Starting with my Elite Team, here are the 2 most important elements when I interview and choose co-collaborators.

1.  Hand pick a few team members who have the expertise and ability to simultaneously handle more than one job.  Be certain they do it well without getting flustered.

2.  Trust the eye of each member you choose.  I can give a camera to my Elite Team members and send them to capture images without having to constantly check up. They have the eye and the instinct for what is important on this project and what looks phenomenal.

The 5D Mark II camera fits perfectly with the small footprint work flow because it requires a smaller crew size due to its size and versatility.  On this movie we had access to a Nuclear Sub, an Amphibious Assault Destroyer, Blackhawk helicopters, Mark IV helicopters, SOC-R jet boats.  With the tight quarters in most of those locations and the spontaneous action of the SEALS, the small, nimble 5D with our Elite Crew was the perfect fit to go anywhere and capture the action.  The spontaneous action of the Navy SEALS was then able to play out in real time because we were observers and not the focal point.

This is the wave of the future.  Small footprint, small crew, small truck, small camera package, small lighting package, less waste, fewer resources and power being consumed. Financially responsible film making equals HUGE VISION!!!

One final side note, please be patient if I do not immediately respond to blog posts as my access to the internet is spotty and we have long shooting days. I value your input on the blog and know that when I have a minute I will get back to you personally.

Meeting With Students At Emerson College

Thursday, November 19th, 2009

What a fun time it was last week at Emerson College! Professor Bosmajian’s advanced cinematography class was fantastic! I showed footage from the undercover Navy SEAL movie to have the students take each shot apart to analyze both the lighting and photography.  We talked about the new Canon 5D and 7D cameras and how they are changing the game; shifting the paradigm.  We reviewed the basics of lighting and practiced those skills on a three wall set that the students put together.  We reviewed color temperature, how its use can give you more of a three dimensional image, and discussed how to use a monitor to light from in the field or a studio to light.  I showed the students the use of a fill light and they decided what level they liked while seeing it real time on the Hurlbut Visuals lighting monitor.

Emerson College visit

Shane explaining the benefits of the 5D and 7D for student projects

Emerson College visit

Students, Faculty and Alumni listening to Shane's experience shooting with the 5D

Emerson College visit

Shane explaining the paradigm shift and when to choose an HDSLR camera for a project

I value your input from the blog post “What Do You Think Film Students Need To Know?” Here is how I incorporated your thoughts into my presentation at Emerson.

The students

  • Heard that studying the history of film is important
  • Heard that the story is KING
  • Heard that experiencing everything is important so they have the ability to appreciate each co-collaborator and understand their unique talent
  • Practiced composition and discussed how to expose film

I also addressed the Emerson Faculty and Alumni to explain the paradigm shift with HDSLR technology and pointed out that Emerson could position themselves as a leader in embracing this new technology.

Emerson College visit

Shane meeting with Faculty and Alumni at Emerson College

Thank-you to everyone at Emerson for their enthusiasm, participation and expertise in pulling off a wonderful event.  Emerson’s facilities were in one word:IMPRESSIVE. They are giving the students everything possible to dream!

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!

What Happens When You Mix A BMW M3, A Beautiful Woman and HDSLR Cameras?

Friday, October 30th, 2009

This exciting spot was directed by Mike McCoy of Bandito Brothers and the majority of it was shot in 3 nights!  Even though Mouse (as he is affectionately know) is very talented, he had the help of an amazing team to make him shine.  Jacob Rosenberg who is also a director and post-production supervisor at Bandito Brothers connected the dots that helped Mouse’s visual story come to life and made sure the production ideas could be edited in post.  Producer Sumer Friedrich  and shooter Victor Huber (www.vichuber.com)  both of Bandito Garage (specializing in one stop shopping for car prep, cinematography and camera cars) rounded out the team.

Bandito Brothers "Living in the Lights"

Bandito Brothers "Living in the Lights"

The creative genius of mixing 5K still car shots and the Canon 5D car chase sequences make this groundbreaking visual imagery. From start to finish the all digital project and workflow takes advantage of where technology has gone. What was a “hot babe in front of a hot car” poster for Mouse as a teen has become a download on YouTube.

“A Dark Fairy Tale”

Friday, October 23rd, 2009

At Hurlbut Visuals, two of our core values are commitment and collaboration. We are helping to spread the word about director Joshua Sallach’s latest movie, an untitled “Dark Fairy Tale”  project with Narrow Road Productions. Check out the inspiring story at http://www.nrpro.com/

joshandjames

Director Josh Sallach with Director of Photography James Kwan

IMG_2321

Working out the fight seens with Carlos Montoya

Joshua and his team have a can do attitude no matter what the budget. It is about great storytelling and commitment to the final product. We are donating consulting time and equipment. If you would like to join the cause, follow Joshua on Twitter http://twitter.com/jsallach or visit his website http://www.nrpro.com/ Shooting begins the first week of November, so time is of the essence!

Camera Configurations: Your Best Ally

Wednesday, September 30th, 2009

Speed and production value are intertwined. Production budgets are shrinking and companies are asking for more from cinematographers and crews that ever. One way to meet that need is by increasing your speed without sacrificing quality. Specifically, when using Canon 5D Mark II camera for a project, a little preproduction planning with designing specific camera configurations for your project can save hours of conversion time throughout the shoot. The biggest benefit is that you and your crew have a system in place that is organized and ready to rock regardless of location changes, weather and whatever else may be thrown your way.

Man Cam on a Head

Man Cam on a Head

Here are a few ideas that have worked well for the elite team:

1.  Break down your project into all of the possible different modes that you might be shooting and plan to have at least one camera configuration for each mode.

2.  Get as many cameras as you can! They are cheap to rent and constantly changing configurations costs you valuable time when shooting. It can even make you look disorganized and unprepared because a director may be ready to roll and you are floundering getting a camera into whatever mode you need.

3.  Have at least one camera body assigned to each mode for shooting. For example, on the untitled Navy Seal project that I am currently shooting we have 13 5D bodies in all different configurations. Many have at least 2 in a particular mode for a multiple camera shoot.

The elite team and I had so much fun naming the different configurations that we decided to hold a contest for the best name. Mikey Svitak will be the judge, so please comment with your best idea for a name and we will announce it on our October 20, 2009 blog.

There will be a grand prize that goes to the winner, so let your creative juices flow and have fun with it! Here are a few of the names we came up with to get you started:

1.   man cam mode

2.  action cam mode

3.  helmet cam mode

4.  stripper mode

5.  steadicam junior mode

6.  studio handheld mode

7.  crash cam mode

Good luck! I can’t wait to hear your ideas and share those on the blog along with the winner.