Shooting a Sci-fi Thriller Guerilla Style - Part 2

As promised in part 1 of this series, I want to explore in more depth the use of Magic Lantern firmware for Canon DSLR cameras as well as Technicolor’s CineStyle specifically designed for use in Canon DSLR cameras. In May, I show a new short film called “Stop.” It is a a sci-fi thriller, and I opted to shoot with a minimal crew and do the cinematography and directing myself. There are new tools that open up new possibilities for DSLR filmmakers. So read on, and find out what I learned about using these tools in conjunction with my Canon T2i.

Technicolor and DSLR Filmmaking

In my last post, I talked a little about Canon's announcement that Technicolor would be releasing a custom-made Picture Style for Canon DSLRs specifically designed for HD video shooting. The idea is basically to shoot with a flatter, less contrasty picture setting so as to acquire as much information as possible since the camera will significantly compress the video information before writing it to CF or SD cards. Why do this? So you have as much detail to work with when you are ready to color correct your footage. This is something that much nicer, higher end cameras like the RED cameras, the Arri Alexa, or Arri  D21 allow for as they can record or output uncompressed signals.

The DSLR Revolution

If you happen to be like me, a total camera nerd (or at least an enthusiast), you’ve probably been following some of what’s been going on with new DSLR still cameras that are capable of shooting HD video. These cameras are now being referred to as HDSLRs. Some of you, however, may not be following this quite so closely, or may have heard of the concept but are wondering ... what’s so revolutionizing about DSLR cameras that can shoot video?

Broader Horizons for Short Film Distribution

I’ve met a lot of new and aspiring filmmakers in the past several years, and one thing I’ve noticed is a particular drive in many of them to jump with both feet into feature filmmaking. There are a few (very few, in fact) that due to past experiences and a passion for learning through reading and observation are able to jump into directing or producing their first feature film without the trail and error of making some short films first (though, most eventually recognize having had more experience wouldn’t have hurt either).

Now there are many reason such filmmakers list for not wanting to “waste their time” with short films. But in this entry, I want to address one particular myth that exists in some indie film circles. There’s this idea floating out there that “there is no market for short films.”

An Interview with Kyle Prohaska, Director of Standing Firm.

Some time ago, Kyle Prohaska, an independent filmmaker, who has been following this little blog of mine, contacted me. Kyle has his own website and blog and we got to talking. We’ve kept in contact and Kyle has shared with me some things about the feature film he’s directing, Standing Firm. I’ve seen some scenes from the film and the trailer, and the level of professional achievement is really remarkable. For all of you new filmmakers out there struggling to find your path and for all of my fellow Christians hoping to see some interesting new voices in the filmmaking world, you are in for a treat here. I did a little interview with Kyle.

Preproduction: A Neglected Art.

One often-underappreciated aspect of filmmaking is what is commonly referred to as preproduction. It really amounts to that planning phase of filmmaking, once the script is finished or selected and before principle photography begins. For those who might have been working in the film industry, this should be nothing new. However, I have noticed a disturbing trend among indie filmmakers. Preproduction often gets very little focus.

Your First Time on a Film Crew

So you’ve got yourself a job on a film set. That’s great news. Even if it is unpaid, that’s still great news. In fact, most first time film gigs are unpaid production assistant work, or intern work. This is to be expected. It’s a means to get your foot in the door. After all, if you have no experience working on a film set, you have little bargaining power, frankly. That is, unless you possess a specific set of skills (like make-up design, or set design, or costumes, or special effects) that you have acquired in other work—such as the theatre—that makes you a bit of a hot commodity to a given production. Most of us, however, don’t start off that way. And that’s to be expected. So embrace that and get in there. There is a very specific flow to working on most film sets, and being able to be introduced to it without the added stress of being a head of specific department is usually a good way to go.

Behind "Cold October": The Making of a HDV Special Effects Short Film

I had already directed a fairly successful short film in the psychological thriller genre titled “Cellar Door,” (click here to read about making “Cellar Door”) so it may come as no surprise that I might want work in that genre again. However, I am prone to trying new things, especially as I develop as a new filmmaker. So, yes, I chose to work on another psychological thriller. Only this one would be quite different from “Cellar Door.”

An Exploration of the State of Christian Cinema (part two)

“Society needs artists, just as it needs scientist, technicians, workers, professional people, witnesses of the faith, teachers, fathers and mothers, who ensure the growth of the person and the development of the community by means of that supreme art from which is ‘the art of education.’ Within the vast cultural panorama of each nation, artists have their unique place.”
- Pope John Paul II, from “Letter of His Holiness Pope John Paul II to Artists.”

The Christian as Filmmaker

The lights go down. The projector rolls. Light, cast upon a screen, becomes something else entirely. Suddenly, it has a language all its own. An experience. What a moment ago was a strand of still images is now a living thing. It is transformed. A miracle of sorts.

New Videos

In light of the fact that I have just moved from the Northern Indiana area to the Boston area, I've had quite a bit on my plate lately and have not had a chance to make more blog entries here in a while. But, I do have a few new videos to present, one being a new version of my director's demo reel. Thus, I thought I might post those here for a some food for thought and possible discussion.

Independent Filmmaking and the Bad Economy

“Fifteen years ago, the Sundance Film Festival got 500 submissions. This year, they received 5,000. Virtually all of these are privately financed. There’s only one problem: most of the films are flat-out awful (trust me, I have had to sit through tons of them over the years). Let me put it another way: the digital revolution is here, and boy does it suck.”

- Mark Gill, executive of Warner Independent and Miramax, speaking at the Los Angeles Film Festival financing conference.

In case you haven’t noticed, the American Economy isn’t so hot. Well, actually, the global economy hasn’t exactly been amazing. It’s freighting enough to have to stop and consider what this means for most of us middle class Americans. Unless you are the guy in the huge, gas-guzzling SUV thumping some indistinguishable bass-line for the current pop radio hit that pulls up next me on the street while I’m on my bicycle (yes, my good old mountain bike) on my way to the bank to cash my all-too-small paycheck from my last freelance video editing gig, you too probably have lost some sleep over the economic slump.

Rebels Without a Clue: The Downside of the Digital Revolution

The new age of cinema is upon us, right? Well, yeah, sort of. It’s new. But is new always a good thing? Much has been made of the new technology available to the low and no-budget filmmakers out there—people like me. With new HD cameras that cost only a few thousand dollars, more and more young people with big cinematic dreams are being presented with the opportunity to take a crack at filmmaking. And that’s a great thing! Don’t misunderstand what I’m saying here. After all, I’m one of these big dreamers who has gotten to make some rather good looking short films because of the new HD technology that is available for a rather small wad of cash. However, the fact that my short films have been praised by industry professionals as being beautifully shot and surprisingly polished has less to do with the camera we used than with the skills we have developed.

Making “Cellar Door”: The Creation of an HDV Short Film.

Most of us aspiring filmmakers don’t have the luxury of endless resources. But you shouldn’t let that stop you, especially not these days. What follows is a sort of production diary, detailing how my very small crew and I created a short film for less than two grand, and how this little film has started to create new opportunities for us. Particularly, I want to discuss what we learned on the technical side of making an ambitious and very visual short film for such a small price tag.

A Few Changes

If you're reading this blog, you may have noticed the utter lack of activity here in the last few months. First of all, I'm very sorry. Secondly, allow me to explain:

In the last few month, I've been working hard on completing a short film called "Cold October," which I directed. As we wrapped post-production on that film and got it into the hands of the company submitting it to film festivals for us, we launched pre-production on another short film, "Always Reaching." This wasn't something I'd planned on doing so quickly, but when opportunity presents itself, you're a fool if you don't take it. I am now cutting "Always Reaching." Between these two filmmaking ventures and work as a freelance videographer, little time has been left to write posts.