While visiting PMA and WPPI recently, FreshDV snagged a few video segments that should be of interest to filmmakers and video creatives. We’ve posted all our coverage of PMA and WPPI over at ProPhoto Coalition, but you can watch just the video-related segments in our channel over at ProVideo Coalition.

It’s certainly an interesting commentary on the state of our industry when you can find cool video-related tools at a photography tradeshow.

The MovieMaker Magazine Winter 2010 edition is out, and in it they have their annual 50 Best Blogs for Moviemakers. We’re honored and delighted to announce that FreshDV made the list.

Thank you for watching, listening, and reading the content that we share, both here and at our ProVideo Coalition channel.

We have great new content on the way, written and video reviews and tutorials. And of course we’ll be bringing you daily video coverage from NAB and Cine Gear expo’s. This will be our fourth year covering NAB, and our third year covering Cine Gear. 2010 looks bright for FreshDV, and we thank you for your support and encouragement!

We’re also happy to see fellow ProVideoCoalition contributors The Editblog and HD For Indies on the list. Congrats, guys!

A couple weeks ago, Cinema5D posted an extensive review series of gear for DSLR video rigs. They tested various kits and accessories from eleven manufacturers in total. I was excited at first when I heard about this large review, but my excitement quickly abated when I dug into their opinions and findings. Much of what was stated in the Cinema5D review is in direct contradiction to my own experiences with the same gear. And a number of the statements made in the review aren’t just a difference of opinion, they are factually incorrect.

I cannot address every rig tested in this review, I’ll only speak about the systems that I’ve personally used. But knowing the errors and omissions in their review for the gear I have used, well, that calls into question the information they present on gear I haven’t personally used. Another concern: in the week following the review, information surfaced that indicated that when the reviewers first contacted manufacturers, a condition of submitting gear for review was that the reviewer got to keep the gear that won. Seriously? That’s akin to demanding a ransom if you want your gear reviewed. This was never stated publicly by the reviewers, until a company not participating in the review (Zacuto) outed the information.

Somewhere in the shakeout following the review, previous Cinema5D supporter Cinevate was banned as a sponsor. It’s unclear to me why that came to be. Some commenters have complained that the fact the stated winner of the review (Vocas) was a Cinema5D sponsor indicates bias. I don’t think that’s a fair point to make, it’s impossible to prove there was any bias as a result of a sponsorship (and Cinevate was a sponsor too, until they were banned) so it’s really a non-sequitur as far as I’m concerned.

At FreshDV, we know full well how hard it is to present a well-researched, thoroughly-tested review. In particular, it’s VERY hard to do a proper side-by-side comparison review where a single unit or brand is declared the overall winner. It’s almost impossible to address every concern for every unique configuration…and declaring an overall winner is rarely a useful exercise for filmmakers, as needs and uses vary so widely. It is not my belief that this Cinema5D review was biased or determined by any ulterior motive. It is my observation that they simply bit off more than they could effectively chew. The scope of this review series is ambitious, and I believe that they simply did not have enough time and production experience to properly evaluate and test each system. As such, it’s my opinion that their findings, and their final star ratings in particular, are inconclusive. Regardless of any bias allegations from the community, there are a few factually incorrect issues in the review that I’d like to address below…

Shortly after the review was posted, Redrock Micro requested that their portion of the review be removed, citing specific concerns with incorrect configurations used and faulty setup of their products. Redrock’s Brian Valente wrote a detailed list of his concerns, two of the most obvious which I will quote below:

- Not the Rigs we sent:
We never submitted anything the “tripod” category. In fact, we weren’t even made aware there was such a category until after the review was published. Apparently to fill the gap, the reviewers configured their own version of a Redrock tripod rig based on parts (some of which we didn’t even provide), and then were critical of what they created. What they ended up with does not represent Redrock, and based on the pictures they showed, I wouldn’t use or recommend what they developed either. Of the two rigs we did provide, the first was modified from the configuration we sent (see below), and the second one (theEvent) wasn’t even included in the review.

- Changed rig configurations provided:
One of the concerns stated the review on the eyeSpy rig was that it didn’t sit flat when put down, due to a single handgrip configuration. The rig we sent for review included two handgrips and the handlebar (which you can see in their picture on the “first contact” page) which allows it to be balanced when set down, but for unknown reasons this was later removed for the evaluation portion. In addition, no mention was made that the Redrock eyeSpy rig is the only one that can be directly attached to a tripod using the integrated baseplate in the shoulderpad - a feature we specifically designed to allow easy setting down of the rig and fast change between shouldermount and tripod. This misrepresents our product and its capabilities.

The faulty analysis wasn’t limited to Redrock. The product reviewers slammed Cinevate gear, calling it “a lot of cheap looking plastic parts, and unfortunately, poorly manufactured gear.” There are many ways to criticize and opine on all kinds of gear, and one is certainly entitled to one’s opinions. But calling Cinevate gear in general “cheap plastic” and “poorly manufactured” simply doesn’t jive with reality. Cinevate nearly always uses CNC aluminum and stainless steel components in their gear…it’s the opposite of poor manufacturing, and certainly not cheap to produce.

As a recent example, Cinevate’s Durus follow focus is one of the strongest, toughest follow focus systems I’ve ever used. It oughta be…it’s largely constructed of CNC aluminum! There are certainly flaws in any system, but low quality and cheaply built it is not. I encourage you to watch my review of the Durus follow focus and compare that to the Cinema5D review findings.

They also took a few shots at Cinevate’s carbon-fiber rods, calling them “poorly-crafted” and suggesting they would wear out sooner than competing rod designs. This is a direct contradiction to my own findings with Cinevate’s carbon rods. I know this, as I purchased a set of Cinevate carbon rods in 2007, their original hollow carbon design. After noting a few issues with inconsistent widths along the length of the rods, I spoke with Cinevate about the issue. They went back to the drawing board and completely replaced their stock of hollow carbon with solid carbon fiber rods. I’ve been using a set of solid-carbon Cinevate rods on a regular basis since then (over 2 yrs). They’ve never even so much as shown any wear, and their design, specifications, and manufacture is of excellent quality.

There are a number of other errors and mistakes in regards to Cinevate gear in that review, so much so that Cinevate’s Dennis Wood took time to respectfully but firmly address them in a video here. I encourage you to watch the Cinevate response video and compare to the opinions stated in the Cinema5D review.

Another product that was (in my opinion) unfairly maligned in this review was a mattebox from Genus. The reviewers called the quality and workmanship of the mattebox into question, complaining about noisy rattles, loose screws, and a french flag that would not adjust properly. Ironically enough, when this review went live, it just so happened that I was I putting the finishing touches on my own Genus mattebox review. And my findings are completely at odds with nearly every complaint they had. Notice a pattern here? I found the Genus system to be a delight to use, well-crafted, and basically everything the Cinema5D reviewers did not. It’s mindboggling how differently we see the same product. Contrary to their findings, I found the quality vs price proposition for the Genus mattebox to be perfectly balanced. I encourage you to watch my review of the Genus mattebox here, you can see me working with it, shaking things (it’s rather quiet, thanks), and decide for yourself.

I have a few other more opinion-related issues with the review in general. For instance, they lauded the ARRI MFF-1 follow focus with a lot more praise than I believe is warranted. It’s a good system, sure. But I personally find it more at home driving an HD camcorder like the EX1 than a full cine lens kit. In particular, ARRI’s arm design has (in my opinion) too many points of adjustment and can slip away from the lens. It’s not as solid as other systems I’ve used. It also requires both hands to adjust the arm, as it tends to flop around. Ironically, that’s something the Cinema5D reviewers dinged the Cinevate handheld rig grip design for, but they don’t seem to mind it on this follow focus. It’s a good example of the clear lack of consistency throughout the entire review. To me, that means this is less useful as a head-to-head, feature-to-feature comparison review, and really more of a large lump of personal opinions from a few self-professed filmmakers. Here is the Cinema5D reviewer’s curt response to criticism of his opinions and findings.

In short, and at best, it’s my opinion that the overall conclusions of this review series are inconclusive and lacking. Speaking for myself, I’ve taken the review as a whole with a larger-than-normal portion of salt. I encourage you to do the same. Opinions are fine, but reviews should be based on a consistent “yardstick” or standard measure. As users and consumers, we should demand a higher standard of gear reviews.

Editor’s note: This article was written as a response to what we believe to be an inconclusive, poorly presented review series by Cinema5D that presents information that may not be factually accurate. As FreshDV has been sponsored in the past by a few of the brands noted in this article, I think it’s important to reiterate that this article was not created as a defense for any particular sponsor or relationship. Any prior sponsor relationships had nothing to do with the impetus to write this article. Rather, my first concern is that faulty information was being presented to filmmakers. Secondly, I have a concern that reviews like this one will cast a bad light on reviewers in general. For FreshDV to be able to present gear reviews and information, we depend on manufacturers being willing to provide their gear for testing. They assume that their gear will get a fair and complete evaluation and that the facts be presented. I worry that when flawed reviews like this one are presented, it casts a bad light on reviewers in general, and I want to distance FreshDV from that. Our reputation for fairness and reasoned review analysis is very important to us. Finally, I cannot address every point I disagree with in this extensive review. So in the above article I simply refer to specific gear and products that we’ve actually used and tested first-hand in real production environments, and stick with addressing things that I know to be incorrect in the Cinema5D review.

Why do tools like the follow focus, mattebox, rods, shoulder supports, monitors, jibs, dollies, and camera stabilizers exist? There is no question that these tools are real-world solutions to common problems. But there is also another, less obvious, reason to use these tools.

A mattebox allows you to keep light flare off your lens and to quickly and easily add filtration and problem-solving filters in front of the lens (a polarizer is a great example of a problem-solving filter). A follow focus enables the operator or 1AC to efficiently and accurately pull lens focus and to set consistent marks for multiple takes of the same action. Rods, support kits, and shoulder supports are the structure that you build your camera and it’s accessories on…without a solid, configurable base, even the best accessories in the world are basically useless. Good production monitors enable you to accurately see critical focus, framing, and color information in the frame. Cranes, dollies, jibs and stabilizers were created to enable specific camera moves and smooth motion. These tools have arisen to fill a need, and in many cases they have been directly inspired or engineered by the very people on the ground who use them on a daily basis (Exhibit A: Garrett Brown).

Let me expound now on another, more controversial reason, to outfit your camera kit with accessories. And that is appearance. Before you hang me for heresy, let me explain. Or, in Paul Newman terms, “Don’t shoot, Boss. Shaking the bush.”

We’ve all heard the phrase “dress for success.” Well guess what? There are legitimate reasons why this principle also applies to your production kit, and the current crop of compact HD cameras and HDSLRs in particular (and Red Scarlet, soon). This new breed of compact camera systems are tiny in comparison to traditional broadcast and what the public considers to be “professional” gear. In many cases, this small size is an advantage…documentary work sometimes requires a stealthy presence, so this diminutive size is a huge advantage in that field of production. But for people working in other levels of production, bigger is, at times, better for appearances.

In my recent review of the Genus mattebox system, I took a few minutes in the video review and talked about how the mattebox enhanced the professional look of my 5D MKII HDSLR camera package. This little rabbit-trail is about 6:40 into my review. For instance, if you are filming an interview with a corporate executive, they are likely used to seeing a large camera package like a Varicam. In almost every shoot with my HDSLR, I am compelled at some point to explain “yes, this is a real video camera.” It’s a fair concern from the standpoint of the client…the camera body is tiny, and it doesn’t even look like a video camera. I don’t blame them for asking. Now, when they see the footage, there are never any questions. In most cases, the client is floored. But in that critical first few moments of a shoot, you have to make a good first impression, and one way to deliver a more professional appearance is to build a camera package up with accessories. Maybe it’s not entirely necessary to shoot that two-camera sit down interview with a mattebox. But if I’ve got time, I’ll still mount that mattebox, because if the client or agency I’m dealing with isn’t worried about the camera, then they can concentrate on the interview or task at hand and deliver a better performance.

This also applies to experienced actors (perhaps moreso). There was an interesting side-note from a 2006 Showreel article from “24″ DP Rodney Charters. They were testing small HD cameras and 35mm lens adapter systems on the production set, and Keifer Sutherland made the comment that he feels that he delivers a better performance to a more professional-looking camera. I wrote about this back in 2006 in this blog post, the exact quote from Rodney was:

“I told Keifer we were testing more small cameras for drama use and he said again that he doesn’t feel he can perform as intensely in front of a small camera as when he faces a large Panaflex. So I’ll start by reiterating a point I made last time: it’s a good idea to use large matte boxes if you intend to use HDV for drama, so that the actors feel there is something of substance there they can address obviously not for taking an eyeline down the lens, but at least to act as an audience.”

I know what you are thinking, and it’s exactly what I’m thinking…these issues shouldn’t matter. The final result is what should really matter. And I agree 100%! A competent shooter with DIY gear can nearly always deliver better results than a subpar shooter with the best gear in the world. But so many times we are thrust into situations where the client or on-camera talent doesn’t have a previous relationship with the shooter, and all they have to draw on are those first impressions. It’s important in these situations to put forth the best possible image, and in some cases, if you’ll pardon the euphemism, that means having the biggest rig in the room.

 Genus Matte Box Review [9:52m]: Download

About two years ago, FreshDV started an in-depth matte box video review series as an extension of a review we wrote for DV Magazine. We’re updating that series today with a review of the Genus Mattebox, an affordable, lightweight design that’s at home with compact HD camcorders and DSLR rigs.

The Genus review has been posted at PVC here, and also added to our full mattebox review series here.

Kendal got a look at Fuze Movie recently, which is the successor to the software formerly known as SyncVue Pro. Check out his writeup here.

 Cinevate Durus Follow Focus Review: Download

Way back in the fall of 2007, FreshDV kicked off a follow focus review series. Our aim was to take a look at the popular units for 35mm adapter and film camera rigs, and to establish a baseline standard for performance testing.

Since then, we’ve added to the series with several new and updated units. To date, we’ve tested and reviewed ten follow focus systems and also created a short instructional video series on the role of a First Assistant Cameraman & Focus Puller.

Today’s new addition to that review list is the Cinevate Durus follow focus, an interesting single-arm design that features one of the most solid gearboxes we’ve tested to date. You can see how the Durus performs in our monster video review playlist here.

Kendal Miller has put together an awesome video over at PVC that step-by-step breaks down the evolution of a complex dolly shot during a film shoot he DP’d. The film was shot on Red and directed by Tim Zwica. In this case-study, Kendal uses overhead diagrams, pre-production materials, behind the scenes footage, stills, and also the actual footage from the Red to show how the crew overcame the challenges of location and the requirements for the scene. Definitely check this one out!

On a related side note, I’ve previously written about some of my experiences from this shoot (I was 1AC) and the challenges we ran into with the Red One camera. Read my Weary AC/On Set With Red rant here.

Over at ProVideo Coalition I’ve posted a quick tutorial for Macbook Pro users on how to enable the faster of your two internal graphics cards (if so equipped). If you weren’t aware that your model includes two cards, you’ll be happy to hear about the potential performance gains. Check it out here.

Editor’s note: This equipment review is cross-published from our affiliate, Microfilmmaker Magazine. FreshDV has previously covered Kessler’s products in our Cine Gear 2009 video coverage. For more example footage, check out dvd.kesslercrane.com

Kessler Crane KC-8 Complete – Ultra (no AXIS System)
Review by: Jeremy White, Microfilmmaker Magazine
$1599.95 as equipped
Final Score: 9.0 (of 10)

A while back, a friend of mine made an incredible music video that absolutely made my jaw drop. His shots had something that my shots desperately lacked – motion. His use of a crane added a whole new layer to his film.

Immediately, I began searching for a crane for my productions. I needed something cheap, durable and most importantly smooth. I searched around online for a few days until I finally found a company I was sold on – Kessler Crane.

The model I chose to review is the KC-8 Complete Ultra (no AXIS System). I chose this package for a number of reasons. First, at eight feet this crane seemed the perfect size for my needs. I wanted something small enough so that I could shoot indoors, but tall enough to get above a person’s head. Second, it included a heavy-duty tripod (something most cranes under $2,000 do not include). Third, it included the Hercules 2.0 head. This is a very sturdy tripod head capable of carrying up to 150 pounds. Finally, it included the vertical brake so that you could secure the crane when not in use.

Ease of Use
The crane was extremely easy to assemble. Kessler has even put together an instructional DVD to clearly explain assembly and user operation. I made sure to attach the included caster wheels to the base of the tripod. This made the whole system considerably easier to move.

With the crane fully assembled, I realized I needed some weights to counter-balance the crane. Kessler does sell weights (to save the user in shipping costs), but these can be purchased at most sporting-goods stores. After ransacking my uncle’s house I found some old exercise weights and I knew that I was in business. It took me a couple guesses to calculate the exact amount of weight to use.

Kessler does sell the Hercules 2.0 head, but the KC-8 Package only includes one Hercules 2.0. A second Hercules 2.0 head would be needed for mounting the camera as the first should be used for mounting the crane. They also do sell a motorized “AXIS System” which gives the user a full range of movement, but the AXIS System will set you back another $1,000.) In lieu of using one of these options, I mounted my Bogen/Manfrotto 503 fluid head to the end of the crane. This gave me some extra mobility in configuring my shots that was much appreciated later. Without the fluid head attached, the camera was limited to pointing only in the direction in which it was mounted. With the fluid head, my camera angles were limitless.

Finally, with everything fully assembled, I set out to work. The crane performed flawlessly. Everything worked just as it was supposed to. I took the crane apart and reassembled it to see how long it would take me from start to finish. Elapsed time: five minutes. This crane is so simple to assemble and use!

Depth of Options
The thing I loved about this crane was that (with the addition of my Bogen/Manfrotto 503 fluid head) it could turn in literally any direction. I actually found I liked using the crane better than my regular tripod. It was extremely useful for low shots, which was something I never considered. It is tough to set a tripod so that the camera is one foot off the ground, but with the Kessler Crane this was extremely easy.

The caster wheels were a huge help. With them attached, I was able to move this rather heavy crane with ease. I actually filmed on a smooth surface and was able to use the crane as a dolly for a few shots.

Performance
I was extremely pleased with the overall performance of the crane. I was able to get fantastic high/low angles and sweeping motion shots that would never have been possible before. I was also pleased with the stability of the shots. They weren’t 100% smooth, but they were very close. I found that by running the footage through Final Cut’s “Steadicam Filter,” I was able to achieve the level of perfection I desired. I honestly believe that with just a little bit more practice I could have gotten the shots completely smooth without any post magic.

Another fantastic quality was the stability of the tripod. This thing is a ROCK! I had no problems putting my $3,500 camera on the end of this and walking away. This tripod can hold up anything.

In addition, I never felt like my camera was “too heavy” for the crane itself. I could have had a camera weighing 30+ pounds and I still believe it would have performed just as well.

I did find that the pin to lock the tripod head into place was somewhat difficult to remove. It took some playing around with to get it in/out of place, but this may just be due to the newness of the crane. Overtime, it probably would be easier to get in/out. Also, the vertical brake seemed to fit into place somewhat awkwardly. It worked fine, but it just looked like it bowed out rather strange. I still would recommend having it, but over time it may become slightly warped. Kessler sells a Lighting Stand Clamp Mount that most users would probably find easy to use.

Value
When I first started looking for cranes I was hoping to find something under $1000. While I did find cranes that were priced under $1,000, I would not have felt comfortable putting my camera on them. Just looking at the pictures of these other cranes, I could tell they didn’t even compete with Kessler’s quality. This crane was made with a nice lightweight aluminum alloy that will last for years.

Final Comments
If you want to take your films to the next level, a crane is a MUST. If you want a solid, easy-to-use crane at a great value, definitely look at the Kessler KC-8 Complete.

Jeremy White has literally traveled the world making short films. Most recently, Jeremy traveled to China and Peru to shoot promotional videos for non-profit organizations. His film “Leaves” won the 2005 Highbridge Film Festival.

This equipment review is cross-published from our affiliate, Microfilmmaker Magazine. FreshDV has previously covered Kessler’s products in our Cine Gear 2009 video coverage. For more example footage, check out dvd.kesslercrane.com

VFX and color guru Stu Maschwitz has created an amazing tutorial on how to use the plugins Magic Bullet Looks and Colorista to effectively emulate in your own work the distinctive color palette shared by many of the blockbuster films you’ll see this summer. Stu also uses Adobe Kuler (which we love) to show some of the color theory behind film grading choices. We are pleased to bring you that tutorial here at FreshDV. Watch below, and click the fullscreen button to see large.

Noise Industries is a major manufacturer of FX plugins for both compositing and non-linear editing software. They are perhaps best know for their FX Factory software, a plugin management software that gives the user a central application for adding and controling FX plugins. FX Factory is available as a free download, and additional plugin packages for FX Factory may be purchased separately. These plugins range from title generators such as MoType which I reviewed earlier this year, to pattern generators, photo montage tools and many more. Recently they announced their new Volumetrix 2.0 and HUD plugins. Here is a quick look at what these new products offer.

This plugin offers the psuedo-volumetric lighting look, ever prevalent in film trailers. There are both straight filters which can be applied to text or footage, and transitions. All parameters are fully keyframeable and even though the presets are a little cheese-ball with a little tweaking you can create some great looks. Personally I love volumetric lighting so this is a great plugin for me. Volumetrix 2 is pretty configurable, in fact you can do light rays, glows, glints and distorts. One element missing for me was the ability to map gradients to light as opposed to simple colors. This Plugin is also well suited for building light wipe transitions and such. This was a fun one to play with and really felt at home in my After Effects tool kit. Existing volumetrix users can upgrade to 2.0 for free. For new users the license is $49.

The following case study article was written by Pablo Korona, a Rockford, IL based video producer and FreshDV contributor. You can learn more about Pablo’s work at www.pablokorona.com.

Basic Art Direction Primer / Production Design for a Tabletop Product Shoot
Among the many crew departments working a production set, audio and art are often overlooked or ignored. Both are usually an afterthought. But hey, at least all the audio guy has to do is point a microphone and unplug the refrigerator! Easy money. I overgeneralize of course, but I say this to simply illustrate the focus of audio, and how having some one dedicated to it on set produces a better outcome. This also applies to the production design, but is even more reinforced because “art” is not a narrow focus.

Typically, the art department coordinates with all departments, interacting with talent in regards to wardrobe, food stylists to decorate the surroundings, with the grip department on set construction and deciding finer details of the set/scene or special effects, and the camera department in reference to angle of view and visible focus. In an all encompassing sense, the art director is responsible for anything that the camera sees. It is difficult to list what this may entail without going into specifics and that’s what I intend to do, dropping a couple tips and tricks as well.

I was hired by Sargento’s marketing agency to direct a video for one of their newest products, Portionables, which are small portion controlled frozen sauces. These are unique because they are not large packets of frozen sauce, but smaller frozen pieces on average the size of a standard ice cube, or cigarette lighter. Here’s a look into how I prepared for the shoot from an art and set-dressing standpoint. It is important for me to preface that this is from the perspective of Director wearing the Art Director hat. The thought process would be no different for an Art Director, but lets face it, when there’s no budget, we have to do this ourselves. So that’s why this article illustrates the overall process the director as art department goes through.

When I received the script, I requested photos of the location, images of the talent, promotional materials for Sargento’s brand, sample advertisements featuring the product and lastly the requirements from the agency in terms of how to shoot the product. Using these references, I ask myself the same questions before a shoot with any type of product shots.

1. Does the company have a brand image I can look toward for influence?
2. Are there cues from the script that I can take for the surroundings?
3. Does the talent’s look require a specific mood?
4. What does the tabletop subject need around it to convey the desired mood?
5. Does the tabletop subject require any specific shooting conditions?

These questions allowed me to tailor a specific look for this piece.

1. Sargento’s brand is more European. For example, the website has an Italian flavor, featuring a stucco background in a Tuscan yellow.
2. The script was calling for the making of a Putenesca sauce, reinforcing the Italian feel. The first things that came to mind were Italian paintings, old world clay bottles, and classic utensils you would find in any Nonna’s kitchen. I sought out items with rich, warm earth tones.
3. Our talent was a middle-aged blonde with short hair. She has nice smooth skin, and glasses. There were no issues in dealing with extreme wrinkles, so mood lighting on location was not going to be an issue.
4. I’ll reference flavor cues later.
5. I’ll touch on what we did to overcome shooting frozen items.

I wanted the video to have a fresh new look that set it apart from the other videos on the website. I always start by surveying the possibilities of the location. We were required to shoot in a Sargento work kitchen. Although it was featured in the previous videos, there was never a lighting budget so previous videos were shot very flat and didn’t make better use of the surroundings. A quick analysis of the space showed attractive wooden cabinents, a nice-looking granite counter top, the surrounding walls have avocado green tile, and finally the most problematic elements were a large stainless steel stove and matching cooking hood directly behind where our talent would be cooking. Two things bothered me about the current background. First, the stainless steel would certainly reflect any lights around our talent, and secondly these large stainless steel objects are cold, lifeless distractions.

My first instinct to bring in character and life into a space is to hang a framed photo or a painting. An inherent problem I find shooting on locations is that you cannot hammer in a nail to hang a frame to help break up a flat space. However the tile in the background is is perfect for my secret weapon, 3M Command Strip Hooks. 3M’s Command strips have been a staple on my shoots for years. They allow you to hang an object and then remove the hook without damaging the surface below. They are fantastic on wood panelling, tile, and painted walls; typically working the best on anything with a hard glossy surface. As research for the possibility for a framed solution, I went to a local hobby & craft store in hopes of finding warm photos or paintings of Italian hillsides, or some kind of still life. Taking photos with my iPhone, i emailed three choices to the agency’s creative director - we selected one and had a winner. With the painting selected, the space was instantly transformed. Because we were cleared to have moodier lighting, bringing the ambient light level down reduced the visibility of the stainless steel exhaust hood, and allowed us to shine a light on the painting, spotlighting it, making it that much more effective.

In tabletop shooting, the subject tends to absorb the environment and its surroundings. Great care must be taken to what’s around your “hero,” the product. Often your subject needs to be dressed up to help sell the image and feeling you’re trying to convey. For example, the agency I worked with refers to elements surrounding the food ingredient hero, as “flavor cues.” These are essentially visual representations of what taste the specific subjects elicit. For example, a marinara sauce might have tomato, garlic, and onion surrounding it. A creamy pepperjack cheese sauce would have cheese, peppers, butter and milk. Specific sauces were chosen by the agency, and were assigned general flavor cues for art department to choose from.

Now we turn towards the subjects themselves. In this case we’re shooting frozen sauce portions. We researched food styling products, and purchased a faux ice crystal mix to help sell the ice because we were concerned with our ability to keep the product frozen while under the lights. When shooting frozen items, your window of time for shooting them is very limited. Having a dedicated food stylist when you’re shooting frozen items is invaluable because they can set up a scene and be prepared with a new arrangement when the one you’re shooting melts. Aside from the faux ice and frost products, keeping the product in dry ice, lowering the overall temperature to colder than its normal freezing point easily doubles the shooting window.

There’s a quite a bit to write when it comes to how to art direct a scene, however these are just a few takeaways from this experience. I’ve just completed another project with Sargento where the same room was repurposed as a test kitchen, and then repurposed again as a shipping warehouse. The extra effort put through on the Portionables project not only helped produce a high-quality production but allowed for easily understanding the brand for future productions. A well decorated and art directed set is easier to light, and typically saves production time on set. Often on small budget production art direction can be the role played by the agency, however if you approach your project with an agency mindset, you’ll earn the trust of the agency and form a strong relationship with them, making for a much more pleasant set.

We all find ourselves asking how to get bigger budgets, how can we improve our production quality, and how do we grow? These are just some quick tips and thought processes that when researched before you get on location, can help raise the bar on your production quality and raise the inherent value of you being attached to a project. I do hope this helps, thanks for reading!

You can learn more about Pablo Korona at www.pablokorona.com.

 NAB 2009 Wrapup Discussion [13:16m]: Download

So we wrapped our video coverage of NAB 2009 back in April, but there was one remaining segment we haven’t posted yet. On the last day of the Expo, we took a walk around the Central Hall as four cameras (three on Steadicam rigs) circled like HD vultures. The idea was to capture a discussion that wrapped up the show, all while showing the event space as we strolled around booths and products. We initially had pitched the idea to Patrick of Stillmotion, he rounded up a few other Steadicam shooters and expanded on the idea creatively.

Thanks to Stillmotion, Shadowplay, Mindcastle Studios, Ray Roman Films, and Pablo Korona Moving Pictures for covering this wrapup segment from literally all angles. We greatly appreciate their collaboration on this effort. It’s also worth noting that none of our video coverage would have been possible without the generous financial support of our sponsors; Cinevate, CoreMelt, LetusDirect, Midtown Video, Redrock Micro, and Zacuto. These fine sponsors are genuinely interested in supporting the efforts of independent filmmakers and video producers, and we at FreshDV are proud to be associated with them. Also, our host MediaTemple stepped up to the plate and generously provided additional bandwidth when we far exceeded our anticipated allotment.

Now I must warn you, this 13-minute segment features a shaky plot, questionable editing decisions, and gratuitous Steadicam use. You could say it’s like our homage to every film Director Michael Bay has made. So just sit back and enjoy this, our last remaining video segment from NAB 2009. And stay tuned for our almost-ready-to-post coverage of Cine Gear 2009…we had to get this segment out of the way first, so expect that video coverage soon.

Watch below, subscribe to our podcast feed, or watch all of FreshDV’s NAB 2009 videos in one playlist here.

 Mike Mihalik on Hard Disk Backups and Reliability [44:30m]: Download

With the advent of affordable solid-state flash media and high-quality HD cameras, production companies small and large are taking another look at their backup processes. Without an original video tape or film stock to go back to, disk storage and backups are more important than ever before. Now in addition to storing project files and media assets used in productions, disk storage IS the original backup media. What is your backup strategy? How are you protecting yourself and your business from the myriad number of ways a hard disk can fail?

To offer a little perspective on the subject of hard disk reliability and backups, we spoke at length with Mike Mihalik, Product Manager at LaCie. I had initially heard Mike mention a few quick thoughts on disk backups on an episode of the Digital Production Buzz with Larry Jordan. Part of the reason for our conversation was to clarify those comments, and part was to also delve a little deeper into Mike’s recommendations for backup processes and best practices.

If you’ve not yet experienced a catastrophic hard disk failure, this podcast may unsettle you a bit. And I’m glad if it does…all too often we hear the horror stories of hard disk crashes where the user has no backup. It only takes one such crash for most people to learn their lesson. Mike speaks at length about the many different ways you can lose hard drive data, and hopefully you’ll come away with a little more concern for your own backup processes, and take time to protect yourself properly in the event of a disk failure.

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