I’m a big fan of Food Network’s programming. They have an abundance of quality, informative, and clean programming that also happens to be interesting for the whole family. “Iron Chef America” and Bobby Flay’s “Showdown” were instant favorites at our house, as was Alton Brown’s “Feasting on Asphalt”. And “Everyday Italian” with Giada De Laurentiis…need I say more? Food has literally never looked so good.

But one of my favorite shows on the roster is “Good Eats”, another Alton Brown creation. Generally the eloquent host digs into the nitty-gritty science of cooking, but in a recent episode entitled “Behind the Eats”, Alton takes the viewer behind the scenes of the show and does an incredibly detailed job of it. It really is an amazing mini-lesson on production in general. Regardless of your interest in food-related programming, I suggest you check you local listings for a re-airing, it’s well worth the time. As a bonus, towards the end you get to see Creative Cow contributor Walter Biscardi talk about his involvement in the series. For fans that simply can’t get enough Alton, you can buy his “Good Eats” and “Feasting” DVDs at Amazon.

Editor Daniel Hollister used to hate iMovie. But from his recent Why iMovie ‘08 Matters article, it sounds like the latest version in iLife ‘08 is begining to grow on him. He makes a good case for using iMovie for simple productions; “For anyone needing to edit video extremely quickly, this is a godsend.” For a slightly different viewpoint, Mike Curtis wrote a detailed review of iMovie ‘08 for Macworld.

The latest version of iLife is available for $79 at the Apple Store.

The October print issue of DV Magazine has a very interesting article on Les Stroud, the one-man-production machine behind Discovery Channel’s Survivorman. Stroud is a filmmaker with an outdoor bent, and single-handedly shoots his harrowing adventures with a 5 camera kit. He’s also intimately involved in the editing process. It’s an intriguing look at the making of a very unique show. Fans of the series may also wish to read Stroud’s blog.

I should also mention that FreshDV editors have two articles in that same issue, one on location lighting kits and one on follow focus systems. We’ll be sharing some accompanying video footage of those solutions here at FreshDV in the near future. Stay tuned to FreshDV’s Podcast feed.

(Via Digital Camcorder News)

Interview with Director Blake Calhoun by Eugenia Loli-Queru

Today we are happy to feature an interview with director Blake Calhoun, known for two feature films (”Killing Down” and “Hit”) and a number of short films during his earlier indie career. These days Blake is testing the waters for internet-based TV series. His first effort in the field is called “PINK“, it’s of TV/broadcast quality and it’s starring Natalie Raitano (of VIP fame, next to Pam Anderson). Two episodes have been released so far (1, 2), while new episodes are posted every Tuesday on YouTube, Revver and MySpace. Read on for what Blake had to say about this new trend.
Continue reading ‘Exclusive Interview with Blake Calhoun, Dir. of “PINK”’

Convergent Design is getting into the video field recorder business with their newly-announced Flash XDR DTE device. Attached to a camcorder via HD-SDI, the XDR records HDV, XDCAM HD, and high-bitrate MPEG2 streams to affordable compactflash media. The 422P@HL option allows you to record full-raster 1920×1080 (interlaced and progressive) and 1280×720p 50 Mbps MPEG-2 streams at 4:2:2.

Features:
*HD-SDI <> HDV or XDCAM HD MPEG2 Streams
*Supports MPEG2 4:2:2 @ 50 Mbps and 4:2:2, full-raster (1920×1080 / 1280×720) I-Frame @ 160Mbps.
*1080i, 720p, 1080p23.98
*Embedded or External Audio, Time-Code inputs
*Internal time-code generator, GPI Trigger input
*Two Hot-Swappable CompactFlashCard Slots
*Enables File-Based transfers, 5x-12x real-time
*Rugged, solid-state; silent operation
*Compact, Ultra-Portable, 2kg with battery

Continue reading ‘Convergent Design Announces Flash HD Field Recorder’

We first mentioned this possibility earlier in the year, and it looks like the deal is finally available. Purchase a Foveas wireless focus system in tandem with the FS Pro vest-mounted stabilizer device, and you can take 10% off both units. This combo discount may be of interest to the new/upcoming RED camera owners who wish to fly their rigs and are shopping steadi rigs, as you’ll need some method of pulling focus on the RED lens while it’s on the stabilizer. The discount is valid through November 30th.

I should note that we have not yet had the opportunity to test the Foveas unit, nor have I read any reviews on the device. However, I will be reviewing it later this fall. We have used the Bartech BFD + M-One motor combo with a 35mm adapter rig, and it performs beautifully (as it should). It’s also over twice the cost; the Foveas + motor is priced at 895 Euro (about $1,220 USD), while the Bartech + M-One will run nearly $4000. Yet another wireless lens control option waiting in the wings for fall release is the Redrock Remote, but we have no confirmed ship date on that product at this time. Historically, one of the biggest issues with wireless lens focus units is the reliability and performance of the drive motor…and good motors generally do not come cheap. With these three offerings all over the pricing map, it will be interesting to see how they compare in real world testing.

The FreshDV crew interviewed Bob Sanchez recently, a career 1st AC with 30 years of feature filmmaking experience. This video is the second half of that interview, you can watch Part 1 here. In this segment, Bob details the methods he uses to pull focus, and what tools he carries on each job to facilitate the position of 1AC. Watch the Part 2 video below. Part 3 is also now online. Part 3 is the unique segment where we take you behind the lens as we demonstrate the techniques Bob uses. You may also be interested in our video review of 5 popular Follow Focus systems.

Continue reading ‘FreshDV Film School: The Art of Pulling Focus (Part 2)’

While much of the online community salivates over recent RED One announcements, Silicon Imaging’s proven SI-2K digital cinema camera has quietly gotten some very interesting upgrades. For starters, they have a film camera-style optical viewfinder option now, as well as an OLED EVF option (with secondary HDMI tap). There is a new MINI-Rig for handheld/shoulder mount use, and of course the beautiful (and upgradeable) enclosure designed by P+S Technik (shown here in our NAB Expo coverage).

Other new features include the option to frame-accurate synch multiple SI-2K cameras for multi-camera or stereo 3D applications. This feature would also be useful with multiple SI-2K MINI heads for Matrix-like effects and shots. There is also now the option to record CineForm RAW directly to QuickTime format as well as a few other handy user-configurable capabilities (like extended shutter durations).

The SI-2K currently lists for $28,500, the remote MINI head can be had for $17,500. You can obtain the optional new OLED viewfinder for $4000. This fall will see the release of the B4-mount optical viewfinder, with a PL-mount version coming early next year. You can find more info on the SI-2K at www.siliconimaging.com

Photoflex is offering two lighting seminars this month, one in Ashburn, VA and one in Sacramento, CA. I believe the focus will be on still image lighting, but the general principals of lighting design transfer almost seamlessly to moving images.

Photoflex Light Seminar - Sept. 12th -For People and Product Imaging
9/12/2007 - 9/12/2007
By “Red” Rabouin from Photoflex September 12th from 6:00 to 8:00pm at Ace Photo

Camera Arts and Photoflex present Norman Haughey
9/15/2007 - 9/15/2007
* Learn how to flatter your subject using creative lighting and posing
* Benefits of Tungsten and Strobe lighting
* Learn to use a variety of light modifiers such as umbrellas, reflectors and soft boxes
10% OFF Photoflex gear in conjunction with the seminar. $10 registration fee.

More info at www.photoflex.com

Image focus is one if the most critical aspects of film and video production. It can also be one of the hardest to get right. Keeping your images in focus become particularly difficult when shooting with your lens aperture wide open, during fast-moving action, and when shooting video film-style with a 35mm lens adapter. On a production set the crew member generally tasked with image focus is the First Assistant Camera position. Depending on the size of the crew, other tasks for the 1AC may include building and breaking down the camera rig, setting the lens and aperture, keeping lenses clean, slating, and loading/marking film canisters. It is an important position, and a good AC effectively frees up the DP/Cinematographer to better perform his job.

FreshDV recently sat down with Bob Sanchez, a Chicago-based career 1st A/C with 30 years of feature filmmaking experience. In part one of our video series with Bob, Kendal Miller interviews him on what exactly it takes to do the job, and the tips and tricks he’s learned over the years. Bob explains his unique method of focus pulling with a speed crank, how he approaches measuring and marking a scene, and the tools he uses on a daily basis. This was a very informative experience for us, and we feel you will agree when you watch it. Watch the Part 1 video below. Part 2 and Part 3 are both now online. Part 3 is the unique segment where we take you behind the lens as we demonstrate the techniques Bob uses. You may also be interested in our video review of 5 popular Follow Focus systems.

Continue reading ‘FreshDV Film School: The Art of Pulling Focus (Part 1)’

Since the release of the first 25 Red One Digital Cinema Cameras into the wild it has proved to be somewhat difficult to process and digest all of the information. For up to the minute news and info you can watch the Reduser.net forums. Or stay tuned here at this post and we’ll be adding links to all things RED Digital Cinema as we find them.

*Adobe has added native Red .R3D support to Premiere CS3 and After Effects CS3.
*ShotPut has released Red Edition for automation of CF and Red Drive offloads.
*Want to know the finer technical details and info on Redcode RAW data rates and VBR compression? Mike Curtis has the scoop in this very detailed Pro Video Coalition article.
*The latest version of Build 16 has been released, as well as updates for RedCine, RedAlert, the Red RAW QT Codec and a new tool called RedRushes.
*Shooting with HMI’s and seeing flicker? Here’s the HMI shutter speed formula to know.
*Red vs. EX1 in a keying test. See if you can pick out which camera is which.
*Studio Daily has posted a short video in which Red’s Ted Schilowitz explains the workflow and post-production options when shooting with the Red Digital Cinema camera.
*Adam Wilt put the Red One, Sony F23, and Sony EX1 next to each other in this informal test.
*Scott Simmons on Crimson Workflow and 10-bit vs 8-bit workflow.
*Scott Simmons has written a in-depth overview of the current RED online/offline workflow options, and how they can be improved. Great article!
*Speed-ramping footage! Ramp from 24 fps to 75 fps over 5 seconds.
*Mark Pederson outlines the workflow used in a final Red 4K conform using Scratch. The workflow works.
*Jarred posted a tantalizing picture of the Nikon lens mount, this no doubt means they are getting close to a ship date on that particular critical feature for indie filmmakers. Side note: the mount swap should be done in a clean environment as it exposes the image sensor.
*Red has posted an updated delivery schedule. Reservation #’s 501-750 are being contacted this week (Feb 4, 2008), 751-1000 “will be contacted mid month.”
*James Mathers reports from the set of an indie RED feature.
*Redcine Beta Build 82 has been released, with a number of fixes and new features. Read all about it here.
* Flood at Red HQ! Jarred says the cameras are ok.
*If there is any question in your mind whether or not the people that make movies will adopt use of the Red camera, look no further than IMDB for quite a list of features that are using the Red One camera. And it’s not just VFX plates either.
*Red numbers 301-500 are reportedly ready to ship soon.
*The prolific crew over at Cineform has created a utility that will ease the transition of RED’s native file format to a PC-compatible editing format. Mike Curtis has the scoop on R3D codec to DPX and Cineform.
*Bruce Allen wrote in to mention a project he had some involvement in, a music video for Ringo Starr shot on the Red.
*Jannard has coyly posted a rendering of a mattebox with Red’s logo on it. Looks like some carbon fiber too.
*Due to concerns from the Red shooting community, cameras in development will be getting a board update that allows shooting in -20C temperatures. The cost? Another week’s delay.
*Understanding Rolling Shutter Artifacts. Practical explanations and examples of the issue and Red cameras, and how to work around it. Discussion here, and video example here.
*A new PL mount has been designed that allows backfocus to be set without the use of shims.
*Jim is frustrated; “This is a helluva challenge that we started from ground zero. I was nuts to think we could do it properly in this amount of time, let alone several months less.”
*The production delay to add a daughter board has been worked around in some other fashion. Production should resume soon, Jim says.
*The newly redesigned PL mount is back from the lab and looks good apparently. Brent says “Shims can join film on the next bus out of town.”
*Mike Curtis has an article on Red Day Zero in DV Magazine, and will be doing a presentation on RED at an Austin, TX rental house on December 4th. Open to the public.
*Soderbergh has committed to shooting “The Informant” starring Matt Damon using the RED camera.
*RED in SPAIN! HD For Indies has raw framegrabs and “curve-pushed” stills from a shoot in Sitges.
*The RED Digital Cinema camera was chosen for production of “Game”, another feature film helmed by well-established directors. They will be shooting with six cameras from the 1-100 prototype/beta batch.
*FXGuide has a short behind the scenes segment on a recent RED test shoot in Episode #017 of fxguidetv (direct hi-res MOV link here)
*Offhollywood 2K/4K film print test info here - Mark says “Our goal is to get a full 10 day color grade in Scratch, film-out in 4K, optical soundtrack, check print, and fully timed answer-print for under $80,000.”
*There is a Production Hold while the RED team retrofits cameras 1-100 with a new daughter-board, new shim-less lens mount, and firmware updates. Jim says “It is most likely that 101-200 will begin shipping November 30th and 201-600 will begin shipping December 10th.”
*RED mentioned as a viable 35mm alternative in the Wall Street Journal.
*Scott Billups says at CML “The chroma key is the best I’ve ever seen…RED > DPX pulls a key better than all film and all digital formats.”
*ProLost asks “Is the Red One really 4K?”
*The Hallowed RED Shipping Schedule has been updated yet again.
*Macgregor raises a few ISO/ASA rating questions, and notes a potentially troubling image/sensor artifact in this thread (view the direct post here).
*MacGregor (aka filmmaker Miguel De Olaso) rented a RED for a shoot in the Salt Flats…and he of course shot something amazing with it. Behind the scenes shots at Flickr.
*The first underwater RED shoot, DPX framegrabs available.
*Mike Curtis is hosting more 4K uncompressed TIFFs from the OffHollywood shoot in NYC. Go get ‘em and start abusing the images!
*What comes in the box? This RED unboxing video will show you, accompanied by an infectious soundtrack.
*HD For Indies is hosting the entire OffHollywood video presentation by Mark Pederson at Tekserve.
*Renegade filmmaker Steven Soderbergh has chosen to shoot yet another project with the RED camera…and with Panavision anamorphic lenses (effectively using only 2.4K of the Mysterium’s 4K frame).
*Graeme Nattress has posted a Mysterium sensor dynamic range update at the Reduser forum.
*HD For Indies has a wad of recent Reduser forum links and topics up, read them here.
*Having wrapped his “Guerrilla” shoot, one of the first to use the RED for a feature film, Steven Soderbergh made a few telling comments; “I feel I should call up Film on the phone and say, I’ve met someone.” Click here to read the rest at Reduser.net.
*Via the Reduser.net forum comes news of a new RED video clip sneak preview.
*Pederson’s final production diary entries are in…Seven, Eight, Nine and Ten. Spoiler Alert: He still likes his new RED camera. And he’s been just about everywhere with it…
Continue reading ‘All Things Red: Images/Video/Updates’

John August, the screenwriter behind Big Fish, Charlie’s Angels, and Charlie and the Chocolate Factory made his own film recently. He has been kind enough to share some intimate details on the workflow and creative process over at HD For Indies. It’s a very interesting post to read, they cover everything from location scouting, to shooting (and why film was chosen), to post workflow. Great post.

I’ve really been enjoying Stefan Sargent’s Production Diaries in DV Magazine, his style of writing is engaging and enjoyable. This one on Helicopter Production was no exception.

Mike Curtis is a vocal proponent of careful pre-production and workflow planning, and it’s no surprise given the horror stories he has related on the subject. Mike’s wisdom is a Good Thing and will help you avoid common pitfalls. And his latest roundup of suggestions for Indie Filmmakers is no exception…Top Ten Things Every Indie Filmmaker Should Know Before They Start. Check it out.

While researching storyboarding resources for an upcoming commercial shoot, I ran across the dependentfilms.net files section. Wow, what a great collection of templates and tools for content creators! They have document and PDF templates for scripts and screenplays, storyboarding, location and talent releases, call sheets and shot logs, and a number of other very useful files for indies and filmmakers in general. We’ve added it to our Downloads & Useful Things repository.