Monday, October 29, 2012

Behind the Scenes with the Sound Team for the Rolling Stones Documentary 'Crossfire Hurricane'

SoundWorks Collection has given us a number of tremendous videos that feature the sound teams for a few big Hollywood movies. This time, however, instead of looking at the sound work for a piece of fiction, they’re talking with the sound team behind a new documentary about The Rolling Stones called Crossfire Hurricane. The entire project is a slight departure from typical band documentaries, and you can check out the SoundWorks video as well as the film’s trailer below.

The trailer for the film:

Until the embedding is available, click here or click on the image below to watch the SoundWorks Collection video:

As the director Brett Morgen says, the entire movie was really post-production. It’s an interesting way to approach a non-fiction film — by using archive material supplemented only with audio interviews. Another great sound bite from Brett is that he believes the best sound design is the sound design you don’t notice. Often that can be the best approach to anything we do as filmmakers. The less something jumps out at you, the more it can allow the audience to feel it or sense it, and they’ll stay more engaged with the story for a longer period of time.

The artistic approach with the film is definitely unusual, and for that reason it made the sound design a slightly different process than a typical documentary about a band. You can check out the film on HBO November 15 at 9PM.

What do you guys think?

Link: The Sound and Music of Crossfire Hurricane – SoundWorks Collection

Behind the Scenes with the Sound Design Team for Ben Affleck's 'Argo'Learn Sound Design Tips from the Experts with This SoundWorks Collection Video for 'Prometheus'Advice for Creating a Transmedia Documentary

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Diagram, Shotlist, and 'Pocket-Block' Your Scene with the Shot Designer App

Thanks to Hollywood Camera Work’s new app Shot Designer, you can now design and block camera coverage of your scene almost as fast as you can think it — even on your mobile device. An intuitive interface allows precise control for plotting (and animating) all the essential aspects of shooting your scene in a classic top-down diagram style. A limited (single-scene-at-a-time) release is available for free, and the $20 Pro version has some key perks too. Read on for the intro video and a more detailed list of Shot Designer’s features.

Here’s the basic rundown of what the free version of the app allows you to design (and why it’s so cool):

Camera placement and angle of viewCharacter placement and angle of orientationAnimation of camera/character paths — multi-step blocking, akin to storyboarding ‘keyframes’ in a moving shotShotlists — items are easily connected to points in the diagramImporting storyboards — also easily connected to points in the diagramDirector’s Viewfinder — uses your mobile device’s camera to visualize various focal lengthsBuilt-in Set Designer — customization of floor-plansLighting Designer — light type/placement and orientationPre-made Plots — easily load and modify common setupsiOS and Android compatible — includes smart-phones (where ‘Pocket-Blocking’ truly applies)Mac and PC compatible — but not in direct connection with your mobile (see Pro options below)

These videos demonstrate how elegantly each of these features is implemented, and in a design perfect for mobile situations. I gave the Mac desktop version a shot, and it is indeed as intuitive, simple, and easy to use as it seems (although, for a computer with a keyboard, it may be too simple — more on this below).

If all of this seems too good to be true, here’s the list of things you can only do with the Pro version:

‘Scene Freeze’ — allows you to snapshot a configuration you can return to if you want to, say, experiment and revertExporting to PDF, MS Excel, or JPG, plus emailing your layouts and shotlistsUnlimited Folder Structure to get as complex with your planning as you need

That’s right — you can’t export to any of those formats without purchasing the upgrade. In fact, with the free version, you can’t actually save your scene in any traditional sense (short of taking a screen-cap of it). So even though you can run Shot Designer for free on both your PC and your mobile, you can’t transfer files back and forth between them — and again, you can only work on one scene at a time.

Not to mention it looks as though the desktop version of Shot Designer (and I’d assume the same would be true of the Pro desktop version, though anyone who owns it may let me know if this is incorrect) has only one input method — clicking. This actually makes sense, given that its design makes it entirely practical to use on something like an iPad, which really only has the input method of ‘clicking.’ Scrolling works too, but again, that’s because you can scroll on a touch-only tablet.

I only stress these limitations of the free version of the app because, actually, it seems to me like Shot Designer Pro is a fantastic scene-diagramming engine, and one that is almost certainly worth the $20 it costs. And if future iterations maybe worked in hotkey options for desktop versions, and if the company is able to provide the syncing systems it’s looking into, I can say that I myself would be happy to lay down one Andrew Jackson U.S. for it. Here’s Hollywood Camera Work on the sync feature they envision (and why it isn’t ready yet):

Sure, we could throw in the DropBox API, and you’d be syncing soon. However, that precludes the ability to collaborate in real-time, and leaves Shot Designer a single-user app. In our vision for the future, productions simply abandon paper and do all the shot management in Shot Designer. The Director blocks there. The DP does his lighting. The Script Supervisor logs the shots, and puts in the Director’s edits for him. All at the same time. This takes heavy lifting that requires a dedicated sync service. Our goals? First, real-time sync with a max of 5 seconds delay. Second, delayed real-time, so that two people can get on different airplanes, and their changes are intelligently merged — any sync conflicts that require any babysitting would be a deal-breaker. Third, heavy encryption. We have users who work on blockbusters who can’t touch it without heavy and documented encryption. We need to see how people at large use Shot Designer before we can decide which sync road to take.

Especially if/when that vision comes true, I think Hollywood Camera Work has a serious filmmaking asset on its hands. What do you guys think? Do you feel that this could become an incredibly useful pre-production tool? Have any one of you already used it on any shoots you’ve worked on?

You can find the links to both the iOS and Android versions below, as well as the link to the desktop version at Hollywood Camera Work’s website.

Links:

Get The Most Out of Your Canon C300, AbelCine Releases Custom Scene FilesPocket Guides to Almost Every Filmmaking Camera Imaginable (Seriously)Want a Specific Look with Your FS100? Try These New Scene Files from AbelCine

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Wednesday, October 24, 2012

GoPro HERO3 Black Edition – 4K, Protunes and CineForm Studio Propel The Action Camera To Cinematic Heights

GoPro HERO3 Black Edition – 4K, Protunes and CineForm Studio Propel The Action Camera To Cinematic Heights

HDVideoPro by Neil Matsumoto


Back in 1999, GoPro Founder and CEO Nick Woodman wanted to create a camera that would enable surfers to take high quality stills and in 2004, GoPro released its first camera, a 28mm wrist camera that shot 35mm film. As digital technology exploded, the small upstart company became synonymous with the social media generation with over 3 million cameras being sold. (A new GoPro video is uploaded to YouTube every minute.)


But for indie filmmakers, GoPro’s fixed lens and “good enough” technology wasn’t worthy of producing cinematic movies.


Holding Out For  A HERO3


Typically at media junkets for camera companies, journalists sit in air-conditioned boardrooms taking notes as corporate executives conduct Power Point presentations on imaging sensors and lens mounts. To launch their new camera, GoPro invited journalists from all over the world to take part in a Land, Sea and Air adventure that included swimming with sharks, flying in fighter jets and racing motorcycles at 130-mph around the Sonoma Raceway. It’s one thing for journalists to get excited about the presentation of a new camera system but it’s unthinkable for them to fear for their own lives. In short, it was a media event for the ages!


I’m sure you’ve seen the big announcement for GoPro’s new HERO3 Black Edition camera. With a price tag of only $399, the specs are truly amazing. For one, the camera is smaller, lighter and twice as powerful. The tiny action camera shoots 4K at 15-fps, 2.7K at 30, 25 or 24-fps, an MP4 codec whose 45-Mbps bit-rate rivals the 5D Mark III’s ALL-I codec,  built-in WiFi, improved low-light performance, and can shoot 12-megapixel stills. The HERO3 is no longer your daddy’s wearable camera anymore. read more...



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Tuesday, October 23, 2012

Latest Magic Lantern brings anamorphic live preview to 5D Mark III, clean HDMI out and tons more

Saturday, 20 October, 2012 13:45
5D Mark III and Iscorama 36

Get the new firmware here for the 5D Mark III

The 2nd Alpha release of Magic Lantern for the 5D Mark III brings a very useful feature for anamorphic shooters such as I, a real-time anamorphic aspect ratio preview in live view. This is extremely useful for shooting bare bones with an anamorphic lens, or for those with no monitor / EVF that supports anamorphic de-squeeze.

Iscorama 36 on 5D Mark III

Above – the Iscorama 36 1.5x on the 5D Mark III

Here’s a look at some of the new features in Alpha 2.

Gradual Exposure

In movie mode, just change your exposure settings (ISO, shutter or aperture) and Magic Lantern will perform a smooth transition. Can be useful, for example, when filming from indoors to outdoors. This feature is new, and so far the 5D Mark III is the only camera that handles it almost perfectly.

EOSHD comments: this will be useful for documentary run & gun shooters, and mimics the stepless aperture in a cinema lens for smooth exposure changes during a shot.

HDR video

Already well-known feature, helpful with extremely harsh lighting (see demo video) – of course, as long as you keep in mind its inherent limitations (like avoiding fast motion)

Focus assist tools
Magic Zoom (zoom box or full-screen – 2.6x while recording)Experimental focus peaking modes (alpha blending, raw display)
Display tweaks
Brightness, contrast, saturation (useful if you record with flat picture styles or you use the camera in bright sunlight)Display gain (LiveView usable in very dark environments)Anamorphic lens correction (preview only, in LiveView)Fisheye correction for Samyang 8mm, using rectilinear or Panini projection (LiveView and Playback)Clean HDMI out with pillar boxes (just erases the overlays)Screen layouts, especially for HDMI (16:10, 16:9 etc)Customize menu colors (e.g. dark themes – easy on your eyes during night shooting)UniWB correction (attempt to remove the green color cast from the screen when you use UniWB)Upside-down display (for inverted tripods)
EOSHD comments: Remember this is an alpha so features are not final – I will be testing the anamorphic correction mode with my lenses to see how it works, and report back to Alex and the team any bugs

Image review tweaks
Adjust exposure after taking a picture (e.g. to check shadow detail)Combine two or more images (multiple exposure preview)Timelapse playback (no timelapse recording yet)Remember zoom position
Other tools / tweaks
Ghost image (transparent overlay from any photo, e.g. for panoramas)Record indicators (free space, elapsed time, remaining time, average nitrate)Movie logging (metadata in a small text file)Display presets (custom overlay screens – switch them with INFO)Task and CPU usage info
Please donate to the Magic Lantern project and grab the 5D Mark III version here


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