Crooked Path Blog

Check out a quick 1 minute color-grading demo I did today.  I always shoot with the “Extra Flat” camera picture style provided here:  http://eugenia.gnomefiles.org/2010/01/25/flatting-the-flat-look/ (Thanks Eugenia). I always color grade with Magic Bullet Looks.  To me it’s the best grading software available when used in conjunction with After Effects.

Enjoy!

Shane Hurlbut, ASC along with Canon sponsorship set out to set people straight.  The 5d is KING!

Shane was the Director of Photography for films like Terminator: Salvation, Into the Blue, The Skulls, We Are Marshall, and Drumline.  So why is an established Hollywood cinematographer decide to shoot 1 feature, 20 short films, and 12 commercials with this camera?

Shane said this about the film:

“When the rumors about the 24p update for the Canon 5D were swirling, I was perfectly happy with my cocktail that I had perfected on the Navy SEAL film; 30p and then Twixtor to frame blend. Then, commercial production companies and the ad agencies started to inquire about needing 24p because they could not deal with the rendering time of all the Twixtor files, the 7D started to rise as the premium capture. That is when the aha moment happened for me. I wondered, why is everyone asking for second best when the Canon 5D is king? At that point, I knew I had to be a proponent of the 24p upgrade and to shoot something with it that would bring people back into focus about the camera that started it all.

So Lydia Hurlbut negotiated with Canon to sponsor a visual short produced by Hurlbut Visuals and Bandito Brothers Productions that showcased the 24p firmware update in the 5D to remind everyone of the power of this amazing tool. A tool that can inspire out of the box thinking. ”

Vietnam scene with HV Elite Team Members Darin Necessary and Bodie Orman

HERES THE FILM: http://usa.canon.com/dlc/controller?act=GetArticleAct&articleID=3409

Check out Planet 5d for more information with crew quotes and info on the behind the scenes. http://blog.planet5d.com/2010/04/the-last-3-minutes-brilliant-new-shane-hurlbut-5d-mark-ii-short/

Hope to see my Texas Filmmaking bretheren there!

Thu May 27 from 8am to 4pm at the Grapevine Convention Center sponsored by Videotex Systems.  Come see the latest in gadgetry and whizbangery and everything you need for any size production, from cameras to support gear, software to full-blown edit systems, and all the tape and peripheral supplies you could ever need. Talk with experts from Adobe, Avid, Sony, Panasonic, Cartoni, Lowel, and many more.

I will be conducting a seminar titled “VDSLRs – An Accidental Revolution,” in which I’ll be taking attendees on the recent history of how these cameras got so popular and why.  I’ll discuss the game-changing benefits and also the real-world faults and the necessary workarounds.  We’ll see some of the best DLSR footage currently available and the plethora of accessories that sprouted up over the past few years.  Now that DSLRs are being used in the top prime-time television shows…what’s in store for the future?

MORE INFO: http://www.dallasproducers.org/roundup/default.cfm

This is a common question asked to me many times.  So why not make it a blog post, right?

First of all, there’s really no reason nowadays not to get a high definition camera.  If you need standard-def for any reason, you can always down-convert it.

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There’s really 4 levels of video cameras, including a new breed that are sort of in a league of their own:

1. NEW BREED: HDSLR Cameras (Still cameras with amazing video capability), $1000-5000
   

   Canon HV20

2. Consumer cameras you buy at Walmart and Bestbuy, $300-2000
3. Prosumer cameras you buy at pro shops like B&H and Adorama, $2500-8500
4. Professional cameras you buy from B&H (sometimes) or from special dealers (like RED), $15,000-$250,000

#1: DSLRs require a lot of knowledge in photography and need many workarounds to use properly for video production.  They have an amazing picture for the cost, but are truly in a league of their own.  The knowledge base needed to use a DSLR is different than using a video camera or film camera.  I don’t recommend it for a starter camera UNLESS you’re already a photographer who understands the basics of these cameras like ISO, Depth of Field, Exposure, etc.

There’s no doubt that at this time Canon DSLRs are the way to go.  So which Canon DSLR?  Here’s Shane Hurlbut’s (ASC) recommendations:

How do you chose which of the Canon cameras to buy? Honestly, to make a movie, you need all three.

The Canon 5D Mark II is analogous to a Panavision Platinum or an Arricam. It is the best sensor to deliver filmic imagery with Vista Vision depth of field.
The pros:

• large sensor with the best megapixel size to deliver the closest look to film
• shoots PAL
• it has the most latitude of all the cameras
• compact and just the KING OF THE HILL

The cons:

• no high speed
• shallow depth of field (more difficult to focus)
• vignettes on all cinema style 35mm motion picture camera zooms and up to a 35mm cinema prime lens.

However, I still believe the 5D to be the best in HDSLR capture hands down. Why drive a Yugo when you can drive a Porsche for $800 more?

The Canon 7D is equivalent to a 435 for slow-mo and a wide lens camera for use on a crane if you are using PL or PV mounted lenses.
The pros:

• high speed at 60fps at 720
• shoots PAL
• smaller sensor for better depth of field (easier to focus with)
• Can use all Cinema style PL or PV mounted glass; does not vignette

The cons:

• more inherent aliasing and moire problems
• a sensor with more contrast and less latitude.

The Canon 1D is the low light, shooting available, turn night photography on its head camera and knowing how to work with less camera.
The pros:

• a very sensitive sensor for low light
• anamorphic sensor that delivers a beautiful depth of field
• uses less light
• more robust body
• heavier
• longer battery life
• high speed with less rolling shutter issues

The cons:

• skin tones tend to be very magenta, not good
• sensor contrast is not as filmic
• it looks like video
• more expensive
• bigger body
• not as compact
• cannot get as low to the ground with the battery cache at the bottom of the body.

#2 is fine for alot of stuff but will usually do not look very professional in the final video or on the set.  Quality depends on the operator. I’ve seen stuff shot on a Canon HV20 that looks like Hollywood (and HAS been in Hollywood films), and I’ve seen stuff shot on a Sony F23 ($250k) that looks like total crap because the guys using it had no idea how to use it.  It’s all about the lighting, the proper manual settings on the camera, the editing, and the color grading. That’s 1/2 the process…don’t forget about audio: Microphones and proper usage and sound design/editing in post production.

You will be taken more seriously on a set with #3 and #4.  If you plan on being hired to be a videographer/DP…you will need to give clients the perception of professionalism and value.  These require a knowledge and training to use and is not recommended for a starter camera to learn on.

If you don’t have alot of experience…then start with consumer. Start reading the forums like DVXuser and DVinfo. Learn how to use the manual settings in the camera. Let me say this again.  TURN OFF THE AUTO GAIN, AUTO IRIS, AUTO WHITE BALANCE, and AUTO FOCUS.  If you don’t know why…you need to learn and it would fill up a gigabyte of space to write it in this post.  You can find the reasons in those forums.  Get to where your knowledge beats the camera you have…then upgrade to prosumer. Rinse and repeat.

Remember that in this industry, cameras are outdated and replaced with better/cheaper versions within about 3 or 4 years.  Plan on upgrading in that amount of time.

That’s the best advice I can give when people ask me “which camera should I get.”  In my opinion, it’s all about what you’re planning on using the camera for and the level of camera that fits your level of knowledge.

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CHECK OUT: COMPLETE IDIOT’S GUIDE TO 5DMKII CINEMATOGRAPHY

I have been blessed to be a part of Jim Blumetti’s (410 Garfield Films) film “The Key.”  He came to me some time ago with a story written by his talented daughter Gabrielle (who is also the lead) and asked me to be the Cinematographer and Editor for the project while he directs.  I was immediately taken by the story and the inspirational theme with a sort of ‘magical’ treasure-hunt type underscore that appeals to the child in all of us.

My job is to take Jim’s vision of the story, how he wants the story to affect the audience emotionally, and create the visuals that will support the story and performances to enhance those emotions.  We still have a few shots to get done but I wanted to put together a short preview for the cast and crew so that they may see what they’ve been working so hard and good on.  Fortunately…I have the permission from Jim to “leak” this onto my site.  Enjoy!

Oh…and don’t forget to “rate” it HERE.

While shooting the short film “The Key” over the past few weeks, I blew through HDMI cables like crazy.  Anyone who uses an HDSLR know that the HDMI cable sticks out the mini port unsupported, making it vulnerable to breaks.  I’ve tried gaff tape, rod support adjustments, etc to keep from bumping the cable and not breaking it…to no avail.

Until now.

My audio engineer / boom operator Alex Wagner pointed me to this solution, and I’m totally thankful for it.  All this time I was looking for an ‘L’ shaped HDMI to mini HDMI cable and couldn’t find one.  This little adapter makes a nice “L” shape connector so that you can save your cables from the perils of filmmaking.

Buy from your vendor of choice HERE.

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