mine

I got a call the other day from the director of a short film I shot two years ago. His movie, “Lure” made it into the Newport Beach Film Festival and it was a chance for me to see it on a big screen, so off I went.

I have a love-hate relationship with film festivals, more so these days. True, it draws attention to quality filmmakers by giving their project a forum by which others can see a hint at genuine craftsmanship. But most of the time, the festivals show nothing but dreck. Pretentious dialogue and ridiculous settings by young filmmakers who know little about life and less about filmmaking.

The screening was part of a series of shorts whose theme was crime. One after another, the short film played, neither short nor good. Unbelievable dialogue, horrid acting, circumstances that could never happen and did I mention that the running times were way too long?! Painful to watch and no way to leave.

I’m sure my feeling toward “Lure” are a bit biased but I have made every attempt at divorcing my self from my criticism and I think I’m speaking true. Of all the films, Lure not only had believable acting, but also a story structure that was not only strong, but also lacked any fat to cut. In short, it was a good film. It’s not without some flaws, true, but they pale by comparison and none are so blatant as to take you out of the story.

I looked around during its screening and all I saw were people watching the screen and not their watch. They laughed at the uncomfortable moments in the movie when it was appropriate to laugh. In comparison to the other films, it reminded me of what my drafting teacher drilled into our head when I once aspired to be an architect… form follows function. Ours looked good without being too stylized (a rare feat for me), sounded good without being over produced, it was well edited and finely acted and directed – no one element standing out above the other. The other films by comparison, often had wonderful cinematography, or a strong editorial or sound design, but lacked the most fundamental element of storytelling – the story. (From the looks of it, it seems that everyone wants to be Ridley Scott – I think one is enough.)

I suppose what I saw today was going on ump-teen years ago and will still be taking place ump-teen years from now. It renewed my dislike for the festival circuit and but did reminded me of why I like working with Mark (the director). Kudos to you Mark – let’s make another one.

Those who make a living in film and television often joke of their three-, six- or weekend best friends. We don’t clock in from eight to five. We don’t have weekends or holidays off to hang out with work colleagues. We, instead, have the work. It’s where a group of people are plunged together to either sink or swim. And on those special occasions when the group swims like a school of fish, it’s a time to step back and be very grateful for the chance to make acquaintances that in short order become cherished friends.

The folks I’ve meet on these last two feature have with few exceptions become just that. I am appreciative for their friendship, professionalism and dedication to me and to the show. I can see this turning saccharine, so before everyone’s teeth start to decay, let me finish by saying to each of you, I thank you from the bottom of my heart, but for you there is no bottom.

Here’s a glimpse at what I think are the big winners at this year’s trip to “mecca”.

: : A new company called Colorspace is finishing a prototype 4:4:4 / 4:2:2 DFR (digital field recorder) called the Icon.  The proposed product has a metal chassis, mil spec connector between the hard drive and the base unit, it runs on a AB battery and has an LCD screen that runs the system and can be switched to either side of the unit.  The Icon records DPX files with meta data.  It looks promising.

: : Ah, the Red camera from Oakley.  Through out the show, a lined formed around the tent just to get in – we waited an hour to get in.  When there we had a chance to see a short film shot by director Peter Jackson using two alpha versions of the camera and projected on the Sony 4K projector (and it didn’t catch on fire or even smoke).  Impressive is an understatement.  They also introduced a software package called RedCine. It offers cropping functions, primary color correction and file transcoding to whatever codec your computer’s QuickTime software happens to be installed with. We were also introduced to the workflow by way of Final Cut Pro 6.  It’s only a matter of time before 4K is available on FCP.

: : Abel Cine is offering for sale and rent the Phantom 35 & Phantom 65 – a 35mm & 65mm sensor camera that runs at 1000 f.p.s. and 125 f.p.s., respectively.  If incorporated judiciously, you’re looking at an impressive A unit camera in with a very small footprint.

: : Given how much I love LEDs, here’s a new cable cross over with blinking LED warning lights.  Nice.

: : As a sign of the times, Lowel is introducing a new softbox with fluorescent lights.  With the California state initiative to ban incandescent lights by 2010 looming, I wonder if this is where all the manufacturer are heading.

: : This item might be my “best in show”.  Element Labs is offering LED lighting panels whose color and color temperature can be adjusted by way of a computer (and hopefully soon, on the unit itself).  The advantage of their units is that they don’t just incorporate RGB elements but also a cyan and orange element to more complete the color mix.  The company has made event lighting for some time now and currently offer for f/tv use a Kino-style 4′ bank, the panels alone, and a brick that can be used as an eye-light or stick-up light.

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And now it’s time for your moment of Zen (Jay, this one’s for you)…

It’s been brought to my attention that I’ve been most derelict in my blogging duties and so it’s now time to play a little catch up.  But first, I’ll be right back – the new season of “Heroes” is on.

OK, I’m back.  Shall we…

Day 6: Whoa, what a day.  Long, long day – second meal – almost lost it.

Day 7: Ah, lots and lots of hand-held work today.  After lunch we went six hour straight, from shot to shot to shot.  So fast and hard that the producer walked up and shook my hand and the end of the night. To the crew, I thank you.

Day 8: Insert day.  Quiet, relaxed and still a full day.  We tried something that may or may not work in the final edit.  We needed one of the console buttons to light up when it was pressed.  To do that, we aimed my green laser pointer into the back of the button and when it was pressed, we fired the laser and it looked like the button lit up.  Shifty buggers aren’t we?!

Day 9: Office day.  Lots more hand-held work.

Day 10: Something happened today, what was it… what was it… let me think – Ah, yes, the dimmer board went down.  In a frantic run, the lights got unplugged real fast and a make shift dimmer got made from hand dimmers.  Yup, it was a good day.

Day 11: Start of the morning with the oil pressure running real high on the genie.  Called the owner and he said, it’s fine, just run it.  Soon enough, it was back to normal.  I don’t think things are supposed to work that way, but who am I to complain.  Nine page day today and we got every last syllable.  Dimmer board works again – OE.  Finished the day with tape number 40 and it’s our last day of studio work.  Next entry, we’ll be on location.

: : Super, cool translight

: : camera gets an update

: : I’m listening, I’m listening…

: : Sandbag races.

: : Uh, right.

: : Aaron hit the mark every time.  Nice.

: : I hope someone kept this. 

: : Our new dimmer board.

: : Our radio station gets a make-over to an office set.

: : Josh has got wood.  And Jessica makes it bleed.  Wow, does that ever sound wrong! 

: : We’re back at the Studio set for the last shot of the stage work. 

Finally got the photos to upload. I’ll try to add more soon.

: : Back, on the circle track.

: : Click on this image and see my notes on the blocking for today’s 8+ page scene.  Madden’s got nothing on me!

: : Look real close and you might see me.  The dolly needed to be enveloped in duvatyne so as to not be seen in the set window.  While buried in this I panned with the left hand and zoomed with the Microforce in the right hand while watching from the onboard monitor on my lap.  Cool shot.

: : Corbin gets interviewed by Fangoria.

: : My Bob’s Big Boy birthday BLT, compliments of Gary (1st AD).

: : Home grown eggs for my wife from actor Patricia Tallman.  Thank you very much.

: : The collective birthday cake for the seven April birthdays – three of us celebrating on the 2nd.  How odd.

: : Super sweet Stinger jib & Weaver Steadman shots.  I wasn’t sure at first how useful the jib would be if we ended up having to use it with our fluid head.  But after using it with the Steadman (that Chapman added for a nominal fee) I was totally sold.  I glad Corbin was in insistent on getting it.

: : Every show should have one.

OK.  It’s late and I have to get some sleep tonight or Gary (1st AD) will kill me.  Well enough, but first a few photographs from the feature “Dead Air.”

: : Koji (1st AC) and Leigh (2nd Ac) ready the shot. 

: : It’s cool being able to cut a hole out of a set wall to get a shot.  If only location work were so easy!

: : Your moment of Zen?  No, just all the president’s men. 
L > R: Dan (Swing), Tom (Key Grip), Paul (Best Boy Electric), Josh (Chief Lighting Technician) and Austin (Dolly Grip)

Way to go Team America!