The Portland-area native Alex Buono is bringing his Visual Storytelling 2 Tour back. It will expand your filmmaking abilities by immersing you in an all-day learning experience about the principles of Visual Style and Subtext. From his fast-turn around schedule as the DP of the SNL Film Unit to his role as the Co-Director/DP of the new IFC comedy series Documentary Now!, Alex is constantly challenged to recreate different looks. In this workshop, Alex will share his approach to shooting distinct visual styles with hands-on demonstrations that utilize attendees as the crew. By understanding the visual patterns for different film genres and how to manifest each style through both lighting and camerawork, you will harness the power of visual cues for your own projects.
The AVS2 tour is coming through Seattle on August 1st and through Portland on August 4th. For full ticket and registration information visit the website now. We had the pleasure of sponsoring Alex’s tour 2 summers ago in both Seattle and Portland. It was an amazing all day experience that we were lucky to be a part of once. Our excitement is through the roof to be a part of it again. Along with key sponsor Canon, Professional Video is the primary local sponsor for both of the Northwest stops, in Seattle and Portland. Visit the site to learn more details and to see the full list of pricing options and reserve your seat take a look at the registration page now. Use our EXCLUSIVE promo code AVS2LD to save money.
Alister Chapman has written a very useful guide to shooting in S-Log2, specifically on the A7s. The A7s has it’s own unique ways of utilizing S-Log color space and there are some tricks that are specific to that camera. Read a sample below and the full article here.
The post production adjustment of S-Log2 is very important and one of the keys to getting the very best finished images. The S-Log2 recording acts as a digital negative and by “processing” this digital negative in post production (normally referred to as “grading”) we manipulate the large 14 stop dynamic range of the captured image to fit within the limited display range of a Rec-709 TV in a pleasing manner. This may mean pulling up the mid range a bit, pulling down the highlights and bit and generally shifting the brightness and colour levels of different parts of the image around (see PART 2 for more post production information).
Originally Slog-2 was designed for use on high end digital cinema cameras such as Sony’s F65 camera. These cameras have the ability to record using 10 bit data. A 10 bit recording can have up to around 1000 shades of grey from black to white. The A7s however uses 8 bit recording which only has a maximum of 235 shades from black to white. Normally 8 bit recording is perfectly OK as most transmission and display standards are also 8 bit. Shoot with an 8 bit camera and then display that image directly via an 8 bit system and nothing is lost. However when you start to grade and manipulate the image the difference between 8 bit and 10 bit becomes more significant. Reposted by Eric C. Petrie
Local Northwest filmmakers Ryan Walters and Tim Park have started a new website aimed at sharing their 20+ years of filmmaking experience. You may have seen some of Ryan’s own blog work reposted on popular video industry websites such as No Film School.com and Creative Planet. Now the duo is bringing you Indie Cinema Academy.com .
Indie Cinema Academy delivers in depth camera & lighting training for anyone who desires a cinematic look for their projects. Ryan & Tim share the tricks of the trade that they’ve accumulated in their work on feature films, national commercials, and corporate videos. They have designed the curriculum to ensure that the training is applicable & accessible to all levels of production.
Indie Cinema Academy’s website contains a deep array of lessons and articles that take the form of video features or text instructions. Some of this content is completely free to the general public. To take your education further a minimal fee is requested of ether $119 or $149 (depending on what features you want) for 12 months of access.
Professional Video is a huge believer in the idea that education is key to bringing creativity to its full potential. We know that by properly educating a customer on a piece of equipment the customer can then make the right gear-buying decision for themselves. And that is applicable on high-end equipment and entry level. Because of this belief in education we have partnered with Indie Cinema Academy to help spread the knowledge base a little further. Take a look at what Indie Cinema Academy had to offer. Sign up today and take your knowledge to the next level.
Sony is extremely proud to be bringing their full-scale Hollywood CineAlta certification course to Portland for the Cascade Mt. Video Show. We’ve taken an 8 hour course and condensed it to 2 hours for CMVS ’14. This is the very same training the Sony provides to Hollywood D.P.s and camera operators so they can gain a better understanding of the tools they need to create their art. This course is presented as a complete hands-on training class. You and your classmates will go hands on shooting 4K RAW with Sony F55 CineAlta cameras. After shooting your “movie” scene you’ll enter the post production phase where you’ll get first hand experience with managing RAW data and color grading in DaVinci Resolve. After post production wraps we’re going to the big screen. Your footage will be screened, analyzed, and enjoyed on a cinema-level 4K projector, the very same kind used in theaters across the country. Shy of attending the Sony training in Los Angeles this is a rare opportunity. The best Sony technology certification is coming to you.
Join Amina Moreau of Stillmotion for a discussion about the art of the purposeful choice. Never again will you choose a camera just because it’s cool. Or use a certian kid of stabilizer just because it’s already attached to your rig. And perhaps most excitingly, never again will you approach a scene in a certain way just because it’s how you’ve always done it. We’re going to discuss why you choose the lens you use, why a certain camera is the right fit, why you use specific settings on your camera, and more.
Whether you’re fairly new to filmmaking or a seasoned veteran, there’s one thing we can find in common: It’s easy to fall into patterns. At first glance, that’s not so bad really. We find what works, and we stick with it. Why fix something if it ain’t broke? Because that’s just not how creativity works.
To keep things fresh and challenging, and to grow as storytellers, we need to push beyond our habits. We need to commit to making meaningful decisions, ones that are truly story-relevant.
Portland production company Still Motion is hosting workshops on modern filmmaking technique and tools. Still Motion excels at modern event film production but they also recently produced their first feature documentary. It was primarily shot with Canon C100 and 5D cameras. Check out this amazing behind the scenes making-of video.
Amina Moreau of Portland production company Still Motion will be putting on an in-depth workshop sponsored by Canon. Who is Still Motion? Lets let the till you:
Stillmotion is a tireless group of borderline workaholics united by our passions in life: film, education, competitive office-wide sporting events, snacks, and most importantly — storytelling. Capturing a meaningful story is never easy, but it’s the process and rewards of great storytelling that keep us coming back to the challenge.
The goal of Stillmotion EDU is simple: we want to help people tell better stories. This means not only finding the great stories, but finding the best techniques to tell those stories in a powerful way. Stillmotion knows how difficult this process can be, and our EDU team is here to help you get started.
The Still Motion blog was designed to bring together all of the dimensions that make up Stillmotion and create a space for people to read, watch, learn, and discover new opportunities. We have so much filmmaking experience to offer, and the Still Motion blog is where we share it with you.
Our good friends at Communication Specialties have put together this infograph that goes over some of the basic, yet still widely misunderstood, need-to-know points about future video formats. Check out the graph for full details. Here are the basics.
4K is a capture format and UltraHD is a display format, both are 2160 pixies hight but “4K” has extra pixies on the width, 3840 vs. 4096. This is a similar relationship that we see between 1080p and 2K and between DV (720×480) and 4×3 displays (640×480).
30hz frame rate material requires a 6Gb/s connection and, naturally 60hz requires a 12Gb/s connection. HMDMI 2.0 supports 60hz material but the current HDMI 1.4, that most equipment on the market now is, has a limit of 30hz. To get 60hz from HD-SDI you need 2x 6Gb/s cables or 4x standard 3Gb/s cables.
Lenses are often one of the more subtle choices that the cinematographer makes when determining the look of a film. Usually things like camera (or film stock) and lighting take precedence over lenses. However, what many people don’t realize is just how powerful an effect certain lenses can have on the final image of a film, no matter how subtle or subconsciously appealing the look may be. Cooke lenses, for example, are known worldwide for their distinctive look. But what exactly is the “Cooke look”? Where does it come from, and why would you want it on your next project? Stick with us to find out:
We had a great time supporting the “Out of Order Tour” with Ross Hockrow. Ross lead the group on a journey of discovery of why we edit the way we do. We learned editing theory, editing mechanics and how to gauge what works and what doesn’t. Plus we gave away some sweet Canon lens look-alike coffee mugs to some lucky audience members. Post by Eric C. Petrie