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by Staff Writer · Posted
CFexpress is here! Well, almost. SanDisk has become the first company to officially launch a line of Extreme PRO CFexpress Cards here at B&H and they are now available for preorder with an expected ship date sometime later this year. These cards are the next generation of media and are rated to hit some incredibly fast speeds. Also, alongside these new cards is a necessary
by Steven Gladstone · Posted
In the segment of Show Us Your Shot, Director Roderick E. Stevens and Cinematographer Daniel Gonzalez explored a few options for safely capturing the driving scenes in this road movie, including using a 70" LED TV as a background, before settling on green screen for compositing. This also freed Stevens up to manipulate the art direction and color grading further to create a contrast between the heightened, almost surreal first half against the familiar reality of the latter half.
Roderick Stevens’s Bio
by Steven Gladstone · Posted
In this segment of Show Us Your Shot, filmmaker Jillian Bullock explains how her DP created a desert shot at night, while shooting in Pennsylvania.
We had filmed some scenes at the Bill Pickett Riding Academy, in Philadelphia, a horse-riding stable. My DP, Lamont Fountain, and I were there trying to figure out where we could shoot to make it look like a battle area in Iraq or Afghanistan. Since we were shooting at night, we figured we could fake out a spot in the woods behind
by Steven Gladstone · Posted
Green screen compositing today is ridiculously easy compared to days gone by. Years ago, when shooting and finishing on motion picture film, one had to shoot the subject against a green screen, then create film mattes, and combine it all using an optical printer. Generation loss, contrast shifts, and registration problems were the bane of the filmmaker. This doesn’t even begin to encompass all the other problems, such as matte lines, elements that drift out of alignment, transparency issues, and garbage mattes. The introduction of high-
295 Views· Posted
Walkie-talkies are a staple on film sets, and it's important that you know the rules and jargon so you don't get lost on your first day. In this video, we cover the basics of how to use the walkie, as well as some common references you'll hear on set.
Want to learn more about film set lingo? Click here.
1,527 Views· Posted
The movie business has a long history of giving unique nicknames and phrases to everyday tasks. In this video, Jake Estes takes a look at some of the more common ones you may come across on your first film set. Do you have a favorite film set word or phrase? Let us know in the Comments section!
by Steven Gladstone · Posted
In Learning to Drive, Director Roderick E. Stevens wanted the camera to drop straight down over the actor, the way it might on a telescopic crane. Without the budget to rent one, that seemed impossible. It’s a simple shot that only lasts a few seconds, but it occurs at a crucial turning point in the film, and the director is far too stubborn to give up. About $150 in electrical conduit and hardware and some funky engineering resulted in a vertical slider that accomplished the shot.
Roderick Stevens's Bio
by Steven Gladstone · Posted
In this segment of Show Us Your Shot, filmmaker Steven Gladstone shares with us the differences between a dolly and a zoom. He begins by recreating a two-dolly combination move using a skateboard dolly and a slider, and then moves on to examine the choice between zoom in and dolly in. “With the small size and lightweight nature of today’s equipment, once-difficult shots become easier to pull off. I took this opportunity to try the shot with a dolly and a zoom, and it makes a great illustration of the differences between the two.”
About
by Steven Gladstone · Posted
As filmmakers, we’ve all heard that it is important to get BTS video and on-set shots. On my last shoot, I handed a digital camera to a PA and said, “Take behind-the-scenes-stills.” This did not work out well, because I ended up with about 900 stills, of which 97% were useless. It wasn’t the PA’s fault—after all, this is a highly developed craft, and he had no idea what to photograph. I also had no idea what to tell him, so between his making coffee runs, picking up and dropping off actors, and driving the cube truck, he did his best.
I know
by Steven Gladstone · Posted
From the filmmakers: "3:13 is a one-minute horror short created for Make Long Story Shorts, on Instagram. Inspired by the phenomenon of sleep paralysis, this film follows Maria (Robbie Jean) who experiences a terrifying visit by a shadowy Demon (Diamond Simone) at 3:13 AM, but can't move—only to wake up and realize it was a nightmare. Working within the limited time length, I wrote a 'loop' narrative to make the viewer feel like they're 'stuck' in the nightmare. By using the a7ii camera on a DJI Ronin S rig, we were able to create both fluid
by Steven Gladstone · Posted
The test involved an actor, dressed in a cowboy outfit, lighting up and smoking a cigar. The test was done late in the day, with no additional lights, and we were racing against the sun. The green screen we had was a little bit on the pale/unsaturated side, but we went ahead with it anyway. We imported the footage into Final Cut Pro and applied the Keyer effect.
Most of it was working well, except there were some areas that were bleeding through the image so we tried to clean that up with the addition of masks/garbage mattes. You can see where
by Steven Gladstone · Posted
You’ve shot, edited, and finished your film. You’ve sent it off to the festival circuit, and you’ve been getting accepted. Congratulations. And yet, each festival is asking you for promotional material, on-set stills or behind the scenes (BTS) video. Sadly, all you have is a picture or two from just before you started shooting, and one that the crew sent around—of you, passed out from exhaustion—at the end of the shoot. But getting good on-set stills and BTS video, that’s tough. I know, I’ve been there. It is hard enough just getting the film
by Steven Gladstone · Posted
If you are gearing up to shoot your film, video, webisode, or pretty much any production, don’t forget to take on-set photographs and BTS video. This is something I’m sure you have heard before, but it is one of those things everyone knows, but doesn’t do. In the following two articles, I ask about the value of on-set photos and BTS video, from the perspective of a producer, and then from the perspective of film festivals. In Part 1, I interview JB Bruno, a no-nonsense kind of guy who is a long-time AD, Line Producer, and Producer in the film
by M. Brett Smith · Posted
Each year, BRIC, the leading presenter of cultural programming in Brooklyn, awards twelve fellowships through its Contemporary Art and Media Education programs. The fellowship offers recipients several key resources, including access to camera equipment, studios, and editing suites, as well as free enrollment in any course offered by BRIC’s Media Education program. In 2018, B&H was proud to sponsor the fellowship as part of its continued support of Brooklyn-affiliated artists and creators everywhere. I had the opportunity to speak with one
by M. Brett Smith · Posted
Each year, BRIC, the leading presenter of cultural programming in Brooklyn, awards twelve fellowships through its Contemporary Art and Media Education programs. The fellowship offers recipients several key resources, including access to camera equipment, studios, and editing suites, as well as free enrollment in any course offered by BRIC’s Media Education program. In 2018, B&H was proud to sponsor the fellowship as part of its continued support of Brooklyn-affiliated artists and creators