PRODUCTS OF INFLUENCE movie - screen grabs from the teaser, Director's Video, + Kickstarter campaign in the works...
Why Have We Become Such A Violent Society? POI Promo Trailer/Teaser - limited release
POI sheds light on the violence in our society.
Currently, we're in the middle of attempting to bring an adaptation of the Products of Influence novel to the independent film circuit. Evan Taff and I are trying to reach out to film producers, directors, and other professionals with the goal of producing a film version of the novel.
How to reduce noise in DSLR Filming - Beginner Overview
Noise is number one enemy of low-light filming. Learn to minimize it with these techniques
This is a guest post by NY Film Academy.
Technology marches ever forward. So much so, you have to be almost going out of your way if you want to induce any appreciable amount of noise with a mid-range DSLR camera in good lighting. But we’re not quite out of the woods yet, and given the frequency at which the problem comes up on photography and filmmaking forums, video noise when shooting with a DSLR camera is still something that vexes videographers.
Here we take a look at some of the common causes – and solutions – to your noise-based woes.
Production Blog: development continues on Square One - a short drama to be filmed in the summer of 2013
This is a Jan/2013 update. Sign up to receive future updates via email.
This month I'm continuing to work on development and pre-production for the short film "Square One". Production is now scheduled for the summer of 2013.Here's the short and longer log lines for the movie:
"Square One" is a short drama about a man, his wife, and the uncertainty of our existence.
After losing his wife in a tragic accident, Mike wants to take his own life, overwhelmed with guilt. But an unexpected turn of events makes him change his mind...
Operation DSLR Cinema Rig continues...
While I continue to massage the script slowly, I'm also working on finishing up putting together my cinema rig. DSLRs have terrible ergonomics for filmmaking. I miss the form factor of my ENG-style Panasonic HPX-300. If only they'd put a bigger sensor in it... Oh well...
In order to make the DSLR ergonomics suitable for filmmaking, I have purchased a basic shoulder/tripod rig, that I have modified to fit my needs better. In January I have purchased and installed a follow focus, and another articulating arm. I also installed a cage bracket, so that I can attach the microphone, and a fill LED light, whenever I get it. Here are some photos.
cineSerge Flat Cinema picture profile for the D4
I also started experimenting with the picture profiles for the Nikon D4. Thing with DSLRs is that they produce an 8 bit image, which makes it a bit difficult to color grade in post production. In order to obtain the best latitude and preserve detail in shadows as well as highlights, several settings have to be turned down a bit [contrast, saturation, and sharpening].
On the other hand, if you turn these settings all the way down, then you'd run in the problem of skin looking plasticky and unrealistic. So, there has to be a balance.
I have created my own custom picture profile for the D4 based in D4's Neutral profile. I'll still need to test it extensively. I call it cineSerge Cinema Fat [Cinema NL FLAT version 1-03]. Here's a pic of the profile setting. In the future I'm planning on writing a separate post about setting up the D4 for cinema production.
Color grading reference tests
[ In case you don't know what color grading means, look it up HERE ].
This month I've also tested some "looks" for the film, aka color-grading. First three images here are from one of the actual locations that will be used in the movie. The fourth picture is a reference image from some magazine, which I like a lot, so I might have a similar color-grading in Square One. [I also like this grade].
More equipment to get my hands on
As far as equipment goes, I'm still looking into purchasing Atomos Ninja 2 external recorder/monitor, some audio gear, and a tripod. I was browsing Videomaker magazine the other day and saw some gear that I might have to purchase: Libec LX7 tripod, indiSystem Airjib, Roland Systems Group R26 sound recorder, Que Audio Q Sniper Mic. Need to do research on these items...
Status update summary
So far, I'm making progress with the script, getting the gear together, doing camera tests, and researching locations. Next step after that would be casting... Stay tuned!
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Lighting a car interior for film production
Here's a pretty good 5 minute instructional video from Videomaker Magazine on lighting a car interior in your film. These techniques will make the car scenes very believable. I'll be using some of these techniques in my upcoming short drama "Square One".
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indiSystem Follow Focus Review
indiSystem Follow Focus Review [including a repeatable focus pull test].
Reviewed by +Serge Batyrshin in December 2012.
Combatively priced, well functioning alternative to the more expensive units from Zacuto and RedRock. Marking disc is a plus, no crank/whip port. Friction-based: no need for ugly lens gears.
Rating: 4.0 / 5.0
Reviewed by +Serge Batyrshin in December 2012.
Combatively priced, well functioning alternative to the more expensive units from Zacuto and RedRock. Marking disc is a plus, no crank/whip port. Friction-based: no need for ugly lens gears.
Rating: 4.0 / 5.0
Introduction
In my continuing quest to build the right DSLR cinema rig, I have purchased indiSystem indiFocusSwee Follow Focus. This is my impressions and unofficial review.
First off, I find prices on Follow Focus units are somewhat outrageous. Arri makes a great one, so does Zakuto, RedRock [I used to own one], and Opteka [in that order of quality/price], and many others. They all cost way too much, in my opinion. I was looking for a less expensive unit. This unit had to have gearless design and cost an amount I could afford [99 bucks].
Now, there aren't too many reviews for this unit on the Web, so I figured I'll give it a try and see how it does...
The follow focus I was looking for had specific requirements [if this is what you require then this unit could be for you]:
1. Gearless design. Because the lenses I use for cinematography, I also use for photography, I didn't want to attach any external gear ring to the lens.
2. Has to have a marking disc.
3. Has to utilize 15mm rod system.
4. Good price - 99 bucks!
1. Gearless design. Because the lenses I use for cinematography, I also use for photography, I didn't want to attach any external gear ring to the lens.
2. Has to have a marking disc.
3. Has to utilize 15mm rod system.
4. Good price - 99 bucks!
This unit does not have a slot for a whip or crank. I don't have any use for them anyways, so that wasn't an issue for me. The disc can be positioned on either side of the turn knob, so that's a plus. There's a marking disc on the knob, so I could make my focus marks. Overall, this is everything that I need! Let's move to setting it up and using it.
Beware, that this follow focus doesn't have vertical adjustment, which presents an issue if you're using a camera with built in battery grip, like the D4. I had to add a riser and a set of rails to bring the unit closer to the lens. Also, the clamp design/build is not the best, but workable.
Once on the rig, it worked fine. I was able to achieve repeatable, dependable, and accurate focus pulls. Basically, it worked as advertised. See the video and photos below.
Setup
Beware, that this follow focus doesn't have vertical adjustment, which presents an issue if you're using a camera with built in battery grip, like the D4. I had to add a riser and a set of rails to bring the unit closer to the lens. Also, the clamp design/build is not the best, but workable.
Operation
Once on the rig, it worked fine. I was able to achieve repeatable, dependable, and accurate focus pulls. Basically, it worked as advertised. See the video and photos below.
Conclusion
I'd like to say that it takes some adjustment to operate an inexpensive no gear follow focus, but at the end it works just as well. As for durability - only time will tell. I will write an update in a year to see how this 99 dollar follow focus from indiSystem held up!
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Development begins on the story for SQUARE ONE - a short drama by Serge Batyrshin
The time has come for me to do my own film project. I have started to work on the story for a short film titled "Kalman" [working title]. My friend Rick Jacobs is helping with story development [thanks, Rick!]. Also, looks like Mike Dobbins [Forrest Gump, 1994] might get a part. I've put together Indiegogo page to get funding going. Check it out and help make this film a reality!
"Square One" is a short drama about a man, his wife, and the uncertainty of our existence.
After losing his wife in a tragic accident, Mike wants to take his own life, overwhelmed with guilt. But an unexpected turn of events makes him change his mind...
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Mission Impossible? Putting together the right DSLR cinema rig - Part 1
I have looked at various rigs from +Redrock Micro, Cinevate, Zakuto, and others. I just don't want to pay one thousand, two thousand, three thousand bucks for this hardware. It probably takes 50 bucks to make one, why are they charging so much?
I like RedRock equipment, and it's priced better than Zakuto, for example. But I needed something that was
Rig Components
I have made a list of everything that I will need to put together a DSLR rig. It will have both shoulder and tripod/steadicam support.
- Camera mounting plate - DONE
- Mattebox - DONE
- Shoulder pad - DONE
- Counterweight - DONE
- Handle grips - DONE
- Remote switch - DONE
- Field Recorder/Monitor (Atomos Ninja 2)
- Follow Focus (reviewed) - DONE
- Cage (possibly) + top handle - DONE
- Articulating arms - DONE
These components should provide versatility to the rig, allowing to shoot on sticks, shoulder, steadicam, etc...
DSLR shoulder rig
While searching on the Internet, I came across a generic DSLR rig that looked like the RedRock/Flashpoint, but cost 199 bucks, so I bought it. Here are product links to Amazon and LinkDelight.
This shoulder rig is made in Taiwan, and looks just like the RedRock/Flashpoint rig. The build quality is ok; it's nowhere near the quality of an American-made product, but with this price tag, it was expected. I feel that for the task that this rig has to do - it'll do just fine. It works as advertised: steadies your camera on the shoulder ;) The rig has a camera plate with a bottom tripod plate, so its ready to go on sticks. It also has the shoulder pad - a cheap one, but it is comfortable and it works! The kit comes with handlebars. They are nice and comfortable to hold. Everything mounts on 15mm rods - industry standard. After putting together the rig I noticed that it is solid and rigid, which was unexpected for the kit that cost 199 dollars - so we're good to go here; moving on to the next piece.
Mattebox
Now that I have the shoulder rig, I needed a mattebox. Once again, while I like Arri, Cavision, and other pro matteboxes, I cant spend several thousand dollors on it. Once again, RedRock makes one, and I used to have it with my old camera (Panasonic HPX300), but I felt that it would be too big for my current DSLR setup (Nikon D4). By the way, Flashpoint by Adorama has the same looking mattebox, almost 4 times cheaper. Go figure...
So, I wanted a lighter, smaller mattebox. No clip-ons, 15mm rails setup. Found one! Flashpoint Basic Mattebox II. Here it is on Adorama (RedStar version here). This matebox will do just fine. It is not flimsy - fairly solid build, and really how tough the mattebox should be? You're not hitting baseballs with it, right!
The mattebox has 2 filter trays, 4x4. I had some biger filters left over from RedRock mattebox, so they will not fit. That's ok. I will buy 3 ND filters for it - they are not too expensive.
It also has a top french flag as well as side barn doors. I dont usually use those, but on occasion I have, and they come handy mid-day with bright sunlight entering the lens.
Here's the description from Adorama:
Designed to prevent lens flare and glare from natural and artificial light sources, the Flashpoint Matte Box offers everything you need to get started whether you're shooting with a digital video camera or a DSLR. This lightweight but sturdy device is equipped with dual ABS plastic filter frames and stages and can accommodate filters 4 x 4" and 4 x 4.5" filters. One filter stage can be rotated 360 degrees when shooting with circular polarizing or gradient filters; the other is fixed. Both filter frames can be locked in position but are easily removed. Three donuts are bundled with the Matte Box. Constructed from thick and durable neoprene, the donuts fit snugly against the Matte Box's 100mm back mount opening. Inside circumferences measure 48mm, 64mm and 74mm to accommodate a widerange of lenses for all your shooting needs. The removable coated aluminum French flag and two side doors attach securely viaa bayonet mount and thumb screws. The blades are easily adjusted-even while looking through the viewfinder for the most precise placement-and can be folded flat for storage or protection of the lens during transport.
So I like this mattebox a lot - its just the right size, not expensive, has filter option as well as french flags. Just what I needed. Will it survive years of abuse? Probably not, but I will get a few years out of it for sure.
Record Button Remote switch
Next thing on the list is a remote switch. I found a great deal on Amazon: Vello 10pin wired remote release for Nikon cameras. I attached the switch to one of the handles on the rig, so that I dont have to reach for the top of the camera to press the record button. The switch has a 10 pin wired plug that plugs in to the 10 pin connector on the side of the camera. Nice.
One thing to add here is that I had to go into Nikon D4's menu and change the shutter button preference to Record, so that it acts like the actual record button. That's all.
Counterweight
To balance the camera on the shoulder I have added a counter weight. Opteka makes an affordable 3lb counter weight that attches to the 15mm rods nicely. Here it is:
More to come
I will still need to get the follow-focus, a cage (possibly), articulating arms, and a field/recorder monitor. More about that in Part 2. Stay tuned!
Share your experience with DSLR cinema rigs by commenting below.
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- COMING SOON: Part 2 of Putting together a DSLR cinema rig
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Nikon D4 time-lapse test: moving car
Below is my first time-lapse test with the Nikon D4.
Camera: Nikon D4, lens: 24-85mm, interval: 3 seconds, total time: 10 minutes, final file duration: 8 seconds. Metering: matrix, shooting mode: manual.
Note: this is ungraded file, directly from the camera.
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The full trailer for 'The Bourne Legacy' released and it is oh so good!
This new, full sneak peek gives us a big look at the new story and links Jason Bourne to our new hero Aaron Cross, played by Jeremy Renner. Edward Norton, Albert Finney, Joan Allen and David Stratharin also all make appearances as officials of the Treadstone and Outcome agencies.
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Saudi Arabia first female film director?
Check this out this article on CNN about Haifaa Al Mansour, who is Saudi Arabia's first female film director: [The film director who's not allowed to go to the movies - via CNN.com].
Her movie Wadjda claims to be the first feature film shot entirely in Saudi Arabia with an all-Saudi cast.
There are no movie theaters in Saudi Arabia, but a member of the Royal Family runs a film production company. Haifaa says " I hope it will inspire many girls in Saudi to become filmmakers".
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A brief history of digital video formats
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HDSLR filmmaker toolkit is a must for indie filmmakers
Recently, there’s been a lot of filmmaker apps for smartphones and tablets. This one by BGW Labs is worth a try. Check it out.
The DSLR Filmmaker Toolkit is a suite of utilities tailored for the modern filmmaker, contained in one iOS application. It has been designed with the DSLR filmmaker in mind, but the large feature set ensures that it’s a must-have app for any passionate filmmaker on a tight budget.
Full frame DSLR shootout: Nikon D800, D4, and Canon 5DMkIII
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BTS of ADR for Laundromat movie
After we were done with ADR for "Laundromat" during the final mixing, I realized that our sound/audio was not up to par. Nothing will ruin a good picture, like bad sound. Unfortunately, it was too late to do anything about it... Lesson learned.
