A lens is a lens is a lens

Over the past few months I have been learning a lot about lens' and quality.  In the past as far as video is concerned people buying cameras where mainly concerned with the feturs and quality a video camera, but totally neglect the lens as a part of the equation.  And I totally and completely understand this mentality.  Why?  because for decades camera companies made us choose between crap image quality in comparison to a more crapy image quality.  So consumers like my self are forced to buy in to CCD image sensor size that was smaller then an 8mm film image. Even george lucas' star wars episode 1 $100,000 camera that was a 1/2 inch did not even come close to the normal focal length 8mm film had.

Part 2 of 2 understanding CGI integration

The point of this blog is to get you to start thinking 3D integration rather then educating you on any particular technique.  Compositing and 3d Computer graphics design takes years to master so I wright this with no intention of saying this is the end all be all of how to view and tackle CGI.  However, I will say that understanding some simple concepts can help you tackle even the most challenging of visual effects.  

Part 1 of 2 understanding CGI integration

Computer-generated imagery (CGI) intergeneration in any visual medium can add visual flair no mater how stubble or complex.  In fact studies show that a commercial using CGI visual effects will ingage more audience members and increase branding potential over all.   I would show you the findings, but I can't seem to remember what article it was when posted in creativity magazine.  In any case, CGI integration or compositing in general can be easy and complex at the same time.  For the average consumer, adding CGI can be exciting and fun to watch, but for the filmmaker it can be a scary thought.

HDDSLR, and the fueled Technological movement

One thing that hit me the other day is how simular motion picture Film is to that of Digital, That is if Digital has the right components to mesure up to its big brother "Film."  I believe film will never truly go away.  The reality is we are coming to an age where the indi filmmaker and the consumer is demanding outstanding image quality.  Even I, a videographer can no longer use my DVCAM because my clients are no longer accepting any thing less then.  Is it an age of digital snobbery and mesturbation?  Or are we the consumer rising up as a collective and demanding image superiority because we consume so much digital content.  It might be a little of both.

A topic on documentary filmmaking

I was originally going to write about 3D integration, but I decided to right about documentary filmmaking.  The thing about documentary filmmaking of any kind is that its all about the inquisitive.  Its often a miss conception that documentary filmmaking is all about following the journey, but it is really about the curiosity following the journey.  I think all great documentaries have this.  News is simular, but news is a systematic investigation using experts and visual references.  The person creating the news piece can be inquisitive about the subject mater, but the end product is all about informing the public about a curent event they should be aware about.  Both documentaries and news can take on an unbiassed approach or a propaganda approach, but the the soul propose of news is to generate a balanced story as documentaries are to involve the viewer in a factual journey of a sort.  In documentary filmmaking, you as the filmmaker must allow the subject mater to guide the story.  Your job is not to investigate, but rather document the experience surrounding people and places.  Remember let your subject do the talking and make opinions later.  Finding many opinions will help expose trends.  So in essence news goes to the source of information where as documentary filmmaking leads the viewer to the source of information.  Thats the journey.

Myths and problems concerning HD DSLRs

In this new age of filmmaking every thing is going digital one way or another.  The so called film school has become nothing more then a bunch of students running around town shooting there friends on an HDV camera they think will make them big some day.

There is nothing wrong with dreaming the dream, but we have come to an age of digital snobbery.  Many students who graduate film school never even touch a film camera let alone learn about film technique and theory behind cinematography.  I have even been shocked by my own school because they bought consumer grade cameras that cost around $200-$1000 and I have seen them buy those flip HD cameras for news broadcasting.  Keep in mind this was a university.  I was fortunate that my department had 16mm film cameras and wonderful cinema teachers who work hard to keep film alive and well, but university politics may cause those cameras to become extinct.

Bridging the Communication Gap between Producers and Crew

From a producers prospective, communicating with your crew requiers a little more then ordering tasks and providing there resource needs.  There are two different types of crew, the unpaid/lowpay crew and the profesional crew.  Both crews have benefits and draw backs as far as personality and cost.  The unpaid/lowpay crew works with the intention that there work will bring them experience and creditability.  Most of the time I find that inexperienced crews need more direction and there is a tendency for egos to start showing in the mix.  Egos are a sign of fear and weakness.  A fear that says "I don't want any one to see me as weak and incompetent."  A Professional crew is the opposite of that.  A profesional crew tends to be in sync with one another because threw their experience they figured out the lingo and procedure, almost like factory workers on an assembly line.  Typically its not good to mix professionals with green crew members.  If you do mix them then they should ether be all green and one profesional or all profesional and one green.  With a mix of all professionals and one green, you will find that it is easer and better for for the green person because he or she can look up to and learn from the professionals.  With the mix of all green and one profesional then you have the entire crew looking up to the profesional and the profesional can share there wisdom and knowledge as the production moves on.