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In principle, data management sounds simple: you download the camera media, put it on a hard drive and back it up. In reality, it is a process fraught with danger and rife with chances to mess up badly. Handling the recorded media is an enormous responsibility; a single click can erase an entire day's shooting!
The film industry has spent decades developing methodical and careful processes regarding the handling of exposed film stock; loaders (the member of the camera crew who loads the film mags with raw stock and then downloads the exposed footage) are trained in standard methods and procedures; they keep extensive standardized paperwork and prepare the film in a prescribed way for delivery to the film lab, which in turn keeps a thorough paper trail of every roll of film. With digital video, in some ways the job is made more difficult by the fact that we are dealing entirely with computer files. If the DIT is not handling it the crew member who does this is titled Loader (the official term) but sometimes called the media manager, data wrangler or any one of a number of similar terms, sometimes depending on what area of the US or what country you are in.
Basic Principles
Certain core principles apply:
• Cover your rear.
• Have a standard procedure and be methodical.
• Maintain all logs.
Let's talk about these in detail.
Cover your Rear
When everything is going OK, people rarely even notice what the Loader is doing; it seems routine and automatic. When something does go wrong, the entire production can turn into a blame machine. You don't want to be the person who ends up bearing responsibility for a major disaster. The most important protection against this is, of course, to not screw up, but it is also important to be able to demonstrate that it wasn't you. Film camera assistants have a long standing tradition of immediately and unreservedly owning up to mistakes they make: DPs, ADs and directors respect them for this. However, if it really wasn't you that messed up, you need to have the procedures and paperwork to show it.
Some people interpret this rule as just being "avoid blame." That's not the point at all. The real issue is make sure nothing goes wrong so that there is no blame to go around. Protect the production from mistakes and you'll be hired again and recommended to others. If you do screw up but immediately own up to it, the DP and production will still know that you are someone who can be trusted as part of the production process: mistakes happen — the point is to fix them and prevent them from happening again.
Standard Procedures
As camera assistants have learned over the decades, the number one way to ensure against mistakes is to have a methodical and organized way of doing things and then do it the same way every time. Observe any good crew of camera assistants working: there is almost a ritualistic aura to the way they work. They are also very focused and attentive to every detail at all times. Their repetitive actions are practiced and reliable. Their procedures are standardized industry-wide.
Maintain Your Logs
Film camera assistants have quite a few forms that need to be filled out and kept up to date: camera reports, film stock inventories, camera logs and so on. In the digital world, we are lucky that a great deal of this work is done by the camera and the various software applications we use immediately after the camera. Most downloading apps (such as Shot Put Pro, SilverStack, Double Data and others) also create logs that can track the files. Many Loaders also maintain separate logs either handwritten or more commonly as spreadsheets. An example of this type of log prepared by Jillian Arnold is shown below.
Procedure — Best Practices
By far the biggest danger is accidently erasing data which has no backup — this fear hangs over any operation where media is handled. Practices vary between different data managers and may be adapted or changed for various productions if the producer or insurance company requires certain procedures but they all have one basic goal: ensuring the safety of recorded data by clearly marking what media is empty and what media has recorded data on it.
One fundamental principle is that there should be one and one only person on the set who is allowed to format the media. This addresses the most basic of all dangers in digital workflow — being absolutely and unfailingly sure that the data has been downloaded and backed up and so it is safe to format. You certainly don't want to have conversations on set like "Is this ready to format? I thought Danny already did that?" There is no room for uncertainty. Designating one person to be responsible for formatting helps keep this under control. It is not the entire solution of course; a rigid adherence to a standardized procedure is necessary also, just as camera assistants have always done.
Locked and Loaded
One typical method is for the second AC to remove the media (whether SSD or card) from the camera and immediately engaging the record lock tab (if there is one). It is delivered to the DIT or Loader locked. After downloading, it is returned to the AC with the record lock still engaged. This way only the AC (the designated formatter, in this case) is authorized to disengage the lock, put the media back in the camera and format the card. This is one method only and different DITs and camera crews will have their own way of doing this.
Naturally there are variations on this procedure, such as when the camera crew doesn't want to take the time to format media. This varies by the type of camera you are using. For example, it is very quick and simple to format a drive with the Alexa; on the other hand, formatting media for the Phantom takes quite a bit of time. What is important about this process is not so much who does it as it is that it be an established procedure understood by everyone on the crew and that it be religiously observed at all times: any deviation from procedure is always flirting with danger. Remember the basic religion of being a camera assistant: establish procedures and do it the same way every time — be methodical!
Signals —Disaster Prevention
Without a doubt, the greatest fear is that someone might erase/ format a card or hard drive that has footage on it that has not been stored elsewhere. There is no DIT, loader or camera assistant on earth that has not had this nightmare. The protection, as always, is to develop procedures, make sure the whole crew knows what they are and then stick to them.
Is this card ready for formatting? There are many systems but perhaps the most reliable is to use tape. Typically, green means "It's OK to format." Say something like "This drive is ready for formatting." Red tape means "Not Ready for format." Keep the red tape on it until you are absolutely sure it is finished and you have two tested backups. Use paper tape for marking cards and SSDs, not camera tape or gaffer tape. Camera tape can leave a sticky gum residue on the media and who wants to stick that into a camera? There are no hard and fast rules; it is whatever the crew agrees on. The important thing is consistency and communication. Many people make it a practice to not only mark the cards but to add a verbal signal as well, such as "these cards are ready for formatting." Always putting them in a consistent location is important too. This might mean a small box on the DIT cart or something similar.
Always Scrub
Make it a habit to always scrub through (preview) the footage, even if only at high speed. A visual check is the only way to be certain the footage is good. You can also be watching for other problems — if you catch something no one else noticed, be sure to let them know. It is always best for a production to know about problems right away, when a reshoot is not a huge problem, as it will become once they have wrapped that location or set.
Do not scrub through the original media. This has two potential problems: one, having done that, you may think that you have downloaded the footage and two, it is what really gets downloaded to the hard drives that matters. It is usually best to use the camera companies software to preview/scrub the footage. This is going to have the least potential for problems. If you use some other software to preview and something doesn't look right, then you can't be sure if it is a problem with the footage or if there is just a playback issue and the material is fine.
Download>Scrub to check>Mark as ready for format.
Three Drives
Most DITs consider three copies of the footage to be a minium. Hard drives die; files get corrupted. Backups are your only protection. Hard drives that are used to transfer the footage to post, archives or the production company are called shuttle drives. As an example, the hard drives might be:
• One for the editor.
• One backup for the client/producer.
• One backup for you (so you can be the hero when something bad happens).
An alternate process might be:
• All files on the DIT RAID drives.
• A shuttle drive of all files delivered to the producer.
• A shuttle drive of all files delivered to the post house.
The VFX people may also need files delivered. Obviously, the DIT can erase all drives on the DIT cart once the shuttle drives have been delivered to the producer/post house and checked, but many DITs prefer to keep the files live on their hard drives as long as possible (meaning until the next job) just as an emergency backup.
To be prudent, production and the post house should also make backups of all files as soon as they are received; it's just common sense. Archiving to LTO tapes as soon as possible is a sensible method of protecting against unforeseen disasters. We'll talk about LTO tapes in a moment.
Some productions do not allow the media to be erased until it has been confirmed by the post house; often this is a requirement of the insurance company. Some insurance companies will not give clearance to format the media until it has been transferred to LTO tape and stored in a vault. Obviously this requirement has a big effect on the amount of media (SSD drives, Phantom mags, compact flash, SxS cards, and so on) that need to be ordered and also has meaning for the planning of the DIT/post workflow. This again points to the importance of having a pre-production planning meeting which gets all of the parties together to work out the details of how it's going to be done. Since downloading drives takes time, some DITs request that they get the media before it is filled up completely. Some crews make it a practice to only fill up drives half way for this reason. Figure 10.7. Double Data takes a different approach to data ingest. It is designed to manage your data all the way through the process.
Do Not Drag and Drop
One principle that is universal no matter what procedures are in play: never "drag and drop." Anyone who uses computers is familiar with the idea of grabbing a folder or file with the mouse and dragging it to a new location. It's simple enough but for a couple of reasons, it is to be avoided with video files. Some cameras produce video files that are far more complex than just "file.one, file.two" etc. There are often associated files in addition to the video clips.
What is missing when you merely drag-and-drop files is a confirmed check that the copied files exactly match the originals. One method of doing this is CRC — Cyclic Redundancy Checking. It sounds complicated, but it's actually simple in principle. Copied files are divided into predetermined lengths that are divided by a fixed number, which results in a remainder, which is appended onto the copied file. When the check is performed, the computer recalculates the remainder and compares it to the transmitted remainder. If the numbers do not match, an error is detected and a warning displayed.
For example, Double Data remarks that a prominent feature of their data management software is that a big green check mark appears on screen when the files have been transferred and thoroughly double-checked for accuracy. There is a great value to this. Remember that working on the set is pressured, hectic, chaotic and often involves insanely long hours. There is a great value in having your software give you a clear and understandable signal that all is OK. All professional ingest software includes CRC.
Other File Copy Checks
A far simpler method is file size comparison, which is self -explanatory — the process merely compares the size of the original file and the copied file — it may be OK for a quick and dirty look but not nearly accurate enough for real verification. Two other widely used methods are MD5 Checksum or Message Digest 5; it's similar to CRC but a bit more complex. It is an algorithm which creates an alphanumeric string associated with each file that is as unique as a fingerprint. It is commonly used when downloading files from the internet; by comparing the MD5 checksum you calculate against the published checksum of the original file, you can have some assurance that the file that arrives on your hard drive has not been tampered with in some way. This also applies to copying video/audio files. If the two MD5 checksums match up, there is little chance that fatal errors have crept in during the copy process.
Another method is byte verification, which takes file size comparison to the next level — it compares every byte of data to make sure the copy exactly matches the original.
Excerpt from The Filmmaker's Guide to Digital Imaging for Cinematographers, Digital Imaging Technicians, and Camera Assistants by Blain Brown © 2015 Taylor and Francis Group. All Rights Reserved.]]>
When making critical pre-production decisions about the type of camera and workflow to utilize, a good place to start is determining both your editing format and the eventual exhibition format for the project. For a web or mobile audience, shooting 4K is overkill and will result in an expensive post-production process for which the audience will never enjoy the benefit. If, however, you're targeting the festival circuit, you may be dismayed to see what iPhone video looks like projected onto a 100 foot screen.
Producers therefore need to weigh their options and keep in mind that most modern cameras will capture and save to more than one format. The total volume of data to be generated is an absolutely crucial factor in determining the right camera and workflow . This is particularly true for small handheld cameras that are capable of shooting RAW footage. Although the cameras may look small, their data rates are not. Before setting out on a certain path, a bit budget or data allowance must be calculated (see below ). There are a multitude of apps available on the web and for handhelds that can assist in estimating the amount of data acquired.
How the footage is handled on-set and the subsequent steps of post-production should be clearly defined during pre-production. It is essential for filmmakers to form a mental picture of how and where the data is stored and transported. This can be outlined as a memorandum that is distributed both for on-set procedures as well as a flow chart describing the data pipeline:
In the world of digital filmmaking, the minute you decide you're doing an Alexa show, a RED show or whatever the camera is – you want to interconnect your camera department with your post department with your finishing department – so that there is an understanding of what is captured by the camera on the SxS card or mag, or whatever it is, what you capture and how the final colorist is going to be managing it. There needs to be clear communication on what's expected at the beginning and end of the process.
- Holly Schiffer-Zucker, HBO, vice president of Post-Production
Studio pictures employ Digital Cinema cameras capable of producing RAW footage at extremely high data rates. The sheer volume of data may require multiple data wranglers and digital imaging technicians (DITs). Additional equipment is needed on-set to process the footage.
Episodic TV and low budget features may not find it feasible to capture so much data. A good compromise in this case is a compressed format that requires less processing such as Avid DNxHD 36. The footage can easily be backed up and transported back to the editing room where work on assembling the sequences can begin immediately.
Documentary and reality TV shows often choose lightweight and smaller cameras because they are cheaper, easier to transport and less noticeable while filming. In these cases, there may be multiple cameras rolling simultaneously, generating many hours of footage. The challenges this presents to the DIT are in finding enough downtime in between takes to download and transport the camera data since filming is often non-stop.
When determining which camera is best suited as "the B" camera, "crash" camera or camera best suited for tight spaces, don't lose sight of the overall look of the project. While it is common for shows to mix and match footage from scene to scene using two different camera systems, as a general rule only one camera should be used within each scene to maintain visual continuity. Exceptions may arise where a stylized look or point of view (POV) is desired, such as a security cam or flashback sequence. Lastly, inserts or pick-up shots often take place after principal photography which may require using a different camera. In these situations care should be given in choosing a camera that matches resolution, frame rate and color space of the original.
Avoiding Pitfalls in Production that Affect Post
During Pre-Production
Determine who the audience is for your project and how you intend to show it to them (Theatrical, Network, Web, Video On Demand (VOD), YouTube, etc.) If you are fortunate enough to have a distributor, obtain a list of deliverables before production commences.
Discuss and agree on a schedule for both shooting and post-production with your "key creative," such as the director, producer, cinematographer, editor and production designer, among others.
Create a list of key steps and deadlines including when the final project must be turned over for delivery and distribute it. Plan out your workflow, from acquisition to distribution.
Consult with as many experts and consultants as you can: visual effects supervisors, lab, post houses and other vendors. Obtain as many quotes as possible. To be forewarned is to be forearmed, so gather as much information as you can and make everyone aware of the goals/challenges/budget limitations that lie ahead.
Require careful location scouting for determining any sound and lighting issues. Bad sound will result in extra time needed during post to fix or replace. Poor lighting will require extra attention during color grading. Do not assume that all these issues can be corrected later on but rather that they should be addressed upfront.
Estimate the amount of storage needed by establishing a shooting ratio and data allowance. Ensure there will be enough back-up drives to be on hand at all times.
Estimate how much data will be generated each day and make provisions for enough storage devices to back up and transport. Plan for making at least two back-up copies of the footage. Three back-ups are even better.
Obtain pre-visualization for all computer-generated imagery (CGI) and composites for use as on-set reference and editorial placeholders.
Shoot tests. Test all your equipment before going out.
Create a post workflow and test it during a dry run so that you are confident it will succeed. Detail the process using charts, memos and create a post schedule in advance and distribute it.
During Production
Maintain the 3-2-1 rule: keep three copies in two different formats with at least one maintained at a separate location.
Establish an on-set protocol for handling and verifying your data. Create a tracking sheet or flow chart defining each person's responsibilities for who handles the cards and drives. Encourage communication among crew members and stick to the plan.
Create a memo/tracking sheet charting when and how the sound and picture files are to be transported back to the lab or cutting room. Establish rules as to when to "break off." What this means is that during extended shooting schedules, or while at distant locations, it is essential to send a partial batch in the middle of the day instead of waiting until wrap. This reduces the amount of time that editors and assistants must wait for dailies and keeps the footage flowing.
Slate every shot and assign scene numbers. Second Unit must also keep careful continuity notes and shooting logs.
Errors and anomalies in either sound or picture must be recorded in the respective camera and sound reports. They should be reported to the continuity script supervisor as well. Always record sound (even if there is no intention to use this sound) in order to provide a guide track.
Location sound recordists should make certain to record room tones and ambience from each location. They should also take the time to work with the actors in between set-ups to record wild lines. Wild lines are repeated off camera and are necessary for dialog replacement should the need arise due to noise or other problems during the actual takes.
Try to light properly and avoid having to remove offending wires, backgrounds, and tracking markers possible.
Avoid adding shots that require VFX or composites without first consulting a VFX supervisor.
Never repeat the mantra: "We can fix it in post." Errors and problems that occur during principal photography have a tendency to compound themselves as they move through the post-production process and thus become even bigger problems, resulting in time delays and cost overruns. To assume a positive outcome will happen later on or to kick the can further down the road is a recipe for disaster.
Excerpt from Modern Post: Workflows and Techniques for Digital Filmmakers by Scott Arundale and Tashi Trieu © 2015 Taylor and Francis Group. All Rights Reserved.]]>
The psychological process of writing the first draft follows a predictable arc.
At first it feels like love in the springtime – your concept's strong, your characters are speaking to you, Act 1 is rocketing along; look at you – you're a screenwriter, and it feels great! Then Act 2 arrives, and things get dark. You've lost track of your subplots; your protagonist is bouncing around aimlessly from plot point to plot point; and who are all these people in your script, and what do they want? By the time you finally arrive at "FADE OUT," you've forgotten why you thought this was a good idea in the first place.
This struggle is demoralizing and draining. It's bad for your mental health, but most important, it makes it that much harder to face the rewrite process. This is what leads so many young writers to throw up their hands and send out their first draft (perhaps after a bare minimum of rewriting) while crossing their fingers and hoping against hope that somebody will notice their "hidden potential." This rarely works because, well, screenwriting is rewriting. And insufficient rewriting is the number-one cause of shitty scripts.
Here's my suggestion: burn through that first draft as fast as you can. Just get it done. The faster you finish it, the faster you can get on with the real work – rewriting. So how do you finish the first draft as quickly as possible?
Well, you could pretend you're possessed by the ghost of Hunter S. Thompson, go on a crazed coke- and meth-fueled bender and knock out your entire first draft in seventy-two hours. Sadly, for legal reasons, I can't recommend that you do that. But these tips might be the next best thing.
Write the easiest version of every scene.
Subtext is hard. Like, really hard. Trying to deal with unconscious or unarticulated desires on top of more overt character motivations is just confusing as hell. Yet teachers and screenwriting advice book authors are always telling us that our scenes should be built upon layers of subtext – that they must contain "inner goals" and "reversals of expectation" – or else they'll wither on the page. Who do those people think they are?
Okay, so they may have a point. All that stuff makes for better scenes. But sometimes, let's be honest, we don't know the characters and their motivations well enough to be layering those subtleties into the first draft. If we sat there trying to come up with the fanciest, most intricate and interesting version of each scene, we'd become totally paralyzed and write nothing.
Instead: write the easiest version of the scene. The scene still has to contain conflict, but make it the simplest version of that conflict. Can't think of a clever way for the protagonist to escape the villain's death-trap? Have him escape the dumb way. You'll have plenty of time to make it brilliant during the rewrite.
Dialog first, then action.
I don't know about you – perhaps I'm a little dimmer than most – but I find switching gears between action lines and dialog to be quite mentally taxing. Constantly jumping between terse descriptive prose and, say, a Southern vernacular speech pattern is hard on the brain (it's even worse if you have multiple characters in a scene who all speak in a different style). It wears you down over time, and it slows the pace of your writing. The solution? When you come to a new scene, write the scene heading, and then write all the dialog first. Don't write in any action at all – go full Shakespeare on its ass. Then, when you've got the dialog hashed out for the entire scene, go back and fill in the blanks with action. Not only does this method eliminate brain strain from switching between writing styles, but it also allows you to clearly map out the arc and pacing of the scene.
This tip doesn't work for all genres. You'll find it's of limited use when scripting, say, an action film or a thriller. But for comedies, dramas, and other talky scripts, it's a godsend.
Strip your action lines down to the bone.
Adverbs and adjectives. Who needs them? I don't know if you've noticed, but our Anglo-Saxon linguistic forbears left us some really strong, powerful, all-round excellent verbs and nouns. They're so good, in fact, that we wielders of English can easily build elegant, multilayered sentences without resorting to elaborate clauses or two-dollar words. Take that, French.
But maybe you're not into the whole brevity thing. Maybe you like to labor over your action lines. In that case, my advice to you is: don't do it on the first draft. Just write the simplest form of every sentence. Remember, the heart of your story isn't your sentence structure; it's your protagonist's actions.
Go back and add the foreshadowing later. We've all been there. You start writing that pivotal, emotional scene in Act 3, and you realize: this would have a much bigger emotional impact if these two characters had talked to each other about their past. Or if they'd been lovers. Or if their mentor had left them a postcard warning them about the situation, or what have you.
When you realize this – that you could enrich the scene you're currently writing by setting it up earlier in the script – your first instinct will be to dive back to an earlier act and start tinkering. Don't. Resist the urge. Instead, write the current scene as if that early foreshadowing is already in place. Then go back and add it in the rewrite.
If it helps, think of this trick as being a bit like the time travel in Bill & Ted's Excellent Adventure – Bill and Ted need the keys to the police station, so they trust that their future selves will remember to go back in time and leave the keys for them. And voilà – there they are! You can do this, too. Just make sure you don't forget to remember to go back in time … if you follow me.
But! Don't skimp on the emotional arc.
This is important. You can rush the first draft. You can write it as barebones as you like and trust that all the meaty stuff will come later in the rewrites. But the one thing your first draft must always contain is a strong arc for the protagonist. That's your guiding light – the backbone of your entire story. Without that, you're just typing sweet nothings into Final Draft.
Follow this advice and you'll have a finished first draft in no time. Congratulations! Now the real work begins.
Excerpted from Screenwriting Tips, You Hack by Xander Bennett © 2011 Elsevier. All rights Reserved.]]>
Please keep in mind that each camera system is different. Cameras such as those from Arriflex, Aaton or Moviecam, may not have all of the same features as the Panavision. Camera components and accessories may attach differently or look different from one camera system to the next. This video is designed to help you understand the basics of the prep. The important thing is to check everything so that you are sure that the camera system will function properly on the first day of production (hopefully).
Be sure to check out the section on Camera Prep in Chapter 5 of The Camera Assistant's Manual, 6th Edition and also don't forget to use The Camera Prep Checklist from Appendix C as a guide when performing the prep. The Camera Prep Checklist may also be downloaded from the Forms, Checklists and Labels page on the book's companion web site.]]>
Rare portraits of Cher Ami, a carrier pigeon and First World War hero, and specific photographic references to his carrying cages, and a typical message tube strapped to his ankle, were pulled from the University of Kansas historical archives website (see below). No book was able to provide this kind of indispensable, arcane information. Most research is found through the normal channels mentioned and can also be bought from private photographic collections, as is the case for the below collection, which shows several images taken in San Francisco in the 1940s.
In Los Angeles, if actual video and DVD rental for hard-to-locate film research is required, Eddie Brandt's Saturday Matinee located in North Hollywood is available for a nominal fee. Its catalogue of films includes animation, film noir, sci-fi, exploitation, documentary, live entertainment, foreign, silents, serials, and black films—titles and genres not available at Netflix. As the front page of its catalogue boasts, "We've acquired three centuries of movies in 33 years!"
A designated research budget can buy 30-minute increments of research time (in 2014, at the time this edition was compiled) at the 20th Century Fox Studios Research Library, the Warner Bros. Research Collection in Burbank, the Lillian Michelson Research Library now located at DreamWorks, and the Margaret Herrick Library at the Motion Picture Academy of Arts and Sciences in Los Angeles. These research facilities tend to be expensive, but they are also extraordinary source centers of rare, well-archived images either custom-burned onto CD or beautifully photocopied at the customer's request. Several of the images used for this book came from those collections.
The Fox Studio Research Library is unique among the studios and popular with art department research teams for the scope of its available material. For example, it provides assistance for all types of projects throughout the production process, features a collection of more than 40,000 non-fiction books on all topics, more than 100 current periodical subscriptions, computer workstations with high-speed Internet access and powerful graphics capabilities including color copier/printer/scanner/CDRW, online services including Nexis, Reader's Guide, and New York Times archives, and supplies art department creatives with 2D and moving picture, visual reference materials. Like most research libraries you can also phone or email your research requests.
During the earliest stages of pre-production, the art department by default becomes the center of visual source materials for the entire production. Gathering research during pre-production is a time to steep your psyche into the era presented within the pages of the script, and it is a time to become as deeply knowledgeable about the historical context of your film to help resolve whatever questions that might arise. In the case of Cher Ami, the World War I hero pigeon, several downloaded photos in-hand were undisputed evidence for which pigeon to cast in the starring role based on the original bird's feather markings. Our relentless drive to produce critical data and visual information makes the art department the premier place to answer these questions. Historical dramas, in particular, demand tremendous detail and scrutiny through research sourcing and data gathering. Linda Berger, assistant art director and key art department researcher for Forrest Gump (1994), recalls a landmark experience in her early career.
Interview with Linda Berger
Linda, on Forrest Gump you were the Assistant Art Director and managed the research for the film. Would you tell us a little bit about that?
I was one of the first people hired onto pre-production. The vision of Rick Carter, the Production Designer, was very clear and straightforward: the film was a character-driven piece and needed to feel real and human, not like a documentary, although the fictional story clearly had its basis in historical events. It needed to be infused with the humanity of the time we were portraying— meaning, because we were creating history that was relatively recent, we needed to be true not only to that history as it really was, but to History as people who actually experienced it or remembered it in their mind's eye. With that concept in mind, I built the beginnings of a huge research library. It was truly exciting for me. Kacy Magedman, art department coordinator, and assistant coordinator Anna Hayward did a great deal of footwork for us all along the way. And we kept adding to it, and it eventually filled a room with file cabinets and stacks of information. I focused on sources of recent history like prominent newspapers and Life, Look, Time, and Better Homes and Gardens magazines. Time was a great source for Vietnam research, and the others provided a rich diversity of pop-cultural images. And, of course, Lillian Michelson was a tremendous help to me.
In Washington, DC, I also found police newsreels about the 1960s anti-war demonstrations and other rallies that had taken place at the Lincoln Memorial where our staged film rally would take place. Also, at hippie campsites in and around DC and the Jefferson Memorial, where the protestors had stayed overnight, I learned about the kinds of buses that had come from all over the country to bring protesters to the city. Period newsreels were a wealth of information showing signage, buttons, graphics, and banners, as well as style of dress. There was also loads of information to be found about TV trucks and cars, sound and TV equipment, TV cameras' scaffolding and staging, as well as research on police cars and equipment; a lot of it very surprising and sobering. Every image was used as a "true image"—we didn't guess about what we would see—down to creating signs, for example, and we tried to re-create them in their original materials such as cardboard from the backs of cardboard boxes with the folds still attached and poster paints or canvas. Paramount Sign Shop was tremendously helpful. They did the bulk of the work preparing the signage. They reserved a whole crew of sign writers to work on well over 1,700 images including signs, banners, and so on. Robin Miller, our brilliant Prop Master, created armbands, buttons, and many of the bumper stickers—all based on much of the research we did together.
Much additional info in DC came from tech people I talked to at the networks who did on-the-spot reporting at the time. We were also able to track down some of the original photographers who had gone to some of the actual rallies and were able to purchase their personal photos of the events. These were extremely valuable. Other research came from the Library of Congress, which helped us understand the importance of getting it all historically correct. I was able to hire a great researcher in Washington, who culled through all kinds of police reports and records to help me find information that shed light on a lot of historical background information about the Vietnam era as well as Watergate. And Rick Porras and Steven Boyd, working then in Bob Zemeckis' office, spent weeks during pre-production in Washington going through film archives for images that would be seen in the film, such as the images of Kennedy, Johnson, and many others. They brought back many clips that were also of great use to me for research as well.
With all of those wonderful places as a springboard, we began to create an outline marrying our historical and current events timelines with the one emerging for Forrest and Jenny, the two main characters. Their childhood and adulthood events needed to mirror or coincide with cultural history in order to remain true to Rick's visual concept of "real and human." Rick loved collages as a way to find the essence of character and asked me to create a visual timeline for Jenny's character, for example. It took up one entire wall in the art department. It was dedicated to everything that might have been present in her daily life and overall life history, such as magazine ads, book images reflecting the lifestyle of the 1950s through the 1980s, and even her route through her drug use, reflected in her character in terms of the times in which the story was being told. Along the top of her personal historical timeline were the years broken down into months of the year and decades; along the side of the chart, there was a section designed for specifics such as hair, dress, school, entertainment, furnishings, cultural interests, etc. Everyone used the wall containing the story of Jenny's life. Joanna Johnston, Costume Designer, in particular found it very valuable. Once I had collected enough information, I began to make large books, and these were available for everyone to look through and use as research. There was a Washington history Vietnam War Rally research book, the largest and heaviest of all of them, and others ranging from the Southern US, the Vietnam War, to the strip clubs and discos, and the New York City of the 1970s. Art Directors, Jim Teegarden in LA and Leslie McDonald down in Beaufort, South Carolina, and Savannah, Georgia, used these books and added even more research.
I had the great good fortune to go to Washington and supervise the creation of the Lincoln Memorial Rally and campsites and Watergate events with Robin Miller. I'll never forget it. It was such a wonderful and inspiring creative experience. The day we shot the rally at the Lincoln Memorial, Eric Roth, the Screenwriter, remarked to me—and I'll never forget it—that the way it all looked and felt that day was as he had imagined it in his mind's eye. That was a truly gratifying moment for both Rick and me. I'm very proud of what we were all able to accomplish there.
Excerpt from The Art Direction Handbook for Film & Television, 2nd Edition by Michael Rizzo © 2015 Taylor and Francis Group. All Rights Reserved.]]>
With audio being an afterthought, the ability to record quality sound with any consistency is impossible. I'm having flashbacks to the days of the Sony PD150—decent pictures but crappy audio! If you're going to shoot video with dialogue on a DSLR camera, I strongly recommend recording audio on a separate recording system and syncing up the audio in post.
I really want to help out my DSLR mates and sound ops who are being asked to record this way, but I have no solution for recording dialogue onto the camera. Yes, I can get it there, but my ulcers would burn right through from the anxiety of knowing the recorded audio isn't perfect.
You're not getting paid to record barely passable audio.
I've been on many shoots with DSLRs, and the only audio recorded onto the camera is ambience and sync track. All dialogue is recorded onto a separate system.
This Not a Cop-Out!
Audio meters, a headphone jack, and proper XLR connectors are the bare minimums needed to calibrate, record, and monitor any sound recording. If someone gives you the "I've done it before, it'll be fine," or the "I've seen it done on YouTube" comment, suggest they shoot without looking in the viewfinder—you've seen it done on YouTube!
By taking a show that has you recording dialogue onto a DSLR, you're setting yourself up to fail. If there's no time or budget to run a second system, turn the gig down.
The DSLR Camera Mic
Let me be blunt, the built-in camera mic on a DSLR is a piece of !?#! I think it's because Canon wasn't expecting the video function of the camera to be such a big hit—so the $0.49 mic makes sense. But still, you'd think they would have at least tried to improve it by now! Luckily, there are manufacturers who are happy to create and build some pretty great mics to help us out.
To up the quality of your ambience recordings, there are some pretty good aftermarket camera-mounted mics designed specifically for the DSLR. They'll improve the sound recorded on the camera immensely! You can buy mono and stereo mics. They come with an 1/8-inch connector. They're battery-powered to boost the signal to improve the camera's signal-to-noise ratio. They come with a mounting bracket and shock mount to help isolate the mic from camera handling noise, and Rycote has even designed windjammers so you can record outside. And now, Shure has put out a mic that records on a removable flash drive, so you don't have to worry about the crummy 1/8-inch connector going faulty. The hardware is now available for you to record quality ambience and sound bites.
Keeping in Sync
One of your main concerns when recording with DSLRs is sync. The sync track is the sound you record on the camera that will be replaced in post by the sound you record on a second system. For sync to work properly, there needs to be either a decent quality recording of the audio you are replacing on the camera and/or a sync point, a sharp quick sound at the beginning of every take recorded on the camera. Editing software will sync the wave forms recorded on the DSLR with the wave forms recorded on the second system if they match—it's pretty cool technology.
There are many ways to create sync sound and/or a sync point.
For the sync point, video crews are using film slates—that's right, the slate is showing it's irritating self in video, and with the latest DSLR having time code, we can enjoy sync slate nightmares. "Sticks," as they are called, with the date, scene, take, and maybe even the director's name, are gracing the bags of video camera and sound ops. But the reality is most video is a two-person crew, each wearing more then one hat, and the slate isn't very practical. To be honest, it's a real nuisance! "Did we forget to slate again?" and "Who's got the dry erase pen?"
So how do we do it in the real world? With a clap of your hands and a verbal ID. When the camera op rolls, so do I. I ID the audio file—let's say, "wave 52,"—the camera op verbally identifies the shot if needed, and then a single hand clap and we're off. The camera-mounted shotgun picks up the clap and so does my mic, so we have our sync point.
For sync sound, the sound recorded on the DSLR during the entire take needs to be of decent enough quality so the editing software can line up the waves of the two sound files. I like to set up a wireless hop to the DSLR to guarantee a perfect sync track, but a camera-mounted mic works just as well.
In both cases, when the show is cut together, the editor blows off the sync sound recorded on the DSLR and replaces it with the much better recording of the second system. This has worked flawlessly for me for over five years—no sync issues.
The only time it gets tricky is when the talent is far away. If the talent's wearing a wire, you're going to have to make sure you record the sync clap close enough to the camera op to prevent a delayed sync point. Stand close to the camera op and use either the slate mic function on your mixer, or simply use your shotgun mic to record it.
If you're booming talent that's far away from the camera (long-lens shot), boom over to the camera op for the sync clap (no further then six feet away to prevent sync delay), then back to the talent to begin the shot.
Syncing sound and picture in post is a time-consuming process in DSLR video production. But working with the camera operator to implement a simple yet effective way to identify takes and create an accurate sync point will make the editor's job a lot easier.
TIP! It's good practice to start your recorder and ID every time camera rolls when recording dialogue. If camera cuts, you should stop as well—it's easier in editing when the number of sound clips and video clips are the same.
Excerpt from Location Audio Simplified: Capturing Your Audio… and Your Audience by Dean Miles © 2015 Taylor and Francis Group. All Rights Reserved.]]>
At Raindance Film Festival we work with countless filmmakers trying to get their shorts, features and documentaries screened to as wide an audience as possible.
Of course the filmmaker's wet dream is to have their film picked up at a film festival by an international distributor who hands them a fat cheque—a cheque large enough to pay back all the investors, all the bills, and leaving enough left over to enjoy a few months' secure living. This scenario rarely happens.
Self-distribution has become an option for filmmakers seeking an audience and financial return. It's being touted by self-appointed experts as the quick fix to a filmmaker's distribution woes.
Sometimes self-distribution works. Sometimes.
When it fails, it is because the filmmaker has committed one of the seven deadly sins of self-distribution.
Deadly Sin #1: Pride
I see filmmakers all the time who ask me for distribution advice. I won't ever charge for advice like this (unlike some of my worthy colleagues). I will ask in the first instance who they have shown their film to. Usually filmmakers go down a lengthy list, from large distributers all the way down to lowly sharks. If no one on their list has agreed to distribute their film, I know pretty much at once that another lousy film has been made.
No amount of marketing can rescue a bad film.
Hint: Learn to admit when you've screwed up and made a stinker and learn lessons (however painful) that will help you on your next film.
Deadly Sin #2: Greed
In today's wintry economic climate, the prices of films have dropped like a stone. I have sat in meetings in sales agents' offices with filmmakers who were being hounded by creditors on a half-million picture, to be told that their film would net a maximum of $20,000 worldwide.
Trouble in this case was the producer and director decided they deserved big fat salaries.
Every picture has an income potential. Figure out what that revenue is before you hawk the family silverware.
Hint: Never ask too much. It's a fine line between fair and greed.
Deadly Sin #3: Sloth
Why is it filmmakers think that success is all about shaking hands and signing autographs?
The reality is that a career in the arts, or media is very, very hard work. If you are not prepared to do the dirty work yourself, then you better have a big pile of cash to pay others to do it for you. Self-distribution is no exception; you need to work hard at it or it will never work for you.
Hint: You have to put in the hours to get the results.
Deadly Sin #4: Envy
The reality is that people with less talent, people who don't work as hard and people who are less deserving than you are going to be the ones who gain success. Get over it.
Hint: Keep your hands on the handlebar, your feet on the pedals and your eyes on the road.
Deadly Sin #5: Gluttony
Seems to me that a lot of people become filmmakers, and I think guys in particular, because of all the stuff. Stuff like: free lunch on a film set (in what other industry do you get free lunch?) Others view a career in the film industry as a glorified dating service, or a way to access a (probably illegal) hedonistic lifestyle.
Hanging around at film festivals and red carpet events might be amusing, and refreshments tasty, but you can't live on canapés alone.
Hint: Toys are for boys—you don't need all this shit. Never forget the age-old maxim that works a treat: early to bed and early to rise makes a filmmaker happy and wealthy and wise.
Deadly Sin #6: Lust
Blindly seeking fame can be in itself reason enough to make a film. It might not meet my own personal goals for a career, but it is a specific goal that can be measured against a point in time when the filmmaker/hero either attains or gives up the fight for his or her goal. However, making decisions purely to attain one's goal at the expense of others is wrong, no matter what your career or business.
An accomplishment based solely for your own pleasure is entertainment in its basest and cheapest form. If you are to rise above the rabble you need to forsake lust and learn to live and work with humility.
Deadly Sin #7: Anger
Want to annoy another filmmaker? Criticise their work. No matter how nice and polite you are, say one eensy weensy thing against their film and they explode as if you had spit on their baby. And when a filmmaker hits the anger button, all reason flees. Don't be that person.
Hint: Remember that people have a right to say what they think about your film. Very few people in the world can actually relate to you from your side of the fence. Lashing out shows everyone how threatened you are. And when you are angry, you won't hear anything important anyone is saying.
Excerpt from Raindance Producers' Lab Lo-to-No Budget Filmmaking, 2nd Edition by Elliot Grove © 2014 Taylor and Francis Group. All Rights Reserved.
Image by yoppy via flickr]]>
Weaving the universe relates to the fact that any successful transmedia intellectual property is like a tapestry – many threads that are well-woven to create a beautiful pattern. This points to the concept that really successful intellectual properties tell many stories that weave into a larger picture or larger understanding of the story.
The biggest challenge is that no matter how much planning things rarely go as planned. The "big picture" vision we just touched on is typically impacted by both financial and cultural factors. Even building the master plan is a huge undertaking with many factors to sort out. Whether it is a universe from scratch (top-down) or a universe adapted from one that already exists (bottom-up), each has different pressures and different advantages and those need to be taken into account.
Economic Issues
This isn't about production costs, per se, since we're talking about raw universe and world building, but the reality is that anyone who is building a universe for a transmedia property has to think about how expensive any of it is to produce. The more alien, or more fantastical the environments the stories play out in, the more it's going to cost.
How much can you afford to develop? When you look at all the possibilities, the inclination is to think that a complete development process is critical and very expensive. That is of course true to some degree. However, how much of this needs to be done is really a question of how much you need to develop to be able to conceptualize the world.
How much you can afford to make translates into "what do you need to actually make the world work?" Choosing which elements are crucial to weaving a story is a story-based decision as well as a pragmatic one. Where will the first success be? Is that the most important expression that defines the universe?
The economic considerations have a huge impact on how the elements are brought together because they define what elements are in the mix. Few properties and therefore few creators have unlimited resources, so virtually all need to go through a process of prioritization based solely on a sound financial model for the property. This is where creativity meets a pragmatic business approach, and subsequent chapters can help you anticipate some of these issues.
Cultural Impact
The cultural issue is present through the weaving process. Intellectual properties often have a long arc in terms of development and execution. The world we live in always provides a background; properties come in and out of focus, look different than they did ten years ago, for better and worse. Times change, so the setting and even the context and the meaning of the content changes, which can affect how the universe is shaped and structured. In addition, other properties emerge that change the culture's perspective on certain topics. Harry Potter set the table for supernatural topics, but discouraged another big property about wizards. The Hunger Games is a smorgasbord of teen-on-teen violence, which may have opened the doors on a long delayed property with a similar element, a motion picture version of Orson Scott Card's Ender's Game novel (Tor Books, 1985).
Intellectual properties establish what is topical and appropriate on a regular basis. Part of weaving an intellectual property universe is weaving in the culture around us. This is partly why one intellectual property universe makes a connection and becomes a hit while another disappears. The thread of "now" increases the chance of that connection. We're not striving for "timeless," but rather what is often referred to as "universal stories" – the irony is that partly what makes stories universal is their specificity. How an intellectual property places itself in the moment using what is available is incredibly important.
Cast of Characters
A distinguishing characteristic of properties is whether they are a single thread or a multithread character arc. Examples of each are Harry Potter and Game of Thrones. Harry Potter, while a rich universe of people, places and events is always clear whose story it is and who is the center of that universe. While Harry might not be present, Harry is always a presence – ultimately he is the thread all the other threads connect to. Game of Thrones is at the other end of the spectrum, a multithread universe where the Stark family is presented as the core of the narrative, with Ned Stark as head of the family and easy to interpret as the protagonist, until his head is chopped off at the end of Season One. (Oh, sorry :::SPOILER ALERT::: )
Outside it being a great plot twist, it is also proof that the story, be it in novel or television form, is the story of the universe that the audience gets to see from multiple perspectives. A multithread universe has more moving parts, so to speak, but on the other hand a misstep with one character could be quickly forgotten if you can effectively move on to the next and the next. Managing a single thread arc, while more challenging from a simple storytelling point of view, is less complex from a transmedia standpoint because we never wonder whose story it is. That is always clear. Keeping a large complex universe together requires that the grand vision is clear and being maintained by a producer with a handle on all the elements of the story. Not an easy task.
Platform Implications
How the media differences impact the weaving is another issue that has to be delineated. Each medium has its own strengths and weaknesses that accentuate different qualities in the universe. It goes back to the same question of what to start with. This time the question is not one of entry point, but instead how a given medium lays the groundwork for the introduction of the next element and the next and the next. Motion pictures provide the big splash, television the big picture and games the profound connection with the audience. Then the question becomes, what next and why? Is the point to focus on character or on universe or on pulling in a new audience or cementing the core? How do you use the unique traits of different media to strengthen the property as a whole? Is it a simple additive process or is it some synergistic process that is challenging to quantify? Add to that, what constitutes a timeline for success? The reality is that when and what order elements are introduced matters greatly. How do they amplify the expectations of the audience without killing momentum? People are used to waiting, but at what point does waiting damage the long-term position of the property? This is why the weaving of the universe is the greatest challenge of the process.
The past has already shown that you can have all the pieces in play and still manage to screw it up. An example of success and failure, and the circumstances surrounding each respective property, will illuminate the challenges of weaving and how they have been dealt with in the past.
Two Weaving Examples
The Matrix is a property ahead of its time and conceptually original. In fact we could argue that it is one of the first intentional transmedia properties. The initial film introduced the story's universe and because of its huge success, the creators were able to implement their original intentions to create the grand vision they had imagined, telling the story of that universe in animation, video games, web comics and feature films.
What we as an audience experienced, however, was not a grand vision, but instead, pieces that sort of fit together, interrelated, but without real synergy. In hindsight, the issues have to do with the loss of focus by the filmmakers, perhaps caused by trying to do too much, which led to a lack of crispness in the continuation of the mothership in the subsequent features.
In addition, their original vision was stymied by the video game's development in particular. The vision of a game that truly functioned as part of the transmedia storytelling process was hindered both by the technology of games and maturity of the form, an issue that is only now seemingly to the point where those challenges can be overcome. It was also the first real effort to extend the narrative from a motion picture into a video game, and in a way back again. A major character departs during one sequence and heads off to take care of something, the events of which are depicted in the video game. The character returns later in the motion picture, with minimal explanation as to where she was or what happened. The connections are tenuous, and frankly it creates a significant gap in the movie's plotting as it seems odd that she was off doing something important, but we don't (in the film) know what it is. That said, the weaving of The Matrix universe, well executed or not, is an important step in the maturation of the process of transmedia storytelling.
Launched in 1963, Doctor Who is an example of a property where there is a single entity in charge for many years – the BBC – with multiple media expressions and a very popular mothership, the television series. However, the BBC decided abruptly in 1989 that enough was enough (a clear example of how not to bring a property to conclusion) and put the property on "hiatus."
After that, the image that comes to mind is of a mom leaving her child on the doorstep of an orphanage. In this case an orphanage run by the fans … What occurred (and it is rare) was essentially that the weaving was turned over to the fans, some through more traditional channels like the Doctor Who Magazine and the novels, but eventually through less traditional methods, such as fan generated videos that kept the tapestry going. The fans maintained story momentum when the holders of the intellectual property refused and since the rebirth in 2005, the parents (or BBC) have done as excellent job of doing what they refused to do two decades earlier: weave a rich story universe with multiple successful expressions. The reemergence of this property has been an astonishing turn of events.
These two examples amplify how hard this process of weaving is. While not really helpful, the underlying truth is that how the elements are woven together is truly unique to each property. There are too many factors in play to come up with a simple formula or a single path. These examples make you wonder how The Matrix would look if launched today. Doctor Who in some ways is an example of how you learn from the past and redefine a property for its era. If you look at how the elements are now woven, it speaks to a modern audience and in fact a wider audience than it had in its previous runs.
Weaving the property through multiple expressions is how you establish it in the culture and establish the connections that make one property succeed and another slip into oblivion.
Excerpt from Storytelling Across Worlds: Transmedia for Creatives and Producers by Tom Dowd, Michael Nierderman, Michael Fry, and Josef Steiff © 2013 Taylor & Francis Group. All Rights Reserved.]]>
ScriptSync can be used in Avid without a license if you are willing to hand-sync each line of script with the matching audio. The licensed version allows you to automatically match the audio in the files with the phonetic sounds in the words of each line.
The basic process is to export a script as a .txt file from a program like FinalDraft. Then, in Avid, import the script. With the script open in Avid, listen to the various takes in a scene and then select the lines in the script covered by the take. With the lines selected, drag the clip onto the selected lines in the script. This links that take to the selected section of the script. You'll see a line, similar to the way a script supervisor marks up a script (see below), running down along those lines of script with a thumbnail of the take at the top. Continue to do this for each take. Eventually, you'll be able to see which takes cover which lines of the script (see below). When this is done, select the clips and choose ScriptSync. This uses phonetics in the audio file to match the exact words in the script to the exact moments in the clips that those words are spoken. With this done, you can click on any line of the script and audition the exact moment of that line in every take done of that line.
When editing scripted content, it is very useful to be able to see the options for coverage on specific lines. Making informed and efficient choices using this method frees up your time and creative talents for the more demanding decisions of editing.
Todd Morris's workflow for Big Bang Theory moves from digitizing and logging to ScriptSync.
"Now that I have a multi-group for every scene, I use the Avid Script Integration program [ScriptSync]. I import a text file from the writers. I'll go through and I'll mark scenes and pages within it and put in a multi-group and mark each line on the fly, drag the multigroup to where in the script it relates. Put a mark in, hit record and mark each line on the fly. So I do every take in real time on the fly. You can do double time, which I can do, but I've found all of this to be faster than trying to get ScriptSync (the phonetic matching function) to work for me. I don't do ScriptSync's phonetic matching because when we do a rewrite, which we do a lot, ScriptSync can't find it. So what I do for Pete is color the take as a gray line. If they do a rewrite, I don't type in the rewrite, but what I do is mark the line blue. If they rewrite it again, I'll do it another color. If he sees a color, he knows that there's a rewrite. If we do wild lines I mark them in red. So he can look at the script and it's all color coded and he knows where to find things."
All of this prep work takes a full day per episode, but to make the most efficient use of their time, Morris gets the first half of the show prepped between 6 a.m. and 10 a.m. so that Chakos can start editing while Morris finishes prepping the second half of the script.
The other big user of ScriptSync is David Helfand, who edits The Mindy Project. Helfand rarely worries about the organization of the bins because he recalls takes exclusively from ScriptSync, saying, "I find myself resistant to using bins."
Helfand's assistant, Richard Rossi, preps ScriptSync with a procedure that they've tailored to the unique needs of the show, mainly to accommodate the large quantity of ad libbing but also to deal with the change in production technique between film—when every take would stop before a reset to save costs—and digital, which tends to roll right through from one take to the next without resetting or stopping.
"In one take, there'll be three restarts," explains Rossi, "so I have to find the restarts. I give each restart its own line ("take" in ScriptSync). It also gets complicated when they ad lib. So for adlibs you have to retype the adlibs and cut and paste."
ScriptSync does not allow for retyping words or lines once the script has been imported into Avid, but Rossi reveals a special technique for dealing with these revisions. "David taught me that you can use TextEdit, which is a really simple text program, if you copy and paste it into TextEdit and you can retype the scene in TextEdit using the same margins and this way, when you copy and paste back into the script, it will cheat it." Rossi continues, "So you copy the section of the original script, which keeps the formatting, then paste it into TextEdit, where you do the revisions or add the ad libs, then copy that and paste it directly into the script that's already imported into Avid. As long as you've kept the same formatting it will recognize it."
The rest of their workflow involves Rossi adding a lot of markers for restarts or notes. But even with the tendency of the production to roll through from one take to another, Rossi and Helfand don't use subclipping to break up the takes. Instead they simply mark the specific takes with an in and an out and create a new line (take) in ScriptSync. Rossi also color codes these takes, indicating ad libs in blue and restarts in green, and if an actor skips lines for some reason, those missing lines are marked in red.
To allow Helfand to begin editing as soon as possible, the script is broken apart into as many as eight sections so that Rossi can deliver small chunks of the script to Helfand.
Helfand elaborates: "Actually ScriptSync is tough on this show because of the schedule. [On The Mindy Project] they use this technique of throwing stuff at the actors that's off-script and because of that, there's a lot of transcribing and modification of the script and it would be helpful if you could modify it or notate ScriptSync. We get all this footage and it's digitized by the lab and the lab will sync up the Alexa footage with sound and give us Avid dailies in DNxHD 36, which is what we edit in, then the assistants will sync up the script with the dailies, so there's hours of preparation of the script, and we break up the script into separate acts so I can start working before they're done prepping, and they'll type up the ad libs if they have time."
Helfand was an early proponent of ScriptSync and convinced many of his editorial colleagues and producers on his shows of the value of it.
For much more information on Avid's ScriptSync, see Steve's just published book Avid Uncut: Workflows, Tips, and Techniques from Hollywood Pros.
Excerpt from Avid Uncut: Workflows, Tips, and Techniques from Hollywood Pros by Steve Hullfish © 2014 Taylor and Francis Group. All Rights Reserved.]]>
As the head of the camera department, I always instruct the camera assistants to have the camera(s) on set, powered, booted, and viewable, with fresh media and a lens, and ready to shoot—at call time every day. The digital imaging technician should have monitoring and record capabilities live and ready at call as well. Avoid camera reboots whenever possible, but also let the director and first assistant director know what to expect from the camera being used in terms of reboot time, media or D-mag changes, pre-roll, and any other special camera needs. I have many conversations with the operator(s) about framing and camera movement based on the discussions I have had with the director during our prep time together. Frequently the operators will wear headsets so that the cinematographer can whisper framing and composition comments to them as a shot is being made.
I prefer not to abort takes if something is wrong in front of the camera when shooting digitally. On film shoots, this was common practice if something went badly in front of the camera, such as a bump in the dolly track or a fallen flag, but when shooting digitally, the imperative to save money by cutting is not as strong, and I prefer to let the action play out on the off chance that a happy accident might occur in the scene. If, after the scene is over, I am convinced that the take is unusable, I always have a conversation about it with the director and the script supervisor so that bad takes do not end up cut into the finished project.
I like to constantly give the lighting and grip departments information about what is happening next, they always appreciate as much time as you can give them to drag heavy cable, lights, scaffolding, or dollies. It is important to check the technical schedule frequently to remind lighting and grip of special equipment needs and to give them as much prep time as you can for specific setups.
Be prepared to have a continuous conversation with the gaffer and the key grip about pre-lighting and pre-rigging the next scene, the next day's work, or even the next week's work. In television, this can be imperative in staying on schedule. Most of all, while shooting, try to keep cool, calm, and dispassionate about the chaos around you. Try to develop a Zen state for being in the moment of shooting: be one with the confusion and let the chaos flow through you. Stay focused on the work, stay focused on the director's needs, and stay in communication with the first assistant director. If you have prepared thoroughly and have chosen the right people, the right equipment, and the right workflow, the shoot should be a joyful and fulfilling experience, so treasure that experience and try to find ways to let it be enjoyable.
Monitors, Tents, and Directors
I prefer to have at least one control monitor in a light-controlled environment or a dark tent, and that monitor is my private monitor. The director can share, or preferably have his or her own high-quality monitor on the set, close to the action. I like to allow the rest of the crew access to camera and monitors as much as possible within reason, but I try to discourage too much conversation and "contribution" to the image on set. It is fine to spot a mistake such as a coffee cup or a plastic water bottle left behind on the set, but it is not OK for random members of the crew to give "artistic" lighting or framing tips.
During takes, I like to watch the shot at the best monitor that I can get. I watch focus as closely as possible because it is the area of greatest concern to me on set when working digitally. Very small errors in focus can be very hard to detect when working digitally. If for some reason I have to watch takes somewhere other than at the monitor, I appoint the digital imaging technician to scrutinize focus closely for me and to report quietly to me (and me only) if there is a problem.
During the shoot, I prefer not to engage the actors in conversation unless they come to me. The process of acting in front of the camera is a delicate one, and I am trying to assist the director in getting the best performance possible, so I try to hold my interactions with the actors to the mechanics of getting the shot or scene.
You Are the Producer's Business Partner
Part of the cinematographer's job is balancing the demands, hopes, dreams, and wishes of the Director with the money available to do the job. This is a delicate dance, and ultimately the cinematographer walks a diplomat's tightrope in balancing what the director wants with what the producer will let you give him. This part of the job has always been the most stressful to me, but I find it useful to keep in mind that one must be diplomatic while being resourceful and unreasonable. Resourcefulness is always rewarded in the process, and making the effort to save money will buy you favor and credibility with the producer and the studio, but at the same time, being unreasonable in the pursuit of the director's vision will create a bond that pays off in loyalty and creativity in the work you share.
You Are the Director's Hardest Working Best Friend
The cinematographer's job is ultimately awarded by the director. Yes, the producer and the studio have a say so in the matter, but if your director wants you on the job, he or she will usually get his or her way. Directors have widely varying styles and interests. I have worked with directors that have little or no interest in camera placement or lens selection, lighting, and composition, and I have worked with directors who say, "Put the camera right here with a 50mm on it and dolly slowly to over there on this line in the script." Every director has a different style and focus, and it is up to you to learn and accommodate for each style. One helpful tip is to begin the prep exercise by watching movies together and talking about them as a way to formulate a look and style for the project you are doing together. Directors always have favorite movies, and they always have a movie to point to as a way of explaining their wants and expectations. It is up to you to realize those expectations, so you must translate the director's intent scene by scene to the rest of your crew: your operator(s), your gaffer, your key grip, and your dolly grip(s).
The Studio—What Time Did You Get the First Shot of the Day?
It is important to remember that someone is putting up a lot of money and taking a lot of risk to make a movie. You have a responsibility to make the best effort to see that risk rewarded. Bring honesty and integrity to your work as a cinematographer, be open and communicative, and the studio can be your friend. They want to know what is happening all day, every day on the set. They want to know what time you got the first shot, how many shots you got by the time the crew broke for lunch, how many shots you got in your day, whether you got every shot that was on the call sheet, and whether any overtime was incurred by the crew. The studio does not like to hear about upsets on the set. If, for example, you can run a calm, easygoing set (in spite of whatever chaos may be happening around you), it puts everybody at ease, allowing for a more creative mood and better work, and that may be what gets you your next job.
Making a Shot
The ritual of the shoot day was taught to me by several mentors, in particular, Phil Lathrop, ASC, who was always a gentleman on set, and Roger Corman, who mentored many famous directors and cinematographers. It is a well-evolved ritual that can work to perfection when followed.
Before beginning your production day, have a good breakfast, and then be sure to arrive on set well before shooting call. The cinematographer cannot be late to the shoot— ever. Find a second assistant director, get a set of sides (miniature script pages and a daily schedule for the day's work), and then make your rounds. Have conversations with the gaffer, the first assistant director, the first assistant cameraperson, and your director. Begin the preparation for the first shot of the day well before you go on the clock.
Generally the lighting for a new scene will have been "roughed in" by the lighting department's rigging crew, based on a description of the scene by the cinematographer and the director.
The director, the assistant director, and the cinematographer confer to determine the order in which to shoot the scene; then the director describes the specific shot he or she wants to the cinematographer. As the director blocks the scene, the actor stand-ins, the cinematographer, the gaffer, and the first assistant cameraperson watch quietly to determine camera placement, movement, lighting, and focus marks. As the scene blocking solidifies, the first assistant cameraperson begins setting focus marks for rehearsal with stand-ins. The cinematographer confers with the gaffer and the key grip and begins lighting and camera placement. The stand-ins move in for lighting work while the actors are sent for their final hair, makeup, and wardrobe checks. The cinematographer sets the lens, camera height, framing, and camera movement while the lighting and grip departments light the scene. When the actors return from makeup, rehearsals resume until the director is satisfied with the action.
When I trained under my original mentor, Phil Lathrop, ASC, he always had a small bicycle horn hanging by the camera, and everyone knew that when he was ready to shoot the shot when he honked the horn. This is the signal for the first assistant director to walk the actors onto set and to do a last rehearsal. When the rehearsal and last looks from the hair, makeup, wardrobe, and lighting departments are complete, the cinematographer sets the stop and shooting begins.
If there are SPFX, smoke, rain, or fire, those are set; the first assistant director locks up the set and stops any traffic that must be held for the shot. The first assistant director calls, "Roll," and the sound person acknowledges when he or she is at speed, the assistant director calls, "Roll camera." When each camera position acknowledges that he or she is rolling, the operator calls, "Marker," and the second assistant cameraperson claps the sticks, calling out the scene and take per the script supervisor. The first assistant director calls, "Background action," and either the first assistant director or the director calls, "Action." When the scene is over, the director calls, "Cut." The first assistant director calls, "Reset," or "Back to one," and the next take is prepared. When shooting the scene has been completed, the first assistant director will frequently call, "We are on the wrong set!" or "Company moves!" At the end of the day, the assistant director might call out that a shot is the "Abby Singer," which means that you are on the second to the last shot of the day, and after that, he or she will call everybody's favorite—"That's a wrap!"
Image by Jakob Montrasio via Flickr
Excerpt from Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows by David Stump © 2014 Taylor and Francis Group. All Rights Reserved.]]>


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Syria e-mail hack points to new level of "information war"
Whether Syrian rebels hacked President al-Assad's e-mails themselves or with the help of Western spies or "hactivists", the release of these messages points to a new era of information warfare.
March 18, 2012 10:53 by kippreport
Britain's Guardian newspaper began on Thursday publishing details from the material, which it said members of Syria's opposition had secretly intercepted between June and February.
They stopped when another unrelated hacking attempt, believed to be by the "Anonymous" hacking group, alerted the authorities to the fact their systems had been compromised.
Details released so far range from evidence of Iranian support for Syria's crackdown to the spending of thousands of dollars on luxury items by Assad's wife and details of his iTunes account and Internet video viewing habits.
The Guardian said it had made extensive attempts to authenticate the e-mails and believed that most if not all were genuine.
Obtaining and publishing volumes of hidden data is clearly getting easier — as has already been shown by the Wikileaks release of US State Department cables and Iraqi and Afghan U.S. war logs — as well as the release of internal e-mails of private intelligence and geopolitical publishing company Stratfor.
While most high-profile examples of such data theft so far have been in Western countries, some experts have long suspected that their greatest impact could be in more autocratic states — helping tip the balance of power away from governments.
Cyber warfare in coming years, experts increasingly believe, could be as much about trying to protect or disseminate particularly sensitive pieces of information as about plotting cyber attacks on essential national infrastructure.
"It's the first time insurgents have gained access to a regime's high-level communications during an uprising," says John Bassett, a former senior official at British signals intelligence agency GCHQ and now a senior fellow at the Royal United Services Institute.
"That could possibly be a significant turning point in the development of cyber warfare."
Some security experts doubt Syria's fragmented opposition would have had the capacity to access the e-mails without outside help, but others say those in power in Damascus may simply have been careless.
The Syrian opposition say they were given details of the passwords by an internal regime source.
While the publication is unlikely to have any immediate effect on the chaotic and bloody situation on the ground — see story — they are seen broadly undermining Assad's already faltering legitimacy.
It is a tool that could become increasingly popular.
"Any cause could have a supporter who happens to be a hacker," says Anthony Dyhouse, a cyber security expert for British defence company QinetiQ. "He or she will be well aware that they can use their skills to support the cause."
Psychological and information warfare is nothing new — adversaries have been using any available means to control information and spread disinformation for centuries. But the information age opens a host of new possibilities.
Wikileaks' revelations of corruption and repression in Tunisia are widely seen as a factor helping fuel demonstrations there just over a year ago, fuelling the revolution that helped kickstart wider unrest across the Middle East.
Some in Western intelligence circles have long suggested that the targeted release of embarrassing details of the finances or other aspects of the lives of autocratic leaders could prove a weapon against potential foes such as Russia and China.
But some authoritarian governments are fighting back.
Some states are widely believed to have already tried to resort to cyber attacks to limit unwanted online discussion.
Russian dissident websites in particular have often come under cyber attacks from hackers believed to be linked to the Kremlin, while the BBC Persian service this week said it believed Iran was behind an attack on its website.
Such attempts have only met with limited success, however.
Tunisia, which employed some of the world's most sophisticated Internet censorship and blocking techniques, was unable to stifle protest or block Internet users from key sites including US diplomatic cables on Wikileaks detailing government corruption and repression.
Some believe governments may already be involved in increasingly sophisticated "social engineering" on social network sites to gather intelligence on internal and external enemies.
Earlier this month, it was revealed that suspected Chinese hackers had created a facebook profile in the name of NATO supreme commander Admiral James Stavridis, apparently in the hope that his colleagues would link to him and share secret information.
The Stratfor hack — in which some 5 million e-mails were taken by Anonymous along with credit card details, usernames and passwords of clients — showed that even companies explicitly focused on security could prove surprisingly vulnerable.
"The more senior people are, the less inclined they become to observe good opsec (operational security)," says Nigel Inkster, a former deputy chief of Britain's Secret Intelligence Service MI6, and now head of political risk and transnational threats at London's International Institute for Strategic Studies.
"That is problematic enough when dealing with material that is obviously in need of classification," he said. "It is much harder when it comes to what people fondly imagine is private correspondence."
The bottom line, QinetiQ's Dyhouse says, is that like everyone else national leaders will have to remember that anything they write down in e-mail format could become public.
"Consider an email to be a postcard and assume that at some stage someone other than the intended recipient will read it," he said. "Don't put anything in it which would cause you a problem if that happened." (Reporting By Peter Apps, Political Risk Correspondent; Edited by Richard Meares)
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Hey everyone, what's up? My name is Matt and I'm new to the forum. I just wanted to say hey.. I hope I posted this in the right section.. if not, mods please feel free to move it.
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xbox ps3
3ds nintendo wii
xbox ps3
3ds nintendo wii
This is it. This… is your story. It all begins here.
i am home and okay so my brother made me do a shot with him and i did because he really wanted it and i didn't mind
but my family got me—you know what they got me
alcohol. just… so much alcohol. a bucket of alcohol, little bottles of alcohol.
like damn
thaannk you !!
- don't like me
- liked me at one point, but don't like me anymore
- hate what i post
- hate what i have to say about xyz topic
- find me annoying
- don't have anything in common with me anymore, and are bored by the things i post
- feel obligated by whatever personal reason you may have to keep following me, even if literally any of those above things apply
this applies to mutuals as well. your dash should be your happy place, so no hard feelings and i wish you the best in life
Yep yep! Twenty one today. Thanks!
- Platonic reassuring shoulder/arm/hand grabbing
- Platonic tight, meaningful hugs
- Platonic late-night deep conversations that end in at least one person holding back tears or sobbing
- Platonic sleeping in the same bed
- Platonic forehead touches
- Platonic staring into each other's eyes like the other person is the world
- Platonic CUDDLES
*punches through the monitor* [hacker voice] im in
Blumenkranz - Cyra / From Kill La Kill
( #1 Summer Song )


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(Y)- Means "Your Name'' *You and your friends arrive at MB's Hotel that their staying at for the week, you look around and see Roc calling you into his bedroom* Roc- (Y) come!! (Y)- Yes?? Roc- I really like you (Y)- We just met Roc! Roc- I know, that's why we should go on a little date first (Y)- *Gets Excited* Okay i'm into that Roc- *grins* great. ------------------------------------------------------------------------- * Ray Ray finally arrives to the hotel* Ray- Sorry i'm late everybody! i was getting some stuff* Tyra- Thats okay my dear Ray- Well hello mrs sexy Tyra- *Smiles* Prod- Yo guys i think i first date is the best idea before... Kayla- Yeah guys! * sits on prods lap* Prod- Yeah um, let's go right now! Roc- I found a resturant close by here, let's go!! Princeton- Alright come on babe *looks over at Jess* Jess- Oh yes baby ---------------------------------------------------------------------- *since prod's the oldest, he drives to the resturant* Waitor- how many? Prod- ehh 8 Waitor: right this way *everybody goes to sit down, but then Roc pulls you outside* (Y)- what now roc! Roc- i just wanted to ask you, will you be mine? (Y)- Yes of course!! *You kiss him on the lips* Roc- *starts putting his hand up your shirt* (Y)- Not here Babe *takes Rocs hands out* Roc- Right, sorry * holds your hand and walks you to the table* Ray - I guess someone went a little early! Roc- Shut up man *while smiling* Ray- *Turns to Tyra* will you be my girl? Tyra- Oh hell yes, jumps on ray kissing him crazily Princeton- Jess will-- *Jess cuts of princeton with a kiss* Jess- yes i will Prod- I gotta better way to ask you Kayla Kayla- Oh really? Prod- Your just have to wait a little later Kayla- Okay baby *bites lip* Ray Ray- Guys um i'm starting to get something peeking up my pants, let's get to the hotel pronto! Princeton- Good idea! ---------------------------------------------------------------------- *at the hotel, roc once again takes you into his room* Roc- your sleeping with me right? (Y)- Of course! Roc- *starts to get a little horny since hes hearing Tyra moaning and screaming* (Y)- Roc i see your d--- Roc- Yes i know , & i know its a little early too so i-- (Y)- who said it was a little early? *pounces on roc, and starts kissing* Roc- you wanna? (Y)- its up too you babe Roc- *unbottons his shorts, and takes it out* (Y)- DAMN ROC!! Thatt shit huge! Roc- yeah i know, can you handle this? (Y)- i suppose so Roc-*takes of your clothes* and kissing you rubbing his thing all over *princeton barges in* Roc- SHIT MAN! puts his thing away Prince- you forgot the condom, just thought i'd give it to you Roc- oh yeah ight Prince- by the way Rebecca is on the phone Roc- *gives prince a dirty look* Princeton- she gotta know! *runs back to Jess* (Y)- Wait, whoes Rebecca? Roc- Uhm she's a ex (Y)- then why the heck are you still talking to her?! *puts clothes back on* Roc- its not what you think! we are still friends thats all (Y)- forget it Roc, thats one thing i dont play with Roc- No (Y) wait! (Y)- what roc? *tears fill up in your eyes* Roc- i have to tell you the truth, she wanted me to be her 1st (Y)- so you screwed her!? Roc- it wasn't while i was dating you though! (Y)- Naw man, i'm leaving. Roc- *chases after (Y)* (Y)- let me go! Roc- I love you, and if you leave i want you to know that. --------------------------------------------------------------------------- Ep 3 coming next!


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Published: 12 November 2012
Will it be third time lucky for Anglo American Platinum (Amplats)? The platinum miner, majority owned by giant Anglo American, has given its striking employees until the end of today to come back to work — its third go at tempting them to return with a new pay deal.
The saga is being closely watched in the City, with Liberum Capital analyst Ben Davis today warning that in "a year plagued by strike action, the platinum industry has reached an important juncture. The key outcome will be decided by how [Amplats] chooses to engage with the unions and whether they use this as the opportunity to shut down higher-cost operations".
Amplats, the world's largest platinum miner with about 35% of global production, has upped its offer to a one-off payment of 4500 rand (£325) to encourage the 30,000 workers back. The offer lapses if they do not return today.
Davis said: "We remain negative on the space until production discipline is shown."
Amplats said the cost of the two month strike has risen to $263 million (£165 million). Workers have been demanding a pay rise of 4500 rand a month, which would cost the company 2.6 billion rand (£187 million).
The strike, which began in mid-September at Amplats' Rustenburg operation, followed rival Lonmin's strike at its Marikana mine, and the unrest in the country over pay and conditions have been characterised by violence. The industry has also been hit by a sharp fall in the price of platinum, which is currently down by a third from its 2008 highs.
Today, Anglo American dug down to the bottom of the benchmark index, falling 23.5p to 1841.75p.
Lonmin has had its own issues to deal with since the ending of its strike. Xstrata directors have been attempting a management coup there. Xstrata, which is merging with commodities giant Glencore, is the largest shareholder of Lonmin, and does not want to contribute to the planned rights issue unless it can change the current executive team.
Davis added: "We maintain a Sell on Lonmin because, despite the troubles it has already faced, there are plenty more to come, such as how Xstrata chooses to participate in the rights issue... we suspect they will but will again try to leverage their position."
But Lonmin has rejected its reverse takeover proposal. Today its shares gained 8.7p to 463.65p while Xstrata lost 3.2p to 966.75p.
The FTSE 100 index was up marginally but concerns on the US budget deficit and the continuing euro crisis kept any gains subdued, and it only crept 12.66 points higher to 5782.34. Advertising giant WPP was boosted by news from French peer Publicis that advertising rebounded in October. WPP flew up the bluechip index, gained 11.5p to 820p.
Reports at the weekend claimed the proposed £1.4 billion merger between mid-cap index soft drinks businesses Britvic and AG Barr has hit a problem, with investor Harris Associates reported to have spoken out against the deal. AG Barr edged up 3.7p to 442.1p and Britvic put on 2p to 367.75p.
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Technology firm Motive Television broadcast a share price jump after it has proved TV can be watched on an iPad without cable, satellite or internet, and the shares rose 0.01p to 0.05p.
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