http://reelcarpet.com/blog/ Latest Blogs http://reelcarpet.com/blaremedia/blog/the-germ-film-project-returns-for-its-first-screening-of-the-new-year/ Fresno Event: The Germ, a local film project that aims to inspire filmmakers of all skill levels, will return for its first screening of the year on T...]]> Fresno Event: The Germ, a local film project that aims to inspire filmmakers of all skill levels, will return for its first screening of the year on Thursday, February 21.

The Germ encourages filmmakers to take the inspiration and film limitations featured on its website and create a short film based on them. In October 2012, the inspiration of food was shared with the community to serve as the catalyst for participants to create their own film or video. The upcoming screening will feature films that are inspired by this Germ. Each submission must also feature at least four characters and a line of dialogue that was given by the project’s creators.

“I think the best films are about relationships,” said Anthony Taylor, co-creator of The Germ. “Requiring people to create films with four characters and the theme of food, something that naturally brings people together, is bound to create some interesting interactions. As a lover of food and dialogue, I'm excited to see what people do with being required to use a specific line and at least four characters.”

The screening will be held on Thursday, Feb. 21 2013, at 7 p.m. at Windsong Productions/ BLARE Media, 7676 N. Palm Ave., Suite 104, in Fresno. All submissions are due by 5 p.m. on Monday, Feb. 18. Submissions will be showcased at the event. Tako BBQ Truck and a no-host bar will be on site to provide food and beverages. The inspiration for The Germ 06 will be announced at the event.

The Germ is an innovative platform that gives a single inspiration and asks filmmakers to simply create. Previous Germ inspirations were the color red, a photograph by William Eggleston, the season of summer and the song, “Tables and Chairs,” by Andrew Bird.

For more information and to view the current Germ, visit www.thegerm.org .

The Germ was founded by Windsong Productions, a video production company with a single purpose: tell good stories and tell them well. Specializing in creative video production, this award-winning company was founded in 2011 as a collective of videographers, producers, editors and writers that bring ideas to fruition using the best technology and creativity available.]]> http://reelcarpet.com/blaremedia/blog/the-germ-film-project-returns-for-its-first-screening-of-the-new-year/ Mon, 11 Feb 2013 02:32:17 +0000 BLARE Media http://reelcarpet.com/BeyondPixStudios/blog/project-reboot-soma-palooza/ The San Francisco production community has banded together to throw its biggest community extravaganza in years. On Thursday, April 26th, more than a...
After Project Reboot, the event will culminate at Beyond Pix Studios @Bayshore, a newly renovated soundstage, from 6pm to 8pm (or later...). Blues and jazz music of Max Bran Beat will rock the house. Hors devours and drinks will be served. Participants of Project Reboot will also be eligible to win prizes and the number of tickets one can submit for the drawing will depend on the number of facilities visited during the open house event.

Project Reboot is an extraordinary San Francisco/Bay Area event to compel industry professionals and clients to venture out to meet others face to face. In today’s smartphone, tablet and laptop dominated culture, we rely too much on the Internet to make connections, but in many ways it has disturbingly left many disconnected and disenfranchised. We seek to reverse that, to transcend the devices and to “reboot” our real life connections and promote friendships within the community. For many, this will serve as a reunion while for others, this could be their first industrial social event.

In any case, Project Reboot and the SOMA-palooza party is a stab at rallying the members of our industry to come together to see what and how others are doing, to visit their facilities to see where they work and to exchange ideas, business cards and swap stories.

After so many years of what many have perceived to be some of their toughest times, it’s imperative that we shake things up. Many are reporting that things are getting better and that business is looking up. We believe that is the case and Project Reboot is our emphatic statement that our best days are ahead of us and we’re just at the starting blocks.

If you want to join and enjoy this awesome event, please go to projectrebootsf.eventbrite.com and RSVP. Passports can be obtained at any of the open house locations, and will be stamped at every destination you visit which in turn will be converted to raffle tickets to qualify for several prizes including the new iPad. Drawing will be held at the SOMA-palooza soiree.]]> http://reelcarpet.com/BeyondPixStudios/blog/project-reboot-soma-palooza/ Wed, 11 Apr 2012 18:39:52 +0000 Beyond Pix Studios http://reelcarpet.com/blaremedia/blog/what-s-cool-about-the-epic-camera/
The EPIC Camera is a hugely evolutionary and perhaps revolutionary step in the digital cinema camera world. RED t...]]>
The EPIC Camera is a hugely evolutionary and perhaps revolutionary step in the digital cinema camera world. RED took the best things about their original camera - put the specs on steroids - and the body on a diet - and kept it at a very reasonable price. For a base price of around $30K without a lens you can be up and shooting (although pretty stripped down). The camera is beautifully small, expandable and elegant. Now to the big 5:

Resolution - The Epic currently has the highest resolution recording availability of any player on the market. At 5K the Bayer sensor on the Epic has been highly optimized and provides a much better picture than the same sensor on the RED One MX. This high amount of resolution provides advanced capabilities to reframe, stabilize, hide noise and repurpose footage in post production. If you have never used an oversampled image in post than you really don't know what you have been missing. It's amazing to be able to have a Raw image that you can zoom into nearly 300% in post and still have enough detail for 1080p.

Dynamic Range - The Epic camera has all the detail in the world but if it can't handle contrasty situations then what is it worth? Fortunately for users the Epic has a built in Dynamic Range of about 13.5 stops. This doesn't quite do what film can do under certain situations but it certainly has brought it within striking distance. Under those situations where contrast is uncontrollable or it's not practical there is HDR-X. This is is truly revolutionary by the way it uses a simple concept in multiple exposures, and finds a way to mix everything together and approximate motion blur between the two streams to make a really organic feeling image.

Image Feel - This one will always be debatable but the images that you can get from the Epic camera have certainly excited a lot of people. According to John Schwartzman, Director of photography of The Amazing Spiderman "This is the best footage I have ever seen from any camera. Ever." The holy grail of film is how it deals with skin tones and many people believe that the Epic has finally found a way to give us the type of face reproductions that we've always been looking for in a digital camera.

RAW Flexibility in post - With the introduction of REDCODE nearly a decade ago the world was introduced to an amazingly robust 'raw' format that made extensive coloring and manipulation in post with very small file sizes a true reality. The latest versions of Redcode only improve on this and make the footage that more malleable and amazing.

Sensitivity - The RED One MX sensor helped to finally push the boundaries of what you could record with very low light on a cinema camera. Although 35mm film has continued to advance over its lifespan it has basically hit its limits with respect to sensitivity. This is far from true with digital sensors. The Epic gives its users the ability to take a fast lens set and finally shoot in actual candlelight. A thing that was once nearly unreachable and the thing of legend on films such as Barry Lyndon is now quite attainable and at very low noise levels. In fact the Epic can be reliably shot at ISO's of 2000 or higher with a very low grain image which opens up brand-new creative possibilities.

Resources:

EPIC Camera Rental

Video Production Contacts

Sacramento Video Production]]> http://reelcarpet.com/blaremedia/blog/what-s-cool-about-the-epic-camera/ Fri, 06 Apr 2012 17:04:24 +0000 BLARE Media http://reelcarpet.com/blaremedia/blog/50-for-50-contest/
BLARE Media recently developed new free software for film professionals. However, in today’s market the old saying “Build a better ...]]>
BLARE Media recently developed new free software for film professionals. However, in today’s market the old saying “Build a better mousetrap, and the world will beat a path to your door” unfortunately no longer applies for most products. This is why we created a contest to entice actors & crew such as yourselves to give our new software a test drive.

Contest:

We are giving away $50 to the first person with 50 contacts on contactsquid.com

ContactSquid.com Main Features:

1. Customer Relationship Manager (CRM) – How do you currently keep track of all your customers and vendor resources? We made it easy for your sales force to manage their leads and set reminders to follow up with them. If you don’t already have an online CRM this is definitely a step in the right direction to get you and your team more organized.

2. Referral System – Do you like receiving referrals from other businesses? We sure do and that is why we created this system that encourages members to send each other referrals in exchange for liking their page (Social exposure).

3. Internet Marketing – Sometimes it is easier to show rather than explain the technical jargon. To see a good example of the internet marketing portion please type in “Video Production Contacts” on Google and my profile shows up #1 in the organic search results.

Also, we display the top 25 contacts on our home page!

For more information on this contest or contactsquid.com please email us at info(at)contactsquid.com]]> http://reelcarpet.com/blaremedia/blog/50-for-50-contest/ Wed, 28 Mar 2012 17:28:49 +0000 BLARE Media http://reelcarpet.com/BeyondPixStudios/blog/beyond-pix-bayshore/ San Francisco Production Industry Icon, Bayshore Studio, Saved from Demolition
Beyond Pix Studios Acquires Studio on Eve of Destruction; Embarks on Res...]]> San Francisco Production Industry Icon, Bayshore Studio, Saved from Demolition
Beyond Pix Studios Acquires Studio on Eve of Destruction; Embarks on Restoration, Facelift and Upgrade of Historic Space
Studio Re-opens as @Bayshore this Week, on March 9

SAN FRANCISCO — March 7 — Bayshore Studio played a central role in San Francisco’s thriving production industry for 17 years , but was slated for demolition after closing its doors in late 2011. Beyond Pix Studios acquired the facility in January to preserve, restore and re-open the space as a resource for the San Francisco production community. The studio is the only acoustically-designed and full-service sound stage production facility in San Francisco, with more than 6500 square feet and a 50x50 foot stage with a cyc wall.

“It’s been a tough 5 years for our industry as a whole, but I see a rebound gaining momentum, especially in the Bayshore district. As a new groundswell of film and video companies have opened in that area during the last 6 months, it makes sense to preserve the Bayshore Studio space for local companies to leverage as the rebound continues,” said Ray Santiago, Beyond Pix Founder.
The studio will be re-opened as @Bayshore on March 9, at 2178 Palou Avenue in San Francisco, after a substantial restoration and upgrades.

New Look and Services @ Bayshore

In addition to a facelift, @Bayshore will operate differently than in the past. The new studio will support the local industry by making itself available in a wide array of configurations – from fully equipped and staffed to being rented as a dry stage. Clients will now be welcome to use @Bayshore as an open source and bring their own staff, equipment, roll up their own trucks, etc.
“The re-opening of the old Bayshore Studio is an enormous asset to our community, as it’s never good to lose such an important resource. Beyond Pix has a great reputation for being honest and fair, as well as giving back to the community, so we totally support their endeavor,” said Janet Coleman, owner of JCX, a company providing expendables to the San Francisco film and video communities for more than 20 years. “I know they’ll be a big success!”
@Bayshore is now open for business and can be seen by appointment. It is fully functional and operational, although renovations continue.

Community Celebration and Open House

A San Francisco Production Industry party is planned in conjunction with the re-opening of Bayshore Studio as @Bayshore. The company will be joined by several other film and video businesses in the SoMa area to host open houses on a day in mid April (date TBD) from 3pm to 8pm.



History of Bayshore Studio
Bayshore Studio operated as the only acoustically-designed, full-service sound stage in San Francisco for 17 years. It hosted local, national and international productions ranging from commercials and corporate videos to music videos and independent feature work.
The company fulfilled a need for a real sound stage in San Francisco and worked with musicians, corporations and politicians including Metallica, Charles Schwab and Senator Dianne Feinstein.
About Beyond Pix

Beyond Pix Studios is a leading video production company in San Francisco, California, specializing in video production, post-production, creative services, broadcast services, media training and interactive media. For an online tour, visit beyondpix.com. With a full-service location in the heart of the Media Gulch neighborhood for 20 years, Beyond Pix recently expanded by opening @ Bayshore, San Franisco’s largest shooting stage, in the Bayshore neighborhood of the SoMa district.

# # #

Media Contacts:
Jen Newmann • 415.434.1027 • jen@beyondpix.com
Tony Welch • 415.434.1027 • tony@beyondpix.com

http://www.prweb.com/releases/2012/3/prweb9266289.htm]]> http://reelcarpet.com/BeyondPixStudios/blog/beyond-pix-bayshore/ Wed, 14 Mar 2012 22:29:24 +0000 Beyond Pix Studios http://reelcarpet.com/blaremedia/blog/amateur-cinema-2012/ We are living during an unprecedented time of options in the world of amateur and professional filmmaking. Prices, availability, options, and capabili...
RED started in 2005 with a simple idea, to bring inexpensive, high quality cinema video cameras to the masses. With their second generation camera, the EPIC, they have by many critic's conclusions finally arrived at a camera that can actually rival 35mm film. With resolution exceeding that of S35, extended Dynamic Range provided by HDR-X and sensitivity that brings about shooting possibilities never reached by film, the EPIC has ushered in a whole new generation of filmmaking.

On the lower end, Canon with its 5DMkII camera and its full frame 35mm sensor has changed all the rules of what it takes to make a movie. In fact it has even been used on the Oscar nominated film 127 Hours. Despite their issues, these cameras have put the big guys in the industry on the hot-seat and made it very clear what they need to do to keep up in this democratized production environment.

SO… ON November 3rd 2011 there will be a huge announcement from both Canon and RED about their respective products. They may not be game-changers for major Hollywood studios but they will certainly have an impact on nearly every indie filmmaker on Earth. I know that sounds like hyperbole but the point is that if Scarlet or the new Canon camera is not the one you own it will still create waves in the rest of the industry and further push the price vs. performance envelope. It's a great time to be a filmmaker and it's a great time to be in video production.]]> http://reelcarpet.com/blaremedia/blog/amateur-cinema-2012/ Mon, 02 Jan 2012 23:37:00 +0000 BLARE Media http://reelcarpet.com/blaremedia/blog/hmi-lighting/
HMI's come in many different types but the main differences come down to a few simple things. Ballasts. Newer, more expensive ballasts are electronic. Older, cheaper ballasts are magnetic. Electronic ballasts are lighter, more energy efficient and can be flicker-free which makes a big difference when using different frame rates. Magnetic ballasts are bigger, heavier, use more power and can lead to big issues when not shooting at 1/48 or 1/60 shutter speeds. The choice is simple if you have the money but magnetic ballasts can work just fine in certain situations.

Lens/Globe - The basic two types are Fresnel and Par. Focusable Fresnel heads which provide less punch but an-all-in one unit that are adjustable to a finer degree are good in certain situations where a little less light is needed and you don't want to carry around lenses. Par heads are better for a wider degree of adjustment by swapping out lenses from an external case and an often times more powerful overall output. If I had to choose one head I would most definitely take a Par.

A unique aspect of HMI's that make them significantly better than tungsten sources in many situations is that they are naturally balanced to sunlight. This means that the light they emit is between 5000 and 6000 degrees Kelvin and will match direct sunlight. Adding full or 3/4 CTOrange gels to an HMI to match tungsten lighting at 3200 Kelvin will only take away 2/3 of a stop but adding full CTBlue gels to tungsten lighting will take away 2 stops from a source that is already far less powerful per watt. If you are adding supplemental daylight colored lighting then HMI's are definitely the way to go.

In the last 10-15 years technology has given us a couple more options to compete with HMI's but at this point they are still limited with their uses. LED's and Fluorescent lights such as KINO FLO's are amazing lighting tools but they do not have the same sort of 'punch' that HMI's do. Fluorescents are inherently softer but have less throw than HMI's while LED's of the spot variety can muster a decent amount of throw it will still take an expensive array of LED's to compete with even a 20 year old, used HMI.

If you've never used an HMI I urge you to go to a store that sells them, rent one from a rental house or check out one from a friend. They are amazing lights and despite their complexities they offer something no other instrument can.]]> http://reelcarpet.com/blaremedia/blog/hmi-lighting/ Fri, 09 Dec 2011 18:36:04 +0000 BLARE Media http://reelcarpet.com/blaremedia/blog/chinese-video-production-gear/
1. It's expensive. A...]]>
1. It's expensive. At least it was, but it's getting cheaper, but this is bringing other problems as well. I always say if you want to make something cost 3 times as much just write the word 'video' on the side. There are a few things that are helping lower the costs such as competition and foreign production (and I'm not talking about Germany). The specific question here is if being able to get more video production equipment for less is really a good investment if it means that it comes straight from China or a 3rd world country. Think about where the ideas came from for the design, the overall quality level and the chances of being able to replace it if something breaks. There are other considerations, but when it comes to those it is usually pretty obvious that buying Chinese made knockoffs is probably a bad idea. They are cheaper and competentish but also chinsier and rarely make you feel like a pro. Paid video production is often just about looking and conducting yourself like a pro.

2. It's confusing. 'Standards' often mean nothing in the world of film in film and video. Like rules, they are made to be broken. An issue with buying video production equipment from less than stellar companies is that the pieces don't always play nicely with the rest of your gear. Although companies like Red Rock aren't perfect they do offer something that is pretty valuable. They offer complete sets. If you find that the day after you bought a kit you need to modify it to do something a little different you will most likely have a lot of luck on the Red Rock or Zacuto site finding the exact right piece to make your setup work perfectly. It may not be cheap but it will be designed and built for exactly what you need it for. I was on set as a 1st AC once with an ASC DP when we were talking about my RED One camera and its pros (which he found few) and cons (which he found many). A lifelong Panavision user he knew that whatever tiny piece of gear or thing he thought he might possibly need at any point it was only a phone call away. Panavision had it all. It all worked together and it was as he called it "a complete system." RED has come a long way since then but Panavison certainly has a long pedigree of Cinema experience that is hard to beat. What RED has done with the EPIC program and all its modular parts is certainly similar to what Panavision has been doing for decades. In the end, it is nice to be able to talk to a company that knows what you are going through, what you are trying to do on set and advise you accordingly.

3. It's ever-changing. If there's one thing we know about video production it's that there are constantly new products, new improvements, new technology and of course that we want them all. Knowing that you have gear with decent resale value is important. Knowing that it is expandable, durable and made by a company that will most likely be around in a few years is also something you will feel good about long after the gear has paid for itself. One other thing to keep in mind is 'The Frankenstein Effect.' No one likes to show up on set with video equipment that looks like it was cobbled together from a bunch of yard sales and metal shops. Even if it works great it's not always the best for a professional appearance or the confidence that comes from using video production equipment that you really love.

When it's all said and done it's most likely a money issue. And the best way to sum up that question is with a simple maxim. Pay now or pay later. Few people would rather own a generic knock-off than a real Port-a-brace case. The same is definitely true for matte boxes, tripods, lights, Steadi/Glide cams etc… If you're a pro then it makes sense to buy pro gear and leave the knockoffs to hobbyists and amateurs.

Video Production Resources:

San Francisco Video Production

Los Angeles Video Production

Epic Camera Rental

Sacramento Video Production]]> http://reelcarpet.com/blaremedia/blog/chinese-video-production-gear/ Thu, 10 Nov 2011 18:16:53 +0000 BLARE Media http://reelcarpet.com/mikeketchel/blog/type-me/
Read this article - this is reality!!! Sam Christensen knows what he's doing. One top management company that I worked with ...]]>
Read this article - this is reality!!! Sam Christensen knows what he's doing. One top management company that I worked with (LeMond/Zetter)used Sam's approach to identify, develop and market our talent, which included a roster of established actors, and a few newcomers.

See link:
http://www.backstage.com/bso/news-and-features-features/type-me-1005039262.story

Sam's approach proves over and over again, one cannot fight type. It is knowing your arch-type that gives you the basis for building a career upon that reality. I was also amused at some of the negative comments actors left at the end of the article. Reminds me of a friend who is one of the top high school basketball coaches in the country, winning 90% of his games year in and year out. He chuckles at the fact that some coaches, usually those with losing or mediocre records, will challenge him at coaching clinics.

If knowledge is power, and the "truth will set you free," then this article should be viewed as both powerful and freeing.]]> http://reelcarpet.com/mikeketchel/blog/type-me/ Wed, 02 Nov 2011 08:46:48 +0000 Mike Ketchel http://reelcarpet.com/mikeketchel/blog/don-t-settle-for-the-short-money/
So what do I mean about "settling for the short money?" This deals with Indie film-makers, writers, and actors primarily, but could also include those involved in TV projects. If you battle in the trenches long enough, as a film or TV professional or talent, this will inevitably happen. You'll be faced with an option, to be involved with a total and complete piece of crap. But, as an aspiring director, writer, actor, DP, AD... a credit is a credit, is a credit. Right? Maybe not.

I had the great fortune of working with several of the top producers of stage and screen, as well as with three top talent management companies. The bar was set amazingly high for quality of the productions and/or talent these producers and managers would take on and develop, and their track records proved their vision and standards were irrefutable. For me, it was an extraordinary learning environment. I'll come back to this shortly.

Recently, while doing some online research on Indie film-making, I came across a "Making of..." video that was shot behind the scenes of a low budget schlock feature done a few years ago to universal critical panning, rightfully so. The director, filled with a lot of ego but little ability, allowed herself to be taped delivering a low class, mindless rant of expletives. I was sadly shocked that the director would think this was going to somehow help build her career. It might have been momentarily self-amusing; but, now it's out there for all to see, and it lacks class and good taste.

The truth is that the "class acts" of the motion picture and TV industry are exactly that - class acts. Had the picture gotten great reviews, maybe the newbie director could have gotten away with it. But when the reviews slam the director's ability and competence, combined with the trashy image she chose to put out there for the world to see (again, lots of ego - but not very bright), she's going to have a very hard time ever getting past that. And, maybe she doesn't care. Maybe she's going to carve out her career her way, on her own terms... Good luck with that.

There was a time, where I was nearing a crossroads, and wasn't feeling very good about the ol' career path. Yes, I was in Hollywood. Not only was I working in the business, but I was working with some of the best in the business. But I didn't feel that sense of idealistic optimism I'd started out with. So one night, I had been invited to a DGA screening of Sir Richard Attenborough's new film "Cry Freedom," and decided it would be good for me to go. A complimentary buffet sealed the deal. My girlfriend and I watched the film attentively and, of course, I studied everything about the production quality since Sir Richard had long been one of my film-making idols. After the end credits, as the crowd exited to the reception area, my girfriend and I found ourselves bringing up the rear, walking up the aisle with Sir Richard Attenborough himself ("Ghandi," "Shadowlands," "Chaplin," "A Chorus Line," "A Bridge Too Far,") and his good pal, director John Boorman, ("Deliverance," "Excalibur," "Hope and Glory,")also one of my favorites. There we were, the four of us, walking up the aisle, meeting one another for the first time, and talking about the film we'd just viewed, discussing its elements with its director. I must tell you, it was an intoxicating experience. And, as I left the DGA theatre that night, I left with a renewed feeling about what the film industry was all about. That, at its highest levels, the motion picture tells a story that, if done well, can actually impact the world for the better, and to leave us better for the experience.

Not every film will be a "Ghandi." There's isn't a need for every film to mimic that impact - it would be impossible. But there should be in every film-maker of any merit, a commitment to excellence. Excellence is a challenge, especially on highly limited budgets. But a film requires so much labor, so much creative collaboration, so much passion, why not require excellence in the effort?

Steven Spielberg once said "If it isn't on the page, it won't be on the screen." And so, it begins with a story. There are two ways to write; and, sadly, most will take the easy path. The easy path is to write about what one thinks the market is buying. The success of "Silence of the Lambs" created a deluge of serial killer stories that hasn't stopped since, and has even spawned a few successful TV series. But, for every serial killer story that has made it into development, thousands have hit the circular file, unoriginal and completely derivative, and some just done in sickeningly bad taste. Same thing for cop buddy stories. Sexy, low budget suspense thrillers have been assumed to be readily salable commodities in the world market, and bad ones are made every year with the aim of a quick buck and nothing more. But when the Cohen brothers produced "Blood Simple," with a low budget, its uniqueness set it apart immediately. Other films by the Cohen brothers, "Fargo," "O Brother, Where Art Thou?," "Raising Arizona," "The Big Lebowski," "No Country for Old Men, and the remake of "True Grit," all reflect very unique and clearly engaging characters and original storylines. So while the low budget Zombie movie, (The "Night of the Living Dead" film series made George Romero a hero among low budget indies), or a cheap vampire flick can still draw, and a suspense thriller with sex scenes can still "sell," (somewhere), quality standards should not be compromised, beginning with the written script. And, creatively speaking, one should apply the same critical standards that any quality film-maker would, if they want their career to gain traction in the motion picture industry. "Henry, Portrait of a Serial Killer" was one of the most frightening films of that genre, made for about $100,000, and helped launch Michael Rooker's successful acting career. A lot of that film's success not only had to do with it's story and direction, but also had a lot to do with a young DP by the name of Charlie Lieberman, from Chicago, who then made a name for himself quickly in Hollywood. Quality gets noticed.

And for actors, the same standard should apply. There's a big difference between a (then) new actress (Alexandra Paul) tastefully disrobing in the John Badham cycling classic "American Flyer," and a new actress playing a sex scene in a bad movie. In "American Flyer," the story was well directed, the dialogue engaging, and all the the acting performances were on par with what one would expect of a studio release. The "short money" is that fast cash offer to take a part, any part, in any flick, at any price (or free), because you're going to get something usable for your reel. Really? I watched one excruciating reel where what the actress did most was scream. When she wasn't screaming, she was acting about as badly as anyone could act. Helpful? That reel was more like the "kiss of death."

Look. There was once a producer who asked for my help to rescue some disjointed footage that was shot by an avant-garde director who'd had a nervous breakdown of sorts. (This begs the question: If an avant-garde director has a nervous breakdown during filming, how would you know?) I should have seen the "trouble ahead" signs. This was a wild ride. The challenge would be to fashion a film script from the crap this guy had shot (badly) and there was even stock footage of Andy Warhol spliced in, so the producer said they had an Andy Warhol double for the completion filming, since Warhol had died a few years before... and she wanted a dance movie, since there were club scenes... and oh boy, it was bad, bad, bad. The worst part, no one on the creative side was even getting paid. But we were all young and hungry and just wanted to do it for the challenge. It was awful and it had to be. No one's career advanced in any way from that association.

It was starting a project completely backwards and then attempting to apply Einsteins theory of relativity to the outcome, forgetting a preceding law of the universe: "If you start with crap, you'll get crap." Now that producer once produced a movie shooting in a hotel room over the course of one weekend, using Fuji short-ends, and did it all for $5,000. True. And the movie won an award. But, there was a good script, good performances, and a good crew. THAT ONE should been a very solid success story to build on; however, that producer was infected by a terminal case of schlock-itis. That one small critical success was a fluke. Every other film that producer made was low budget crap.

And this brings me full circle back to the guys I worked for, in my Hollywood days. In talent management, we had the responsibility to make sure the roles our talent would agree to do actually fit the long term goals we'd set, and this goes into defining one's arch-type and presenting the talent's image as one that always reflects that arch-type. We'd say no to any roles that would adversely affect the best long term direction for the talent. That is very different from the role of an agent, who's job it is to book you, and represent you in negotiations for those bookings. If you have an agent who acts like a manager, give them a hug on your next visit to the office. They're rare. Now if you are not at a level where you would have management or representation like that, you have to protect yourself. You have to gain an understanding of where you want to go, and try to land those roles that will reflect that direction. Attempt to connect with student and aspiring film-makers who are doing edgy, provocative projects. Select, when you have a choice, those roles where your arch-type is reflected and your image enhanced.

Writers, start with a unique voice, and resist falling into stereotypical characters and storylines, and writing what you think will sell. Instead, write from your gut level on that which your are passionate about, and, what you know about. It all comes down to great story telling. Fill your story with dynamic conflict and compelling characters. Take time to fully develop your scripts and be open to collaborate with your director and producer. And above all, know that if you have developed your story well, it has value and merit. I once wrote a good script that had made the rounds but had not sold. Then, one day, I received a call from someone offering me $5,000 for the script. They saw potential for a low budget film, but they wanted to do their own rewrites. I wouldn't even get a credit. I'd get the five grand, nothing more. Short money. Pass. Protect your vision.

Directors, make your film unique. Avoid the stale and predictable. Study the innovators. And, demand quality no matter what the budget is. You will get there.

On producing, be ready to go "all in" to see the project through. Years ago a colleague came to me asking for my advice. He was producing a Clint Eastwood film, a project that he had developed and had sold to Warner Brothers and Malpaso (Eastwood's company)and Warner Brothers wanted to buy him off the film for $20,000. Some rookie producers might think great! Take the money and run. I advised him to hang in there, deal with the studio politics, but keep that producer credit. In the end, he not only made more than that offer, he got his first "Producer" credit, on an A-List movie, and earned some respect in the industry. Settling for the short money would have only been a fleeting pay-day, nothing more.

So in the end, settling for the short money in the film business isn't a ticket to success. And short-selling quality and good taste for a fast buck relegates one to being a bottom feeder. There is a huge difference in the mindset and film-making perspectives of the principals involved with "Ghandi," "The Color Purple," "Au Revoir Les Enfants," "No Country for Old Men," and "Rainman" versus those who make films like "Night Shift Nurses," or "Six Sex Scenes and a Murder."

In the end, selling out for the short money won't do much to further respect in the industry, or to advance a career. Remember, if you start out with crap, what you'll get is crap. And that is true even if crap sells.

Hold yourself to a higher standard, and align yourself with those who will do likewise. You and your career in film and TV will be better for it.]]> http://reelcarpet.com/mikeketchel/blog/don-t-settle-for-the-short-money/ Tue, 01 Nov 2011 21:43:27 +0000 Mike Ketchel http://reelcarpet.com/blaremedia/blog/video-production-gear-for-dslr-shoots/ The majority of dSLR shooters require a light gear load as we usually do not have the luxury of a full crew to help carry our stuff. We also might mov...
Zoom H4N or TASCAM DR-100
These little devices are indispensable as video production field recorders, thanks to their low $300 price tags and stunning stereo sound quality. You can use the onboard mics, which do a great job on their own, or attach external microphones, each of which can be recorded onto its own separate track in 4-Channel recording mode on the H4N. The sound quality of these affordable devices adds a tremendous amount of production value to a low-budget dSLR shoot, as dSLR onboard mics sound pretty terrible. Even if you have a higher-end field recorder and mics for your main capture, the H4N can be used to capture ambient sounds to layer in during post or do quick ADR sessions while your actors are on set. Have an assistant take your actors to a quiet area and re-record all their lines while you continue shooting. These takes can then be used to replace any garbled lines recorded by your main unit. One note: the units lack Time Code generators, meaning all syncing has to be done visually using waveforms.

Monopod
Having a lightweight, collapsible monopod tucked into my gear bag has come in extremely handy when I least expected it on dSLR video productions. A decent monopod costs around 20 bucks and is way lighter than any tripod. In addition to allowing me to shoot smooth pans with my dSLR with a much smaller footprint than a tripod, I have also used my monopod as a boom pole which I attach my H4N to directly. For shoots in nature, I have used my monopod as a walking stick. A bonus is the security felt by having a six-foot pole with which to potentially beat off wild animals! In a festive mood? Instant limbo-stick! Seriously though, it’s a very versatile tool which can even be used as a stabilization device as I explain in this other ShutterDown article on Cheap or Free Stabilization/Steadicam Tricks.

18% Grey Card
Setting proper exposure is best done with a professional light meter. If you find yourself without one (they can be a bit pricey), then another solution for setting exposure quickly in the field is an 18% gray card. This is a card with a neutral color cast that contains 18% black (on a scale where 0% is pure white and 100% is pure black). You can use the card to set the exposure on your dSLR and avoid blowing out your whites. A secondary use of the card is to set your white balance. For most dSLRs it works just as well as a white card without having to carry something else in your gear kit. For even more accurate color correction in post, invest in a three-card set containing pure white, 18% gray and pure black. After you frame your shot and set exposure, shoot a few seconds of the cards and use this footage in post to adjust your white, grey and black levels in your color corrector using the eye-dropper tool. Need a free card? Wilsonart will send you FREE samples of their laminate which will come in handy in a pinch. I ordered a black, white and grey card from them in 3 x 5 sizes (choose “matte” finish for low reflectivity), and used a brass binder to hold them all together. The gray is quite close to a pro gray card, close enough to neutral to do the trick for most shooters on a budget.

Collapsible Reflector
When on a dSLR shoot, I like to travel as lightly as possible. For this reason, I prefer collapsible reflectors as opposed to carrying Styrofoam boards around. In addition to being inconvenient, large boards have a tendency to act like sails when not in use and fly around, potentially whacking your actors or your gear. The collapsible reflector I use shrinks to 12” when folded and put in its case, making it much less of a hazard and easy to carry around. It’s great to bounce a little fill on an actor’s face or to reduce harsh light by acting as a shade.

Extra Media Cards
Media cards, such as SD or P2 cards, can die at the worst possible moment. This unfortunate event happened to me once while setting up to shoot a live theater performance. I had tested the camera earlier and all was well. For some inexplicable reason, however, when I turned the camera on to start recording, my camera reported an SD card error. Thankfully, I had a spare, which I quickly formatted and used to record the show without further problems. What would I have done without this extra card? I shudder to think of the disappointing conversation with my clients that would have occurred had I not had that spare little card in my gear bag. p.s. While buying an extra media card, pick up at least one spare battery for your camera as well.]]> http://reelcarpet.com/blaremedia/blog/video-production-gear-for-dslr-shoots/ Wed, 12 Oct 2011 18:18:59 +0000 BLARE Media http://reelcarpet.com/1778185786/blog/welcome-to-my-blog/ i welcome to my blog
i am damodar Sawant ,from India ,We have a small animation production setup here in Bangalore India
We deal in hard...]]> i welcome to my blog
i am damodar Sawant ,from India ,We have a small animation production setup here in Bangalore India
We deal in hardcore animations for films TV series and Ad films
Please visit our site
www.3dguy.in]]> http://reelcarpet.com/1778185786/blog/welcome-to-my-blog/ Fri, 05 Aug 2011 11:08:02 +0000 Damodar Sawant http://reelcarpet.com/blaremedia/blog/cheap-or-free-dslr-stabilization-steadicam-tricks/
dSLR cameras allow just about anybody with a couple grand to capture high-definition footage with big...]]>
dSLR cameras allow just about anybody with a couple grand to capture high-definition footage with big-budget looks such as depth-of-field, motion blur and deep, rich colors. One thing which dSLR shooters still struggle with is getting steady handheld or dolly tracking shots without investing in a pro stabilization system or building a cumbersome PVC track on which to roll their rig. Due to budget and time constraints, most of us just want to shoot and go.

So what are the options for those of us unwilling or unable to shell out for even a more affordable low-end stabilization rig such as the Merlin Steadicam or the el-cheapo homemade ones on eBay? Just shoot everything cinema verité style and give everyone a headache? Well, fortunately, there are a few inexpensive or even free ways to get steady shots both during production and in post.

Poor Man’s Steadicam – Find the Sweet Gravity Spot

Handheld stabilization systems use a system of counterweights that balance out the mass of the camera and allow it to “float.” Contrary to popular belief, it’s not the gyroscope found on some models that smooths out the shot, it’s actually the weights. The gyro would be useless without them. The small mass of dSLRs allows for the same counterweight principle to be used with any lightweight tripod, without adding weights, when you are in a pinch.

Disclaimer: if you have a heavy lens, attached monitor, or anything else heavy on the camera body, this probably won’t work. You also need a relatively light tripod, or even better, a light monopod to make this work without getting fatigued quickly while holding the camera.

First, mount your dSLR onto your tripod/monopod as usual. Next, extend your index finger as if you are pointing at someone and lie the tripod/monopod on it, sliding the tripod up and down until it is perfectly balanced while lying on your index finger. (For safety, do this step over your bed or couch in case you drop your camera.) You may have to extend the tripod or monopod leg(s) for heavier cameras to achieve balance. Once you have it balanced, make note of the exact point where your finger touches the tripod/monopod. Put some gaff tape or something to mark it if you like.

Now, straighten out the tripod and camera as if you were about to start filming, holding at exactly the same spot where it was balanced when it was on your finger. For best results, try to hold it rather lightly with maybe your thumb and index and middle fingers, not your whole hand. You can now walk around while shooting, and even jump up and down, and your shots will be remarkably shake-free. It takes some practice to keep it level, but this method rocks once you get the hang of it.

Let Your Software Fix It

Way cheaper than most hardware stabilization systems are third-party plugins available for your video editor. You don’t even need these tools if you are adept at using things like Track Motion in After Effects, but for a quick and easy fix, nothing beats them. Popular ones include proDAD’s Mercalli and New Blue’s Stabilizer which run from $99 to $200 depending on configuration (standalone or plugin). Another option is the free Deshaker for Virtualdub.

To use, simply choose the plugin from your effects folder and drop it onto the clip you want to stabilize. Each program allows you to tweak settings and you will have to play with each clip to get a result you like. Stabilization in post-production will usually require a bit of zooming in order to eliminate a shaky black border that results from the process. This will degrade the image slightly by introducing a bit of blur, but the improvement in smoothness can be quite remarkable to behold and usually worth the slight loss in resolution.

Blare Media is a California-based video production company concentrating on the development of powerful and creative video production projects in Los Angeles, Fresno, San Francisco, Sacramento, Seattle as well as the rest of the USA.]]> http://reelcarpet.com/blaremedia/blog/cheap-or-free-dslr-stabilization-steadicam-tricks/ Wed, 27 Jul 2011 00:58:03 +0000 BLARE Media http://reelcarpet.com/blaremedia/blog/free-ad-on-our-website/ ...]]>


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