The Canon C100 was a weapon of choice for a project I shot nearly a year ago in Guatemala (documenting poverty and the impact on children & families by charitable giving) and then recently in Peru where small form factor and a filmic image were desired. Also, shooting with a documentary format would require both location sound via a shotgun mic and interview sound from a couple lapel mics. For those who have done run-and-gun work with a DSLR, they know that it can be a struggle double-checking to be sure that the sound recorder is functioning properly and that the resulting separate audio and video files stay organized. Likewise, constantly changing locations can have a significant impact on the ability to set the correct aperture, shutter speed and ISO for accurate imaging on a DSLR in extended lighting ranges. While still of concern on the C100, the 4K imager provides the shooter with a broader range, allowing significantly more flexibility to record images that will be adjusted and color corrected in post. Here are some of my thoughts on the gear and how it performed.
It’s so funny how businesses can possess all the necessary elements to meet consumer needs, but they fail to look desirable to their markets. I became quite aware of this just recently while on a quick family trip out-of-town.
Some time ago, I read Mike Sessler’s article “Do a Good Job,” and I was reminded that it’s rare for most church tech guys to get what they feel they need in order to perform their jobs as well as they think they should. Mike’s bent is more on the fact that doing well will result in growth and an increase of tools – a biblical model that effective stewardship results in greater trust, reward, and added responsibility. Yet, the current scenario in the local ministry where I serve has found us milking as much as we can out of our gear, pushing for excellence, yet still seeing a reduction of output. Here are my thoughts on the matter…
Every year, thousands head to Los Angeles, CA with the hopes of becoming icons for the film industry. Those that are in the mix will you tell you it’s certainly not as easy as one would think. Overnight success is a rarity, and very few find the gleaming lights of public notoriety and stardom. If one wants to navigate properly through the maze of connections he or she can find help from those who have already found some success in the business.
Enter, Hollywood Connect. Hollywood Connect (HC) exists to “[equip] creative artists and professionals to thrive personally and professionally in the arts, media, and entertainment industries” (HC website). HC hosted a well-attended Q&A with Mr. Mark Atteberry recently, and in this gathering, Shun Lee Fong led discussion and then fielded several questions from the audience to get Mark’s responses. I took notes feverishly and thought to share the wisdom – with Mark’s approval, of course.
A few months ago, Sony followed three film students from the United Kingdom as they competed for the best edit of a trailer for the film, “Priest.” Of these, Mr.…
I was getting ready to work on a couple film productions at the start of the year, and a friend recommended that I try out Scenechronize, an online production management software. While not a seasoned veteran with it yet, I’ve got a few months under my belt, and I must say that the power that is offered is nothing short of amazing. There are differing levels of capabilities, too, from shorts for indies to full productions, and the pricing is relatively good for each level.
This past weekend I was fortunate to spend some time with a group of participants with the Jacksonville Film Festival’s workshop on “Editing the Feature Film,” presented by the well-seasoned husband and wife team of editors, Richard and Fran Clabaugh, of Crimson Wolf Productions. While I will not dispel all of the knowledge gleaned from the workshop, there is one particular outline that is near and dear to me as an editor. It’s a great compilation of ideas, and this list should prove as useful to any director as he approaches both his relationship with, and the shooting of footage for, the editor.