The Dance Project

Above: The Dance Project.

"A series of 60-second videos on the theme of dance created by 25 artists."

More about the project on UCTV and on IMDB.

The Scan Project

Above: The Scan Project.

"A series of 60-second videos directed by artists, each relating to the term "scan" in some way. A longer segment on Lieve Prins, an artist who creates works by "scanning" with a modified copy machine, is included."

More about the project at UCTV and on IMDB.

Know The Difference - Kickstarter!

Know the Difference Promo from Kirk Dilley on Vimeo.

"Pictures that move? Wow! That sounds expensive."

"It can be, but only if the Producers choose to pay for things such as cast, crew, food, lighting, costumes, makeup, transportation, and specialized motion picture equipment."

"If you take all of those things out of the equation, it actually becomes quite cheap."

Visit the Kickstarter page for Know The Difference and throw in a dollar or two towards those filmmaking luxuries ... like "cast" and "crew"...

Creative Approaches to Social Change

Maura Minsky, Scenarios USA from Dowser on Vimeo.

Dowser is a media organization that reports on "creative approaches to social change in order to help people understand how to build better communities and a better world." You can't go wrong with that.

Today is the soft launch of their new Web site, so I hope you'll visit them. I edited four short videos for them this year, and the movie above is the first posted online. More soon. Enjoy.

Scan

Scan from Ted Fisher on Vimeo.

"Scan" was made in 2003, and showed at Rooftop Films that year in the "Home Movies" program. In a way, it's a documentary.

HD from Still Cameras?

There's been a lot of interest in shooting video with still cameras in the last year. I don't mean stop-motion, but rather the HD capabilities that have shown up in a few of the newer DSLR cameras. It's certainly an interesting development, but there's a downside or two.

For one: crappy audio. None of the current DSLR cams allow quality sound recording, so if you are aiming to do something with reasonable quality you'll need to work "dual-system" -- meaning you need a separate sound recorder, and you have to somehow synchronize it with your video.

For two: there are some technical issues. Filmmaker magazine has a nice mini-article on the phenomenon, and it's the first time I've seen some of those technical concerns made clear.

Filmmakers disclose how they are shooting movies with still cameras.

“I was very afraid about the sensitivity of the camera to movement. I’d read a lot about how the rolling shutter in the Canon 5D can sometimes give a jelly effect. If you look at the focus push at the second mark, (26 seconds into the trailer at http://searchingforsonny.com) you’ll see what a lot of people are having problems with. We stayed away from handheld shots, more as a stylistic choice. We did a test before the shoot with handheld, some parts were a little too shaky. I think it’ll be a new camera technique to master. On the dolly, we used sandbags to weigh down the tripod. But even with a nice dolly with good track, we had to rehearse the shot over and over again. Every little bump could be seen on camera."

Tom Quinn had similar concerns. "These cameras are really meant to be operated on a tripod — the handheld has a few issues. For one, there is no optical image stabilizer for the video, so the small vibrations that a video camera would neutralize are present. Also the CMOS sensor creates a slight waver to the image on fast horizontal movement when shooting telephoto. For these two reasons we’ve been using a mix of monopods and tripods.”

It's Okay, We're from Television

This term I've been teaching a television production class. For our first 5-minute piece we've been working on a three-camera interview-style show.

So we have three people running cameras, one on lights, a sound mixer, a technical director (running the switcher), and a director. You know the routine: "Ready camera 1 ... take camera one. Ready camera 3...."

It's interesting, to me anyway, how the process is a sort of improvisational editing. When we cut something in post, we work to find the right moment to cut -- so that the conversation makes sense. Live, however, it's always a bit of a best guess....

It's great fun to watch. We did four run-throughs on Tuesday, getting better each time. Then finally recorded to tape -- and had a few errors. In Thursday's class we're doing another run-through or two -- then going to tape for the final version.

And Then There's Golf

While I've been posting the Frugal Traveler episodes here, I've been posting the "On Par" series over on my other blog, Actualities. It's a series about golf.

I wouldn't call it documentary in style. On the other hand, I've been learning a lot that applies to documentary production while working on it: it's a two camera shoot in natural light, done fairly quickly (have to get out of the way to the other golfers, after all) and with just a few takes possible. You have to establish a setting, a situation and a problem to solve, solve that (and lead into a lesson) and do it all in (usually) 2 minutes and 30 seconds.

In any case, there are about 16 episodes now (I've been involved in about 3/4 of those, approximately), so check out the playlist. They're made in a fun style, so you might like them even if you aren't a golfer.....

Other Side of the Camera

I'll never be a television personality, of course, but I did learn one thing in this week's taping: I can hit most of my lines in one take.

Except, of course, my name, which apparently I cannot say correctly.

Mobisodes

Shooting materials for a podcast-style video this week. I think sometimes it's easy to consider some types of work "serious" and some "for pay" -- but I find I learn from every project I do. Tomorrow, weather permitting, there will be some shooting out in the sun on a nice spring day. Should be fun.

The Rules on NYC Photography and Videography

We are nearing the end of the comment period on the "new rules" proposed by the Mayor's Office regarding permits for photography and videography in New York. What should you do?

1. Read: The Rules, especially this paragraph on activity that will require a permit:

"Filming, photography, production, television or radio remotes occurring on City property, as described in subdivision (a) of this section, if such activity involves the obstruction of one or more lanes of a street or walkway of a bridge, or if such activity results in less than eight feet or one half of the width of a sidewalk or other public pedestrian passageway, whichever is greater, for unobstructed sidewalk use by pedestrian traffic."

2. Mail or email: your written comments to Mayor's Office Film, Theatre & Broadcasting, Communications Department, 1697 Broadway, New York NY 10019, or message@film.nyc.gov -- and I strongly encourage physical mail over email if you wish to be effective.

3. Attend: the public hearing at 10:00 AM on December 13, 2007, at the offices of the Economic Development Corporation, 110 William Street, 4th floor (between Fulton and John Streets).

Cast Photo

Last Friday, I shot a little video aimed at YouTube.com. That's the cast, above.

The strange thing is, shooting that sort of piece is really all documentary production technique. I used a Canon GL1 with a little BeachTek adapter underneath it. A wireless body microphone and a clip on lavalier microphone were cabled into the BeachTek, one to the left channel and one to the right. Half was shot on a tripod, the rest following the actors around.

The thing is, fiction film is really documenting acting that happens in front of the camera, isn't it?