by Bob Martin | Sep 4, 2014 | Arts, Entertainment and Music, Blogroll, Directors, Film
JANUARY 11, 2013 10:56 AM
After last month’s “epic” post, I thought I’d go for something simpler. Certainly, a number of our readers received an HD video camera over the holidays. Now what to do with the darn thing?
This article is not for my professional shooters. It’s the basic technical advice I give my students on the first day of school. It’s what I share with my documentary directors who, for whatever reason, need to take the camera out when I’m not available. The purpose is provide you with enough information to feel empowered but not overwhelmed.
I tried to included some tips you may not see elsewhere. Grab your camera, read along and then shoot something.
1. Your camera is valuable but not precious – I’ve seen people hold a camera like it’s the Shroud of Turin. Yes, it cost a pretty penny. Yes, you should take exquisite care of it and keep it clean. But don’t let that stop you from really putting it to work. Test it. Shoot an event. Mess with the settings. Every camera’s manual is online. Google the camera model number, the words “manual pdf” and save the pdf to your phone. That way you always have the manual with you. If you go too far in changing the settings, you can always restore to factory/default settings.
2. Shoot everything in Manual. You could create nice images with your camera’s settings on auto. But, I want to encourage you to take chances and dictate to the camera, not the other way around. Playing safe will not create art.
– Set your focus to manual. Imagine you are shooting your best friend’s wedding. The image is gorgeous. She’s smiling. Dresses are billowing. Perfect until a dove flies across your frame. If the lens is on auto, the focus will shift to the dove until it flies out of frame and then take its time shifting back to the bride. It’s distracting. Setting the focus to manual and locking the focus on her face ensures a professional looking image. Some HD cameras have advanced ways of finding proper focus. One way is to zoom (press the “T” for “Telephoto” button until it stops) all of the way to the subject, set the focus and zoom out to your desired composition.
– Know how to set your zoom to manual – Look at the underside of your lens and see if there is a “Servo” switch. When enabled, you control your zoom by the “T” and “W” buttons. If disabled, you can manually control your zoom and move it much faster than the T & W buttons are capable.
– Set your iris / exposure to manual. It will most likely be controlled either by a dial on the side of the camera or by changing the F-Stop on your lens. Play with it until you find the image pleasing to your eye. If you’re used to shooting stills on an SLR or 35mm camera, you will have confidence in this area. You’ll want to control the exposure of your image when filming under shifting light situations: a subject walks outdoors, clouds move over the sun, a spotlight turns on during a dance performance. Often, if the iris is on auto, the camera will make the image as bright as possible. When you chose manual, you can slowly adjust the exposure to your liking.
3. Go easy on the Gain or high ISO. Gain is a mechanical way of brightening your image when there is not enough light in your frame. I find relying on the gain deteriorates your image and looks amateurish. Before “upping the gain” , see if you can use an on-board camera light, open a curtain, turn on lights or move the subject to a better lit environment.
In the case of SLRs and more advanced HD cameras, you can raise the ISO/ASA of the camera when faced with low light situations. The higher the ISO/ASA number, the more sensitive your camera’s image sensor is to light. However, if you raise the ISO too high, the image can also deteriorate (i.e. “image noise”). Test your camera and decide for yourself what is optimum. You can always google the words “maximum ISO”, your camera model number and find a lot of advice. I found a very helpful video comparing the Blackmagic Cinema Camera to the Canon 5D MKIII and how each handles high ISO.
If your image is too bright, you can either lower your ISO, employ the camera’s internal ND (neutral density) filter or attach an ND filter. An ND filter reduces the amount of light entering the camera without affecting color rendition. You can also use an ND filter to achieve shallow depth of field.
4. Practice white balancing. In simplest terms, to “white balance” means to teach your camera what white is. The rule is you want objects that are white to your eye to be rendered white in camera. This is a fun rule to break. At the very least, set your white balance to either the appropriate indoor (light bulb icon) or outdoor (sun icon) setting. If you are in a location with several light sources with competing color temperatures (for instance: daylight spilling in and overhead track lighting), either eliminate one or decide which will be the “normal” light. What I really want you to learn to do is a manual white balance. Hold a piece of white paper near your subject, under whatever light will be illuminating them, zoom in to the paper and press the white balance button on your camera. Here is a basic short tutorial on the process.
After you’ve accomplished that, put the white piece of paper under the “wrong” light source and see what happens. Play. Your image might skew blue, magenta, cyan. Have fun. Sometimes when shooting a documentary, I rely on ATW (Auto Tracking White). It continuously adjusts my white balance while I’m shooting and changing locations simultaneously. I manually set my white balance when shooting in one location. Otherwise, I might see a distracting shift in color rendition during a simple pan or tilt.
5. Don’t be intimidated by Picture Profiles. Depending upon your camera, you’ll be changing the “profile settings”, “picture profiles”, “scene files” or “picture styles”. They allow you to change the color saturation, how whites and blacks are rendered, image contrast and many other visual preferences. There’s a mantra I’ve taught my students: “I don’t know but I can figure it out”. Film geeks are extremely generous with their knowledge online. A simple search will lead you to many posts and forums where people share their preferred cameras settings. They also post camera tests of their settings on youtube and vimeo. Watching these is a great way to learn from another’s frustrations and decide which settings you’d like to try.
Some blogs to continue your research are Philip Bloom (no one is more generous with his knowledge), VIncent Laforet (very technical but helpful). Creative Planet and Cinematography.com.
6. Simple lighting tricks. When you are starting out, its enough to have a on board light, know how to use a reflector and how to set up Three Point Lighting. More importantly, you should be looking for creative ways to add light without spending much money. On a recent documentary, I was shooting in an office with no windows and without a light kit. I swiveled the overhead lights, bounced them into a reflector and onto our subject. The result looked great. On other occasions, I’ve used Christmas lights just outside of frame, car headlights and the refrigerator for a light effect.
7. Start off with one lens. If you own a camera with exchangeable lenses, it will be very tempting to stock up on every possible lens. Don’t. I suggest you save your money and see what you are capable of doing with the lens provided (possibly a 50mm or 18-55mm). As you continue to play with your camera, your shooting style will emerge. You’ll notice what types of videos you want to make. You’ll become aware of what performance you need from your lenses. Then you can make an informed decision about which lenses (or accessories) to purchase.
8. There are plenty of excellent video production books. Two books I recommend and have used as teaching tools are The Shut Up and Shoot Freelance Video Guide by Anthony Artis and The Digital FIlmmaking Handbook by Sonja Schenk and Ben Long. Books introduce you to the technical language and shooting “rules”, but ultimately, experience is the best teacher.
After mastering the above, you might find my previous posts on camera movement and creating an unique looking film on a limited budget useful.
You can see my work at MagicEyeFilm.com and chat film @CybelDP
by Cybel Martin | Sep 1, 2014 | Art, Film
Cybel Martin
CYBEL MARTIN for Shadow and Act first posted JUNE 8, 2012
It’s wonderful that Shadow and Act asked me to write a monthly column about my experiences as a Cinematographer.
For those who don’t know me, I primarily shoot features, commercials and documentaries. Beyond loving every second of being a DP, I also teach occasionally, paint, travel whenever possible, and analyze and devour films like they were my last meal.
Although my strength as a writer may not extend beyond my deep and profound 140 character tweets, I will do my best to share some DP knowledge and perspective.
As summer approaches, film production in New York is (thankfully) very active. I have had my share of inquiries of availability and requests for my reel. I noticed there are certain aspects that I need to have in place before fully committing and becoming excited about a project. I have had the joy of going through 4 agents and am presently without one. That means it’s even more important that I have predetermined criteria (in other words: a means to sift through the BS) before agreeing to a project.
Here are five aspects I look for in a director and a project before agreeing to the job. I’ve peppered this article with personal examples to help explain each point and to highlight some of the amazing people I collaborate with.
1. Respect & Compatibility – All artists (and I say this lovingly) are neurotic. From my first meeting with a potential director, I can tell if we can thrive off and enjoy each other’s compulsions. During pre-production and production, I spend an insane amount of time with my director. We travel together, eat together, chat on the phone, watch films, text each other like school girls. About two years ago, I was the DP on a film and became friends with the 1st AD, Marc Parees. Since that job, I had seen his work as a Director, appreciated his aesthetic and work ethic and hung out socially. When he asked me to be his DP for a job, I said “yes” immediately. It was only after saying yes that I learned it was shooting commercials for NYU Stern School of Business.
What does this mean from a director’s perspective? I’d suggest that you not be swayed exclusively by a DP’s equipment package or reel. Find a DP who you can still laugh with on the 18th hour of shooting, in the 6th week of production, stranded in a cherry picker in the middle of the desert.
2. Visual references – My director must have a clear idea of how the film should feel and look. It need not be finalized but they should have some tangible means of explaining their vision. If the script calls for “creepy”, the director might envision “Texas Chainsaw Massacre” while I think “Rosemary’s Baby”. Almost nothing excites me more than to be inundated with photographs, film clips, paintings that resemble the mood I am to capture. They help me get inside the director’s head. There’s one film on my reel that generates more work than any other. Many years ago, I shot the film, “Sonny’s Blues”, for director Greg Williams. At our first meeting, Greg handed me several tear sheets from a current Prada ad campaign photographed by Glen Luchford. He showed me precisely which colors he wanted, the quality of the shadows, the ideal Depth of Field and explained why that was needed for this narrative. Those photographs were very helpful in designing my film stock tests, choosing lights and lenses. A director’s clarity creates a space where I can soar and know that I am doing my job. It also facilitates communication with my crew and other department heads. When there is a lack of clarity, I notice I will fill it in with what other films have done in the same genre, what my personal aesthetic is or what is simplest.
Sometimes, I bring a copy of “The Photography Book” by Ian Jeffrey to my first meeting with a director. It’s a collection of 500 photos by 500 different photographers. It’s an easy way to begin a dialogue with a director who may not be fluent in visual arts
3. Producer attached – As much as I cherish the Director / DP relation, I believe the one between the Producer and Director is paramount. Not only do they believe in the director and their vision, they will do whatever in their power to make sure that vision is manifested. They are the family member who says, “don’t worry, I got a guy”.
A DPs work is straddled between two worlds. There is the one of fantasy; of daffodils, ponies and helicopter shots. This is the world I share with the director. The other one is of numbers, rates, compromises and deal memos. This is the world I share with my producer. I am equally comfortable in both. However, I, the DP, should never have to drag my director out of their vision and into the world of “shoulds, won’ts and meal penalties”. That dynamic exists until there is a producer attached and can erode a great Director / DP collaboration. Producers won’t take it personally if I discuss my rate or my crew needs. A director can. And if that director is a friend, they may not be much longer.
4. Why tell this story? – I can’t speak for other DPs but I need a reason beyond “it would be cool”. In some circles, I have been given the nickname “The Cerebral DP”. I ask a ton of questions during my initial meetings with a director. I want to know their philosophy on the subject. Is there a historical component? Does it reflect on modern times? Honestly, not every director is enamored with my never ending inquiry. Some directors want a DP who will do as asked and keep it moving. This is what I mean by compatibility and neurosis (see #1 above).
Perhaps this is why I love working on documentaries. Ask a documentary filmmaker “why” and it will be hard to silence them. I’m attracted to that passion on a subject. I am also very attracted to jobs whose “why” matches my personal interests. One of my greatest preoccupations is childhood behaviour development within urban areas. So, of course, I was very excited to work on Raquel Cepeda’s documentary “Deconstructing Latina”. The portions, that I have shot, focus on issues of race and identity for a group of New York City teens.
This inquiry into “why” influences what equipment I chose, my lighting plan and camera operating (especially with handheld). It’s also very beneficial for troubleshooting. If we lose a location or a lense, for example, I can offer suggestions that dovetail with the original “why”.
The same goes for advertising. I love shooting commercials because my client “geeks out” about the why. Not only are we to sell product, but it could be to rebrand the product, differentiate from competitors, entice more female or male consumers, educate the public about their community outreach, etc. That list goes on.
I once interviewed for a dramatic feature with a first time director. When I asked him “why this story” his response was that audiences might enjoy it. Hopefully yes, but that purpose is not enough to drive a film to completion.
A “trick” I stole from one of my favorite photography teachers at NYU was to ask “if you were to boil this entire story down to one word, what would it be?”. This past May, I was in Tanzania and Ethiopia on an incredible shoot for Coffee Talk Magazine. I was filming coffee farmers and the word, given to me, was “majestic”. I made sure to capture lots of low angles of Ethiopian farmers in charge of their crops, the energy of the Ethiopia Commodity Exchange and manicured farms of Tanzania.
5. Technical Flexibility – It’s enjoyable when a Director approaches with the project’s desired mood and trusts me to get us there technically. My directors don’t need to know anything technical, however most are familiar with the hottest cameras. DPs have a blast at events like NAB in Las Vegas and Cinegear in Los Angeles. We read trade magazines, forums and chat with friends in related fields for tips on equipment. My enthusiasm wanes if I am told which camera, grippage, lens package I have to use. It’s thrilling to figure it out and stay within budget. I make an exception for when the production already owns the camera or the client has specific requirements for work flow and distribution (for example: my producer on the Nat Geo shoot required an HD tape based camera).
So far, 2012 has been a really fulfilling year as a DP. In March, I shot a film “No Vagrancy” for Ernest Boyd. TheRed camera was mentioned during our first phone call. After reviewing Ernest’s reference material and our time constraints, I suggested the Alexa as the best camera for this film. We continued to pour over photographs and watch a lot of films. After those discussions, I changed my mind from Cooke S2 lenses to Super Baltars. Our producer extraordinaire, John Reefer, arranged so I could do a full camera and light test. Their flexibility and trust gave me the opportunity to really nail the look.
These are my main five. I am sure more will come to mind and will share those at a later date. I strongly encourage other DPs to add their own requirements in the comment section.
by Sandy | May 26, 2014 | Arts, Entertainment and Music, Blogroll, Directors, dvd, Film, Movies
2014 is the 25th year anniversary of Spike Lee’s terrific film, “Do The Right Thing”, 1989. The Academy of Motion Picture Arts and Sciences will celebrate the event with the writer-director and members of the cast at two special screenings in LA on June 27, at the Bing Theater, and in Brooklyn on June 29 at BAM.
Director Lee has made so many films since 1989, but, “Do” is his most celebrated film so far – it’s included on the American Film Institute list of the 100 best movies of all time. Shot in Brooklyn, NY in 9 weeks, the movie tells the story of a hot day in Bed’Stuy, when pent up anger and over boiling resentment combusts into violence in a matter of minutes.
The stellar cast includes Spike Lee, Danny Aiello, Ossie Davis, Ruby Dee, Giancarlo Esposito, Bill Nunn, John Turturro, Rosie Perez, Martin Lawrence (film debuts for both Rosie and Martin).
“Do the Right Thing” – 25 years (amazing how time flies )
by Bob Martin | Apr 4, 2014 | Art, Directors, Movies
Gillian Anderson “The Fall”
Women criminal investigators have become a staple for television series. In most cases, they are seen as having some unusual or rare ability, like Poppy Montgomery in Unforgettable or Emily Proctor in CSI: Miami. Gillian Anderson as Detective Superintendent Stella Gibson might be a bit upsetting for viewers in the US. She has no special talents other then her ability to think and being unapologetic about being a woman. Bravo.
“We don’t Judge”
People who do dreadful things are more complex then we could ever imagine and The Fall, a British Crime Drama about a serial killer is full of complexities. He is the kind that person, when found out, will shock his neighbors, family and have cable news reporters resort to the list of former FBI Profiler to recite their poorly conceived rhetoric about what goes on in the mind of a killer. This is being played out today (shooting at the Navel Facility in DC) and the truth is that dangerous psychopaths are never profiled until it’s to late.
Real crime investigators judge people and that is the reason why there are so many mistakes made. They are looking for what they know and not for what they can learn. In The Fall, there are a ton of opportunities to follow old and proven patterns, and the writers have very cleverly moved us off that track. The first five episodes have not brought us any closer to understanding Detective Gibson or our serial killer Paul Spector, played by Jamie Dornan. There is a new season underway for 2014 and I hope that the writers continue to avoid the “usual traps” and keep things fuzzy. It makes for a bigger mystery and maybe something we can learn about our own judgement.
by Bob Martin | Mar 3, 2014 | Actors, Education, Movies
Photo by Anne Marie Fox – © 2013 – Focus Features
Over the years, actors who’ve transformed their bodies, in a commitment to a role, have been awarded for the changes in physical appearance. In the Dallas Buyers Club, both Matthew McConaughey and Jared Leto look to have also sacrificed their personal well being and I wonder could the story have been told without the physical trauma? Leto and McConaughey are both brilliant, and this story was or could have been much bigger.
The story takes place in the late 1980’s.One of my favorite parts of the movie was when the Woodroof character has to use a microfiche reader to find out which drugs were effective in treating HIV around the world. This was all pre Google and WebMD and most everyone prayed that they had a knowledgeable doctor who had time to care and worry about their health, and that getting a second opinion might be seen as a sign of betrayal. Woodroof’s time (he was not the only person) was our awakening to our own responsibility for our health. Doctors know what they know and they know that they don’t know everything.
Ron Woodroof was a big deal and he was a part of a revolution whose impact can be seen today in the sometimes unreasonable debate on healthcare and it’s cost. More than 80% of all prescribed medicines are manufactured outside of the USA (China, India, etc.) and these same drugs can be purchased in other countries at a fraction of the cost we pay in the States.
I wish that the movie had the resources to tell more about the number of people who benefited from his uncompromising commitment to living. The Dallas Buyers Club is a good movie and I am glad that it finally got made. Congratulations to McConaughey and Leto.
