Saturday, March 25, 2017

3rd Reshoots

Karin Rosnizek and BJ Burbidge.
 We shot more than 15 pages today. We recorded just over an hour-and-a-half of footage. Today.
The new hotness is the ArtFactory in amazing Paterson, NJ. A hundred bucks a day/person on set. And like what, 100,000 square feet of stages?
Center is Pilar Gonzalez.
Ashlee Mundy with the repo agents.

Thursday, March 23, 2017

ADR in Premiere

There is some limited auto-align functionality in Premiere Pro. This is relevant to my interests as I have a bunch of ADR I have to do for the Oblivion movie we shot way too long ago.


I have three movies in post-production right now. I used to be able to finish movies so much faster. No more.
The back of the jumpsuit for the character "Boots."

Sunday, March 12, 2017

Closed Captions in Premiere

It turns out that creating Closed Captions is not that hard in Premiere. I mean, it's a pain because you have to make them, but it can totally be done.

That's a big ol' shoutout to Brian Schiavo for turning me onto that.

Monday, March 6, 2017

Filmic Blender

Log space in Blender. I guess it lets us do sunlight better.

https://sobotka.github.io/filmic-blender/


Wednesday, February 15, 2017

Pandora Machine Filmmaking Handbook s01e02 near and far boom


The second lesson on making movies the Pandora Machine way.

The Pandora Machine Movie Handbook

I may blog on "Making Movies the Pandora Machine Way".
Here are YouTube best practices. Basically "make it short."
Of course, you already know that. Not that. That.
That.

You like random notes about things on the Internet? Here's one:

One big decision implied by the new scenes is that the world Vicky describes to Barbara, as she's lying paralyzed, is real. There are drones, and Central Command, the resistance, the Terran Defense Force, the AI, and a new kind of android body. The new scenes all fit in the first half of the current edit, so that the pacing and flow of the second half through the ending are not affected.


Thursday, February 9, 2017

Pandora Machine Handbook -- Finish your movie!



Here's the first episode of The Pandora Machine Handbook -- Making Movies the Pandora Machine Way. It's on finishing, and why you should finish even if you're frustrated.

Thursday, January 26, 2017

10 Best Structured Movies of All Time

I'm not sure I really agree with this list. But it's a pretty good list. I think I would have put The Road Warrior in there.

Saturday, October 22, 2016

How Big is Your Drone?

A drone scale test by Ian Hubert with Sarah Schoofs and Tony Travostino.

Friday, October 21, 2016

Blue Gears

I kind of like this very blue environment for a fairly post-apocalyptic city. I'm thinking I want a semi-apocalypse for our next movie. More "Stalker" than "Mad Max". Like there's a working society in walled cities but there's still a dangerous wasteland. With tele-k's and alien technology.
CG Aircraft Flyby from Steve Burg on Vimeo.

Also, Filmcity makes an even less expensive geared head than the one several posts below. Their DSLR Geared Head is $590.  I believe that other than the weight-bearing differences, the main difference between the DSLR version and the bigger one is the lack of multiple speeds on the cranks. But I will say that having two pan cranks is pretty nice.

Thursday, October 20, 2016

Color film was built for white people. Here's what it did to dark skin.

Oh yes, the racism of film stock has been an open secret for years. Yet I think they missed the lede here. Primarily (as shown in the brief Amy Schumer snippet) it's light meters which are racist.



But that doesn't excuse Kodak at all, especially because of the iterative nature of what is labeled "normal" and, you know, white people.
The thing in the Vox video which talks about reds -- I think what they really mean is that the low-density resolution of reds were not so great in negative stocks. Or something like that. Maybe it's in release prints? Hmm... Yes, I'm going to guess that's what they mean. Because, as we all know, humans are all the same color, just with different amounts of saturation.

Wednesday, October 19, 2016

Carbon Copy Second Day of Second Reshoots Wrap

These directions for building your own Pip Boy are a little vague, but he does excellent work. The key is really the weathering isn't it?
I do feel my next movie needs a Pip-Boy of some kind.
Oh. We wrapped on Carbon Copy.
The beautifully feral Kate Britton going all Ghost in the Shell on us.

Saturday, October 8, 2016

A Pandora Semioticry

A new semiotic standard. Duplicates are unavoidable.
So I have 5 days to make five more 2' wide panels. And also do some routing on the device device.
Do you have any idea what I'm talking about? Of course not.
Now I will embark on a journey of discovery about turning bitmaps into vector graphics. Wish me luck.

Saturday, October 1, 2016

Reshoot 2/1

Julia Rae Maldonado looking quite noir today.
 This is the first day of the second round of reshoots on Carbon Copy.
I thought we would shoot most of everything on a 200mm lens. No no no. That lens was way too close. So I rout around in my bag (is that supposed to be "root"?) and I can't find the regular Panasonic lens. So...
Let me start again. I have a small collection of Canon S.S.C. lenses. They're really quite nice. And before I left for set this morning I was like "I should remember to bring those S.S.C. primes as well as the regular Panasonic lens because right now I just have this 200mm mounted on the camera."
Guess what I did not do? If you guessed "bring any lenses" then you are today's winner.
Joe Chapman, however, (unknown to me) has a phenomenal collection of very fast S.S.C. lenses. I had the FD to Micro 4/3rds adapter on the camera so it all went swimmingly. All of these images were taken with a 20mm... f2.8? Maybe?
Joe Chapman lends and literal and figurative helping hand.
 A family emergency left us down one actor for this MOS sequence. So we re-wrote it last night that it could be played sans that one actor.
Not the first time we've killed Willow Csulik.