Tales from the Cellar

From John at videokitchen.tv:

We are proud to announce that videokitchen.tv has signed
with Troma Entertainment, Inc. to distribute Blood, Boobs & Beast on DVD.
The DVD is currently available for pre-order on Amazon.com and will be
officially released on February 24, 2009. The DVD will come as a 2-disc Double
Feature and will include Dohler’s 1983 masterpiece Nightbeast! Additionally,
the set will include special features for both films including audio
commentaries with the filmmakers, hilarious deleted scenes, trailers and tons
of tromatic extras!

The latest Lightwave newsletter mentions a plugin that allows the import of Blender fluids. Blender’s simulator is very cool, and Blender is completely free, of course. Once in Lightwave, you can texture using Lightwave’s awesome surfacing system and render engine. I haven’t tried it yet, but it looks great.

You can find the plugin and tutorial here.

Shooting on location with the GL1

Since today’s shoot was canceled due to hurricane Hanna sweeping through our area, it’s a good time to post a bit about how we’re shooting our latest feature.

There were several choices to make before the cameras rolled on the first day. Should we shoot in 24p or 30p? SD or HD? and what camera should we use? We already had 2 cameras available: the Canon XL1s and the Canon GL1. The XL1s is a solid choice, with manual control over every setting, but it shoots in SD and in 60i or 30p only. The GL1 is pretty much the same, but not nearly as versatile. I had also purchased the Canon HV20 last year. It shoots in HD, has a Cinema mode that can be converted to 24p in post, and a beautiful picture. But it doesn’t have the manual control of the XL1s. Ultimately, I chose control over format and went with the XL1s.

Then there was one other decision: should I use Canon’s Frame mode (30p) or shoot 60i and convert to 24p in post? I grabbed the trial of DV Filmmaker, a program that converts 60i to 24p, and did a few tests with both formats, using the same subjects¹. While the 30p footage approximated the film look, the 24p conversion had softer light and appeared more film-like. So, I purchased DV Filmmaker and decided to shoot in 60i.

So, the first day of shooting came and after the 4th or 5th take of the second shot, we get the infamous “Remove Cassette” on the XL1s. Anyone who uses that camera will probably know what I’m talking about. The problem is, it wouldn’t clear no matter what we did. The drive assembly was dead. Ugh! Luckily, we brought the GL1 as a backup.

But we soon discovered that had flaws of its own.

A few takes into the next shot, we discovered 2 bad pixels on the CCD chip–not on the LCD, but the CCD, so it recorded the bad pixels. Okay, it’s an easy fix in After Effects, a minor inconvenience we decided to live with.

Fast forward to the second week of shooting, or, rather, the capture session after shooting the second week. I noticed a few sound drop-offs and, worse, digital breakup on the tape. Luckily, we generally run a lot of takes of each shot, so the glitches were easily avoided in the editing room.

Until week three.

The glitches were getting worse. I was now looking at masking and cloning out glitches. The sound, fortunately, was mostly okay.

Then I discovered, or remembered, a solution. Adobe Premiere CS3 (my editor of choice) comes with a program called OnLocation (OL), which allows you to connect the camera to a PC and capture the signal directly–bypassing the tape. Well, shit, let’s try that.

Holy crap, OL was easy to set up! I had purchased a 500GB external capture drive and planned to use my laptop to run everything. The XL1s (yes, we went back to the better camera since we weren’t using tape anymore) plugged right in and was instantly found by OL. OL’s interface has a nice monitor for our director; it even shows the zebra lines. And, perhaps best of all, no capturing. Each take goes right to the capture drive, and can be labeled as needed.

We were rolling smoothly now. The only real–shall we say…inconvenience–is the camera’s wired connection to the computer while shooting, which makes camera moves somewhat limited. Add to that the signal loss when the cable length is too long², and you have to be really creative in how you shoot. But we use sticks more often than not, so we’re managing. We’ve even established a rhythm when moving the whole rig (camera, laptop, drive, etc.) from one shot to the next.

In the future, of course, I intend to purchase an HD (probably HDV) camera that can shoot in true 24p, so we get the best cinematic look possible for our budget.

Stay tuned for more behind the scenes stories and pictures.

¹I used my daughter’s Winnie the Pooh stuffed animals, the battery-operated ones that move and talk, and staged a scene as if they were talking to each other. Silly? Yes, but it worked for the test.

²I’ve seen several references that say a firewire cable can be 14′ without a signal loss, but I used a 10′ cable and noticed some degradation in the image. It works, but should be use sparingly. I use it for hand-held shots that require a lot of movement.

Thanks to my buddy Stewie, upgrading to 2.6 was a breeze. He suggested installing the automatic upgrade plugin, and it didn’t disappoint. The process couldn’t have been easier.  On the upgrade page, just click through each step, and after about 5 clicks (and two downloads–the site and database backups), you’re done. Wow!

Oh, and Stewie, Custom Smilies has been updated. The new version is here.

Don’t miss Horrorfind Weekend 10 Aug 15-17 at the UMUC Marriott Inn & Conference Center Adelphi, MD.

There are some cool, first-time guests: Michael Biehn (The Terminator, Aliens), Chris Sarandon (Princess Bride, Fright Night), and William Forsythe (Devil’s Rejects). Plus, many returning favorites like Tony Todd and, Tom Savini, and Ken Foree.

And stop by the Timewarp table and say hello!

trueSpace was one of the first 3D applications I tried, way back in 2000. It was version 4 back then, and while its interface was a little different and it didn’t have all of the state-of-the-art features, it was quite capable and got me through a few projects.

Now on version 7.6, trueSpace has quite a lot to offer, based on the features page. And to make that deal sweeter, it’s completely free! Seems Microsoft purchased Caligari, the creators of trueSpace. I guess they want to compete with other free 3D apps, particularly Google SketchUp. Gee, I wonder why?

There’s only a PC version, so Mac users are SOL in terms of trueSpace.

We’ve been chomping at the bit to film a new feature for over a year now. We’re finally getting our chance this summer. The cast is set, the locations (sort of) secured — any micro-budget company knows what I mean — and the shooting schedule is done (for the next couple of weeks, anyway).

Now, we start rolling.

This is the first time I’ll be behind the camera, other than for the Horrorfind commercial in March. So, I made a checklist for the set:

• Charged battery…check.
• Tape in, queued up…check.
• White balance set…check.
• XL1 set to interlaced mode…check (we’re converting to 24p, but that’s a whole, upcoming, post in itself).
• Subject framed…check.
• Lights set properly…check.

And, um, anything else?

Oh yeah,

• Focused? …check. Whew!

For months I’ve been trying to figure out why all of my state-of-the-art Adobe products — Premiere, After Effects, Encore, and Photoshop — have been, for lack of a better term, twitching. The screen would shake and redraw, menus would disappear, and only show when I moused over them. It was maddening! Sure, the programs would work, but productivity was at a crawl.

I tried everything I could think of: uninstalling old programs, cleaning the registry, updating video drivers (I was convinced it was a video thing), and I scoured the internet. Nothing.

Finally, after using every search combination I could think of, I found the answer on the Adobe Forums (duh). Here’s the link.

Quote from user tl_woods:

This is what I did to fix this.

Uninstall all microsoft intellimouse driver versions. Export your registry settings and then search in registry for intellimouse and delete all references.
I dont think this is necessary but thats what I did.

Reinstall with IntelliPoint 5.5…

http://www.download.com/IntelliPoint-5-5-64-bit-/3000-2110_4-10734878.html

Its as easy as that.

The problem solved, at last.

And here’s the 32-bit version of the driver:

 http://www.download.com/IntelliPoint-5-5-32-bit-/3000-2110_4-10734867.html?tag=lst-2&cdlPid=10734866

Photo provided by Robert Long II

We finished auditions for our next feature last weekend. We didn’t get as large a turnout as we expected, but the quality of those that did show up was surprisingly high. Usually, about 5-10% are really good, another 10% we can work with, and the rest should look for a new career, but this time we must have gotten at least 15% that were excellent, and another 20% that were workable. I’ll take that kind of quality over quantity any day.

After viewing the tape and mulling over the choices, we decided–with very little disagreement–on our cast of choice. It was comforting to see that most of the parts had solid backups in case the first choice didn’t work out.

This week we called the actors and made the offers. Nearly everyone accepted– excitedly. While we had to go for a couple of backups, we don’t feel like we settled in the least.

Now we’re gearing up for production, which should begin in July. There’s a lot left to do before then. Final script tweaking, prop gathering/crafting, scheduling, scouting a few more locations, purchasing equipment, and drafting all kinds of lists.

Whew, that’s a lot. And I wouldn’t miss it.

I’ve been following the Celtx software for some time. I currently use Final Draft for screenwriting, but I have a soft spot for free/open source projects.

Celtx has now released their version 1.0, which usually means it’s ready for prime time. I can’t say for certain that is true, but they have tweaked a lot of their features and added some new ones. I’m personally interested in the production tools: call sheets, prop lists, storyboard organization, etc.  I plan to try out the production features on our upcoming project. I’ll post my results.