Tales from the Cellar

At last the teaser is finished and posted on YouTube. Sealed Fates: A Trilogy of Claustrophobic Terror is Timewarp’s latest feature. The film is currently in post production and should be in the can this summer.

Stay tuned for a post on the making of the trailer. I got to use a lot of fun tools on this one.

Today Mike, the head honcho of Horrorfind, approved our cut of the commercial. So, here it is:

Monday, Joe will pick up the DV tape and get a digital beta (I think that’s what it’s called)  made. He will then send  it to…wherever you send commercials, I guess. I know nothing about that end of the business. I’m just ecstatic that something I shot and edited will be on local and cable TV.

Stay tuned for an extended version later in February.

Saturday we shot a commercial for the March Horrorfind convention in College Park, MD. Since George Romero is one of the guests (along with cast members of the Dead movies) we wanted to do a zombie- themed commercial. One with some zip.

Joe, our director, came up with a great idea: a hip granny reminisces about Romero movies and then kicks some zombie ass. And there was a lot of ass to kick. We were expecting 10 extras at the most, but wound up with at least 25–plenty to pull off a Romero-esque horde. Of course, we only have 30 seconds to work with–it’s amazing how short that really is–so we couldn’t do all that we wanted.

Overall, the shoot went very well. The weather was cold but clear, and not too sunny; too much sun wreaks havoc with digital video. And the setting was awesome. We have to shoot there again.

To be honest, I was a little nervous going into the shoot. This was my first time behind the camera for Timewarp. That role was always reserved for Don Dohler, our mentor–and this was the first shoot since he passed away in 2006. I was fully aware of the large shoes I was filling. But just kept thinking about making him proud.

Many thanks to Joe for keeping the zombies under control, and for checking to see if I focused the lens , and thanks to Stewie and Zig, our faithful crew, for helping out. Zig actually reminded me about the ND (neutral density) filter on the XL1. It helps with overexposure so you don’t have to stop down too far. That was a big duh.

I mentioned earlier that 30 seconds is a very short time. Well, I did my first pass cutting the commercial, and it came in at 45 seconds, an eternity in editing. After a couple more passes, I’m down to 34 seconds. I’ve had to chop some lines, and make some shots shorter, and generally be creative. But it’s not over yet. I guess I need a chainsaw. Luckily, we plan to make an extended version so we can put the rest in. We filmed a ton of zombie footage. No way we waste that.

And, by the way, everything was in focus.

I’ll post the final version of the commercial when I’m done.

The DV Rebel’s Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap.

Author: Stu Maschwitz

Are you a DV Rebel? You might be if you know your way around a camera, NLE¹, Adobe After Effects, or any of the million CG programs out there. Or perhaps you’ve made, or were involved in making, a short film or low-budget feature. If so, you are a DV Rebel–and the DV Rebel’s Guide is just what you’ve been looking for to make your next project even better.

The Guide is for anyone with a passion for good filmmaking, and the drive to learn and improve the final product. As Maschwitz puts it:

“It’s for anyone whose cinematic ambitions extend beyond the self-imposed restrictions of standard indie fare. If the story about which you are passionate involves exotic locations, visual spectacle, weather, Kung Fu, or any other stuff that makes movies better than plays, then welcome to the book that won’t try to talk you off the ledge.”

Just because you don’t have a big budget doesn’t mean you can’t make the film you want. Maschwitz says he hopes some of what you read in the book will make you “throw down the book immediately and go try it out.” He was right. In fact, I constantly found myself thinking, Yes! That’s what I do, or Holy shit! I never thought of that.

Rather than limiting your film to one location, shying away from interesting shots, or avoiding special and visual effects like the plague, Maschwitz encourages you to trust yourself to make the film only you can make. And The Guide has the tools to help. Included in the arsenal he provides are: where to find affordable and convincing prop guns (and how to make them appear to be fired); how to effectively light your set with lights from your local hardware chain; and how to dolly, slide, and steady your camera for under $100. In return, he asks that you don’t skimp on three things: The camera (”for the Rebel, HD is an option; 24p is a must.”)², a professional NLE, and Adobe After Effects. Four things if you include Photoshop.

Indeed Maschwitz’s approach is “postproduction heavy,” but that doesn’t mean he advocates a fix-it-in-post style. In fact, it’s the opposite. Postproduction begins during pre-production. The key to his approach is production value, “that nebulous quality that makes a film feel big.” By using the resources at hand to their fullest, and acknowledging your limitations, you can make a film that appears you spent a lot more that you actually did. “[Y]ou won’t be making Terminator 2 — but if you stretch and strain and get really creative, maybe you can make The Terminator.”

Also notable is Maschwitz’s writing style. He addresses his audience as peers, in a friendly style that strives to motivate Rebels to make better films. He’s indeed one of us, a Rebel. Barnes and Nobel is filled with filmmaking books that either dig so deep into a subject that it scares away most potential readers, or are so general you have to be a complete newbie to get anything from them³. But the DV Rebel’s guide speaks directly to DV Rebels, and tells them exactly what they need to know about the craft. Sure, he could have written 300 more pages or separated the chapters into different volumes, completely dumping his brain onto paper, but that’s not what The Guide is about. It’s about getting out there to make films; not merely reading about it.

The book covers planning and storyboarding, shooting, effects, editing, and mastering–providing information essential to maximizing production value and keeping the recorded image as pristine as possible. Most of the chapter called Onlining⁴ digs deep into After Effects. The color correction section alone could make a newbie’s head explode, but as a DV Rebel, I was exhilarated. I felt the book was written at my level of experience, filling many holes in my knowledge, but not spoon-feeding me stuff I already knew.

The Guide also comes with a companion DVD. The video portion has a short film called The Last Birthday Card that Maschwitz wrote and directed. It’s a true Rebel project, and he uses clips as examples throughout the book. In addition to the film itself, there is a version with commentary, and an FX breakdown. The commentary is great. I do wish, however, that he included more in the FX breakdown. There were two major FX sequences in the film, a helicopter and a car crash, but the featurette only covers the helicopter shots.

Also included on the DVD are some Rebel tools for post-production. You’ll find some nifty After Effects scripts, including a palette that will make you crave a cigarette when you’re finished playing with it. OMG!

There are a couple of topics I wish he had expanded on further. Sound and lighting are, to me, the most neglected elements in low-budget films. Maschwitz does cover both of them, offering pointers, but I would have loved to see more detail on both. Of course, he admits he’s no sound expert and doesn’t want to come off sounding like one. I can accept that. And his pointers, dos and don’ts, are specific and direct in true Rebel fashion.

Lighting is covered in a little more detail, offering some great advice. But lighting is one aspect I feel needs more than just pointers; I feel the foundation should be laid out, even for Rebels. I’ve seen too many films where the lighting showed the DP’s lack of experience. And nothing takes me out of a movie faster than when something doesn’t look right.

But these are minor quibbles. I found The DV Rebel’s Guide extremely informative in nearly every aspect of filmmaking. More than that, Maschwitz’s love of the craft shines through on every page, which made me want to get out and make a great movie.

About the Author:

From the back cover: Stu Maschwitz is a commercial director and cofounder and CTO of The Orphanage, a San Francisco-based visual effects and film production company. Maschwitz spent five years as a visual effects artist at George Lucas’s Industrial Light & Magic (ILM) and went on to create the award-winning Magic Bullet software, used in his 1999 short film The Last Birthday Card. Made with the very first DV camera for a budget of around $5000, Birthday Card shocked viewers with its high production value and killer effects.

Maschwits also publishes a blog called ProLost, and hosts a forum as a companion for the DV Rebel’s Guide called The Rebel Cafe.

¹ NLE stands for Non-linear editor. The most popular professional NLEs are Adobe Premiere, Final Cut Pro, and Avid.

² The Canon HV20 is the first consumer-level camera (under $1000) that shoots 24p (with some tweaking when capturing). It doesn’t have all the bells and whistles of prosumer cameras, but it has become increasingly popular–and seriously pimped out. More about the HV20 in future posts.

³ There are a lot of other good books on filmmaking. But sometimes it gets frustrating to sift through the mediocrity to find a gem.

⁴ Onlining is a term I’d never heard until reading the book. Maschwitz defines it as: “…a noun and a verb that refers to the process of creating the final, high quality version of your film.”

Stu Maschwitz, author of DV Rebel’s Guide, turned me on to a free tool for creating storyboards, without sketching your brains out. It’s called Sketchup, an architectural tool offered by Google. There is a pro version that has a lot of bells and whistles, but the free version (along with a downloadable library of models) is perfectly capable of generating detailed panels, and can even offer a sketch-like style to the images if you wish.

Give it a try.

P.S. I plan to review DV Rebel’s Guide when I’m finished reading it. Stay tuned.

Now that I’ll be responsible for Timewarp’s cinematography, I decided to look into acquiring a Steadicam, a camera mount that allows the operator to move around while keeping the image stabilized. Of course, professional models can cost several thousand dollars, so I decided to look into making one. I was truly surprised how many Web sites provide plans and instructions.

I decided to start off simple and build Johnny Chung Lee’s $14 Steadycam (left). I had to alter the basic design to accommodate our larger camera (XL1S), and I added some padding to cover the galvanized steel, but it was easy to build and only took an hour or so.

When I tested it, I discovered two things: 1) it takes practice to make it work. Moving around with a counter-weight takes a little getting used to, plus you have to learn to work around the base as you walk. 2) A rig that relies completely on arm strength can get heavy–particularly with a prosumer-level camera. Ultimately, this rig can only be used for short periods, and I really want one without that kind of restriction. So I kept looking, and I found the ultimate site for home-built stabilizers. The name says it all: http://www.homebuiltstabilizers.com/index.htm

This site has more about the subject than you can possibly imagine. From info and tips on how to build your own rig, to forums to share your experience. There’s also a photo gallery that allows users to publish detailed photos of their creation. And these creations are amazing, and overwhelming. At this point, I can’t imagine building one. But the forum members are happy to offer advice and answer questions.

My first step will be to buy one of the books a forum member had published. It has detailed instructions on building a Steadicam that has a spring-loaded arm, a harness, and a mount for a monitor. This is serious stuff.

Here’s the link for the book: http://www.cafepress.com/stabilizer.31893959

In addition to Steadicams, the site has information on dollies and crane’s as well.

Photo provided by Robert Long II

A couple months ago, I started uploading videos to YouTube (you can find my videos here); basically, some of my old shorts and a couple of Timewarp’s trailers.

The first thing I noticed was that the format in which a video is uploaded can make a difference in how it looks and sounds on YouTube. My first attempts had muffled and distorted sound and a pixelated picture–yuck!

So, I did a little research, and here’s what I found:

First, YouTube makes the requirements for the best quality clear in the help center. They are: