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.

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

Welcome to talesfromthecellar.com.

The old domain will remain active for a while, and will resolve to the new one.  So it will mostly be invisible. But it’s a lot easier to say, “go to talesfromthecellar.com.” Don’t cha think?

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.

Blender, the open-source 3D application, has come a long way. According to a 2007 comparison of 3D applications published on the TDT 3D (The Dream Team) Web site, Blender performed well against Maya, Softimage XSI, Cinema 4d, and Lightwave. And considering each of the others costs at least $500, Blender should be especially appealing to a low-budget filmmaker.

As the comparison chart shows, Blender scored Good or Very Good in animation, rendering, particles, and dynamics. In fact, it outscored Cinema 4D in character animation, and Lightwave and XSI in UV tools. It was also listed as the only package with built-in compositing; though, XSI’s higher-end versions (the entry-level version was used for the comparison) do have compositing as well.

Blender does need work in some areas. It scored poorly in NURB and curves modeling, and low in 3D painting. Plus, it’s still doesn’t have an industry-standard interface. But the developers are constantly working on updates, and there is a tremendous 3rd party community adding plug-ins and scripts all the time.

Blender’s growth can mean a lot for those who need to use CG for their movies but can’t afford a $500+ price tag. Do you need matte paintings, pyrotechnics, space ships, dinosaurs? Try Blender. It’s free!

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:

Adobe recently announced the release of their upcoming Creative Suite 3 (CS3). I always keep an eye on Photoshop, After Effects, and Premiere Pro to see if the update will make my life easier. And it looks like Premiere Pro CS3 definitely will.

In addition to some nice perks like direct-to-disk recording, DVD / Blue Ray output, support for mobile devices, and the long-awaited time remapping, Premiere Pro CS3 will also include Encore, Adobe’s DVD authoring software.

To date I’ve been using DVD Lab, a capable, low-cost alternative that got me through my first professional project. But the makers of DVD Lab are the first to admit that if you’re doing professional authoring work, you should get a professional authoring program. So, now that I fit into that category, I’ve been looking a little harder at Encore.

Even before the announcement, choosing Encore over other professional authoring software was a no-brainer. It has a good reputation, and integrates extremely well with Premiere and After Effects, which I use. And now that it comes with Premiere Pro CS3, it’s just an upgrade away.

Thanks, Adobe.

Click here for more information on Adobe Premiere Pro CS3.

My buddy Stewie, from Incoherent Thoughts, mentioned ScribeFire in his latest post.

In a nutshell, ScribeFire is a Firefox extension that turns the bottom half of your browser into a blog editor. Once you set up a connection to your blog, you can pull this bad boy up and blog away, publishing directly to your blog — without logging in to your site.

The interface is simple, yet robust, and you can even work with images:

Powered by ScribeFire.

The future of digital art is about to take a quantum leap forward.

Pixolator has posted an announcement on the Zbrush central forum that on May 17th, Pixologic will release the latest version of ZBrush, their digital sculpting and painting tool. The announcement has a downloadable Quicktime that demonstrates ZB3’s capabilities.

If you create digital imagery of any form (stills, animated films, visual effects, etc.) and need detailed characters or other organic models, I recommend taking a look at it.

And take a peek at the Pixologic gallery to see some amazing art, all created with ZBrush.

Now that Dead Hunt is in the can, we need to make it available to had a pretty good track record with distribution–Don Dohler’s reputation plays no small role in that–but we’re hoping we have some choices, or at least one really good deal.

I asked Don if I could create the DVD screener that we send out (I’ve wanted to do that since I got my first DVD burner). He agreed, so I dove in. As I said, I already had a burner, but I didn’t like the picture quality of the OEM encoder (Nero), so I had to find a better encoder and an authoring tool. By the way, encoding as I use it here refers to converting the digital video of our movie, which is in Quicktime, to MPEG–the format needed for DVDs. After some online research, I found a solid and low-budget solution in DVD Lab and Tmpeg. Let the fun begin!

I wanted to have a really cool menu (see above–click on image to view the full-motion menu), sort of a collage of all the characters showing really cool expressions, and awesome music. I also wanted the movie to look crisp–at least as good as the edited master stored in Adobe Premiere (That’s where Tmpeg came in). And we all wanted the box art to look great, too. That job fell to Rob Long, who did a wonderful job. For the music, I picked my favorite segment from Justin Timpane’s score. It actually took only a couple of days to create that cool menu, with the cool music, and the crisp-looking picture. The rest of the month was spent trying to get the resulting DVD to play on Don’s DVD player–a first or second generation player. Oh, it played in my new player, all 15 attempts played fine in there; some even played fine in a slightly older player I have, but about 3/4 of the way through, Don’s player would choke and die.

So, it was back to the internet to find some answers. The makers of DVD Lab have a forum that provided a lot of help. And VideoHelp.com proved an invaluable resource, complete with some free helper tools. The deal, as I discovered, is that “burning” DVDs on a computer isn’t the same process used by mass distributors. They use glass masters, which are more precise. Not to worry, however, most newer DVD players easily play the DVD-R, +R, etc. formats; it’s just that older players may have trouble, and since we wanted to make sure potential distributors would be able to view our movie, it had to play on as many players as possible. That’s when media and hardware came into the mix.

If you look on VideoHelp, you’ll see a huge list of media reviews; that is, reviews of the various brands of blank DVD-Rs you can buy. Apparently, not all brands play well with old players, or with all burners. In fact, not all burners create media that plays well with all players. It feels like a crap shoot.

Ultimately, I discovered that my original burner (an internal Lite-on) was the culprit. When I burned the image to a newer external (also a Lite-on), it played fine in Don’s player. Problem solved.

The image above features the stars of Dead Hunt: Dennis Hill and Sara Cole, and the killer in the background.