Category: Filmmaking Page 4 of 5

Using HDSLR cameras for documentaries

On August 4, 2010

I decided to get into the world of DSLR-video earlier this year. I had already done some documentary work with a Sony HDV camera, the HDR-FX7, but found that I wanted more control over depth of field and look than the prosumer type camcorder gave. I read up on the Canon 5D and 7D, and saw some clips and examples of what people did with these cameras. I quickly came to appreciate Philip Bloom´s blog, as he really started pushing the envelope on what these cameras could achieve in HD-video. I enjoyed reading about his experiences at the Skywalker Rach, when Lucasfilm flew him over to California in the autumn of 2009, to demonstrate the scope and abilities of these cameras.

I picked up the 7D later that winter. I decided to go for the 7D rather than the 5D mainly because of the price tag. The 5D was out of both my employers and my own price range, but researching the 7D online, I found that it would be more than good enough for my requirements. I worked on a short documentary back then, and was eager to see if I could put the 7D to work right away.

I decided to not use the 7D for that project. The reason was, I didn´t quite have the time to get to know the camera and get comfortable with it, before shooting began. So I decided to use our Sony HDR-FX7 once again. Not an amazing camera, by any means. But I´m quite content with its HD performance, and by now I´m so familiar with the camera that working with it feels easy. Most of the shooting was interviews, and to get a loose and easy feel I shot a lot of the interviews handheld. I used a Røde Stereomic, which gave me a good soundtrack. Had the budget been larger, I would have mic’ed the interview better. But to stay on budget I had to do both sound and camera myself, and so I opted for the easiest solution.

Now that I´m more familiar with the 7D – would I have used it for interviews at this point? Well, yes and no. I would have preferred to have two cameras covering the interview. One HDV-cam doing master shots, and the 7D for closeups and cutaways. That being said, it´s definitely possible to use HDSLRs for interviews. You just have to be a little more prepared than usual. Here are some key points:

remember the 12 minute limit. Start and stop recording to start a new file on the CF-card

have enough CF-cards

backup batteries

be very conscious about choosing your lens, and lighting your subject. Don´t go overboard with a shallow depth of field just because you can. With an f-stop of at least 5.6 you´ll be safe.

You definitely need to record sound separately. The Canon DSLRs just aren´t good enough soundwise for professional use. I use a Røde videomic that I plug into my 7D, but that really isn´t enough for interviews.

Finally, invest in a LCD viewfinder if that´s within your budget. This really helps your focusing, as well as giving you the stability to go handheld once in a while. I use the moderately priced LCDVF, while most people seem to prefer the pricier Zacuto Z-Finder.

Functionality of the LCDVF

Ridley Scott on Life in a Day

By Pål Ødegård

On July 9, 2010

In Filmmaking

Film Style

By Christer

On June 30, 2010

In Filmmaking, To the movies

When scriptwriting will allow it I also write for a website called Planet Origo, where I review movies and try to contribute articles in the pop-science genre. So far I’ve focused on the concept of film style in a number of different ways, and all the articles can be found here.

Planet Origo is dedicated to science fiction and fantasy, and later in the year we’ll get started on a feature series about the “other” sci-fi milestones, meaning those you don’t always find on the Top 10 list.

I think you need to see this, sir

By Pål Ødegård

On May 23, 2010

In Filmmaking, To the movies, Writing

INT. EMBASSY BALLROOM – NIGHT

COLONEL O´REALLY stands by the bar – a scotch in one hand while the other rests on the thigh of a young blonde. Her shapely behind is planted on a barstool, and she giggles noisily at one of his jokes.

COLONEL O´REALLY

...so then I said to Oliver North, I said: “Ollie...”

A young officer, CORPORAL WIMP, approaches behind the Colonel´s back. His face is flustered and beads of sweat cover his brow. He clears his throat nervously.

The Colonel ignores the young officer, moving even closer to his blonde prey.

CORPORAL WIMP

Sir...

COLONEL O’REALLY

I’m busy here, son. Take a hike.

But the Corporal persists.

CORPORAL WIMP

Sir, I’m afraid it’s an emergency.

COLONEL O’REALLY

So spit it out, what is it?

CORPORAL WIMP

Well, sir...

COLONEL O’REALLY

(bellows)

Spit it out, Corporal!

CORPORAL WIMP

I think you need to see this, sir.

How many times have we seen scenes like this? Disaster movies are sure to have at least one “you need to see this” – some have close to a dozen. Is it just a harmless cliche? Or is it a sign of something worse: screenwriting advice mutated into dogma?

One of the first commandments of screenwriting goes “Show, Don’t Tell!” To be sure, that’s good, sound advice. Film is audiovisual storytelling, so your writing should be all about what can be seen and heard. But all advice must be combined with conscious thought. Otherwise you end up with insanely annoying characters that are incapable of telling each other anything. And all they can say is “I think you need to see this.”

Disaster movies are all about the spectacle. We don’t want to hear about the explosions. We need to see them. That doesn’t mean that every disaser movie has to be strictly formulaic in every scene. Sometimes a young officer can actually just tell the Colonel what’s up. It’s not always: Volcanoes = good, dialogue = bad.

An unthinking attitude to show, don’t tell, may lead to some problems:

Fragmentation. All scenes get steeped in spectacle, so the story ends up getting “loud”. May lead to your movie ending up as a string of explosive pearls.
Fear of dialogue.
Fear of monologue.
Characters behaving like cogwheels in a screenwriting machine.
Avoiding getting close to characters, and giving them depth.
Fear of ambiguity (what really happened?)

Keeping all this in mind, I still consider show, don’t tell, one of the best pieces of screenwriting advice you can get. You just have to remember that it’s not dogma to be followed blindly.

And that sometimes it’s really okay to tell, and don’t show.

After the Philip Bloom Masterclass

By Pål Ødegård

On May 22, 2010

In Filmmaking, Technology

This week I attended a masterclass with DSLR-video guru Philip Bloom in Oslo. Bloom has quickly become the go-to-guy when it comes to Canon’s excellent HD-DSLRs with 1080p video. The buzz is mainly over the 5DmkII and the 7D models – with the 5D already being used in big professional productions.

Bloom took a very concrete and practical approach to the subject. He took us through the DSLR workflow, and presented solutions to the various problems you could bump into – like rolling shutter and moire. The masterclass was held in an excellent movie theatre complete with a 4k projector, so Bloom spiced his lecture with several videoclips. We saw a couple of minutes of the much dicussed season finale of House, that was shot on three 5DmkII cameras, as well as a handful of Philips own short films, also available on his website.

How did these cameras perform on the big screen?

Amazingly well!

Undoubtedly the next generation of Canon HDSLRs will see further progress in video capabilities. In many ways we’re witnessing a video revolution here – and not surprisingly some grumpy naysayers are unhappy with the changes. How somebody can manage to be unhappy with small and relatively affordable cameras with excellent video capabilities, I really can’t explain. Of course the DSLRs aren’t perfect and still have issues with audio, codecs, bad HDMI-out, and so on. But it’s just plain stupid to focus on the small problems when the opportunities are so amazing.

Here’s an interview that NRKbeta did with Philip Bloom in Oslo this week:

NRKbeta interview and article on Philip Bloom (in Norwegian).