4 DVX films in the Theaters Now!
- Thread starter Jan_Crittenden
- Start date
fomoDVXpal
Active member
Hi Mike,
I'd like to know your rules for producing good video. can't hurt to hear it...i hope!
cheers
Fo
I'd like to know your rules for producing good video. can't hurt to hear it...i hope!
cheers
Fo
on the Kung Fu Hustle DVD out today there is a full length trailer for November 
dregenthal
Veteran
Murderball was slated to screen just south of me last week (on Friday) along the Jersey Shore, one of only two in NJ (the other location had already passed). I was so looking forward to seeing it but, for some reason, it was pulled from the "Tilton 9" theater . . . I hope that it will get picked up down here somewhere -- still dying to see it.
Mike Parker
Active member
Mike Parker's "Get You Home Alive"
Baker's Dozen Rules for Shooting News
(c)1999 by Mike Parker
www.mp-tv.com
1. Understand what the story is about. Discuss it with the assignment desk and/or the reporter with whom you're working. Make sure everyone's on the same page. Or at least the same chapter. You'll shoot a 20-second voice-over differently than a 1:30 package. Right?
2. Make sure your camera is working and that you have enough tape and batteries. Don't forget batteries for your camera light and wireless mike. Take a spare bulb for your camera light.
3. When you get to the location, if it's a spot news story, look around to familiarize yourself with what's happening and what the other crews (if any) are shooting. Try to get a good overview and start planning what to shoot.
4. Don't forget to white balance or set the camera to preset if you're shooting outdoors on a sunny day. Make sure you use the right filter.
5. Get establishing shots. These allow the viewer to see the "big picture" and get a feel for the location.
6. Hold your static shots for at least 8-10 seconds. As the late Miami anchor Ann Bishop once told me, "it's a lot easier to cut 6 seconds out of 10 than it is to stretch 10 from 6."
7. If you do a pan, tilt or zoom, go FROM something TO something else. Don't just wave the camera around and piss off the editors. If you pan, tilt or zoom, shoot 8-10 seconds BEFORE the move, do the move and shoot 8-10 seconds AFTER the move. This gives editors flexibility and they will worship you.
8. Get LOTS of close-ups. Then get some more. You can never have too many close-ups. Shoot from different angles, low and high.
9. Get lots of FACES. Viewers want to see people. Show them!
10. Watch your horizon. Crooked shots look amateurish.
11. NEVER forget that you are trying to tell a story. Think about continuity and building sequences. Think about what's your best opening shot and best closing shot.
12. Be alert to what's happening around you. Don't get so wrapped up with what you're shooting that you miss an even better shot OR get run over by a truck.
13. Make the reporter look as good as you can in his or her standup. Watch the lighting and the background. You can do everything else right, but if they look bad, you'll never hear the end of it!
Baker's Dozen Rules for Shooting News
(c)1999 by Mike Parker
www.mp-tv.com
1. Understand what the story is about. Discuss it with the assignment desk and/or the reporter with whom you're working. Make sure everyone's on the same page. Or at least the same chapter. You'll shoot a 20-second voice-over differently than a 1:30 package. Right?
2. Make sure your camera is working and that you have enough tape and batteries. Don't forget batteries for your camera light and wireless mike. Take a spare bulb for your camera light.
3. When you get to the location, if it's a spot news story, look around to familiarize yourself with what's happening and what the other crews (if any) are shooting. Try to get a good overview and start planning what to shoot.
4. Don't forget to white balance or set the camera to preset if you're shooting outdoors on a sunny day. Make sure you use the right filter.
5. Get establishing shots. These allow the viewer to see the "big picture" and get a feel for the location.
6. Hold your static shots for at least 8-10 seconds. As the late Miami anchor Ann Bishop once told me, "it's a lot easier to cut 6 seconds out of 10 than it is to stretch 10 from 6."
7. If you do a pan, tilt or zoom, go FROM something TO something else. Don't just wave the camera around and piss off the editors. If you pan, tilt or zoom, shoot 8-10 seconds BEFORE the move, do the move and shoot 8-10 seconds AFTER the move. This gives editors flexibility and they will worship you.
8. Get LOTS of close-ups. Then get some more. You can never have too many close-ups. Shoot from different angles, low and high.
9. Get lots of FACES. Viewers want to see people. Show them!
10. Watch your horizon. Crooked shots look amateurish.
11. NEVER forget that you are trying to tell a story. Think about continuity and building sequences. Think about what's your best opening shot and best closing shot.
12. Be alert to what's happening around you. Don't get so wrapped up with what you're shooting that you miss an even better shot OR get run over by a truck.
13. Make the reporter look as good as you can in his or her standup. Watch the lighting and the background. You can do everything else right, but if they look bad, you'll never hear the end of it!
digitial dan
Carbonite Member
I think it's unfair to compare movies shot with the DVX100 with those originating on 35mm film.
They are two different beasts and the DVX-100 or 100a will never look exactly as good as 35mm or 70mm Imax film cameras. That being said, we should instead critique the cinematography, direction, plot, etc based on the movies merits and the fact that it was shot with a video camera. I saw both films and was very impressed with the efforts the filmmakers achieved.
I can't say enough how difficult it is to bring a idea to the big screen. There are so many unfinished films out there because they gave up or ran out of money or they couldn't get along with each other so everyone quit and walked away. To get a completed film is truly truly and major league accomplishment. It is even more of a miracle to get it distributed and shown on the big screen.
They are two different beasts and the DVX-100 or 100a will never look exactly as good as 35mm or 70mm Imax film cameras. That being said, we should instead critique the cinematography, direction, plot, etc based on the movies merits and the fact that it was shot with a video camera. I saw both films and was very impressed with the efforts the filmmakers achieved.
I can't say enough how difficult it is to bring a idea to the big screen. There are so many unfinished films out there because they gave up or ran out of money or they couldn't get along with each other so everyone quit and walked away. To get a completed film is truly truly and major league accomplishment. It is even more of a miracle to get it distributed and shown on the big screen.
magicdavek
Well-known member
Murderball was one of the movies just reviewed by Christianity Today (it's toward the bottom of the link). As a Christian publication you can imagine they weren't too keen on the profanity and sexual content which resulted in the R rating. However, aside from that, they gave it a positive review. Check it out.
http://www.christianitytoday.com/movies/filmforum/050825.html
http://www.christianitytoday.com/movies/filmforum/050825.html
the_Andyape
Active member
I'd imagine they were even less happy with 9 songs, then. LOL.
Haven't seen November, but the Cinemagic station on XM was interviewing the direcor, and he made mention of the fact that they're currently recording commentaries for the DVD, and that he (the director) will be doing two: one of them fairly generic, mostly "hey-you-remember-that-day-when..." stories; the second a HUGELY in-depth commentary in how, exactly, to make a feature movie for under 200 grand. In his words "every camera setting, lighting set-up, cheat chot, and so on will be talked about".
Pretty. Cool.
Haven't seen November, but the Cinemagic station on XM was interviewing the direcor, and he made mention of the fact that they're currently recording commentaries for the DVD, and that he (the director) will be doing two: one of them fairly generic, mostly "hey-you-remember-that-day-when..." stories; the second a HUGELY in-depth commentary in how, exactly, to make a feature movie for under 200 grand. In his words "every camera setting, lighting set-up, cheat chot, and so on will be talked about".
Pretty. Cool.
Rasquachemedia
Well-known member
wow, i didn't now november was made for under $200,000
300 hours for a doc is perfectly normal, especially one that is not scripted. Also, I am not sure it is at all fair to criticize the camera work in a documentary as there are often multiple cameras taken from various sources and shots are picked, not for cinematic flare, but for what is best for the story. I dont know how many gorgeous shots I left out of the doc I am wrapping.
On a more general note, most docs and low budget film use a mich-mash of cameras, not all are listed.
ash =o)
On a more general note, most docs and low budget film use a mich-mash of cameras, not all are listed.
ash =o)
ballyhoo42
Active member
Was the anamorphic lens used for Mad Hot Ballroom?
Was the anamorphic lens used for Mad Hot Ballroom?
I'm curious if the anamorphic lens was used for Mad Hot Ballroom and the other DVX films in theaters this summer. Also, do you know what software any of them used to edit? Vegas, FCP, etc?
Was the anamorphic lens used for Mad Hot Ballroom?
I'm curious if the anamorphic lens was used for Mad Hot Ballroom and the other DVX films in theaters this summer. Also, do you know what software any of them used to edit? Vegas, FCP, etc?
Barry_Green
Moderator
I know the anamorphic wasn't used on "November". Don't know whether the others did or not, but I'm pretty sure that the docs didn't use it.
"November" was edited on a high-bucks Avid system. Don't know about the others.
"November" was edited on a high-bucks Avid system. Don't know about the others.
Daniel_Runyon
Well-known member
There's a movie making the fest circuit rounds that's just about gauranteed to get distribution, as John Pierson has taken in under his wing.
http://www.cavitemovie.com/
I saw the first 15 minutes of it some time ago when one of the filmmakers posted about it in the screengrabs section. It looks profoundly amazing and inventive. I'm hoping to make the trek to Birmingham for the Sidewalk fest screening. Their websites a wee bit funky, but its worth reading the Directos/Producers notes on their site, and then check out some of the linked articles regarding Piersons involvement in the News section.
http://www.cavitemovie.com/
I saw the first 15 minutes of it some time ago when one of the filmmakers posted about it in the screengrabs section. It looks profoundly amazing and inventive. I'm hoping to make the trek to Birmingham for the Sidewalk fest screening. Their websites a wee bit funky, but its worth reading the Directos/Producers notes on their site, and then check out some of the linked articles regarding Piersons involvement in the News section.
Trent_Lucid
Well-known member
I was only able to see a small part of November, but what I saw was interesting... and it has me wanting to see the whole thing now...
Barry_Green
Moderator
A few of us gave our impressions in the "November in Las Vegas" thread...
Mike Parker
Active member
I'm sorry --- and I don't mean to belabor this point --- but I have worked on dozens of docs thoughout my 35 years in TV, and none of them even approached a 200:1 shooting ratio. If you have information to the contrary, please feel free to list any docs you're familiar with that have appreared on national TV that burned up this much film or tape.
As far as the quality of the shooting, parts of "Murderball" were so bad as to interfere with the story line. None of the stuff would have made air on Nat Geo, Nova or Discovery Channel, to name a few. It just looked very amateurish.
I also teach shooting and editing --- CNN hired me to help launch their CNN Turk network, and I trained 150+ shooters in New Delhi a few years back --- and most of my students could do better work after a week of classes. Really. Someone needed to step in and tell the "Murderball" folks that they needed to hire an experienced DP. It would have saved them a bunch of time and money in the end. And created a more professional product.
Mike
As far as the quality of the shooting, parts of "Murderball" were so bad as to interfere with the story line. None of the stuff would have made air on Nat Geo, Nova or Discovery Channel, to name a few. It just looked very amateurish.
I also teach shooting and editing --- CNN hired me to help launch their CNN Turk network, and I trained 150+ shooters in New Delhi a few years back --- and most of my students could do better work after a week of classes. Really. Someone needed to step in and tell the "Murderball" folks that they needed to hire an experienced DP. It would have saved them a bunch of time and money in the end. And created a more professional product.
Mike
Amahp
Active member
Mike Parker said:
Yeah, Blair Witch looked like crap! This crappy looking film ended up grossing 100 million at the box office. Jack Ass, Andy Milinokis show, Bam Margaran, news station, and a bunch of countless films don't look great but yet loved by millions. Who cares, it must be content. .....
Mike Parker
Active member
I'm not sure I'd use the word "content" and the TV show/movie "Jackass" in the same sentence. What has happened is the "MTVing" of American and these rest of the so-called civilized world. The film audience is increasingly young men and they've grown up, for lack of a better term, on the shaky, out of focus, jump-cutted music videos on MTV and similar networks. They have come to expect that in the TV shows and movies they watch. Reality show producers, ever eager to save a buck or two, send $500 a week just-out-of-college "field producers" with some kid who just got a DV camera for graduation and is willing to work for next to nothing to shoot segments for these cheezy cable series. The stuff looks like crap, but nobody cares. Why pay for a professional who actually knows the subtleties of lighting, composition and building sequences when nobody --- especially the audience --- gives a damn. That's why I got out of that end of the business and spend much of my time training TV news staffs how to shoot and edit good news and documentary video, and I get paid several thousand dollars a week to do it. In a nutshell, my job is to have my students unlearn what they've been exposed to over the years so they can tell a coherent visual story so they can earn a steady living in the news/doc biz and keep food on the table and a roof over their head.Amahp said:
Mike (spending 5 weeks in Athens, Greece training news photographers) Parker