Episode 1: Know Your Camera

Episode 2: Challenges and Solutions

DSLR Training Video w/ Shane Hurlburt

Episode 2: Challenges and Solutions

Episode 3: Lenses






Episode 4: Cinematographer Starter Kit

VIEW MORE EPISODES HERE!

SHANE HURLBUT, ASC is an accomplished cinematographer who graduated from Emerson College with a Bachelor of Arts in Film. The American Society of Cinematographers recognized Hurlbut after his first feature film “The Rat Pack,” directed by Rob Cohen in 1998. Over the course of the next decade Hurlbut lensed seventeen additional features including “Terminator: Salvation,” and “We Are Marshall,” directed by McG, “Greatest Game Ever Played,” directed by Bill Paxton, and “Drumline,” directed by Charles Stone III. The highly anticipated “Act of Valor,” directed by Scott Waugh and Mike McCoy, details the covert operations of the US Navy SEALS. The film was shot primarily on the Canon 5D Mark II camera and will be the first HDSLR full-length feature released by a major studio later this year. Currently, Hurlbut is in Montreal shooting, “Deadfall,” directed by Stefan Ruzowitzky and starring Eric Bana, Olivia Wylde, Charlie Hunnam, Sissy Spacek and Kris Kristofferson.

Hurlbut balances shooting features with commercial work, using his diverse skill set to maximize short form campaigns. His credit list includes: Marines For Us All, Case IH, Game of Thrones, Visa, Coca-Cola, Verizon, American Express, US Navy, Discovery, Big Love, and Deadwood. Hurlbut has also worked with music legends The Rolling Stones, Nirvana, and Smashing Pumpkins. He is signed as commercial director with Bandito Brothers.

Although Hurlbut has always put technology second to story telling, it would be the consumer DSLR from Canon that would help define him as a true innovator. Hurlbut mastered this device by turning it into a cinema rig capable of producing digital film.

Visit Shane's blog: http://www.hurlbutvisuals.com/blog/

App to help with your floor plan!

See here: http://nofilmschool.com/2012/10/diagram-shotlist-and-pocket-block-with-the-shot-designer-app/

BEA/NAB Conference 2013

This year the conferences happen April 6-11 in Las Vegas.


Here's the link to NAB: http://www.nabshow.com/2013/

Use the code MP01 to register for a FREE Expo pass.


The academic conference that happens in conjunction with NAB is BEA.

Here's the link to BEA: http://beaweb.org


A great part of BEA is their FESTIVAL OF MEDIA ARTS. If you have a strong short film, you should enter it in the student competition. Fees are waived, I believe --- see me if you have something that you'd like to enter.

Job & Skills (Coiling Cables!)

There is a current job opening for Saturday's game posted on our TCF facebook group:

We are looking to fill utility/grip positions to assist the ESPN Operations team on Saturday Oct. 27th during the Alabama football game.

Tentative call time is 5 PM, and will be needed to stay through the end of strike after the game (tear down and load out of equipment).

These positions will be assisting the Handheld camera operators and cart driver on the sidelines during the game with coiling cables, we prefer to have students who know how to over/under cable properly.

Positions may also include helping with sound and lighting positions.

All positions are paid, $150/ 10 hours plus overtime.

Positions are first come, first serve.  If interested please contact me no later than Wednesday 12 PM EST.

Please send any interested applicants my contact information and I can go over show details with them.

EMAIL ME IF YOU ARE INTERESTED!

So... you've learned a little about gripping, but do you have the skills that can help pay your bills?

Are you a leftie?

Scene Assignment Example: Xavier Burgin's "And Goodbye"

From Xavier: As an filmmaker I can't stress enough how important it is to make a detailed binder that completely encompasses your entire film. One of the problems you get with people who are creative is the fact they come up with amazing ideas, but they can never make it a solid, tangible package.

They're too busy making one awesome idea rather than building an entire story. It's cool to have a gimmick or set up the story is based around, but without a good story you have nothing. When it comes to film, you really need to have everything planned out even to the most minute detail.

Many filmmakers rush a film without planning the logistics and fail. Here are two rules you can live by.

1. A scene will always take longer than what you predict

2. It's not if a mistake will happen. It's when.

This is why you want to be as organized as possible. So I want go over how I make a production package.

1. Actor's Info, Crew Info, Location Info, Prop Info, Contracts (Actor's Release, Location Release, etc...)

2. Script

3. Shot List

4. Storyboard

5. Floor Plan

6. Scheduling

7. Shooting Script

8. Visual References

9. Revised Pages

10. Equip List

11. Miscellaneous

This may seem overboard, but I'm going to explain each one and why you should do it.

First, get notebook dividers that have numbered division. You can also get colors, it doesn't matter. Just make sure to buy enough to throughly divide your work.

Before I begin on the first page.

 I have one lone page that has my logline, a short description of the film (two paragraphs usually), and then a story summary (around four to five paragraphs).

You need to be able to explain your film in one sentence or in a few paragraphs. In the story summary write out your first act, second act, third act, and conclusion. Do not skip over a part of your story you are unsure of. If you have not figured it out in your summary, you probably haven't fleshed it out in your script.

1. The first divider will be for all of the actor's info, crew info, contracts, location info, and props. As you are looking for actor's and locations write down who the person is or who owns the location. Write down all the props you'll need to buy for the film.

This will help you to keep everything you are doing at the beginning of pre-planning in check. Be sure to get Actor Release Forms and Location Release Forms to avoid legal trouble. You can find pre-made ones anywhere online.

2. This is a no brainer. You must have a script before shooting a film. Don't wing it. Don't say I have it all in my head. You don't!

You are going to waste someone's time if you don't put it on paper. When you write the script follow proper screenplay format.  Download screenwriting software, Celtx.

Have someone else read your story. You will always be bias to your work. You will always think it's good when it might be a polished turd.

3. Your shot list covers all of the shots you will need in your film. This ties in with your storyboard. You might end up doing them both at the same time or one before the other. It's based on you, but I recommend doing your shot list first.

 Go through your script and visualize every scene (how you place your characters, where do cuts happen, movement, etc...) and write out what it would look like.

Ex.

Scene 1A - Medium Close Up of Emma sighing and reaching for pen

Scene 1B - Close Up of hand reaching for pen

Scene 1C - WS of Emma picking pen up then standing up and walking out of room

Scene 2A - WS of Emma walking out of room and into hall

Shot List in Sequential Order

Shot List Based on Scenes we will shoot based on availability of actors and locations

(this is a Shooting Schedule, when you add times that each shot will be filmed!)

Those were a little more detailed than what you'll need, but it's your preference. Go through your entire script and figure out how many shots you'll need and list them by scene, then in order alphabetically.

4. Your storyboard is the visual representation of your film. It is (in my opinion) one of the most important parts of understanding your film's aesthetic.  You may say, 'Well I can't draw."

Tough luck, draw stick figures because you NEED to do this. If you're ashamed of your drawing skills sit down with someone who can help you visualize. This will be tedious and time consuming. Do it. You will thank me later.

5. So you've figured out your shots and have a decent storyboard. Cool, during this time you should be out scouting location.

Take a camera with you and photograph all angles of the location. If you don't have a camera handy (YOU SHOULD! Why don't you have your own camera! You love film don't you! Eat Ramen Noodles and save up those pennies!) take the photos with your phone.

Once you have the pictures it's time to make an outline of the location from a bird's eye view. Account for tables, chairs, extra rooms, etc...)

You'll notice that ovals with small triangles on them and V's on the paper. The ovals represent the actor's blocking and the small triangles represent his nose. This is so we know where the actor is facing and the direction of camera's shot.

6. I did not put anything into the binder for scheduling since I constantly updated scheduling through email and Google Docs. Once you have locations and actors you're going to need to figure out when they are available. You also need to know (based on your script) what time of the day you want certain scenes to be shot.

You will then need to  coordinate with your actors and crew for Crew Call (when the crew must be at the location) and Actor's Call (when actors must be at location),  what days and times you'll have certain actors, what days and times you'll have certain locations, and (based on the previous) when you can shoot certain scenes.

I've done this on my own several times. I don't like it, so I usually work with or hire a Producer (individual who handles the non-creative logistics such as telling actors where and when to be, figuring out your film budget, etc...) who will look over all of this and figure it out for me.

A Producer is invaluable. Even in college, if you want to have a smooth film, you should go ahead and link up with individuals who take themselves seriously, and enjoy brining a film together on the business side.

7. This one is pretty simple. Remember when I told you to visualize how each scene in your script will happen shot by shot? Now, put your shot list on the side of your script by where it corresponds with the script. Do this to your entire script.

8. Visual References are just pictures, notes, poems, or anything that embodies the aesthetic your film is trying to achieve.  For this pre-production package, I wanted a sense of destruction counteracted by the beauty of nature (specifically a lake). Here are two of my visual references.

9. NEVER throw away anything. Even when you are done with it you never know when something may fall out or you forget an updated script or shot list. At least if you have your old work you can go back and try to remember what you revised. Never throw away anything you've written.

10. This one is straightforward. Just write out the equipment you feel you will need to finish this project.

(Dr. Raimist Note: it is spelled ZEISS!)

11. Finally, anything else that doesn't fit into these categories will go into Miscellaneous.

That's a full production package. Next time you shoot a film take out the time to make something extensive and detailed. If you think this is overkill, I assure you you're going to have a hard time making your vision come to life.

Film Made With Production Package Shared Above:

Feel free to contact me for any questions at quethelights@gmail.com or in the comments section!

Scene Assignment - Due Tuesday, Nov 27

Your task is to take a pre‐written scene from a narrative script (it can be from any source – feature film, television program, web series… and it can be any genre – drama, comedy, horror, action, mockumentary), and direct the scene. You may edit the content of the script as desired, such as changing the location, adding dialog, and even changing the intended genre of the copy, but you may not write your own original script. This is not about creating “a funny little student film” or youtube clip rather, this is an assignment that asks each director to pre‐visualize, pre‐produce, produce, direct, and edit a scene that demonstrates your vision as a director, your ability to communicate your vision to your D.P. (and attempt to push your technical knowledge and skills, understanding we are all students and new to this… at least attempt to achieve the director’s vision), and to collaborate, working as a film production crew.

This assignment challenges you to integrate your creative vision and technical ability, to tell a story visually. This is not about funny dialog or being dramatic or witty. It’s about the vision of the piece – the CONTENT, “the gift” of the story, or the message (what you are trying to say) and its relationship to the FORM (how, technically, you attempt to articulate this creative vision). You cannot do every job; you must delegate roles and responsibilities, and trust your crew.

The Assignment Rules:

Each student must direct one scene.

Each student must D.P./Camera Operate for at least one scene. You may shoot more.

Each student must be a gaffer on at least one scene.

Each student must be a grip on at least one scene.

No directors are permitted to act in the scene that they direct.

Project Guidelines for Director:

•    Direct a 3-4 minute scene (5 minutes max!)
•    Complete project must include credits listing all participants – talent and crew
•    Bring your FULL RES QT file on a hard drive to class on November 27  
•    Video clip must be embedded on your blog before class time on Nov 27

Each production team – Director and D.P. – are required to meet with Dr. Raimist... sign up sheets will be distributed on Thurs, Oct 11 and remain posted on my office. Please sign up in pencil (so you can change if needed)

At this meeting you MUST present the following pre‐production materials:

1. Script (revised with your changes)

2. Shot list

3. Storyboard

4. Shooting script

5. Floor plan ‐ drawing of each location detailing set/location, key props, actor’s blocking, camera setup, and lighting placement (as much as you can plan ‐‐‐ Dr. Raimist with help you with this task).

6. Shooting dates

7. Visual References – examples that inspire your aesthetic vision (photographs, paintings, screen grabs from a feature film, etc)

8. Equipment Wish List ‐ Your equipment will be reserved at the conclusion of your pre‐production meeting. So it’s suggested that you prep early, meet early, and have the best shot at reserving the equipment that you desire. 

Be organized ‐ these materials are best kept organized in a binder, your “production bible,” as called by industry terms. Your thoughtful preparation is the key to this assignment.

Assigned Reading: Chapters 4 Voice & Vision 

(Also, Recommended Reading: Chapters 3 & 4)