Parc Entertainment - A Video Production Company - Birmingham, AL

I started this blog in the summer of 2005 as an outlet to express my love of films and filmmaking. It soon evolved into an extension of my production company. However, in the time that I have been posting on this blog, I don’t think I have ever explained why I write and to whom I’m writing. In short, the purpose of this blog is to give you, the reader, some insight into the world of video production and how video can be used to its potential. My target audience consists of three groups:

1. THE VIDEO ENTHUSIAST -For this individual, I write articles that teach some basics about the craft of cinematography, direction, editing, production management, etc. I also post articles pertaining to particular types of cameras and other equipment and offer tips and tricks as to how one can best utilize the tools at his or her disposal. Some of these articles can be more technical in nature.
2. THE VIDEO PROFESSIONAL - This individual earns a living through work in video production, perhaps as freelancer or business owner. For this demographic, I write articles that focus on the day-to-day aspects of being a professional. Subjects may include: how to improve your workflow, how to be more organized, how to prepare for a shoot, how to earn new business, how to market yourself, how to maintain healthy client relations, how to pitch to potential clients, etc.
3. THE CLIENT - The third audience group consists of people who work on the client side of the equation. Over the years I have worked with clients who have had very little experience working with a video production company. I have also worked with clients who are seasoned pros and know exactly what to expect on a video shoot. And I have worked with clients who fall in between both extremes. To this particular audience I write articles to help both the client and the production company maintain a healthy working relationship. I want to help the client understand what it’s like working with a video production company. I want to give them a few creative ideas that they might use as inspiration in their own marketing efforts. I want to help them know how to prepare for a video production, how they can get the most “bang” for their buck, and how the whole process can run smoothly and efficiently.

Sometimes, in the course of writing these articles for each of these groups, I might offer a few tips that are solely based on my experiences. I understand that each individual and each situation is different. So, my advice might not apply to everyone. But that’s okay. Hopefully you can mine some little nugget of information that is applicable to projects that you are working on, and help answer certain questions you may have. I also realize that everyone has their own style when working on a video project and their own unique approach to the process. And that’s okay too. The beauty of working in video is that is a very fluid and collaborative art form. So, when I speak to clients, or video professionals, or video hobbyists, I am not asking that you change your habits. I’m not asking that you adhere to a certain standard. The goal of any advice I may give is simply to help you (the hobbyist, professional, or client) avoid potential problems and create the best video possible. And isn’t that what we’re all striving for? I know that’s what I try to give to each of my clients.

I thought it was important to briefly outline the purpose of this blog, so that all of my readers can get a clearer picture of my motivations. Thanks so much for taking some time out of your day to read my blog and I hope the information contained within can help you improve your craft, your business, and your marketing efforts.

A few months ago I posted a couple of articles outlining ways in which you can help make the post-production process a little more efficient.  The foundation for a smooth post-production is laid during the actual shoot. If you are disciplined and organized in production, then the edit will get off to a good start. There are two major things you need to do throughout the shoot - slate each shot and maintain a shooting log.

Slating each shot means placing a clapboard, card, a piece of paper, etc. in front of the camera before each scene. Written on the slate is valuable information pertaining to the individual shot, like scene number, take number, production title, and date. Having this information appear before every take will help your editor keep track of all the shots throughout post. Even if you are working both as director and editor, a slate is an invaluable tool.

In addition to slating each shot, it’s important to keep a running log of everything you shoot. A log contains a description of each take and a record of what happened during that particular take. It will help you remember, for example, if the pickup truck blocked your main actor on the fourth take or the sixth take. It will help you to remember if the conveyor belt moved at just the right speed on the third or the fifth take. And it will help you to remember when your interview subject used that great sound byte.

This all sounds great, in theory. The reality is, sometimes in the hectic pace of a documentary corporate shoot, or low-budget indie project, it can be easy to get off track. However, the iPhone has apps available to help make the process easier and more convenient. iSlate, from iBuiltThis, is a digital clapper that allows users to conveniently slate and log their shots. It’s perfect for a run-and-gun project with a bare bones crew, because you will always have your phone with you. And since it’s only $3, iSlate is a great option when compared to actual chalk and dry-earse slates on the market.

I love my iPhone. It’s incredible to have that many resources and tools in one device. I’m always interested in learning about new apps that can increase productivity and make my life a little more organized and efficient. Last month I posted a video about Cinemek’s storyboarding application, Hitchcock. Today I wanted to post a little information about Helios. Released last April, Helios is a tool for cinematographers that will allow you to calculate the position of the sun for any given day, at any given time, at any given location around the world. This can be an incredibly useful tool for DP’s working with natural light. Let’s say you have an exterior shoot in Grand Rapids, MI next month, but it’s overcast and rainy on your location scout . With the Helios app, you can instantly calculate where the sun will be at the exact moment of your shoot. It’s a great way to keep track of the ever-changing lighting conditions when shooting outdoors.

This question came to me recently…

We have a cannon XHA1 and are having issues shooting dark objects inside. The pixels within the dark areas become noisy or fuzzy. It seems like lower shutter speeds help this issue but don’t resolve it all together.

If you are shooting video in low light and your camera is set to auto iris, the camera will maximize all available light to boost the exposure. This results in grainy, or noisy video. You can also introduce grain onto your video if you increase the camera’s gain to compensate for low light. Many video cameras with manual controls allow you to control the amount of gain, usually in increments ranging from 0db to 18db.

To ensure that your image is clear, sharp and clean, you need to ensure that there is enough light on set for a proper exposure. If your script requires that you shoot nighttime scenes, or scenes in dark interiors, remember that the illusion of darkness is created NOT by taking away the amount of light on set, but by increasing the amount of contrast. You can shoot nighttime scenes without grain by knowing how to properly light the set.

For video production, it’s always helpful to have a collection of sound effects at your disposal, but sometimes you need to create something from scratch. Perhaps you can’t find the right sound effect in your library, or the effect itself sounds too electronic or campy. There are a number of resources across the web that can provide you with great DIY tutorials on creating authentic sound effects. Years ago, I came across a tip on how to create an authentic punching sound effect for fight scenes. All you need is a stalk of celery, a pillow, and a stick or baseball bat. Place the celery on the pillow and then hit the celery with the stick. The pillow provides you with a nice, muffled “thud,” mimicking the sound of a fist making contact with someone’s stomach. And the celery provides a nice bone-crunching sound effect. There are some variations to this effect, like using raw meat instead of a pillow, and cabbage instead of celery, but with a few household items and some experimentation you can create some nice authentic sounds.

Twice this week I have been up all night working as the DP for Filament Artists’ latest short film, entitled “Love at the Grocery Store.” The screenplay was selected as the winner of the Production Prize at the 2008 Sidewalk Moving Picture Festival and will premiere at this year’s festival on September 26.

Shooting inside a grocery store has its particular set of challenges and so I wanted to pass along some things to remember if any of your projects take you inside the same environment.

LIGHTING & TONE

Most grocery stores are lit with fluorescents, meaning that everything will be washed with a flat, even, diffused light. If the tone of your piece calls for high-contrast lighting, you might want to see if the grocery store manager will allow you to turn off the overheads, giving you more freedom to light as you see fit. If this isn’t possible and you still want to create a surreal look with high-contrast, you can always light your subject with hard, direct light, that comes from the side, creating harsh shadows. The hard light will force you to stop down your f-stop. This should darken the background, while leaving your subject properly exposed.

Since fluorescent bulbs cast an even, diffused light, your subjects can come out looking drab, flat, and uninteresting. You will need some additional light to help create more natural skin tones and make colors that pop just a little more. However, reflectors alone won’t get the job done. They just won’t provide enough reflected light underneath fluorescent bulbs. And aiming a 1Kw or 650w tungsten at your actors will create an obvious difference in color and tone.

To give your shots a warmer look under fluorescent lighting, start by using your tungsten lamps and reflectors together. Mount a large piece of white foam core onto a c-stand and then bounce light from a 1Kw lamp onto your subject. The result is a soft, diffused light that isn’t overbearing, and yet one that warms up the scene a bit more. And I always recommend a little rim lighting to help your subjects stand out more from the background.

Bear in mind that the above solution assumes that you want a natural, warm tone for your project. If the mood of your film is a bit darker and somber, then you might like the sterile, flat, “blue” tone that the existing lights create.

LIGHTING & COLOR

Shooting under fluorescent lights can affect the white balance of your shot. If not properly monitored, the lights may cause the color of your shot to drift slowly from a cool tone to a warm tone, then back again.

However, I’d advise you to look back at our previous post for a more extensive look at shooting under fluorescents. To that article let me add that using a Kino light bank will be a big help. Kino’s do use fluorescent bulbs, but unlike the bulbs installed overhead in a grocery store, these bulbs burn at a constant color temperature. This will give your shots more accurate color representation while maintaining a consistent look with the rest of the lighting in the store.

Fluorescent lights might also appear green on camera. A green tone might work well for your project if the mood is more sinister and the location of your story more urban, decayed, or threatening.

Look for the comedy, “Love at a Grocery Store” at this year’s Sidewalk Moving Picture Festival. The screening is tentatively set for 9pm at the Alabama Power Building.

In 2003 director Lexi Alexander teamed up with Hunter Films to produce Johnny Flynton, a short-film that went on to receive an Oscar nomination. Now, Alexander returns to Alabama to shoot Lifted, a feature that centers on a young boy striving to make life better for himself and his family through his passion for R&B music. This production will be taking advantage of the filmmaker tax-incentive legislation that was recently passed by representatives in Montgomery. Hopefully, Lifted will mark a new surge in film production across the state.

The film starts shooting today and will run for the next three weeks. I will be on set for at least four days shooting behind-the-scenes footage that will ultimately be used in the film’s marketing efforts. Our goal is to capture the southern flavor of the locale and highlight the capable and talented Alabama crew that will be working tirelessly to see this film through to completion. Not only do we hope to promote the film as a whole, but we want to promote Alabama as a great place for filmmakers.

Understanding as much as possible about the physics of light will greatly improve your skills as a cinematographer. I recommend reading Placing Shadows as a good reference. For my location work, I normally use an Arri kit consisting of one (1) 1000 watt lamp with chimera soft box, two (2) 650 watt lamps, and one (1) 350 watt lamp. The kit comes with stands, scrims, gels, and diffusion; each accessory giving me the flexibility to manipulate the light.

The Arri kit provides great latitude in an easy-to-transport package. Recently I have also been utilizing china balls while on set. China balls are a great addition to your lighting package and they have several advantages. However, consideration must be given to the type of look you want to achieve before you decide to use them, because china balls aren’t right for every occasion.

The first thing to consider is the fact that the light coming from a china ball is difficult to trim. You’re dealing with an even and diffused light source, so you will need flags and c-stands to control how the light spills onto the scene.

Second, if you want to utilize a low-key lighting approach to your set, china balls are probably not the way to go. Since the light output is even, the contrast of the subject is reduced.

Third, china balls are difficult to gel. You can always purchase daylight balanced bulbs or tungsten bulbs to match the color temperature of your scene, but trying to color correct with gel is more challenging than using lamps with barn doors.

With these considerations in mind, china balls have some great advantages:

Light Output

China balls give you a nice, soft, diffused light source with little effort. If you want to achieve the same look with a lamp from an Arri kit, you would have to add a chimera, or diffusion, add some scrims, adjust the lens, etc. With a china ball, you can simply put it on the stand and plug it in.

Quick & Efficient

China balls are quick and easy to set up and use lower wattage bulbs. If you need to shoot a number of on-camera interviews during a grueling run-and-gun kind of day, a china ball is a great asset.

Comfortable

Since China balls use lower wattage bulbs, they don’t give off nearly as much heat as other tungsten lamps. Therefore, your talent can work under them for longer periods of time without getting too hot.

Affordable

Not everyone can invest in a Kino-Flo or Arri kit, but China balls are great because of their pricing and availability. No-budget filmmakers can grab a few of these lights, get out with their cameras and their friends, and shoot some great looking footage.

Last night marked the end of production for my latest short film If Only. I think everyone is relieved that we have finally wrapped. This particular project was plagued with delays and some unexpected problems, but I feel confident that we will make a solid film with high production values.

I have made several short films over the years and I have learned a lot about no-budget independent filmmaking. So, for those who also share my passio, allow me to pass on a few lessons that will hopefully help you in your endeavors.

Don’t let the lack of money prohibit you from getting out and making films. If you have something to say, then say it. But also remember that low-budget

1. Low budget doesn’t mean low production value. The fact that you have little or no money doesn’t autmatically mean that your film will look horrible. But you have to study the ins and outs of cinematography. Ask questions. Practice your craft. Learn by watching what others are doing. Solid execution will give the impression that you spent more than you actually did.
2. Surround yourself with knowledgeable people. In 2004 I wanted to produce a short comedy. However, I was just getting back into production full-time and I didn’t know too many local filmmakers. So I decided to take on every behind-the-scenes role myself. I was the writer, director, producer, editor, cinematographer… I did everything, and as a result the quality of the film suffered. When you make it a goal to direct your film, recruit others to work in key positions. For example, having a talented DP on set to light the scene and run the camera will give you much-needed time to rehearse and direct your actors. It’s easy to get caught up in the technical details and neglect the performances from your talent, unless you have others working with you on set.
3. Things will not go as planned. This is true of even the biggest Hollywood blockbuster, but even more so on low-budget short films. Expect the unexpected. A location will not be available when you need it to be available. An actor will have to reschedule at the last minute because of a conflict with his or her day job. You will get rained out. The police will tell you to shut the whole thing down. You will be forced to eliminate certain camera set-ups (or perhaps entire scenes) due to uncontrollable circumstances. That’s just the way it goes.
4. Always have a plan “B.” This point is a direct result of point #3. When things go wrong, you need to have a contingency plan in place. If it rains and you have to be outside, how can you re-work the story to incorporate the rain? When the owner of a location needs to pull the plug on you for some unforeseen reason, what can you do to complete the scene? A good producer will help you think through these potential problems before they even happen, so it’s important to go over these issues in pre-production.
5. Maintain a comfortable pace while in production. When everyone is getting paid thousands (or even millions) of dollars to be involved with a movie, you can afford to work everyone for 16 hours a day, six days a week. However, when you’re on a low-budget short and everyone is working for free, it’s important to remember that they are doing you a tremendous favor by being involved with your film. Pad out the shooting schedule so it isn’t too demanding. At the same time, be up front with those involved and remind them that filmmaking is a time intensive process. You can’t shoot a five-minute film in thirty minutes. Be respectful of their time, and be honest about expectations.

In my experiences as an independent filmmaker living in Birmingham, I have met a lot of gracious, wonderful people who are eager to see the production industry thrive in this region. And I’m certain that in your own film projects, you will be just as fortunate. Be professional, prepared, courteous, and respectful, and people will want to work with you again and again.

In film production continuity is incredibly important. In short, continuity refers to the consistency of actors, props, plot points, locations, events, etc. seen by the viewer. Filmmakers must make sure that if an actor opens a door with his or her left hand on one shot, he/she must do it the same way in subsequent takes. There are people on set whose job is to watch out for these visual errors. It can be very difficult to keep track of all the details within a particular shot, but careful consideration of continuity will make the film seamless.

Last weekend while shooting a scene for my upcoming short film “If Only,” we ran into a situation that demanded we pay careful attention to the light falling onto the set. That particular day we began filming around 6pm while it was still daylight. It was an interior scene staged against a large window. I wanted the scene to take place in the late afternoon, but I knew that we would never get the coverage we needed before sunset. It was up to our cinematographer to match the lighting in subsequent close-ups with the daylight we saw in the establishing shots.

Fortunately, we were shooting 720p/24p on a Panasonic HVX-200a. All of our footage was on our P2 cards. The beauty of P2 is that every take it itemized as a separate file. Therefore, users have the ability to go back to any take without the need for rewinding tape. Rewinding tape to review footage can be risky due to possible time code breaks and the potential for recording over important footage. However, with P2, my cinematographer and I were able to review our wide shots from earlier in the day, examine the way the light was falling onto our actors, then match the close-ups accordingly. I think the results were excellent. This is another reason why I am a big fan of solid-state recording.