This week we were delighted to work with Canon Bob Hanna on a short documentary detailing the communities of Drumcliffe-Ennis, Kilnasoolagh-Newmarket-on-Fergus and
Kilfarboy- Spanish Pt.
Locations included, ennis museum… st columbas church and kilfenora (pic)
Herbert Knowles of Kilnasoolagh Parish was also on hand to take behind the scenes photos.
Editing is underway.
I was browsing the web today and found this small bit of advise.
The importance of the editor in film and video can not be overstated. For many, what makes film a unique artform from all others IS the editing. Furthermore, many famous directors “made their bones” as editors and credit that experience as the reason why they can direct. And while many top directors switch DPs and crews for each production, they consistenly trust their work with one editor.
That’s why as a producer-director it’s important to hone and heighten that professional relationship with your editor to serve your film well. This is the case even if you’re editing a film you directed yourself since you have to change hats when you step off the set and into the editing room to look at your footage with fresh eyes. So, what are some things the producer and director can do to make the editor’s life easier, and by default, lead to a better finished film? To find that out, I spoke with professional film and video editor, Liette Pedraza, who had the following things to say:
CARE AS MUCH ABOUT THE SOUND AS YOU DO ABOUT THE IMAGE AND THE ACTING
“Because they are focused only on the camera, lighting and acting, many directors place getting a decent sound person on the back burner and simply ask relatives and friends to record the sound for them. Then in the editing room they are shocked when they listen to their sound and hear how bad it is. It can’t be said enough that sound people are critical to a good production because audiences will forgive a dark image but if they can’t hear an actor’s line they will reject your film. It is one of the many things that separate an amateur’s film from a “professional” film.”
“In keeping with this idea of the importance of sound, here are some PRACTICAL TIPS regarding sound:
FACTOR A SOUND MIX INTO YOUR BUDGET
“Related to the sound issue, as well, is the importance of a sound mix. You don’t need to spend a fortune on a Hollywood sound mix but if you are aiming for a professional production, you need to invest some amount of money on it. You really don’t want to end up in situation where, for example, your actor places a plate on the table and it makes such a loud noise while they deliver their lines that the sound levels get mixed up and muddled. You want the levels to be appropriate to the action that is happening and a proper sound mix will fix any issues like this. “
“Plus if you’re shooting for TV, your levels have to be broadcast quality. If your levels are not right, your program can get rejected and you will still have to get a mix. Or worse, when your program airs, the levels will be much lower than the show that airs just before it and it will sound off. I remember, how for an HD project that I was editing the producers had hired a really terrible sound person. The production had rented five HDCams with seven microphones and because it was a dinner scene with non-actors we had only one shot at getting it. The sound guys brought in all the sound into a mixer and fed the audio to all to the same camera mixed down to 2 channels. In theory it sounds like a good idea because it seems like that would keep things simple but what they ended up getting was the noise of one guy stirring his drink with ice even though he was not critical to the scene. The stirring and clinking was louder than everyone else talking and it ruined the scene. And to top it all off, one of the guys went to the bathroom with his microphone still on and simply destroyed the audio. That section of the audio was lost forever and turned out to be a waste of money. We managed a sound mix but there was only so much that could be done because those problems couldn’t be completely fixed.”
GIVE THE EDITOR CAMERA NOTES, SOUND NOTES AND CONTINUITY NOTES
“Nowadays it’s rare for indie filmmakers to insist that camera and sound crews keep notes on the set and even rarer for them to hire continuity script supervisors. Ideally, camera, sound and script supervisors should take consistent camera notes, sound notes or continuity notes, respectively. Aside from the practical benefits they can give a producer or director on the set, these notes can be very helpful to the editor because it helps narrow down certain problems when it comes to post. Problems like a shaky dolly move or missed rack focus that the AC is supposed to note or a horn honk or thump that the sound person hears. Also, typically, continuity persons line the script so that I can see what lines were covered in what takes, if an actor missed a line and if they pick up an object with their left hand in the medium shot and in the long shot they pick it up with the opposite hand. They also make notes and take photos of what was worn by what actor and what props were in the scene. All those things are useful and can save money and time because it means the editor knows ahead of time what to work on and avoid or find instead of wasting time trying to fix something. This lesson was made clear to me once on a film that I was editing when the continuity person missed taking notes on what the actress was wearing in the previous scene. They ended up shooting the next scene with a brown dress instead of the blue dress and I ended up having to flip around scenes to make it work, extra work that could’ve gone to editing more important things. I would say that keeping notes is not just good for the editor in post but also good for everyone to stay organized, focused and solve problems on the set during the shoot.”
GET COVERAGE
“This may seem like a no brainer but many times directors shoot their films and forget to get enough coverage to make an ok scene great. They should shoot closeups too, like a close up of the gun, a map or even fist during a fight scene.”
“Because I’ve edited alot of action movies and thrillers, here are some PRACTICAL TIPS for coverage in action scenes:
Liette Pedraza runs NY post production house, Crazy Diamond Postproductions – http://www.crazydiamondpost.com/ She has been editing for over 20 years on all a variety of linear and non-linear editing platforms particularly on the AVID and FCP. She is a versatile editor and can manage indie feature films and shorts as well as commericals, documentaries and reality shows. Some of her career highlights have been editing the documentary series, N-R-Eyes; the music video series, Lifted; and, the feature film, City Teacher, starring Frank Vincent, Tommy Ford and Ella Joyce. She is currently working on Invisible Wounds & Kimmie’s Kitchen. She can be reached for post production work at: lp@crazydiamondpost.com.
This was sourced from:
http://www.filmstrategy.com/2013/06/production-tips-4-ways-to-make-your.html?m=1
This was sent via email today:
Hi,
I wanted to email you about some exciting updates. We have new software for ATEM switchers, HyperDeck recorders, and desktop video products, as well as a fantastic price reduction and shipping update for cameras.
Camera Update
The new Blackmagic Pocket Cinema Camera is now shipping and there is a software update for it posted on our web site.
There are some new features in the software for the Pocket Cinema Camera. You can now focus by pushing the focus button when using an active MFT lens. This makes it very easy to accurately focus. The focus peaking feature is still there and you enable it by double pressing the focus button. The focus zoom feature is enabled by double pressing the OK button.
There will be an update for the 2.5K Blackmagic Cinema Camera soon that will also add these features, plus new de-bayer processing that will improve the cameras sharpness when shooting non RAW files.
The Blackmagic Production Camera 4K is not yet shipping as we need some more time. Our first batch of sensors was delivered only this week, so we have not been able to complete the software for the camera. We expect to start shipping in about 3 to 4 weeks once the final software work and testing is completed.
Blackmagic Cinema Camera Price Reduction
We have worked very hard over the last year to be able to build the Blackmagic Cinema Camera at a lower cost so we can reduce the price and allow access to digital filming to a wide range of cinematographers and photographers.
We have done it and from today the Blackmagic Cinema Camera EF and MFT models will be reduced in price to US$1,995. This is very exciting and is one of the proudest moments of my life to be able to do this!
I think people will be able to use the savings to invest in some exciting lenses and rigs to really boost the creative possibilities. The Blackmagic Cinema Camera is a fantastic design that’s now well proven. The advantage of the 2.5K sensor is it has enough resolution to eliminate the bayer resolution loss of a HD sensor, but when shooting RAW it produces files that are too not to big to store and work with easily. It’s a fantastic solution.
All orders placed that have not yet been filled, can be reduced to the new lower price.
HyperDeck Software 3.8
We have an exciting new version of software for the HyperDeck SSD recorders and this new update adds 6G-SDI support on the output for HyperDeck Studio Pro and adds on screen menus to both HyperDeck Studio models where you can set formats and other features. We have also added a new ethernet remote control support.
This is really easy to use and you connect HyperDeck to your network, set the IP address of the HyperDeck in the menu and then Telnet into the HyperDeck to get control. If you type play, the HyperDeck will play and if you type stop, then HyperDeck will stop. You can get clip lists and all kinds of control functions. There are more details in the instruction manual on the protocol.
This update is free of charge and on our web site now.
ATEM Switcher Software 4.1.1
We have a new software update for the ATEM switchers and it’s a big update with lots of new features. It includes a new save and restore that allows you to save the state of the switcher into an XML file, including all your media pool, into a folder of images. You can load that XML file back into the switcher to fully restore it with all settings and media back online.
You can even save parts of the switcher, such as a single keyer or even SuperSource and use them like Marcos. If you save the switcher, you also have the choice to load parts of the switcher, or the whole switcher. You can keep saving to keep rolling backups and each XML file is like a time based snapshot of your switcher state through the whole job. The media pool will keep adding any changed images to the media folder so you will get all media that’s used in the job and can restore back to any point in time. Its very powerful.
We have also been opening up some of the power of the new ATEM Production Studio 4K model that includes HDMI and 6G-SDI that operates in SD, HD and Ultra HD resolutions. This update now adds new 1080p progressive video formats including 23.98, 24, 25, 29.97, 50 and 59.94fps. This really opens up the number of devices you can plug in.
This update also fixes a bug in the ATEM Production Studio 4K that stopped some devices using RGB HDMI such as Playstation, Xbox, computers and GoPro cameras from working with the switcher HDMI inputs.
This software update is available now from our web site for download.
DaVinci Resolve 9.1.5
We have a small software update for DaVinci Resolve 9 that adds improved compatibility with Avid Media Composer 7.0 round trip, supports reel names in Final Cut Pro X XML, adds support for Avid EuControl Software Package Version 3.0, improves handling of multi track Quicktime audio files and adds improved Cinema DNG file format support.
This update is available for download from our web site.
Desktop Video 9.7.7
This new software update now adds support for the 4K DCI modes and adds improved compatibility for HDMI on the UltraStudio 4K and the DeckLink 4K Extreme models. We have also improved support for Avid Media Composer for the UltraStudio Mini Recorder and DeckLink Mini Recorder models.
This software update is available now for download from our web site.
Splice Community Web Site
Over the last few years I have spoken to more and more people at shows and seminars, and one thing that really struck me is how hard it is to be the best at editing, color correction, design and effects in this industry.
This is one very tough industry, but it’s so incredibly exciting! In my time in post production I have spent many hours at a post facility at 2 a.m. talking to editors who have just come out of a 15 hour session. You might know that feeling!
I have spent hours listening to editors, effects artists and colorists talking about the jobs they just completed and how it went and it was really exciting. I really want to share those stories with everyone!
So I have created a new community page where we have people talking about their stories and posting their projects and images online. It’s not about Blackmagic here, as I really just want to share people’s stories about their work and how they got started in the industry.
I get to talk to so many people from thousands of post production and broadcast facilities, so I hope this website lets others enjoy these stories as well.
When we proposed this website to people in the industry, they were really receptive to the idea and have been fantastic in supporting it. They have really opened up and shared the tough times as well as the good times. They have explained how they got started in the industry and even the big breaks that made them who they are today. It’s fantastic and we are so lucky that we have had this support.
If you are interested in reading these stories, please head to http://www.splicecommunity.com
I hope that Splice will be a community space where you can go to see the background stories behind so many great projects. We will feature everything we can from feature films, shorts, TVCs and documentaries. There are loads of projects from directors, DPs, editors, colorists, visual effects artists and post houses who have all shared their stories.
So please check it out! If you want to tell your story, please let the guys know via the website or Facebook. I hope you like it.
Splice website: http://www.splicecommunity.com Twitter: https://twitter.com/splicecommunity Facebook: http://www.facebook.com/splicecommunity
New York Seminar
We are hosting an event in New York City to show our latest products. This is a great opportunity if you have not been able to make it to one of the big trade shows to be able to come and meet us in person and get to see our newest products. We’ll be showing our new Ultra HD and 6G- SDI equipment, the latest DaVinci Resolve 10, our Cinema Cameras, and the rest of our latest developments.
This event is a great opportunity to get a sit down demonstration of our products, catch theater style presentations, speak directly with the Blackmagic Design team, and mingle over the provided refreshments with colleagues from the area!
Date: Thursday August 8th
Time: 11:00 AM – 7:00 PM
Location: New Yorker Hotel, 481 Eighth Ave, New York, NY
For more information and to register to attend, please visit: http://invite.blackmagicdesign.com/event2013/
I hope you found this update useful!
Regards,
Grant Petty
Blackmagic Design
You have received this email as you have registered a product with us or have attended an event at which Blackmagic Design was present or was a sponsor and to which you opted-in to receive occasional email communications from us. If you no longer wish to receive occasional updates from us, please unsubscribe. Alternatively you can contact our California office on +1 408 954 0500 or write to: Blackmagic Design, 2875 Bayview Drive, Fremont, CA 94538. USA.
Hi Filmmakers,
Today office is on the grounds of the City Hall for the National Day of Commemoration 2013.
With an 80 piece choir and many guests this annual event is growing in size in the past 3 years.
We are here recording the ceremony which will be put on DVD.
S.
By Simon McGuire
The rainy weather today didn’t deter the strong turnout for the first Broadcast Video Production Show at the Stillorgan Park Hotel in Dublin.
Its not often that a show of this type comes to Ireland (not including BVE North) and with a line up including Canon, Sony, Tiffen (Steadicam), Lacie, G-Technology, GoPro and many others this was an event not to be missed.
I decided to attend the Tuesday (as shooting and editing schedules allowed it) and was very impressed with the range of vendors and equipment on display. There is something important about a touch and try venue… it allows you to formulate more questions for the vendors that might not normally come to mind in a phone conversation or email.
The show was organised by product resellers D&P Products or Camerakit.ie as most people in Ireland and the UK will recognise. Colm Egan and the team were on hand all day to point out stands of interest for their customers which gave an almost bespoke feel to the experience.
What was interesting was the presentations by a number of the big companies in attendance.
Below is a brief run through on some of the main ones that I attended:
JVC with Kris Hill
A very enthusiastic Kris introduced the new camera to the JVC range, the GY-HM650. Now this has been in the mix for a number of months and back in October 2012 when it was announced I was very interested in what this camera had to offer for the ENG shooter.
The first feature Kris gave us was the x23 Optical Zoom Lens on this 3x CMOS sensor device; a nice touch considering the other cameras in this range. (Sony PMW 200)
The camera hosts a number of other features including the option for WIFI streaming which sets this camera apart from the competition. I could see a lot of workflow applications for the ENG shooter with this option. The only draw back to this is that the wireless broadband in this country will have to improve in order to get the full benefit of this feature. However the idea of sending a copy of low end content to be cut back a base and then upon returning you can then do a Autoconform of the full res footage on the offline cut does have a speed advantage. Using this to full effect with say Avid Interplay Share or Interplay Central and Media Composer 7 would make a very effective workflow for any ENG environment.
Including VAT the 650 was retailing on the day at €4790.85 (Special Show Price, contact D&P for latest Prices) which is not a bad ticket for a camera aimed at the broadcast market. The BBC seem to think so as they have invested in multiple units quite recently.
LACIE with Michael Eyraud
Storage is something close to my heart as an editor and you can never have too much of it. The main issue I have with external hard drives is the worry about reliability. Not with a Lacie though. Over the past 20 years editing I have gone through all the brands of storage external devices but it is always Lacie, I go back to for that very reason… reliability.
Michael demoed the latest from Lacie in their Thunderbolt connection range… Yes thunderbolt seems to be definitely the new Firewire.
The impressive Lacie Rugged drive allows for quick transfer in the field with USB 2 and 3 connections available but for the desktop uses amoung us it was the 2 Big and 5 Big Thunderbolt drives that were impressive with the likes of James Horner (Spiderman) promoting them on the powerpoint slides for Film Music Production.
Canon EOS Cinema with Andrew Cummins, Lighting Camera Man.
Canon always go one extra and today was no exception. The cool and collected Andrew introduced us to the C300 and C500 cameras available from the EOS Cinema Range from Canon. With a PowerPoint presentation and multiple examples of work he has shot recently (see below) Andrew talked about the benefits of shooting with this type of system. These included; size, flexibility, lens range etc.
With 4K recording on dual CF Card slots the option for dual recording is a real seller giving the shooter the option of an extra backup of content, valuable in todays fast paced environment. On a Sandisk Extreme Card you can get up to 84mins of 4:2:2, 50mbs/s
But the camera is more than shallow Depth of Field. The size allows for easy rig and de-rig from tripods and other stabilizers and it is not bad with handheld too. Andrew demo’d this and also showed how easy it was to adapt the camera to different shooting situations by changing prime lenses in a matter of seconds.
Also the camera is very good on battery power and weight.
Andrews final advise on using the Canon EOS C300 was: “The Camera tests the way you shoot… it echo’s back to the traditional procedures in filming and removed the auto functions a lot of camera operators are use to. You WILL have to change the way you shoot… but its so worth it”
Avid Media Composer with Ben Davison, Solutions Specialist
The final presentation I attended was one that’s close to my heart. Avid Media Composer. I’ve been using Avid since 1998 so I am a little bias in this but the software has come on leaps and bounds in this latest edition.
Released on 27th June 2013, Avid have gone and made a number of changes to their flag ship software, and for the better too!
Firstly the new low price. Now available for around the 1K mark (depending on vendor) It now makes professional NLE editing more affordable for the freelance editor as well as the high end post production house. The Academic price of around €299 is going to remain the same but hey you get 4 years support from Avid as well as 4 years of upgrades free. That’s not to be sniffed at if you are a student editor and serious about your career in the industry.
A new feature that caught my eye was Frame Flex. This allows 4k and even 8K res content to be scaled for editing to 1080p. Nice if you want to relieve the processor of the workload in the offline. You can then upscale to the 4k res later for grading and online.
Colour Space Conversion is now real-time. Look up tables and colour decision lists too.
They have completely rewritten AMA (calling it AMA2). Now the content transcodes in the background while you work on your offline cut with the AMA content. A “Powerful Workflow” as Ben put it.
Background processing is also possible without Avid Media Composer even running with the ability to manage jobs in a list too.
Audio enhancements are the big one though. There is a New Waveform, Clip Gain Timeline adjustment, New Master Fader Support and a configurable audio mixer too. This coupled with the interoperability of Pro Tools too makes Avid Media Composer a very attractive piece of kit for the edit suite.
Well that’s it. I didn’t get time to attend all the presentations but it was well worth the trip to Dublin to get to talk with the vendors and listen to the presentations as well my favourite part in getting my hands on the equipment.
The show is running again tomorrow, Wednesday 3rd July in the same venue, Stillorgan Park Hotel, so if you are around make sure you get in there and catch the presentations.
Simon.
Check this show out today and Tomorrow at the Stillorgan Park Hotel in association with D&P Products
There will be a review of the show on this site soon for anyone who couldn’t make it.
S.
(Taken from D&P Website)
This 2 day event will allow all of Europe’s top broadcast equipment manufacturers the opportunity to showcase their latest and greatest products under one roof!!
Half-Day Course
“Facebook and Linkedin for Business” – Trainer : Fiona Ashe of Flasheforward Films.
When : 09.30 – 13.15 on Tue 2nd July.
Cost : €60 per attendee – Limited places so book early by contacting Denis Carroll : denis.carroll@camerakit.ie!
Seminars – (timetable below)
Cost : Free to all attendees.
Below is a list of just some of the exciting Seminars and Presentations we have lined up for you.
Full timetable to be posted on our website next week.
Sony F5/F55 : “Introducing the SONY F5 and F55 Cameras – your passport to the 4K world” – Neil Thompson ( SONY I.C.E.)
Lacie : “The benefits of THUNDERBOLT and Data Storage” – Michael Eyraud ( Lacie )
Canon Eos Cinema : “Shooting on EOS Cinema” – Andrew Cummins ( lighting Cameraman)
Broadcast Pix : “Social media and Cloud Integration and Streaming with FLINT” – Lee Griffith ( Broadcast Pix)
JVC : “Why the BBC chose the GYHM650” – Kris Hill ( JVC Professional Products)
Canon Eos Post Production : “EOS Cinema in Post Production” – Shane Callan ( online editor and colourist)
Panasonic : “New camera technologies” – John Funnell ( expert in P2 and post production workflows)
Sony Audio : “Audio DWX series, digital wireless microphone system” – Markus Warlich ( Product specialist SONY professional Audio )
Atomos: “How adding a Ninja 2 / Samurai Blade to your camera will streamline your workflow” – Steve Wise ( Atomos )
Avid: “The benefits of Interplay Sphere and Central to editors, reporters and videographers” – Ben Davison ( Avid technologies)
Audio for Video : Best practice sound solutions for various shooting situations – Jim Hawkins and Niall O Sullivan
Blackmagicdesign : The latest innovations from ground-breaking manufacturer – Blackmagicdesign.
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Tuesday 2nd July |
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|
Time |
Room 1 |
Room 2 |
|
10.30 |
Broadcast Pix |
JVC |
|
11.30 |
Lacie |
Sony F5/F55 |
|
12.30 |
Sony Audio |
Canon Eos Cinema |
|
13.30 |
Canon Eos Cinema |
Atomos |
|
14.30 |
Blackmagicdesign |
Avid |
|
15.30 |
Panasonic |
Blackmagicdesign |
|
16.30 |
Audio for Video |
Avid |
|
|
|
|
|
|
|
|
|
Wednesday 3rd July |
||
|
Time |
Room 1 |
Room 2 |
|
9.30 |
Sony Audio |
Panasonic |
|
10.30 |
Canon Eos Post Production |
Broadcast Pix |
|
11.30 |
Sony F5/F55 |
Atomos |
|
12.30 |
Blackmagicdesign |
Lacie |
|
13.30 |
Avid |
JVC |
|
14.30 |
Blackmagicdesign |
Avid |
|
15.30 |
Audio for Video |
Canon Eos Post Production |
Venue: The Stillorgan Park Hotel, Stillorgan, Co. Dublin :http://www.stillorganpark.com
Dates: Tuesday 2nd July / Wednesday 3rd July 2013
The Lifesaver Project is a Garda led initiative which was launched in Limerick back in November, 2008 in an effort to reduce the number and severity of road traffic collisions and to improve road safety awareness. It is a collaborative effort between Limerick County Council, Limerick City Council, An Garda Siochana, Limerick County and City Fire Services, Ambulance Services and the Health Service Executive.
This road safety event, is divided into two parts. The first of which took place in the car park of the South Court Hotel and students witnessed firsthand what the scene of a fatal road traffic collision is like. The emergency services were deployed as if it were a real road traffic collision
.
The second part of the show took place in the Hotel Conference Centre in the form of a PowerPoint presentation with input from local emergency service personnel. It included road safety ads from around the world, a personal account from one road collision survivor and input from families who have lost loved ones as a result of road traffic collisions.
We are currently in the final stages of the editing of the promotional video for this project.
S
Due to a high number of members being involved in their own productions at present, Behind the Scenes has decided to postpone the Film in a Day event till October 2013. We look forward to meeting you again at the Galway Film Fleadh. or in August in Limerick. The Behind the Scenes Team.
Simon McGuire 