One of the hottest commodities on the market today is the iPhone and iPod Touch. It is expected that Apple will have sold 80 million iPhones by 2012. The uses for this mini computer are growing everyday. Currently there is over 65,000 official applications available at iTunes for the iPhone. At the current growth rate this number could top 100,000 by the end of the year. This is not counting a vast amount of web based applications, over 1700 alone registered with Apple.

iPhone apps exist in many flavors, everything from simple games to complex software for professional task. Most apps are very affordable, if not dirt cheap or free. Filmmakers have not been left behind in the app frenzy. While searching the web for some tools to help us, I was astonished by the amount of software available. Here is a list of apps for the iPhone and iPod Touch apps I was able to dig up.

**Opera web browser users: If you have difficulty with the “get app” function working properly with iTunes, see this fix

Native Apps

A native app is a software that is installed directly to the iPhone. The iTunes store host all the apps approved by Apple.

Hitchcock by Cinemek inc (Cost: $19.99)

(iPhone, OS: 3.0 or later) Screenshots    

Cinemek® Hitchcock for iPhone and iPod Touch is a mobile storyboard and pre-visualization composer designed for Directors, Directors of Photography, Producers, Writers, Animators, Art Directors, film students and anyone who wants to be able to visualize their story. More Info

pCAM Film+Digital Calculator by David Eubank (Cost: $39.99)

(iPhone/iPod Touch, OS: 2.2.1or later) Screenshots    

A Motion Picture and Still Photography calculator for Directors of Photography, Photographers, Camera Operators, Camera Assistants, VFX Supervisors, Script Supervisors, Gaffers, Grips, Editors, Production Designers, Art Directors, Film and Photography Students. Created by the same Hollywood Camera Assistant who created the widely used Palm version. More Info

iTC Calc by KPL Production Services, Ltd. (Cost: $9.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

iTC Calc is the perfect companion for any producer, post-production producer, editor, Flame or After Effect artists and everyone who need to deal with timecode and frames. More Info

iTC Calc Light by KPL Production Services, Ltd. (Cost: $2.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshot    

iTC Calc Light is the perfect calculator for any producer, post-production producer, editor, flame or After Effect artists and everyone who need to make quick timecode calculations. More Info

TCCalc – Timecode calculator by Jean-Luc Pedroni (Cost: $4.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

TCCalc is a powerful time code calculator. With its two views, horizontal and vertical springboard, you can choose between basic timecode operations, or more sofisticated operations and features. More Info

TimeCodeCal by Daniel Maskell (Cost: $2.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots    

TimeCodeCal is the most flexible time / timecode calculator available. With it’s user configurable frame rate from 1 to 100 frames per second, plus hexadecimal mode it is aimed at anyone performing time based calculations, from the casual user to professionals in the broadcast industry. The hex mode was included with developers in mind looking at memory dumps of data. More Info

FreeTime Pro by Javier Hernanz Zajara (Cost: Free)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

A powerful timecode calculator. Conversion and editing modes. Formats include NTSC, Drop Frame, PAL, Film edgecode (3:2 pulldown), and real-time. User preferences control behavior with field overflows, illegal (dropped) frames values, and key click sound.

TC Calculator by Javier Hernanz Zajara (Cost: Free)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot    

TC Calculator is a simple calculator for operating with TC’s (Time Codes) and frames. It can add, substract and convert TC’s between different speeds. It may be very useful for people working on video or film. Currently not available in iTunes US Store.

EditCalc by Brad Brooks (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

EditCalc is a frames, footage and timecode calculator app for the iPhone and iPod Touch. More Info

time:calc by WattenEarth (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot    

time:calc is a time calculator that does conversions and calculations of time. It also works with timecode enabling calculations of frame rates for TV and film. More Info

timecoder app by zinc Roe Inc. (Cost: Free)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

Timecoder converts video timecode between two different frame rates, from timecode to frame number and from frame number back to timecode. You can leave out the hours, minutes or seconds when they’re not necessary. You can also use large values that will “roll over”. For example, you can enter 90;00 (90 seconds) and Timecoder will automatically convert it to 00:01:30;00 (1 minute and 30 seconds). You can choose from a list of common framerates (frames, 24, 25, 29.97 and 30), or enter any framerate you like. Timecodes and framerates are rounded for display, but the conversions are accurate to more than three decimal places.

Film Editor’s Calculator by Michael Koperwas (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots    

The Film Editor’s Calculator is a valuable tool for any film editor which allows you to calculate feet and frames for 35mm motion picture film. The calculator’s database also gives you information such as manufacturer and film stock based on the keycode’s prefix. The keycode calculator interface is very simple to use and is helpful when working with film at the bench or working with telecines on an editing system.

Film Calculator by Noah Harlan (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

The 2.1 Film Calculator is a multi-purpose tool for filmmakers to aid in common tasks of film conversion and counting in pre-production, production and post-production.** On Sale! Now only $.99 until we release the new version in a couple weeks. Enjoy! ** More Info

Action Log Pro by Andris Ltd (Cost: $29.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

Action Log is a film and television logging tool, designed for use on location or in a studio with up to 25 recording devices. At the touch of a button the logging system keeps track of all reel names and timecodes for each recorded piece of action. More Info

Action Log by Andris Ltd (Cost: $5.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

Action Log is a film and television logging tool, designed for use on location or in a studio with 1 recording device. At the touch of a button the logging system keeps track of all reel names and timecodes for each recorded piece of action. More Info

Movie★Slate by PureBlend Software. (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

Movie★Slate is a digital slate, clapper board, shot log, and shot notepad— designed for use with film, television, documentaries, interviews, and home movies. Movie★Slate provides an easy way to log footage and take notes as you shoot— saving you time later when you capture and edit the footage on your computer. More Info

FilmSlate by Idea Engine, Inc. (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

FilmSlate puts a portable “Smart Slate” in your hand. FilmSlate was developed by professionals, for professionals, and is designed to be used on set as an insert slate, a run-and-gun slate, or a portable backlit slate in your pocket. More Info

iSlate by ibuiltthis (Cost: $2.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

iSlate is an easy to use portable digital clapper board that can help video enthusiasts add a touch of hollywood magic to their videos. Possible uses include video blogs, online video postings, and various video projects. More Info

iSlate Lite by ibuiltthis (Cost: Free)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshot    

Free Lite version of iSlate the portable digital clapper board.

AClapBoard by Rolf-dieter Klein (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

A digital clapboard/Slate and client time measurement system. New features: timecode calculator and color charts, 2-pop sync. The application combines many functions useful for film makers but also in general for free lancer. More Info

ClapBoardLT by Rolf-dieter Klein (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

A digital clapboard and client time measurement system. ClapBoardLT is the smaller version of AClapBoard which has more features like color chart and timecode calculator.
More Info

LlamaSlate by Scott Lawrence (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

LlamaSlate is a filmmaker’s tool to help with the editorial process. LlamaSlate is a simplified digital version of a traditional “clapper board” or “slate”, which is used to mark the beginning and end of every shot filmed. LlamaSlate can also help you to sync multiple cameras easily. More Info

Pocket DIT by Clifton Production Services LLC (Cost: Free)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

RED Camera users, this is your cinematography “cheat sheet”. More Info

iSee4K by Edward Watkins (Cost: Free)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

With this nifty little app spend your time ‘getting the shot’, rather than pouring over manuals and reference tables. Although primarily developed to aid users of the RED® Digital Cinema Camera, iSee4K is highly configurable and allows users to calculate DoF, FoV and Lens equivalence for virtually any camera and lens. More Info

DoF by Michael Neuwert (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

DoF is a small utility for Photographer or Videographer allowing to calculate the depth of field. More Info

DOFMaster by Donald Fleming (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshot    

Use DOFMaster to calculate the depth of field in your photographs. You’ll be able to select the lens and f/stop combination that provides the zone of sharpness you need. Use it to calculate the hyperfocal distance for landscape photography. More Info

DOF Ruler by Devin Hartman (Cost: $1.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

DOF Ruler is a Depth of Field calculator with a unique sliding ruler interface. It is a quick and easy way for Photographers to calculate Depth of Field. More Info

f/8 DoF Calculator by Thorsten Kramp (Cost: $3.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

Photojournalists have a saying, “f/8 and be there,” meaning that being on the scene is more important than worrying about technical details. Yet with f/8, the depth-of-field and hyperfocal distance calculator for the iPhone and iPod touch, you’ll be there with the depth of field spot-on, too! Anywhere, anytime! More Info

MatchLens by D Matthew Smith (Cost: $9.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots    

This calculator computes the equivalent lens focal length to produce the same field of view between two cameras with different aperture/sensor sizes. It will do a “Match Lens” calculation, and produce the closest equivalent angle of view lens, in millimeters, for both vertical and horizontal frames, between the original camera’s focal length and the current camera’s focal length. More Info

ShootPad by David Brewster (Cost: $6.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

Made for the guy shooting home video or the videographer shooting with their own camera. As the professional video guy is pausing and starting his video camera, he’s supposed to make notes for the starting and ending of cuts for later editing. More Info

Animation Timer by Randy Cartwright (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.2 or later) Screenshots    

Animation Timer is a simple stopwatch designed for animators. More Info

FrameTime by Patrick Spizzo (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshots    

FrameTime is a simple animation timer that lets you time events down to fractions of a second. Use the simple controls to start the timer, then add keyframes based on the action you are timing out. Once you are finished, the timer controls conveniently move out of the way so you can see as many of the keyframes as possible. More Info

FPS Calculate by Wes McDermott(Cost: $0.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

An animation timer is being added so that you can time movement and convert that into a given frame count! More Info

Screenplay by Black Mana Studios (Cost: $2.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

Black Mana Studios’ Screenplay is the world’s first fully-functional mobile screenwriting application. It allows professionals and hobbyists alike to write complete movie and television screenplays directly on the iPhone or iPod Touch. More Info

HollywoodHelper by differential enterprises (Cost: $2.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

For actors, Hollywood Helper / Broadway Buddy helps you learn the lines of your scripts without lugging around printed scripts, whether you aspire to screen or stage. More Info

Sync Points by Jon Lay (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.2.1 or later) Screenshot    

Sync Points is a calculator for composers for film, video, or any medium where precise synchronization to picture or SMPTE timecode is needed. With this app, you can calculate hit points from tempo or beats, generate an exact tempo in BPM and FPB for a given number of beats or timing, and compute a number of beats given a tempo and timing. More Info

FiRe – Field Recorder by Audiofile Engineering, LLC (Cost: $5.99)

(iPhone, OS: 2.2.1 or later) Screenshots    

FiRe is the world’s first professional field recorder built exclusively for iPhone and iPod Touch.. Combining powerful, elegant and uncluttered audio utilities with unparalleled technical support. More Info

PowerCalc by West Side Systems, LLC (Cost: $0.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

PowerCalc performs basic electrical power calculations with watts, volts, amps, and motor power factor. More Info

LightMeter by Frank Bauer (Cost: $2.99)

(iPhone, OS: 3.0 or later) Screenshots    

Turn your iPhone 3G-S into a exposure meter.More Info

Helios Sun Position Calculator by Chemical Wedding (Cost: $29.99)

(iPhone/iPod Touch, OS: 3.0 or later) Screenshots    

Helios is a Sun Position Calculator that graphically represents the position of the sun from dusk to dawn, on any given day, in any given place. More Info

Focalware by Spiral Development Inc (Cost: $9.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

Focalware calculates sun and moon position for a given location and date. Use the interactive compass to determine the path and height of the sun or moon. Photographers and filmmakers who are always asked by their clients for the sun, moon and stars, can now deliver. More Info (with Video Demonstration)

MagicHour by Vela Design Group (Cost: $3.99)

(iPhone/iPod Touch, OS: 2.1 or later) Screenshots    

MagicHour™ (formerly VelaClock) is a world clock that can quickly display the time of sunrise, sunset, three kinds of twilight (civil, nautical, astronomical) for dawn and dusk, moonrise, moonset, duration of daylight, current phase of moon, date and times for the next four moon phases, countdown to the next sunrise or sunset and next moonrise or moonset, and more. More Info

iFilmmaker Pro by Katha Films LLC (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

For the movie making beginner, expert filmmaker or “been-there-done-that indie enthusiast”, iFilmMaker is loaded with 1500 questions, tips and tricks of the film making trade, presented in a very entertaining, and educational manner. With iFilmMaker application, you can learn about different aspects of filmmaking like editing, directing /producing, scriptwriting, acting, and cinematography with easy to answer questions, and click to live web links for detailed information about the particular subject. More Info

iFilmmaker Pro Lite by Katha Films LLC (Cost: $1.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

For the movie making beginner, expert or “been-there-done-that indie enthusiast”, iFilmMaker is loaded with hundreds questions, tips and tricks of the film making trade, presented in a very entertaining, and educational manner. With iFilmMaker application, you can learn about Editing, Directing/Producing, ScriptWriting, Acting, and Cinematography with easy to answer questions, and click to live web links for detailed information about the particular subject. More Info

Clz Movies by Bitz & Pixelz BV (Cost: $9.99)

(iPhone/iPod Touch, OS: 2.0 or later) Screenshots    

This app is a supplement to Movie Collector software by Collectorz.com. Movie Collector is a must have for anyone with a large film collection. It is by far the most complete and versital database software available on the market. Clz Movies application for the iPhone allows your to take your movie collection with you on the go. More Info

Web Based Apps

Web applications (or web apps) combine the power of the Internet with the simplicity of Multi-Touch technology, all on a 3.5-inch screen. iPhone and iPod touch let you easily flick through news on Digg, play Sudoku or Bejeweled with a finger tap, and quickly check movie times, train schedules, and favorite blogs.

When you find a web app you like, you can put it front and center on your Home screen. Just open the web app on your iPhone or iPod touch, tap the plus sign, and then tap “Add to Home screen.” A Web Clip will be added to your Home screen automatically for easy, one-tap access. You have up to nine Home screen pages for all your Web Clips and you can organize them however you like.

Footage Calc by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Enables you to calculate the amount of disk space required for various video codecs at varying frame rates. It offers an easy-to-use interface that allows you to quickly and easily view the required information whilst on the move – perfect for those awkward on-the-spot questions from clients. Along with the iPhone Version there is also a full browser version. Also available as an offline application.

Film Rate Calc by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Calculates the relationship between film reels and shooting time. Use this calculator to work out how many rolls of film are required for a certain shooting ratio, or alternatively calculate how many minutes have been shot for a certain number of rolls. This is a useful tool for any script supervisor or producer. Along with the iPhone Version there is also a full browser version. Also available as an offline iPhone application.

Aspect Ratio Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Allows you to calculate the aspect ratio, width or height of an image or video. Also displays extra information such as the film or video format that the aspect ratio is normally associated with. This enables you to work out the correct frame size to use when creating CG shots that will be broadcast or intercut with live action footage. Along with the iPhone Version there is also a full browser version.

Depth of Field Calc by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

This tool will calculate the depth of field for a given sensor or film type, aperture, focal length, and subject distance (the distance from the camera to the person or object you are focusing on). A lower number means that a large proportion of the background will remain in sharp focus and a higher number means that a smaller proportion (if any) will be in focus. It also includes presets for popular video cameras. Selecting a preset will automatically change the sensor type to fit your camera. Please be aware that this tool is designed for cinematographers, not still photographers. Along with the iPhone Version there is also a full browser version.

Pixel Aspect Ratio Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

This tool will help you calculate pixel aspect ratios (PAR) of video formats. It also enables you to work out the proper resolution for a still image placed into a non-square pixel timeline. The source resolution is the square pixel resolution (ie. the dimensions of the still image) and the target resolution is the non-square resolution (ie. the final resolution of the image upon adding it to the timeline).
Along with the iPhone Version there is also a full browser version.

Lens Angle Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Use this calculator to calculate the lens angle or focal length for a given sensor size. This is useful for planning out camera placements in advance, which is particularly invaluable for visual effects work. Along with the iPhone Version there is also a full browser version.

Power Load Calculator by Digital Rebellion (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshot

Use this calculator to calculate the lens angle or focal length for a given sensor size. This is useful for planning out camera placements in advance, which is particularly invaluable for visual effects work. Along with the iPhone Version there is also a full browser version.

RED StrorageCalculator by Alex Boerger  (Cost: free)

(iPhone/iPod Touch, OS: All) Screenshots

This calculator is specifically for Red Camera users. With it you can determine how much storage (in gigabytes) based upon your desired Redcode, Resolution, Aspect, Framerate, and time. Goto the iPhone Version.

Protective Cases

Accessories & Combo Packs

Data & Connectivity

iPhone Books

iPod Touch

Post from: World Wide Angle

iPhone Apps For Filmmakers

As I read the Down and Dirty DV Shut Up and Shoot Documentary Guide which I reviewed last week, I took notes regarding the equipment we shall need for our projects. I came up with a list of things to have and a number of notes for each item such as “what features to look seek”, “what price range to expect”, etc. I also done my best to prioritize the items. For each item, I also listed the reference page in the book. I then added a small mark in front of each item we already have. Obviously, we don’t have it all covered yet but I’m happy to say that we are a lot closer to having our gear ready than 6 months ago and also, that what we bought so far, fits the bill pretty well. Anyway, here is the list.

Post from: World Wide Angle

DV Shoot Equipment Shopping List

Desiring to move up from short videos to the documentary format we have been searching for a book that would layout the basics of documentary making. We found the Shut up and Shoot Documentary Guide on Amazon. It turned out to be the very book we were looking for. We both read it, from cover to cover and feel a lot more knowledgeable already. Our next steps will be to shop for a few more tools (basically we’re still out of a light kit) and practice setting up in the most usual situations (day light, interior light, low light, etc) while we work on getting one of our documentaries ideas going.

The author, Anthony Artis, has 15 years of experience in video making. He knows what he is talking about. But what makes the book stand out is his obvious love for teaching and passing on knowledge. He obviously enjoys sharing what he so hardly learnt himself, often by trial and error. By doing so, he spares the rest of us a lot of failures and wasted time. The book is also as exhaustive as can be covering all the steps from the pre production to the promotion and distrubition. If you feel these pages will not be of interest to you, we found out that there were as important and as rich in information as the ones about more technical phases of the project. The post-production is the only area the book doesn’t cover in such details. It is assumed that the documentary maker will either already be a competent editor himself or hire someoen to handle the technical aspect of it.

I must also add that the book is well presented and enjoyable to read. The illustrations are well picked and very explantaory. A lot of effort was also put into the preparation of sum up pages, almost cheat sheets, ready to turn into a quick reference book when in a tight spot. A double page for example details all the steps in getting your sound mixer up and running or the do’s and don’t's in low light situation. I’m currently working on an electronic document gathering some of these quick tips and cheat sheets for us to carry around at all times as well as a clear and explanatory shopping list since we try to pick up the geatest tools when the need arises. Our latest acquisition was a shotgun mic that I think we picked well. We will soon be looking for a light kit.

What you will find in the book:

• how to research your documentary subject
• how to apply for funds either from private people or from orgaisations
• where to look for a crew and how to pick it
• select locations (private or public)
• select an equipment package and draw up a budget

• image control and camera work
• video lighting
• sound recording and mixing
• how to conduct a crew on set

• conduct an interview
• prepare a subject (wardrobe/makeup)

• finding the right combination for your post production

• promoting the movie (both online and through festivals)

and a lot more valuable knowledge and tips like how to deal with archive footage centers, interviewee walking out on you, insuring a location for shooting, and so much more. Actually, Anthony himself sum up his book and his intentions on his website, see for yourself what this is all about.

Down and Dirty DV

Anthony Artis, the author, is also the webmaster  of downanddirtydv.com, a website, blog and newsletter about guerilla filmmaking I recommend you to visit. The book comes with a DVD full of extra resources for the young filmmaker (release forms, budget templates, cheat sheets and other practical documents). The extra alone are invaluable to young filmmakers who have no idea where to start looking for information like “how to draw up a release form?”.

One last thing

The book is also very well written which makes the read even more enjoyable. The tone is straight forward, and makes you feel like Anthony is speaking directly to you, sharing his errors and the solutions he found to them. And to add even more fun to it, the man also has a good sense of humor. The way he explains not to use dryer sheets as diffusion, from obvious first hand experience, ensures none of his readers will reproduce that mistake. Though i guess that’s the basic of guerilla filmmaking, try to make do with what’s at hand.

If you have a documentary project in mind, you won’t regret reading that book. Good luck to you.

Post from: World Wide Angle

The Shut Up and Shoot Documentary Guide

When shooting video or taking photos a clean lenses and filters are a must. Rather you shoot digital or on film, or have consumer or pro camera, you are not immune to the dirty forces of nature. I can tell you, little is more disheartening than coming home from a shoot and finding your images are corrupted by a dirty lens. There is no remedy for this foolish, yet easily avoidable mistake. You can not rely on the view finder or LCD screen, the resolution is just not good enough to show most small smudges.

What is worse than a dirty lens you might ask? Well it is improper or obsessive over cleaning of the lens. Most of the lenses we deal with have a special coating on them which helps reduce flares, or light reflected by the surface of the lens. In addition the coating allows in more light than an uncoated lens. Typically on a glass to air surface 4% of light is naturally reflected away. A coating can bring this level down to about 1%. Lens coatings can usually be noticed by their red-purple or green appearance. Lens coatings can be rubbed away from over cleaning and applying too much pressure on the lens as you clean.

Preventative

The number one way to have a clean lens is using  preventative measures.

• Always use lens caps when not shooting.
• Keep your fingers off the lens.
• Use caution when changing lenses.

Use extra vigilance when shooting outdoors. Dust can come from a plethora of sources. Be especially aware around pollinating trees, salt water, and sandy areas with a lot of wind. For example during our recent vacation in Tunisia, we stopped to take photos at some sand dunes. I step out of the vehicle with my camera in hand ready to take a shot and was immediately blasted by a whirlwind of sand.

Removing Dust

Simple dust particles: A little dust on the lens doesn’t really hurt a lot, as the end of the lens will be out of the focal depth of field. Problems could arise though when shooting against a strong light source, where reflections off the dust can intrude. Dust particles can be easily removed with a light brush or air. Avoid using any kind of compressed air cleaners, which could leave a residue on the lens surface. The essential and primary tool for the job is a bulb type air blower. It is simple and easy to use, just avoid contact with the tip of the blower and the lens as to not scratch the lens surface.

For more aggravating dust use a fine brush to gently knock off particles. A great tool that should be in everyone’s equipment bag is a brush style lens pen. They offer a quick and easy method for dust removal as well as other deposits on the lens. One end of the pen will have a retractable brush, the other will have a non liquid based cleaning pad. These gizmos have become extremely popular and are in wide use around the world.

First use the brush tool to remove all abrasive deposits then use the cleaning pad lightly in a circular motion. These pens are usually marketed to clean both lenses and LCDs. I recommend having a different pin for each use. Also these pens can not be cleaned and will have to be replaced from time to time, which is no problem considering how cheap they are. Similar type pens are also used for sensor cleaning, which I will cover in a future post.

Liquid Based Cleaning

Liquid based cleaning methods have long been the standard method and are necessary for stains like grease from your fingers. Apart from the liquid a cloth is also required. Avoid cheap dime store wipes that may be too abrasive. Use a good microfiber cloth specially made for lens cleaning. Before attempting to clean your lens with a liquid and cloth, use a brush to knock off any dust particles. One of the best liquids you can use is your own breath. It contains no chemicals that may eat away at the coating on the the lens. Breath hard on the lens surface leaving a fog of moisture on it. Then using a the microfiber cloth, gently wipe in a circular motion from the center of the lens to the outside(without rubbing). In other words, leave off the elbow grease. If a problem area still exist a stronger cleaning solution will be needed.

Many products exist for lens cleaning. It is important to chose one that will leave no residue on the lens surface, such as those commonly sold for eyeglasses cleaning. One possible solution is pre-moistened cleaning pads especially designed for camera lenses. Use these pads one time and dispose off, they should not be recycled. Your other option is to use a cleaning liquid in conjunction with a dry cloth. The procedure here is the same, just be aware that it only takes a little bit of liquid. A small amount will go a long way and decrease the possibility of leaving any kind of residue on the lens surface.

A full line of top quality cleaning products can be found at the B&H photo and video store. Keeping your lens clean and dust free is one of the most essential parts of coming home from a shoot with usable material. Make a habit of checking your lenses before shooting and periodically throughout. With a little care and proper handling, your lenses can give you years of beneficial service.

Post from: World Wide Angle

Lens Cleaning Tips

As many other inspiring filmmakers, we have several ideas for projects we want to work on. Recently an opportunity came up for us to work in conjunction with someone else to make a documentary. Early on it became evident that the film had great potential. The prospects of a lucrative film can definitely get one’s hopes up. Most importantly for us though, was the chance to get solid recognition for our work. After most of the pre-production was finished, we were forced to drop out of the project. There is nothing or no one to blame but our own mistakes. Unfortunately we went into the project excited and with blind trust to find out later that our partner was not on the same wavelength as us.

We decided that we needed assistance in a very important filmmaking skill, that of people skills. On this particular project, the other person proved to be a good talker, which had us feeling pretty confident that we were going in the right direction. Because of our partner’s personal connection with the subject of the film, we all thought it was only smart to use them as the front person for the project. Little did we realize at the time, this would undermine the partnership we had invisioned.

Gradually a feeling of tension began to rise about how the profit and credits should be distributed. There were also questions of differences in artistic opinion. Finally, the inevitable confrontation came to a head. Needless to say it did not go well. Our partner had decided that they should receive virtually all the profit and credit for the film.  We were merely employees working on wages of promises and a slight mention in the credits. This was a slap in the face when we had done most of the work up to this point. So with no way to even come to a compromise, we felt it was best for us to take the lesson as learned and move on to other projects. I am happy to say within two days, two more projects came to us that we are very excited about and look forward to start talking about on this blog.

With the creation of these new projects hopefully we have learned better to put our ducks in a row. Where did we make a mistake to begin with? I believe it was by not deciding how the partnership would work at the time of the project’s creation. We had actually discussed it briefly, just saying “lets not worry about this yet, lets see if we can do it first”. It was mentioned that we would not try to take advantage of the other and so on. Well as they say, talk is cheap.

It seems to be a common mistake of new filmmakers, to put the art in front of the legal aspects.  Unfortunately this is something we have to deal with. Legal matters have to be delt with precisely and comprehensively. The Pocket Lawyer for Filmmakers By Thomas A. Crowell is a good starters guide for diving into the legal issues surrounding the entertainment industry.

Consult entertainment attorney before taking any important steps.

Some But Not All – Legal Issues to Consider:

• Partnerships and collaborations. Have a proper contract from the very beginning so all parties involved know exactly what to expect and to avoid potential problems.
• Creation. Protect your story or other creative ideas. Obtain proper rights from other’s creative work you incorperate. Such as books, songs, films, etc. If you plan to depict actual persons, be aware of defamation and their right of privacy. A lawyer should be consulted for your own protection.
• Contracts for all cast and crew.
• If you plan to use Union workers, you might have to deal with organizations like the Directors Guild of America, Writers Guild of America, the Screen Actors Guild, or the International Association of Theater and Stage Employees.
• Releases. Personal Releases. Have a proper release form when you film or photograph anyone. Location releases. Some specific locations, such as businesses, buildings, and monuments may require a release. Products and personal property are also subject to needing a release.
• Distribution. To be able to distribute the film, make sure you have all the proper rights to do so, and all releases are cleared. Know what rights you give up through any method of distribution.
• Copyright might be important for the finished product and script.
• Insurrance. Protect yourself. You don’t need it unless or until the enevitable happens. If it does you better have it.

Recommended Books From Amazon.com

• The Pocket Lawyer for Filmmakers: A Legal Toolkit for Independent Producers
• Producing, Financing, & Distributing Film - A Comprehensive Legal and Business Guide
• The Independent Filmmaker's Law and Business Guide: Financing, Shooting, and Distributing Independent and Digital Films
• The Power Filmmaking Kit: Make Your Professional Movie on a Next-to-Nothing Budget

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The Film That Could Have Been – Legal Matters In Production

We’ve filmed vernissages at chezGrace several times over the past three years and as time went by we learned a few business tricks.

At first, Grace’s attention was with the attendance. She loved videos showing that several various people came and enjoyed the show. As time went by, the main subject of these short videos became the artist and his works. Of course, we also film the visitors, especially visitors contemplating and commenting on the works. Eventually it evolved into a combination of the two.

Nassim Al Amin - Caméra Cachée

I really enjoy filming the artwork in motion, moving in and outside of the piece if it’s a canvas and around it if it’s a sculpture. When used with care during editing, it can produce a great effect in the final product. If we just want to use a frontal shot of the work, we usually rely on a photo shot instead of video. The photo shot is easier to reframe or color correct later. Also, for a frontal shot to work, the video camera needs to be perfectly still for four seconds. So, for four seconds, no one can enter your frame. This is easier said than done when filming a live event.

Filming the artworks can be teadious especially if they are framed in glass. A polarized filter on the photo camera has been our best solution so far.

The second difficulty is to interact with people. First, I usually try to let them know that they’re are in the frame. I make sure they are aware of my presence and that I’m filming. I pay attention to their reaction. At the least sign of embarassement, I’ll stop filming and go ask them if it is a problem. If someone says he or she doesn’t want to be filmed, I won’t point the camera their way again and if ever they are in the frame, I’ll cut out the shot. This is actually very rare. Most people agree to be filmed. I often reassure people and tell them we’ll edit the footage and take out everything inapropriate so they shoudln’t worry. Surprisingly, few ask what the video is for. I usually go ahead and tell them because they are even more cooperative when they realize the video is only to promote the artist and Grace.

We do not ask people to act. We try and capture the fun moments of the evening. One thing I have learned though, was to recognize the people that are really confortable around the camera. They will usually accept, if asked, to repeat something they just did that I might have missed. We also get a lot of cooperation from the artist (after all, he or she is the one who will benefit from the video). We’ll often ask the artist to be filmed in front of his works or around his friends and also, a necessary shot each time, with the host of the exhibition.

Nassim Al Amin

As I’ve said, we do not direct people, they are visitors and we are only covering the evnt. We have to capture moments and try not to get in people’s way. One thing we can do though, is give our input beforehand. For example, changes in the lighting or move some furniture around. An important thing we discvoered was that the cocktails should not be in the main exhibition room.This creates a huge gathering around it that makes it difficult to film. Shots of people eating or drinking are really not what you want in this type of video. If the cocktails are placed too close to the exhibition space, you will always have someone eating or drinking in your frame.

Filming a live event like this is an interesting exercice. On one hand, the creative part is limited: we don’t direct people or prepare shots. But, on the other hand, we learn to react quickly, to adjust and to observe. A lot of the work is done in the preparation. You have to always be ready to catch a good moment. You need the right equipment for the job. It should be light and efficient. Also, it’s a great occasion to practice and see what does and doesn’t work.

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Last Night Filming at chezGrace

One of the most valuable items in our equipment bag is the Sony Minidisc Walkman. These handy little gadgets hit the market in 1992 and have come a long way since. They were originally intended to be the replacement of audio cassettes as a recordable CD. They never caught on with record companies, so consumers never really had a chance to experience the advantages over other technologies. Only a few albums were ever printed for the Minidisc. Where the Minidisc did succeed though was in its ability to capture sound. The list of uses for recording sound on Minidisc are almost as big as your imagination. With a microphone you can record live music, dialog, sound effects, background noise, conversations, take notes, etc, etc. Optionally you can record directly through the line in port from any device outputting sound: computers, tape decks, radios, scanners, soundboards, VCRs, DVDs, Video Games, etc, etc. A headphone port allows you to listen in real time as you record. It is small enough to fit in your pocket and yet delivers amazing sound recording capabilities. Not only does it record, it does so at near CD quality if not arguably higher depending on the model you use. Recordings can easily be split into tracks for later review and handling. Tracks can even be edited straight from the recorder. What is even better about Minidisc is that they can be reformatted and used over and over again. Though we use the Minidisc for recording only, todays Minidisc recorders have the ability to not only play mp3s, but can be used as a USB mass storage device as well. The Minidisc offers a very small medium, it measures 7cm x 6.75cm x 0.5cm (2.75” x 2 21/32” x 3/16”). They are known to be virtually indestructible. A good resource for all things Minidisc is minidisc.org (The Minidisc Community Portal). The website is a bit hard to navigate, but filled with a lot of useful information and stories of people and their Minidisc.

We currently use the Sony MZ-RH10 Minidisc Walkman, introduced in 2005. If you plan on purchasing a Minidisc Walkman, be absolutely certain it is a Hi-MD model. which replaced and greatly improved on earlier models. According to Sony, Hi-MD is: Hi-Capacity, Hi-Battery Life and Hi-Quality Combine to Create Ideal Digital Music Solution Features:

• HI-MD WALKMAN with large 5 line LCD display
• MP3 / Atrac3plus direct playback
• SonicStage for easy music management and unlimited check outs of your favourite tracks
• Supports all popular digital audio compression formats: ATRAC / MP3 / WMA / WAV
• Remote control
• Record from multiple source: USB-in / Mic-in / Analogue-in / Digital-in
• Extremely fast music transfer from and to PC: 1 CD in less than 40 seconds
• Capable of storing audio, video and data files on your HI-MD disc (Word, Powerpoint, ATRAC, MP3, JPEG, MPEG, etc)
• Rechargeable battery, Charging stand, AC Power Adpater
• Long battery life of 25 hours
• G-PROTECTION Jog Proof
• Transfer up to 45 CDs onto a single 1GB Hi-MD disc (with Atrac3Plus compression).

Recording Modes:

• Linear PCM: (16bits/44.1khz, i.e. CD format) Over 1 ½ hours of recording time on a 1 GB HiMD disc.
• Hi-SP: (Sony ATRAC3plus encoding at 256kbps) Almost 8 hours of recording time on a 1 GB HiMD disc.
• Hi-LP: (Sony ATRAC3plus encoding at 64kbps) Approximately 34 hours of recording time on a 1 GB HiMD disc.

It is powered by a High-Capacity Nickel-Metal Hydride rechargeable battery. Our model also supports an attachment that allows it to run off a single AA battery. There are several other accessories available, making the Minidisc even more versital and practical than anything else on the market. We often use a Sony ECM-DS70P stereo microphone with the recorder. It captures very clear and crisp sounds, though it is a bit sensitive. Fortunately enough, the Minidisc Walkman has a variety of recording settings, such as mic sensitivity. As a music player it also has lots of features and abilities, but for our purposes the recording is the most important. I leave the mp3s to the iPhone. The only real drawback is that Sony software has to be used on your computer to process recorded tracks. However this can be done with a PC or Mac. If you need a method of recording sounds on location, this device can serve as a primary or at least backup recording system.

Before purchasing a Minidisc Walkman consult the Minidisc Community website to find out about the differing capabilities and characteristics of each model.

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The Sony Minidisc

Many times in photography and filmmaking we require the use of a tripod. They are beneficial for panning, low light photography, repetitive shots, etc. The beauty of a tripod is that they can be set up level on virtually any terrain or studio position. Personally I like to always work with a level tripod. For the same reason I try not to hold the camera tilted to one side or the other when I take shots freehand. There are auto leveling gadgets for tripods on the market to assist in this aspect, although I have yet to try any. I am very comfortable leveling with a simple bubble level. I worked for a professional land surveyor for eight years, where use and efficiency with a tripod was a must. One of the first things we ever had to teach a new recruit was tripod leveling. Maybe you find it easy, but believe me most people have problems with it. Actually all that is needed is practice and a few tips. In the end everyone develops their own preferences. After a bit of practice and under perfect conditions, I could set up the survey instrument level and have the field computer on in a minutes time. There is no reason setting up a tripod level for a camera should take any longer, especially since the level of precision needed isn’t even in the same ballpark.

Most tripods come with some method of leveling, either in the form of a circular bubble level or in the shape of a bar. If your tripod isn’t equipped with a level, one can be purchased cheaply at most any hardware store. The main problem with photographic tripods is the weight. They tend to be very light and have a compact design for easy transport. This might sound like an all around good thing, but the drawback is the loss of stability. Even the slightest bump can knock a tripod out of level. To help avoid this problem you can position heavy objects at the base of the tripod legs to help keep them from moving. If your tripod has a rotating head, loosen the motion locks before turning, thus allowing it to move freely to the next desired position. Also be aware that if you are set up for an extended period of time, regularly check your level. Changes in temperature can cause the tripod legs to contract, in result bringing your camera back out of level. The best tripods in surveying are made of wood and fiberglass, they are heavy enough to stay in position and are less effected by weather. The problem there is nobody wants to lug them around all day. When using the circular bubble level, it is also helpful to consider that the sun can draw your bubble away from it’s intended position. It is always best to set up your tripod with the bubble opposite of the sun’s position.

Setting a tripod level is as easy as 1-2-3. When setting up the tripod, first do not extend the legs fully, allow yourself a little room for adjustment. Take for example the following image. We have planted the legs (Represented By A, B, and C) and are ready to level.
Now adjust the tripod legs one at a time so that the bubble rotates in the direction of any one of the legs like so. In this example I moved it to Leg A.

Now Leg A simply needs to be lowered until level is reached. If during this process you find the bubble is not moving towards the center, adjust Leg B or Leg C to put the bubble back in line with Leg A.

So now the tripod is in level. Not precise enough to survey a boundary to layout a new shopping center, but good enough for most photography needs. If your tripod has a rotating head, you may want to install a small bar level if you don’t already have one. Optionally you may use a small inexpensive level like used for hanging pictures or carpentry. Simply place it on top of the head, and rotate the horizontal motion accordingly.

If you have the desire to reproduce shots like Harvey Keitel in the film Smoke by Wayne Wang, you might find the following information beneficial. The first thing I recommend is to have a means of attaching a small plumb-bob to the bottom of the center post of your tripod. You may have to be a little inventive in this process. Use an attachment such as a hook or even a swivel (used on a fishing line) to fix the plumb-bob string from. As long as the string hangs from the center position you are OK. Either before or immediately after you set up the tripod, you need to establish vertical control. On turf you can place a nail or tack in the ground. Be sure to attach some ribbon to the nail, or some other means of easily locating it. They can be easily lost in the shortest of grass. On hard surfaces you can use a marker, paint, sticker, or even carve out an “x”. With the plumb-bob attached and hovering barely over your vertical control marker, you will have no problem reproducing your position. Having your tripod level is also a must. I highly recommend that you always carry a notebook and pencil for taking notes. Using a regular tape measure note the distance from your vertical control point to a fixed point on the camera, such as the center of the lens or even a button, as long as you have it in your notes you won’t forget. To remember the horizontal angle you used in your shots, try rotating the camera until you find a suitable place for another control point. For example, if you are taking a panorama of a lake, turn the camera to a nearby tree. Put a mark on the tree directly at the center point of your camera’s view finder. You can then use this horizontal control as a reference in future shots.

Harvey Keitel in Smoke (1995)

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Tripod Leveling Made Easy

Yesterday we filmed an exhibition opening at an art gallery in Montmartre, Paris. As i mentioned in an earlier post, I intended to film in Wide Screen (16:9) for the first time. Our camera, the Canon GL2, offers two options to film in Wide Screen:

• The first option is to display two lines (one of top, one of the bottom) showing the limit of the 16:9 frame. You can then film in 4:3 and, when post-producing, generate a 4:3 version and/or a 16:9 version. If you respected the lines while filming and framed making sure that no important information was outside the limit, both versions will be OK.

What you see in the viewfinder

The resulting squared ratio image

The resulting wide image

• The second option is to modify the aspect ratio and film in 16:9. In that case, in the viewfinder, you will see what you are framing but resized to a 4:3 ratio. It will make everything look squeezed and distorted but when played back in the correct ratio, the image will be perfect. While you film, you can rely on what is and what is not in the frame which is the strong point. The weak point of course is that everything you see through the view finder is deformed by the 4:3 ratio.

The image as seen in the squared viewfinder

The image as seen in the resulting wide screen movie

As this was my first time filming with that ratio, I expected difficulties framing but it actually came naturally. The only thing that disturbed me at first was that I had to place myself a little bit further away from a painting to film it entirely since, to film 16:9, the camera has to blow everything up a little bit. I quickly adjusted to that and all my instincts fell back into place.

As for what the ratio brings, well, it enables to put more characters or more action in the frame which brings more depth, more life to the images. It also looks more like the movies we’re now used to and I think it is now a necessary thing for video makers to do. We just can not afford to keep using 4:3 when everything else people watch is shot wide. At no point did I feel like I missed the 4:3 ratio, I doubt I will be going back.

Please don’t hesitate to comment on your experience if you already switch to 16:9, let us know why and when you switched and what you like and dislike about this ratio.

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Filming in Widescreen

Rather you are a professional or amateur camera user, you probably have experienced fatigue after shooting for extended periods of time or had difficultly keeping the camera steady under certain situations. A few years ago Samantha came to the conclusion that we needed a shoulder rest for our camera. One day she came home from work with a piece of paper of a rough design and told me I was going to build one for her. After looking at several models available for purchase, we came to the conclusion it was a good idea to give it a try. No one model at the time had all the features we thought would be beneficial and would of stretched our pocket book at the time. We set a budget of €50, roughly equivalent to $65. This price also included the tools needed for construction, such as a drill, file, and hacksaw. I had just moved to Paris and unfortunately I had to leave behind a multitude of tools back in the US. Our first stop was Leroy Merlin the French equivalent of stores like Lowes Hardware and Home Depot. I have always like to design things in the hardware store, looking at pieces and get inspiration of what all can be possible. The design was simple, piece of flattened steel, some nuts and bolts, a flashlight (for the handle), and a nylon strap. We then went to a fabric store for cloth and foam padding. The most expensive piece of the whole design was the purchase of a €16 tripod mount from Fnac. With tools in hand I put together what we affectionately call the Cam-Perch. The hardest thing in the whole construction was sewing the shoulder pad together. We’ve had great success with the Cam-Perch. It offers a stable and adjustable method of holding the camera. It can be strapped on offering more control and hands free filming as Samantha discovered while she used it while riding a bicycle through NYC. Actually she was even stopped by a filmmaker who inquired about it. I told her I wished she would of sold it to him on the spot, but she would in no way part with it. The Cam-Perch was first designed to mount a small camcorder, but holds our Canon GL2 just fine.

For those of you wishing to build your own shoulder rest you can take ideas from my design or ask questions, which might lead to another post of how to construct it. You can also check out http://www.instructables.com/id/DIY-camera-shoulder-rest/ for a very good tutorial on how to make a simple and cheap shoulder rest.

NOTE: This post has been continued DIY: Camera Shoulder Rest – Part 2

There are several good camera rest available for purchase for those not wanting to attempt your own model. Use the link below for a nice selection from B&H.

S-800 Super Pro Shoulder Support

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DIY: Camera Shoulder Rest

As the story goes, in the fifties, Widescreen was the argument cinema opposed to the increasing power of the television. It was a way to improve the magnificence of the cinema in order to keep audiences coming. Thus, leaving behind their newly acquired small and grainy little black and white box. Actually, alternative (wider) ratios had already been used prior to the 50’s. Still the coming of the Cinemascope or of the less destructive VistaVision were due to the studio’s worries over television and the falling attendance numbers. Eventually, in the fifties, the 1.85:1 ratio became the standard, at least in American cinema as opposed to the past 1.33, “squared” ratio.

The Big Heat by Fritz Lang (1953)

As usual, the technical progress is the combination of technology and the need someone will have for it. As they say: “necessity is the mother of invention”. So widescreen had been around but it was an expensive luxury. Studios needed special cameras and film and theaters needed a specific projector. The need to keep a deserting audience coming pushed theaters owners and studios to switch their equipment to support the new format. In the same way, I believe electric cars don’t stand a chance at replacing the current gasoline ones simply because there is no immediate advantage to car makers. Maybe if gas gets more expensive, car designers will rush to offer an alternative.

Bad Day At Black Rock by John Sturges (1955)

About seven years ago, Apple made an incredible comeback selling iPods. The iPod became the unsurpassed leader of the portable music player market. The iPod, the first one, was a great product but it wasn’t that much better than its competitors of the time: it just played music. The difference with the iPod was that they created a product that really met a demand: a nice, elegant device to play music on the move. It was not about storing data and playing music. It was about music. It introduced album management and music online shopping. That probably was, the first real step in the connected-multimedia world we live in now. It changed the way we regard our digital devices. Apple’s marketing campaign for the iPod was all about the music. They showed hundreds of albums covers pouring out of iPods and people carelessly dancing in the intimacy of the sound that only they could hear and carry around.

Computers quickly followed this marketing path. Nowadays, a computer company doesn’t advertise about its storage capacity, it advertises about the possibility for you to store and edit your photos. Internet providers don’t advertise a 20Mbits/seconds connection speed, they advertise the “possibility to watch streaming HD TV”. Multimedia, whatever it is, became the first advertising element for everything digital. Strangely enough, computers, and especially laptops, were the first to go widescreen advertising on the possibility to watch movies. Suddenly, the computer became a smart TV. It could do all the computing tasks and replace the TV. A lot of teenagers don’t watch television anymore. Students, when going to college bring a single device, the laptop which holds everything they need: music, movies and works.

Televisions finally caught up with the trend and became flat with wide screens. To compete with the computers, they argue they offer a better resolution and a better quality. And then appeared the HD-Ready and Full-HD logos we now see everywhere.

Nevertheless, everything is widescreen now. Everything that comes from the film industry that is (and little by little what comes from the broadcasting industry) but what about what we do, what about us, video makers. Our videos look “square”. They don’t fit the computer screen, nor the iPhone screen. Little by little, the video format will switch from 1.33 to 16.9. Most cameras, even the low end ones, now offer an option to film emulating a 16.9 aspect ratio. I say emulate because the sensor is actually still a 1.33 and the option only disables the sensors of the top and bottom rows to frame the image with the 16.9 ratio. It’s cheating and cutting down but it looks like cinema.

Last week, youTube, the main video broadcast website, went widescreen too! From now on, it’s widescreen all around! A movie like Mr. Smith Goes To Washington will suddenly look even older. Not only doesn’t it have color, it doesn’t even fit the screen anymore. I can only imagine the disaster if editions with reframed ratio start coming along, cutting not the valley and mountains on the border of the cinemascope western frame, but the foreheads and collars of the golden age Hollywood stars!

Audiences are now distracted by the Internet. What is the new effect cinema will bring to keep its attendance? The hype, when I walked around the IBC [International Broadcasting Conference] in Amsterdam last year, seemed to be around 3-D. 3-D, just like wide format before it, has been around for a while. Actually, one of the first 3-D movies, Hondo, stars John Wayne and was directed by John Farrow back in1953. This time, with a new increased competition, 3-D might make a lasting comeback. We shall see.

So what about us, World Wide Angle? I admit I want to try my hand at this wider ratio. Our camera, the Canon GL2, offers such an option and I will be trying it out at our next shoot. Until now I have filmed with a 1.33 aspect. Lately we have took a lot of photos with the 1.5 digital camera ratio and that made me want to use a wider aspect with the video too. Next shoot: exhibition opening at chez Grace on Saturday evening. We shall discuss widescreen further then.

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Get Wide?

As many of you may know, John Travolta and Jonathan Rhys Meyers will be starring in a new Luc Besson production titled From Paris with Love, directed by Pierre Morel. The film is currently filming in Paris and has received a bit of press concerning recent issues. Production of the film was originally set to be in the Northeast suburbs of Paris in Les Bosquets de Montfermeil, a notoriously impoverished area and one of the toughest housing project areas in Europe. After 10 cars were burnt and crew members threatened, production was obviously stopped. The London Independent reported that police were investigating reports that the cars were set afire after the producers refused to pay a local gang “protection money.” In any case concerning the situation, these areas around Paris have been explosive over the last few years with similar types of reactions over various issues. Now production is back underway and and better safety precautions are being taken.

According to IMDb the plot is that a young embassy employee hooks up with an American spy in Paris. I hope not to give a spoiler but there is a scene in this film at an airport. I can say this with confidence because I was there last night and into the early morning hours in my motion picture debut as an actor. Well sort of, an extra at least. It seems that I fit the qualifications to pose as an American tourist coming to France. Hmm, imagine that. I had the opportunity to take only a couple of photos with my iPhone to remember the experience and share here, nothing very interesting and certainly not reveilving.

I saw a posting for the job on the Craig’s List website and thought why not, it could not hurt to try. Actually getting myself on the set of a major production was an important step to our own venture. I hoped to have the opportunity to make a connection or two in the industry. I was told there would a lot of waiting around and  doing nothing, but it was no where near as bad as I expected. I studied the crew at every chance and tried to absorb as much of the atmosphere as possible. I was very impressed, I thought they were very efficient and professional. Unfortunately there were no stars on hand last night. Apparently Meyers could not be there last night for some reason or the other, which required us to take many shots with a green screen for later shooting. I was very pleased to see this in operation. I paid particular attention to the equipment used and placement of lighting. Thinking all the time how we could emulate similar situations for ourselves. Fortunately Samantha has also been on the set. She was an invited guest of director Josée Dayan in the filming of Les Liaisons Dangereuses a French TV mini-series. So we both now have had a taste of the “big time” and both of us are eager to achieve our own dreams. I don’t think I came away from the experience with a sure fire hook-up to open all the right doors for us, or gained some kind of valuable work experience, but I did get a little compensation and had the opportunity to hang out and share some laughs with fellow figurants (extras). Maybe most of all, I will never have to say again, “yes, this is my first time”. Amoungst the extras I met was a guy from Spain named Yann Soitiño. He has one of those rare and unique jobs that many of us envy. He was an extremely helpful and friendly, you can check out his website at http://swordmaster.eu/). I also met two really nice and interesting guys from Australia, who like me were newbees on a big production set. One of which is Ben Phillips (A graphic designer currnently staying in Paris). Also, a fellow by the name of Gregoire, who’s last name I’ve misplaced in my mind, maybe he will email me sometime and I’ll update this post. He is here in France under similar circumstances of myself, that is he fell in love with a French woman. All of these guys made the experience a lot more comfortable for me and I appreciated having someone able to traslate the things I didn’t understand. They helped fill the holes that my sporadic French skills left behind. In summary I would like to just say that I hope I don’t end up on the cutting room floor.

Post from: World Wide Angle

From Paris With Love