Archive for May, 2010
Today, I put my Canon T2i to work. I was excited because it was the first time I’d shoot all day on a project using my new DSLR.
It was a music video for a local pop punk band named Public Gluttony. The title of the song is “Lip Ring Girl.” Their sound is inspired by bands like Blink 182 and Sum 41.
It was a one-day shoot that required 6 scenes in 2 different locations. I worked again with familiar faces from the SF 48 HFP. Bing Lim wrote the concept and directed the video, and Rhia Abarquez produced it. I also met Roland Posados, who was A.D., but as the shoot progressed, he offered himself to be second camera using his 7D. I think we worked really well together to make sure we covered scenes thoroughly; he also shot several inserts that I think will turn out nicely for the edit.
It was a long and exhausting day, but we accomplished to get all of the shots we needed for the music video. Juggling time, shots, continuity, equipment, transportation, food, actors, etc. from 7am to 11pm!
I had a great experience working with the cast and crew. Everybody was on task and ready to work.
One thing about this production that’s different from any of my others, is that the edit will NOT be handled by me. Editing is my favorite part of the whole process because that’s where I think a lot of the magic happens. But because of my commitment to other projects, I decided that it would be best to have another editor piece this music video together. It will be very interesting to see the result! It wasn’t the easiest thing to do (letting go of my own footage), but I’m confident they have an editor that will piece it together how we visualized it.
Awesome way to spend my birthday weekend, doing what I love! More to come when the post-production process is completed.
Motel 6 Petaluma was my home for the last 6 days. I was “on set” performing data drops, transcoding, and light editing of Project: Arbiter footage.
Project: Arbiter is a short independent film written and directed by Michael Chance. I met Mike during the 72-Hour International Shoot-Out back in December; he was the producer of our team. He called me a few months later and told me about his own project that he’d been working on the past two years: a Sci-Fi/WWII film titled “Project Arbiter”. He gave me a brief synopsis, told me he liked how I worked on the shoot-out and asked if I would be interested in coming aboard as Editor for the film.
I didn’t fully realize the potential for the film until I saw the trailer.
I was excited to be asked to be a part of his production. It’s probably the most ambitious production I’ve been involved with to date. For one thing, it is to be shot on the RED One, and I’ve never edited RED footage before, so I know I would be learning a lot.
In fact, the first couple of days was spent testing different methods of transcoding the RED footage with various programs. Jesse Boots, our VFX artist, taught me how to use Red Rushes to quickly set up batch transcodes for the dailies. It would take the entire night, sometimes into the next day, just to transcode the raw footage into workable ProRes files that Final Cut cut handle without any lag.
And that was part of the challenge: the whole point of me being there was to try to get some kind of rough cut going so that Mike could see the direction the edit was going in. That way, any pickups needed could be taken care of by a second unit. But because of how long transcoding took, it wasn’t until that Friday that I had some kind of rough cut for the “battle sequence” that Mike could look at.
I had an awesome editing setup in my room. Jacob Rangel (Director of Raton and KnuckleBerry) brought over his desk and Jason Burton (DP of Raton and KnuckleBerry) brought in the “Beast” (a fully-maxed out ‘Hackintosh’) to churn out the transcodes way faster than my Macbook ever could. It made it possible to be able to get in some kind of editing time because of the speed it was cranking out the ProRes files.
You’ll notice that I like to edit standing up; film geeks always refer to editing master Walter Murch, but I actually picked up the idea from my dad. And after reading Walter Murch’s book “In the Blink of an Eye”, I learned that it is his preference to do the same! I’ll have to get more into what I’ve learned reading his book in another blog.
Though I didn’t get to actually edit as much as I hoped, it still worked out, and we were able to determine more inserts that we could shoot with second unit that next-to-last day of shooting to help fully piece the sequence together!
The footage alone is incredible. I could see first-hand the result of two years of planning, and it just got me more excited for the opportunity to piece the whole puzzle together. This is going to be one of the biggest editing projects of my career, and I can’t wait to slice away!
More post-production updates to come as they develop.
Last year, my friends and I competed in the San Francisco 48 Hour Film Project. It was the first time for all of us, and we were in for quite the weekend. In planning for it, I knew I wanted the experience to be captured on tape (yes, i said “tape”!). This was also the first time the folks I put on this documentary team (Antonio Galvan, Mike Nunez, Cedric Reyes) were in control of a project this big, let alone a documentary at that. I tried my best to give them a crash course in the basics of shooting for the edit, and let them loose.
Fast-forward almost one year later, and now the final segment has been completed. Much props to the whole team, especially to Antonio who was stubborn enough to stick to finishing the edit at a time when the momentum and excitement of the weekend had all but vanished (their original deadline was just a few weeks after that weekend. it was meant to be a quick project for them to get their feet wet… then it became stuck in “post-hell”).
His relentless pursuit of the final edit pushed him to edit a couple of hours each night after work for the past several months, and he successfully turned hours upon hours of (to be quite honest) mundane footage into the memorable story of our experience competing in the 48 Hour Film Project. Not only that, he edited this bad boy using iMovie. iMovie?!!? I don’t even know how to use iMovie!
Also, if you haven’t seen it, here is the final edit of our film, “Ties that Bind”.
Stay tuned this summer, for the dates of the 2010 SF 48 Hour Film Project have just been announced. ROUND 2! The Madness continues…