InFocus Film School Blog

 

Student Profile: Renee Sutton

“Film is what brought me to Vancouver and then I got distracted by many other things in life that eventually brought me back to film again – so its like a big circle!”

Renee’s “many other things” include traveling in Australia where she discovered scuba diving and a love for the ocean. A self-described mermaid, when Renee returned to Vancouver after traveling in Australia, she managed a dive shop on Granville Island for two years.

Her primary goal coming to InFocus was to create documentary films that inform people of the danger and consequences of mistreating the ocean and the environment. But through her studies with InFocus, her methods have evolved.

As Renee puts it, writing her short film PlastyQuaderBottle “really opened my eyes…I could do something with the message of environmentalism, that I’d like to convey in documentaries, [by] writing it into a fictional story…I never even considered that I could do fiction or drama while still conveying the meaningful messages I wanted to.”

Renee’s enthusiasm for film hasn’t diminished since her arrival to study in Vancouver. But now her filmmaking has a purpose and a message that must be shared – and InFocus is giving her the skills to do that. “I feel now, with the tools I’ve learned [at InFocus], I can make documentaries that carry a message that is important to me…while at the same time, I can apply the creative techniques I’ve also learned, using lighting and camera movement, to meld typical documentary methods with something beautiful and cinematic.”

Check out Renee’s bio project below:

 

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DIY Filmmaking: Building Your Film Kit

Let’s say you’ve just graduated film school. You’ve managed to convince investors (AKA your parents) to give you $5000 to start your career. What equipment should you buy for your film kit?

Camera

There is really no right answer in this category, it all depends on what you’ll be shooting and your personal preference. Don’t spend thousands of dollars on a camera unless you’re sure it will pay for itself. While REDs and other high-end cameras may be alluring, going the DSLR route is definitely a much better choice for beginners.

Good Choices:
  • Panasonic AF100A: $2000
  • Panasonic GH4: $1700
  • Canon 7Dii: $1500
  • Canon 70D: $1000
  • Olympus E-M5 II: $1000

Lenses

If you know what to look for and are comfortable going second hand, this is the area to do it, but don’t cheap out! Your glass is honestly more important than the camera behind it. The focal lengths you choose will depend on the sensor size of your camera, but I would recommend getting a couple good zooms and 24mm and 50mm equivalent primes.

Tripod

A good set of sticks with a fluid head is another essential for any filmmaker. Manfrotto is the standard but can get quite pricey so shop around. Pay attention to the load capacity and make sure you’re not going to exceed it. The Manfrotto 190X3 is great if you have a DSLR, but put a video camera on it and you’ll quickly pass the 8 lb. limit. Expect to pay $300-$500 for a decent set of legs. I also keep a cheap photo tripod for use in sand, mud and other environments that might be damaging.

Audio Equipment

You’ll need at least a shotgun mic for shooting with a DSLR, but a couple of lavalieres are a good investment as well. If you’ll be doing dramatic shooting you’ll probably need wireless lavs, but for interviews I love my Sony ECM-77s. The good thing with mics is that if you treat them right, they’ll last forever, so don’t be afraid to spend a little bit of money here. Don’t forget to budget for a recorder and some cables as well.

Accessories

Lighting, shoulder rigs, extra batteries, data storage… you could easily spend your entire budget again on accessories and specialized equipment. Ask yourself what you’ll be shooting the most and prioritizemy_collections-0012-WEB your shopping list based on that. Will you be doing a lot of corporate work? Then you’ll probably want a good lighting kit. Dramatic projects? Maybe you can get away with homemade lighting and some C-stands and a field monitor are a better choice. Get what you need before getting what you want.

Dylan’s Kit:

Here’s what I would buy. As most of my experience is with Canon, that’s what I’m sticking with. I do more doc projects than drama, so I kept that in mind, and built a kit that works for corporate jobs as well.

Keep in mind there are always rebates and other deals that you can find. With those I might be able to knock another couple hundred off my final price.

Camera and Lenses
  • Canon 7Dii w/ kit lens: $1800
  • Canon 18-135 3.5-5.6: Included
  • Canon 24-70 2.8 (Used): $1000
  • Canon 50 1.8 (Used): $80
  • Canon 28 1.8 (Used): $350
Tripod
  • Manfrotto 190X3: $300
Audio
  • Røde NTG2 Shotgun Kit: $250
  •  Shock Mount: Included
  •  1.5’ XLR: Included
  • Sony ECM-77 Lav: $280
  • Zoom H4N: $200
  • 20’ XLR: $15
Extras
  • Lowel Pro-Visions Light Kit: $450
  • Extra LP-E6 Battery: $35
  • 32GB SD Card (x2): $60
  • Pelican 1510 Hard Case: $165

Total cost: $4985

Go shoot some films and make your parents investors proud!

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4 Cheap Rigs for the DIY Filmmaker

Filmmaking can be expensive. So how does a filmmaker straight out of school afford all the fancy gear that they’ve been taught to use? One option for handy filmmakers is to make it themselves. There are plenty of DIY projects out there on the web, here are a few that we’ve highlighted, either because they’re super easy, ridiculously cheap, or amazingly handy.

The Itsy Bitsy Slider

A few tools, a camera plate, and a free sample kit from Igus are all you need to make this mini slider. Great for small, subtle movements, it proves size isn’t always everything. Plus, if you have a spare camera plate it’s completely free! Get the Igus “Mini Sample Kit” here.

The RotoRig

Not the easiest build, but at under $50 this jib/shoulder rig is definitely worth the effort. Be sure to check out the description in the Youtube video to get the full list of supplies.

The KrotoCrane

$50 too much for you? How about $20? This Jib made by Chad Bredahl of Krotoflik, the same mind behind the RotoRig, is a stupid cheap, super effective crane.

The Dual Shoulder Mount

If you’re like me, you’ll find most shoulder rigs to be ridiculously overpriced. Clocking in at only $25, that can’t be said for this handy tool from Film Riot.

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6 Tips For Succeeding as an Assistant Director

While the director may be the big fish on set, to be an assistant director you need to be a shark.

Assistant-Director2A film set models its hierarchy after the military, and as the highest “below the line” role, the 1st AD is like the commander. Starting in pre-production they break down the script and plan and schedule the shoot.

Once the film goes to picture, the AD runs the set. Acting as a communications hub they ensure the shoot remains organised, safe, and on time. Responsible for the smooth execution of the production, being an AD is easily one of the most stressful jobs on set, but if you can handle it, it can be extremely rewarding.

Interested in the role? Here are six tips for succeeding as an AD:

  1. Don’t slack off in pre-production. Prep is the most vital aspect of having your shoot run smoothly. Did you plan enough time for lunch? If you have a company move, did you account for traffic? Be prepared to spend as much time planning the schedule as you will spend on set.
  2. Communicate. Speak loudly and clearly and listen closely to what others are telling you. Be sure everyone knows what is happening, ask questions if there is uncertainty, and don’t be scared to be the bad guy if someone isn’t doing their job.
  3. Be organized and well prepared. Always think several steps ahead. Have extra copies of the script, call sheets, and any other important documents available.
  4. Be confident but not cocky. Be firm with your orders and confident in your decisions, but always listen to advice and criticism. Arrogance is the fastest way to get your crew to lose respect for you.
  5. Respect your crew. Don’t talk down to anyone, put a stop to any gossip, and most important, don’t micro-manage. Your crew members are (hopefully) professionals hired to do a job. Let them do it.
  6. Have a sense of humour. Film sets are stressful environments and it’s your job to keep the crew from getting overwhelmed. Humour is a great tool to lift spirits and keep the set productive.

Thanks to InFocus’ assistant directing instructor Rosalee Yagihara for her help with this article. 

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Ten Tips for Green Screen

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Compositing techniques have been around since the beginning of the film era. Starting in 1898 with Georges Méliès’ matte photography, image compositing processes were a technically challenging aspect of filmmaking for nearly a century. Thanks to the rise of digital post production however, today blue or green screen compositing is a very easy and effective way to put actors in situations that would be too difficult, expensive or dangerous to do otherwise. Nearly every Hollywood feature now uses the technique, and whether you love or hate the rise of digital special effects, it is here to stay.

Even beginning filmmakers can take advantage of green screens with almost any mid-range editing software. Check out the video below for 10 tips on how to improve your green screen shoot.

 

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Vancouver A Hotspot For Fantasy and Sci-Fi Film

Rise of the Planet of the Apes was partly filmed in Vancouver

 

Super, Natural British Columbia. As a filming destination, we could easily lose the comma in our provincial slogan. As the unofficial ‘Hollywood North’, Vancouver draws in a huge number of sci-fi and fantasy productions, and has hosted everything from major blockbusters and prolific television series, to cult classics with rabid fanbases.

There are several major productions slated to shoot here in the upcoming year, including Star Trek 3, Tron 3 and the newest addition to the Marvel Cinematic Universe, Deadpool.

Here are five reasons why Vancouver is the absolute perfect location to shoot sci-fi and fantasy:

 

 

1. ONE STOP VFX SHOPPING 

 

An increasing number of productions that shoot here are opting to work with local VFX production houses to fulfill all their lens-flared-space-battle needs. Lucasfilm’s Industrial Light and Magic even opened up a permanent 30,000-square foot studio downtown last spring.

 

Here are some of the notable studios, and the locally shot productions they worked on. Keep in mind some of their credits overlap as production companies spread bigger design jobs to multiple companies.

 

Artifex Studios has provided visual effects for several series that were shot here, including Continuum (Showcase), Almost Human (Fox) and Red Riding Hood (Warner Bros).

 

Zoic Studios is the production house responsible for developing the special effects for Battlestar Galactica (Syfy) as well as Arrow (The CW) and Once Upon A Time (ABC).

 

The Embassy Visual Effects received an Academy Award nomination on their work on District 9 (Tristar Pictures) and have continued to work with director Neill Blomkamp as he moved his productions to Vancouver, and developed the visual effects of the weapons in Elysium (TriStar Pictures).

 

Image Engine has an incredible reel of past feature work, including acting as the main VFX team behind Elysium (TriStar Pictures), Watchmen (Warner Bros) and X-Men Origins: Wolverine (20th Century Fox).

 

 

2. LOCATION, LOCATION, LOCATION 

 

Vancouver is widely known for its rain soaked old-growth forests, but it’s just as easy to find rocky beaches, snowy mountains and, if you drive out a little further to the east, sandy deserts. The incredible visual diversity of our city is one reason that crews have been flocking here to film projects, ever since The X-Files proved that it could double for pretty much any location in the United States.

 

The range of climate zones in British Columbia is so extensive that it has been an indispensable resource to television shows that need to cheat locations from around the world, or for any production company that doesn’t have the budget to shoot in several different countries.

 

 

3. CITY OF GLASS 

 

Vancouver is one of the youngest cities in North America, and the futuristic architecture rising out of our downtown core is positively built for a sci-fi setting. It isn’t difficult to imagine a prospective director standing on a corner in Coal Harbour and feverishly quoting JJ Abram’s Super 8: “Production value!”

 

It doesn’t hurt that only a few blocks away the cobblestoned streets of Gastown can easily be transformed into a charming heritage scene, or the deserted remnants of a post-apocalyptic future (and it has!).

 

 

4. MILD CLIMATE 

 

For year round shooting, Vancouver can’t be beat. Warm summers, mild winters – and if you’re shooting a sci-fi or fantasy project the constant rain will just add to the mood of your production.

 

 

5. TRIED AND TRUE

 

Vancouver has been home to dozens of fantastic projects, and continues to be the ideal shooting location for creative and ambitious production teams.

 

Here are just a few of the television series and films that have used Vancouver as a location:

 

FILMS:

Tron: Legacy, The Cabin in the Woods, I, Robot, Fantastic Four, Watchmen, The NeverEnding Story, The Twilight Saga, Rise of Planet of the Apes, X Men: The Last Stand, Elysium, Man of Steel, Godzilla

 

TV SERIES:

Supernatural, The X-Files, Battlestar Galactica, Fringe, Once Upon A Time, Arrow, Eureka, Smallville, The Vampire Diaries, Continuum, The Stargate Series, Dark Angel, Caprica, Taken, Dead Like Me, Highlander, The Flash, The Outer Limits, The 100.

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Shooting in Vancouver: A Cinematographer’s Guide

Vancouver is a premier location for shooting film and TV. But what artistic edge does it have over other major cities? Here are 5 factors that differentiate shooting in Vancouver.

1. Vancouver’s higher latitude means extended daytime shooting hours during summer–­ a huge boon for productions shooting on a tight timeline. During peak filming season, Vancouver gets up to 16 hours of daylight, two hours more than Los Angeles, yet avoids the southern California heat during summer.

2. With softer light, ideal lighting ratios and a warmer colour, the “golden” or “magic” hour after sunrise and before sunset is often the best time to shoot. In any given season, the sun in Vancouver remains lower on the horizon than in most US cities, giving Vancouver a magic hour that is actually way longer than one hour, and often spectacular for more than two.

3. Vancouver often has a thick cloud cover that diffuses light. Harsh sunlight pouring above your subjects is complicated to control and a sky sprinkled with clouds is a nightmare due to constantly changing light. Cloudy grey skies make for constant lighting conditions and a much easier shoot.

4. Although Vancouverites love to complain about it, rain isn’t always a bad thing. Our mild winters and lack of snow allow for a nearly year-round shooting window. Although uncomfortable to hold a shoot in the rain, it often doesn’t read on camera and can easily look moody, arty, and unlike anything that LA can offer.

5. Compared to popular American film locations, Vancouver’s air pollution is low. Cleaner air means a larger spectrum of unfiltered sunlight. In places with heavy pollution, sunlight may come pre­filtered and muted, negating much of its artistic usefulness. The lack of pollution during sunrise or sunset provides a gorgeous broad spectrum in Vancouver­ and exquisite backdrops.

Written by Freddie Kim

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In Focus Alumni Win Storyhive

A huge thanks to everyone who supported Pull Focus Alumni on Storyhive!

We’re excited to announce that TWO projects by our alumni have won $10,000 grants .

1507757_919687078044060_8804219680558517433_nQuite a feat, considering there were over 100 projects in the running.

The teams are now hard at work in the pre-production stage of their Web Series’ pilots, which are set to be complete by March 2015.

In Focus Alumni Holly Hofmann won a Storyhive grant this past spring as well. Check out the film she made here.

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Creating Your Digital Strategy: Key Points

It’s no secret that the digital age has radically transformed the film and television industry. With box office sales declining, and people cutting their cable in favour of online streaming, producers are scrambling for ways to monetize their content.

Pull Focus recently had the pleasure of hosting Matt Toner, a digital media producer, entrepreneur and president of social media company Zeroes to Heroes. Matt gave key insights about the new direction of multi-platform content, and the changing landscape of film and television distribution.

Here are a few of his key points for filmmakers and content producers.

1. Your digital strategy may be engaging and interactive. But it still needs to increase your bottom line.

A few years back, the idea of using multiple platforms to tell a story or promote content seemed like a marketer’s dream. Digital media strategists came up with elaborate tie-ins to films and tv shows that included video games, apps, and fan fiction contests. The problem was, these add-ons did nothing to increase the production’s revenue.

Online platforms that help you reach and engage with your audience, and build buzz around your project are still great tools to use. But don’t blow your budget on an elaborate digital strategy that won’t boost your ROI.

2. Our viewing habits are changing. Seize the opportunity.

Yes, we’re accessing content online and through VOD more than ever before and traditional models of distribution are, as a result, effectively breaking down. While it’s easy to merely bemoan this change, the smarter move is to seize the opportunity. As a filmmaker or content producer, you have far more distribution options than ever before.

imgres-2Matt’s own company Zeroes to Heroes is about to release Wannawatch.It, a web app that aggregates consumer demand to see movies. Filmmakers can directly upload their content to the site, effectively eliminating the middleman. Once there is enough demand to see a particular film, it will be screened in a theatre.

3. Welcome to the Information Age.

Digital, New Media or Information Age – whatever you want to call it, one thing is certain: we have more access to data about people’s viewing habits and interests than we’ve ever had before.

How can this benefit filmmakers and content producers? It can help you find out who your audience is, and where they are. Google Analytics provides a wealth of information about users that visit your website. This info can be used to target specific demographics on social media sites and around the net.

Build your audience and ultimately, a community of supporters for your film, and you’ll be one step ahead of the game. You’ll also have the numbers to back you up when it comes to funding, or distributing your content.

For more exciting speakers, and cutting edge views on the future of filmmaking, stay tuned to this space.

 

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A Look At The World Of 4K Recording

Since introducing the GH4, Panasonic has become the newest competitor in the Ultra HD scene. With AV enthusiasts increasingly turning towards 4K, we’re taking a look at some of the current players in 4K recording.

Red Epic Dragon

RED-Dragon-with-New-Top-PlateRED is one of the best known brands in the Ultra HD world, and has a reputation as a leading innovator in cinema technology. The newest member of their line up is Red Epic Dragon. Their latest sensor boasts 16.5 stops of dynamic range in addition to its size and resolution. The amount of noise, which has been the chief complaint about the RED line of cameras by cinematographers in the past, has been vastly improved even at 6K RAW. Epic Dragon, of course, comes with all the advantages of other RED cameras such as RED workflow, RED codec, and compatibility with both EF and PL mount lenses, which gives you maximum lens choices.

Quick Spec Overview:

  • Sensor/Effective Resolution: 19 Megapixel DragonTM(35mm)/6144 x 3160
  • Dynamic Rage: 16.5+
  • Recording Modes: 6K RAW (2:1, 2.4:1) 5K RAW (Full Frame, 2:1, 2.4:1 and Anamorphic 2:1) 4.5K RAW (2.4:1) 4K RAW (16:9, HD, 2:1 and Anamorphic 2:1) 3K RAW (16:9, 2:1 and Anamorphic 2:1) 2K RAW (16:9, 2:1 and Anamorphic 2:1) 1080p RGB (16:9) 720p RGB (16:9)
  • Lens Mount: PL and EF

Delivery Formats:

  • 4K : DPX, TIFF, OpenEXR (RED RAY via optional encoder)
  • 2K : DPX, TIFF, OpenEXR (RED RAY via optional encoder)
  • 1080p RGB or 4:2:2, 720p 4:2:2 : Quicktime, JPEG Avid AAF, MXF.
  • 1080p 4.2.0, 720p 4:2:0 : H.264, .MP4

Frame Rates: 23.98, 24, 25, 29.97, 47.96, 48, 50, 59.94 fps, all resolutions

Dimensions/Weight: 5lb

Sony CineAlta F65

Ever since its entrance into the Ultra HD world with PMW­F55, Sony has quickly become RED’s major competitor in the field. The latest in their CineAlta line up is F65 which offers recording up to 8K resolution. Like the RED camera, Sony users can take advantage of Sony’s own 4K workflow. It uses CMOS sensor and has a rotary shutter option to overcome the defects of rolling shutter. The sensor also employs an S­Gamut system which provides wider colour space than a print film to achieve the most natural colour.

Quick Spec Overview:

  • Sensor: Total 20 Megapixels, 28mm (d)/ 8192 x 2160
  • Dynamic Rage: 14 Stops
  • Recording Modes: F65 RAW­SQ 16 bit Linear 2.0 Gbps, F65 RAW­HFR 16 bit Linear 2.0 Gbps, F65 RAW­Lite 16 bit Linear 1.20 Gbps, SR­HQ HD 12 bit­10 bit 4:4:4 880 Mbps, SR­SQ HD 10 bit 4:2:2 440 Mbps, SR­Lite 10 bit 4:2:2 220Mbps
  • Lens Mount: PL Mount

Delivery Formats:

  • MPEG­2 Long GOP
  • HD 422 mode: CBR
  • 50 Mbps max
  • MPEG­2 422P@HL

Frame Rates: 23.98p/24p, 25p, 29.97p, 59.94p/60p in most recording mode, 119p/120p in HFR

Dimensions/Weight:12 x 9­1/8 x 7­3/4 inches (305 x 227 x 195 mm)/11lb (5Kg)

GoPro Hero3+ Black Edition

GoPro has also dipped into the UltraHD pool with their latest camera Hero3+ Black Edition. Like the rest of GoPro’s products, Hero3+ is more suited to specialized purposes than straight up filmmaking. Hero3+ Black retains all the advantages of GoPro in addition to 4K resolution. It is incredibly light at 74g (20% lighter than its predecessor), comes with waterproof housing, time lapse and burst photo mode, WiFi remote and adhesive mounts to capture your next adventure in Ultra HD.

Quick Spec Overview:

  • Sensor: 12 Megapixel/4000×3000
  • Recording Modes: 4K, 4K 17:9, 2.7K, 2.7K 17:9, 1440P, 1080P, 1080P Superview, 960P, 720P, 720P Superview, WVGA
  • Lens Mount: N/A
  • Delivery Formats: H.264, mp4

Dynamic Range: Couldn’t find exact number of stops. But Hero3+ series is said to have a vast improvement in dynamic range compared to the previous series, allowing much more information to be retrieved from the highlight or black area.

Frame Rates: Ranging from 12FPS to 240FPS, availability depends on the resolution. (Only 12FPS available at 4K)

Dimensions/Weight: 74g

Blackmagic Production Camera 4K

Blackmagic is another new force in camera technology innovation. It has produced a line of high end, cinema quality pocket cameras that have revolutionized the filmmaking process. Blackmagic cameras are extremely versatile; the global shutter eliminates the challenges of rolling shutter, and touchscreen allows for fast metadata inputting. You can also choose between CinemaDNGR RAW and Apple ProRes for delivery to suit the needs of your post-­production. The fact that it has a very compact body, yet large high resolution sensor means it can be used for everything including feature film, documentary, indie film and live events.

Quick Spec Overview:

  • Sensor/Effective Resolution: 21.12mm x 11.88mm (Super 35)/3840 x 2160
  • Dynamic Range: 12 Stops
  • Recording Modes: 3840 x 2160 or 1920×1080
  • Lens Mount: EF or ZE

Delivery Formats: CinemaDNG RAW and Apple ProRes 422 (HQ)TM

Frame Rates: 3840 x 2160p23.98, 3840 x 2160p24, 3840 x 2160p25, 3840 x 2160p29.97, 3840 x 2160p30, 1920 x 1080p23.98, 1920 x 1080p24, 1920 x 1080p25, 1920 x 1080p29.97, 1920 x 1080p30, 1920 x 1080i50, 1920 x 1080i59.94

Dimensions/Weight: 6.54×5.24×4.96 (Inch)/3.75lb

Panasonic Lumix GH4

Mirrorless camera has been gaining more and more attention as the (often times better) alternative to the DSLR amongst digital photography enthusiasts in the recent years. Panasonic is still holding out on the exact release information, but it is expected to come out this winter. It would be interesting to see if DSLR filmmakers are making the switch to mirrorless with the introduction of 4K video recording which can be a real game changer. Mirrorless cameras are very similar to DSLR in terms of their operation, but without the annoyance of a mirror mechanism. It also may attract a lot of young filmmakers who are less bound by the lens choice and looking to purchase their first professional camera.

Quick Spec Overview:

  • Sensor/Effective Resolution: 17.3 x 13.0 mm(17.20 megapixels)/16.05 megapixels
  • Dynamic Range: 1⁄3 stop at ISO 200, no number of stops given
  • Recording Modes: 4K at 100Mbps, 1080P at 200Mbps
  • Lens Mount: Micro four third

Delivery Formats: MOV (Audio format LPCM), MP4 (Audio format LPCM /AAC 2ch), AVCHD (Audio format: Dolby Digital 2ch)

Frame Rates: 30/25/24 FPS at 4K, 60/50/30/25/24fps at 1080P Dimensions/Weight: 132.9 x 93.4 x 83.9mm / 5.23 x 3.68 x 3.30 in (excluding protrusions)/Approx. 480g / 16.93 oz (Body only)

Written by Freddie Kim

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