InFocus Film School Blog

 

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

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.

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.

 

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

Cinema Verité and Authenticity

Imagine you are out for dinner with two of your close friends. The conversation is candid, and flows from one topic to the next. One of your friends pulls out their phone, and begins recording the conversation.

Does the dynamic change?

Do you speak as freely as you did prior to being recorded?

Documentary film aims to capture a subject or topic with some measure of objectivity. But the simple act of turning a camera on a person can change their behaviour. The premise of Cinema Verité is to film a scene in as natural a state as possible – as though the camera and director were merely flies on a wall.

The following video was made by documentary student Stan Huang. Below the video, read about his experience filming the exercise.

Can you explain the exercise that you were given? Rafi Spivak,our editing instructor, was teaching us about cinema verité and he wanted us to go out and film someone doing something. I thought it was interesting because you don’t usually just go to a shop or restaurant and shoot what people are doing.

Why did you decide to shoot at this particular restaurant? For their kitchen, they have an open window for people to watch. Every I time go have noodles there, there are kids just hopping up in the window watching them making noodles, so I thought that would be a cool action to shoot.

What was it like to shoot the exercise? We only had one day to shoot this project. So my project partner Adam and I decided to go there, and I went in and said we’re making a documentary about local food scenes.

Luckily the owner was there and he was cooking. I asked if I could interview him but he was a bit shy so he said you can just interview the waiters. So Adam did that and we got footage of that. Then I went into the kitchen with a slider and just shot whatever I could.

Did you run into any challenges or anything unexpected while you were filming? Yes actually, that was the first time I used a slider with a DSLR and I learned a lot in terms of how to set it up. And space was very limited in the kitchen so we had to deal with that.

 

Why Go To Film School: Beyond the Basics

There is a lot to consider when deciding to go to film school. Because it is a creative art, some may even argue that filmmaking can’t be taught in a classroom, and is better learned on your own. As an independent film school we’re all for indie productions and a DIY ethos. But, we also believe film school is the best way to sharpen your skills and produce portfolio quality work.

Why? First and foremost: creativity breeds creativity. We’re familiar with the lone mad genius trope. But the reality is, we can all benefit from receiving creative feedback – particularly when it comes from experienced industry professionals. Filmmaking is an ever­ evolving art, and the industry thrives on innovative and unique ideas. Working in a creative environment with practicing and emerging filmmakers is the best way to explore and push the boundaries of your filmmaking vision.

IMG_5433Which brings us to the next point. We know you’re passionate about filmmaking and determined to pursue your dream project. Yet setting aside time to do so can often be a challenge. Attending film school gives you an opportunity to explore your ideas, learn new techniques, and hone your craft.­Although it might seem counterintuitive, deadlines are useful because they increase productivity and time management. Instead of being relegated to the “when I have time,” pile attending film school allows you to focus on just one thing: your personal development as a filmmaker.

It also allows you to explore the different technical aspects of filmmaking. From pre­production through to post­production, there are countless processes involved in making a film. While many film industry professionals specialize in one area such as directing or cinematography, understanding the basic processes behind each facet is essential to your development as a filmmaker.

And of course, collaborating with fellow students on a variety of film projects gives you on set experience, and can lead to lasting creative partnerships.

Perhaps most importantly, attending film school gives you the opportunity to build a strong and diverse portfolio of work. Your show reel is your calling card – from entry­level positions to funding an independent project, it’s your key to the industry.

As user­friendly cameras, accessible editing software and online tutorials become increasingly popular, learning about filmmaking on your own is much easier than it used to be. And like any field, much of the learning process is trial and error. Delving into film school expedites the learning curve so that you can realize your potential, and your filmmaking vision, that much sooner.

Indie Filmmaking 101: Casting Without A Casting Director

One of the most daunting aspects of indie filmmaking is casting. You might have a great script and crew – but your cast will make or break your film.

A casting director acts as a bridge between actor and director, and their expertise should not be underestimated. But you don’t have a budget for one. Now what?

Casting-Call-2-470x260 Before The Audition

Actors need to work with the character’s raw material. This can include the script sample (sides) that the actor performs during the audition, character bios, and story synopses if available. A well-prepared actor will absorb this information resulting in an informed and truthful performance.

Remember that when a director assumes the role of casting director, it’s important to create an environment where the actor can flourish. You are a facilitator and collaborator not a gatekeeper; enable their full potential rather than intimidate.

Choosing The Scene

Choosing an audition scene is a key decision. It should be a high stakes, dialogue driven, one-on-one interaction. Actors love tension because it gives them the best opportunity to showcase their abilities.

Dialogue is the easiest way to observe the choices the actor is making. Action-based scenes are harder to manage without a set and camera movement. One-on-one moments or monologues allow the character to be the point of focus.

The Setup

A simple setup is best – use a single camera on a tripod to capture the audition. Make sure the actor knows how the shot is framed so they can freely use movement without worrying about being out of frame.

If you already have an actor cast, use them as your reader. If not, the writer or producer will work. Just be sure the reader you do choose is sitting out of frame. It’s also important that your reader has an understanding of the script and context of the scene being read. The director should be solely focused on observing performances.

On audition day, your preparation will pay off. When the actor enters, introduce yourself and ask if they have any questions. Show them their mark, have them slate (say their name and role they’re reading for) into the camera and let the audition begin!

The Audition: Expect The Unexpected

This is where it starts to get interesting…

Why are they playing this character with a lisp?

This character would never be that harsh!

And really…do they need to be doing a headstand?

Directors often experience moments of terror when actors make unexpected choices. While it may look like the actor is just trying to stand out, any choices they make are ones they believe in.

Greet seemingly odd choices with an open mind. They give you the chance to gauge the actor’s range and ability to take direction. If a character is being played too harshly, see how they adjust to a request for a tender approach. Explain why the character would act in this way so the actor can rationalize the adjustment. Then run the scene again.

If you want to dig deeper with a promising actor or if you’re on the fence, a great exercise to try is interviewing or just chatting with the actor ‘in character’. Actors who have come prepared will relish the opportunity to explore their character. Improv exercises like this can be as valuable a tool as the scene being read.

We’ve only touched on a few aspects of casting. If you give actors the best opportunity to demonstrate their abilities and inform your vision for the film, you’ve made the most of the casting process.

Lights, Camera, Action: Odd Jobs On Set

There is a dedicated team of on set film crew members behind every moment of movie magic. From lights, to sound, to art direction, each department is essential in its own way. But what role do production assistants and others in entry level film positions play?

They may not get the same accolades, but their dedication is no less admirable. Especially when it comes to some of the odd jobs they are asked to do on set.

83074344The Dog Whisperer

Heard from an on­ set sound professional with decades of experience in the industry. Even though he is now a well­ respected sound person and an instructor, he had a humble start just like everyone else. One of the first films sets he worked on as a sound PA had an on location shoot in a suburban, residential area. On this particular shoot the sound department faced an unusual challenge. The majority of households had large dogs in their yards that barked through the entire shooting process, rendering most of the location sound unusable. On the second day, the sound PA brought his bicycle on set. Armed with sausage links provided by the production department, he toured the neighbourhood throughout the shoot, hurling links at the barking dogs to keep them quiet – a solution to keep both the production and the dogs happy.

The Apple Stand

Unfortunately this is a fairly familiar tale for grips, especially in low budget productions. A nighttime scene was being shot during the day. The problem was the building had several big windows that had to be blacked out completely; no easy task with a limited amount of equipment. The grip department used everything they had and even had to throw on furniture pads and secure them with duct tape. After all that effort and time a sliver of an opening was still letting in daylight, and ruining the illusion of night. One grip armed himself with a flag and stepped on a stack of apple boxes, found the offending sliver and covered it with the flag. However, before he could call over another grip to help secure the flag in place the production, which by then was already anxious about time, started rolling the camera. The grip had no choice but to hold the flag over his head on his tippy toes on top of the wobbly apple boxes until the scene was completed.

The Spit Catcher

Vancouver is a beautiful city and we often see TV shows shot on the streets of Gastown. This episode included a shot of a character spitting gum on the ground as she was talking. The shot, of course, required multiple angles and takes. The production couldn’t let the actress spit the gum out on to the actual street – out of respect for the city as well as for continuity. So a PA had to kneel in front of the actress, just out of frame, holding a brown paper bag for her to spit the gum in. If that wasn’t quite bad enough, the actress’s aim wasn’t exactly perfect either. The PA actually had to pick a piece of chewed gum off the ground and put it in the bag multiple times, all while being showered with saliva.

The Wardrobe Malfunction Attendant

Some odd jobs on set may not seem so bad. Occasionally, movies are required to target certain rating by the executives. This particular one was to be rated PG­13, which meant a woman’s breasts couldn’t be fully featured on screen. The hard part was it had several sex scenes, which required the actors to be topless. In order to make sure the actress’s breasts were never exposed on screen, the 1st AD had to sit right next to the actress, barely out of frame, and stare at her breasts the whole time. His job that day was to yell cut every time he saw her nipples.

Written by Freddie Kim

Making a Film: From Concept to Completion

Every great film begins with an idea – but the work really begins when you start turning that idea into a film, as Documentary Diploma alumni Javier Ojer discovered. A collaborative project between Javier, classmate Mik Turje, and the Pull Focus mentorship team, “Hands in the Dirt” explores issues around urban farming and agriculture.

“In the beginning there were a lot of points that Mik and I wanted to look at in relation to urban farming, like gentrification and colonialism. So we had to narrow it down. We began by writing down all our ideas, and then tried to figure out what the main issues were. What stood out is the disconnect between this image of urban farming and VertiCrops as solutions for food security, and what was actually happening to agricultural farmland in Richmond,” said Javier.

Mik’s ties to the farming community in Richmond allowed the team a firsthand look at the obstacles that farmers in the area face, including illegal dumping on Agricultural Land Reserves and sky­high land prices. A mere 20­minute drive from Vancouver, which proudly touts itself as a green city and actively encourages urban farming, the reality faced by local farmers in the Lower Mainland provided a stark contrast. Conveying all the issues involved on film however, turned out to be learning process.

“Mik and I both come from an academic background, so the initial cut was 35 or 40 minutes because we felt like wanted to explain everything. After getting a lot of feedback from our instructors, we managed to edit it down to ten minutes or so, while still keeping the relevant content intact.”

It was during the editing process that Javier realized the inherent responsibility of making a documentary film. “It’s very important to honestly represent the issues involved; as a filmmaker you have this power to show stories from a certain bias – it’s almost scary when you realize that this is possible. As a filmmaker you have a responsibility to tell a story as truthfully as you can.”

And after countless hours of filming and editing, Javier and Mik have managed to do just that – tell an untold story about urban farming that honestly represents the issues involved.

Crowdfunding Tips for Independent Filmmakers

CROWDFUNDING YOUR INDIE FILM

 

Funding independent films is never easy. The difficulties receiving grants and finding other sources of funding is a full­-time job beyond the time it takes to actually work on the film itself!

 

Salam Films is a Vancouver-­based international film production company that’s less than 48 hours away from ending our first crowdfunding campaign an alternative financing tool for creative and start­up projects that’s emerging in North America, Europe and the Middle East.

 

We’re running our campaign to raise post­-production funds for feature documentary, WAJD: Music, Politics & Ecstasy. The film traces Syrian-­Canadian director Amar Chebib’s journey through Syria and Turkey to learn Arab­ Ottoman music. There he discovers its deep connection to Sufism and the socio­political influences that led to its suppression. The film is ultimately a story about this music’s ability to invoke a heart ­opening experience of universal beauty.

 

We’re making this film because we’re inspired to share the beauty of this music that has inspired us with the rest of the world. On September 4th we gratefully reached and surpassed our goal of $15,000, a few days before our campaign deadline of September 8th. This was not an easy feat, and we’re dedicated to continuing our work at the same pace until the end of our campaign. We have only 2 days left to reach our new goal of $20,000 so that the funds beyond our initial goal can go towards hiring an editing/story consultant and to doing a final sound mix at a professional studio.

 

Here’s a list of tips that incorporate some of what we’ve learned along the way:

 

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