A month ago I was asked by a premium food book publisher to document food and lifestyle in Mexico in full High Definition video. There was an additional constraint – it had to be in a low-impact, low-key way, so my obvious choice was the Canon 5D Mark II with a Zacuto Z-Finder Pro viewfinder.

Filming at historic sites in Mexico requires a lengthy approval process, whereas amateur photography (ie photography without a tripod) – requires no special approvals. Also, the last thing someone from overseas needs in Mexico is to draw attention to themselves on the side of the street.

My camera kit consisted of the Canon 5D Mark II, a 50mm f1.4 lens, 24-70 f2.8L, 70-200 f2.8L, polarisers, an external Tascam 800 recorder, a UHF radio microphone, a shoulder mount, a Litepannel Macro-pro and the trusty Zacuto Z-finder. I also had three 32GB cards, a Macbook Pro and an additional backup hard drive. This grew to an additional mirrored hard drive after the still photographer in the group, Ralph Velasco, had one of his travel bags lost on one of our 5 internal flights.

I had used the Z-Finder in Sydney for my run-and-gun shoots, red-carpet events for PR agencies on the 5D for online and television use. The 5D is not a good ENG run-and-gun camera, but the images, especially in low light cannot be bettered by my EX1 or EX3.

In Mexico I was briefed to shoot food in available light, sometimes cooking over a fire in low light, and shooting lifestyle from trains, at historic sites and in food markets and slaughterhouses, etc. Normally, at home or in Asia where I have traveled five to ten times a year, I can rent the exact equipment I need for a particular job. In Mexico, like my Bangladesh trip for UNICEF and shoots in India, I had to bring everything. The kit had to be light, robust, reliable and not draw too much attention through airports or at historic sites.

What was great about the 5D and Z-Finder is that I had a great videocamera rig that looked like a still camera. Much of the time when I was gathering footage in markets or at historic sites I walked around with the camera and the Z-Finder around my neck. When I needed to shoot, I’d click on the viewfinder and I had a fully-functioning video camera in my hands. Often I would also secretly keep my audio recorder on in my backpack with the UHF receiver and mic-up my Spanish-speaking talent with the UHF microphone. We were very low key.

When I was out in the harsh environments all across Mexico, the key benefits of the Zacuto viewfinder were:

-Outside in the sun, for video or stills, the Z-Finder enabled me to look at the picture as captured with ambient sun all around, which you cannot do looking at the camera-back monitor with sun incident on the screen.

- For video or still shots, looking through the standard optical SLR camera eyepiece, you cannot see the final picture or all-important histogram which is critical if you are going to move across a scene in a video pan or in tricky lighting conditions at sunrise and sunset when you are looking to expose for detail in highlights or shadows. This detail is dictated by the exposure latitude of the camera sensor and can only be ascertained by looking at the camera back LCD. The Z-Finder allowed me to do this.

-After ten years of editing video and working with fine focus on cameras, I now require glasses for close work. The benefit of the Zacuto Z-Finder is that I can wear my sunglasses when moving around and when shooting I can take off my sunglasses to check focus when using the adjustable diopter to compensate for the shortcomings of my tired eyes.

-For stills in low light with long shutter speeds, pushing the camera against my face while using the Zacuto eyepiece gave me an additional point of stability. Two hands and a face is more stable than just holding the camera with two hands. With this stability, I can get an extra stop of exposure, which is invaluable, saving the requirement to use a tripod in some situations.

-In close quarters, when I was shooting in some of the top kitchens in Mexico, I needed to get up-close and personal to film the cooking process. I could not hand hold the camera at full arms length in a crowded kitchen so having the viewfinder up against my face had me taking up less space and allowed room for the still photographer to shoot close-up over my shoulder without me getting in his way.

-For a slow pan in the video that additional point of stability was really important. The alternative would be holding the camera out at the length of my arms to see the viewfinder, an inherently unstable position. With the Zacuto Z-Finder, I can simply slowly turn my head to pan the camera with the camera viewfinder pushed against my face.

Overall, the Z-Finder has been an indispensable addition to my camera kit. I recently took it on my Hong Kong and Singapore shoots just last week. I look forward to using it in China on my next trip, another country where low-key video production is the best approach. The last time I shot there near Tianamen, I think the attitude of my feisty local female producer was the only thing that prevented me from having my video camera confiscated, or worse…

I now look forward to adapting the Z-Finder to my EX so I can better balance the camera further back on my shoulder and use the Z-Finder on the LCD screen more like the EX3. This way it becomes a more professional rig for long periods of shooting from the shoulder. Using the standard eyepiece on the EX1 is an ergonomic fatiguing nightmare. None of the weight of the camera is on the shoulder. It is all out front. I am also looking at the Zacuto follow-focus. These days when everything is shot in HD, clients expect a smooth refined cinematography look, not just a videocamera run-and-gun look.

Darryl Thoms has is an ex-still photographer. He spent two years in Japan shooting in a studio on medium-format on a Bronica camera. Here he shot everything from politicians to music stars and models. He then returned to Australia to work for over ten years as a video shooter/ director, regularly shooting for a long-running, high-rating fishing television program, and running a Sydney-based production company Xorigin Pty Ltd.

As well as shooting when overseas on location, he has produced and directed over 800 productions across Asia-pacific including Sydney, Melbourne, Hong Kong, Japan, China, Korea, Malaysia, Singapore, India, USA, Bangladesh (for UNICEF) and more recently Mexico. He has also taken a format he produced to MIPCOM TV Market in Cannes and has screened content on television and international film festivals.

One of the most difficult parts (at least for myself) in completing a film or trailer (or whatever sort of video you are working on) is choosing the right sound. Every time I have a meeting with a client, they only want to talk about the story and the images. Well, in most cases, they only tell me that they want something awesome, something better than anything they’ve ever seen etc., but that’s another post.

They never talk about the sound or the music. If I ask them something like, “What music should we use for the final product?” or “Do you want me to search for a band or do we have to compose something completely new?” they don’t know what to say.  As soon as clients hear the phrase “composing an original score” they are often impressed and scared at the same time. They are impressed that I work with real composers but scared because they fear the costs.

It doesn’t really matter which one we finally choose.   Most clients simply don’t seem to understand the importance of a good score!  I’m not talking about an orchestra either, even if that is the king league of all scores. I’m simply talking about good music to underline good pictures.

If you watch your favorite vimeo video on mute, you’ll see that all the magic is gone when there’s no sound.  Even if the video has no music, there is at least some sound you can hear (wind, birds, breathing, whatever.)  Or even better, watch your favorite vimeo video again, but this time mute the video and play horrible music to it.  You’ll notice that it just doesn’t work.

Some good examples that show the importance of good sound are films like “Star Wars”, “Indiana Jones” (both composed by John Williams), “Inception” (Hans Zimmer) and of course pretty much any score by Danny Elfman.

Back to our clients…
They still haven’t reached a decision and they won’t until they see and hear the final video.  So, because my client said, “I have no idea, just do whatever you can and keep the budget low,” I spent hours searching for good sound, asked the labels for prices and so on.  But what if the client doesn’t like it? What if the label suddenly decides that they don’t want their band’s song in this video?  What if the composer you hired has to rewrite the score?  Time is money and now things could get very expensive.

There are many things you have to keep in mind when you are in a client meeting. Don’t just focus on selling the video.  Make sure you also mention the sound part.

Ask the client what they like and what their target audience likes. Is it Jazz or is it Dubstep?  Is it Rock or is it HipHop? When you know these things, it’s much easier for you to get an idea of what the final product looks and sounds like.  Also, make sure to tell your clients how important good sound/music is because many of them will take it for granted that you will take care of that part.

So what are your options?

Free music: There are a lot of websites offering good music for free or for a small fee.  Jamendo and Digital Juice are two of the more popular sites but you will probably end up searching for hours to get a few good ones to fit your video.  Plus chances are if the songs are good, someone else has probably used them too.

1-Man-Composer: I work with friends who design music by themselves with Logic or Cubase. Stock instruments and sounds are already included with these programs. They have everything from simple mood sounds to orchestral music but it’s a lot of work (which means a lot of money) and of course it’s not a real band or orchestra.

Composer (with “real” instruments): I produced a promo video for a band called Luftmentschn. They are professional musicians which means they know exactly what kind of music fits to the images. Each band member plays at least 2 different instruments and if they work together with different takes, it sounds like an orchestra. However, once again 4-5 people working on a score for 3 days = $$$, but then you don’t have to worry about the sound any longer. They will take care of everything!

Bands: If you have friends that are in a band, it’s easy. Ask them if you can use their music and they will probably say “YES!! take all of our songs!”  If the client wants songs from big artists or bands (like the Rolling Stones for example) it’s going to be VERY difficult. You will need to convince the label that you are doing something they really want to be a part of without having a final product to show.  If they do agree, they will want to know where the piece is going to be screened and then they will want to talk about money. The more famous the band is, the more money you will end up having to pay.

If you choose the first option, keep in mind that you will most likely end up spending hours or maybe even days searching for the right sounds. Do you get paid for searching for these sounds? Would it be even better (or cheaper) if you hired a real musician who takes care of this?  What do you think? How long did you search for the right music on your last project?

For Mario, working in film and editing originally came about on a whim, but quickly developed into a passionate hobby and finally into his main profession. He has gained extensive experience in diverse areas, including sports, fashion, events, music and culture. Whether planning, design, screenwriting, directing, camera, editing or post-production, Mario has carried out virtually all jobs within the broad spectrum of film production and is therefore able to draw on extensive specialist knowledge.

As the head of the team, he is the first port of call for concept and direction. From smaller projects through to major films, from logo animation to image films – Mario has the finished product running through his mind before he has even hit the record button.

Learn More about Mario’s Work

Last April I shot a short film called The Kid with my Canon 7D.  I have been using the 7D for a little over a year now and have been very pleased with my results.  We shot The Kid using the Sigma 30mm f 1.4 and the Canon 50mm f 1.8 with the optimal ISO 160, 1/50 shutter, and aperture at 1.4-2.8 for the majority of the shoot.  Being able to shoot The Kid on a small lightweight camera allowed us to get into tight spaces and tell the story primarily through visuals and not dialogue. 

The Kid is a story about brothers and their relationships. After a bloody shootout, John is forced to make a decision: to take his wounded brother's life and put an end to his misery, or let him suffer with little chance of survival.  The film takes place in Kansas in the year 1876.  Originally, the story was about the famous outlaw Billy The Kid and his acquaintances, but two brothers were introduced to the script and we found that the story of the brothers allowed for a much more emotional and dramatic story, while also portraying the same message. 

Mark Christian on set of The Kid

You can watch the film here.

One of the major goals while writing the script was to keep everything sub-textual and maintain a brotherly-like exchange.  None of the characters ever say what is actually going through their mind, yet it is clear what they are thinking.  In fact, the story about the coon hunting and smelling like skunk in the final scene is a true story told to me by my grandfather, John Christian.  The Kid will be made into a longer short, currently titled Requited, that will begin shooting this coming January.

The Kid was shot in Clearfield County, PA at the Bloody Knox Cabin, which was a fort used during the Civil War.  Principle photography lasted two long days.  The first night at the location, we shot the final scene in the cabin with the two brothers.  We lit the scene with two china balls mounted on C-stands with 250W bulbs and dimmers.  A kerosene lantern was also used as a background highlight for the wide shot in order to create the illusion of more exposure.  A night exterior scene was also filmed but was left on the cutting room floor due to pacing reasons.  Overall, the night shoot lasted 5-6 hours.  The next morning, we shot the opening “surgery” scene.  Our generator had flooded and we had no electricity, so we had to run power cables across the street where some kind neighbors to the cabin allowed us to use their power.  The scene was lit by 3 110 Watt KW/2 LSLs with 5600 K bulbs bouncing off the ceilings in order to bring the interiors up so that there was still some detail out the windows and the door.  The wound that is seen several times was a piece of flank steak with chicken skin spread over top followed by a prosthetic gun wound.  A tube of blood was then stuck under the steak and out the shirt.  My Gaffer Katie Zytka blew on the tube at certain moments to create the oozing blood effect.  As we started to pack the equipment for our company move, it started to rain.  The middle scene was filmed at Curwensville Lake about 15 minutes from the cabin and once we got there, the rain had started falling pretty heavily.  It was cold, so our goal was to get the scene as quickly as possible.  We used a 10X10 sheet of bleached muslin for a bounce from just right of the camera.  We got the scene, and that was a wrap. 

The cast and crew for The Kid is made up of the best people I have ever worked with.  The longer short being shot this January will be made up of the same great filmmakers.  Madeline Puzzo was the Director and Production Designer of the project.  She had been involved since before the first words were on paper, so she and I had a very similar vision of what we wanted the film to look and feel like.  Madeline also cut the picture and mixed the sound.  We worked very closely together on the color palettes and textures of the film.  As the Director of Photography and writer of the film, I made it my primary goal to have the color, exposure, saturation, and composition of each shot express the emotion of the characters.  John was played by actor Buck Smodic, who had only picked up acting a little more than 9 months prior to the shoot.  He was incredible to work with, had a great passion for the story, and is extremely devoted to his craft.  He was constantly coming up with good ideas.  Sergi Robles, recent Carnegie Mellon University graduate, played the role of Peter, the dying brother.  He showed a great amount of enthusiasm and delivered an incredibly powerful performance.  Alex Munroe played the role of Billy and demonstrated the perfect amount of urgency for the role.

Requited, the expansion of our film The Kid, will be filmed using the 7D again along with my recently purchased Zacuto Stinger with the Z-Finder EVF Pro and SmallHD DP6.  We are currently looking for donations of any size so that we can pay for travel of our Pittsburgh-based cast and crew to Arizona, location costs, costumes, props, electricity, craft services, lodging, post production, and musical score, among other things. You can donate to our film by clicking on the link below.

Donate here

Cinematographer Mark Christian (b. 1990) is a rising senior at Point Park University majoring in Cinema and Digital Arts with a concentration in Cinematography. His pursuit of excellence and attention to detail has resulted in a rise of maturity and complexity in each film. Mr. Christian retains a fresh approach to each new project where his aim is to tell stories though compelling and innovative visuals that enhance the narrative. For him, each film is an opportunity to explore new forms of visual expression.

Mr. Christian's filmography spans vast ranges and diverse genres, including western, period, fantasy, drama, comedy, romance, documentary, and thriller. He is proficient with advanced equipment, such as the SteadiCam Pilot, EZJib, Kessler Cineslider, and numerous types of cameras. Mr. Christian was recently awarded the Cinematography Concentration Scholarship at Point Park University. His short films The Kid and Addiction: With Walter O'Donnell were selected into the Point Park University Cinema Showcase and screened at The Academy of Motion Picture Arts and Sciences. The Kid was also an official selection of HollyShorts Film Festival 2011 and FlickFire Short Film Festival. In November 2010, his short film Kards Unlimited Promo received 1st place in the Kards Unlimited Short Kuts Competition. With the hope of expanding his technical palate and becoming further immersed in the industry, Mr. Christian plans to pursue graduate studies in cinematography in the immediate future. His current projects include the shooting of two feature length films, in the summers of 2011 and 2012 respectively, both of which are already in the pre-production phase.

Check Out Mark Christian's Website
Watch Mark Christians Videos on Vimeo

First of all, I'm a creator.  I’ve loved creating all kinds of different stuff ever since I was a kid.  We have the power of free will and the power to create and that is what makes us different from the instinct-driven animals of the world. I consider it a waste to live your life working a 9-to-5 job with 3 weeks of vacation per year just to pay the bills and mortgage.

It’s sad not to enjoy your passions and it’s pathetic to say, "I'm bored and I don't know what to do."  Boredom is a notion I don't understand.  I consider it an insult to the higher power that made us human beings. I consider myself one of the lucky ones not only because I have passions, but also because I can make a living from them. Turning a hobby into a full-time job and enjoying it as much as I do is a blessing.

As my friend Stuart McBratney often says, “We live in amazing times and I definitely wouldn't have chosen this path in life 10 years ago because it was simply out of reach.  I didn't go to film school and my parents are not rich enough to pay for their spoiled son to rent cinematic equipment for experimenting.”

The price of the state-of-the-art technology we have at our fingertips today is amazing.  Only a couple of years ago, if you wanted to achieve a "film look" you had to rent tons of equipment. Owning your own equipment was out of the question unless you were a big production company or a millionaire.  Just like the internet brought the power of knowledge and information to the masses, HDSLR technology made cinematography available to regular people like me.  Now anyone can achieve a shallow depth of field, 24p cinema frame rate and shoot with available light under almost any condition. Plus, the gear is ridiculously light, easy to use and post production workflow on any home or even laptop computer is a breeze. Before, all of these factors would have involved considerable budgets to achieve almost the same results.

Today, it’s easy to instantly publish your creation on the internet and it doesn’t cost you a thing.  In the end, no matter what kind of equipment you have, what you really need are ideas for content and the skills to shape it.   The live feedback and interaction from people who like or dislike your work is instantly available to you.  You can also see the exact figures of how many people have viewed it and from which part of the world.

Of course, that also means a flood of rubbish content but hey, that’s the freedom to choose and like or dislike. My point is that money is no longer the barrier for creating great audiovisual content at high production value and I think that is great.

The camera accessories industry has quickly evolved to follow this trend and this allows people not only to run around with cinematic photo-cameras but also gives their projects the feel, look and functions of a professional cinema camera.  I mean baseplates, rods, follow-foci, matte boxes, monitors, shoulder pads, everything.

It may be my own personal opinion, but I think this is the factor that makes the difference between hobby enthusiasts and professionals.  I chose to go pro and for me the only camera accessories choice is Zacuto.   I think it’s obvious why but you can judge for yourself. Owning the equipment gives me the freedom, mobility and power  to create visual content anytime, anywhere. That's why I'm proud to be an independent filmmaker and that’s why I enjoy this amazing time we’re living in so much.

Eduard Schneider was born in Sebes, Romania but was raised in Hamburg, Germany since the age of 13.  From 1995-1996, Schneider worked as an Operator at SGS Thomson Microelectronics Grenoble in France.  Later on in 1996, Schneider returned to Romania where he founded Schneider Productions SRL where he aimed to turn his teenage passion into a full-time job as a self-taught person.  Since 1997 he has served as a producer for over 60 albums for major Romanian record labels.  Since 2004, Schneider has served as executive producer of over 100 music videos, commercials, short films and documentaries.  Schneider is married with one 8-year-old child.  He holds German, French and Romanian citizenship.  You can check out more of his work at www.schneiderproductions.com.      

Did you miss article 1, Sound Perspectives 101? Check it out here! 

OK, so you want to know what sound gear and equipment makes great sound for film? Well, before we look at the various “tools of the trade”, I’d like to discuss a few key words that will give you more fundamental knowledge pertaining to capturing pristine audio for all your filmmaking needs.

As an avid filmmaker and videographer, my love for sound is equally important. In fact, I started with sound first then made the transition into filmmaking. With more comparisons of visual and audio elements, I will attempt to draw comprehensive conclusions, provide solutions and deliver an understanding of audio recording for aspiring filmmakers.

In a recent conversation, I asked an experienced and credible Australian sound recordist how he got into sound for film and TV. “By accident” he casually replied.  He continued by stating that his background was primarily broadcast and that he didn’t possess an educational background in audio engineering or sound design.

In a similar type fashion, I once again asked a reputable and “seasoned” audio engineer/producer what his thoughts were on sound for film or broadcast.   In this case, I got a rather perplexing and almost somewhat uninterested response.

Perhaps here within these general attitudes lies the problem. There seems to be a gap within various industries whereby professionals may deem aspects of their craft or art form, irrelevant. For the independent filmmaker, budgets don’t necessarily give us the luxuries of “Oh, let’s send it to the sound department” or “lets get the editor to look at that in post”, etc. 

In the first article, I highlighted the growing changes in technology and how modern filmmaking now requires us to be more “intimate” with our equipment. With digital filmmaking and the DSLR boom becoming more apparent, we now need to capitalize on other factors that can help us become consummate filmmakers.

Ingredients:

While I won’t reinvent the wheel, I’ve devised a method utilizing acronyms that will help you better understand sound and make appropriate choices in equipment selection. I encourage the use of these words as a reference for ongoing technical and artistic sound making as well as purchasing decisions. The system is separated into 3 stages:

The Nature of Acoustics Stage 1:RAD: Reflection, Absorption & Diffusion
The Recording Stage 2 (Golden Rules):PICSS: Proximity, Isolation, Consistency, Sensitivity & Separation
Captured Sounds Stage 3:STAT: Sound Transparency & Audio Translation

Let’s take these categories and apply them to some common applications and equipment such as microphone types, polar patterns, recording mediums, etc.

Stage 1  & Location, location, location:

As filmmakers, be it on set, in documentary scenarios or electronic newsgathering (ENG), we are always susceptible to acoustical elements, regardless of interior or exterior environments.

Sound also behaves differently in various spaces. This crucial factor is often overlooked in capturing sound and it generally affects your final product.
Therefore understanding basic acoustics is paramount. 

In cinematography, we utilize the direction of continuous light in reflective and non-reflective instances to create a “look.”  We use reflectors to bounce light for desired results. Similarly, sound reflects off surfaces and may be utilized or minimized as necessary.  In sound, reflection refers to waves bouncing off planar (flat/even) surfaces, thus resulting in a more focused direction.
Comparatively, sound waves coming off non-planar (irregular) surfaces, results in a diffused sound.  With diffusion in cinematography, light can be spread more “evenly” or softly with Scrim Jims, Softboxes, etc. Diffusion in sound occurs when sound waves are uniformly distributed which produces a more “even” spread.

Reverberation, or reverb, is a result of the interaction between reflection and diffusion.  It is created in an enclosed space which causes a large number of echoes to build up and then slowly decay.  The result is a textural and sustaining effect that gives a sound the impression that it’s in a physical environment, thus creating space and depth. As a general rule of thumb, try recording dialogue or sounds with as little reverberation and discrete echoes as possible. This will be more conducive and useful during the sound mixing process where “dry” sounds can be altered to create the sound of different environments like up close versus far away, or in a church versus in a cellar.

Absorption refers to a proportion or majority of sound, which is absorbed or “sucked up” by porous materials that are non reflective. Sounds captured and recorded in this environment type will usually yield maximum separation and isolation (as explained further down.) In filmmaking and cinematography comparisons, absorption is utilized to similar effect with flags, barn doors, etc.

Stage 2 &The Golden Rules:

Stage 2 has direct correlation to microphone types, selection, and “behavioural” polar patterns. However, it can also be dependent on Stage 1. We will look at polar patterns in a minute, but let’s take a look at my 5 golden rules first:

Proximity – This is simply how close the mic is to the sound source.  Other than the reason for which you run the risk of overloading optimum recording levels by being too close, proximity can also be utilized to increase the bass response of a sound or voice, thus “fattening” or providing more “body” to the sound.  Proximity also picks up more direct sound amplitude, hence increasing the source signal and decreasing the noise ratio. Adjustment of your input gain structure on your field recorder or device is key to recording at a correct volume level without creating distortion.

Isolation – In audio, this can adopt various meanings. Most sound stages or recording studios try to keep out external sounds and keep in the internal sounds.  Isolation is also used to create acoustical properties required for recording sound with precision and accuracy.  Therefore, it’s no surprise that professional sound stages, sets and back lots are designed by acousticians to maximize this element. As for location recording, isolation might be as simple as utilizing shock mounts, preventing handling and extraneous noise or even eliminating a ground loop (ground loops are created by improperly designed or improperly installed equipment and are a major cause of noise and interference in audio and video systems).

Consistency – Having a multitude of mics in your audio kit can be a great thing. However, if utilized incorrectly without some planning and thought, it could spell disaster. Every mic is manufactured to different specs, thereby producing different sounds. Matching these sounds in postproduction can be cumbersome if multiple mics are used. Mics with consistent specs would make this less of a burden. So theoretically, you wouldn’t swap mindlessly between shotgun mics and wireless lavs (lavaliere/lapel mics) unless you didn’t have a choice or the shot called for it.

Even if you have 3 shotgun mics in your kit (long, medium and short), nominate one mic, preferably a versatile mic such as the medium length shotgun, as your “primary” source. Name or call all other mics (utilized simultaneously with your primary mic) as “secondary” sources.   Capture all other sounds (dialogue, foley, sfx, etc.) and then try match your secondary to your primary source in post through equalization and sound processing.

Another way to make sure you maintain consistency is to observe the use of any Lo-Cut & Hi-Pass filters across the board, whether on the mic itself, or on any portable recording medium or mixing console.  Try to maintain the same method or protocol.

Sensitivity – This facet gravely depends on a microphone’s type, anatomy, build and characteristics.  Microphones are classed into a few categories with dynamic, electret condenser and condenser being the most common in film and TV use. This will be explained in part 2 of this article.

Sensitivity can also be separated into 2 important fundamentals: the voltage and the electrical output a mic will produce at a certain sound pressure level and its frequency response.  Polar patterns are also a contributing factor to sensitivity. We will explore this in more detail when I discuss microphone comparisons.

Separation – Not be confused with isolation, separation is that clean, clear, full bodied, lush, presence and pristine audio quality.  You can hear it in dialogue you hear between two actors amongst the chaos of a noisy and polluted city street, or a scene depicting a rendezvous in a large cathedral or old church with conversation between two covert spies.

Ideal separation is where whisper quiet sounds are distinguishable from very loud ones or vice versa.

Good audio separation is the result of:
A) Observing what the acoustical environment or space does (stage1)
B) Recording a close source (stage 2-Proximity)
C) Reducing or eliminating extraneous noise (stage 2-Isolation)
D) Keeping your sounds cohesive and consistent (stage 2-Consistency)
E) Choosing the best mic anatomy (focal length) with characteristics that would fit, support, compliment and augment all of A, B, C & D.

Stage 3 & the Fat Lady Sings:

Both are somewhat subjective, but at the very least, it’s been an excellent reference for me and I’ll show you why it’s useful to think about.

In my first article, I made a brief reference to digital technology and how digital images and audio essentially utilizes data compression. Hence it is through data compression that we usually get artifacts in audio sonic clarity, images, video, etc.  If compressed or encoded digital media can produce results that are perceptually indistinguishable from uncompressed formats, then they could be considered “transparent.”

Sound Transparency – Digital and solid state field recorders, recording mediums and computers are all used to capture and record video and audio. They also use AD (analogue to digital) and DA (digital to analogue –for playback) conversions.

Basically, in more expensive and higher end sound equipment, the AD chips and the conversion process are of a superior quality.

For example, the pre-amp and analog to digital conversion chips in a Zoom H4N may produce more artifacts in audio quality and have a higher signal to noise ratio when compared to a Marantz PMD 661.  Understandably, you will pay twice the amount for a Marantz. On larger or bigger budget productions, sound recordists use sound carts with digital hardware components that sport expensive stand alone mixers, pre-amps, AD converters, recording devices and computers.

Transparency can also apply to microphones, where some are more “coloured” than others. Dynamic microphones tend to be more coloured when compared to condenser mics. Condensers are subjectively more transparent, sensitive and sound accurate. More on this shortly.

So therefore, one could suggest that transparency is where compression artifacts are nonexistent or imperceptible and in audio, a pure and untarnished sound with a broad frequency response is desirable.

Audio Translation – This is a term I’ve heard used around the industry and its meaning has a “final” sort of significance.

OK.  Here is a scenario you might be familiar with before you wrap your head around audio translation. Think about this:

You’ve just shot your first scene under tungsten light with a very expensive camera.   Unfortunately, your white balance was set to daylight and the external monitor you were using wasn’t calibrated. You ingest the footage in post, prep for edit and grade and then start wondering why it doesn’t look like anything you envisioned on your $200 eBay computer monitor. Get the point?

Based on these common mistakes and general technical errors, the same thing can happen when capturing sound.  This means that sometimes what you hear isn’t really what it will sound like!!  What you hear can come from inferior mics, and through headphones and speakers. Wrong equipment operation, selection and choice can affect our final recorded product.

In film, we use a plethora of software and hardware devices to calibrate our monitors to ensure that the recorded image is “transparent”, color reproduction is accurate and picture quality is sharp.  In audio, we must utilize more than one monitoring reference device. These include multiple speaker monitors and headphones.  In audio, a sound may translate well on headphones but not necessarily well on speakers.  This means that making sure that your recorded audio is “transparent” and accurate will mean that it will translate well on any playback system.  Please invest money on some decent sound location recording headphones.

Now with a little more understanding of these 3 stages and my acronym method, we will take all this information and make educated assessments to distinguish microphone types (where & when to use them), recording mediums (what to look for) and gear selection (price vs performance) in part 2.

Stay tuned…

Check Out the Bio of Clinton Harn

We are moving into an age of large sensor digital video cameras that will replace film cameras on most sets across the world. People will continue to use film, but it will eventually phase out of existence in the mainstream.  I know this is a bold statement but I have had my finger on the pulse of the industry for some time now and I just have a feeling that we are about to see many new cameras hit the street.  These new cameras will easily rival film because they can be used with all of the lenses available for motion picture work.  I think that is where the paradigm shifted. The ability to use cinema lenses on inexpensive cameras is the key to the success of this new breed of camera.

DSLR cameras are great tools to learn the trade of cinematography. In many ways they are very similar to the 16mm Bolex cameras of the 1960s.  We are in an age when everyone is an amateur photographer. This means that there are lots of resources available for the hobbyist and professional alike.  An entire cottage industry has sprung up around DSLR cameras. I think they will forever have a place in the motion picture industry. That finally brings me to the point of this article.

There is no such thing as a DSLR cinematographer. The ability to use one type of camera system does not make you a master of the craft. It is important to expand your horizons and knowledge of as many tools as possible to create the images necessary to tell the story. That is your job as a cinematographer. For example, for a recent Safeco spot I was faced with the decision of what camera system to use. I met with the director, Seth Sherwood, at the location. The commercial was a dialogue heavy comedy spot with a main character dressed as a super hero.  At first thought, the Panasonic AF100 seemed like the best camera for the job. I really did not need a thin depth of field and sound was critical. The AF100 seemed like the easy choice.

As we were wrapping up our scout, I asked the Director what the colors of the costume were. He replied “red and blue.” In a flash I knew we had to use the Canon 5D Mark II and not the Panasonic AF100.  Canon cameras love the color red and I could easily over-saturate the colors to help him get the cartoony look he wanted.  I knew I would be taking a risk with sound, but I could always record sound separately and sync the audio with PluralEyes in post. This also meant adding a sound guy to the budget and extra time to sync in post. 

In retrospect, I’m sure the AF100 would have gotten the job done just fine, however the Canon 5D MK II was the best camera for the job. Fortunately, I am familiar with both camera systems and did not have to waste time testing before the shoot. This is a critical part of being a cinematographer; the ability to know what camera system will give you the best look within the budget of the project.  Having knowledge of only one type of camera is way too limiting to call your self a DP.

Here is what the director had to say about the raw footage:

“Again– thank you so much. This is the best-looking work I've ever directed. This image is phenomenal! I've started to log the footage, but had to grab a couple stills to play with. Not much tweaking– just some black crushing and minute over-saturating. It's going to look amaaaazing!” Director, Seth Sherwood.

Jared Abrams is a cinematographer based in Hollywood, California. He writes a daily news column for the popular DSLR website Cinema5D. After many years as a professional camera assistant he switched over to still photography. About two years ago a new Canon camera changed the way the world sees both motion and still photography. He just happened to be in the right place at the right time.

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Sound.  It’s the most elusive element that seems to plague filmmakers so very often.  We commonly hear filmmakers saying things like, “sound is 2/3 film” or “sound will make or break a production.”  The list goes on.  Yes, we have been able to get that “picture” quality to a “pseudo” Hollywood look, but sound is difficult. Or is it?

Sound is generally an afterthought for most filmmakers.  Most people assume that sound is something you get audio engineers, sound designers, editors or mixers to look after. 

In part, this is because film doesn’t have the capacity to record sound and audiotape can’t capture images.  35mm & 16mm film doesn’t capture audio, but the impact of digital camcorders changed all that.

Today, filmmaking is literally becoming more affordable, scaled down, budget conscious and more accessible. Hence what follows are several people’s attempt to do everything themselves without adequate training, knowledge or information.

Until recently, film and sound were separate “departments.” Now with the advent of independent filmmaking, these two elements are now equally important.

Over two years ago, in a video titled Advanced Sound for DSLRs,  Steve Weiss of Zacuto asked a very legitimate question, “Why is sound always the bastard child to video people?”  What ensued was a very informative and educational 13 minute supplement.  Here, I will attempt to provide a simple yet comprehensive guide to sound recording for picture.

In the next series of articles, I will attempt to dispel any fallacies or misconceptions regarding sound recording for film, simplify some basic fundamentals, which is paramount to getting great sound for all your projects, large or small, and most importantly, make it an easy, fun and enjoyable process.

Various topics will include:

1) Microphone fundamentals: selection, placement, application and audio comparisons.
2) Recording devices and mediums. Equipment selection. AB test.
3) Capturing sound on location and studio controlled environments.
4) Processing and editing sound in post, including ADR, foley, sync, etc.
5) What is that “Hollywood” sound?

With plenty more to come…..

As a tertiary educator, I often get the following questions, just to name a few:

1) What is the best equipment to use for general location recording?
2) What is the best software for sound editing?
3) What types of mics are best for different scenarios?

I will also cover filmmaking fundamentals such as the importance of basic cinematography, camera types, formats, shot composition, headroom, lighting techniques and dynamic range.  Audio also has many other important questions that precede the ones above.

While I don’t expect aspiring filmmakers to open an entirely “new can of worms,” understanding audio fundamentals first will improve your productions immensely without going to audio school. Therefore, the following questions should include:

1) What is sound and how does it travel and behave?
2) What are acoustics and how do they affect recording in pre and post?
3) What is signal flow, headroom, and dynamic range?
4) Audio structure in both the digital and analog domain
5) 3 Basic building blocks of sound manipulation and processing
6) Proximity effect (i.e., microphones, speakers)
7) Sample rates and bit depths

The list goes on, however, I will make references to the fundamentals in the applications.

OK.  Let’s start with observations in digital fundamentals. In the audio industry, there was a time when analog tape was the coveted means of professional audio capture in sound recording.   To some extent, it still is, though subjective. However, this method is expensive and cumbersome. Enter hard disk based formats and solid-state drives, we can now record, edit and mix sound without breaking the bank balance.

Much like film stock compares to audiotape, today picture can be recorded to a digital storage medium. So now audio can be recorded to very small, portable and affordable devices. A 16mm Bolex camera and a Nagra reel-to-reel audio tape recorder may have epitomized the concept of portability in the 1960’s, but now the HDSLR and the Zoom H4N have revolutionized filmmaking in the 21st century.

Is it hard to comprehend audio in theory? Not if you look at the similarities between digital filmmaking and digital audio. In this first article, I want to bring your attention to these terms.  In later articles, we will go into more detail.

Clipping:
Where the term “blown out” is utilized in analog photography, clipping in digital photography occurs when incorrect exposure causes image highlights to lose detail and ultimately be rendered useless.

Clipping in digital audio is similar when levels are set too high during the input stage.  Digital distortion occurs and renders the audio unusable because sonic fidelity and detail are lost.

Clipping in audio can also occur at the pre-amp stage, mic stage and analog to conversion stage.  Hence it’s not just a simple adjustment of exposure when comparing to image capture. We will look at these problems in later articles.

Resolution:
In film, this generally refers to the horizontal resolution of an image, its size and its ability to contain as much information as possible. Hence relative pixel dimension comparisons and common digital cinema formats include 720p, 1080p, 2k and 4k.

Resolution in digital audio similarly refers to the ability of capturing audio at higher resolutions (sample rates) 44.1k, 48k, 96k and 192k, being the most common. This aspect is commonly misunderstood in digital video editing as well as an area where most mistakes occur when synching audio with visual. Further explanation will be given in an article devoted to this topic.

Compression:
Compression is used in digital cinema to manage large amounts of data. Due to limitations in human visual perception, compression is utilized to remove redundant information from a signal. Where prosumer cameras use higher compression ratios, high-end cameras generally use lower ones or none at all.

Compression in audio and video are similar in terms of data management. Both utilize Lossy & Lossless compression, which again removes redundant information in our ability to hear lower or higher frequencies.

Using inferior compressed audio formats such as mp3, meant for consumer use, usually results in less than desirable results.

Compression in audio is also used to normalize audio to make fluctuating levels in speech or signals sound more coherent and consistent.

Dynamic Range:
In film, dynamic range refers to the darkest point within which a camera can capture to the lightest. Where darker images might sometimes contain more “noise,” highlights can also clip.

In audio, dynamic range refers to a similar principle of recording audio within an optimum latitude range that goes from inaudibility to distortion. Recording a sound too low and playing back at an audible level will introduce extraneous noise, raising the noise floor and therefore increasing the signal to noise ratio.

When recording a sound too loud in analogue, tape saturation occurs and compression kicks in which gives the audio’s dynamic range a bit more latitude. However, in digital audio, clipping occurs and you end up with digital distortion.

Conclusion for now:
I won’t carry on with the endless comparisons.  One can clearly see the similarities between audio and visual theory.

I would like to leave you with a thought though. While we spend good money on cameras, what do we really expect when we only spend a fraction of that cost on very little equipment coupled with limited knowledge on sound?

When I was embarking on completing my masters of audio design at university, we were required to conduct research on hardware components versus audio software generated algorithms. In the audio world, we call this ABX testing and much to my amazement, the results were negligible and miniscule. As I have always stipulated, you pay for what you get.  So again, while people are willing to part with a few thousand dollars on a camera, why would they only spend a couple of hundred bucks on a small consumer type field recorder?  That being said, it all comes down to the individual behind the instrument. With proper information and knowledge, you’ll be able to determine what constitutes great sound, irrespective of price. Rest assured, the folks at Zacuto are committed to education. Stay tuned for more articles on sound.

Clinton Harn is a producer, filmmaker, session musician, drummer and recording engineer.  His involvement in tertiary education has spanned the last 15 years and includes concepts, realistic and practical tips and methods for achieving professional results in the field of small business, filmmaking & audio recording.

Clinton has been a lecturer at JMC academy for the last 10 years, where he teaches various topics & subjects spanning from sound for film, music production analysis to effective business practices and copyright law. 

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Convergence is apparently a big buzzword right now. Photography magazines are awash with article’s advice for photographers on how to bring video into their skill set. I don’t see many filmmakers going the other way which just tells you how valued the humble still is these days. Convergence is nothing new. Ever since Apple introduced computers with firewire ports and we could edit DV at home on free software, the convergence machine has been gathering speed. I’ve always shot, directed and edited my own work and I can now boast six or seven skill sets upon which I can lean on for a living, either individually or in combination. I just love learning new things and lately I’ve started building 3D animation and VFX into my arsenal just because I really enjoy it. They call people like us ‘Preditors’ in the UK. That’s no accident. We’re taking jobs away from the specialists and I make no apology for that. Currently I earn a living producing, directing, editing, shooting, creating motion graphics, creating visual effects, writing and providing voiceovers.

That’s a huge number of different skill sets to master and while it’s very gratifying being able to do most things yourself, retaining your independence, coming in under ludicrous budgets, and beating the system, you do miss out on the best and most meaningful aspect of this whole crazy business: collaboration. I’m right there, right now. I do so much myself I simply run out of time to do everything properly and I hate it. I hate being told such and such isn’t possible if I know that it’s something I can simply learn to do myself, but the time has really come to lean on the expertise of others and let them bring the best out of me.

However, it’s far from straightforward. Finding good people is a challenge in itself.  Building the kind of relationship with people that will contribute for a fraction of their normal fee and scraping together enough money to give them a chance to express themselves is a major challenge. The budgetary concern is ever-present and won’t go away in a hurry. I’ve reached a major barrier in my own development as I need to take a big step up in the level of work I do but I don’t want to give up my independence. Collaboration is the only way to make that big step assembling talents to complement what little I possess myself. The only way to retain your independence is to think big, commit far beyond what is normally considered correct and bring everyone else with you. If your ideas, bravery and passion are persuasive enough then people will readily jump on board. Why? Because it’s so rare. Creatives need someone to pick up the ball and start running so they can express themselves.

It’s okay being a Swiss Army Knife filmmaker. It gives you enormous insight into the filmmaking process.  But sometimes a director would be better served being objective and standing above everything else, allowing others to work their magic in service of their vision. Learning many skills can cause you lose focus on what’s really important and in times of recession the added employability that comes from being a multi-hyphenate is certainly a comfort. Filmmaking is absolutely not about comfort. Filmmaking is about bravery and managed risk.  In those endeavours you really need help from other people. Preditors we may be, but even sharks swim in schools.

I’m Robin Schmidt, also known in music video circles as El Skid. I’m a freelance director, editor and latterly cameraman.  I also do all sorts of other bits and pieces like graphics and voiceovers. I am not a Director of Photography and I never will be. I’ve been working in music videos, corporate video and extreme sports up until now, but my big love is drama, which is easily the toughest directing game to gain any kind of foothold in. I set up the production company, Chrome Productions, in 2002 which served as a brilliant apprenticeship for learning key skills, but I’ve now left to pursue drama.  I don’t necessarily mean that in the conventional way, but more in a way that reflects the changing landscape of filmmaking today.  The way that does away with all the bullshit that seems to float around this business. Earlier this year I won the Bahamas 14 Islands Film Challenge and earned the right to work with Canon as a pro envoy for video and convergence (a fancy term for shooting on DSLRs.)  I was also named one of Moviescope Magazine’s ‘One to Watch’ which must mean I’m doing something right! I've just embarked on my first feature film project and look forward to tearing most of my hair out trying to get it made.

Film festivals can be a daunting financial proposition for indie filmmakers, especially if the festival can’t pay for flights and accommodation.  I have spent several years traveling the festival circuit with no money and I have picked up a trick or two for saving a buck.  It’s not glamorous, but it works.

FOOD

Food costs are always higher while traveling, but there are several things you can do at film festivals to cut down on these expenses.

• If your hotel offers a free breakfast, take advantage of it.  Even if you’ve been out all night drinking and you’re tired and hung over, go to breakfast and sneak some food back to your room.  You can go back to sleep and eat later, when you wake up.
• Look for promotional give-aways.  Food and drink companies often sponsor film festivals and have free products around.  Even if you aren’t hungry, stick it in your bag and save it for later.
• Bring food from home.  Pack a bag of trail mix that you can snack on if you get really hungry.  Don’t get stuck paying a lot of money for crappy food just because you don’t have options.
• Arrive at parties early!  The free food is usually gone in 30 minutes.  If you’re hungry, make sure you get there right when the party starts.
• Frequent the filmmaker lounge.  Many festivals offer an area for filmmakers with free coffee, water and finger food.  Don’t feel bad about stopping in several times a day to recharge.

PROMOTION

Assuming you don’t have a publicist and you’re going to be doing everything yourself, here are some tips to keep promotional costs down.

• Don’t make a poster.  I know posters are cool and you really want to make a poster, but in my experience they’re expensive to print and they have the least impact at film festivals.  Postcards, stickers and buttons are all cheap to make, portable, and easier for someone else to carry around.  Or get creative and make something else.  If you absolutely HAVE to have a poster, consider making it a smaller size or printing it on cheaper newsprint paper.
• Be prepared.  Don’t get stuck paying huge overnight shipping fees because you waited until the last minute to send DVDs, promotional materials or your screening tape to the Festival.  Take care of this stuff early and save money.
• Team up!  If you’re considering hiring a publicist for the Festival, ask around and see if you can get a better rate by teaming up with other filmmakers.  I know of some publicists who will give a discounted rate to take on several films together.  If your film shares producers, actors, subject matter, or style with another film, consider working with the same publicist, who may be able to promote the films better together.

TRAVEL/LODGING

Some of these tips are no-brainers, but the excitement and busyness surrounding the Festival may cause you to forget about them.

• Book your flight/hotel as early as possible.  If the Festival will not be covering your travel or hotel costs, make sure you book those the moment the schedule is announced.  This can save you hundreds of dollars which you can spend on other necessary things.
• Share rooms.  If you know other filmmakers who are going to be at the Festival, see if it’s possible to book a larger hotel room and split the costs.  If you’re a shorts filmmaker, often you can find a feature filmmaker who has his/her room paid for by the Festival.  I have often let short filmmakers crash with me for free when my room is paid for.
• Use public transportation.  Before you rent a car or splurge on a taxi, ask about public transportation.  This is often a great way to get around and explore a new city.

Joe Swanberg (b. 1981) has directed the features KISSING ON THE MOUTH (2005), LOL (2006), HANNAH TAKES THE STAIRS (2007), NIGHTS AND WEEKENDS (2008), ALEXANDER THE LAST (2009) and UNCLE KENT (2011). 

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Contrary to 2D or 3D animation, in stop motion the characters are solid and three dimensional.  That has some pros (you get to hold your puppet and play with it, even rip its limbs off once the shooting is done like you did with your toys when you were a kid), and some cons, the main one being the possibility that your puppet will fall apart before you get to finish the piece youʼre shooting.

When working with characters in stop motion animation, the most important thing to be sure of before you begin shooting is that your characters wonʼt fall to pieces in the second shot. The process of animation is very rough on the puppets, so they need to be strong enough to hold up through a number of shots.

When designing a stop motion puppet, you should start by establishing the moves it will make and the actions it will go through. That will allow us to build a proper skeleton and choose the materials that would help us fit the characterʼs needs.  Although it is a part that is not seen, the skeleton (or more properly called, “armature”), is the most important characteristic of the puppet.  The armature is the thing we will rely on most for a successful animation process.

Apart from covering the characterʼs needs, a proper armature requires a few other important characteristics: it has to be strong enough to support the puppetʼs weight, it must hold whatever pose the character is put into without falling or moving, it has to move smoothly from frame to frame without popping, it must not hinder the puppetʼs movement and it has to be able to be manipulated without popping into uncontrolled movements.

According to my personal experience, the most reliable and easily achievable materials for good quality armatures are wood and wire. If the budget allows you to hire a professional to create the armatures with top-quality materials then great, go for it. But for us reckless animators that take joy in building the puppets ourselves, some other more attainable materials can still work pretty well.

For example, in a project I worked on not long ago, I used a wood and wire skeleton for each of the puppets. Because their movements were limited, I did not need to work on flexible joints. However, after some time I learned that even with limited-movement puppets, it is always a plus to have a wider range of movements.  So I started to develop different kinds of joints for different parts of the body.

Building the Character

Braided wire is a good option for arms and legs because it allows me to keep the proportion of the thin limbs I usually design my characters with. However, after some hours of shooting, the wire usually wears out and snaps. That is why I use interchangeable arms that can be removed with screws. This way, I can replace a broken limb without having to replace the whole puppet.

For me, what works best is a combination of wooden balls and metal plates held together by a screw. The rods that form the bones of the puppet attach to the wooden balls which form the movable part of the joint. The tighter you screw the balls and plates together, the more resistant the joint is.  This is particularly helpful in regulating the pliability and resistance of the joint, depending on the movement that it is supposed to achieve.

The characterʼs head needed too much precision, especially in the lateral movements. As for the rest of the body, I used braided wire that I later covered with a thick cotton thread to add volume and stiffness.

With the basic matters concerning armature building covered, I would like to add one last thing: even if it is not always possible to have two (or more) handmade puppets that look exactly similar, it is always advisable to at least have interchangeable duplicate limbs.  The methodical nature of stop motion animation requires a character to be used and abused and some structural damage is always expected.

The process of Stop Motion requires a lot of patience and good observation skills. Many times, in the middle of the procedure, one can succumb to temptation and abandon the process to continue it in 3D.  So far I havenʼt seen any technique, however advanced it is, that could replace this old way of animating.   With this technique, we can always achieve a magical and handcrafted look.
 

Carlos is a multi-faceted artist who has successfully made incursions into various forms of art creation. As a writer, director, animator, illustrator, painter and photographer, his ability to tell stories and his unique visual universe led him to devote himself entirely to filmmaking.

In 1997, Carlos graduated from Law School.  However, he was captivated by his artistic vocation.  Carlos founded his own production company and began to develop commercials for large international companies. At the same time he wrote, produced and directed several personal projects for which he won international recognition.

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