Tuesday, August 11, 2009
Spinal Tap, Lego and Copyright
In 2007, when he was just 14 years old, Coleman Hickey made a stop-action film using Lego pieces. Coleman's film shows Lego figures in a concert performance of the song “Tonight I’m Gonna Rock You Tonight,” by Spinal Tap. That satirical film (built around a song that parodies rock-star hubris) went viral on YouTube. Recently Harry Shearer, Chris Guest and Michael McKean revived Spinal Tap and Coleman Hickey's silly video for the “Unwigged and Unplugged” tour. But, according to an August 10, 2009 article in the NY Times, Lego's attorneys have stepped in (asserting copyright infringement) and the video which played behind the band in their recent live concerts will not be part of the DVD of the tour.
More Camera Comparisons: Check out the Panasonic Lumix GH1
This camera comparison shows how DSLR cameras (Panasonic's Lumix GH1 and Canon's 5D Mark II) available for under $3,000 stack up against the Red One that costs 10 times as much.
Here's a link to a review of the Panasonic Lumix GH1.
Wednesday, July 22, 2009
Fair Use and the Origins of Michael Jackson's Moonwalk
The way culture moves ahead is by building upon the accomplishments of previous authors. But US copyright law restricts how existing work can be re-used and transformed.
Original choreography that is recorded on film or video is protected by copyright. Was Michael Jackson's use of the copyright work in this YouTube video a Fair Use permitted by the copyright law? Or did MJ violate copyright law (use elements from prior dances without permission in a way that infringes)? The dance moves in this video (from the years 1929 to 1967) demonstrate the way great art builds upon prior work. They also suggest how difficult it is to make art under our current copyright scheme without infringing on someone else's rights.
Monday, July 6, 2009
Telling A Story Using Old and New Forms
The Producers Institute for New Media Technologies is organized by the Bay Area Video Coalition (BAVC).
The Producer's Institute is a ten-day residency for eight creative teams (independent producers or public broadcasters) with a shared goal of developing and prototyping a multi-platform project inspired by, or based on, a significant documentary project.
The intention of the Institute is to develop socially relevant media projects for emerging digital platforms.
The participants in the Institute adapt and develop film, video, and audio content for delivery using a range of interactive formats, including but not limited to video game applications, interactive, web-based experiences, mobile streaming, multi-user communities, and new educational software. Producers may propose a range of delivery strategies, including cellphones, other hand-held devices, set-tops, Internet, portable software and more. At the end of the residency, all participants demonstrate and pitch to a panel of VC funders, industry leaders, and foundations.
To learn more about the Producers Institute for New Media Technologies or to apply, click here.
BAVC filmmakers are pioneers in using the full range of interactive formats. In addition to the Producer's Institute, BAVC also hosts a variety of other workshops and web-based resource centers. For example, BAVC has compiled a very helpful list of links (web-based resources) for filmmakers.
Beyond the Short Clip
When motion pictures were first invented, a kinetoscope lasted about thirty seconds.
One hundred and ten years later, the most popular Internet videos were also just short clips lasting well under two minutes.
Curiously the original motion pictures (made by Edison and the Lumieres) and the original Internet videos (made by the users of YouTube) also shared certain aesthetic similarities. For example, in addition to their short duration, these pioneering motion pictures (from 1896 and 2006) used stationary cameras and were often "presentational," in the sense that the characters onscreen acknowledged the audience, whether directly by playing to the camera or indirectly making it clear that they are aware of the camera.
Just as kinetoscopes evolved into feature length films and eventually television series that can stretch over hundreds of episodes, today we are seeing motion pictures produced for the Internet that are longer and more ambitious than the original short clips. The NY Times on July 6th, 2009 reported on how production companies are creating 10- and 20-minute shows for the Internet and writing continuing story arcs for their characters.
Wednesday, June 24, 2009
Canon 5D Mark II Sample Video
To view the video below (shot using the Canon 5D Mark II camera) in HD; click the Play button, then click "HD is Off" and follow the link to the HD version on Vimeo.
BESPLA / Canon 5D mark II Free Hugs movie from Marko Butrakovic on Vimeo.
Accessories for Cameras
Zacuto is a leader in providing accessories for filmmakers using small DSLR cameras to make HD web movies. This video shows some of their equipment in action.
Introducing DSLR Cinematography from Steve Weiss, Zacuto USA on Vimeo.
Some filmmakers (especially those with experience with 35mm film) feel awkward lavishing all this attention on the lightweight video cameras. The quality of the Canon 5D Mark II camera (HD motion pictures from a camera that looks like a still camera an amateur might use) merits this attention. But the impulse to accessorize can be taken too far, like putting an Apple iPhone in a shoulder mount.Camera Comparison
Zacuto's Great Camera Shootout '08 from Steve Weiss, Zacuto USA on Vimeo.
For info about the Canon 5D Mark II camera, click here.Saturday, June 20, 2009
Thoughts on Convergence Culture
Graduates of a USF S/M Film Program will be starting their professional lives just as a tide of user-generated content is rapidly changing how motion pictures are being told, produced and received. Preparing students for this new world of convergent media, where production chops will only be one part of the required skill set, requires a new approach to film education. USF S/M students should have production experience, but they'll also need to know how stories are told across multiple platforms, how to use existing content without breaking the rules, and they'll need to be prepared for a world where making and distributing motion pictures is no longer a centralized business.
In July 2009, Henry Jenkins will leave M.I.T. (where he founded the Convergence Culture Consortium research group in the Comparative Media Studies program) to become Professor of Communication, Journalism and Cinematic Arts, a joint professorship at the USC Annenberg School for Communication and the USC School of Cinematic Arts. Prof. Jenkins is also the author of several books, including Convergence Culture: Where Old and New Media Collide, Textual Poachers: Television Fans and Participatory Culture and What Made Pistachio Nuts?: Early Sound Comedy and the Vaudeville Aesthetic.
Friday, June 19, 2009
New Movie Editing Software for the PC
The small Japanese software company LoiLo has introduced LoiLoScope MARS software which allows PC owners to easily edit and share (for example on YouTube, iPod or cellphones) their own digital movies. The software is cheap, easy to use and Super LoiLoScope MARS can even handle footage from an HD camera. Because the developers have a background in gaming, LoiLoScope MARS has an interface some will find annoying (peppy music, bright colors and a Pokemon-mutation for a mascot). But the functionality and value of the program is impressive.
LoiLo offers a free download but for $69 you can get the "Super" version that handles HD (provided you have an HD camera and your PC has an NVIDIA GPU) to encode, decode and playback high-quality, high definition movie files.
HD editing on a PC for $69? And Super LoiLoScope MARS provides functions that more expensive programs (that are not as easy to maneuver) will almost certainly end up copying.
Tuesday, June 16, 2009
Camera and Related Equipment
The aesthetic of the USF S/M film program will emphasize naturalism (e.g., shooting on location, not on stage) with small mobile crews and limited lighting. Accordingly, we are not advocating heavy investment in camera or, for that matter, grip and electric equipment. We believe that USF S/M can launch a film production program that stresses theory and resourcefulness on a limited budget using readily available and inexpensive equipment. Such a program makes sense as production and distribution of motion pictures moves into a new digital age. An added benefit is that the film program we are proposing will only require a modest investment in professional quality equipment by USF.
To begin this new program, if money is to be spent on hardware, we would consider spending on high-end editing equipment (see the post below) that would permit HD editing but in addition to those purchases we would recommend that USF S/M consider purchasing two HD cameras and a limited amount of grip and electric equipment as well.
The students enrolling in USF S/M's film production program (especially those who have already earned an AA or AAS in film) deserve access to professional camera and production equipment. But access to professional quality equipment is only one part of a solid film production education. At USF S/M most film production assignments will be about theory and conceptual work that can be achieved on consumer quality equipment (e.g., student-owned equipment like cameras costing well under $500 and editing software that is available for well under $200).
To provide students access to professional quality equipment, we are recommending that USF S/M consider purchasing at least some of the following camera and grip and electric equipment:
2 Digital HD Cameras: The Panasonic AG-HVX200 and Sony HVR-Z1U both provide 1080i/720p HiDef recording for around $5,000 - 6,500 per camera.
In addition there will be significant expenses for lenses, batteries, rails, matte boxes, filters, monitors, cables, and other camera accessories.
Tripods:
2 Sachtler Video Sticks with Heads at approximately $2,400 each
Dolly:
perhaps 1 used Dolly if one becomes available
Audio:
Assorted microphones (wireless and cabled), field mixers, boompoles with blimps, walkie-talkies, cable, etc.
Grip Equipment:
15 century stands, assorted flags, diffusion, apple boxes, color, etc.
Lighting Equipment:
2 ARRI Softbank Kits at approximately $2,800 each (each kit contains one Arrilite 1,000W Open Face Fixture, with Barndoors, Single & Double Scrim and Chimera Speed Ring for Arrilite 1,000; two Arri 650 Plus Fresnels, w/Barndoors, Single & Double Scrims, Filter Frames; and one Arri 300 Plus Fresnel, with Barndoors, Single & Double Scrim, Filter Frame; and four Arri AS-2 Light Stands all in a Heavy Duty Case (40"x19"x13.5"))
1 Kino Flo Diva Light 400 2 Unit Kit at approximately $3,000 including bulbs (kit includes 2 Diva-Lite 400, 2 Stands, 2 Off-set Mounts, 2 Floziers, Full, 2 Lamp Case, 1 Thermodyne Flight Case (22"x16"x 33.5"))
Perhaps USF could purchase additional larger lights - such as a used Arri 1.2K HMI light kit or Arri 4K HMI including stands should such become available.
Specialized equipment that will only be used infrequently (eg., dollies with track, special lenses, hi-speed camers for super slo-mo) can be rented by the students or even by the department as needed.
We realize this is not a good time to propose an undergraduate program in film production. Unprecedented budget cuts are being announced throughout Florida's state university system. And the transition to digital technology makes us worry that this year's hot new camera equipment will be next year's white elephant. That said, we are advocating that USF consider purchasing some of the above film production equipment, including cost-effective digital cameras that will enable HD recording on an affordable format (which might give the Sony camera an advantage as it records on standard DV cassettes). To summarize, we recommend that most of the money for equipment be spent on editing (see the post below), but the type of camera and production equipment listed here could also be purchased by USF S/M and maintained in a dedicated film equipment room for student sign-out.
To begin this new program, if money is to be spent on hardware, we would consider spending on high-end editing equipment (see the post below) that would permit HD editing but in addition to those purchases we would recommend that USF S/M consider purchasing two HD cameras and a limited amount of grip and electric equipment as well.
The students enrolling in USF S/M's film production program (especially those who have already earned an AA or AAS in film) deserve access to professional camera and production equipment. But access to professional quality equipment is only one part of a solid film production education. At USF S/M most film production assignments will be about theory and conceptual work that can be achieved on consumer quality equipment (e.g., student-owned equipment like cameras costing well under $500 and editing software that is available for well under $200).
To provide students access to professional quality equipment, we are recommending that USF S/M consider purchasing at least some of the following camera and grip and electric equipment:
2 Digital HD Cameras: The Panasonic AG-HVX200 and Sony HVR-Z1U both provide 1080i/720p HiDef recording for around $5,000 - 6,500 per camera.
In addition there will be significant expenses for lenses, batteries, rails, matte boxes, filters, monitors, cables, and other camera accessories.
Tripods:
2 Sachtler Video Sticks with Heads at approximately $2,400 each
Dolly:
perhaps 1 used Dolly if one becomes available
Audio:
Assorted microphones (wireless and cabled), field mixers, boompoles with blimps, walkie-talkies, cable, etc.
Grip Equipment:
15 century stands, assorted flags, diffusion, apple boxes, color, etc.
Lighting Equipment:
2 ARRI Softbank Kits at approximately $2,800 each (each kit contains one Arrilite 1,000W Open Face Fixture, with Barndoors, Single & Double Scrim and Chimera Speed Ring for Arrilite 1,000; two Arri 650 Plus Fresnels, w/Barndoors, Single & Double Scrims, Filter Frames; and one Arri 300 Plus Fresnel, with Barndoors, Single & Double Scrim, Filter Frame; and four Arri AS-2 Light Stands all in a Heavy Duty Case (40"x19"x13.5"))
1 Kino Flo Diva Light 400 2 Unit Kit at approximately $3,000 including bulbs (kit includes 2 Diva-Lite 400, 2 Stands, 2 Off-set Mounts, 2 Floziers, Full, 2 Lamp Case, 1 Thermodyne Flight Case (22"x16"x 33.5"))
Perhaps USF could purchase additional larger lights - such as a used Arri 1.2K HMI light kit or Arri 4K HMI including stands should such become available.
Specialized equipment that will only be used infrequently (eg., dollies with track, special lenses, hi-speed camers for super slo-mo) can be rented by the students or even by the department as needed.
We realize this is not a good time to propose an undergraduate program in film production. Unprecedented budget cuts are being announced throughout Florida's state university system. And the transition to digital technology makes us worry that this year's hot new camera equipment will be next year's white elephant. That said, we are advocating that USF consider purchasing some of the above film production equipment, including cost-effective digital cameras that will enable HD recording on an affordable format (which might give the Sony camera an advantage as it records on standard DV cassettes). To summarize, we recommend that most of the money for equipment be spent on editing (see the post below), but the type of camera and production equipment listed here could also be purchased by USF S/M and maintained in a dedicated film equipment room for student sign-out.
Editing Rooms and Equipment
As the centerpiece of a USF S/M Film Production program, if funds are being spent on equipment, we would recommend creating a single "Digital Media Lab" and two "Private Editing Suites" that would serve as a post-production facility and home for any future expansion into Digital Media Education.
The Digital Media Lab would be designed to allow students to edit their work (uploading motion pictures from USF S/M owned equipment, as well as a variety of student owned and/or leased equipment) or to work on assigned editing and post production tasks in a state-of-the-art teaching environment. The Digital Media Lab (as envisioned here) could also service other digital media and gaming classes.
The Private Editing Suites (as envisioned here) could be reserved (e.g., 4 hours at a time) by film students working on Capstone or other assigned projects.
Should $100,000 or more become available, we would recommend building a post-production lab (containing at least 5 networked workstations and a networked projector) and two private editing rooms (each with a networked workstation, 42" HD monitor and stereo speakers with audio mixing). Provided that space for such a lab and editing suites can be found, actually building and outfitting such rooms (with all workstations linked to a server) is a relatively expensive proposition. An alternative would be to outfit an existing computer lab with editing software (such as LoiLo Super MARS HD editing software for the PC). The goal should be to provide USF S/M with a facility that could be used by up to 40 film students in a semester. Such a facility should also be designed to be used by additional students for training in gaming and other digital media skills.
If significant funding becomes available, one option for the post production facilities at USF S/M (that would encourage students to shoot on HD and use USF S/M facilities rather than their own computers for editing), would be to install a server that would store data and allow all the workstations to share terabytes of data simultaneously over a high-speed fibre channel network. The installation of such a dedicated high-speed network is essential for multiple users editing HD images. But we must stress, this functionality is not required for most current undergraduate students working on their own films (especially if their films are not shot on HD). As HD editing becomes more prevalent, there will be demands for more computing power and data storage. A server on a dedicated high-speed network is one solution for HD editing by numerous students. Such a system will also have the added benefit of centralizing and simplifying the teaching and supervision of student work.
Apple's Xsan is a 64-bit cluster file system that provides concurrent data access over high-speed fibre channel to multiple systems on the network. If USF S/M installs a server and a fibre channel network, student work could be stored and accessed on a central RAID device (RAID refers to computer data storage schemes that can divide and replicate data among multiple hard disk drives) so that each workstation would use this centralized data. Instructors could also use the centralized system to evaluate student work.
In the event that USF S/M elects to build such a dedicated network for film editing, we recommend installing a Mac Server and Mac Client workstations. The latest Mac OS X Server software ships in September and should cost approximately $500.
For film editing classes, the University would (at a minimum) need to purchase editing software. At present the cheapest version of such software is LoiLo software for the PC discussed in another post on this blog. Alternatively, most professionals and film schools use Apple's Final Cut Pro software (a version of Final Cut Server costs $2,000 alternatively a multiple license educational version of the software is also available for non-networked workstations). Note, Final Cut Pro in it's current version requires a Macintosh computer.
Here is a link to an overview of the type of computer system that would support a networked digital media lab running Apple's Final Cut Pro software and capable of editing HD films - total cost of equipment approximately $40,000 - 75,000.
The following is a checklist for items that would be required to build such a system:
Software for Xsan clustered SAN file system: Allow $2,000 for two redundant servers Xsan 2 requires that Mac OS X version 10.5 or Mac OS X Server version 10.5 software be installed and will support qualified Fibre Channel switches from vendors such as Brocade, QLogic and Cisco, and RAID storage hardware including Xserve RAID and Promise VTrak E-Class RAID subsystems.
RAID Data Storage: Allow $8,000 - 15,000 depending on capacity
Server Hardware (2 are required for redundancy, each will require a 4GB fibre channel card): Allow $7,200
Fibre Channel Switches: Allow $5,000 - 6,000
7 Computers with 24" Screens - These can be Mac Pros or iMacs: Allow $15,000 - 45,000, depending on computers selected and how they are configured. Note, to get the benefit of 4GB stream of data for HD editing, each client must be a Mac Pro with fibre channel card (at $600 each) and purchase of Xsan software (at $1,000 per each Mac Pro) is required.
The Digital Media Lab would be designed to allow students to edit their work (uploading motion pictures from USF S/M owned equipment, as well as a variety of student owned and/or leased equipment) or to work on assigned editing and post production tasks in a state-of-the-art teaching environment. The Digital Media Lab (as envisioned here) could also service other digital media and gaming classes.
The Private Editing Suites (as envisioned here) could be reserved (e.g., 4 hours at a time) by film students working on Capstone or other assigned projects.
Should $100,000 or more become available, we would recommend building a post-production lab (containing at least 5 networked workstations and a networked projector) and two private editing rooms (each with a networked workstation, 42" HD monitor and stereo speakers with audio mixing). Provided that space for such a lab and editing suites can be found, actually building and outfitting such rooms (with all workstations linked to a server) is a relatively expensive proposition. An alternative would be to outfit an existing computer lab with editing software (such as LoiLo Super MARS HD editing software for the PC). The goal should be to provide USF S/M with a facility that could be used by up to 40 film students in a semester. Such a facility should also be designed to be used by additional students for training in gaming and other digital media skills.
If significant funding becomes available, one option for the post production facilities at USF S/M (that would encourage students to shoot on HD and use USF S/M facilities rather than their own computers for editing), would be to install a server that would store data and allow all the workstations to share terabytes of data simultaneously over a high-speed fibre channel network. The installation of such a dedicated high-speed network is essential for multiple users editing HD images. But we must stress, this functionality is not required for most current undergraduate students working on their own films (especially if their films are not shot on HD). As HD editing becomes more prevalent, there will be demands for more computing power and data storage. A server on a dedicated high-speed network is one solution for HD editing by numerous students. Such a system will also have the added benefit of centralizing and simplifying the teaching and supervision of student work.
Apple's Xsan is a 64-bit cluster file system that provides concurrent data access over high-speed fibre channel to multiple systems on the network. If USF S/M installs a server and a fibre channel network, student work could be stored and accessed on a central RAID device (RAID refers to computer data storage schemes that can divide and replicate data among multiple hard disk drives) so that each workstation would use this centralized data. Instructors could also use the centralized system to evaluate student work.
In the event that USF S/M elects to build such a dedicated network for film editing, we recommend installing a Mac Server and Mac Client workstations. The latest Mac OS X Server software ships in September and should cost approximately $500.
For film editing classes, the University would (at a minimum) need to purchase editing software. At present the cheapest version of such software is LoiLo software for the PC discussed in another post on this blog. Alternatively, most professionals and film schools use Apple's Final Cut Pro software (a version of Final Cut Server costs $2,000 alternatively a multiple license educational version of the software is also available for non-networked workstations). Note, Final Cut Pro in it's current version requires a Macintosh computer.
Here is a link to an overview of the type of computer system that would support a networked digital media lab running Apple's Final Cut Pro software and capable of editing HD films - total cost of equipment approximately $40,000 - 75,000.
The following is a checklist for items that would be required to build such a system:
Software for Xsan clustered SAN file system: Allow $2,000 for two redundant servers Xsan 2 requires that Mac OS X version 10.5 or Mac OS X Server version 10.5 software be installed and will support qualified Fibre Channel switches from vendors such as Brocade, QLogic and Cisco, and RAID storage hardware including Xserve RAID and Promise VTrak E-Class RAID subsystems.
RAID Data Storage: Allow $8,000 - 15,000 depending on capacity
Server Hardware (2 are required for redundancy, each will require a 4GB fibre channel card): Allow $7,200
Fibre Channel Switches: Allow $5,000 - 6,000
7 Computers with 24" Screens - These can be Mac Pros or iMacs: Allow $15,000 - 45,000, depending on computers selected and how they are configured. Note, to get the benefit of 4GB stream of data for HD editing, each client must be a Mac Pro with fibre channel card (at $600 each) and purchase of Xsan software (at $1,000 per each Mac Pro) is required.
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