Spook Hunt - Scene 2 notes

We shot scene 2 recently, and it was a challenge to get this baby to work.

Charles gears up for the spook hunt - Canon 7D 17-55mm f/2.8 ISO 800 - all shots not color-graded

First, it is a dreaded exposition scene - in other words a scene in which I just need to give the audience some bits of info - mostly through dialogue.  Basically, the boys are gearing up for their spook hunt,  I introduce the infrared night vision camera that they are using (more on that in the next post), and we explain a bit more motivation behind why Charles wants to do this.

 

View from the Infra-Red POV cam (shot later with lights out)

 Some basic rules of exposition scenes:

1) Don't do 'em.
2) If you must do them, at least give the actors some other action to be doing while they are talking.
3) keep it short
4) Get out on a beat or a key bit of dialogue - DO NOT LINGER.

After fiddling with the scene a bit with my actors Rob & Charles, we managed to accomplish 2, 3 & 4.

Also making it tough was the challenge of shooting in a plain bedroom and trying to make it somewhat interesting.  I'm not sure we succeeded tremendously in this respect, but given our limited time constraints, and zero budget, we had to do the best we could and move on.  

Sometimes these are the hard decisions for a director - knowing when to cut your losses and not burn out your actors and crew on scenes that in the end are really not that crucial. 

Kubrick has been quoted as saying that to make a great movie, "All you need is six non-submersible units. Forget about the connections for the moment..."  What he means by this is to focus on the six or so essential core scenes in your movie that tell your narrative and your thesis.  Do your hard work in these scenes. If they are made well and hold up under scrutiny, then they will become the foundation upon which your movie is made.  Everything else is window dressing - don't blow your creative energy and budget on the window dressing.  This is where most Hollywood films get it wrong.

David Simon's Treme on HBO - why television is kicking Hollwood's ass

For those of you who never watched The Wire - shame on you.
Shame, shame, shame.

I'm forever puzzled by people saying there's nothing good on tv.  We are living in a golden era of television with the last ten years providing us with some of the finest shows ever produced.

The Sopranos started it all and raised the bar all those who followed:  Six Feet Under, Deadwood, Dexter, Battlestar Galactica, Lost, The Office, Rescue Me, Mad Med, Breaking Bad - I could go on and on.

While Hollywood continued to focus on big-budget spectacle, television became a nurturing haven for brilliant writers.  The long-format of a broadcast season allowed writers to delve into controversial topics and breathe nuance and complexity into their characters.

I'd take this year's Breaking Bad or Mad Men over any of the Oscar nominated films of this year.  And as much as I like and admire The Hurt Locker, I have to say that Generation Kill did a far better job of shedding a light on the horrors and contradictions of modern-day war.

Which brings us to The Wire, which I consider to be the finest television series ever produced.  David Simon created a masterpiece of institutional dysfunction and the people who bang their heads against it every day.  Whether you're a cop, a senator, a teacher, a drug-dealer, an addict, a student, a journalist, or just someone trying to make it through the day, the overwhelming reality is that society is broken and those who try to swim against the tide get crushed.

And now Simon has a new series on HBO that only he could tackle - the intricate social, racial, artistic and political gumbo that is a post-Katrina New Orleans.

When Treme premieres in April, do yourself a favor - watch it.

Spook Hunt - scene 1

Alright, here it is - the first cut of scene 1:


Spook Hunt Scene 1 from Todd Miro on Vimeo.

This cut has a first pass of my color grading, graphics and music (which I did my own dang self in Garage Band in about 15 minutes!)

We shot the scene in about 4 hours with about 7 different setups.  Lighting was fairly straightforward as I really wanted the sense of two guys at night around a lit dining table in an otherwise dark house.

Present for the shoot were myself (writer/director), Rob Weiner, (director of photography), Charles Yoakum & Rob Sandusky (talent), Kristin Nelder (audio/gaffer/camera advisor/production stills/and jack of all trades) and Ben Weiner (key grip/clapper/PA).

We shot with a Canon EOS 7D with a couple of rented prime lenses - a Canon EF 24mm f/1.4  and a Canon 50mm f/1.4  The fast lenses allowed us to shoot at ISO 400 most of the time.  For those unfamiliar with the 7D, (and what rock have you been living under) this amazing camera allows you to shoot full HD video (1920x1080) at 24fps with beautiful 35mm lenses and depth of field for around $2,000.  This allows for a very convincing film-look at a bargain price.  (For info on this camera and HD DSLRs in general, be sure to check out Phillip Bloom's incredibly informative blog.)

 

(Rob Weiner with the Canon 7D)

Monitoring was done through Rob's Panasonic BT-LH1710W 17" HD monitor, looking at HDMI out from the camera.  This was essential for framing the shots and finding critical focus.

 

(me looking at framing through the BT-LH1710W)

Audio was fairly straightforward: 2 wireless lavalier microphones (1 for each actor) fed in to a Zoom H4n digital recorder.  We used another Zoom on the table pointed at the actors as a boom mic.

 

(only follically challenged filmmakers need apply)

I slated every take to match sync between the camera and the two digital recorders.  I wound up hand-syncing in Final Cut (since there weren't that many shots) but I will eventually use Plural Eyes to sync when we start shooting more.

 

(enjoying a frosty beverage from craft services - oh wait, that's just a water from my garage - the travails of low budget filmmaking!)

(Rob extolls the virtues of alcohol to Charles...  Charles isn't buying it)

 

(Me pointing at nothing in particular. That's a director's job - to look like you're in control and know what you're doing even when you don't.  When in doubt, point at something. Rob is playing along, pretending to be impressed at my eloquent insights, but he really just wants to know when he can go home.)

After the shoot, Rob loaded the video files onto my drive (I prefer the GTech drives - rugged, fast and mobile) and then I transcoded them to ProResHQ to import into Final Cut.  The scene cut together very quickly as I knew pretty much what takes I wanted to use.  Also, being the writer/director/editor, I had already played the scene out in my head many times, so the actual cut went very fast.

This scene was fully scripted and blocked out ahead of time.  Rob and Charles added a bit of improvisation at rehearsal which we incorporated into the final shoot.  The rest of the movie will be very different as it is not fully scripted and we will improvise lots of it.  I have each scene written out with the beats I want to hit, but I want to allow Rob & Charles to explore the scenes as they happen to them.  This, combined with the infra-red POV camera shots should add some realism and immediacy to the scares that await them.

That's it so far - we start rehearsing the next scene in a week and will shoot it later this month.

There really are no excuses anymore to making your own high-quality movie.  The tools are incredibly cheap and offer amazing, professional results.  As technology has leveled the playing field, content is king, so story should be your primary concern.  If you've got a great story to tell I encourage you to get out there and do it!

  

(all photos courtesy of Kristin Nelder - thanks K!)

Spook Hunt - the beginning

Oh god not again!

That's what I said to myself when I first heard about Paranormal Activity.

What was that sound you heard?  It was the sound of my soul being ripped apart once again.  How many times was I going to let this happen?  How many times have I had ideas that I've played with in my mind, written treatments, maybe even had a few discussions with buddies saying, "Not this time - this time I'm actually going to do it - this time we're going to make this movie...", only to let it slide away like some elusive dream that you try to hold on to upon wakening, but it always is just beyond your reach to remember.

I can't tell you how many ideas for movies I've had that eventually have been made.

Years later.

By someone else.


This time I have to make a stand. This time I'm doing it - I'm making it so dang easy for myself that I have to do it.  I'm shooting it in my own house, with my friends, with gear we already own - no excuses!

 (actors Rob Sandusky, Charles Yoakum, and Director of Photography, Rob Weiner rehearse the first scene)

Spook Hunt came from a kernel of an idea that I played around with about 6 years ago.  My idea was simple - no one had really yet exploited the first-person found-footage horror genre that Blair Witch Project opened up back in 1999.  The beauty of this genre was two-fold.  First, the first-person POV of the camera placed the viewer directly in the path of the horrors unfolding on the screen, and second, the medium allowed you to use inexpensive gear without having to make excuses for it.

I also wanted to tap into the then emerging YouTube phenomenon by not only using it to generate buzz for the project, but by posting clips of the project as if they were found footage.  Basically, I would create 3-5 min clips about a guy documenting the weird things going on in his house.  Eventually, these would ramp up and get weirder and scarier until all hell breaks loose.  I liked the tension of having the YouTube followers not really sure if what they were seeing was "real" or not and I would play that out as long as I could before letting on that the whole thing was fiction.

The Unholy Trinity

I grew up in an era rich in great horror movies.  From the mid 60s to the mid 80s the movie-going public was plagued with nightmares thanks to Night of the Living Dead, Rosemary's Baby, Halloween, and many others.

This obviously influenced my tastes, as all horror films I see have to be compared to great movies from this era and especially these three that I hold dearest to my dark heart-  

The Unholy Trinity of Horror:
The Exorcist
Alien
The Shining

I would stand these three films against any horror films ever made.  All three deeply affected the public when they came out and have stood the test of time to this day.  Two of them were made by two of my favorite directors of all time - Stanley Kubrick and Ridley Scott. My nightmares and waking fears continue to be dominated by themes explored in all three of these dark tales.

Sam Cooke Opening Title - behind the scenes

Sam Cooke: Crossing Over premieres Monday, January 11 at 9 p.m. on PBS as part of their American Masters series.

I worked on this documentary for my good friend, director John Antonelli, on and off for about 5 years.  There were many iterations as he awaited final funding but I'm thrilled that he was able to stick with it, complete the project, and have it presented on such a prestigious showcase as American Masters.

For the finished show, I did some editing work, as well as designing the opening title and animating many of the photo moves that appear throughout.

As you can see in the title sequence below, we wanted to treat the photos with a subtle 3D effect to add interest and movement to the still photos that are a big part of telling the story of this influential soul singer.




This particular 3D effect has become very popular in recent years and has appeared on numerous documentaries that have aired on Discovery channel, History Channel and PBS.  I'd like to to give you a glimpse behind the scenes, into the process that creates some of the eye-catching animation that you see on tv everyday.

To achieve this effect, I used the industry stalwart tools:  Photoshop and After Effects.

First, I was given a hi-resolution scan of the original photo of Sam Cooke on the Ed Sullivan show.  John and I discussed the themes of his documentary and agreed that this image did a great job of visually representing the ideas of Cooke crossing over from his gospel roots, to a white pop music culture.

I then worked on the photo in Photoshop by cleaning up the dust and scratches and adjusting the levels so the tones were a bit darker and richer.

For this effect to work, I must create two separate "plates" from the photo - a background plate, and a foreground plate.  Essentially, I "cut out" what I want to pop into the foreground by creating a matte in Photoshop and isolating Sam from the background.

Once I've cut him out,  I then need to go back to the background plate and touch-up the photo to create what would be behind Sam if he wasn't standing there in the photo.  In other words, when the camera moves around in the image, there has to be something behind Sam that is revealed as the perspective changes.  To do this I use the Clone Stamp Tool to copy sections of the photo and paint them into the hole I created by cutting Sam out.  I also may use the brush tool to paint as well.  You can see that I don't need to fix the entire hole I created, just enough to create the illusion that what's behind Sam is a complete curtain and floor.

I also decided to blur and darken the background to make Sam "pop" even more.

Once that's all done, I now have a photoshop file with two layers - the top layer with Sam cut out, and the bottom layer with the background darkened and additional curtains and floor painted-in.

Now it's time to import this file into After Effects and create the movement.

In After Effects, I create a new composition ("comp") and bring the file with these layers into that comp.  I then let After Effects know that I want the layers to exist in three-dimensional space (X,Y and Z axis) by checking the 3D option next to the layers.

You'll see that I also added spotlight effect to break up some of the negative space on the left.

I then add a new "camera" to the comp which is what I will use to animate the image.  Essentially, I will move the camera around in the image and what the camera "sees" is what I will see.

Next I need to separate the layers in Z space so that the top layer exists a certain distance above the bottom layer.  This is a trial and error process to determine how "high" I want the top layer to be.  I move the camera around a bit to see how the perspective changes.  For this project, John and I determined that we wanted to the 3D effect to be fairly subtle and unobtrusive, so I only set the top layer a little bit above the bottom layer.

However, since I've moved the top layer in Z space, it now appears out of position and much larger than it did before.  To correct this, I need to scale it back down and reposition it back to it's original composition.

This too takes some trial and error.

Now that the image is how I want it, I can create my move by setting keyframes for my camera at the starting point, moving the camera through the image until I get something I like, and then setting keyframes at the end point.  This process takes quite a bit of fidgeting to get the motion and the timing just right.

You can see from this viewpoint that this is not a "true" 3D effect, there is no depth or "thickness" to anything - it is more like a pop-up book - but it is effective nonetheless.

You'll notice that in the final title sequence there is a lot more going on - flash-jumps, text effects and color and texture effects on Cooke's face at the end, all of which introduced a lot more work to get to the final product that you'll see on tv.

As you watch the show, keep a look out for more of these 3D photo moves - some of the photos have standard pans and zooms, but we sprinkled these 3D moves throughout the film at key moments and on particularly striking images.

I hope this has given you a little insight into the work I do and into the process of creating animated effects for video and film work.

AVATAR: Style Over Substance - Oh, but what style

 

The first 90 minutes of James Cameron's latest little personal film, Avatar, are jaw-droppingly beautiful.  One of the things that cinema is uniquely able to do is transform you into a place you've never imagined before - and Avatar does this amazingly.  The advanced motion capture technology and fully-realized CG alien realm, combined with the latest in 3D allow the viewer to enjoy a fully immersive experience - kind of like, well, controlling one's own personal avatar through Cameron's movie.  Within it you are able to experience moments of pure cinematic bliss.

And then... reality steps in.  The reality that Avatar eventually has to unwind its pedantic, cliche-ridden story - basically Last of the Mohicans/Dances With Wolves, with a touch of white-man guilt thrown in for good measure.

Now, this story is well-known and well-used for a reason. It works. We want to root for the underdogs. We want to believe in a world in which nature has inherent value and we are nourished by it. We want to feel a deeper connection to all things - and embrace the mysticism inherent to that connection. We want to fight against corporate greed and militaristic evil. Those are all good things and so we willingly follow down the well-worn path of this story because it is heart-felt and it is comforting.

With this film I realize what the problem I have with Cameron is - he is an incredible craftsman, but not an artist. And Avatar shows this with great clarity.

Cameron plays it so safe here, that he sucks all the magic out of this world that he has conjured for us.  It's as if he is so visionary, so far-reaching in his technical achievements that he has nothing left for the actual story, which is what ultimately frustrates me because having spent the $400 million on the tech, he had an opportunity to do something really ground-breaking, something truly revolutionary.

Instead, we have the basic soldier goes native and winds up fighting with the natives and against his own country. Now this might be interesting if there was an actual difficult choice to be made here - like having to fight against his former friends and comrades, but Cameron obliterates any inherent drama in that decision by allowing everyone he cared about go AWOL with him, and also making the remaining soldiers and corporate goons paper-thin "bad guys" so they can be easily disposed of without any internal conflict. Gee, nothing like eliminating any tension and drama from the last 3rd of the movie where it sorely needs it, eh?

And as far as this being a visionary Sci-Fi flick - forget about it. This is Kindergarten-level Science Fiction - everything is spoon-fed to the viewer with very little mystery allowed. The viewer never has to "catch up to the film" because they are seeing it clearly in their rear view mirror.

And really, do I need to see yet another exo-skeleton battle in the 3rd act - like, oh I don't know...

Aliens?


Ultimately, I just want to smash Cameron's head against a wall and scream - "Hey dipshit, you had me in the palm of your hand - now spend the extra scratch and have a real script doctor polish up your story so I don't see every single thing coming my way!" How about throwing me a freakin' bone - like oh I don't know, like a little twist, or a misdirection, or hidden meaning - how about letting me bathe in the air of mystery a little bit, eh? How about some actual art beneath your amazing matrix of CGI - how about some fucking poetry!

Oh well - if I want that I can always throw this baby in the DVD player:

Now there's a master craftsman AND master artist!

---

As far as Avatar goes, if you want to see this movie, you really must spend the extra cash to see it in a big-ass theater with 3D glasses - it's all about the wow factor.

This movie is so schizophrenic, I have to give it two different ratings:

Special FX/Art Direction

Story