You Can't Eat the Venetian Blinds

Game On: Nikon's D4 & JVC's GY-HMQ10

2012-01-16T20:24:00.000-08:00

For the past few months I've been living without a dedicated video camera in my camera bag. This is the first time in a very long time I've been flying blind. The reason for this is simple (as mentioned in previous posts): I'm waiting for the right camera. As time passes and more and more great cameras enter the arena, I'm (ironically) less and less inclined to buy a new camera. Why? Today, it seems every client wants something different with budgets ranging wildly from project to project, there isn't ONE camera to fit the bill. This climate begs the question: why buy when you can let your client rent? This doesn't change the fact that I'm not just a shooter, but also a writer/director and when the time comes for me to go to camera on my own projects, then I don't want to rent...I want to own.

Two companies who've lost a lot of ground in the HD video game made a splash at this year's CES in Las Vegas: Nikon and JVC. Nikon's brand new D4 is a low light beast with new HD video capabilities that leap frog Canon's current lineup of DSLRs. For starters, the D4 boasts1080p at 30 or 24fps (or 720p at 60fps) with a B-Frame data compression allowing you to record h.264 clips for up to 20 minutes per take on dual memory card slots (CF and XQD). The D4 also allows full manual control over exposure while shooting, along with a remote shutter and power aperture with silent operational adjustment.

But the biggest selling point of all is a biggie: uncompressed 8-bit 4:2:2 HD output through the camera's HDMI port. No on-screen menus, no letterbox, nothing but the signal you want to feed to an external recorder. Big, but not as huge as it would have been if it were 10-bit.

Another great tool is the D4's ability to switch from full-frame to Nikon's DX format (a 1.5x crop factor) or to a 2.7x crop at the standard 1920x1080 resolution. This provides whatever lenses you've got in your kit with and incredible amount of increased range and versatility. Considering a situation where've only got room for one lens and this feature is a life saver. Finally -- for added incentive -- Nikon's promising "less instances of rolling shutter distortion." Not exactly sure what "less instances" will translate to in the real world, but any improvement is a welcome one.

While the D4 is pricey at $6K for a camera that still isn't a dedicated video camera, it is a viable option...for now. My only concern is that Canon is quite certainly poised to return fire with a revamped 5DM3 and 7Dx. The only questions remaining are: when and what will these next gen cameras boast for features?

Next up is the JVC GY-HMQ10, a dedicated prosumer video camera boasting a 4K image and competitively priced at $5K. While this isn't a true 4K sensor, it somehow (the tech is beyond me) stitches together four quadrants of 1080p into a 4K stream. The GY-HMQ10 delivers real-time 3840x2160p footage at 24p, 50p and 60p as well as offering a high speed 1/2 inch CMOS sensor with 8.3 million active pixels, a 3.5in touch LCD monitor, a built-in f2.8 10x zoom lens with optical image stabilizer, and shoots up to two hours of 4K video recording to SDHC or SDXC memory cards. Pretty impressive.

These two cameras have definitely got me thinking. Before I make any decisions I'm going to try to get my hands on both and once I do, I'll report back here (hopefully with test footage).

New Life / Old Genre: Gavin O'Connor's Warrior

2012-01-14T20:37:00.000-08:00

The sports genre has become as much of a cliche as the many cliches it has spawned: Rocky's Theme, Eye of the Tiger, etc. At this stage of the game, breathing new life into this old genre and sucking in an audience while surprising them along the way, is next to a near impossible feat. Somehow, writer/director Gavin O'Connor has pulled it off with the MMA masterpiece Warrior.

Despite its complete checklist of boxing film / sports movie cliches, Warrior reaches so far beyond these cliches it practically redefines them. While respectful to reference (the original) Rocky, O'Connor legitimizes Warrior as a serious film, crafting it with visual and thematic nods to Michael Cimino's grand epic The Deer Hunter. Simply put, this isn't a sports film for meatheads (not that it won't please them), this is a sports film for audiences hungry for stark cinematic realism.

Burgeoning superstar Tom Hardy (once again) mesmerizes as the tortured lead Tommy Conlon, who -- along with Nick Nolte and Joel Edgerton -- make up a three headed beast with lethal acting chops. For a film I expected to detest, Warrior proved itself to be as big of an underdog champion as the unorthodox heroes it portrays.

Hong-jin Na's The Yellow Sea (Hwanghae)

2011-11-25T18:30:00.000-08:00

I can't remember the last time Hollywood offered me anything mind-blowing. An industry now controlled by bankers for shareholders, even filmmaking geniuses like Martin Scorsese have been reduced to making pointless kids movies. Not even the so-called independent cinema in the US has been spared Hollywood's fixation with the bottom line, where the few table scraps left are thrown to a dwindling numbers of original voices still relevant. If ever we needed another Easy Rider inspired industry revolt, then now is the time.

With American cinema (not unlike the country itself) irrelevant and hopelessly behind the times, the only option North American cinephiles have, is to go abroad. One of the countries that's long since surpassed American cinema for shock and originality is South Korea. And it's not like Hollywood is oblivious, they're actually cannibalizing SK cinema by remaking Korean gems into pointless American knockoffs. The latest SK gem ripe for reproduction is Hong-jin Na's The Yellow Sea (Hwanghae).

Like Ravel's Bolero, The Yellow Sea understands the patient reward of crescendo: starting slow and building to a fevered climax. By the end of this, we're left with what seems impossible for an epic 156 minute film: wanting more. With the exception of one car chase marred by phony green screen cutaways (see the video below), the breakneck action, extreme violence and hyper-realistic gore is virtuosic. Guns noticeably absent, whooshing knives, devastating hatchets and the blunt trauma of gnawed animal bones provide The Yellow Sea with brutal, bloody and refreshingly lo-tech weapons of choice, a grim example of how Hollywood and it's obsession with appeasing demographics can't compete.

But The Yellow Sea is much more than just a knife brandishing ballet that harkens back to early 90s HK bullet ballets, it's exceptionally well written and acted with none of HK cinema's cliched melodrama. The characters here are many shades of grey, avoiding archetypal absolutes, allowing us to identify with and like even the worst of the worst. All of the action is beautifully composed with kinetic, hand-held photography that compliments the bleak color palette, which results in a gritty and ultra-realistic film, not unlike so many American masterworks from the 1970s.

The Future Now? Considering Canon's New C300 and RED's Scarlet-X

2011-11-21T11:57:00.000-08:00

On November 3, the indie filmmaking community was on pins and needles awaiting the unveiling of what was being billed as two new breakthrough cameras. The excitement didn't last for long.

I just recently sold my EX1R, anticipating a no-brainer upgrade to be introduced. Unfortunately, the no-brainer was a no-go. Canon's C300 and RED's Scarlet-X were both disappointments, neither of them being the type of breakthrough users such as my self expected to see.

First off the Canon. The beginning and end of the C300 debate is its price tag of ~$20K. We might consider paying $20K if the C300 shot 4K Raw, overcranked to 120fps, had 10 bit SDI out, and had AF support for EF lenses. But it doesn't -- it has none of the above. This camera may look great, but I wouldn't pay more than $10K for it regardless of how amazing its 3.7K sensor may be.

On to the Scarlet. A long time ago, in what feels like a galaxy far, far away, Jim Jannard promised us a 3K camera with a fixed lens that would cost $3K. That camera failed to exist. Years later we have something very different: a 4K video camera with an EF mount that will end up costing around $15K to be operational. It will cost a lot more to make it practical.

With the Scarlet, RED is attempting to take back the territory it lost in the wake of the DSLR revolution. RED is marketing the Scarlet as a DSLR alternative and with its ability to shoot 5K RAW stills at 12fps bursts and video friendly features, it certainly has a technical leg up on Canon's 5Dm2 and 7D. But let's be real: are 5Dm2 and 7D users going to jump ship for something costing 6-10x as much? Unlikely, since most still photographers aren't investing long-term in camera bodies, opting instead to dump whatever surplus of cash they have in glass.

Stacked up against the C300, the Scarlet appears to be the clear winner: it's cheaper, shoots RAW and is essentially an EPIC-lite, making it a decent value for a whole lot of resolution. But is it a good enough to justify dumping $15-20K on?

Scarlet Specs

I don't think so. The biggest issue I have with the Scarlet is how it crops its sensor when you switch frame rates for overcranking. Changing your field of view to shoot slo-mo isn't ideal, an option made worse by the respective drops in resolution. For example, at 120fps you're relegated to shoot at 1K -- lower than HD resolution (aka useless).

You will also need the required computer processing power to handle the RED files. Sure, you could buy a RED ROCKET card...but that's gonna cost you another $5K. The Scarlet also uses the 3 year old Mysterium chip that doesn't come close to what a camera like the F3 can do in low light. This chip will eventually be replaced by the Dragon chip, but until that time comes (possibly next year) you'll be shooting with dated tech.

Lastly, the bugs. I just wrapped a two month TV series where we shot with 2 RED ONEs with the latest Mysterium-X chip. We shot in 4K and while the network is in love with our footage, we know it came at a cost, chiefly: time. Throughout the shoot we were plagued by recurring dropouts, false boots, mysterious power losses and other buggy mysteries the rental house conceded were typical of the RED. I haven't shot with the EPIC yet, but this is what Philip Bloom has to say of it: "The reliability is not the same as any other camera I have owned. Nothing close. But, this is expected (and effin annoying!)." In other words, expect the Scarlet to be buggy and frustrating to work with.

At the end of the day on November 3rd, I was left wanting more. Right now, I'm convinced there isn't a camera for sale that's worth investing in for the long term. There's a lot of pros for the current crop of large sensor video cameras, but unfortunately many of the cons are deal breakers (at least for me).

For now, I'm going to keep shooting on whatever cameras the productions I'm working on are renting and my 7D for my own shoots. The good news is, I'll earn some interest off the money sitting in my bank account and if any one of the camera makers out there wants it, all they have to do is bring to market a camera with a large sensor, 10 bit SDI out, 4:2:2 compression, 60 fps @1080p, 50mb/s bit rate, 2 NDs, an EF mount, user friendly ergonomics and a price tag under $10K.

Too much to ask for? Perhaps for now. Wait 6 months and we'll talk.

Beats, Rhymes & Life: The Travels of A Tribe Called Quest

2011-11-17T07:18:00.001-08:00

Three Hip-Hop groups defined the way I interfaced with Hip-Hop as a kid: The Jungle Brothers, De La Soul and A Tribe Called Quest. Their music was the soundtrack of my youth: beats and rhymes with a positive, life-affirming vibe. To me, these groups were giants living amidst point guards; years later, when I interviewed a number of them for my Hip-Hop documentary 5 Sides of a Coin, I felt like I'd grown up, being allowed to stand face-to-face with many of my childhood idols.

I still love Hip-Hop, but nostalgia has a way of tempering things. It's been nearly 20 years since I've had an epiphanic Hip-Hop moment; the last one I remember was hearing 36 Chambers or Illmatic for the first time. Don't get me wrong, I still bump my head to a lot of what's out there...it just doesn't move me the same way it used to.

A few weeks back I watched Michael Rapaport's Beats, Rhymes and Life: The Travels of A Tribe Called Quest and I was instantly reminded of Hip-Hop's significance in my life. Rapaport's film isn't shot on the best cameras or filmed by the most competent operators, but it really doesn't matter. This film was made by a Tribe fan for Tribe fans and whether it succeeds as therapy or mediation between Tip and Phife is irrelevant. If --somehow-- this doc has anything to do with ATCQ fulfilling their contractual obligation to produce one more album, then it's a monumental success; if not, it's still a great way for diehard Tribe fans to reconnect with one of Hip-Hop's greatest groups.

Drive: The Official Poster + Bonus Promo Materials

2011-11-13T13:07:00.001-08:00

CLICK FOR:
Drive: Press Package
Drive: Production Notes

Sue Me! Drive: The Theatrical Trailer

2011-11-12T09:32:00.001-08:00

This is the trailer an idiot in Michigan is suing the distributor of Drive over. Seems the movie didn't suck enough for her tastes and she wants her money back.

More Gosling? Who Am I To Argue?

2011-11-10T08:48:00.001-08:00

Drive is sure to attract guys because we're little boys who will never outgrow our fascination with cars, gangsters and graphic violence. Based on the response to my last post, Drive is attracting the girls for a very different, yet equally specific reason. Here's more of that reason to go see Drive:

Stay tuned for one final post from my Drive promo materials treasure chest.

Nicolas Winding Refn's Drive: Promo Stills

2011-11-07T16:13:00.000-08:00

I was recently commissioned to interview Nicolas Winding Refn for RUSSH magazine and in the process, I was given the keys to the promo vault. I love the movie and if I can't convince you to go see it, maybe this taste of the press materials will:

Stay tuned for more...

Drive, He Said: Refn talks Drive for RUSSH Magazine

2011-11-02T08:50:00.000-07:00

Last week I interviewed one of my favorite working Directors for RUSSH Magazine: Nicolas Winding Refn. Calling from Bangkok where he's shooting his latest (what he describes as a "pure" action film), Refn gave me his take on the beautifully retro Drive (now in theatres). In a few weeks I'll post the interview's audio, but in the meantime here's the written word.

Armani, Jade Jackson, RUSSH Magazine...and Me.

2011-10-25T21:54:00.000-07:00

I recently spent a month in Australia covering Splendour in the Grass for RUSSH Magazine and while I was there they also asked me to cover a handful of their monthly fashion shoots. I said yes. The above is a film I put together from one of these shoots, with help from EMI Recording artist Daughter and her hauntingly beautiful track "Landfill." Enjoy.

A Sad Day: RIP Andrew Laszlo, ASC

2011-10-10T14:14:00.000-07:00

When I was in film school Kodak sponsored a Visiting Artists Program where they brought in the esteemed Cinematographer Andrew Laszlo (ASC) for a day of workshops and film screenings. This was a pretty big day for me because I grew up in reverence of a handful of Laszlo's films, most notably: First Blood & The Warriors.

In person, Mr. Laszlo was an inspirational, extremely humble and generous man. Here he was, a big Hollywood DP, with no hint of any ego and thrilled to spend a day with a group of Canadian film students. Laszlo went well past the allotted time he had with us to relive filmmaking war stories, while sharing his secrets on how he lit and lensed his films in such a dramatic, yet naturalistic / documentary style. Laszlo is (in my opinion) an unsung hero in the push toward documentary-style filmmaking that is so commonplace on both the small and big screens today.I learned a tremendous amount from Laszlo's workshop and this education helped define the type of director/shooter I am today. I'm deeply saddened to learn of Mr. Laszlo's passing and want to thank him one last time for his contribution to film and television and also for what he once gave a small class of film students at Concordia University. Rest in peace, Mr. Laszlo -- you will never be forgotten, nor will the work you did on such films as (the aforementioned), Southern Comfort, Streets of Fire, The Night They Raided Minsky's, Remo Williams: The Adventure Begins, The Out of Towners, and The Funhouse.

Zacuto Shootout 2011: Episode #3

2011-10-06T13:33:00.000-07:00

Here it is...the final episode of this year's Zacuto Shootout. In the last two videos the Alexa looked to be the across-the-board winner and if I had to bet on the final outcome, my money would be on Arri.

The Great Camera Shootout 2011: Episode 3 ~ "It's Not So Black & White" from Steve Weiss on Vimeo.

The Boulting Brothers' Twisted Nerve

2011-09-13T11:55:00.000-07:00

I didn't grow up in an era where the term "mongoloid" was used in polite circles; I grew up in the cultural wasteland where delightfully offensive indiscretions died a quick and silent death. Watching a movie made before this time is often the cure, one that excites the mind in unexpected ways.

1968's Twisted Nerve pushes all the wrong buttons, with an unapologetically blunt commentary on hot-button topics such as racism, homosexuality, classism, colonialism, sexual perversion and psychotic behavior. Working against the intelligence of TN's screenplay is its pseudo-science prognosticating the doomed fates of those born in a womb sullied by Mongolism. Inaccurate or not, it is a fun possibility to entertain (since this is a movie, after all...not a documentary). Perhaps if the PC police were told this film was Sci-Fi horror, TN would have found a wider audience instead of remaining a cult gem cherished by few.

Full of visual references to Hitchcock and an unforgettable score by Bernard Herrmann, Twisted Nerve watches like one of Hitch's bastard children, a nasty oddity the Master must have been proud to have inspired.

Entourage: It's All Over But the Movie

2011-09-12T01:10:00.000-07:00

After finishing the final episode of HBO's Entourage I can't shake the sickness inside a recovering junk food addict would feel on a final binge that ends with a trip to the hospital to get their stomach pumped. I spent 8-years watching a show that went from mediocre --but always entertaining-- fun to a poorly written, formulaic one-trick pony. The final two episodes tried to erase 8-years of zero character development with ridiculously implausible changes rammed down our throats. This type of viewing is the equivalent of foie gras production, an offensively intrusive technique reminiscent of so many other dying TV franchises attempting to grab ratings by lobbing bomb shell after bomb shell at the viewer to keep us from completely dozing off. The end result? In two short episodes Entourage went from being what was shallowly known as the male version of Sex and the City to a frat boys version of The Young and the Restless. Unfortunately, the shark jump isn't yet over...unless you will have the resolve to eat a salad instead of binging one more time on the emptiest of calories.

The Rebirth of a Classic: Blade Runner v2.0

2011-08-29T15:17:00.000-07:00

According to the LA Times who spoke to Alcon Entertainment producer Andrew Kosove, a new Blade Runner intended for the silver screen will not be a remake but is intended to stand on its own, distinct from the original. "This is a total reinvention, and in my mind that means doing everything fresh, including casting," Kosove was quoted as saying.

Bad News: Harrison Ford probably won't be bringing Deckard back to the big screen. Good News: Ridley Scott is going to direct. Long Shot: Edward James Olmos returns to play Gaff.

2019: A Future Imagined from Jim Hunter on Vimeo.

Zacuto's Great Camera Shootout 2011: Episode 2 + A New ALEXA!

2011-08-29T09:11:00.000-07:00

Zacuto's Episode #2 of the 2011 Shootout is now online and Arri is getting ready for a December release of the new ALEXA Studio that boasts an optical viewfinder and 4:3 usable sensor area allowing 2:1 Anamorphic shooting. Something tells me this ain't gonna come cheap. Take a peek:

Mirror Park Buttons: VIEW and GATE. Stops (parks) the mirror in the view or gate position for 100% optical viewfinder pleasure or checking the gate (i.e. sensor cover glass).

The ALEXA Studio viewfinder. Accepts 435 eyepieces and, with an adapter, ARRICAM eyepieces. Note the bulge on the right: the viewfinder can be switched from spherical to anamorphic viewing. Viewfinder is completely new optical design.

Wrong Side of the Road Trip: From Sydney to Splendour (and Back)

2011-08-09T21:24:00.000-07:00

I recently hauled my ass to Australia to cover/vacation at this years Splendour in the Grass for RUSSH magazine. Here's the unedited blog I wrote (see the edited version here), along with a handful of photos I shot:

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I'm writing this in bed, sick with the flu for the second straight day -- is this a price worth driving 12 hours (each way) to cover this year's Splendour in the Grass for RUSSH? Yeah, I'd say so. My only complaint about Splendour is that they do such a damn good job of making it a well rounded social event, you end up forgetting why you're there in the first place.

On Day 1 we rolled up late to our campsite. It was just before dusk which gave us enough time to setup our tent, but was far too late for us to catch three bands on my list of favorites: Wild Beasts, The Kills and James Blake. We also managed to miss Warpaint, Glasvegas & Does it Offend You, Yeah? We weren't doing too good by this point, but we were having too much fun to mind.

Later, we caught the tail end of Gotye's set then pushed through the crowd and barricade at the Amphitheatre in time to catch The Hives tear it up in one of the most entertaining and high energy sets through the weekend. Next up was Kanye who was...well...very Kanye. We left the West Spectacle early to catch DJ Shadow only to be gutted when we realized we missed his set. It's safe to say our Friday was a near write off.

The rest of our weekend was a blur with memory flashes of The Gold Bar, our campsite, our campsite neighbors/new best friends, a cold shower, very little food, a lot of drink and watching a band we wrongly assumed was Isobel Campbell and Mark Lanegan despite not recognizing anyone or any song coming from the stage. Embarrassing, really. At least on the closing night we knew which stage was which and we were delivered a parade of highlights by Elbow and Pulp, our undisputed favorites of the entire weekend. There's little debate Jarvis Cocker was born with a stage under his feet.

Fortunately I had a camera along for the ride, documenting not only the (few) bands we saw but also the long night's journeys that took us everywhere else. This made early morning flips through my CF card an eye opening ordeal, along the lines of: "Who are all these people we're posing with in these pics??" Apparently we made a good impression since we kept running into people who seemed to still like us in addition to knowing us very well (apologies to all those whose names I forgot).

Ahhh Splendour...can't wait to do it all again next year.

Definitely NOT Isobel Campbell

Definitely NOT Mark Lanegan

Definitely Perry Farrell

Kaiser Chiefs - Ricky Wilson

The Man Behind the Curtain

Here's A Hint

Jarvis

Excuses, Excuses

2011-07-27T07:46:00.000-07:00

Ok, so you really want to know why I've been AWOL? Developing my own TV series with the boys at Hulo Films is one excuse. Here's the new cover art RUSSH magazine's Christine Thornton and myself designed using a Vanessa Neufeld photo:

Up For Air...

2011-07-21T22:02:00.000-07:00

The past half-year has been busy. The past few months, even more so. As a result, this blog has suffered. With the help of Ted O'Neill this blog now has its own domain and if I'm able to buy myself some free time, expect some summer catchup posts.

The first of these posts is a photo essay I shot of The Carbon Rush's Amy Miller getting her ears tattooed while we were in Delhi:

The Explanation.

The Artist.

The Apprentice.

Drawing the template.

Game Faces.

Are We There Yet?

The Gun.

Electricity.

The First Bite.

Sterile.

Steady.

Almost.

Another Satisfied Customer.

C'est Tout!

The Happy Couple.

Zacuto's Great Camera Shootout 2011: Episode 1

2011-06-17T18:05:00.000-07:00

Zacuto's new shootout is now live and this time around they've got 11 cameras going toe-to-toe: Arri Alexa, RED ONE M-X, Weisscam HS-2, Phantom Flex, Sony F-35, Sony F3, Panasonic AG-AF100, Canon 5D Mark II, Canon 1D Mark IV, Canon 7D and Nikon D7000. They've also got 35mm Kodak 5213 and 5219 film thrown in for comparison. The results are (in some cases) both surprising and impressive. Now...if only I could afford to buy myself an Alexa.

A Must See: Bill Cunningham New York

2011-06-11T14:52:00.000-07:00

I just got off an overseas flight from London and was lucky enough to start the long journey with a great documentary: Bill Cunningham New York, by Richard Press.

Even if fashion isn't your thing, Bill is such a rare and inspiring person, it's impossible to not be moved by his story. At 80 years old, Bill continues to bike all over Manhattan, snapping photos for his NYT feature "On the Street." He's one of the original street style photographers and his legacy is not only respected by those in the know, his influence ripples through the entire fashion industry.

Festival de Cannes - Eco Pirate: The Story of Paul Watson

2011-05-16T09:19:00.000-07:00

Eco Pirate Director Trish Dolman gets my back while I shoot an illegal shark catch.

One of the most incredible experiences of my young career was working as the Director of Photography on the Galapagos segment of Trish Dolman's Eco Pirate: The Story of Paul Watson. I spent a month aboard the Sea Shepherd's Farley Mowat and in that month one near death experience and a number of other tense situations established my taste for shooting the extreme. Trish worked long on hard on the film and in addition to having caught it at last week's Hot Docs, I just found out it's screening here at the Festival de Cannes today @ 6pm. If you're not lucky enough to be here to see it, keep your eyes open for screenings in theaters near you. It's a great documentary, one I'm proud to have worked on so please go support a truly independent film about a truly inspiring and important individual.

RUSSH Magazine: A Legend Revisited

2011-05-16T00:07:00.000-07:00

A few months back RUSSH magazine commissioned me to write an article on one of my favorite musicians of all time. Nearly ten years ago I interviewed Gil Scott-Heron for 5 Sides of a Coin, my feature-length documentary outlining Hip-Hop's origins and impact on the world; ten years later, I tried to track down Gil for a follow-up. As RUSSH's April/May issue winds down its print run, they've posted my article online for all to enjoy.

Gil Scott-Heron in his prime

Reviewed: The Atomos Ninja

2011-05-09T18:07:00.000-07:00

With a few weeks to play with the new Ninja, I can report that Atomos has crafted a useful device with a tremendous amount of potential. It’s a great looking unit, comes packaged in a handy, pelican-like hard case and, most importantly, the Ninja will produce bitrates that meet (and exceed) broadcast standard footage. Utilizing Quicktime’s ProRes codec, the Ninja should --as advertised-- streamline your workflow…the trouble is, it doesn’t.

To get straight to the point: the Ninja’s biggest drawback is its HDMI input. Because of it, you can’t use a Canon DSLR (thanks to Canon’s overlays) and if you’re using the Sony EX1R, EX3, F3 or the Panasonic AF100, then you’re stuck with the 60i signal these cameras output. Yes, you can convert the 60i to 24p, but this costs time. Atomos is working on an application to simplify this process, but even with their fix, your workflow has mushroomed. This is not the plug and play functionality I was hoping for.

It should be noted that there are currently NO cameras on the market outputting a native 1080p24 HDMI signal. What this means is, in order for you to edit 24p, you need to convert the footage captured onto your Ninja.

It should also be noted that because of the EX1R and EX3’s smaller chip / high noise floor, the Ninja’s higher bite rate recordings will not deliver footage with a noticeable improvement over what's captured in camera. If you’re determined to acquire a higher bit rate but unwilling to spend any extra dough, you could easily transfer your EX1R/EX3 footage as ProRes files within FCP. This will take time, but it won’t cost you a penny.

The next stumbling block to plague the Ninja is its playback ability. Currently you can’t review what you’ve shot on the Ninja in anything but software driven proxy resolution. In other words: this is unwatchable pixelated video, useful for confirming something has been recorded, but useless for anything else. Atomos is hard at work on a firmware update that will allow for “hardware (full frame rate and [as near as we can to] full resolution) playback which will be available in a future firmware release for all users.” Atomos’ CEO Jeromy Young has told me this update will be available within the next 1-2 weeks.

(L to R) Power Button & Magic Caddy Release Latch

While the overall build quality of the Ninja is solid and sleek, one design flaw sticks out like a sore thumb: the Magic Caddy’s release latch (see above picture). This latch doesn’t have a distinctive/defined movement and because it’s placed on the opposite side of the Magic Caddy, it makes it very difficult to hold the release latch and pull out the Caddy at the same time. If you're in a hurry when swapping drives, you'd better ask for a helping hand.

Atomos has done a great job packaging a solid unit inside of a cool "Ninja" branded hard case, but they've also cut a few corners. The battery charger and its power cord are light and plasticky and compared to the quality of Sony's chargers, I don't see this stuff standing up to life outside of its carrying case. Nothing says "Made in China" more than the ill fitting USB power cable for the Master Caddy Docking Station (see picture below). Odds are you won't be using this cable, but it's little details like this that add up to a less rewarding purchase.

Arrow pointing to the ill fit / gap between plug and Master Caddy

The last thing to frustrate me is that Atomos didn't bundle an HDMI cable with the Ninja. I understand there's lots of choices to make when selecting an HDMI cable and that Atomos didn't want to make the choice for you, but I'm always annoyed when I’m forced to go out and buy something essential to the operation of a device. In other words, when you do buy a Ninja, make sure you've got spare HDMI cables on hand...otherwise you'll be waiting for Monoprice to ship you the $2 cable required to connect the Ninja to your camera.

Make no bones about it, the Ninja is a first generation device and like so many other first generation devices, it’s a work in progress. It's competitively priced, has an easy to use touchscreen interface, an intuitive OS, look and feels great, has brilliant storage options, is useful as an external monitor and offers the ingenious option of hot-swappable batteries. Yet despite all of the things it has going for it, there's no way around the fact that the Ninja's HDMI input (and its subsequent workarounds enabling you to shoot 24p footage) will be a deal breaker for many shooters.

That's not to say it won't work for you. If you want to spend as little money on an HDR as possible and you have lots of spare time on your hands, the Ninja's workarounds may be of little concern to you. But with Atomos' HD-SDI based Samurai slated for release this summer, the real heir to the throne of portable HDR has yet to be crowned.

Hot Docs: Representing in the Flesh

2011-05-03T13:05:00.000-07:00

I'm fortunate to have worked on two films screening at this year's Hot Docs Festival in Toronto: Eco Pirate and St. Henri, the 26th of August. I just left the last screening of Trish Dolman's / Screen Siren's Eco Pirate and thanks to a late flight, I missed the first 3/4s of the film...including the Galapagos segment I DPd. It was EP's 2nd straight sell-out, so here's to hoping Hot Docs adds another screening and I get to see some of my work.

At 6:30pm tonight St. Henri screens at the Lightbox Theatre #2, so if you're around the Toronto area, be sure to check it out. If you can't make tonight's screening, there's also screenings on Thurs the 5th at the Cumberland and Sunday May 8th at the ROM. St. Henri is getting rave reviews and if the people behind it are any indication, it should be amazing.

Bitrate Shootout: Atomos Ninja VS Sony's EX1R

2011-05-02T22:38:00.000-07:00

The necessity of shooting at higher bit rates for professional / broadcast purposes is -- in many instances -- the difference between getting a job or not. Thanks to the Atomos Ninja, I now have the ability to shoot at bit rates in excess of 200mb/sec. But after shooting tests on my EX1R, blowing them up and comparing them, I'm not quite sure a higher bit rate equals a vastly superior image.

As I've posted before, I'm not a huge fan of the EX1R/EX3 sensor and because of its high noise floor, it's quite possible higher bit rates do little to push/improve image quality. There's no doubt the higher bit rates are going to help you when meeting broadcast standards and also for grading, but to the naked eye, the results are...well...unimpressive.

I love the EX1R/EX3 cameras and (for the price) practically everything they do, but the limitations of their small sensors are nearing the point where they're becoming passé. As the video test and stills below will show, these sensors aren't going to take your shooting to the next level...not in the same way cameras like the F3 -- with its Super 35mm sensor -- will.

EX1R @~35mb/sec

Atomos Ninja @ ~220mb/sec

Setting Up the Atomos Ninja: Prepping to Shoot

2011-04-27T10:51:00.000-07:00

Now out of its box and ready for play, this next video shows the Atomos Ninja being prepped to do what it was made to do: capture footage at incredibly high bit rates in ProRes Codec.

As the video will show, the first problem to surface was that one of the battery slots on the Ninja would not accept a battery. The battery simply would not slide in and click into place. Finally, after having to force the battery into place, it clicked. After doing so, it no longer had this problem, yet begged the question: is the "Made in China" build quality the reason for this ill fit. More on this later.

The Ninja's second problem to surface is much more severe. The HDMI output from the EX1R, EX3 & F3 inputs into the Ninja as 1080i59.94. This (as confirmed by Atomos) cannot be changed. The only way around this problem is to reverse telecine the footage you capture...a time consuming and tedious task (I've been told by Atomos they are working on an application to streamline this process).

As it stands, even if you're shooting at 1080p24, you will not be able to bypass the input into the Ninja as anything other than 1080i59.94. This doesn't mean you will lose your 24p frames, but it does mean your workload has become much more complex than the simple plug/play/drag/drop as Atomos has been marketing.

For many of you, this will be a deal breaker. Considering that Atomos is scheduled to be releasing the Samurai (an HD-SDI upgrade of the Ninja) in August, you may want to wait. I've been told the Samurai will not have a fixed input, but one you will be able to change to conform to your shooting format. This is a necessary upgrade for shooters like myself.

On my next video I will be comparing the compression of matching footage from the EX1R's codec VS the Ninja's. Will the higher bit rates be noticeably better? Stay tuned.

Unboxing the Atomos Ninja: A First Look

2011-04-26T23:52:00.000-07:00

Yesterday Fedex dropped off my new Ninja but not before Canadian Customs took away $123 in taxes. It didn't take long for me to unbox the goods and here it is for you to take a look. Tomorrow I'll post my first tests and impressions of the Ninja and I think you'll be surprised by the verdict. (Yes, that's a Slanket I'm wearing in the first part of the video -- it's bloody cold in Canada!)

Enter the Ninja (Finally)...and (yet) Another Game Changer

2011-04-23T16:42:00.000-07:00

It only took 3+ months later than expected, but I finally have a Fedex tracking number for an Atomos Ninja. It should be here Monday morning and once it's in my hands, you can expect test videos to follow shortly after. As much as I'm looking fwd to giving the Ninja a workout, I was very impressed by Convergent Design's next level version of their Nanoflash. At this year's NAB, CD dropped a game changer in the form of an uncompressed HD video recorder, the Gemini 4:4:4. Check it out:

Exit the Carbon Rush; Return to a Cold Canadian Climate

2011-04-16T13:57:00.000-07:00

With Canadian elections looming, I can't help but ask the question: Why vote? It's not out of apathy I choose not to vote, it's out of knowing a vote for any of the three major parties in Canada is a vote for Capitalism. After 60+ days working on a project that showed me first hand the damage Capitalism is doing around the world, I can't get excited about being anti-Harper or pro-Anything on a ballot I'd likely feel compelled to deface. We as Canadians tend to think we're innocent of the sins our American cousin's commit, but the fact is, this is a lie we've been (ignorantly) pacifying ourselves with for decades.

A Canadian Mining Co. paid this Indigenous woman and her tribe to violently protest against Environmental preservation of her land and rivers. She took the $25/day and subsequently tried to stop me from documenting the sell out.
Copyright © 2011 Paul Kell

Worldwide, our mining operations contribute to human rights abuses and the wanton destruction of delicate ecosystems. In myriad ways, we're major contributors to the military industrial complex. In fact, if it wasn't for our resources, many of the world's nuclear programs would grind to a halt and military operations wouldn't have fuel to power the machinery killing women and children in the name of democracy/freedom. And what of the damage these pillars of industry are doing to our own soil? If Fukushima seems like a wasteland, perhaps we should look at our own wastelands created to provide the fuel in the fires in Japan. Or the wastelands being created in Northern Alberta to help create wastelands in the Middle East.

Another Indigenous tribe fighting to protect their land with a road blockade stopping an American company from building a hydroelectric damn on the Tabasara river that cuts through their land.

Am I disillusioned? Completely. With the "not-in-my-backyard" mentality the only one that seems capable of motivating anyone to do anything, I don't see us ever getting it together in time to reverse the damage consumerism is wreaking on the world. We're well past the point of critical mass, well beyond the tipping point, and like David Suzuki once told me: we're on a motorcycle speeding toward a brick wall. It's not a matter of "if" we'll hit the wall, it's a question of "when."

Campesino's horses mingle with an Activist's 4x4
Copyright © 2011 Paul Kell

We do live in what we're told is a democracy, but we willfully choose to disregard our power within this so-called democracy. We insist on voting for rich men to control our fates and once we make our uninformed decision, we go back to doing what we're accustomed to: nothing. True change won't happen until we redefine the system and cleanse it of everything that currently pollutes it. But again, this won't happen until we learn a new way of life / living, one that eschews consumerism in favor of self sufficiency. I know this type of sweeping change needed to save the world will never happen, because I for one know I'm not going to stop using my computer, my cameras, flying on jets, staying in hotels, eating foods flown in from across the globe, wearing clothes made by hands I'll never shake and drinking beer from counties capable of making it not taste like skunky piss.

The Carbon Rush's Official Beer in Panama
Copyright © 2011 Paul Kell

Like most of us, I've always loved watching fires burn. I find hope in knowing I'm going to play my violin while the world burns...and that there'll be plenty of great photo ops along the way.

A long day's journey fades to night.
Copyright © 2011 Paul Kell

A Legend Lost: Sidney Lumet (1924 – 2011)

2011-04-13T21:19:00.000-07:00

My favorite living director is living no more. Having worked well into his eighties, Lumet's films make up a good chunk of those I'd list as my favorites:

12 Angry Men
The Pawnbroker
Fail-Safe
Serpico
Dog Day Afternoon
Network
Equus
The Verdict

In my opinion, few directors did realism as well as Lumet, mixing a documentary feel with style and substance. Gritty, prescient and on point, his films feel as relevant today as they must have felt in their time. Mr. Lumet, you will be missed. Thanks for making my life a little bit better.

Parting Glances: India...and Beyond.

2011-04-07T08:57:00.000-07:00

Inevitably (yet not without some tears), The Carbon Rush team has disbanded, scattering in separate directions, like leaves in the wind. Lame simile aside, I'm genuinely fighting separation anxiety, one of the reasons I'm attempting to hold on to the experience with a vice grip. My solution: in a few hours I'll be climbing into a small boat that will take me up the Terebre river to visit and film the Naso. Their numbers now below 3000, the Naso are past the point of remaining a sustainable population. With a hydro electric dam being built on the adjoining Bonyic river which is linked to their subsistence, the Naso's fate is all but sealed. The good news is, the owners of the dam project will be receiving millions of dollars from carbon credits. Another fine example of genocide paying the bills.

Over the next few days I'll be without electricity (irony, duly noted), so here's the first of many future attempts to catch up on the back log of photos and blog entries from our epic adventure. The following are the remaining shots of our Indian experience:

Team Carbon Rush: 57 Days Strong

2011-04-06T17:52:00.000-07:00

Joes
Copyright © 2011 Paul Kell

Amys
Copyright © 2011 Paul Kell

Pauls
Copyright © 2011 Paul Kell

India: Random Glances at Places and Things

2011-03-30T07:13:00.000-07:00

There are many things to love about India, but the quality of its light has to be my favorite. Diffused by pollution and dust, India's oversized sun burns crimson red and --by day-- blankets all things Indian with a soft, rich light. By night, Indian's have mastered the art of using stark, clear light to help illuminate the beautiful clutter that is my second favorite things about India. Nobody does chaos better than the Subcontinent and if my photos do it any justice, hopefully you'll agree.

One of Many Delhi Shops
Copyright © 2011 Paul Kell

Villager's Rice Bowl
Copyright © 2011 Paul Kell

Delhi Salon
Copyright © 2011 Paul Kell

Saravana Bhavan
Copyright © 2011 Paul Kell

Bhavan's Paper Dosa
Copyright © 2011 Paul Kell

Light and Shade and a Rik
Copyright © 2011 Paul Kell

Random Alley
Copyright © 2011 Paul Kell

Another
Copyright © 2011 Paul Kell

And Another
Copyright © 2011 Paul Kell

Redefining What a "Busy" Street Is
Copyright © 2011 Paul Kell

Delhi's Waste Land: The Ohkla Landfill

2011-03-28T06:55:00.000-07:00


Copyright © 2011 Paul Kell / Wide Open Exposure

A few days ago we shot at Delhi's largest landfill where approximately 700 of the poorest Indians make a living sifting through a mountain of putrid trash. These waste pickers are losing their livelihood as carbon offset projects ensure the trash will no longer be sorted, but compressed into blocks to be used as fuel. It was a spectacularly sad setting, yet one I couldn’t pull myself away from thanks to the powerful footage I collected.

As difficult as it was to stomach the pungent smell of the landfill, it was more difficult to witness the lives of those at the bottom of our societal food chain. Earning one hundred Rupees a day (approx. two US dollars), these pickers root through our trash, most of which – we were told – comes from Delhi’s five star hotels. Living without electricity, the picker's meager existence is an anomaly in our day and age, and coincidentally a prime example of how to exist without leaving behind a significant carbon imprint. As I’m about to board my 16th flight since February 7th, the irony of writing this strikes me. Checking in, I’m relieved to find out this leg of my journey is serving two hot meals. Who says there’s no such thing as a happy ending.

Horn OK Please: India, Week Two

2011-03-21T03:29:00.000-07:00

The phrase “Sunday drive” gets lost in translation in India. It’s 9:16am and we’re on yet another busy highway, weaving in and out of oncoming traffic, horn blaring, lights flashing. Fact: everyone in India drives as if they’re racing their pregnant wife to the hospital.

Our Entourage
Copyright © 2011 Paul Kell

I’ve spent a good number of months in India and one of the first things I learned here is to accept my lack of control over a great number of things. Regardless, I still tense up at some of the insanity I’m subject to on the motorways. Indians are either the best drivers in the world or the craziest...perhaps both. Why they bother to paint lines on the road is one of those pointless questions you stop asking as you grow accustomed to India.

The enlightenment I get out of India has nothing to do with yoga, yogis, ashrams, meditation or any of the Western romanticism/mysticism written in books like Eat, Pray, Love. India’s lessons (for me, at least) come from experiences like the current jerky, death defying drive I’m on, where I’m constantly reminded to let go of my ideals, accept my lack of control, and to embrace the absurdity of life. There’s no point telling the driver we’re not in hurry since he’s probably already driving as if we’re not. Such is life…in India.

Driving was the necessary evil that got us to a handful of small villages dwarfed by surrounding windmill farms. We were told we were the first Westerners to visit these villages and the possibility of this was corroborated by the mobs of villagers welcoming us. Every time we stopped and got out of our van, a crowd would gather and swell to the point where we could barely move. Without fail, the friendly crowds invited us into the home of each village leader, where chai and snacks were served.

Always gracious, always friendly, our Indian hosts were also the subjects of The Carbon Rush. Many of these farmers have lost their land in a number of ways and the massive windmills that dominate the surrounding landscape are also said to have sucked up the ground water supply and scared off certain species of native fauna.

Our beautiful Hostess
Copyright © 2011 Paul Kell

While shooting in these villages around Dhule, the Canon 7D revealed another chink in its armor: overheating. With light use in 35 degrees Celsius weather, I was forced to shut down four separate times for fear of deteriorating image quality. It wasn’t that hot out, we were in the shade and I hadn’t been shooting for long before the warning sign popped up on the LCD, indicating (to me) the 7D isn't the most reliable video camera in extreme warm weather conditions.

Catching Up: The Last of Our Brazil Pics

2011-03-19T06:19:00.000-07:00

It should come as no surprise we've been busy. With our shoot schedule packed tight between countless hours on the road, the blogging has taken a back seat to shooting. Even though we've been in India for over a week, I'm here in Pune putting up the last of my pics from Brazil. Stay tuned...over the next few days I'll start getting up to speed on all things Indian.

On the Boat from Guaraqueçaba to Paranagua
Copyright © 2011 Paul Kell

Tupa doing what Tupa does best
Copyright © 2011 Paul Kell

The Captain of our ship
Copyright © 2011 Paul Kell

Jose mid stride
Copyright © 2011 Paul Kell

The most amazing train ride of our lives...
Copyright © 2011 Paul Kell

From Antonina to Curitiba
Copyright © 2011 Paul Kell

Through breathtaking vistas
Copyright © 2011 Paul Kell

Amy takes it all in
Copyright © 2011 Paul Kell

Over bridges
Copyright © 2011 Paul Kell

Jose making beats
Copyright © 2011 Paul Kell

Tupa schools Jose on all things Guarani
Copyright © 2011 Paul Kell

Hello Delhi, Goodbye Brazil: The Carbon Rush, Day 32

2011-03-12T01:05:00.000-08:00

Glimpses of Cana Brava

Delhi, 5:26am. We arrived in India twenty-eight hours ago and the jet lag still has me in its grip. Yesterday’s eleven-hour sleep helped iron out a few creases from a marathon voyage that began in Sao Paolo and ended in Delhi after a five-hour Heathrow layover. After a lazy day in and around our tourist-infested hotel, this early wakeup call was my body’s rude reminder I’ve still got another day before I’m on local time.

It’s hard to believe we’ve already been at this for over a month, proof of the truth behind the old saying: “time flies when you’re having fun.” There’s a part of me that feels guilty admitting we’re having so much fun while traveling the planet documenting other’s hardships and injustices. From the Campesinos being murdered in Honduras, to the systematic extinction of the Guarani in Brazil, we’ve heard many sad stories and witnessed how lives have been fractured by unchecked corporate greed. Despite their hardships, these people have been exceptionally generous hosts to us, and have also given us inspiration.

The people who are sharing their food, time and stories with us are very poor and very hard working people who have somehow remained optimistic, despite fighting against a system backed by powerful pro-capitalist Governments and profit fixated multi-national corporations. These David vs. Goliath stories are sad to witness, but part of what makes this job so inspiring is seeing how hopeful these people remain despite the impossible odds stacked against them. The effect on our small crew has been profound and has not only contributed to the fun we’re having, it’s constantly reminding us to feel proud to be a small part of (what hopefully will be) the solution.

One of the biggest disappointments on the shoot has been the performance of the GoPro HD Hero. Not only has the GoPro proven to be useless once the sun goes down, it’s also equally useless anywhere outside of direct sunlight; even broad daylight shade and Magic Hour are wasted on the GoPro’s pathetically insensitive sensor. Furthermore, two other shoots produced garbage footage thanks to the GoPro’s nasty habit of fogging up in the presence of rain or rainy conditions. I know GoPro sell anti-fog inserts for the HD Hero and if you do happen to be shooting anywhere humid and/or rainy, my negative experience will confirm these anti-fog inserts are mandatory.

Fortunately I’ve only been using the HD Hero on a trial basis and as my 3rd camera, it isn’t something I’ve ever had to rely on. On the other hand, my 1st and 2nd cameras -the EX1R and the 7D- have handled the wet, humid, muddy conditions with relative ease. One small issue I’ve faced with the EX1R is a hairline crack atop the back viewfinder, an apparent design flaw that should be covered under warranty. The 7D issues I’ve had have everything to do with the fact this is a DSLR and not a dedicated video camera: no zebras, no peaking, a piss poor LCD viewfinder and the absence of built in ND filters. I’ve yet to read of a Canon refresh on the 5DmII or the 7D, but one has to assume there will be a number of video friendly improvements/additions to the next generation of these (otherwise amazing) DSLRs.

As for the arrival of our Atomos Ninja…we still wait. Firmware issues / upgrades are the reported stumbling blocks and even though Jeromy has assured us a unit, we’ve stopped holding our breath. I empathize with Atomos’ delays, but it’s looking like they’ve overextended themselves on their projected delivery dates…let’s just hope the same won’t be said of the product itself (if and when it ships).

Last product gripe: the Scarpa Goretex hiking shoes I picked up at 3 Vets prior to departing have started falling apart. I’ve managed to glue the toe tips back in place with some silicone picked up at the Hipermercado in Sao Paolo and I’m hoping this will continue to keep my feet dry.

Left: Climbing the church to get the shot. Right: God's revenge on the Athiest

OPP: Other People's Pictures of The Carbon Rush, Vol. 1

2011-03-09T09:07:00.000-08:00

I took a few liberties with some of the photos our support teams have been supplying us with and here they are for those of you following our epic journey.

On the boat, going up river to visit the Guarani

Shooting in the trees, Guarani kids, Guarani breakfast

Us and our new family of Guarani

Amy goes legit, I eat my namesake, an urban camo puppy in the Favela

We do Carnival in Paranagua

More Carnival

Grilled chicken hearts, our taxi driver, more hearts and cervejas

Amy gets festive, I get busted, our shoot outside Antonina

Our patient support crew waiting, our Favela shoot, our taxi runs out of gas in the sticks

Breakfast in Guaraquecaba, leaving the big G, Amy & Tupa

The day ends, Tupa gets shined, the shiner smiles

Wrapping out the big G, the most spectacular train ride ever is about to begin...

La Ceiba (Honduras) to Montes Claros (Brazil): Catching Up, Vol. 1

2011-03-06T14:18:00.000-08:00

"Busy" barely describes how insane our recent work/travel schedule has been. On the eve of our first day off since our journey began, I'm decompressing in my Sao Paolo hotel room, attempting to sift through the hundreds of photos documenting our progress. Here's the first of many photos to come:

6:30am: La Cieba Airport minutes after missing the first of a few flights en route to Brazil
Copyright © 2011 Paul Kell

Our trusty Honduran Pilot
Copyright © 2011 Paul Kell

Cana Brava Day 1: Donna Dau prepares lunch
Copyright © 2011 Paul Kell

Lunch: Carne del Sol, Rice and Beans, Okra, Pasta & Fresh made Starfruit juice. Words can't suffice.
Copyright © 2011 Paul Kell

The Carbon Rush Montes Claros Team: (L to R: Jose, Donna D, Amy, Tathiane & Germana)
Copyright © 2011 Paul Kell

Post Lunch Coffee
Copyright © 2011 Paul Kell

Post Lunch Siesta
Copyright © 2011 Paul Kell

Coffee Break
Copyright © 2011 Paul Kell

Donna D's Water Cooler
Copyright © 2011 Paul Kell

Again
Copyright © 2011 Paul Kell

Cana Brava Kids
Copyright © 2011 Paul Kell

Cana Brava Farmer
Copyright © 2011 Paul Kell

Team Carbon Rush Montes Claros
Copyright © 2011 Paul Kell

Nap Time on the Ride Home
Copyright © 2011 Paul Kell

Cana Brava Kids
Copyright © 2011 Paul Kell

Our Fearless Driver
Copyright © 2011 Paul Kell

The Carbon Rush Day 21: A White Man's Burdens

2011-03-05T16:08:00.000-08:00

Last night I slept on a flea infested, dirty old blanket on an uneven dirt floor. Smoldering embers from a small fire kept me warm and the snoring of soundman Jose and our fixer / guide / translator Tupa, helped keep me awake. All I could think about was how much easier I may have fallen asleep had I remembered to pack my iPod. If that wasn’t enough to make for a (nearly) sleepless night, I had three flea-ridden puppies vying for a spot to snuggle when they weren’t chewing at my muddied shoes that dried fireside.

Our accommodations: an 8x16 foot adobe walled and palm thatched Guarani gathering house. Built in a small village on a remote mountain range in the Brazilian Rainforest, we arrived the only way you can: up-river --- not unlike Captain Willard – in a small, chartered boat. This is a place few people from the “civilized” world come to visit and I was told we were the first to film the tribe who were our gracious hosts. Having left the comfort of our Pousada in Guaraquecaba, we also left behind a number of other trappings I now know I’m not interested in giving up (regardless of how quaint the experience may be): electricity and food.

The Guarani are profiled in The Carbon Rush because recent laws have been put in place to police their ancient way of life. In the name of protecting the environment, the Guarani are no longer free to cut down trees, trees now protected under environmental laws. The Guarani build their homes with these trees. The Guarani cook their food with the fires they build from these trees. The Guarani subsist on the hearts of palm they harvest from these trees. These new laws ensure the waning population of Guarani will soon be extinct.

While the road to extinction may be paved with good intentions, it’s obviously quite silly to target small indigenous tribes who have lived harmoniously with nature for hundreds of years. These tribes are not the reason our ecosystem is being threatened, but they are now being made scapegoats and are actually going to prison for it. As is often the case, hastily (and insanely profitable) laws are put in place to appease the collective conscience, when in fact, the real criminals behind crimes against Nature are being rewarded with unheralded growth and prosperity. Such is progress.

My time with the Guarani taught me a lot about myself, chiefly that I covet the creature comforts of my world. I don’t like having flea bites all over my legs and I didn’t enjoy going long periods between meals. As a tourist with a camera, I’ve learned the valuable lesson that my appetite for my way of life will not be stopped unless I get what I’ve grown accustomed to. Not by the Guarani, not by the Environment, or not by any other entity that dares come between me and what I’m entitled to.

Click here to listen to the Guarani sing for us.

Missed Flights and Flintstone Foot Steps

2011-02-27T20:28:00.000-08:00

February 23: Montes Claros, Brazil. 3:35am
No, I'm not the best dancer. I stepped on barefoot toes more than once tonight, but my Brazilian tutor was both gracious and tolerant (and like so many other Brazilian women, quite beautiful). Learning to dance was a lot easier than learning what little pigeon Portuguese I've managed to scrap together. Regardless, Brasil is a happy, healthy, healing dream. Today we shot more footage in one sixteen hour day than we shot in the past three days of epic travel (which included two missed flights, a US Customs/Border Patrol snafu, twisting bus rides, multiple cab rides and many more dirt roads well off Google Maps.

February 28: Curitiba, Brazil. 1:25am.
After three different plane rides, we've arrived in the south of Brazil for one brief night in Curitiba before we wake up in a few hours to catch a bus to Paranagua. From there we will be taken by boat to stay with the Guarani tribe in a village accessible only by boat. No electricity, no alcohol, and no justice for a tribe that is presently being arrested for living off the land that's been their home for hundreds of years.

Because we're going off the grid, this will be my last post for about a week. When we return, we'll be heading to Sao Paolo for a few days of Carnival before we jump a plane to Delhi. Hopefully I'll be able to make the most of my downtime to catch up on all things related to ongoing adventure on The Carbon Rush.

So Long Honduras, Hello Brazil (via Miami)

2011-02-18T12:25:00.000-08:00

Making documentaries is always an adventure, but when an adventure is part of making the documentary, then you're in for double barreled fun. If the first ten days of our epic shoot for The Carbon Rush is any indication of what's ahead, then it's an understatement to say our crew will be profoundly affected by the experience.

Our time in Tocoa was spent in Campesino villages, on palm plantations, dirt roads and in a palm oil processing plant. We were originally granted, then denied access to Corporate owned/operated plants who were experts of obfuscation, empty promises and needless red tape. In the Campesino villages we heard first hand stories of their marginalization at the hands of the Government, Military and Industry giants / land owners such as Miguel Facussé. One of the most sobering stories shared with us was by a Campesino who was shot in the face by a death squad in November of 2010. At this incident, the death squad (hired by Facussé) killed five Campesinos and wounded many others, a brutal response green lit by Facussé in order to clear disputed land of Campesinos working the plantation. At a later date Facussé phoned in to a Honduran talk show to publicly justify the killing of these farmers who had been warned to stay off the land.

We're now sitting in the Tegucigalpa airport, eight hours into twenty four hours of transit that won't see us land in Rio until 8am tomorrow morning. Having not had a lot of time to reflect or access the internet, our four hour wait has finally given me a chance to catch up.

On the technical side of things, we've hit a bump in the road dealing with Atomos who is supplying us with their (delayed) Ninja. We were told the Ninja would be waiting for us in Rio, but we've suddenly been notified this is no longer the case. Disappointing news. We've still got faith Jeromy and his team will follow through, so wish us luck.

I finally got a chance to put the GoPro HD Hero to use and so far, it hasn't disappointed. Underwater and on land, this all purpose (toy-like camera) shoots beautiful 1080p images (and as shown above, interesting stills --even when you're unaware it's doing so), although not without restrictions. Shooting blind is the biggest issue (one I will adjust to), but the other is is its inability to shoot usable images in low light situations. Fact: the HD Hero is pretty much useless once the sun goes down.

The 7D is blowing our mind with gorgeous interview footage, but the EX1R revealed a design flaw when shooting in dusty environments: the back viewfinder. After an hour on a dusty dirt road, the rear viewfinder clouded up with dust inside the housing, requiring me to take it apart at day's end in order to clean it thoroughly. This cleaning wasn't 100% effective because of Sony's stupidity in sealing the magnifying glass within a non-removable plastic housing. Thanks Sony.

My other gripe is ongoing: the EX1R chip size. With the DSLR revolution entrenched in all our psyches, there's no arguing that we want our video to look like film. After shooting my last film with the 7D, I know it takes great pains to push the small chip on the EX1R to give me the range of options I get with a larger sensor. When I get back to North America, I'm either going to buy the AF100 or the F3 (with the AF100's value winning the push to help me decide).

Blood on the Road to Tocoa: Honduras, Day 4

2011-02-12T18:09:00.000-08:00

The gravity of what we're shooting crystallized yesterday. Only two hours prior to our interview with Rigoberto Funes (the President of one of the largest Plantation Cooperatives in Honduras), he and Fredy Gonzalez Castro (the Cooperative Treasurer) were gunned down in broad daylight. We were tipped off about the location of the executions (which the Policia are calling a robbery gone wrong), and we hopped in a cab to shoot coverage of the aftermath.

The killings took place on the busiest road into Tocoa and when we arrived, the road was blocked off, with traffic backed up for about a kilometer in both directions. We hopped out of our cab, and with my soundman Jose, waded through the traffic. The mob of bystanders surrounding Funes' bullet riddled Toyota Hilux made it difficult to see, but as I pushed my way through the crowd and past the police tape, I started shooting.

Because of the crowd, I made the assumption the dead bodies had already been carted away. I was wrong. After shooting a few different angles of bullet holes on the truck, the crowd opened up enough for Funes' shirtless, bullet riddled body on the ground, to fall into my periphery. Shot four or five times -- once just below the left eye -- Funes' chest wounds were still releasing air from his lungs. I continued to roll.

This was my first experience shooting a murder scene and I couldn't help but question why I wasn't emotionally affected. Perhaps it was the duty to do my job that kept the gory sight of a bullet riddled corpse laying atop pooling blood from stopping me, or perhaps I'm desensitized from years of video games, horror films, etc. Either way, I expected some kind of emotional reaction...but there was none. As I continued to shoot the body being put into a body bag and carried into the back of a pickup truck, the only thing going through my mind was how to frame the best possible composition.

My next surprise was discovering Castro's body was still on the ground on the other side of the truck. Once I made my way around, I was able to maneuver right next to the body and the thick pools of milky blood that had amassed. One of the freelance journalists we've been working with told me on the cab ride over that in situations such as this, "White Privilege" will grant me access that no Honduran (including the Policia) will question. Surprisingly this was true, yet despite no limits to my access, I knew well enough to exercise both restraint and respect.

Funes and Castro were important figures behind a very successful and well organized Cooperative that provides health care and university education for all of its members and their children. These roadside / broad daylight killings seem intended to send a message to the Campesino's or anyone attempting to challenge the Palm Oil Industry's power structure. I'm not writing this blog to editorialize, but I have a hard time understanding why exceptionally wealthy entities aren't comfortable sharing a small slice of the pie with organizations that help employ, feed, protect and educate entire villages. I went to film school, not business school, so perhaps there's someone out there with an applicable education capable of explaining this to me.

First Impressions: Tegucigalpa, Honduras

2011-02-11T09:31:00.000-08:00

After a short stay in Tegucigalpa we hopped on a bus for a nine hour ride north to Tocoa. Today we shot with MUCA on their palm oil plantation and it´s pretty hard not to be moved by the stories of their struggle. On a tech level: Tired of wrestling with the smaller sensor / large depth of field on the EX1R, I'm now using the 7D exclusively for interviews. Prior to my departure, I picked up a GoPro HD Hero and plan on using it in any situation where guns may be pointed at us and running is a distinct possibility. Was also updated by Jeromy at Atomos, that a Ninja will be sent to us Monday morning (Australia time). I can't wait.

The Joys of Flying

2011-02-07T19:36:00.000-08:00

Arriving at the airport 3.5 hours pre-flight should be more than enough time to check in, clear customs, and get caught up on work before departing. Not today. Canadian Customs Carnet processing, random security selection / (illegal) body search and US Customs taking me aside for the fourth straight time only to discover their database (still) doesn't work. I'm finally gateside, enjoying the sounds of a pot bellied senior gleefully munching open mouthed on his trail mix. Fortunately I picked up a new pair of IEMs a few weeks back to drown out the world. Short review of the Audio Technica CK10s: find the right ear inserts (I use the brain tickling triple flanges) and these things are the best sounding IEMs money can buy for under $500 (even despite the slightly too short cable).

Catching up on the past month, the writing, shooting and editing of my short film ZOMBIE! took up practically every minute of my time, but I did manage to shoot some footage of my PROAIM matte box, rails and follow focus setup -- video I'll soon turn into a review. Bear with me, time is tight and my schedule isn't affording me much down time. On the immediate slate: I'm DPing infamous political activist Amy Miller's doc feature The Carbon Rush. At the same time, I'm also writing a feature for RUSSH magazine on the legendary Gil Scott-Heron, the subject of my 2004 doc feature 5 Sides of a Coin (a link inexplicably not working properly...add some Dreamweaver work to the list of TTD).

7:35pm First flight from YVR to SEA is about to board. I should be getting lots of airplane/airport down time to catch up on work...some of which you'll see here. Stay tuned.

9:40pm Now at SeaTac and just enjoyed hanging with two Edmonton bound Cheeseheads who dropped $2K each for Super Bowl tickets. They were offered $6K each for them...and turned it down. True Cheeseheads.

One of the new purchases for the shoot is GoPro's HD Hero. Considering we may be going into some dicey situations, I figured a camera fixed to my forehead would be a better option for shooting while running for my life. Hopefully it doesn't get that hairy, but if it does I'll have 1080p footage to tell the tale.

Also in the bag for this shoot: Sony's EX1R & Canon's 7D (Lenses:16-35mm 2.8 L, 24-70mm 2.8 EX, 30mm 1.4 EX). The exciting news is, I'm going to be one of the first to field test the Atomos Ninja. It's been a hassle securing one and we'll be w/o it until we reach Rio, but a special thanks to Jeromy at Atomos for all the help.

Time to board. Next stop Miami.

Twenty Four Hours To Go...

2011-02-06T15:08:00.000-08:00

In twenty-four hours, I'll be at the airport about to embark on an epic ten week journey spanning a handful of continents: YVR > SEA > MIA > TGU > MIA > GIG > GRU > LHR > DEL > MAA > LHR > YVR (excluding local transfers / in-country jaunts). Yeah my blog has suffered from my schedule over the past month and for this I do apologize. I've got lots of gear reviews left over from the ZOMBIE! production and in the next few weeks I'll be one of the first lucky individuals to get his hands on one of Atomos' Ninjas. So stayed tuned, I plan on sending plenty of dispatches from the field along with accompanying photos. More info on the trip tomorrow from my flight's gate.

Music To Edit To @ 4:32am: Dub FX

2011-01-30T04:33:00.000-08:00

Buy this man's wares.

Philip Seymour Hoffman's Jack Goes Boating

2011-01-20T20:50:00.000-08:00

There's no such thing as an "easy" relationship. Some work, most don't. When two people bring out the best in each other, they shouldn't take for granted something's working and worth holding on to. The world shits on us regularly and a great relationship is a comforting reprieve from this shit storm. The hardest thing to anticipate is the inevitability of protecting the other person from yourself. We're flawed, but are we doomed to poisoned relationships because of these flaws? Sometimes yes, rarely no. Undiluted love does happen and in these rare instances, someone inspires such good in you, you can't help but be a better person than you've ever imagined possible. This is when you learn to love yourself through the eyes of someone else. It's a powerful thing. Even more powerful then when you're with the wrong person, seeing yourself doing ugly things and hating yourself all the more because of it. Perhaps the point of all this is to hold out for the right person. This is, essentially, what Jack Goes Boating is all about.

The movie is adapted from Bob Glaudini's play of the same name, skillfully translated to the screen by first time director and star Philip Seymour Hoffman. Like the writing, acting and directing, the soundtrack is populated with songs (by Grizzly Bear) articulating each moment with bittersweet melancholy. Throughout the film you feel the pain without being told what the pain is. It's underplayed like most good art is and there's moments of introspection where you're allowed to find you own way into the character's heads and hearts. Because of this, Jack Goes Boating feels personal and real. The longing hurts, but it's a story that gives your heart a glimmer of hope, a reason to keep looking for love. In the end, we all want to be loved. We all want to love ourselves a little more. We all want someone we can can love and give back to them, what they give to us. Like us, these people are all flawed, yet they're there for each other, and in their moments of selflessness, we see (to quote the band Sloan) the good in everyone.

PS The above trailer does nothing but trick you into thinking JGB is another one of "those" movies. It isn't.

PPS John Ortiz steals the show. It's doubtful, but it would be nice to see the Academy give him a nod.

Jess Franco's Barbed Wire Dolls

2011-01-11T13:35:00.000-08:00

There's a scene in Barbed Wire Dolls that is so perfectly horrible it should be cinematic legend. It's a young girl's flashback of her father (played by Franco himself) attempting to rape her. The entire scene is shot with Franco's patented wandering zoom, a lens slathered with vaseline and a slow motion effect you have to see to believe.

Doing double-duty as "Cinematographer," Franco apparently didn't realize you could change the frame rate on the camera and decided slow motion is best acquired through slow motion acting. Yup, actors pretending to go through the motions in real time slow motion. Hilarious.

For someone who hates his own movies and wishes he'd directed Citizen Kane, Franco's taste is not nearly as bad as the choices he consistently makes behind the camera. Within the realm of bad movies, if Ed Wood Jr. is Orson Welles, then Jess Franco is quite possibly John Ford. High praise, indeed. Barbed Wire Dolls is a B-movie with so many juicy tidbits of ineptness, tasteless raunch, camp and cliché you can't help but love this senseless mess. See the slow motion genius for yourself:

David O. Russell's The Fighter: Roger Knows Best

2011-01-04T19:51:00.000-08:00

Taking a break from editing my upcoming short ZOMBIE!, I spent close to two hours with a movie I couldn't quite connect with. Maybe I was too tired, maybe it was too late, maybe I was just having a bad day. Then I read Ebert's review and knew exactly why The Fighter fell flat. Flat or full, most will agree Christian Bale and Melissa Leo are sure fire Oscar noms.

Exclusive Behind-the-Scenes Footage from ZOMBIE!

2010-12-26T14:27:00.000-08:00

As promised, I'm leaking some BTS video from the production of my upcoming film: ZOMBIE! What we have here is a nugget shot on the last night of shooting in sub-zero temperatures. There probably isn't a better canvas for zombie brain splatter than pristine prairie snow and we painted ours bloody red with the help of a REAL shotgun blast. That's right, we used a real shotgun and live ammunition to achieve a heightened sense of reality. In case you're wondering, that's me holding and rolling with the 7D next to our shotgun toting, zombie killing Redneck. Good thing I wore both earplugs AND earmuffs, because those blasts were LOUD as f.

I hope you all enjoy watching this video as much as we enjoyed shooting this scene. And if you think this lo-rez, ridiculously crappy GoPro behind-the-scenes footage was fun...wait 'til you get a taste of the real thing!

Post Holiday Agenda: Field Tests / Reviews Galore...

2010-12-24T10:29:00.000-08:00

I've been busy. In the past 2 weeks I wrote, co-produced with Hulo Films, shot and directed my next film: ZOMBIE! It was a breakneck schedule and last night we wrapped the two day shoot with a zombie head we blow'd up real good. I couldn't be happier with how things went down and this wouldn't have been possible without an incredible crew, talented actors and smiling film gods. Once I'm able to catch up on my sleep, log the footage and hang out with the family, I'm going to review some of the gear we used: Joby's Gorillapod Focus, Zoom's H4N, Litepanels' MicroPro LED, Canon's 7D, GoPro HD and PROAIM's Follow Focus, Matte Box and Rails. We pushed this gear, shooting mostly outside in -30 ºC / -22 ºF weather and in my reviews I'll let you know what stood up and what sat down.

Photo Credit: Vanessa Neufeld (www.VPhotographic.com)

F3 Pre-Orders Up and Running (away with your money!)

2010-12-17T22:43:00.000-08:00

Samy's and B&H are now taking pre-orders on Sony's F3 Super35mm HD Camera. If you've got $18,950 (body + 3 prime lenses) or $13,300 (body only) and you don't mind handing it over (with no interest earned) until "approx." February (late or early is your guess), then you're one step away from owning a piece of paper that tells you you own an amazing new camera! I think I'll keep my money in the bank...for now.

The Affordable Alternative to High HD Bit-Rate Recording

2010-12-17T00:42:00.000-08:00

I was on the brink of dropping $3K on a NanoFlash, yet the nagging cheapskate in me was convinced the market was due for a cheaper alternative. I'm glad I listened because today, my favorite salesperson at Vistek tipped me off about the Atomos Ninja.

For 1/3 of the price of the NanoFlash the Ninja can record up to 7.5 hours of ProResHQ using the uncompressed HDMI output from your camera. Storage? Hot swappable HDDs or SSDs that you supply. Brilliant (and cheap). Battery power? Hot swappables that last up to 18 hours. Epic. With an eye-appealing design that feeds off the SmallHD, the Ninja plans on pulling a Sho Kosugi on Convergent Designs. Oh, did I mention that it also acts as a monitor?

I've got both an EX1R and a 7D that will utilize the HDMI output and even though I want HD-SDI as an I/O option, I'll take what I can get. In fact, I'm putting in my order tomorrow.

Holiday Cheer: The Coen Brothers' True Grit

2010-12-14T16:34:00.000-08:00

Over the next few weeks I'm prepping to shoot and edit a short film I wrote. Busy is always good and the only down time I'll have over the holidays will be committed to family and the Coen brothers. I feel a little guilty admitting I'm more excited in anticipation of the latter:

No Country For Old Men upped their game to another level and with DP Roger Deakins and Jeff Bridges on board, it's safe to assume that with True Grit, the Coens will deliver a x-mas present worth opening.

Wenders' Director's Cut of Until the End of the World

2010-12-09T18:30:00.000-08:00

At a whopping 280 minutes, Wender's intended length of his sci-fi epic Until the End of the World might actually make some wish the world was ending, but for those of us willing to commit the time, the Director's cut is a rewarding experience.

The 150 minute theatrical version of the film was criticized for being overly ambitious, disjointed and underdeveloped, while the Director's cut not only fills in these blanks, it fleshes out this fascinating story about how we see the world around us, the search for identity within that world and our obsessive/destructive interface with technology as a means to process reality, both conscious and unconscious.

Wenders' long-time Cinematographer Robby Müller has been a big influence on my me work and Müller playfully exhibits many of his own influences in UTEOTW. See if you can pick them out:

Yojiro Takita's Departures: It's All In The Details

2010-12-08T13:33:00.000-08:00

2008's Academy Award Winner for Best Foreign Language Film didn't exactly come out of nowhere, but it was certainly the underdog in a race against Israel's Waltz With Bashir and France's Entre les murs. All three are worth seeing, but what makes Departures especially interesting is Director Yojiro Takita's filmography.

Considering the last Japanese AA Winner was Akira Kurosawa (for a Russian-made film), Takita is in elite company, especially for a filmmaker who cut his teeth making Pinku films. Pinku (Pinku Eiga) is essentially softcore pornography, but like most things in Japanese Cinema, it's nothing like its American counterpart.

Personally, I'm not a fan of Porn...but I am a fan of Pinku. The differences are myriad, but the fact a Pinku director would go on to helm a film as thought provoking, touching and poignant as Departures, comes as no surprise (even if it does suffer from unimpressive cinematography and a few corny moments). As much of a long shot as Departures was to win, the odds of an American porn Director making such a profound ascension to cinema's pantheon may be too staggering to even compute.

Production Stills: Coast Modern in Portland, Oregon

2010-12-07T01:23:00.000-08:00

A couple weeks back I was hired to shoot a portion of Twofold Films' upcoming documentary Coast Modern. It's always a treat to work on inspiring projects and not only did we have the privilege of exploring many of Portland's architectural gems, we also managed to indulge in the local viticulture and cuisine. Here's a small sample of stills I snapped while shooting:

5DMII / PortaJib

Sutter Home

Hoke House

Watzek Interior

Sutter Interior

Hoke House

Camera: Canon 7D
Lens: Canon 16-35mm f2.8L II USM

RED Scarlet Renamed and Retooled...

2010-12-06T13:07:00.000-08:00

The REDuser forum has let it be known the Scarlet isn't completely dead, but reborn a different beast. Earlier reports RED had completely abandoned the much anticipated camera targeting the DSLR / Prosumer market may have been slightly premature, but were not entirely inaccurate.

What we do know is rumors the Scarlet would be a fixed lens 3K camera for around $3K were nothing more than rumors. This camera never surfaced and never will. Talk of the Scarlet S35 rose from the ashes, a more expensive version of the Scarlet that evolved from the reality of the EPIC. At this point it only makes sense to drop the Scarlet name (and the disappointment attached to it) in favor of its new incarnation: EPIC Light. In addition to the name change, the features have changed and so has the price (yes, it's going to be more expensive).

At this point all we can do is speculate, but it's safe to assume the RED Light will compete with Sony's F3 in terms of performance and price. So for those of you still waiting to buy a RED product south of $5k, don't hold your breath...or consider putting in your pre-order for an AF-100.

Despite the bad taste the word 'Scarlet' leaves in most camera geeks mouths, we needn't be reminded RED is still a great company who make exceptional, forward thinking products. More details will be revealed within the next two weeks. Stay tuned.

The Filmmaker's Hidden Costs of Air Travel

2010-12-03T16:58:00.000-08:00

As filmmakers know from experience: traveling with equipment is a pain in the ass. For years I've been fighting with flight attendants who insist I check my cameras and for years they've refused to learn this isn't an argument they're going to win. Customs, carnets, excess baggage fees, lost baggage, and so on -- this is the price we pay to travel abroad to do what we love to do. But what happens when that price is our equipment being damaged, lost or stolen?

The other night I was flying out of LAX and one of my equipment cases packed full of gear (and personal effects) was flagged for a search. I was taken aside for the routine crotch groping while I watched another TSA agent pull out every single item from my case for inspection. For good measure, the agent rifling though my case then decided to gut my computer bag of all its contents...even though this bag wasn't flagged, or on the inspection table. The result: two adjacent steel tables completely littered with all my equipment and personal belongings. The TSA solution: walk away and let me deal with the yard sale.

Since so much of my stuff was strewn out across so much real estate, it was impossible for me to keep an eye on both tables. Since no TSA agent bothered to help me or keep an eye on my things, half of my belongings were accessible to passersby. Whether an enterprising passerby snapped them up, or a TSA agent pocketed them, or they were knocked to the floor, picked up and not returned, my Shure E4C earphones disappeared.

As a result, I'm now in the process of filing a theft report with the LAPD and also a claim with the TSA to have my earphones replaced. I wouldn't bother if I didn't use my earphones extensively for work and if they didn't cost $400. Now, I can't help but wonder: will my efforts be rewarded or will my small sense of injustice fall on the same deaf ears the TSA reserves for those crying foul about the loss of their Fourth Amendment rights? Since we now have a lot less of them, I wonder if the Terrorists still hate us for our Freedoms?

Last Minute Movember Donations!

2010-11-30T16:11:00.000-08:00

Since I (regrettably) didn't participate in this year's Movember, I thought I'd post a no shame pic showing solidarity with my Movember brothers who chose to make themselves pretty in the name of a good cause. And yes...next year I'm growing.

Get in those last minute donations while you can:
Ken Morris @ http://ca.movember.com/mospace/905698/
Jason Rowland @ http://ca.movember.com/mospace/499729/
Philip Bloom @ http://uk.movember.com/mospace/653544/

As a sidebar, I'd be interested in seeing a graph showing the significant drop in babies being born in the month of August.

The DSLR Advantage: Getting an HD Camera into Places Where Other Cams Can't

2010-11-29T17:44:00.000-08:00

It's tough to make a documentary shine without gaining access to places or events where cameras aren't welcome. Access has many enemies, chief among them is the size of both camera and crew. It's no secret small cameras and crews can get into places where big productions cannot and with the rise of the HD DSLR, doc filmmakers now have a tool that's both small, stealthy and deceptive. I say deceptive, simply because when people see a DSLR they assume you're taking pictures, not shooting video. This can be annoying when you're shooting video and people suddenly stop, smile, pose and wait for a flash, but it's a great tool when you want to get a camera into a situation where video is verboten.

I've had my share of in-the-field war stories, a few situations that were life threatening but mostly ones where a simple apology was sufficient atonement (seasoned doc filmmakers needn't be reminded that --like US foreign policy-- it's easier to beg forgiveness than ask permission). A big reason people love docs is that they get you behind closed doors, into sticky situations and show you a rare glimpse of the unorthodox. To get these shots sometimes you need to have brass balls, sometimes you just have to be lucky, but most times you need to have the gear that can get you to the right place at the right time.

It wasn't work related, but on Friday night I took my Canon 7D along with me to see Roger Waters' The Wall Tour at the MGM Arena in Las Vegas. My hotel room was a short walk to the arena, so I figured if I couldn't get my DSLR into the show, I'd simply run it back to my room. With the body and lens in separate jacket pockets, I breezed through a medal detector and past the ticket turnstile without even a pat down. Once the show started, I clicked my Sigma 24-70mm f2.8 EX onto my camera's body and I started shooting. The video is the worst I've shot in my life: it's embarrassingly shaky and the audio far from pro quality. Regardless, I wanted to go home with a memento of a monumental concert...and I did (in 1920x1080p HD video). Next time out I'll bring along my monopod, a Rode microphone and the experience of knowing what I can get away with.

Shooting, Editing & Uploading a Video @ 35,000 Feet

2010-11-25T21:04:00.000-08:00

As I post this, I'm flying from Vancouver to Los Angeles using complimentary wi-fi aboard Alaska Airlines flight 706 (feel free to cross reference the time of this post with flight times in order to confirm). Speeds aren't fantastic, but video can be streamed and uploaded...as the below video will attest. For a filmmaker, I can now shoot, edit and upload a video between destinations. Pretty convenient way to get some real work done.

Banksy's Exit Through The Gift Shop: Too Good To Be True

2010-11-24T01:48:00.000-08:00

If you haven't heard about Casey Affleck's mock-doc that follows Joaquin Phoenix's career implosion, then you probably missed one of the most awkwardly hilarious eleven minutes on TV in years. I'm Still Here was equally fascinating as a 'take the piss' study of ego and the empty cult of celebrity. Yeah, it was fake but so what...it revealed a sense of contempt for Hollywood bullshit few biting satires on the Biz can compete with. If you know the work of Banksy, then you won't be surprised his documentary about Thierry Guetta may also be taking the piss...out of documentaries, the art world and whomever / whatever / wherever else the geyser-like stream of piss splatters. Is it real? Is it fake? No matter because --just like I'm Still Here -- it's good.

Sony's PMW-F3 + F3 Launch Promo by Mike Saunders

2010-11-22T23:48:00.000-08:00

Over the past few weeks I've come across more specs on Sony's F3 and was amazed to discover it will have RGB output allowing shooters to capture footage at 4:4:4 (albeit an option that won't be available until next year). The other thing to impress me was the sensitivity of the Super35 EXMOR sensor which is rated at 800 ISO. These two variables alone make this a beast of a camera that will stack up against rigs 5x its price. As it stands, the NXCAM -- NOT the F3 -- will be Sony's answer to Panasonic's eagerly anticipated AF-100. The strikes against the NXCAM: it won't be released until Summer 2011, it won't be as cheap as the AF100 and it won't be switchable from PAL to NTSC. It is a prototype mind you, so it's possible that by the time Sony brings it to market, it will have all the cards needed to trump the AF-100. I've always been loyal to Sony, but right now there's no doubt Panasonic is holding the early lead in this race to create a viable DSLR killer.

In the meantime, watch the above video and salivate over the stunning images this camera is already producing.