zak ciotti

Premiere Pro Error

2012-02-16T16:52:00.000-08:00

Premiere Pro CS5.5 just gave me my first problem with it: "ComponentChain.cpp-496" was named in the directory causing the problem.

The issue was that the "Motion" effect in the Effects Controls panel had disappeared and I could not copy and paste it from another clip. This is a problem because the "Motion" effect is automatically supposed to be a part of the options found in the Effects Controls panel. Sad face.

Fortunately, there was a work around outside of reediting the clip. Simply, you right click on the effect "Motion" that is on a clip in its Effects Controls panel and click on "Save Preset." Basically, you just need to make a new effect that will be found in the "Presets" folder in the Effects panel. Its' the top one with the purple star!
This way you can simply drag it onto a clip when the error occurs.
Then everything's back to normal!
I just wanted to share that, and also that while it was frustrating, I still have saved countless hours of rendering and converged better than ever using Adobe's Premiere Pro over Final Cut Pro 7 or X.
Thank you, and you're welcome.

Writing and Learning...

2012-01-29T19:48:00.000-08:00

Writing is something I have always felt good at.

In the elder days (not the days when I was an Elder), I used to write just for fun, since it was rarely required. However I have since begun to write for my higher education demands. I quickly discovered what it took to formulate a "paper" and then, years later, I discovered the method that was most fitting for me to organize and accomplish the effort.

I also in process of time began to realize that I have highly powerful short-term memory; in short (pun), I could memorize the most amount of information if I loosely (if at all) took notes during lectures and read through presentations or lists of information required to remember for a test, at most: twice. All this, just the night prior to my test taking. My performance noticeably increased for the better. This proves again that there is more than one method of studying, learning and teaching. My preferred mode of learning is hands-on. Doing, rather than being told or reading about. Watching someone do is a close second. Hence my frequenting video tutorials and obsessing over the irresponsible amount of online classes appearing on campus. I am a kinesthetic learner.

My dear friend Jacob, a talented comedian/actor/writer/director/cook/critic, has inspired my schedule. I have added a half hour to my days in the which I will do some writing. My creative writing for some, and record-keeping or journaling, for another. Eventually, the creative writing time will turn from script- to book-writing. For a while I have wanted to write a book or five.

Firstly, I wished to document what I learned about the art of "stick-fighting" (something several of my friends would spend countless hours engaged in when I lived in the rolling hills of Pennsylvania). My love of Shinmen Musashi No Kame Fujiwara No Genshin hurled me into the art of strategy after I had obtained a book he wrote almost 500 years ago: The Book of Five Rings. The Book contains strategy that is both useful in swordplay (ex: describing what fingers are most important in holding a blade) and, fascinatingly, strategy useful and used in the modern Japanese stock market! My most recently beloved method of attack he informs us about is the "one strike" - you'll have to be interested in order to hear about it. And that's what search engines are for.

Secondly, I also wished to write on the topic of what camera angles suggest, called: What Angles Suggest. What's more consumed my focus (pun!), has been the way we've viewed film. And the way we've been taught to understand it. How it has formed into an organized, unjolting experience for us. The rule of "the line" is something 99.9% of the world don't notice they're noticing when its broken. There's so much more I wish to elaborate on and point out, just for the sake of collecting and studying the way it has become in our minds.

I'll have time to write, as long as I choose to do so. Oh, and every so often I will probably blog about the interesting things of the time.

Online Video Advertising Effectiveness

2012-01-17T15:57:00.000-08:00

"Obtaining Market Share . . . more effective than direct selling" Example:

www.Reebok.com

THE STATISTICS:

http://www.newsy.com/videos/youtube-hits-4-billion-daily-video-views/

"The stats on the popularity of online video is simply mind-blowing.
An average US Internet user watches 182 videos a month, and 82% of US Internet users are doing it.

“This is primarily driven by the fact that video creatives include Sight, Sound & Motion, whereas most banner ads for instance only have sight, and maybe motion, a text link only has sight” and so on. It isn’t unusual for video CTR to be “10-50x greater than a typical banner and conversion rates up to 10x greater.”"
quoting John Ferber, Video Performance Network
http://www.amnavigator.com/blog/2010/03/17/interview-with-john-ferber-founder-of-video-affiliate-network/

“Consumers who view videos on websites are 64% more likely to buy something from the site, and they also tend to spend more time (up to two minutes) on webpages per visit. Additionally, 96% of shoppers who make online purchases have watched online video before. For advertisers, online video is also able to influence shoppers’ buying decisions. According to comScore, 63% of total U.S. internet users are reached by video advertising. These consumers account for 83% of online sales, making them highly valuable targets.”
RICG
http://www.ricg.com/marketing_articles/digital_marketing/consumers_who_watch_online_videos_are_more_likely_to_make_purchases/

“Video advertising increases engagement, doubling Dwell Time (the amount of time users engage with an ad) and increases Dwell Rate (the number of ad impressions leading to users engaging with an ad), by 20%.”
Mike Sachoff, WebProNews
http://www.webpronews.com/online-video-ads-increase-engagement-2009-11

"Mobile Internet Usage To Double In Next 4 Years"
Dave, WebVide Universityhttp://webvideouniversity.com/blog/2009/12/11/mobile-internet-usage-to-double-in-next-4-years/

"The latest study from Visible Measures reports that about 20% of viewers click away to something else within the first 10 seconds of a web video. Those numbers are disproportionate to other drop-off times, for example the one-minute mark, where about 45% of viewers have left. The report illustrates just how important the first 10 seconds of a video are if you want to keep viewers watching."
Dave, WebVide University
http://webvideouniversity.com/blog/2010/10/14/why-the-first-10-seconds-of-your-video-matter-most/

"According to new data from MeFeedia, mobile device users have a much longer attention span when it comes to watching web videos. 125,000 mobile visitors have been analyzed on MeFeedia since July 1st. Here’s a breakdown of web video attention spans per mobile device:

iPad users stick with a web video for 5 minutes
Symbian users stick with a web video for 4.1 minutes
Android users stick with a web video for 3 minutes
iPhone users stick with a web video for 2.4 minutes

By comparison, a report in March from Tubemogul revealed that desktop users watch web video for an average of less than 2 minutes…a statistic that has basically been unchanged for several years."
Dave, WebVide University
http://webvideouniversity.com/blog/2010/07/23/mobile-device-users-watch-web-video-up-to-2-5-times-longer-than-desktop-users/

"A new study by TubeMogul reports that 81% of viewers will leave a web page when a video buffers . . . While the 81% is eye-opening, on a happier note, only 7% of the videos they tested actually buffered to begin with."
Dave, WebVide University
http://webvideouniversity.com/blog/2009/12/14/81-of-viewers-bolt-when-videos-buffer/

Article: Forget engagement. Study shows online video ads boost purchase intent with no other paid media

Article: AccuStream Research: Online Video Advertising Forecast at $2.7 Billion in '10; Double-Digit Growth Projected Through '12

Capstone Script Writing, 3D Spaceship in After Effects, and then some...

2012-01-14T16:23:00.000-08:00

I returned to my old story, which has now been told my many other film makers with their own spin on it. Not that anyone has stolen my idea, I simply note that my idea is fundamentally different and that great minds think alike (as my Dad always says).
I first brought it out of my mind back in 2002-2004, and it kept developing on its own. In screen-writing class at DSC, I brought it out of obscurity and into the critiquing light of my peers and teachers. This helped me write. Although I was preoccupied with other things and didn't achieve as much writing as I should have, I got a good start and the appropriate end.
The story developed more, and became more readable and enjoyable. I didn't like a lot of my own ideas that went into it - and fortunately, the plan changed. I now am strictly planning on shooting as many key scenes from the story as I can for my capstone project. It has potential for a few reasons:

My theory in relation to the story's development and Synaesthesia.
The compilation of all the key scenes might equate to a more enjoyable viewing experience in comparison to former projects produced by students (which often are more lengthy and dry than they need to be).

Concerning #2, I would say that perhaps it will be enough to use only the key scenes and allow the audience to fill in the gaps. They never like being spoon fed, however, they are not all as sharp as film makers expect. But that brings in the question of whether it would be successful in one realm or another. And my point, as I say now, isn't to make money.

I am now convinced that I should take advantage of the talents God has given me and multiply them, and then to return them when he asks.

My goal is to learn as much as I can, and be better equipped to do what I love to do for my work the rest of my life.

I am on my last semester. The one previous to this is also all but finished. In moments my final VFX project remaining before I apply for graduation will be finished rendering.

I hope to have it added to this post as soon as possible. While it is silly in its own way, I am also very excited about it.

It's a spaceship sighting. :)

Video Contest Commercial!

2012-01-09T21:23:00.000-08:00

Understandably, certain productions must go on hold for more vital productions to be completed. We worked much in thought and effort in devising a way to depict what the Chief wished; as close to what he wished, as well. So our ideas were paused so we could accomplish another.

Then the Facebook department appealed to have more than one advertisement produced even sooner. So then we paused the production that we paused the previous one for. But thus is must be when taking into consideration all priorities and time-frames.

The first of our productions for the Facebook campaign went something like this:

We used a Glidecam HD2000, Canon 60D & 7D, Tiffen's suggested fluid-head tripod, Premiere Pro CS5.5, After Effects CS5.5.

Our goal is to let people know that they can make their own video of a brief, exaggerated ability/event/anything they can think of related to an "It Could Happen" tagline - and then the top three winners will get prizes.

I'm already jealous of the 1st place winner. Binggeli himself picked out the mountain bike.

My thoughts about the production must be limited. I really envisioned the general result from the beginning. Our Facebook Lead came up with a similar idea for this campaign and our Web/Product/Photo Designer wanted to utilize the downhill bike racing champ while he was in town. My personal hope was to do what I accomplished, employ my VFX touch and stylize it. All in all this one, from beginning to end took about a full-time work week to complete.

I, of course, see every little problem, but overall I am pleased with the hustle to complete it when we did.

FAQ:
Did Logan really crash?
Yes.
Did he do it on purpose?
No.
Where did you get the footage of the big jump?
I made it in Adobe After Effects.
Is this really possible with LifeStrength?
lol No, and please do not attempt. For info on what anions do for you, check out: www.lifestrength.com

Close & Personal Marathon Coverage

2011-11-13T17:47:00.001-08:00

The challenge is to film a marathon. It's done. All we're waiting on is a VO now.

We had almost unprecedented access. Helicopter. Pace vehicle. Road bike next to the last half of the course.

We had myself with the Glidecam HD2000 in the pacecar, jumping out every so often. Brody was at the finish line catching the winners, etc. Rex was on the bike on the trail - who, btw, actually filmed some usable footage WHILE riding. Conrad was in the town Veyo next to the biggest hill of the race. Berkeley was on the road outside of Diamond Valley, she got there on another road bike. Casey was in the helicopter.

We had Canon 7Ds and 60Ds, and one 5Dmii. Some rented, some owned. Other equipment was a custom slider, shoulder-mount(instead of a gyro on the chopper, eek), shoulder brace (using a gorilla grip tripod), and some good lenses mixed with some less than good lenses.

The issues: Personal resources (cameras, etc.), and two weeks of prep time (including EVERYTHING).

Post production: it started with salvaging the rolling-shuttering, non-stop shaking footage from the helicopter. We took it into AE to use the new Warp Stabilizer. It worked fantastically, although I wish the plugin could do a little more. It took about 48 hours to render on a fairly new quad core, 8gb of ram mac pro, unfortunately. Otherwise, we used Premiere Pro and the usual deal you get with editing is exactly what Brody and I had. There was one rough cut, and then the finale approved visually. My VO and Kelsey's was a little not liked; but that's not what we do.

With a handful of college students and about $14K+ of equipment floating around, we will soon be pleased to introduce you to the finished piece. Look forward to it!

Apple, How Dare You? Thoughts on "Final Cut Pro X"

2011-08-23T15:46:00.000-07:00

Let us be honest here, earlier this year NAB was a treat, as it usually tends to be. The reveal of FCPX was stunning and we all squealed with joy at every glimpse.

Come Summer, some of us rushed out to buy (or rather rushed to iTunes and bought an app with the word "pro" on it supposedly suggesting it was professional).

True! We were angry! True! We got revenge! No, that last part about revenge wasn't true. But we wanted it!

Let's face it, the fact is that is that Apple chose to stick with what they do best. Ask yourself: if you were going to focus your marketing and efforts on a handful of professionals who do nonlinear editing, or on everyone who wants toys like the iPad, with which category would you find more customers? Obviously with the "everyone who wants toys" category. NLE users are few in comparison with iPad/iPod/iPhone/iToys users because, frankly, the NLE users want iStuff, too.

Look how cool this stuff is!

I doubt that Apple is going to be eating much of their costs, but my opinion is that this was a wise move for the company.

Yes, yes, everyone just a few years ago laughed at you for using Adobe Premiere Pro when they were using Final Cut Pro. The truth is that AVID's Media Composer has actually been the industry standard. Given, FCP was being used more and more by the film industry. But now? Eeek.

So, SWITCH, says Adobe.

AVID, too says join the party. The ..AVID..... ...party....

As an Adobe After Effects user, I found the decision pretty easy since the convergence between AE and Premiere is so outstandingly thoughtful. I tested out exporting XML files from FCP7 and importing them into Premiere, much to my relief it worked like a charm. Because charms are things that work very well, if you weren't aware.

I would love to learn AVID and discover for myself why it's considered the industry standard out in LA, but for now I'm going with Premiere. I realized when I first started using Premiere, I didn't understand it, and the results were sad. I blamed the app because everyone chanted Final Cut! Final Cut! Now that I understand FCP, I understand that I just needed to learn how to use Premiere better.

Now, do I stick with the resolution to purchase a Mac next?

Andrew Kramer uses a PC. Hmmmmmmmmmmmmmm!

Workflow Analogy...

2011-06-23T13:19:00.000-07:00

  In post, you sit down, take everything you've shot and stick it together, make it look good, include all the things you couldn't include during principal shooting.

  The timeline is something to face, just like any other obstacle, sometimes. In the field of commercial production, the time is limited to 30 seconds.
  Assuming, perhaps, you use the workflow: VO>Logging>Inserting>Filling - which isn't a bad idea when you're first starting out, and preproduction isn't a priority, but sending a message is.
  Pursuing the analogy, you find yourself confronted by a limitation of time, with an infinite amount of things to fill it with and an infinite amount of ways to fill it. Assuming, of course, that all the footage and motion graphics, VO, etc., are good. Some better than others. With so many options, you find yourself choosing the best of them all, carefully, as this not only proves your work ethic, but you're constrained by the creativity you were born with to make it something of a piece of art.
  That all in mind, you are now, just as in life, under the responsibility to choose from the best things you can fill your life with. Assuming, of course, that you've discovered what the best things in life are.

2D Barcode/Quick Mark

2011-06-16T12:31:00.000-07:00

Scan this with your smartphone and jump right to the mobile version of the Zak of all Trades Blog!

Neato burrito.

Recent Documentary Filming...

2011-05-30T16:45:00.000-07:00

Just a few weeks ago I returned from a documentary crew travel out east. We went to Las Vegas, Nevada, then to several places in Virginia, then to Ohio, then to Oklahoma. I don't want to push it again by mentioning whose names are involved and whom we have been interviewing, but soon that info will arise. Look forward to DOCUTAH: International Documentary Film Festival taking place for the 2nd time in Southern Utah with the opening gala at Tuacahn, Ivins, UT, on September the 8th.
I've been invited to do work on the crews such as cinematography, lighting, and grip work. The field in documentary work differs from narratives in that a crew member naturally does more than those in union feature jobs. It's been an adventure and we've met some familiar names. Phil Tuckett will be editing, as he's been the mastermind behind the forming of the feature doc.

Work with Disney

2011-05-22T21:50:00.000-07:00

A few weeks ago I had the pleasure of working for Disney on a 5-6 million dollar Christmas special for their show "Good Luck Charlie."

They were asking Phil Tuckett, leader of CMI and 30+ Emmy Award Winner, for some crew that would be available at random during these two weeks. I was assigned to the Art Department to assist with set dressing.

The experience so far as been truly different than the previous experience with G&E last Summer. The difference continued as I began work with the construction department and then the grip department. The crews and leaders in the crews were phenominal to work with. The notion that "it doesn't matter how you feel" as a member of a crew became more and more of a joke and the foley of youth and lack of experience seen in less amiable members of previous crews was brought to light by the work with Disney's selected people.

I gotta give props to the folks in Salt Lake City for turning out such production crews as found in Disney's "Guide to Life," the production discussed in this entry.

Interesting findings were the commonality of responses to questions I had about lifestyle. The only answers about lifestyle I received from crew below the line was that they all wished they had chosen a different career line. That none had insurance and figured if they get cancer then that's the end, oh well. Infact we were so openly discouraged from pursuing their line of work (as many of them just happened upon it and had no intention of working in the film industry to begin with), that I was shocked by the solemn repremand for my collegues and I attending school for motion picture production. One of the older men spoke of the experience being a waste and that we should stop our schooling and pursue business or something that would lead us away from careers below the line. The words still shake the soul: "I have nothing to show for it; sure I've met some cool people, but now I have no retirement . . . I get no vacation days . . . If I take a vacation [I have to miss several job opportunities in doing so]. I missed my kids growing up." etc.

It was meant to be that I found myself on that crew, I saw a good example of a high-end crew's commaraderie, and I was awaken to the grim reality of the process so often spoken of about the industry in trying to "climb the ladder."

o_o

Lance! Check it out, my friend...

2011-03-07T17:40:00.000-08:00

The object of my desire are these pieces of metal and plastic. Primarily, since the rods apparently aren't that expensive, my interest is in the top left pieces of metal. Click on the picture for a closer view. I know we'll be friends. ;)
Please Email:
zakofalltrades@gmail.com

Dolph Lundgren BTS...

2011-02-28T07:51:00.000-08:00

Here's the latest preview of my BTS work on the CMI/DWW production:

The Animatic

2011-02-15T00:17:00.000-08:00

It's an animated storyboard.

One animatic matched to a song I created today lasts about 4 minutes, it took 64 drawings, with several repeats, After Effects plugins for a little story-telling, and still just barely carries with it the gist of how amazing the scene would be. The difference between drawing and taking a photo is the fact that humanity is both left out and left in. Humanity in my drawing is full of faults and inaccurate, which is also a humanity left out.

Digital photos to be specific stand out as a great storyboard construct - now with the use of very quick and easy, frame-assisting apps on my iPod, I can put together storyboards of camera angels more accurately based on real image-capture. Digital is amazing. It makes everything easy.

I admit after putting together an animatic with Mark Swark, Disney artist, and then putting together another one all my by lonesome in two days, I am quite unhappy with the results. It looks awful compared to the images I have in my head. The vision is almost ruined if the art doesn't compliment every scene with stylish uniqueness. And of course, having been out of the drawing scene for so long and then decided to cram in this project amidst all the other work really made me look untalented. The whole process was very hard to be thought of as useful. Except in the fact that I actually had a plan and realized it. Albeit it wasn't exactly beautiful. The best thing that came from the experience was realizing how much I would like to film it. Animatics don't do justice, and I would be surprised if I am ever caught making them again.

CONS:
Time-consuming.
Not worth the cost.
Insufficient descriptor.

PROS:
Scenes can be planned.
Pre-editing evaluations occur.
Puts scenes into perspective.

I'll post the animatic later. Maybe.

Lord Kelvin! A handy reference...

2011-01-08T12:50:00.000-08:00

Color Temperature is measured in degrees K (Kelvin).

From hottest to coolest and likewise from largest degree Kelvin, are like so:

25000°K Overcast

12000°K North Sky

6000°K Electronic Flash
5500°K Daylight

3400°K Photoflood
3200°K Tungsten

2000°K Sunrise
1950°K Candle Light
1900°K Red

Or something
like that. But the values are accurate according to Dr. Glen Rand, author of Lighting for Photography. If you google images of color temperature, many variations of nearly the same colors apply to these temperatures.

We see that physical heat increased, creates white-blue color temperature. Decreased, just like we see in our house when we dim the bedroom/bathroom lights, the color temperature becomes red when it is physically cooler. The confusion in this arises when people start refering to the color temperature as being "warmer" as the photographic image grows more orange.

Thus it is helpful to know that when refering to imagery being cooler or warmer on a set, we never mean the literal rising of the physical temperature of the light.
Ergo: 5500°K looks cooler, and 3200°K looks warmer.

iPhone Film Apps Review

2011-01-08T12:00:00.000-08:00

Panasonic Panascout Viewfinder

Here's a fun app with a view useful options. The most useful part being the aspect ratio simulations, which are as follows:

2.40:1

1.85:1

1.78:1 (16x9)

1.33:1 (4x3)

This camera is a little slow compared to
the built-in camera, but it provides date, time and other information as needed if you're going to be doing any scouting. The lite version does not come with a GPS positioning recorder, but if you're in remote areas or are using an iPod instead of an iPhone then you might as well not use the full version. Very practical for the price in comparison with other viewfinder apps.

Lightmeter

I would like to think that this works, I really would. However, it's more like a practice toy to get used to the principles behind the workings of a real lightmeter.

The more you get into the principles, the more you realize you need a real light meter. Now, this isn't to say that there aren't more options out there - for example you can find a version of this from Ambertation which has a little bit more functionality.

iSlate

Thank goodness someone took my thoughts and made them a reality.

For just a few bucks, you can have a timecode slate that counts at 23.98 fps, which seems to be the winning feature for me. There are fancier ones, with such details as "EXT" and "INT" options. Even an MOS option, too. The multiple camera syncing experience just hopped into your hands.

Kodak Cinema Tools

For being a free application, this little beast comes with a Film Calculator, a Depth of Field (with visual aid) Calculator, and ...wow... a Glossary.

While the glossary is not comprehensive (nor is the 0.99 cent terminology app), it's a phenominal part of a great package.

Those, and a few others have found their way onto my iPod now. So what would I like to see next?

Wifi signal transmitting device from camera to iPhone/iPod Application for crew to see what the DP sees.

What else would we need after that?

The Benefit of Being Short

2010-12-23T12:36:00.000-08:00

Why short films? I feel like I've answered this question before.

The world as we know it has turned into a fast-food, high-impact, quick-paced gimme gimme gimme kinda thing. Literally, people will more likely sit through a short film sooner than through a feature. Infact, the faster a demo reel can describe exactly why the producer is so cool, the better. Sounds hypocritical coming from someone who has created a whole two actual demo reels. But let's look at some inspiring reels for a second:

As odd as it is, Teale has been an inspiration to me based on his leaps and bounds he's taken in his career.

Stylish editing and music make the demo reel. After watching some reels, you begin to wonder, What exactly did the producer do here? So it takes a certain tact to deliver the message in your demo reel successfully.

So in order to develop a stronger reel and skills in specific arenas, short (very short) films would seem appropriate.

As ideas come to fruition, I will post info about projekts that are finished.

Don't hold too tight.

"Digital Motion Picture Production Track" & More...

2010-12-12T22:28:00.000-08:00

The film track in DSC is changing. Additional teachers will be entering the scene (which has been far overdue). Without naming names, the people in line to teach are qualified in a great respect: they both know what they wish they had been taught. This will mean great things for future students.

I was told that if I were to pursue after a Master's, that I would be first in line for an adjunct position - by the look on my countenance it was obvious that my intention was not to teach, however it was good news that the spies were out for a new generation of faculty. Since the technical aspects of cinema production have become digital and increasingly technological, the necessity of utilizing the adaptive new generation will be met in the influence of this extended faculty. We hope.

Recently, a faculty-student negotiation was agreed upon when the Visual Technologies Department offered me a chance to teach three classes of Adobe After Effects in exchange for bypassing two prerequisites in order to take a Non-Linear Editing class, and eventually "3D Modeling" and "3D Animation."
Altogether, I will have taken five classes in post production, not including print design, thus enhancing my niche in that arena.

It was in my early years at DSC, when I suggested that I start an After Effects Club on campus, that the Film Track began to teach some of the application combined with Final Cut and Color in the "Advanced Post Production" practicum. Ironically, the classes that piqued my interest and impressed me with the program at DSC were no longer offered when I made the voyage to the Utah-Arizona boarder. Those were "Shooting for Compositing," and "Compositing." Little did I know that there were more than one reason I would be glad to made the journey.

Sadly, it came to my realization that I "should not run, nor walk faster than [I am] able" and discontinue my pursuit for producing a television show. The idea will still be there after more important matters have been attended. The good news is that several people have approached me about becoming their Director of Photography. After the commercials and short films (especially "500 Dollor Funeral"), I fell into the catagory: useful.

Jaqui Baxter, the director of "The Death of Death," pitched her concept for the short (about 8 minute) film called "Orson." It's similar to Napolean Dynamite in the sense that we observe a socially awkward young man striving to find his place, but surprises the audience with an impossible ending. So far, the dailies have been impressive. All the stops have been extracted to make this short something of quality.

Another writer/actress has also enquired after me as a DP for a series of shorts starting this week.

'RED Epic' no longer Vaporware...

2010-11-29T15:55:00.000-08:00

How 'bout dem apples?

Engadget says 30 Epics for The Hobbit.

Peter Jackson RED One

Peter Jackson upgrade.

Hoax or Marketing Campaign?

2010-11-28T19:31:00.000-08:00

Let's talk "Battle: Los Angeles"

First thing we know about the movie is the black and white image of spot lights along with other lights in the sky. Great.

In hearing about the movie, the light searcher will hear something about or see a reference to there being some fictional explanation to an actual event. Awesome.

Furthermore, when a more interested searcher goes deeper to hear about the supposed true event which inspired the film (how? no one knows yet), said searcher may find various stories about "The Battle of Los Angeles." Hmm.

Since this story is, I assume (thank you, I understand the implications of ever using that word in English), not widely known, the searcher begins to ponder: Did this event really happen? Well...

After some mild to moderate investigation, I discovered that a great majority of online references to this supposedly true story dated only back to this year! And several dated only to this or last month! What!

The mind began to reel, deducing that perhaps this was a marketing campaign for the upcoming movie starring Aaron Eckhart? How tricky that might be.

But as it turns out, no. This event was referred to back in 2008 and 2005 on some online sources. This is not to say that a fake event could be fabricated for a purpose. Photos of newspapers and several websites could be created in order to deceive the public. So why would someone do that?

Not that I witnessed this first hand (now I'm worried about citing my works here), but there is a tactic which is often frowned upon, but does sound intriguing, called "Guerrilla Marketing." When I used to work for Omniture, Inc. (now Adobe Systems Inc.) I heard of a conference wherein a certain group pulled some guerrilla marketing and were kicked out for it. I still think it's a fascinating concept. The name is fairly self-explanatory. Unless you've got "guerrilla" confused with "gorilla." Common mistake - don't feel bad.

So there's no way this was a case of guerrilla marketing - nevertheless, watch out! It's coming to a neighborhood near you. Guerrilla Marketing, that is. If I meant Battle: LA I would've said 'watch out! It's coming to a theatre near you!'

Why don't I think they would've gone through the trouble of guerrilla marketing at all? Probably because they were cheap enough to hire the writers and actors for these videos. District 9 had the excuse of a low budget. I will not accept this as a reflection on the quality of Battle: LA, simply an example of nepotism gone awry.

Make that... "Cinematography 3990"

2010-11-23T12:21:00.000-08:00

After several meetings, discussions, and struggles to help - Cinematography 3990, as I purposed, is now going to be an official Seminar Class, which, quoth the Department Head: "This will eventually become a requirement in the motion picture track."

It will be helmed by Dave Harris, (almost)PHD. After an extensive conversation about camera functions on our trip back from Phoenix, AZ, it dawned on me how very much we needed the sort of instruction that consist of teachings such as what five things affect depth of field. Dave is an instructor at DSC who is known to have taught camera tricks to Ben Braten, our on-sight multimedia Producer.

Things are looking up.

Camera Update Evaluation

2010-11-22T21:22:00.000-08:00

Sony HDR-FX1000

$3,199.00

This is a camera which shoots great High Definition footage for using tape. With its three 1/3” CMOS sensors, this camera creates a limited DOP (depth of field), immediately hindering the aesthetic quality of attention-directing focus strength. If you are beginning to think that it is the lens speed that may be the problem, then you really have a problem. The G Lens, a 29.5-590 zoom lens, is fixed and unchangeable. This issue is the one I am addressing tonight.

The quality of a motion picture is now becoming a serious demand. Youtube, Vimeo, Viddler, and other multimedia-sharing portals have turned their sights to the higher resolution viewing capabilities. Now, more than ever before, if I have access to a healthy internet connection, I will nine times out of ten be selecting the option of “1080p” to view my movie trailer that I want to watch. Never before was this a possibility because of slow processors, internet connectivity, and video cards.

The aesthetic definition of motion picture quality is found in three words: depth of field. When a camera cannot direct the audience’ attention to whom or what they should be looking at on the screen, then a dimension of filming and story-telling efficiency is lost. When it comes to the concept of dimensions, we filmmakers have very little to work with considering the 2D world our audiences will be facing (literally). Using lighting to the best our environment and resources can allow, and situating setups as necessary help to make the image and dimensions pop. However, without a sensor, an aperture, a fast enough lens that will afford us the best possible depth of field, images that pop just do not come together. Understanding the image and piecing together the meaning with the Voice Over or the Audio Tracks are vital for the message to be sent successfully.

The usage of tape brings up another hefty issue into the program. Tapes, it may be said, are universally what filmmakers have considered to epitomize flatness. Flatness, is evil according to the gospel of Hollywood. Though, while we may never consider ourselves Hollywoodites, there is no contention over the fact that movie sets, commercial sets, and television sets create their quality through the same methods. In the end, we should all be striving for Hollywood-style audio-visual design.

Furthermore the issue with tapes crosses the border of aesthetics into practicalities with which we are all very familiar. It becomes less and less practical to generate footage which must undergo a change, adjustment, or transcoding in order for post-production to begin its lovely process. Film was one thing, with its delicate and rigid format, to need developed and physically altered, but tape has turned into the unwanted step-child. When we can now edit in non-linear computer applications, these steps become ever-so-tedious. The dawn of digital, flash-based memory cards has turned this world of filming into a fast food market. Just pull out the memory card and insert it into the computer adapter. It’s practically drag-and-drop from there. Post production can now start during production. No more waiting as a computer records your video from tape as it watches the footage in real-time. Start rocking immediately.

Canon 5d Mark ii

$2,499.00

Therefore, while the Sony Handycam has audio level controls and XLR outlets, the image is not saying enough. It becomes necessary to find new means of visual expression.

Having used both Canon digital SLRs (7d and 5d) and tape cameras with fixed lenses and smaller sensors, the difference, I contend, is sensationally contrasted. This is the camera which shot episodes from the series House and the Ben Banks movie.

Canon’s 5d Mark ii has a brilliant full inch image sensor equal to the 35mm cameras used in the industry as standard for the last fifty years. This is the largest contributing factor in creating exceptionally shallow depth of field - which is what we want. Even its younger sister the Canon 7d (which is 1K cheaper, I might add) exemplifies a depth of field required to convey messages with controlled focal distances.

These cameras have just the right knack for picking up images in extremely dark lighting situations without losing quality and becoming grainy. Controlling the image is fully loaded with options in the camera. The LCD screen is 3” big with unbelievably crisp video to watch what you are recording or what you are playing back – almost like you are looking into a window. The colors the sensor achieves surpass any tape recording possible.

With the wide angle lens, the Canon 5d can reach its full potential by giving you true wide angle imagery unlike any other camera in its price range. Need a faster lens? Then switch it out! Yes, this camera can do that. The possibilities expand undeniably. The beauty in the bloom of lights in the background during a shallow depth of field shot summarize why this camera is so wonderful in the descriptive Japanese cognate: bokeh. That is the term for the orbs of soft gorgeousness that glow and expand from the tiniest shimmering lights when the amazing aperture is opened to the max.

The only thing you will need for superior audio capturing is a reliable field-recorder and a good microphone. The latter is a must in the first place, but the addition of a field recorder will ensure a quality track to lay under your truly stunning video. I suggest something like a Marantz PMD661 Professional Portable Flash Field Recorder which runs for about $599.

Eliminating the need for purchasing expensive HDV tapes, buy a couple of Sandisk memory card, two batteries that can take turns being recharged, and one or two prime lenses or start with one good zoom lens for your Canon 5d Mark ii. In this case, we keep or sell the microphone and lavalier.

$2,499 – The Body

$ 115 – 2 Batteries

$ 180 – 2 CF Cards

$ 1,290 – Standard 24-70mm Zoom Lens

Approx Total: $ 4084

In sum, the price for a superior image quality and a far more superior digital work-flow, the cost to upgrade far outweighs the cost of not upgrading and just waiting for the Sony camera to depreciate. Knock off a grand from that total if you want to go with the Canon 7d for slightly less quality.

"Cinematography 4890"...

2010-11-14T18:35:00.000-08:00

As a Producer on the Center for Media Innovation Council there are only a couple of things I hoped to accomplish: better the film program and encourage trans-departmental collaboration.

In the Communication Department's infancy, helming the way for motion visual education were a small group of people, primarily from the Community Education Channel, so the legend tells. After their contribution came folks from the Visual Technologies program and others who went on to create the Communication Tracks in Broadcast and in Film, specifically. Eventually the foundation of CMI, a business entity associated with, but not fully bound to DSC.

CMI as far as we know right now, is one of two (the other being somewhere in the Midwestern states) programs created for the purpose of obtaining a clientele for media productions in order to directly and solely benefit the students of the educational institution with which it is associated. In sum, students are able to work for real clients in a professional atmosphere, and get paid for it.

I am the second Liaison between faculty and students, representing the Film Track (in the Comm. Dept.), on the Council of CMI since its establishment. The first subsequently taught as an adjunct and has since moved on to higher prospekts.

In my interview for the position the inquiry was made about my suggestions for how to cope with the oncoming changes in technology and how the program should react. The answer isn't as relevant as now is the question. The point was that I was being challenged on a vital question for the program's future.

The only thing universally expected from a "Film School" is the knowledge to walk away with about the camera. Immediately it would seem that the most appealing thing to do is to direct (hence the bright yellow tees with the text: "What I really wanna do is direct"). The only hands-on experience people expect is generally the camera. To me, the most interesting (so far) concept within film-making is the meaning of camera angles and what they suggest.

(Un)fortunately, every student and faculty member here knows that a course strictly studying the subject of writing with motion (ie: cinematography) is both necessary and possible. As my personal goal, I have made it my priority as the Liaison to encourage the development of the program(s, ie: both broadcast and film,) with a new course for the purpose of instructing students the ins and the outs of capturing motion pictures with industry standard equipment.

This will be done by first testing the waters of such a curriculum via COMM 4890. This course is entitled "Directed Study" and with a faculty chair's permission (obtained by a thorough explanation of the needs yet to be met), could be structured around a text and goals. Cinematography, by Blain Brown, has in its contents a list of chapters that make a film student think "I should know all of this before I graduate from school." Please, take a gander through the contents.

While not an official class, this will serve as a stepping stone to eventually evolve into a required course in perhaps both the film and the broadcast programs. Interlibrary loaned out of Mesa, AZ, I found that in the first chapter eye-openning lessons were already being taught. Thirteen (13) chapters for a sixteen (16) week course. The design of the class would entail sporadic instruction from faculty versed in the understanding of camera wizardry and lighting technique.

In my opinion, it does not take multiple cameras to teach a group the fundamentals, and then some, of the camera. With just a couple of professional grade cameras, a student group can study from the text (which is satisfyingly inexpensive) and experiment together to acheive various project-goals. Bi-weekly meetings for discussion, instruction via video, or via experienced professionals from within the walls of the Communication building summarize the experience of the class.

The results: graduates exiting the program without the painful sentiment "I never learned how to use a camera" or "I never even held a camera" to the discouragement of potential students. Benefits for all.

Creative Branding

2010-11-04T17:02:00.000-07:00

Working with companies like Vive Studio Inc. is like working with the work "Creative" - it's enjoyable work.

Here's the most involved piece we've produced yet:

It's a blast. I like the moderate bokeh and backlighting.

Terminology, Jargon, Wordly Things...

2010-10-26T07:43:00.000-07:00

On one of my first feature film sets, I kept a list of new lingo I learned by texting a few words to my email address every so often. Here is the list I kept, plus the extras I could remember off the top of my head:

"Picture's up!"

The filming is ready to begin.

Apple-Box Family
Full
Half
Quarter
Pancake (thinnest apple box)

Mafer Clamp
Used sometimes for stopping a doorway dolly from leaving track.

Menace Arm
A multi-pieced, makeshift rigging trick using balancing to create a crane-like equipment.High Roller
Large stand with wheels usually paired up for frames.

Muscle Cart
A tough, short push cart with 4 wheels and a lever brake.

LEKO Light
A stage light with adjustable flood/spot.

Sash
Thin rope with which to tie and secure things.

Maxibrute 4/9/24 Light
Square lamp with multiple lights having the option to illuminate select portions."Calling Grace"
The announcement referring to a delay period pushing back meal-time.Crafty
Food table/tent/area.

Visqueen
Black plastic sheet.

Duvatine
Thick black fabric with a brushed side to absorb more light.

C47
Clothespin. Yes, it takes longer to say "see-forty-seven."4xOpal, Mus(lin), etc.
Four-by (4x...), Six-by (6x...), Eight-by (8x...), Twelve-by (12x...) - all these refer to frames. Opal, Muslin, Checkerboard, etc., refer to Rags which are stretched and tied to frames.

a Double, a Single
Also refer to Rags, but under these names they could refer to
Scrims - all of which are screens, fabric or metal. The latter are round metal screens that slide infront of lights. A Double takes the lighting down 1 full stop, and a Single takes the lighting down 1/2 a stop.some 250
Refers to transluscent sheets through which light is diffused.

Inserts
Not cutaways, but more like close-ups on features in the master shots.

IMDb, Festival Submissions, TV producing, and more!

2010-10-13T17:53:00.000-07:00

Ready for your mind to be blown? BOOOM!
Ok, depending upon when you visit that link "Zak Ciotti" will not be completely smattered across the credits as the only contributor. IMDb simply made my name a priority because I was one of the few, like Banks and Braten, who had previously been added to their site. So no, I'm not a complete narcissist.

While on the subject of Blackfire, after having the largest turn-out in DOCUTAH, Ms. Runs Through has submitted the film to several different festivals. Namely...

The Indie Spirit Film Festival
Reel to Real International Film Festival for Youth
The Las Vegas Film Festival
Yellowknife International Film Festival
Sundance

Brace yourselves, people.

With documentary production taking off, and after the learning experience on the Ben Banks set, it became apparent that seizing the chance in Producing would be next.
Without revealing too much, suffice it to say that when the opportunity fell into place to do something beneficial instead of something cool, I struck. Yes, an entire television series is in the works.
After my partner and I construct the pitch in written form, then a marketing director and I will sit down to write up a sponsorship package.
More details to come.

The CMI tee-shirts arrived, Guerilla Film Festival deadline 21st, Washington County recreation video almost finished, and truly desparately trying to keep things in order!

Official CMI Tees!

2010-09-30T18:08:00.000-07:00

A few months ago I designed about 18 different tees for CMI and forgot about it.

Just on Monday at our PPG meeting, marketing heroine Lani Puriri brought up the need to make a selection after devising a plan to order some sweet, sweet company-branded tees.

This was the verdict. The film-strip logo-collage down the upper spine was Luke Draper's work. We all agreed no one would wear white.

Beautiful!

Updates: Blackfire, Vive Studio, Nature, Higher Education and more...

2010-09-18T18:25:00.000-07:00

The documentary is finally complete. Judea Runs Through finished the last grueling touches of what may have been a never-ending projekt. It is solely thanks to the deadline of the DOCUTAH that there came an end. It was while working with KCSG as a commercial producer that I realized the importance of leaving things "unfinished," or "imperfect." In that side of the industry, sometimes a piece was required to be finished in two weeks or 8 hours. Letting your potential best work go undone was the hardest lesson to learn. I hope we have learned it by now.

---

Picking up where others left off has been the story of my freelance work for Vive Studio, Inc. I have finished things like infomercials and video business cards. There's plenty in store for the future of this company and the collaboration we all will participate it.

---

Offense: This is something about children that I envy - they are never offended, or offended for very long, by breaches in culturally ethical behavior or etiquette trespasses. It is something about our nature, as humans, that we grow in expectations as well as stature which unfortunately results in that icky feeling of walking on eggshells. When efficient and accurate communication is utilized and pliable adaptability is applied, our organizations of all sorts will be enhanced beyond what we have ever known. Sounds easier than it is. I suppose we'll all just have to work for it.

---

The concept of pursuing a higher education is an unfathomable privilege, and one which we would not be grateful for if we do not seize opportunities to achieve. I cannot look at life in the United States any differently than with this perspective, otherwise the guilt that comes from living in poorer countries is justified. That, and using our resources for good. That good, we'll have to individually judge, it appears.

Schooling for me has been eye-opening and I can scarce believe I've survived this long in such faulty systematic constructs. After all, I have a history of doubting the validity and necessity of the education systems which I've been a part of for most of my life. However, now it seems my philosophy has been pliable and adjustable. I have realized that it is only zealous initiative that has gotten successful people, without educational institutions' resources, their achievements. I, therefore, have come to realize that while obtaining the world's educational standards I might also have at my fingertips the resources which said institutions provide and possibly achieve even greater. That is, since I myself act with zealous initiative.

In the works is a concept for a film based on a less than famous Edgar Allen Poe story and a TV series for students to produce! More on those ideas later.

Zak Ciotti's on IMDB...

2010-09-09T17:04:00.000-07:00

Here you have it, ladies and gentlemen...

ZAK CIOTTI

...Blackfire and others soon to be included on the list!

Referral Letter...Sorta

2010-09-09T17:00:00.000-07:00

On the Ben Banks movie's official website, the writer/director Bryce Clark took the time to express appreciation for his whole crew.Someone has nice things to say about me! Yay!

ZAK CIOTTI, Grip - I’ve known Zak for a while having met him at school and worked with him at the CMI (another Dixie connection!) and was blown away by his work ethic and desire to learn.

Gripping a movie is not easy, there are a lot of terms and set protocols that need to be followed - these are systems that have been long established and are the bedrock of movie production.

Zak dove in and learned it all - the Zak on day 1 was not the same guy as the Zak on day 18.

He now has that experience which I know he will draw from as he continues at the CMI and then into his career in filmmaking.

I’m grateful for his work and for also being another familiar face that helped me feel at ease on set.

What a sweetheart.

The New KCSG

2010-09-02T18:12:00.000-07:00

Your first look at the new image of KCSG - SUN News

Yes, that scruffy guy being interviewed is yours truly.

More Thoughts...

2010-08-30T21:02:00.000-07:00

Holly Vs. Indie

A topic of discussion around the house has been about where to move (...almost spelled "movie") to once I have gotten my degree and have trained for the career adventure.

Well I don't know where to and the career adventure, thanks to Dixie State's Center for Media Innovation, has long been started.

It may be said, however, that Austin, Texas has been piquing our interest. Once, a while back and from who I don't even remember, I heard that Austin was like (or at least trying to be) USA's 2nd Hollywood (Toronto being the actual 2nd Hollywood). The Mrs. and I poked around on the Live Music Capital of the World's website (yes, still talking about Austin), and immediately film-esque features were apparent on their website.

Obviously they want the visitor (and web-browser peeps and homies) to at least think that the city has something for the film industry! Things like "Film Commission" being at the top amongst the few tabs and "View the Austin Reel" (including a graphic of a film reel) are scattered across the portal.

What does this have to do with More Thoughts on the production experience previously reviewed? Under the tab for Film Commission I saw the tagline:

". . . Blockbuster Location, Indie Spirit"

Immediately this drew my thoughts and memories back to the times in Pennsylvania when I would watch IFC (the Independent Film Channel). The concept rang true immediately - the shooting locations were all but perfect is the message's start, but the only difference is that the feel and "spirit" is that of independent film-making.

Whether we choose to relocate to A-town isn't the focus here, it's the presentation of the feel and experience of an indie film production.

When I worked with the crew from LA just these past three weeks, I heard the abominable phrase an absurdly frenetic amount of times "On a real movie set, I wouldn't have to use my hands as a [fill in the blank]" or "On a real crew I wouldn't have to use my hands as a [fill in the blank]" or "If we were part of the union on a real film set I wouldn't have to use my hands..." -- I think you get the point! I know I did. The only issues with this was the truth behind it - it's not that you don't have to, it's that you aren't allowed to use your hands.

The (arguably) most talented film-maker that I have worked with detests the idea of the segregated, non-unified "unions" where you as the director or gaffer can't move a sand-bag if it's in the way because you might be infringing upon the rights of the grip whose job it is to move the sand bag.

Where's the indie spirit of collaboration and the excitement of "Hey everybody, isn't this amazing! We're making a movie together!" Where's the passion that is required for breaking into such an industry? It can't be a matter of getting rich - hit up the stock market if you're in this life for money! For goodness sakes please don't crank out more Michael Bays! This creative industry shouldn't make sausage!

The structure and protocal are set in Hollywood, and breaking those rules, no matter how effective or brilliant it would make movie production, Holly won't let it happen. Not without a revolution. And take a look, the revolution isn't starting from within, it's starting from without. The indie-makers carry that banner.

Are you with me?

Afterthoughts...

2010-08-29T17:49:00.000-07:00

18 - 1(for recovery) = 17 days of "Ben Banks"

After sitting at a computer, delved into post, all summer, the invitation to help Bryce Clark to fill in the position of a grip kicked my trash.

Fortunately, I survived. Ironically, I worked as the same for Bryce along with two other actresses featured briefly in "Banks" on his first directed commercial.
This experience taught me more than those that taught me who were there. I worked with a crew which for most, had never made a feature length scripted movie. A few had, however, and their instruction was valuable as to things of their secluded field of interest and career experience. The work itself was not hard, it was simply knowing terminology and short-cuts which came from others who taught the gaffer or the dp.

Seeing the ladder tower above me from the position I was in put into perspective the answers to the questions which incidentally I had been pondering over previous to this occassion - namely, I had lamented over the decision to center my focus and skill-development onto a single aspect in order to be specialized. Now I know that my aspiration is to be a producer, and one who is versed in cinematography, writing and directing.

The inspiration is now to make post my vehicle. The question remains about how deeply I will reach into the elements of post-production.

Watching the PAs scurry, myself slaving in the 100+ degree weather, watching the gaffer trying to paint with light, the dp trying to be creative and yet please the demands of the director, and watching the 1st and 2nd ADs strive to keep people on track and following protocal - it all translated into a series of delegations to meet a deadline. The only conclusion I could come to was to that the only creation starts lightly at the Gaffer's level, and as I was told "If [I] work hard enough [I] can eventually become a gaffer."

Which makes me laugh.

The ambition cannot and should not end below the line. Especially that low. Not for someone like me. And certainly that wasn't the intention of Bryce Clark who came to Dixie State College a few years ago and only two years ago directed his first tv spot! Way to go, Bryce! The first man I've heard of who skipped steps to become a Writer/Director/Producer.

The reason behind my words is that there is an influence and an effectual struggle yet to be made with this immessurable multimedia.

More to come.

Word to the Wise

2010-08-24T15:58:00.000-07:00

Place all equipment in their proper stowing areas when not in use.

This, if I'm not completely bonked silly, is the culprit which rolled off a cart from the Lighting & Grip truck and bludgeoned my head, sending streams of red stuff down my face while I was putting away a D-box.

Beware the Gobo Arm!!!

Meet the Crew...

2010-08-15T16:55:00.000-07:00

From Las Vegas, Nevada comes JR Lighting & Grip who are providing our materials.

The Teamster, and most experienced is Richard Allen, who, most notably as shown on the back of his business card by a photo featuring a behind the scenes shot with George Clooney and himself, has worked on films such as "Up in the Air."

He's standing next to me in this pic shot on an iPhone by JM.

Stay tuned for more.

Hurry Up and Wait

2010-08-13T00:46:00.000-07:00

Behind the scenes, the grips and swings rush around to whip a scene together as dictated by the Gaffer, DP, and Director. Then we stop all movement and the filming commences until the next big rush.

Zak Ciotti

hiding out

of sight

until the

next rush

on the

Ben Banks

movie set.

It's a brand new crew and a whole new world gripping underneath the boys from LA. Nothing is difficult, but the only learning curve has to do with terminology/jargon and short cuts.

A clothesline clip might be a C47, a Bullet, or a Seepher. But that's just the start, because the lingo and abbreiviations extend into oblivion (and multiple oblivions depending on preference).

There's a set way things are done, but for indie flicks like this one, we don't argue about roles if it's a matter of getting the job done. We just get the job done.

Sit tight for more.

Zak "Electric Grip/Swing" Ciotti

2010-08-07T21:27:00.000-07:00

As of yesterday I signed on with Signal Films, LLC to function as their backup Best Boy to work under the Gaffer on their first feature length film "Ben Banks" - which will begin shooting Monday the 9th of this month.

The film is written and directed by Bryce Clark, who I met in a class two years ago. Incidentally, that's where Ben Banks along with Brad Thomas(who will play another character in the movie), etc., and they all met.

Surprisingly, and yet unsurprisingly, the picture has a fair budget considering it's their first feature. Familiar names and faces are involved. And of course, who could play Ben Banks but Ben Banks. Check it out.

Branding Graphic Design

2010-08-01T18:40:00.000-07:00

Here is the design for the Awards I have created for the upcomming International Documentary Filmfestival: DOCUTAH

Observe the sweet substitute

of black feathers in place of

wheat branches that bookend the titles.

Click the image for a closer view.

The feathers are from the raven and the "Best Short" is the one featured here that will most likely be an award at the festival (along with perhaps "Best Feature" and "Best Mini").

"Producing a PSA" Workshop

2010-07-27T14:59:00.000-07:00

As a part of working with CMI, I have recently involved myself with a YVC group of about twenty members to teach a workshop on producing a public service announcement about recycling.

Yes, Jack Johnson comes to mind - but no, Jack Johnson was not part of the production.

Since the times of premature short films, working with youth on many occassions, I have found just the right attitude when directing young actors.

Part one of the workshop included Lani Puriri, exceptional Marketer of CMI, instructing the 6th & 9th graders about the role and workflow of a production focusing mainly on the Production Log.

Part two had to do with myself showing examples of previous work and involvement at the innovative Dixie State College, and then assisting four groups in brainstorming with the intent to create a script and fill out the Production Log.

Miraculously, and with a touch of my pitching the humor of the idea, the entire YVC group opted for one idea to film.

Part three: Lani fully created the Production Log and I planned the green-screen shoot.

Then Part four: CEC then allowed us the 2 hours to shoot the footage in the south-end of the Jennings Building. The group was unruly, but the shoot went exactly as planned as I led the way. Jon Andrew, a film student at DSC, operated the boom with prefect results. I controlled the Sony XDCAM PMW-350, and directed our nine young actors. Lani Puriri monitored script consistency.

The finished product is scheduled to be completed by Thursday the 29th of this month.

Flagstaff Finale

2010-07-13T12:35:00.000-07:00

Interviews with the parents of the band Blackfire, Jones and Berta Benally, were successfully captured on Thursday the 8th.

Stunning camera usage pushed the Sony EX3 to its maximum capacity for especially the imagery of Berta with the sacred Sanfransisco Peaks in the background. Co-Director/Producer Judea Runs Through expressed the wish to be able to go back and re-film the interviews all in this same style because of the aesthetic quality of the background blur.

The moment we all pulled together was the morning of the 9th when Zak Ciotti contacted the GM of the Arizona Snowbowl in an attempt to schedule a spur of the moment interview to fulfill his promise that he previously made to one of our crew, Terri Saunders. He agreed to the interview and we captured a marvelous addition to the documentary.

The remaining work will need rushed due to our time-limit to enter the documentary into the Docutah International Filmfestival.

Autodidact Edification

2010-07-02T20:24:00.000-07:00

How will we reach our potential in this competitive world?

Options abound.

It is not unreasonable to believe that the deepest learning may be derived from the self, independent of assistance.

However, it is equally not unreasonable to believe that knowledge and understanding via channels that do not include personal messages from one human being to another are receivable.

With the dawn of the pipeline called the World Wide Web, our ability to learn without the aid of traditional teachers results in individuals' grasping the preferred information, rather than the required. This, both positively and negatively affecting societies, leads to the more passionate edification that is necessary for highly developed work ethics in specific fields.

It has become more and more apparent that only with passion will the greatest effort be exherted.

Yesterday on a train out of NYC I met a freelance audio engineer born out of Trinidad, who told the story of the industry as if it were a joke to think that everyone will keep to themselves and never help you when you're trying to break your way in. He said that there's no sense in not asking if you want to know something.

It's a true fact that I have not gotten an opportunity, save it were I bugged someone until they gave it to me.

This is not to say that autodidacticism is anarchy to government, to say that school or education other than self-directed study or a degree is bad, useless, unhelpful or detrimental; on the contrary, when you hear the sophists(the modern usage of the word) attest to the opinion that "you're a fool who seeks a degree," they are in fact only making such attestations because they have likely had a bad experience with schooling which they will not admit.

In reality, there's nothing wrong with having a degree. The old idea that school will train you into a rut from which you will become a dog that can't learn new tricks, is a farce. The updated attitude in which people attend a school is to network with others you wouldn't have met and be exposed to resources you wouldn't have otherwise.

No matter the path, choose to be an autodidact.

Editor for Hire

2010-06-27T21:54:00.000-07:00

You don't have to be an ace to be an editor.

Over the past month or so, I have been hired to edit a short film (>one hour) from start to finish.

It's an amateur piece that was shot on HD tapes. The tapes were handed to me along with the script. From reading the script, to pulling all the footage, to heavily logging the material, to dropping the shots in order according to my judgement into the timeline in Final Cut Pro 7.

Logging is a technical art - and the efficiency of labelling is key to success later on. First of all, labelling the lines and actions within a script in the first place makes all the difference. After that, the producers end up paying less as long as the footage length and the outtakes are minimized by careful planning and talented crew and cast are involved.

Tapes are the past. SxS/P2 cards are now. The advent of "digital film" gave filmmakers time and money. Instead of developing actual film or capturing off tapes - now as soon as a card is full, the footage can immediately go to the loggers and the editors; therefore, your dailies become almost instant.

Currently the first cut is up to 11 minutes (that's the first 5 pages from the script out of 19 total) - and this is the part where creativity replaces technical suave. Knowing the tool enables the artist, but without the creative force, the edit turns sour. The editors have historically been the women of the industry - now everyone can do it - but within the power of the editor lies the outcome of the entire direction of the film. This became apparent when at first I was dismayed about the picture and am now that it's coming together, I'm almost shocked to say it's not that bad!

Blackfire Update...

2010-06-25T11:13:00.000-07:00

The shoot in Flagstaff, AZ, has been canceled for this weekend (due to fires, contracts and travel conflicts) and is now rescheduled for the 8th & 9th of July.

The cutaways and animations have begun. Concept design art and then the first digital draft of the characters have been constructed and accomplished in After Effects - as well as the Stop Animation look that we were hoping to achieve.

"Blackfire" Final Shoot

2010-06-19T15:17:00.000-07:00

The documentary is set to be shown in the International Documentary Filmfestival "Docutah" in September of this year - in preparation a small crew is scheduled to return to Flagstaff, AZ for the exclusive addition of interviews with Jones and Berta Benally, the parents of the 3 sibling band Blackfire.
Additional cutaways of the Sanfransisco Peaks and other sacred or pertinent sites will also be shot during the expedition next Friday (the 25th) with a camera a level up from the EX3 quoted to be the "Sony PMW-350" which has a 2/3 inch sensor.
Dare I ask whether Scarlet or Epic are ever going to be more than vaporware? I don't want to hear it.

Worldwide Updates...

2010-06-13T22:28:00.000-07:00

While behind the scenes on the set of Gaiacor's informercial featuring their spokesman Dolf Lundgren - I found some tasty information about the official event/announcement of Dixie Worldwide's presence.
Formerly it was thought that a so-called figure-head of the production company would be Clint Eastwood, but now the new word is that Mark Wahlburg may have his name attached to the collaboration.
And! Martin Scorsese is rumored to be the special dignitarian guest to make an appearance for the public openning.

O_O

A Preview...

2010-06-12T21:02:00.000-07:00

This is just a hint of how close we worked with Lundgren:

Documenting the Production

2010-06-09T12:49:00.000-07:00

Early this morning I entered the Jennings Communication building and ran into Don Shelline (former GM of KCSG, now current GM of CMI) who reported to me the good news:

Phil Tuckett wanted me to be the camera operator documenting the entire production starting with attending the dinner tonight with the principle producers and owners of Dixie Worldwide along with Dolph Lundgren. It was right then that Phil himself called me from 20 feet away on my cell asking about my the spelling of my wife's first name - she and I are also being treated to the same dinner this evening.

Yay!

Banquet Update

2010-06-05T17:16:00.000-07:00

I was informed not too long ago that a banquet (for the action flick star Dolph Lungren and production company Dixie Worldwide) will not be taking place the night before the first shoot here on DSC's campus.

Boo.

Masters of the Universe II?

2010-06-01T14:29:00.000-07:00

No, and thank goodness, no!

The first shoot for Dixie Worldwide has been leaked - Dolph Lundgren is coming to St. George, UT for a special news piece on his current career status in light of his recent return to theatres in movies like "The Expendables."

Also DWW's website has been spotted and has the legit info: www.DixieWorldwide.com

Their first shoot here, involving Lundgren, is scheduled for June 10th with a welcoming banquet celebrating Lundren and Dixie Worldwide the night before.

Be there, or be square.

"Dixie Worldwide Productions" Announced...

2010-05-25T20:16:00.000-07:00

It has now become public knowledge that "Clearvision International," a production company stationed on a lot at Warner Brothers in California, is taking on the new title "Dixie Worldwide Productions" - a public/private collaboration with the ambitious Dixie State College.

Phil Tuckett, head of the Digital Cinema Production track in the Communication Department at DSC, phoned me with the news that the contract had been signed and it's official that Dixie Worldwide (formerly Clearvision) is relocating from California to the campus right here in southern Utah this Summer.

Sources estimate that the contract involved some $200K, provided by DSC, as a part of the deal. It is also rumored that five full-time employees, from what was Clearvision, will be moving here to stay. Other rumors include possible productions already lined up by the production house such as a feature film, music videos, and informercials.

The addition of Dixie Worldwide to the Center for Media Innovation (CMI) will be allowing students in the film degree to have the chance to participate in a paid and professional production atmosphere. This move was very much due to the expensive rates of producing content while existing in the heartland of movie-making.

In other news similar, it has been reported that KCSG Television will again be attempting a collaboration with DSC, this time with the station giving up more of its control to the management of faculty. Stace Hall, a native of little Vernal, Utah and graduate of BYU, has also been hired to fill the role of what may be considered GM of KCSG. The word on the street is that those in charge will not be repeating the micro-managing and will be fully prepared to engage in running the state-wide channel by restarting the news as a 15-minute online and broadcasted segment no later than this Fall.

Where will they all fit on campus? Who knows! But as the Public Relations/Marketing Director of CMI stated "That is a good problem to have."
Yippee.

A Modern Warcry: Blackfire Documentary

2010-04-18T09:50:00.000-07:00

It is the first Documentary directed by two for Dixe State's program.

Zak Ciotti and Judea Runs Through helm a feature length film documenting the Native American Punk Rock band Blackfire, from the Navajo Nation near Flagstaff, Arizona.

First this was an idea from the mind of Judea, who has gained a reputation as an innovative stop-motion animator and commercial writer, the purpose of the documentary was to portray the part music plays in the cultural attitude of the people of the First Nations. It was within the first interviews that we realized what direction the story would unfold.

Now, in the final stages of editing, this 3 month effort of a collaboration of 13 members of the crew is nigh unto the end.

On the evening of May 5th 2010, the Red Cliffs Cinema theatre will premiere the first public showing of "A Modern Warcry" the feature-length, directorial debut from Judea Runs Through and Zak Ciotti.

Staff Roll:

ExecProducer__Phil Tuckett
WritersDirectors__Judea Runs Through/Zak Ciotti

DP__Zak Ciotti
1stCamOperator__Ben Banks
2ndCamOperator__Tyler Pollock
Additional Photography__Chad Prince/Corey Holmstead/Preston Grimes/Jon Andrew

Steadicam Operator__Ben Banks

Editors__Judea Runs Through/ZakCiotti

Footage Log Lead__Terri Saunders
Additional Log Crew__Judea Runs Through/Jon Andrew/Layne Roberts/Chad Prince/Liliana Guerrero/Preston Grimes/Corey Holmstead/Zak Ciotti/Don Shelline

Audio Engineer__Don Shelline

Boom Operators__Don Shelline/Chad Prince

Research__Virginia Strong

Interviewers__Judea Runs Through/Phil Tuckett/Zak Ciotti/Terri Saunders/Liliana Guerrero

Publicity__Stephanie Clark & Tyler Pollock

(list subject to adjustments)

Eh, What's Up, Doc?

2010-03-31T19:32:00.000-07:00

This is the third year Phil Tuckett has run the Documentary Class at DSC.
The first year the doc was about Las Vegas underground break-dancing. The year after (last year), it was about the local Prime Time Dancers. And this year, it is about the Native American Punk Rock Band "Blackfire" (doc title pending).

What's unique is the fact that they switch it up and even mix traditional Navajo singing with their punk music. It's hypnotizing to watch!

In the next week a teaser trailer will be released and actually aired on DSCtv. It will be used as a vehicle to excite the masses and also to gain a more willing and excited band, about which we're making the Doc.

Currently, we have 534+ gigabytes of footage for the doc - and I sincerely wonder how that happens.

Making Things "Short"

2010-03-18T09:57:00.000-07:00

What do Neill Blomkamp and Spike Jones have in common? Lots.

Take for example the short films (be they music videos or otherwise) that both film makers worked on and continue to work on.

Logic tells us that a Short Film is a Film that is Short and if that be the case then is has included within its production processes the same processes as a Feature, but simply Compressed.

The idea is that working quickly and efficiently, practicing on shorts makes possible the efficient skills required for making feature-length motion pictures. Yes, let us not forget we're stepping away from the actual usage of "film" and are only using the term as a proxy for whatever the digital world has given us.

Beyond the jargon now lies the point: if we make shorts, then we will make features. May we never stop making shorts, and may we ever start making them as well.

Collaborations

2010-02-23T16:37:00.000-08:00

syn er gy
"The interaction of two or more agents
or forces so that their combined effect
is greater than the sum of their
individual effects."
__________________

This is in fact, a reality.

A few of the earlier concepts of this power of collaboration which have influenced me in the past:
__________________

JuniperSequence.com

A group outside of Orange County, CA consisting of talented individuals whose collaborative efforts made a possible break into the Film Industry. Their number is less than 20, the last time I checked.
______________

HiveDivision.net

MGS-Philanthropy.net was the result of a sensational collaboration of Italian guerrilla filmmakers. Europe may need to keep an eye on them; and we may need to keep an eye on europe.
______________

The Alignment

In light of the potential, several of us collaborated in order to test the waters. A small portion of those who joined the group were able to participate in creating a professional business plan under the direction of myself. With the assistance of a Bridger (between the creative and the business people) in the industry, we gained plenty of insight about the format of a motion picture business plan and submitted it. We asked The Sundance Institute for $105,500.00 to embark on our documentary entitled "Don't Sell Me" - a stirring view into the difficulties and problems of attempting to adopt foreign children.

Due to the hindrances of our various lifestyles, a formal website was unable to be established with information about each member of the party. However, a blog, with hopefully just as much information, is coming into being.

Saint George Media

2010-02-20T19:16:00.000-08:00

In economically depressed times, it's still always a shock when you're let go.

In Utah's city, Saint George, just six miles from the Arizona boarder, there are four solid business-minded entities from which spews motion picture media.
(By "motion picture" I mean video, because the term "digital film" is a failed description of what was once on a film strip and now made up of 1's and 0's)

Firstly, the local television station KCSG. Experience + Access to Marketing(Influence on City) = the #1 player.

Secondly, The Dick Nourse Center for Media Innovation (CMI). Potential Collaboration of Talents (students + Phil Tuckett, 30 emmy-winning documentarian) + Greatest Available Connections to Equipment in the Area = the #2 player.

Thirdly, the two-man band at Strategic Media. Innovative + Adaptive = the #3 player.

And Forthly, the one man bands at RB Studios or another independent commercial producer. Businessman + Investment = #4 player.

As of the 19th of February, just days ago, KCSG underwent a change in organization: a gigantic portion of the crew was laid off - I may be wrong, but it seemed like more than half of us.

This could mean that the other three entities may have more of a chance to take hold of the media in the region. Maybe it means that now is the time to consume the flow of the commercial advertisement for the others.

Nevertheless now is the time to reconsider the career path. As for me, the awards of supporting a event videography business have been minimal. The industry of videographers has been saturated (to say the least) in this state. The only thing that tops videographer saturation is photographer saturation. And unfortunately, unless your name has been made already, you will suffer due to the lack of leisure spending in our economic absurdity.

The question is now which path I should take.

There's always opportunity, but trying to stay in a city that is full of retirees who may not want to spend money and young college students who may be too poor to spend money, makes it interesting. Especially when you bought a house less than a year ago and are determined to finish college for some reason. However, it would seem that no matter the situation, where there's a will, there's a way.

Philippe Films, LLC has been unofficially dissolved and will be taking on a multimedia production title. The recent considerations of the new title will be:
-Via Films
-Flood City Productions
As of now, the working name that I have been utilizing the most has been Zak of all Trades. Difficulties with Philippe Films and Zak of all Trades has been mainly with correct spelling. Something that business optimization has taught me as I have encountered companies that specialize in such.

For now, relabelling myself shall be the endeavor.

Motion Pictures

2010-01-03T04:53:00.000-08:00

"Avatar" by James Cameron

Once I thought of James as my favorite director; he had quite a story. However, I couldn't admire him entirely. Still yet, there is something he does that will always keep me loving him:

he makes real cinema.

It's not too often that someone can make a sequel better than its original (idiom explanation: T2, Aliens, utt.), or create an audience gasper like the door opening in Wizard of Oz that went from black & white to color as Cameron did with the 3d visual charge of Avatar. Rarely does the whole theatre react that way.

James, please keep making movies. We could use more than one Oz Moment per century.

"Doubt" by John Patrick Shanley

Admitedly, I had my doubts about this movie. Fortunately for me, I watched and tried my best to catch it in fault. All that can be said is simply:

you cannot write like this if you are not brilliant.

Going through the film, there are so many loose ends already cleaned up that truly, there is no way to come to a conclusion that is thirsted after through the entire story. When it comes to such clever screenwriting, this sort is a rarity. Thank you Captain Shanley for not writing this one over the weekend.