Official "Look what I shot!" Thread

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robedge

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Re: Official "Look what I shot!" Thread

PostThu Jul 02, 2020 12:17 am

In your first post, you say that this will be shown at film festivals in the coming months. Any plans for a screening in New York?

I'm keenly interested in seeing this as I have a relative and a close friend who design and make letterpress books.

Thanks.

Jamie LeJeune wrote:
Oyvind Fiksdal wrote:Class DOP skill here. Congrats. I like the use of wide angle to give a personal touch on some of the details and the movement of the camera. Did you use slides or some sort of gimbal? Good lighting on the subjects.
Thanks! Glad you like it :)
Over the years we shot it I used a lot of different cameras and various types of rigging. None of it was anything fancy like a Fisher dolly or time consuming to build like a Dana Dolly. Those are amazing tools, but all the shoots were a crew of just two of us — the director James Kennard and I — so we always had to travel light and work fast. If my memory is correct the shots that appear in the trailer consist of the following support gear:
- various Sachtler and Miller fluid head tripods
- Letus Helix Jr. (with the original BMPCC mounted on it)
- Cinevate Atlas
- Edelkrone Wing Pro
- Cinetics Skate Plate
- Snaptrack Cinerails
- and just plain old handheld

Oyvind Fiksdal wrote: There should also be some credit to the editor and sound dep. Did you make the trailer all by yourself or was the rest of the team involved? Love the timing, beat, score and sound and picture. Its a great match and masterly put together.
The trailer includes a billing block with the credits, but just to give you more detail the film was mostly made by just two of us. James Kennard deserves the lion's share of the credit for handling direction, producing, editing, and on at least half of the shoots he also ran a second camera. I was the cinematographer and colorist for the film — so essentially I was responsible for the images but, of course, it being mostly just James and I, we would plan the shooting together and I would review the edits and help shape the story too. As for audio, James and I both did our best to deal with sound on the two camera shoots, and for the days that were single camera, I'd be operating camera and James would be on sound. Besides James and I, the final sound mix was done by Mark Escott at Phoenix Sound Design in San Francisco and David Kennard was Senior Producer (he mostly handled the contracts and funding, though he did give input on the story and editing as he is also an amazingly talented director and writer who has had a career going to back to his days at the BBC in the early 60s) and the accounting was handled by Cheryl King. The film funders got EP credits, but frankly all they did was sign the checks.

The film really was a labor of love for us. We all worked at less than 50% of our normal rates, and most of the production equipment that we used I donated to the project.
Video: Pocket 4K, Fujinon MK 18-55mm, Leica primes 35-135mm, Nikkor 55mm macro

Stills: Leica M3/M6/M240; Mamiya 7II; Arca Swiss 4x5/8x10

Sound: Schoeps omni & supercardiod mikes; DPA miniature omni mikes; Sound Devices 702T/MixPre-6 v.2
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Jamie LeJeune

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Re: Official

PostThu Jul 02, 2020 1:32 am

robedge wrote:Any plans for a screening in New York?
I think the closest festival to NY that is currently planned is in Woods Hole, MA. However, due to the pandemic, all of the "screenings" will likely be virtual. As soon as I have links with details on how to view those, I will add them to my original post.

rick.lang wrote:Thanks for the effort and cost details. Can you comment on the income side at all, not in terms of the cheques being written to finance the documentary, in terms of the income the documentary will earn?
I could write pages and pages on the pitiful state of independent documentary funding in the USA. There's a sharp difference between the money paid to people who work to make a documentary (i.e. the working stiffs like me, and James and David who labored to make the film) versus any money that might be made on the back end by the funders+copyright holders of the film. An extremely tiny number of documentary features make any profit on the back end through distribution and sales. Most people or institutions who fund such endeavors do it for social capital rather than financial capital. They don't expect to make money, they want to see the particular story be told through film and they earn the social esteem that comes with funding the arts. Another detail that most people don't realize is that outside of a few exceptions, for most content on PBS the network does not a pay a dime to the filmmakers and copyright holders. In fact, most filmmakers have to pay PBS fees for the privilege of having their film made available to the stations. Most documentary filmmakers (myself included) work on commercials + corporate video to make ends meet. Even famous Oscar winning documentary filmmakers like Errol Morris also make commercials to pay the bills: https://www.errolmorris.com/commercials/miller.html


Since I don't want to derail this thread with any more of my rambling, if anyone has more questions about funding or anything else, we should probably start a separate thread.
Many thanks to all for the questions and kind words!!!!
www.cinedocs.com
http://www.imdb.com/name/nm4601572/
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robedge

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Re: Official

PostThu Jul 02, 2020 1:38 am

Jamie LeJeune wrote:
robedge wrote:Any plans for a screening in New York?
I think the closest festival to NY that is currently planned is in Woods Hole, MA. However, due to the pandemic, all of the "screenings" will likely be virtual. As soon as I have links with details on how to view those, I will add them to my original post.


Thanks, if that means over the internet I'm keenly interested. Congratulations on the film.
Video: Pocket 4K, Fujinon MK 18-55mm, Leica primes 35-135mm, Nikkor 55mm macro

Stills: Leica M3/M6/M240; Mamiya 7II; Arca Swiss 4x5/8x10

Sound: Schoeps omni & supercardiod mikes; DPA miniature omni mikes; Sound Devices 702T/MixPre-6 v.2
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rick.lang

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Re: Official "Look what I shot!" Thread

PostThu Jul 02, 2020 4:21 am

Thanks for that information, Jamie. I was planning a documentary about an individual who sadly died before I got beyond the planning stage, but my wife has been encouraging me to carry on with one or more of the surviving family members. Might think about it; it would all be on my dime. Scary if there’s nothing at the end of the rainbow...
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Oyvind Fiksdal

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Re: Official "Look what I shot!" Thread

PostThu Jul 02, 2020 8:14 pm

Jamie, thanks for interesting feedback. A lot of gear and influence involved. From the history behind the production and the effort put into it. It deserve an honest earning regardless opinions in the aftermath.

Still, I believe the book makers will get some excellent reviews. Can’t imagine anything else.
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Denny Smith

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Re: Official "Look what I shot!" Thread

PostFri Jul 03, 2020 3:00 am

The documentary films I have been involved with, we were just trying to get the story told, no return on our outlay, no profit. One of ours made some local film festival screenings, and that was my reward. I am still working on one about a local artist, but he has gone into hiding over the pandemic situation. Hopefully, I can get another interview with him to finish this one up.
Cheers
Denny Smith
SHA Productions
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garafulic

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Re: Official "Look what I shot!" Thread

PostFri Jul 03, 2020 3:12 am

Hello everyone!

I finished this piece back in March just as the pandemic was beginning to hit hard in Austin, Texas.

I feel fortunate to have captured an ethos of hospitality that is now gone, hopefully to return.

I shot most—if not all—with a couple of BMPCC 4Ks. There might be a shot or two with an original BMCC.



I hope you enjoy it.

- Marko
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Denny Smith

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Re: Official "Look what I shot!" Thread

PostSun Jul 05, 2020 6:31 am

Very nice, and well crafted. The viewer is drawn into the story, in a positive way.
Cheers
Denny Smith
SHA Productions
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rick.lang

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Re: Official "Look what I shot!" Thread

PostMon Jul 06, 2020 3:44 pm

Interesting perspective on the role of a restaurant and it’s not all about food. Good for them.
Rick Lang
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John Paines

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Re: Official

PostMon Jul 06, 2020 4:02 pm

Jamie LeJeune wrote:Another detail that most people don't realize is that outside of a few exceptions, for most content on PBS the network does not a pay a dime to the filmmakers and copyright holders. In fact, most filmmakers have to pay PBS fees for the privilege of having their film made available to the stations.


Not the best thread to pursue this one, but POV and Independent Lens still pay for programs, no? It's never enough -- aside from Michael Moore and Fred Wiseman, Ken Burns seems to be the only Yank who makes a living in documentaries, thanks to corporate sponsorship -- but something....?

Or are you thinking about licensing arrangements with local affiliates, which typically don't have any money?
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timbutt2

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Re: Official "Look what I shot!" Thread

PostMon Jul 06, 2020 6:34 pm

Here's a short film I lit as light designer. The camera used by the director/dop was the Pocket 4K. A good deal was shot at 3200 ISO inside the house. Outside the house was 400 ISO if I remember right. Either way, my main focus was on lighting. Some of my Rokinon Cinema Primes were also used along with his lenses. Lights were Nanlite Forza 300 and 60 lights and occasionally a Dracast LED1000 as well.

"I'm well trained in the art of turning **** to gold." - Tim Buttner (timbutt2)

Cameras: URSA Mini Pro G2, URSA Mini 4.6K EF & Cinema Camera 2.5K EF
Computers: iMac 5K (Late 2015) & MacBook Pro Retina 15.4in (Mid 2018)
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Oyvind Fiksdal

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Re: Official "Look what I shot!" Thread

PostMon Jul 06, 2020 7:51 pm

garafulic wrote:Hello everyone!

I finished this piece back in March just as the pandemic was beginning to hit hard in Austin, Texas.

I feel fortunate to have captured an ethos of hospitality that is now gone, hopefully to return.

I shot most—if not all—with a couple of BMPCC 4Ks. There might be a shot or two with an original BMCC.



I hope you enjoy it.

- Marko




That is almost like watching sci-fi. How the customers act, him talking about hugging, and the idea of using local food. You can almost start the movie with the text “In the not too distant future…”. That would be a positive, feel good, movie! That also makes a bit sense with the opening.

There has been some talk here in Norway about local food chain and how to be more depended on it, oppose to imports and long-distance food. I wouldn’t be surprised that more of our daily meal, in a not so distant future, will be just that. Local food, and some hugging. Its interesting that this becomes a big point in the documentary, a pre-pandemic world where that seem to be a challenge or something unheard of because of the economic system.

Keep up the great work.
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garafulic

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Re: Official "Look what I shot!" Thread

PostTue Jul 07, 2020 2:17 pm

Oyvind Fiksdal wrote:
That is almost like watching sci-fi. How the customers act, him talking about hugging, and the idea of using local food. You can almost start the movie with the text “In the not too distant future…”. That would be a positive, feel good, movie! That also makes a bit sense with the opening.

There has been some talk here in Norway about local food chain and how to be more depended on it, oppose to imports and long-distance food. I wouldn’t be surprised that more of our daily meal, in a not so distant future, will be just that. Local food, and some hugging. Its interesting that this becomes a big point in the documentary, a pre-pandemic world where that seem to be a challenge or something unheard of because of the economic system.

Keep up the great work.


Thank you very much for the kind words Denny, Rick and Oyvind. I'm rooting for the restaurant to make it through this mess.
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timbutt2

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Re: Official "Look what I shot!" Thread

PostSun Jul 12, 2020 5:33 pm

A bit of Steadicam practice with the URSA Mini Pro G2. How? Attend a model & photographer meet up. Perfect place to test the Steadicam out and get practice with a person for free. Haha.

Anyways, here's one of the models that I got a lot of good footage with at the meet up. Mainly Rokinon 16mm while on the Steadicam since I needed a deeper focus with out having an AC. Beach shower was 35mm, and then sunset shots were handheld with 24mm. All URSA Mini Pro G2.

Steadicam was Steadicam Aero 30 Sled, Zephyr Arm & Vest.



For note: I now have the Tilta Nucleus M and Hollyland Mars 400S for an AC to pull focus. I just need to train an AC or find one that I like working with.
"I'm well trained in the art of turning **** to gold." - Tim Buttner (timbutt2)

Cameras: URSA Mini Pro G2, URSA Mini 4.6K EF & Cinema Camera 2.5K EF
Computers: iMac 5K (Late 2015) & MacBook Pro Retina 15.4in (Mid 2018)
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rick.lang

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Re: Official "Look what I shot!" Thread

PostMon Jul 13, 2020 5:17 am

Tim, you’re a new man now with that Steadicam setup. Opens up a lot of possibilities. Great to see your practice results.
Rick Lang
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Norman Lang

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Re: Official "Look what I shot!" Thread

PostTue Aug 04, 2020 1:14 pm

Here is a short film I made using the UM 4.6K

It's a short comedy titled, "Chemistry Read". The film has been in several film festivals and even managed to win a few awards. Let me know what you think!

Norman Lang Langproductions.com Boston MA
BMCC - BMPC - UM46 - BMPCC 4K - BMPCC 6K - 2013 MacPro -Adobe CC - Da Vinci Resolve
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