This is a follow-up to my post about Data Management and is a more detailed look at the procedure for DMTs to follow on set.
The same production company asked me to write this up for them, since on their smaller productions, they sometimes end up having someone inexperienced dumping cards. They asked for a step-by-step guide, so that they could grab any person off the street and be confident that the cards would be copied correctly. And while I don’t recommend doing that (and they would never actually do that), I think that they would be able to do that with this guide.
A while back, a production company I work with asked me to help them improve the way they backed up and managed the many terabytes of data their productions created.
The following is the procedure I suggested they implement. Note that while this is written for smaller productions that will end up with only a single pair of cloned hard drives, it can be scaled for larger productions by simply applying the same principles to each pair of cloned hard drives.
I’ve finally jumped on the bandwagon. I’m @mattreadfilm. Follow me and see if I end up doing anything with this or not.
Tellurian is a short film I shot last year up in Washington. It tells the story of a girl coming to terms with her father’s abandonment of her and her mother, and finding out that she has something in common with him.
Watch it full screen for the best experience.
I’m a big DIY-er. I like figuring out how things work and then trying to build them for less than it would cost me to buy them. Some of it’s that I like being frugal, but I also really enjoy the challenge. Even when a project doesn’t come out exactly as planned or is even an abject failure, I can still learn from what went wrong.
There are many opportunities for DIY with filmmaking gear, especially since so much of it is be very expensive. For this post, I’ve chosen a really simple and inexpensive, but very useful project: converting clamp lights to take up to 500w photoflood lamps. Continue reading
I found this article from ICG Magazine a few days ago and thought it was fascinating. It describes the limitations of current LED technology for film lighting in a detailed, but not overly technical, way.
The image above pretty much tells the story. Same woman, same dress, same chart. Massively different results because the image on the right was lit with LEDs.
Last week I finally got around to seeing Hugo. I’d wanted to see it for a while, not only because it’s gotten really good reviews and is up for Best Picture and not only that it’s Scorsese’s first film that is appropriate for anyone under 15, but because he shot it in 3D.
I’ve never gotten too excited about the whole 3D thing. Sure, I saw Avatar in 3D, because when James Cameron spends something like 10 years developing not only a film, but the technology to make that film, you kind of have to go see it. While I was unimpressed by the 3D in Avatar, upon hearing that Scorsese’s next film would be shot in 3D, I decided to reserve judgement until seeing it.
Now I’ve seen it and the verdict is in: Continue reading