Tag Archives: hd

So You Want to Be a Filmmaker

Is it time in your life to consider a career direction – and you just can’t the idea of filmmaking out of your head? Perhaps it is a recent producer (Thomas Langmann), director (Michel Hazanavicius) or cinematographer (Robert Richardson) who won at the 2012 Oscars (for The Artist, The Artist and Hugo, respectively) who inspires you. Or, you are a natural storyteller and feel drawn to the power of film on an instinctive level.

If that is the case, what do you have to do to get there? Wikiversity.org says a few things about training to be a filmmaker, including the following:

1. “Filmmaking is not rocket science. Everything about filmmaking is extremely easy to learn. Anyone can do it if they wish.”

2. “The challenge is filmmaking requires learning a huge number of skills. Each skill is easy to learn but the number of things you must learn is huge. If you want to be an independent filmmaker, you must learn the equivalent of 20 different careers. Even if you are a fast learner, it can take you years to learn everything.”

That should be both encouraging and instructive. An education in the art is almost certainly required. So the next question is where to get that education? Is a four-year university degree required? Can filmmaking and related skills (cinematography, directing, producing, screenwriting, etc.) be learned in a technical-school environment without trying to earn a bachelor’s degree?

For better or worse, there are many options to choose from. Consider whether the university or arts school environment – as well as the physical location and costs – matter to you most. Here are some thoughts on the topic of film schools:

• University film schools or arts academies? There are many “name” universities that have a filmmaking program (U. of Arizona, UCLA, USC, Northwestern, City University of New York, Columbia University, and many others), while other schools have a clearer focus on arts and entertainment (Berkeley Digital Film Institute, New York Film Academy, California Institute of the Arts, Columbia College Hollywood, and others). What’s the difference? Some people want to study with non-arts people, while some prefer it the other way around. And some students’ parents insist they get a dual major with film in “something practical” such as accounting or teaching – not the most confident approach, but perhaps it won’t hurt to pursue one’s art with a broader worldview.

• Physical location of the film school. It goes without saying that film students will be shooting a lot of digital video on location as part of their study. The actual geography, people, architecture and weather of that location can be both backdrop and subject of their films. So the student might consider whether a rural, urban, desert or forested location provides them with the kinds of environment they would like to develop their skills in (certainly, a student could travel just about anywhere to shoot, but that would likely be at their own expense).

• Cost of the film school education. As a rule of thumb, a four-year university degree will be twice that of a two-year degree. Also, room and board fees generally follow the cost of living for anyone living in that particular city or town. Columbia University, in New York City, charges $24,724 per year for students in their MFA program, plus an additional $16,200 for room and board. In contrast, the Colorado Film School, part of the Community College of Aurora, will cost a Colorado resident only $9,200 to achieve a two-year Associate’s degree ($28,900 for non-state residents).

Not everyone is going to be the next James Cameron (Titanic, Avatar, Aliens) or Kathryn Bigelow (The Hurt Locker), although a handful of aspiring filmmakers studying the art today may well be. It’s important to know that filmmaking doesn’t begin and end at the Cineplex. People with any of the many skills associated with filmmaking can find work in commercial shoots, documentaries, corporate productions and in education, in addition to the plethora of jobs in the traditional film industry. With the value of video on the Internet, savvy marketers are employing short films to draw traffic, sell products and educate consumers. Even trial lawyers produce films (i.e., they do hire filmmakers, though you won’t using an ARRI) to make their case in front of judge and jury in large-ticket litigation.

Filmmaking always has and always will be an exciting career for those who love the medium and love to tell a good story. As Wikiversity says, it’s a challenge involving a huge number of easy-to-learn skills and yet it might take years to learn. But in case it looks like fun to you, you’re right. It is.

Update: Post with the assistance of New York Film Academy and Wikiversity.org

Canon C300 (discussion)

Canon C300 might be outside the budget of most low-budget filmmakers but it’s such a nice camera that just reading about it makes you want to take your old Canon XL1 (or Sony FX1), go out, and shoot something.

I just found out that watching people discuss has exactly the same effect!

Video can be viewed here!

Canon T2i (550D)

Depending on where you are, Canon’s new flagship might carry different letters but the the bottom line is the same: this photo is GOOD news for aspiring indie filmmakers.

According to DPreview:

The EOS 550D redefines the boundaries of Canon’s consumer DSLR range, incorporating technologies and features more commonly found in semi-professional DSLRs into the compact, lightweight body favoured by consumers. With a newly-developed 18 Megapixel (MP) APS-C CMOS sensor, coupled with Canon’s advanced DIGIC 4 image processor and the ability to shoot Full HD movies, photography enthusiasts are empowered to explore new levels of creativity.

Yes, full HD and an ISO range of 100 – 6400 (expandable to 12800) means you’ll get a lot mileage from scenes with natural (often poor) lighting.

The camera itself is too new, so the previews have been based on pre-production units but I’m pretty excited!

canon t2i

Sony HVR-Z5U

Sony HVR Z5USony HVR-Z5U is the same Sony HVR Z7U, however, Sony has fixed the lens on this one. Let’s find out if it’s such a good move.

First off, the new Sony HVR-Z5U is affordable – $4200 street price ($4950 list). It’s in the same league price-wise as Sony Z1 and a bit more expensive than Sony FX1 and Sony FX7. It’s very competitive pricing considering a Panasonic HVX200 goes for more than $4,200 – and in some stores it goes to $5,000.

Let’s examine what could make you upgrade to Sony HVR-Z7U – it usually costs about $1,200 more. Both camcorders use the same electronics. The controls and I/O are a bit different but it’s more a matter of personal preference rather than anything “measurable”. The key difference is the lens – the Z7U has a 12x Zeiss lens that can be REMOVED. Just so you know, this is where your $1,200 will be going – giving you flexibility to change the lens.

The lens on the Sony HVR-Z5U is a fixed 20x Sony “G” zoom lens. In this, Sony is consistent – all its camcorders in this range have sported a similar lens – all the way back to (my beloved) Sony VX2000.

If you’re easily impressed by ZOOMs, Sony estimates the 35mm equivalent is 29.5mm – 590mm! Impressive! If you go with the Z7U, it stops at about 380mm. So in practical terms, you get a lot more tele from the fixed 20x lens. Frankly, I’m not a big bird watcher, so zoom isn’t that important to me. However, if you plan to shoot architectural videos, you might need a wider lens (or adapter).

Same as the Sony Z7U, this camcorder uses the new Sony’s ClearVid CMOS with 1440×810 photosites. Through extrapolation (i.e. software), Sony achieves 1080 resolution. The sensor deliver very similar picture to full resolution 1920×1080 sensors which cost a LOT more.

So in conclusion – do you need it? If you already have a Sony Z1 or comparable, you probably don’t need to upgrade just yet (unless money is no object).

If you’re in the market for a new camera, the Sony HVR-Z5U is a very solid choice and comes highly recommended from all the reviewers I follow. The only caveat is the fixed lens but let’s admit it, at $4,200 you won’t find a camera with a removable lens anyway.

Sony V1

Adam Wilt at DV Magazine, is taking a first look at Sony V1.

Sony V1

In a typical SAT fashion: with V1 Sony has upgraded the Z1 “prosumer” camcorder the same way it upgraded the revolutionary Sony FX1 to Sony FX7. If you’re already familiar with the FX7 or you’ve already read the comparison between FX1 and FX7, you’ll find relatively few bits of new info.


At the same time, Sony V1 is significant because it confirms Sony’s dedication to putting CMOS sensors on its prosumer line of camcorders instead of CCDs. This is an important change of direction as it affects light sensitivity, vertical resolution, and more importantly the “full 1080 HD” of FX7 and V1.

Let’s go quickly through Adam’s points:

  • Design and form factor: Sony V1 is smaller than the other HDV camcorders and its form factor is close to Sony’s smaller DV models like the PD150/170. It’s also lighter than all previous prosumer models. The top handle has been moved a bit to the front which balances the camera perfectly. The LCD is on the side and has changed very little in practical terms.
  • Controls: Here Adam seems to be enthralled by the new Sony: “This tight grouping of shooting controls puts them readily within reach of your focusing hand… In my opinion, this is the best Handycam control layout Sony has done.
  • Audio: There’s little difference from Z1 and PD150 when it comes to audio. The camera features two professional XLRs.
  • Video: The 1/4″ CMOS sensor is less sensitive to light but offers increased resolution (full 1080 HD). It also offers true 24 frame progressive mode – highly sought after by wannabe filmmakers who strive to shoot filmlike video.

Again, it’s a “sideways upgrade” because you lose some, you gain some. Here’s Adam’s conclusion:

Sony squeezed out some features in the quest to put HDV into a PD170-sized package: analog-in recording, 50 Hz/60 Hz switchability, low-light capability, and standard video connectors on the camera body. But the result is a compact, lightweight Handycam that shoots sharp, clean HDV while offering the best laid-out controls found on a small Sony, and true progressive capture to boot. Rolling shutter will be an issue for some, but overall, the V1 looks like a worthy addition to the choices available to HDV shooters.

I’m considering switching from my web cam to this baby. Here’s a short guide on how to select a web cam.