The guys at FilmCrewShirts have been doing some sterling work coming up with a whole range of comedy film crew clothing emblazoned with phrases regularly heard on the set. I suggested this one 
Any other ideas?
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Language of film sets t-shirts
Ed Moore
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Ed Moore
Turns out my cinematography showreel got added to a really fantastic channel on Vimeo full of great DoP’s work. Looking forward to finding the time to properly poke through these; looks like DoP curator Eric Ulbrich has done a great job.
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Tom Mitchell (DIT)
Nice work ed
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Ed Moore
Cheers Tom! By the way, do you personally have DIT website so I could put a link to it in my blogroll?
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Ed Moore
Scratch that last question as I just made the massive leap forward of *clicking on your link*.
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"Positive Feedback" - behind the scenes of this short film
Ed Moore
Sabrina Dridje, who produced The Ash Can, sent me the script for this lovely little short and I couldn’t wait to get involved. ¬†First time writer/director Tarquin Glass has an assured pen and knew exactly what he wanted to achieve on set – full marks. ¬†The short follows our hero Jetson whose satchel spectacularly falls apart in high winds. ¬†He finds a replacement on eBay but when it arrives there’s some forgotten passport photos from the Most Beautiful Girl He’s Ever Seen. ¬†His only method of pursuing her is by bidding on more of her items, and communicating through eBay’s feedback system. ¬†It’s dead cute.
We shot on Phil Wood’s RED camera and he came along to focus pull with girlfriend Michelle as data wrangler. ¬†The budget was extremely tight to say the least so we stuck with the RED 18-50mm zoom on the lens front. ¬†Lighting came from Panalux and consisted of either a 1.2 or 2.5kW HMI (can’t remember now), a couple of tungsten fresnels and a dedolight kit.
Shooting the windy section was fun, with Enterprises Unlimited providing the kit. ¬†Obviously we all had to have a go at the ‘leaning into the wind’ trick…
We shot Jetson’s bag falling apart, with all his papers dropping out and blowing away stuff at 120fps to get the papers gliding around through the air. ¬†Tried a speedramp on the RED as well – not sure if it’ll make the edit, but good to know it works.
Rest of the shot took place in what was doubling for Jetson’s flat, and the majority of that in his bedroom where we cheated the layout a bit in camera to make it seem smaller. ¬†Without room for large diffusion frames and so on I keyed with the HMI through two layers of Lee 250 rolls just slid onto C-stand arms and unrolled to make a quick and easy 4′x4′ soft light. ¬†This works great inside, and is much easier to work with with limited crew than lots of Hi-rollers and butterfly frames. ¬†Used the tungstens gelled 1/2 CTB bounced off the ceiling for fill. ¬†Not terribly exciting but we had so much to get through and with limited equipment and crew it seemed sensible to stick to ‘broad strokes’ lighting.
There were about three cameras doing production stills type stuff on set so theoretically once I get hold of some of those I’ll be able to show you a bit more, but until then you’ll have to make do with another¬†lackadaisical¬†episode of the DoP Diaries above! (although I spectacularly failed to bring the damn little camera on set the day we had the wind machine on – doh!)
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kids uggs boots
Baby UGGS Lil Chuck selection is now available for infant kid uggs store uk
Kill it Kid - behind the scenes video
Ed Moore
This was a very busy shoot with not many spare pairs of hands so didn’t film as much on the DoP Diary-Cam as I would have liked! ¬†For more see the main post.
Ed's web picks for May 29th through May 30th
Ed Moore
- ross:ching » Death Cab for Cutie’s Little Bribes – The concept's a little bit croaky, but the variety of timelapse tricks in this video makes it well worth a watch.
- First sight: Duncan Jones – "So, Ziggy Stardust, Space Oddity – does he share his father's view of all things cosmic?
No: Moon is a million miles from spangled Ziggy spacesuits. It wears its sci-fi geekness loud and proud (Jones wrote his PhD thesis on artificial intelligence)."
Interview with the director of upcoming "indie scifi" Moon with Sam Rockwell which looks fantastic in the trailer. Even more excited about it now I know the director is not only David Bowie's son but has a PhD in AI…
- YouTube – ‘The Man Who Walked Around The World ‘ with Robert Carlisle – Astoundingly well-operating six minute steadicam shot for Johnnie Walker whisky. DoP and operator (a man after my own heart, if insanely better!) is George Richmond, steadicam op on Quantum of Solace, Burn After Reading, Wanted and more.
This is almost certainly a shot where the steadicam operator sits on the back of some sort of vehicle to operate as it's so long and so fast that you'd never be able to keep up if you were walking with the rig.
Homecut (feat. Corinne Bailey-Rae and Soweto Kinch) - behind the scenes of the music video shoot
Ed Moore
This was a really fun steadicam job for Texture Films shooting around South London in April.  You can see the final video over here.  Shot on RED almost all at 100fps Рvery sympathetic to steadicam operation!
Highlight of the shoot was probably Homecut and Soweto Kinch doing an impromptu freestyle performance with lyrics about the production of the video – it’s the first clip in the video.
Some photos from the set after the jump – including one where I realised that my volunteering my car to the art department meant the wheel coming off…
Ed's web picks for May 28th
Ed Moore
- Gizmodo – A Rare Tour of IMAX Cameras – IMAX cameras – Wow, this is absolutely fantastic – a rare look inside the IMAX camera department.
"There are 26 IMAX film cameras in the world today. At IMAX HQ, I got to play with 4 of them (and take plenty of photographs for you)."
- Why the second coming of 3D is overrated – "The majority of films conceived in original three-tone Technicolor would be seriously diminished in monochrome, and vice versa. Films by those masters who used CinemaScope creatively are drained of their aesthetic essence when shown on the small screen. [But], no film made in 3D, even those that rely wholly on objects sticking out of the screen into one's face, has lost anything by being shown "flat"."
Interesting piece by Ronald Bergan in the Guardian. He makes a point of saying it's things that make production cheaper, like digital cameras, that make a genuine difference, rather than more expensive, like 3D. I guess the obvious question is what happens when pretty much every little digital camera for indie filmmaking can be cheaply adapted to 3D (RED are in the process of doing this) – if cinema goers start to expect that blockbusters and horror films, both genres I think where the 3D effect does make a substantive difference to the experience, will be in 3d then who knows?
- By Ken Levine: If Aaron Sorkin wrote a show about baseball – More fantastic Ken Levine. I liked Studio 60 but there's no mistaking the Sorkin patter.
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Ashley Aler
Were you advised that your web site has problems displaying in Firefox properly? The pics inside content do not line up properly and squish up all the textual content
Ed Moore
I’m folding all the DoP Diaries videos and content into this blog as it no longer makes sense to me to have a whole bunch of stuff over there. This will be the place to come for video diaries about life on set from me in the future
The crucial roles low budget filmmakers never think of filling
Ed Moore
I’ve noticed pattern in low budget filmmaking (whether it’s a short, a music video or whatever) in that there are certain mainstay roles from a typical (read: paid) production that seem to be overlooked when putting the team together.
Usually the first two elements to come together are the producer and director, who almost always know each other before the project starts. ¬†They know they need a DoP, partly for the ‘cinematography’ side of things – the more aesthetic part of the job – but more because they have little to no technical experience themselves and the DoP can help with putting together the camera package, crew and so on.
At this point the producer and director have been talking to their friends and colleagues from the day job, so there’s a whole bunch of people who’ve offered to lend a hand – about three or four of these will actually end up turning up for the shoot; probably less if you can’t shoot on weekends or out of office hours. ¬†And whilst these guys are willing; enthusiastic even, they don’t have any particular skills so they end up being runners of some sort.
Meanwhile, the DoP has persuaded the producer to use the best camera available for the budget, and hopefully this means something that uses 35mm film lenses. ¬†That means a focus puller, and it’s almost always the DoP who’ll call up some of their previous FPs to see who’s willing to pull a freebie or very low paid job. ¬†They’ll then try for a second camera assistant but that’s often a bit harder, so the producer will suggest the most enthusiastic runner be assigned to the camera team.
There always seem to be loads of good sound recordists with their own kit around, so that’s not usually a problem even if it means a small fee.
But here’s the roles that always seem to get missed out… (More …)
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Jonathan Sharpe
The exception that proves the rule: Primer (2005). They had 5 members of crew, most of whom were also in the cast, and it’s brilliant. Shot on Super16 at a ratio of 2:1 for about $7k. Mind you, they storyboarded the hell out of it and rehearsed it like a play!
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Ed Moore
I do love Primer. And whilst for any other film with that budget I would call them just plain stupid for wanting to shoot on film, in their case the need to only do a couple of takes for every shot because that’s literally all they could afford seems to have led to an incredibly rewarding amount of preparation.
Having said that, it’s not a film that looks particularly visually striking – it’s more about the plot – so right away the production designer role is downplayed – they probably used almost entirely natural light – there goes the gaffer – and whilst the plot is a strong contender for an “oh my god I sure hope the script supervisor understands which version of character X we’re shooting in this” award, maybe it was just so complicated that only that one guy who wrote, directed and performed in it was ever going to understand it!
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Stephen Murphy
Location Manager: A good location manager is worth their weight in gold and can save a production time and money, and make my life easier:-) Low budget filmmakers always seem to over look them or uderestimate their importance.
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Ed Moore
Good point Stephen, I should have added location manager to the list. They can make all the difference to it feeling like a ‘film set’ rather than a bunch of people turning up with a camera and some actors. They always seem to have their own radios, location signs, huge coffee urns and portable tables as well.
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Nick
Videojournalist? They can do it all so much more quickly. Although most vj’s would need a focus puller.
(Sorry Ed, couldn’t resist)
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Ed Moore
You’re excused on account of being lovely
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Simon Wyndham
All so true. The first time I worked with a real Gaffer, it was like I’d been shooting projects in a straight jacket until that point, and now I was free!
The trouble is that on smaller projects even just hiring in a basic lighting cameraman is often rewarded with the sound of air being sucked through teeth! I really think that things are going to become far more polarised with an increasing gap opening between people/producers who will settle for any old low budget rubbish, and those with the money for a real crew.
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mens jewelry
It is a rich content topic.
Ed's web picks for May 27th
Ed Moore
- YouTube – The Vendor Client relationship – in real world situations – Far too familiar.
- Mega Shark Vs Giant Octopus trailer: what more needs to be said? – "All the way through the trailer, each one of those magic, sparkling, 60 seconds, you keep seeing tantalising glimpses of aeroplane seats and screaming passengers among the more expected ones of submarines being treated like bath toys and large landmark bridges being at least partially destroyed. And you ask yourself: "Really? One of the sea creatures is going to attack a plane? How?! Bollocks! They can't even vaguely be suggesting they'll do that… "
And in the very last few seconds it is confirmed. With a cry of "HOLY SH…", a giant shark is seen jumping out of the sea – jumping, we guess, somewhere up to 12,000 feet in the air, and threatening to take a bite out of a commercial airliner."
I couldn't be more excited about this film at the moment.
- The Believer – Interview with David Simon – "DS: My standard for verisimilitude is simple and I came to it when I started to write prose narrative: fuck the average reader. I was always told to write for the average reader in my newspaper life. The average reader, as they meant it, was some suburban white subscriber with two-point-whatever kids and three-point-whatever cars and a dog and a cat and lawn furniture. He knows nothing and he needs everything explained to him right away, so that exposition becomes this incredible, story-killing burden. Fuck him. Fuck him to hell."
My girlfriend and I are finally getting through The Wire. I can't possibly add to the huge number of reasons why it's consistently called the best TV show ever made, but for me personally the sense of what the creator's saying above sums it up.
Jason Cuddy 2:58 am on May 31, 2009 Permalink |
Not bad, although I prefer the range over at http://www.filmmakergear.com/. However it’s a very fine line between wearing a funny in-joke t-shirt and being that unprofessional prat on set though.
Ed Moore 4:01 am on May 31, 2009 Permalink |
Agreed, if you were to buy one of these shirts, you’d have to first artificially age it by a dozen years so you’d be able to convey the sense that you were wearing ironically whilst still appreciating – in a sort of older, wiser way – the basic humour involved.