Watch out for Nuno Rocha

Young Portuguese filmmaker Nuno Rocha has blown me away with his storytelling ability.  He has created a number of high quality short films and utilizes HDSLR technology for pieces like Vicky and Sam:

Pay close attention to his framing, use of camera and attention to performance.  He doesn't need large sets or high budgets to make magic.  To see him in action, check out the making of Momentos:

Watch his latest films including the amazingly well done Vicky and Sam which has some of the snappiest dialogue I've heard in a short film:
http://vimeo.com/nunorocha

Keep it up Nuno!  I'm a fan.

Snehal Patel
Director/DP: www.FearlessProductions.tv
Instructor: www.CanonBootCamp.com

Taco Bell Video

I had a blast creating this video for Taco Bell.  Thanks to TheAssociation.tv for a wonderful production. 

It was fun to work with Edward and his team at TB.  Christine was a great sport and did a lot of extra workouts for us. 

We filmed on Canon 5Ds and 7Ds with L-Series zooms and prime lenses.  Had a jib, an underwater bag, a slider and standard sticks for support equipment.  The jib incorporated a remote focus system and it worked fine with a RedRock ring adapting the Canon still lenses.

A cool After Effects plugin called Twixtor was used for the speed ramps which were created using 720p 60fps footage from the 7D.  You have the be careful how to frame the shots so that the software can function properly.  Edited in Final Cut with color grading in Magic Bullet Looks.

Snehal Patel
Director/DP: www.FearlessProductions.tv
Instructor: www.CanonBootCamp.com

Marshall's new 5" HDMI monitor for DSLRs

Marshall continues to create great new tools for DSLR shooters.  They sent over the new V-LCD50 HDMI-only 5 inch monitor made specifically for cameras like the Canon 5D and 7D.  Listing for $599 and featuring professional functions like a peaking filter (for focus) and false colors (for exposure), this little monitor packs a lot of muscle in a small package.  The price puts it way below Marshall's 7" which is the next level up in the professional HDMI range. 

The resolution of the monitor is 800x480, which seems low but is actually more than enough to get critical focus.  I was able to easily check the image and focus on my model John.  During recording on a 5D, the monitor automatically fixes the ratio of the image displayed as the resolution drops down from 1080i to 480p over the HDMI cable.  As for the image - I was able to match it to the image on the LCD on the back of the camera. I only fully trust the built-in LCD image because that's what the camera is balanced to, but this monitor was pretty darn close, giving me confidence in the display.  

The optional hood fit perfectly and I could see the benefit of it in outdoor situations.  Using the included adjustable camera mount, I was able to position the monitor so that I could easily view it flipped up to 90 degrees.  Finally, I can shoot from low angles without getting on the ground to see the LCD on the back or without dealing with a monitor solution that is heavier than the camera itself.   

Lightweight, well-built and full of professional adjustments, this monitor definitely impressed me.  It almost feels like this 5" was built for this camera and definitely adds functionality sorely missing from a non-moveable LCD on the back of the camera.  For those shooting with just one on-board monitor, this is a great solution. The only issue I've has so far with the monitor is the battery life if powering off AA batteries.  It's not long and I'm glad they included a power supply.  I'll be adapting my monitor with a Sony or Panasonic camcorder battery plate so that I can get some extended use out of this cool little monitor.  

Coming soon...notes from the field.  More info about the monitor: http://www.lcdracks.com/monitors/V-LCD50-HDMI.html

Snehal Patel
Director/DP
www.FearlessProductions.tv 

 

 

PhotoCine News - Snehal Shoots Music Video with Available Light

Snehal Patel Shoots a Music Video With Available Light

Posted by Michael Britt on October 12, 2010 · http://photocinenews.com/2010/10/12/snehal-patel-shoots-a-music-video-with-av..." title="Tweet this article." rel="nofollow">Twitter · Facebook · Reddit

Snehal Patel sent me a link to this music video he shot with almost all existing light.

The story is that I called Samrat up while he was visiting LA and asked him if he wanted to make a music video in his spare time. This video was filmed by myself and international cinematographer Peter Holland. We used a Canon 5D on loan from Canon and nothing else. The only lighting we used was an Arri 300w in the apartment scene. Everything else was filmed with available light. I wanted to see how much the camera could be pushed. I wasn’t bothered by grain or noise in the image as long as the story was clear. There was no crew and no other equipment. Just the camera and an interesting idea.

So Far, Where Do I Go From Here MUSIC VIDEO from Snehal Patel on Vimeo.

In addition to HDSLRs being small and inexpensive, the ability to shoot in low light has really helped fuel the HDSLR filmmaking movement. Several of the speakers at the recent PhotoCine Expo talked about how shooting in low light has helped them achieve shots that they would never have been able to get using traditional filmmaking efforts. Shane Hurlbut ASC has talked about this extensively starting with the webisodes he shot for Terminator Salvation where he used practicals and a small Litepanels hotshoe mounted LED light. He also lit a street scene in Vietnam using a long string of cafe lights and by bouncing a small hmi off of a church in the background. Vincent Laforet shot Nocturne using pretty much only street lights at night and Alex Buono shot the SNL cast opening credit scenes around NY at night without any lighting except a small LED catch light.

As the sensors in these cameras become more and more light sensitive, you will soon see a day where truckloads of lighting gear sit collecting dust in Hollywood. For now, use the common wisdom of these talented filmmakers who break the cameras down based on maximum usable sensitivity.

  • Canon 7D – Optimal up to 1250 ISO
  • Canon 5D MkII – Optimal up to 1600 ISO
  • Canon 1DsMkIV – Optimal up to and over 3200 ISO

This isn’t saying that you can’t stretch the sensitivity a bit when needed but for the best results use the above list as a guide.

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Snehal Patel – Thinking Big | HORSE-DRAWN PRODUCTIONS

Snehal Patel – Thinking Big

Posted by John on October 6, 2010

Aloha… Halloween is near and our October clinic arrives none too late… Snehal Patel blew our collective minds here at Horse-Drawn Productions with his seminar discussing tips, techniques and best procedures for musicians to make their own music videos. He had an impressive collection of video works which have been showcasing at film festivals all over the world.  Although it felt as if Snehal were a king throwing gold coins at beggars and swine, I tried to absorb as much of his vast wealth of knowledge as my feeble mind possibly could in two plus hours… but thankfully, Snehal was always very forthcoming and clear about the pertinent details for every topic… I will attempt to lay them out as I understand them… So here they are…

#1- Storyline!!! – THE GOLDEN RULE! Tell A Story!

Without a story, your art is trash… or just art for art’s sake which is alright but a good story goes a long way and may be around forever. And one can never discount the fact that a Great Story can change your world… change your mind… change your life… hell… take a look at the “King James” Bible or the Qu’ran … Now there are some music videos just waiting to happen…

#2 – GET HELP! Don’t Be afraid to work with those that are better than you

Find the people who are shooting music videos in your area… some of them very well may be your friends or family… GET THEM INVOLVED!… Find people in the field you know and love and say, hey, “I want to work with you, no matter what it takes!” and get it done! People want to help out, people want to make cool stuff so do your best to bring them together! Go to art schools, music schools, film schools and find students. THEY WILL WORK FOR FREE… They are hungry for projects, probably have access to some decent or even high-quality gear and just want to learn and do great things. Just make sure you check your “help’s” work as you don’t want to be stuck on set with a cinematographer who doesn’t know a lens from a lozenge and then you have to figure out how to work the camera yourself and you both look like runny eggs and burnt toast. You can always find professionals on www.mandy.com or www.entertainmentcareers.com.

#3 Plan Ahead

-MAKE A BUDGET – Food, rentals, labor, etc… Remember that when it comes to rentals, most places count the weekend as one day so you can really squeeze a lot out of a weekend with your rented gear.

If you can shoot for free, guerrilla style, DO IT but we aren’t recommending or condoning any unlawful or degenerate activity. I wouldn’t hesitate to throw a scumbag out of my store for trying to film illegitimately so please… ask permission… or don’t get caught!

Better Planning Yields a Better Product – The more you do in pre-production, the more time and headaches you will save yourself while shooting and editing… so plan your shots and storyboards far ahead of time. Know exactly what your vision is, well in advance, so that when you get to the shot the light is right, the make up is good and the talent is fresh and feeling inspired. At which point, all you have to say is, “Action!” and nail the shot.

Make sure your days get done. Make a plan and do your best to stick to it but don’t rush and definitely don’t sweat the small things. Have plenty of help with you so that you don’t get yourself bogged down with details. Don’t be detracted! Use others to the best of their abilities. Help them to help you to help them. AYUDAME!!!

 

Make your first shot Quick and Easy. That way, it jump starts your shoot. Your people feel as if they’ve gotten something done and it sets the tone for the rest of the day. If you try to tackle a tough shot first thing in the morning and it turns out to be a real hack and slash job, imagine how damaged and post-traumatic your crew and talent will be by midnight… Throw yourself and everybody else a bone and make the first shot of the day a “ringer.”

#4 Think Big, Start Small!

One Minute of Music = One Day of Shooting – Keep it simple. Be realistic and give yourself time to get it right. Enjoy the journey and all of the lessons that come with it. On your first few videos don’t overdo it. Make framing and focus the goals and let the story tell itself. Don’t try to rely on fancy effects, use cuts to create a smooth storyline.

Sound – All you need is a boom box for playback but there are many options you can use for recording. A hand held Zoom recorder can be very handy but the camera mic can do the trick in a pinch since you will be using the studio quality recording for audio anyways.

Editing – Editing is, by far,  the longest process for making any kind of video. Getting through edit, approval, coloring, FX, flow, titles and music can take weeks so give your editor time to get things done. Never rush because good art takes time. Also be available and present to help out. Stay on top of the project but don’t smother your assistance… Be there to help not hinder.

#5 The Final Cut

When you finally finish your video it is important to get it out there to develop a fan base or community of people to watch it. There are 2 primary websites which you can post to so that the World Wide Web can view your art. The first is Vimeo.com, and they are more selective about the videos they post and the second is Youtube.com. Make sure you give credit to EVERYBODY involved and embed the text into your video. The more text you include, the more gratuitous your Search Engine Optimization will be. That means that the more names you drop in the credits, the more easily your video will be found on Google or other search engines. Upload consistently. Keep those fresh works of art coming and people will keep coming back to your work and want to see more. Also, submit your works to music video festivals. That way you can be sure that the people who are watching music videos see your work and know about you.

#6 NEVER STOP CREATING!!!

Always be thinking of new and innovative projects and try to stay a few steps ahead of everybody else. Never lose sight of the most important step either, #1… The storyline.

I would like to personally thank Snehal for sharing some of his oceanic hoard of enlightening and helpful information. He truly is a King among beggars and swine. You can follow up with him and learn more about what he does at www.fearlessproductions.tv.

Next month’s clinic will be a GENERAL MUSIC clinic featuring Robert Coates and Eric Yoder. Afterward we will be hosting an open jam so bring your instruments, bring your friends and byob.

That’s it for me… Time to start working on my own colossal backlog of videos… Among all of the motivating lessons that Snehal left me with, having a DEADLINE is one of the most important ones for me… That and

THINK BIG, START SMALL

Cheerio

J. Bomh

 

 

 

I had a great time hanging out with my buddy Eric and his crew while I was in Chicago recently. He had asked me to speak at one of his music studio's clinics about how to go about making a video. Jackson put together this great blog about the workshop.

Snehal
Director/DP

Canon 5D passes Green Screen shoots with flying colors !

You might hear opinions that the Canon 5D’s 4.2.0 color space can’t deliver good keys for green screen. Well, here’s the word from the trenches. Something you can count on. The Canon 5D MarkII’s green screen shots keyed beautifully. (for more data on 4.2.0 color space got to bottom of this article*)

We did green screen tests prior to the shoot and they looked great. So, the client gave us the “green light”.

Green Screen shot with Canon 5D.

Tom Myrdahl, D.P. at The Association, sets up green screen shot.

GREEN SCREEN LOOKING GOOD…

We shot the green screen on location. The sun was our light source. So we could shoot at ISO 100. White cards below and to the sides of the talent gave a nice edge.

As Snehal tells our students in our Canon Bootcamps, always triple save your shots. So, while we were backing up the shots onto two other hard drives, we checked to make sure the key was good (see below).

Snehal Patel makes sure the Canon 5D's green screen shot keys well.

EVERY WEEK A NEW SHOOT…

We are shooting with the Canon 5D or 7D every week. Green screen, under water, on jibs, process trailers, motorcycles…and we’ve been nothing but pleased with the results.

THE “LOOK” of 35mm film for half the price…

Our clients love how the Canon maximizes their budget and gives them shots as pretty as 35mm film.

IT’S DIGITAL FILM…

We totally agree with Gale Tattersall (D.P. on “House, M.D.”) and Shane Hurlbutt (D.P. on “Terminator: Salvation” and his famous “The Last Three Minutes”) – the Canon DSLR delivers images that bring the excitement back to fine filmmaking. The Canon delivers rich blacks with no noise in low light conditions.  It doesn’t do “video freak out” when a bright light source enters the frame. It has a delicious, short depth of field. Plus, editing is a snap.  This camera’s a game changer.

YOUR CHOICE: Take our Canon Bootcamp OR  Hire one of our trained Canon DSLR crews…

You’ve got two options: 1) Learn the Canon DSLR at our Canon Boot Camp (http://www.canonbootcamp.com).

2) Or if you prefer, hire a fully trained crew to shoot your next production with the Canon DSLR. Our crews are shooting with it every week.

Either way, give us a call 818 841-9660.

It’s the future. It’s cool. And it’s here. Tested. Proven. Fantastic.

*….about 4.2.0 color space. The issue is dealt in depth in the blog <http://www.cinema5d.com/viewtopic.php?f=64&p=76648> , but the simple answer is “the workflow that works the best for us (for RedOne and 5D mark II footage) is to transcode the footage to ProRes 4.2.2.    Of course we could do 4.4.4 but we decided that it was a bit overkill, considering the fact that at the end, it will be at best some mpeg4 from the local broadcasters (digital tv).”

“The reason why we convert the 5D files to ProRes is the ability the ProRes has to not deteriorate with generations (renders, movies, etc). Also, when everything is native to the sequence setting, rendering is kept to a minimum. Everything that has to be rendered also (subtitles, texts, pictures, etc) all look better when working in a prores sequence compared when we tried in a sequence with the native clips from the 5D (h264).”

The proof is in the pudding. Green screen can be filmed with a 5D.

Music Video playing at 'Filmi' film festival in Toronto

My latest music video with singer/actor/artist Samrat Chakrabarti is going to be shown at the 'Filmi' film festival of Toronto this weekend!

Credits:
Artist - Samrat Chakrabarti
Director/Cinematographer - Snehal Patel
Cinematographer - Peter Holland
Actress - Shikha Jain
Editor - Dan Perrett
Color - Brandon Lindquist
3D FX - Solomon

Filmi - www.filmi.org
This festival is celebrating it's 11th year.

Snehal Patel
Director/DP
www.fearlessproductions.tv

 

Running a Canon DSLR workshop next weekend at Chicago South Asian Film Festival

Hey You, Yes You: Have you ever wanted to learn about digital film making?  

Photography Hobbyists: 
 Are you great with still photography but just getting your feet wet with video?  

Film Students: Looking for new technology and a less expensive way of completing your projects?

Film and Television Professionals: Thinking about shooting with the Canon 5D or 7D DSLR cameras?

If you are, then the Chicago South Asian Film Festival can help you out.   We're teaming up with Snehal Patel, a veteran in DSLR production and post, who teaches the highest rated Canon DSLR Boot Camp in Los Angeles, to put together a workshop for anyone that wants to use these cameras for film and television.  

 

The Canon DSLR cameras have revolutionized film and television production as well as web content creation.   These systems mark an exciting development in film and video technology, and you can get an idea of their capabilities by checking out Snehal's narrative piece www.IndianGangster.com which is part of Canon's official DSLR reel, and was lensed by Rodney Charters (Director of Photography for "24").

The Professional Level Workshops usually run for half the day and cost $300-$400.  We've partnered with Snehal to create a custom 3 hour workshop that costs $50.  This is a real hands-on workshop, on a makeshift set with an actor.  We will have monitors, lights and gear and will be distributing lesson materials.  Participants are encouraged to bring their own DSLR cameras. 

The workshop will be taught:

Saturday Oct 2, 2010 & Sunday Oct 3, 2010
2-5 pm (times subject to change)
Columbia College Chicago
1104 S Wabash
8th Floor (just outside Film Row Cinema)
Chicago IL 60605

Saturday's Workshop Oct 2, 2010 has 30 Available Slots.

Sunday's Workshop Oct 3, 2010, has 50 Available Slots.  

To learn more about what Snehal teaches, go to: http://www.theassociation.tv/canonbootcamp.php & http://www.theassociation.tv/blog/


For all you Chicago folk that want to use these cameras for their productions!

I Got Game - Canon 5D Music Video

Yet another Smooth-E hit. This is our second video for the board game "Loaded Questions." Eric Schwartz created yet another catchy track for this interesting board game. We love working with these guys.

5D on Faithful setting
Edited in Final Cut
Look created in Magic Bullet Looks

Loaded Questions has a contest - if you name all 45 games Smooth-E raps about in the video, you can win a free game!

Behind the Scenes pics -
http://picasaweb.google.com/snehalmp/LoadQuestionIGotGame?authkey=Gv1sRgCNXsu...