Time Constraints #HurryUp #TimeConstraints
Working with time constraints can be very frustrating and difficult; the chances for mistakes multiply exponentially the faster the crew has to work, which adds stress and concern to all involved. One of the worst feelings on set is falling so far behind that you don't think you can catch up, and thus, you feel like you're making a lot of errors along the way.
Typically, shoots are scheduled on a pretty tight timetable as time is money; however, sometimes poor execution and/or unforeseen circumstances can take what was a well planned and scheduled shoot, and turn it into a problem-filled mess. The best advice which seems to go hand in hand with common sense is pre-production! Plan, plan, plan, and take it seriously. If you feel like you're beating a dead horse, you're doing it right. You can never be too prepared for anything, especially with video production in Las Vegas; also take into consideration everything you think could go wrong.
Unfortunately, you'll never be fully prepared for everything, and we're not all as amazing as Captain Hindsight; but the more you plan and try, the better you'll be. Also, keep a cool head on set, panicking only makes things worse, and spooks those dead horses.
Shooting in the Desert #desert safety #it's hot #still hot
Las Vegas Video Production can lead you from icy, air-conditioned hotel rooms and convention halls to scorching Mojave locales, and it's important to be prepared for both. Following up on my Safety on Set piece, I wanted to throw a few tips for shooting in the desert.
Now, as with the Safety on Set post, most of it is common knowledge stuff that generally falls under the "that never actually happens on set" category; however, it's always nice to have a reminder, and as previously stated before, common sense isn't very common.
The desert is hot, very hot, so proper clothing is a must.
Light colors and whites deflect sunlight and heat; cottons and breathable materials allow for the passage of air (no denim an/or black leather- I'm looking at you art department).
Water, lots and lots of water; even if it's not cold, it is absolutely imperative to stay hydrated, the moment you're thirsty, you're dehydrated.
Gloves, all day gloves! That equipment, especially medal will get a little toasty- no skin grafts for our crews.
Do it with a friend. Alone in any wilderness (or ghetto- I'm looking at you North Las Vegas) is a one way road to sucksville.
Hats, everyone wear a hat! And, for that matter, bring a long-sleeved t-shirt, something that will cover your skin, but not make you hot. Cover your skin with durable, light weight, sunlight blocking clothing.
I can go on and on, but, I hope you're getting the point. For further reading, the folks at the Discovery Channel have some worst-case-scenario literature- because, let's be honest, even if you're only a few miles out, that could be a few too many miles out.
Oh! One more: Everything in the desert is sharp, pointy, and wants to exact revenge on you for what we've done to the plants and dinosaurs. Just f.y.i.
Dana Dolly: Smooth Moves and Flexability #DanaDolly #SmoothMove #FilmGear
FiveSix Productions recently acquired at very cool, new tool for our arsenal that once again adds big tool/big budget features and abilities in a manageable size and for our Las Vegas Video Production team.
The Dana Dolly enables traditional dolly moves with equipment that is a fraction of the size, utilizing a fraction of the space. Now, before anyone gets too excited, there of course are limitations to the Dana Dolly that a traditional dolly wouldn't encounter. There is a weight limit for cameras on the Dana Dolly, a traditional dolly may be able to allow for more maneuverability of the camera on the mount (if it is equipped with a hydraulic arm that can raise and lower), and with the Dana Dolly, the operator can't switch sides mid shot, should that need arise. However, the Dana Dolly can hold up to 100lbs of camera, there certainly is a fair amount of maneuverability with the Dana Dolly's heads and attachments, and finally, there shouldn't be too many instances where the op wouldn't be able to get the shot from one side of the track. On top of all of that, the Dana Dolly can be positioned much more liberally and creatively compared to a very large and cumbersome cinedolly.
There are many different dollies of varying size, dimensions, uses, and more; the best thing is to buy what is going to be most practical and affordable for your most common needs. Having a dolly on set can add a really wonderful touch to any shoot, especially when doing pick-up shots during an interview, and it's a dream to have for b-roll.
If you are interested in renting a Dana Dolly, or full size cinedolly, our friends at F11 Rentals have both to accommodate your needs.
Today in Film History #FilmHistory #Hollywood #CommunistsAreScary!
On this day (8 June) in 1949, several Hollywood celebrities were named as part of a growing group of Communist Party Members in Hollywood and the media industry. One of the most notable was Academy Award winner Frederic March who was outspoken about concern over the United States' growing nuclear arsenal. Singer Edward G. Robinson was also a prime target in the late 40's, though he adamantly denied these allegations claiming "I have played many parts in my life, but no part have I played better or been more proud of than that of being an American citizen."
These accusations didn't stop with Hollywood stars, but they were very focused on the notable stars of stage and screen. The term McCarthyism is used to describe the practice or act of making accusations of subversion or treason without proper regard for evidence (McCarthyism). Republican Senator Joseph McCarthy of Wisconsin was the figurehead of the movement to drive out Communism (real or not) from the United States' film and music industry. Many innocent actors, writers, directors, producers, and singers were wrongfully imprisoned as a result of his "witch hunt".
To learn more, follow this link to The History Channel.
Safety On Set #SafetyOnSet #FilmSetSafetyPractices
Safety on a film or video set should be priority one. On a big film or television set, or even on a music video, many times there are huge lights, a forest of stands and arms, and many lines of electricity running about. On a smaller video set, much like the ones that we at FiveSix Productions work on frequently, there are smaller lights, a much thinner forest of stands and arms, and typically, not deadly amounts of electricity, but still, one small mishap could be the difference between a good shoot, and a trip to the emergency room.
Some very simple, but often times overlooked or ignored safety precaution, that if done regularly, will become second nature, is utilizing sand bags on all your stands, irregardless of the size of light or flag attached. Even though a C-Stand seems stable, physics will prove that they're actually quite easy to knock over; I would hate to take even a 150 to the noodle. Bonus tip: the more sand bags you use, the more jacked and ripped you'll get; as the bros say, "Curls get the girls".
Whether you're a grip or not, proper work gloves can save your hands from burns, cuts, and pinches; I'd rather have healthy digits with which to eat delicious tacos with, eating with hooks is for chumps.
Also, never underestimate the value and power of your voice. Calling out "points" on set, can save you from nailing your director or talent in the grill with that 650 you're flying in. With your big boy or big girl voice, call out "striking" or "eyes" when you turn on any light; while it seems refreshing to have 1000 watts of beautiful 3200 Kelvin light blasting in your eye balls, it's not a healthy choice.
Corralling and organizing your stingers, XLRs, B&Cs, and emotions will also help in the prevention of slips, trips, and ... nothing else rhymes. Keep it organized, and use that gaff tape, there's plenty to go around.
Lastly, and most difficult of all, use common sense. It may not seem like you have any, but, it's in there, deep, deep down. Use your common sense, take an extra moment to "get it right", and no need to rush, let's be honest, there's no real hurry on any set.
The Artist Series: Syd Field #SydField #Screenwriting #BestoftheBest
Syd Field is considered the absolute authority on all things screenplay. During his life, he was considered "the guru of all screenwriters" according to CNN. He was on faculty at USC in the prestigious Master's of Professional Writing Program, and also taught at UCLA, UC Berkley, AFI, Stanford, and Harvard. Field spoke around the world and has been a consultant to many film studios (such as 20th Century Fox, Universal, Disney, etc.) and several governments.
Syd Field has penned several books that are basically screenwriting bibles, if I may. Screenplay: The Foundations of Screenwriting, The Screenwriters Workbook, and The Screenwriter's Problem Solver, are just a few examples of books every screenwriter, professional or armature must own; and, while you're at it, pick up his whole library.
Happy writing!
Get Your Head in the Cloud #Adobe #Creative Cloud #PremiereProCC
In recent years, the accessibility and approachability of cinema quality recording devices has allowed film making to find it's way into our everyday life. From cinema quality images created by DSLRs like the Canon 5D Mark III (only $2,800.00) and even the 6D or 7D Mark II (both of which come in under $2,o00.00), and even the awesome images created by the Apple iPhone, film making has become something that anyone can do for a reasonable price. It's not just the ability to create video for the common person, it's now that you, your buddy, your mom, anyone, can not only create video with their smart phone, but the images are beautiful, cinema quality. (Good lighting, angles, and story are sold separately.)
Along with the influx of cameras is the recent accessibility and affordability of editing software that is not only user friendly and simple to learn, but it's also Hollywood quality. While Avid has been the industry standard, and is still used by many an editing house and on many a feature film, Adobe's Premiere Pro and even for a while Apple's Final Cut Pro have (had) been used increasingly more on television, feature films (such as Gone Girl) and on your mom's documentary of Christmas morning and your first date - you didn't see her in the bushes filming you with her iPhone 6 did you? While there are many "seasoned" editors who swear that there is no way you can produce a quality edited product on Premiere, more and more pieces are coming out that prove just the opposite. Again though, it's not just the ability to create professional products, it's the fact that, like with a DSLR, you don't have to be a seasoned, long time film/television professional to even understand and utilize the equipment/software.
With the advent of "the cloud", Adobe has made their long and generous line of software products available at an incredibly affordable rate per month. For around $50 a month, one could get their "holy-crap" package that comes with literally everything they have to offer; you could edit a film, color correct it, do professional audio editing, after effects, and more for a fraction of what Avid costs.
So, there you go... if you love Avid, which there is nothing wrong with, have a ball; but, if you're like most people on Earth, I say go with the budget friendly option that will work just as well. You can take that extra cash and buy a sweet shirt or... some tacos for your friends.