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2014, Vol. 9, No. 2

First time Working


with a Film/Video
Composer?
Page 14

Interview with SNL Film Unit Editor


Adam Epstein
Page 26

Join Vincent
Laforet
32-City Camera Direction
and Movement Tour
Page 22

Creature from
the Black Lagoon
Page 16

Ways of Using the Camera to Tell a Story


DIRECTING 6 Categories of Direction | Playable, Result, and Demonstration

Contents CAMERAWORK 8 Four Ways of Using the Camera to Tell a Story | The power of the camera
as a storytelling device

PRODUCTION 10 A Place in Heaven | An incredible time of collaboration between my students and an


Indonesian crew, shot over the course of 10 days.

ACTING 12 Auditioning Tips | Stay Organized, Prepared, and Positive

BOOK REVIEW 13 Lighting For Cinematography By David Landau | New Filmmaking Book

AUDIO 14 VO & Dialogue Editing | Quick Tips for Novices


of

14 Working with a Film/Video Composer for the First Time? | Define Your
“Artistic World”

15
Ta b l e

ON CAMPUS Film School Spotlight | Video Symphony: Pro School of Media Production

CREATURE CREATION 16 Creature from the Black Lagoon | The Gill Man Turns 60

CAMERAWORK 20 Product Spotlight | Ifootage Shark S1 Slider

ON CAMPUS 22 Join Vincent Laforet for a 32-City Camera Direction and Movement Tour |
Directing Motion Tour: 32 Cities | May 6th - July 14th 2014

26 Interview with SNL Film Unit Editor Adam Epstein | The Cutting Edge
Post-Production Tour with Adam Epstein: 32 Cities | July 20th - September 22nd

NETWORKING 28 Featured Networker | Natalia Jaramillo

Directory 30 Directory Guide

GLOBAL
MARKETPLACE
33 Global Marketplace | Products and Services for Filmmakers, Storytellers and Crew

26 16 12

6
Editor’s Letter
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Welcome to the Publisher


StudentFilmmakers Magazine Kim Edward Welch
2014, Volume 9, No. 2
Edition. We celebrated Editor-in-Chief
our 8th year exhibiting Jody Michelle Solis
at the 2014 NAB Show in
the Las Vegas, NV. Back Designer
in Manhattan, New York, Tincuta Moscaliuc
we prepare to return to
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DIRECTING
Categories of Direction

by Peter Kiwitt

Playable, Result,
and Demonstration
The baseline for acting wants to work with a sociopath!) And
is for an actor to be great actors are often in scarce supply—
even in the largest production centers.
believable in the style To compensate, care and skill is required
of the project. The goal, when directing actors.
however, is to be engaging,
compelling. After casting Ranked in order of desirability there
are three broad categories of direction:
the right actor for the part,
playable, result, and demonstration.
the director’s job is to help
the actor reach that goal. Playable direction has its roots in theater. before the day of shooting. Theater wants
While playable direction is generally
a great performance every night. Film
much better than result direction, result
needs it just once. Theater actors perform
The casting ideal is to find a talented direction has a worse reputation than it
and skilled actor whose soul matches the deserves when used in film directing. The for an audience without the director
soul of the character. The further away reasons lie in the differences between present. Film actors perform for a director
from the part, the greater range of the theater and film. without the audience. Theater blocking
part, the more vital talent and skill. But (position and movement) only needs to be
sometimes you cannot or do not want to Theater should have a relatively large generally repeated. Film blocking should
match the soul of the character. (No one amount of rehearsal. Film may have none be more precisely repeated for continuity

6 2014, Vol. 9, No. 2


DIRECTING Categories of Direction

(so different shots can be edited together). the moment” (instead of saying, “be DEMONSTRATION, giving a line reading
Theater actors must be able to project preoccupied,” you might tell him to “polish (actually saying the line) or otherwise
their performance. Film actors must be your trophy”). Giving an image (instead acting out the part for the actor to
able to give an intimate performance. of saying, “be insane,” you might say,
imitate, is a far worse form of direction.
“treat the corpse like you’re on a date”).
You could also ask questions. Rather than The best direction engages an actor’s
While the danger of result direction is that
actors might “indicate” their performance saying, “be in love,” you might say, “do imagination so the performance has life
(work too hard to show you what a you think she still loves him?” Or you and gives you more than you imagined.
character is feeling) rather than “be in the might use the “magic if.” What would you Demonstration is asking an actor to copy
moment” (truly listening and reacting), do if you were in this situation?” you copying the film you see in your
the danger of playable direction is that, mind. First of all, if you feel the need to
because it is less defined, it can take RESULT direction is telling the actor
the result you want—how you want their use this technique it is quite possible you
longer to get what you want. lack the skill to effectively demonstrate
character to be rather than what their
character is trying to do. The actor must what you want. Even if you can, however,
PLAYABLE direction is telling the actors then convert it into a playable direction you increase the chance of getting a
something specific they can mentally or or intuitively do it. So “be angrier” and superficial, unconvincing performance.
physically do that will produce the result “be more loving” are examples of results
you want. Most notably this includes That said, it is important to keep direction
direction, as are requests for such things
giving an actor an active verb (rather than simple and concise on the set so, in rare
as talking faster or slower. In effect you
saying, “be angrier,” you might tell her “to are describing the vision of your film that circumstances, it can be useful.
accuse”). Other types of playable direction lives in your mind rather than telling the
include: Describing the given or imagined actors how they might achieve it. While So do your prep. Divide a scene into its
circumstances preceding the scene, playable direction is preferred on set, it beats (separate parts) and think about
particularly as actions (rather than saying, is sometimes better to concisely tell an the active verbs and other playable
“he’s dishonest,” you might say, “he actor how you want them to be rather directions you might use before you
steals from the tip jar”). Pointing out a than ramble on trying to find a playable
start working with your actors. But once
scene’s central event (rather than saying, direction if one is not clear to you. Besides
“be sad,” you might say, “they realize you are on set, avoid talking your actors
time on set being at a premium, it can
they don’t love each other anymore”). be worse to get an actor thinking too to death. Use more concise means of
Giving tasks to move concentration from intellectually or risk confusing them than communication if you can’t quickly find a
the actors’ lines and help them “be in to give a simple result direction. simple playable direction.
CAMERAWORK
Four Ways of Using the
Camera to Tell a Story
by Peter John Ross

The power of the camera


as a storytelling device
In this new age of digital, everyone in judgment of the man. audience is feeling absolution. If we dolly
makes movies. Using cell phones in on the man after the significant line, you
or tablets, people can shoot and Juxtaposing characters with negative space leave no doubt as to his guilt. All without
edit their movies almost anywhere. can add tension or infer how the characters using obvious and contrite dialogue.
One of the most important facets feel. Breaking the spatial relations
of making any movie, whether it be intentionally can build tension, and framing Dolly shots, pans, and tilts, and all
a TV spot, short film, documentary, something like a door in the shot can let movement should be motivated. Why
comedy, drama, horror, or the audience know subconsciously that the is the camera moving? What does it tell
whatever format, is using the character wants to leave. the audience? Is "it looks cool" really
camera to tell the story. helping tell your story? Have a reason, a
very good reason to move the camera. Is
it making the audience feel amped up?
Going handheld usually means people are
unnerved, or panicked. Moving camera
means the story is 'going' somewhere.
Think of the camera like a person in the
scene, almost like a ghost observing and
on the verge of participating in what's
going on. Would they move or not? If
their motivation is, "I'm going to look
cool", then the audience will not respond
well to that.

People get overly excited about


shooting and neglect the power of the
camera as a storytelling device. A lot
of first time shooters wind up doing
a master shot and calling it a day. Or
they get over the shoulders to get
coverage, but that still doesn't use the
camera to its greatest potential.

Something as simple as changing the


perspective of angles, can greatly affect
how the viewers interpret the meaning
of a scene. In a basic scene where a line Shallow depth of field also contributes. Visual storytelling makes for the best
of dialogue can change the relationship By controlling what the viewers are cinema. Directing is not just yelling
between the characters, shifting angles focused on means the cinematography "action" and "cut;" it relies on knowing
to match the line will accentuate the also relates to timing if you rack-focus how to tell the story with the camera,
intent of the movie. If a character says, from one part of the frame to another. Or as well as working on performance
"I know you cheated on me," the camera simply having everything you want the with actors. Combining these elements
should do something to notate the viewer to be paying attention to be the are what the best filmmaking entails.
change in dynamics, like looking up at only thing in focus. Everyone loves cool shots, but having
the woman who said it, and look down them relate to the script and the story is
upon the man. This very basic change Adding camera movement can further what effective storytelling is all about.
can signify to the audience that we look create mood or even make certain that the

8 2014, Vol. 9, No. 2


PRODUCTION
A Place in Heaven

by Dean Yamada

An incredible time of
collaboration between
my students and an
Indonesian crew, shot
over the course of 10 days.

My wife and I spent last summer


in Jakarta with eight American
films students, who were
Under this kind of pressure, there wasn’t
much room for error. With that said, we
had to be flexible because the traffic in
1. We established a strong visual
scheme in pre-production.
Understanding our visual structure
hungry to make a feature film Jakarta is about five times worse than informed every shot—whether we
that of Los Angeles. It wasn’t uncommon wanted deep space, flat space or a
in the Indonesian language. We
for cast or crew to show up two hours particular linear motif. It helped us
partnered with a former student after their call time. The weather was also determine the most effective place
of mine, who runs a production an issue as torrential downpours could, to set up the camera. It provided a
company that churned out over and did, happen, setting us back hours. safety net for us to be loose on set
thirty Indonesian feature films and able to go with our gut. We had
in the past year. They shoot each In the end, we shot all 176 scenes the to feel each shot and whether it felt
film in a matter of 5 to 6 days, way we wanted. The Indonesian crew right for the story.
so they thought they were being was impressed that we were consistently
generous by giving us 10 shooting
days to get our film in the can.
wrapping early by their standards. Here’s
how we did it: 2. We shot with two 5D Mark IIIs.
Shooting on the RED One MX

10 2014, Vol. 9, No. 2


PRODUCTION A Place in Heaven

was an option for us since our school owns one, but we


couldn’t be as mobile with it. The production company
was comfortable with us using their 5D Mark IIIs
because these DSLRs were nearly disposable to them. If
we broke one, the liability would not be high. With the
moving shots we wanted, the 5D was easier to maneuver
and mount. Two cameras also allowed us to catch a lot of
moments—whether in the city or the countryside—that
we might have lost had we only used one camera.

3. We were flexible, which meant we were gracious


with one another. Things happen. People make
mistakes. They are forgetful. But it’s not the end of
the world. After all, we were only making a movie. Our
relationships with one another are going to last longer
than the life of this film. This is a philosophy that we
needed to stay true to, especially since we wanted to
leave a positive impression on the Indonesian crew.
If we were going to do our best work, it was essential
to keep morale up for each and every day. Chastising
someone is counter-productive, but showing grace will
give your team wings to fly.

It was a rare experience to be shooting a feature film in a


country as beautiful as it is complex. We can’t wait to return and
experience it all over again.
ACTING
Auditioning Tips

Co-written by Ryan and Theresa Pickett

Stay
Organized,
Prepared,
and Positive
Getting hired as an actor takes more than just good acting. There’s no shortage of
good actors out there competing for the same jobs. You need everything you can
to make you stand out to successfully land a role. Being a working actor requires
the right attitude. Even though acting isn’t an easy business, staying organized,
prepared, and positive can go a long way.

Do Your Research sing and dance should be prepared to


show their skills on demand. Rehearse
Choose what you audition for wisely. any accents or languages that you claim
Everything that your agent sends you on to speak on your resume. Be organized.
may not be what you want. Determine Some things to bring to an audition would
ahead of time what your standards are be a notebook and pen in case you need
and stick to them so you don’t waste to make notes, your headshot, and your
time auditioning for roles you don’t want. resume. Arrive in ironed clothes and turn
Research the show, the writer and director, off your cell phone.
as well as any actors who have already
been given a role in the project. Find
out all you can about the part you are Be Positive
auditioning for before the audition. If you
are auditioning in a city you are unfamiliar You never know how good your chances
with, research bus routes and addresses are. When you’re auditioning for a major
well before the day of your audition. role, you might have something unique
the casting director likes. Even if you leave
Come Prepared an audition feeling that you did horribly,
you still might be exactly what the casting
Arrive on time, which is fifteen minutes director wants. Be friendly. Directors will
early. If you claim to have memorized a be envisioning whether or not they could
monologue or some sides, know every work next to you all day. If you don’t
single line, every pause, and every land the role you want, you still might be
movement you will make. Actors who considered for another role in the future.
12 2014, Vol. 9, No. 2
BOOK REVIEW
Lighting For Cinematography By
David Landau
Review by Peter Stein, ASC

New
Filmmaking
Book
I am concerned that the ease of shooting in low light
situations with the new HD cameras may lead some to ignore
much of cinematic art and technique which has been developed
over the years. The new book “Lighting for Cinematography: A
Practical Guide to the Art and Craft of Lighting for the Moving
Image” from Bloomsbury Press helps to address this fear.

the lighting crew, lighting instruments and film electric and gaffer on everything
Review basic electricity every filmmaker needs to
understand. Next is the theory of three
from feature films and TV shows to
commercials and corporate films, he has
point lighting versus the actual practice had a wide range of cinematographers to
As author David Landau says in his of three point light and motivation in watch and learn from before becoming a
introduction, “We can’t shoot good designing the lighting, which is invaluable cinematographer himself. I have had the
pictures without good lighting, no to the budding cinematographer. pleasure of working with him as my gaffer
matter how good the newest cameras Additional chapters cover such things as in the past and he has come in to share
are. Shooting under available light lighting for actor and camera movement, some of his expertise with the graduate
gives exposure, but lacks depth, working with the sun and working with cinematography classes that I teach at
contrast, contour, atmosphere and often windows, night lighting, lighting the three NYU. I have even hired him as my own
separation.” This book concentrates planes of action, non-fiction lighting, cinematographer on a film I produced.
on how to create lighting that supports lighting effects and lighting looks and
the emotional moment of the scene, inspiration. David draws on multiple A fun thing in the book are the quotes
contributes to the atmosphere of the story accounts from his work in the field as from DPs and gaffers he sprinkles
and can augment an artistic style. The examples of how a shot could be lit,
throughout various chapters. I was one of
book emphasizes that well crafted lighting which gives his book a practicality and
a diverse range of working professionals
helps establish the illusion of reality that voice of experience that is invaluable for
to whom he posed a series of questions.
is necessary for the viewer to forget they the emerging cinematographer. Especially
These also included David Mullen, ASC,
are watching a screen and get lost in the valuable are the over 20 lighting diagrams
as well as low budget feature DP Joe
story. It is a practical hands-on lighting and over 90 stills that illustrate the
di Gennaro, documentary cameraman
text for anyone who wants to learn to lighting concepts discussed and each
Eli Lyssy, 60 minutes cameraman Ray
improve their lighting for video or film, chapter even has lighting exercises for
the reader to put into practice. And Bribiesca, TV lighting director Gus
based on David’s college lighting course
while other lighting books remain mainly Dominquez and gaffers Tigre McMullen
that he has taught for over ten years, as
well as his extensive professional work in technical, David’s book spends equal time and Bill O’Leary. In the first appendix he
the industry as a DP, Lighting Director and discussing the artistic contributions that provides the questions and everyone’s
union gaffer. lighting makes to the story telling as it answers, which are fun to compare.
does on the techniques used to achieve
Unlike other books on lighting, this a look. His conversational tone mixed This unique approach has been needed
book features practical advice that is with his years of technical experience for a long time and there is simply no
immediately applicable to students and and aesthetic awareness results in a very other lighting book like this in print. It
filmmakers working on a limited budget accessible text that should be cherished is available from Amazon, from www.
and schedule. The book starts off with by students and professionals alike. lightingforcinematography.com and
a chapter on what is light, its four from the Bloomsbury Press website.
controllable attributes and the seven David Landau is the perfect person to “Lighting for Cinematography” is truly
primary functions it has in motion picture write such a book. Having worked over enlightening for the film student or
photography. The next chapter is about 30 years professionally in lighting as a emerging cinematographer.
2014, Vol. 9, No. 2 13
AUDIO AUDIO
VO & Dialogue Editing Working with a Film/Video
Composer for the First Time?
by Steven Silvers by Philippe Falliex

Quick Tips Define Your


for Novices “Artistic World”
Editing dialogue and voice-overs is one of
the most important steps when working on
sound for film, video games and TV shows, Music is very important and can change
for without comprehensive dialogue the the way your film or video is felt in a good
viewer would not understand the story. or bad way… Try several different kinds
Dialogue and voice over zoom fully into the damaged
of music on the same scene of your movie
editing are the two least waveform (control + 1, select and you’ll see what I’m talking about!
understood aspects of audio problematic area) you will see
postproduction for some a series of sine waves and one
novices just starting out. spikey area. This is the clicking
It is our job to remove the sound. Use the pencil tool
filmmaking from the film and (control + 6) and draw over it A good relationship between to show him your movie
to illuminate the actors under to smoothen out the sound. filmmaker and music composer without temp tracks to let the
their best light by eliminating is essential. The role of composer bring you his color.
slurred words, over-breathing, Plugins prove to be useful composer is to listen and
mouth clicks, hums, wind, when a certain frequency transfer into musical terms If you don’t have a music
boom handling and crew needs to be eliminated such what a director is saying. editor for your first movie,
rustling. We essentially as a hum from the camera, For this, the most important you’ll have to decide with the
articulate the voices and airplanes or any kind of thing to the composer is to composer where each music
make them sound more background noise. A LPF or understand precisely your cue begins and ends in your
enticing with various plugins, HPF can be used for this or code, what you have in mind.
tools and constant playback
movie. Even if you have your
narrow Q cuts which eliminate To avoid misunderstandings idea, let the composer propose
with software systems. I use the entire unwanted frequency and wasting time, here are to you his view of it, and you
Pro Tools. A proper sound and nothing else. There are some quick tips. could have a good surprise.
editor will listen intently to a plethora of after-market
all the nuances within each
plugins that are accurate If it’s the early stage and you
waveform, knowing what to Some composers will propose
and easy to use for cleaning don’t have your movie edited
edit out and keep depending you almost a final mix, and
up clicks, crackles, rustles yet, when you speak about
upon the character’s some others a demo. In
and even distortion such as your film, describe it with some
disposition and the shot. both cases, try to note the
Izotope RX, allowing you to examples. If you say, “I’d like to
see a visual map of all the differences between the
Proper dialogue and VO editing have a sad mood in this scene,”
frequencies. arrangements of songs and the
is approached manually and give an example of your sad
melodies. Don’t be categorical.
sometimes through a minimum mood scene with a song that
Great care and extensive If you like the melody but
amount of signal processing. could fit, or a movie scene with
The goal is to create smooth resources must be set in place you don’t like an instrument’s
the same sensation that you
transitions between each and utilized when working on sound, keep in mind that
want, because your “sad mood”
syllable and line of dialogue sound for film, including the everything can be changed.
could be very different from
to not distract the viewer composition. Film is truly 50% Don’t reject the song, but
the composer’s “sad mood”. If
away from the story. If you visual and 50% audio, yet less communicate what you like and
time and money is focused
you don’t know exactly what
are using Pro Tools, deleting kind of music you want, let don’t like to help the composer
intrusive breaths and replacing on audio due to the advent of create the best music for you.
digital cinema, which demands the composer help you and be
it with room tone is usually
more in less time. But with open-minded. The composer is
a good idea. Shuffle mode is If you are working for a trailer,
the current innovations within your partner, and the more you
useful here (the ` key switches edit in rhythm with music, so
between each mode). Make 3D sound, 7.1 & 11.1 mixes, communicate, the more you’ll
sound now has the ability make a good team. the composer can match the
sure to fade each clip in and
to completely envelope and tempo, and the trailer will be
out. To clean up mouth clicks
or mic rustling I use the enrapture the listener. There If you’ve already edited your more effective.
scrubbing tool to pinpoint the has never been a better time movie with “Temp Tracks”,
source of the problem. As you to design and modify sound you can choose to have the Choose a composer based on
scroll over the waveforms with or compose – the possibilities composer listen to it if you his completed projects and
the scrubber, you will hear are endless in the hands of a want him to recreate the bodies of work, and you won’t
faint popping sounds. If you great sculptor. same color. Or you can choose be disappointed!
14 2014, Vol. 9, No. 2
ON CAMPUS
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studios with cutting-edge equipment, instructors who are acclaimed leaders in their industry, and a Career Counseling
and Job Placement Center. Alumni go on to work on high-profile projects that reach the public every day. An education
at Video Symphony provides the training, credentials, and connections to start a career in film, television, or media
production. From film editing pros to top notch VFX artists, the school offers the professional staff and the equipment to
help students get their careers moving.

Video Symphony to Host Open


House and Career Exploration Day
Saturday, June 21, 2014 from 9:30am to 1:00pm,
PST., Burbank, CA

EVENT DETAILS

9:30am: Coffee and Bagels


9:50am: Welcome!
10:00am: First Demonstration
10:30am: Second Demonstration
11:00am: Third Demonstration
12:00pm: Pizza Lunch
12pm-1pm: Financial Aid Workshop and
Admissions Counseling

Free parking is available in the public garage behind the


school at 267 E. Palm Ave, Burbank.

For more information, visit www.videosymphony.com.

2014, Vol. 9, No. 2 15


CREATURE CREATION
Creature from the
Black Lagoon
by Scott Essman

The Gill
Man Turns This upright majestic beast was every
bit as human as the many monsters
who came out of his same studio before
him, and was equally as sympathetic
as any who ever came to film. With
foreign invaders encroaching on his
home territory, he could have been left
well alone by society, but his longing for
a female made him a target like many
similar wild screen terrors, and he would
eventually feel the wrath of civilization
in a sequel where he would be paraded
in front of humans as little more than a
zoo animal. With a visual concept that
was at once iconic and defining, his
image stands with those who can be
recognized by virtually any age person of
any extraction who has been exposed to
American pop culture of the 20th century.
He is, of course, the Gill-Man, and even
after 60 years as a lasting pillar of
unforgettable monstrous iconography, he
is often identified by the name of the film
which brought him to movie screens: the
Creature from the Black Lagoon. Though
only three films all in, the Creature
series rates with any of Universal’s
internationally famous monsters from the
1930s and 1940s for sheer fan adulation.

According to many studied Creature


experts, due speculation exists that
the film’s producer William Alland had
been at a party given by Orson Welles
and heard a story with eventual plot
similarities to Creature. As legend has it,
Mexican folklore told of an amphibious
being deep within the jungle; alas, Alland
ultimately noted that the story was his
own. Additionally, many Creature fans
believe that H.P. Lovecraft inspired the
Creature plot with the author ‘s various
man-fish characters.

As written by original screenwriter Harry


Still to this day, he is one of the most unique monsters in the Essex, the Gill-Man might well be a
history of cinema. Part man, part fish, part reptile, and wholly combination of myths and lores alluded
amphibian, he swam and traipsed across movie screens 60 years to in many a sci-fi story, but his essence
ago in three dimensions and was forever cemented in the hearts may well owe more to King Kong than
of monster fans everywhere. any other tale. Surely, with an American

16 2014, Vol. 9, No. 2


CREATURE CREATION Creature from the Black Lagoon

sea expedition into the wild leading to enlisted Florida-based expert diver Ricou swims parallel to the girl but upside down,
a hidden locale unseen by the Western Browning, still active to this day, a skilled looking up to her as she innocently swims
world, the meddling of adventurous craftsperson who would be able to atop the water of the lagoon where her
men into uncharted territory, and the execute long underwater location shots boat is perched, is one of the outstanding
discovering of a mythic creature in his of the Gill-Man in full costume and mask, moments not only within the genre but in
native environment who captures the holding his breath all the while. Browning any film in any period. Browning’s work is
expedition’s girl, provoking an attack does a marvelous turn as the underwater so spectacular in these moments, a career
on said beast, Creature from the Black Gill-Man in all of his scenes, striking a is at once born and forever defined.
Lagoon and King Kong have many basic believable visage in all aspects of his
thematic parallels, an element that would performance. We fully believe that this Twenty years onward, Steven Spielberg,
be exploited somewhat further in the first is a creature who belongs in his habitat also at Universal, chose to open his new
Creature sequel. Of course, Essex (who and owns the environs, never once film being shot in the summer of 1974
would produce the low-budget genre questioning the verisimilitude of such set- with the Jack Arnold touch. In the opening
spinoff Octaman in 1971 – a project which pieces. At all times, Browning disappears scenes of Jaws, as Susan Backlinie (albeit
gave life to Rick Baker’s first professional within the engorged costume and mask in fully nude) swims into a dusk oceanic mass
monster) would be rewritten by Arthur his scenes, rendering one particular scene — one might call the appearance a sea of
Ross, who may have added a more as the most memorable. black water — Spielberg’s camera assumes
human element to the story, and, the the position of the unseen shark rising up
Gill-Man, like the Frankenstein Monster, When lead actress Julie Adams, in her from the ocean floor to the oblivious girl
the Wolf Man, King Kong, and other striking one-piece white bathing suit, goes who meets her fate, mostly off-camera,
classic monster characters, gained due for a swim in the ominous Black Lagoon, quoting Creature and mirroring the sense
empathy from audiences, right down to we sense imminent danger. However, of dread in the 1954 film, though no actual
his anticlimactic final fate, reminiscent Arnold plays his hand closely, offering tragedy would befall Adams’ character in
of Kong and other endearing monster the creature’s point-of-view from the said scene.
classics. In a broader sense, Universal depths, fascinated with the sight of the
Pictures, who by the mid-1950s produced young woman, at once taken with her Though suit performers who played the Gill-
far fewer monster/horror pictures but and willing to get close if not to initially Man on land followed in the 1955 and 1956
knew their core audience’s tastes well, capture. The moment where the creature sequels to Creature, notably Tom
intentionally made the Gill-Man, along
with aforementioned monsters, effusively
appealing to audiences, leading to the
Gill-Man’s beloved status these many
decades onward.

Alas, the combination of precise


casting, director Jack Arnold’s balanced
finesse with the material, and essential
production values — not the least of
which was the Gill-Man’s superlative
design and articulation — elevated the
Essex/Ross script from might have been
a pedestrian experience into a magical
concoction of pieces which make for
a whole above the norm. Released
March 5, 1954, Creature works on many
levels much like the 1930s-1940s films
which introduced the Universal slate to
unsuspecting audiences. To that point,
the Gill-Man stands with his studio
brethren, surely the 1925 Phantom
of the Opera, the 1931 duo of Count
Dracula and the Frankenstein Monster,
1932’s The Mummy, 1933’s The Invisible
Man, 1935’s The Bride of Frankenstein,
and 1941’s The Wolf Man as Universal’s
greatest genre characters, surely from
their “classic horror cycle,” but just as
surely from any era regardless.

By now, movie monster fans are well


aware that there were two Gill-Men
in the title role of the film. For the
movie’s underwater scenes, production

2014, Vol. 9, No. 2 17


CREATURE CREATION Creature from the Black Lagoon

Hennesy and Don Magowan, respectively, body would have to be cast separately) to
for millions of Creature fans, Benjamin F. fabricate the Gill-Man costume, which was
Chapman, Jr. was the “reel” Gill-Man from to be realized in foam rubber. Different
the original 1954 film. Certainly, the Bay molded sections such as face and head,
Area native had the advantage of being torso, arms and legs, were taken off of
a player on the Universal lot in the early impressions of Chapman’s body. Then the
1950s, and his 6’5” size and relative youth – team, headed by Universal lab supervisor performances, Chapman will be fondly
in his late 20s – made him ideal for the part Kevan — who significantly presided over remembered by fans of the original
of the creature who stalks named invaders many future 1950s studio projects which film and all who had met him since. On
of his Amazonian lagoon in the film. But required prosthetics — and young stalwarts February 21, 2008, he sadly passed away
Chapman brought a grace and several such as Tom Case and Bob Dawn, in Hawaii at the age of 79.
nuances to the performance of the first fashioned individual sections in rubber.
In many genre films to follow, the
Gill-Man, all of which made him one of the The memorable Gill-Man face had been
Gill-Man’s impact can be seen and felt.
great icons in the Universal Pictures canon meticulously designed by artist Milicent
Non-mammalian hybrid characters have
of classic monsters. Of course, Browning Patrick and beautifully sculpted by the
been pervasive onscreen ever since, and
and Chapman had to have the perfect legendary Chris Mueller. Later, Chapman
one can convincingly trace that legacy
appearance, both underwater and above was suited up on a daily basis by Case
back to Creature. In everything from The
water, to complete the convincing nature of and Dawn for his exterior scenes, filmed
She Creature (1956) to The Monster of
the character. Enter special makeup effects on Universal’s backlot (the creature suit
Piedras Blancas (1959) to The Horror
and a dream team of artists. team reportedly put weights in Chapman’s
of Party Beach (1964) to more recent
feet appliances so the actor would
fare including Swamp Thing (1982), the
Noteworthy that by the early 1950s, effectively glide on screen) while footage
Snake Man in 1984’s Dreamscape and
Bud Westmore’s makeup department at of Browning in a slightly different duplicate
a similar character in 2001’s Monsters,
Universal Pictures had expanded, and he suit was achieved on location in Florida.
Inc., the Gill-Man presence can be felt.
was given some massive projects. After Though Bud Westmore’s name is the only
Moreover, working at Stan Winston Studio
proving his worth on 1948’s Abbott and one to appear in the credits, his astute
in 1987, in a loving tribute to the 1954
Costello Meet Frankenstein, with main assemblage of these key makeup-creature
film, young effects artists Steve Wang and
prosthetics technician Jack Kevan stepping artists made the Gill-Man as indelible as
Matt Rose created an homage character
in for Jack Pierce in the creation of the he became, especially considering that the
with their own Gill-Man in Fred Dekker’s
Frankenstein Monster, in 1953, Westmore job involved an unprecedented head-to-toe
The Monster Squad; just thereafter, their
was tasked with Abbott and Costello Meet prosthetic manifestation.
personal Gill-Man design preferences were
Dr. Jekyll and Mr. Hyde, with veteran
felt in their conception of The Predator for
Boris Karloff as the titular dual characters. Though Chapman never played the Gill-
that similarly named film. In animated
By this time, Karloff was in his 60s, so Man in the sequels, he did reprise the
homages, Gill-Man send-ups can be found
cutting down on the makeup process creature for the Colgate Comedy Hour’s
in 1967’s Mad Monster Party?, 2009’s
was a must. Again, Westmore brought in February 21, 1954 TV episode with Abbott
Monsters vs. Aliens and 2012’s Hotel
Kevan to realize the makeup. Now with and Costello, also Universal players. In the
Transylvania among others.
his own style coming through many of his show, the comedy duo first encounters
makeups, Kevan’s familiar look permeated Glenn Strange as the Frankenstein Monster, Given the vital onscreen contributions
his Mr. Hyde. As in earlier Hyde projects resembling his appearance from 1948’s of Adams, Browning, and Chapman,
such as that of Bud Westmore’s older Abbott and Costello Meet Frankenstein. the excellence achieved by the makeup
brother Wally in his 1932 outing with From out of another crate bursts Chapman department, and the carefully measured
Fredric March, this Hyde required a as the Gill-Man, revealed to the astonished allowances for the entirety that Arnold
transformation which Kevan created public for the first time anywhere. provided, Creature remains one of
step-by-step with dissolves. Of relevance, cinema’s finest genre films six decades
in most of the Hyde scenes, Karloff is Chapman had long been retired from hence. Though the Gill-Man made
wearing mask-like pieces. That same year, acting by the rebirth of interest in appearances in two 1950s sequels, it
Bud Westmore was able to lightly send up the Gill-Man as a classic monster but will always be the creature’s appearance
the 1930s and 1940s Universal mummies made regular personal appearances at in that first feature which cemented the
with Abbott and Costello Meet the conventions and autograph signings over character as one of the top monsters in
Mummy. Certainly, these projects were the years. He maintained a website, movie history. Without question, there
just practice for the burgeoning effects the-reelgillman.com, and was the focus can be no greater testament to the vitality
group considering what came next. of fans’ love since magazines starting of the character than the fact that, 60
with Famous Monsters of Filmland made years after his inception, the Gill-Man, and
First, in preparations for the creation of the character popular again for new first film from whence he came, are still
the Gill-Man for Creature, the Universal generations of fans in the 1960s and regarded by masses of fans with equal
makeup department cast all of Chapman’s 1970s. Always good-natured and happy amounts of genuine fondness, integral
various body parts (Browning’s face and to talk about his 1953-1954 Gill-Man respect, and aesthetic admiration.

Special thanks to Dan Roebuck plus Sam


Borowski & Matthew Crick, creators of the
documentary, CREATURE FEATURE: 50 YEARS
OF THE GILL-MAN.

18 2014, Vol. 9, No. 2


CAMERAWORK
Product Spotlight

Ifootage
Shark S1
Slider

Camera Motion Research. Ifootage


Shark S1 Slider. Photos by
STUDENTFILMMAKERS Magazine.

The Ifootage Shark S1 slider provides cheeseplate with multiple 3/8-16 and for complete disassembly of the Shark.
best in class performance at an affordable ¼-20 threaded holes. Carbon fiber rails,
price. Precisely aligned high quality anodized aluminum and stainless steel The carriage has a locking knob,
carbon fiber rails and high quality carriage construction means you’ll never have to standard 3/8 -16 mounting bolt and
bearings on a wide track, are the basic worry about corrosion. built in bubble levels. Multi-position
building blocks of The Shark slider. These adjustable legs allow leveling on uneven
features produce very low and consistent The travel can be extended to 40 surfaces. Hard rubber ball feet will not
rolling friction over the entire travel range. inches with the addition of the two scratch surfaces. The end blocks can
And torques on the carriage from camera carbon fiber extension rails. Precision drop onto light stand spigots and locked,
panning/tilting, or unbalanced camera manufacturing of the rails and end or mounted to a tripod using the 3/8
payloads, have negligible effect on rolling fittings to control concentricity, results - 16 or 1/4 -20 holes on the bottom. An
friction. For the operator, that means in a perfect joint that doesn’t produce optional auxiliary flywheel can be used
smooth shots with no surprises. a bump as the carriage moves over it. for the most incredibly smooth shots.
Adding or removing the extension rails
But the Shark has another very important easy and quick. The extended length The Shark Kit comes with a padded
design feature: a belt driven flywheel. Shark can be mounted using a tripod on carrying case with handle and shoulder
The rotational inertia of the flywheel the under-rail cheeseplate and another straps. Pockets are provided for the
is transformed into linear inertia at the tripod, or a light stand on the opposite extension rails and main flywheel. Without
carriage. The combination of great end block. Or even using just light the extension rails, the Shark drops into
basic slider design and manufacturing, stands under each end block. the case fully assembled. The auxiliary
combined with the flywheel action, makes flywheel is optional.
getting super smooth and consistent The Shark slider wide rail spacing is better
slides very easy. for stability, and the carriage features
easy adjustment of bearing tension. All Camera Motion Research is an authorized
The Shark without extension rails has adjustments including adding extension dealer of the Shark slider and provides
over 19 in. of travel. It can be mounted rails are tool-less. The allen wrench complete technical and warranty support.
on a tripod using the under- rail attached under the carriage can be used www.camotionllc.com

20 2014, Vol. 9, No. 2


ON CAMPUS
Join Vincent Laforet for a 32-City
Camera Direction and Movement Tour

Directing Motion Tour:


32 Cities | May 6th - July 14th 2014
Vincent Laforet, DGA and ICG Director, is launching his audience members. Not only can the techniques be applied
nationwide Directing Motion Tour catering to aspiring to any project such as short films and documentaries
filmmakers. The full-day course will be comprised of a six- but the principles taught by Laforet will provide unique,
theme daytime workshop, followed by an evening applied ground-breaking, and competitive insight that will not
theory seminar. only be taught in theory but will engage students with
The Spring and Summer Directing Motion Tour will begin in live demonstrations using some of the most advanced
May, end in July, and hit 32 major cities in just 9 weeks. cinema technology.

Laforet will offer his expertise to filmmakers of various Laforet believes “that motion is critical but only when it
levels on how to effectively execute their visions and serves the story.” His extensive study and knowledge of
enable filmmakers to transmit a visual language that camera motion is imperative to those who want to enhance
will elicit an emotional connection and response from their filmmaking skills.

Laforet is known for his avant-garde approach to filmmaking and publications that have commissioned Laforet’s work. In 2010 he was a
storytelling. Reverie, a Laforet directed short film was the first to be three-time winner of the Cannes Lions International Advertising Festival.
shot with the Canon 5D Mark II. Later, he was chosen as one of the Laforet is considered a pioneer in the field of HD-capable DSLR cameras
first filmmakers to shoot with the Canon C300. Laforet has been a and is renowned for his innovative tilt shift and aerial photography.
cinematographer and director for clients such as Sony, Adobe, Pepsi,
Nike and more. Vanity Fair, The New York Times Magazine, National To watch the trailer, view the tour dates, and signup, visit
Geographic, Sports Illustrated, Time and Life Magazine are a few of the www.DirectingMotion.com

22 2014, Vol. 9, No. 2


ON CAMPUS Join Vincent Laforet for a 32-City Camera Direction and Movement Tour

Interview with Vincent Laforet Is there a scene in one of your


favorite films that you would have
directed differently?

What inspires your Vincent Laforet: I really enjoy the Vincent Laforet: No. I don't believe
Q&A passion for camera
movement?
breakdown of my Nike Commercial - and
apparently so have the attendees to date.
in questioning other directors. I do that
plenty with my own work.
I got through the entire process from
Vincent Laforet: There are four things pitch, to prep, shoot all the way to the Was there ever a time you had to pull
that hypnotize me in film in the following edit. I also truly enjoy the live shoots and a MacGyver on a shoot?
order: the challenge of pulling a two camera
shoot with actors in every city. Vincent Laforet: Every. Single. Day.
1. The acting/dialogue [smiles] That's part and parcel with the
2. The camera's movement and cut You talk about “one shot wonders” business. You constantly have to come up
3.  The visuals on your blog. What is a “one shot with physical or mental "audibles" on any
4.  The music wonder,” and will you be covering shoot. It's part of the fun.
this?
Naturally I think it's critical for a director People tend to have their favorite
to understand how to elevate their Vincent Laforet: One shot wonders are films that are “bad” but love to
content with the careful inclusion of in a class of their own - the complexity watch them anyway. Do you have any
motion within their films.    of what it takes to make a good one is that you could name for us?
simply fascinating. I've got examples that
You say that competitive filmmaking show how the ADs call action as well as Vincent Laforet: Sure: “Top Gun” is one
has to incorporate camera motion; how a Steadicam operator such as Larry of my favorites. It's cheesy but the aerial
what other aspects should people McConkey approaches designing a shot - filming and sequencing is phenomenal
consider that will provide them with in a video that shows him describing his and has yet to be truly matched. What the
an advantage? process step by step. editors did with that film and the relatively
thin script is phenomenal.
Vincent Laforet: I really think Directors How involved were you in selecting
need to focus on the structure of their the gear on tour? Did you personally Out of curiosity, was your arm injury
story, how they execute that story and select all the gear? film related?
how movement can truly serve to help
engage and audience on an emotional Vincent Laforet: Yes on a general level, Vincent Laforet: Somewhat - I was with
and subliminal level. very much in the same way I would as a a bunch of filmmakers, but ultimately I
director. I know what platforms we'll need was on vacation.
You have made it clear that camera and specific accessories. The crew is more
motion is critical but only when it involved in terms of nuts and bolts. We When directing films and
serves a purpose. Can you give us have a pretty incredible amount of gear commercials is there anything you
an example of camera motion being on this tour...  it's impressive. I'm pretty must bring with you to every shoot?
over utilized? much using the same type of accessories
that I would be using on any commercial Vincent Laforet: Yes, a positive attitude
Vincent Laforet: I see so much or episodic shoot. and a ton of preparation. Your goal should
unnecessary and unmotivated movement be to be prepared for any variation and
in the smaller type productions and web Out of the 50 films on the tour, surprise, let alone questions that come at
series out there - which is almost worse which do you believe had the most you. And to have 2-3 alternate solutions
than no movement at all. The number intricate camera movement? to each potential problem.  Being on set is
one thing that separates high end the easy part.
productions from low and middle end is the Vincent Laforet: I have to say that if
director's understanding of movement and you pick just about ANY film that Steven You have said that you will be talking
sequencing. Within seconds you can judge Spielberg directed you are witnessing about the behind the scenes between
the quality of the film based on movement. a master class in movement. I also your latest commercial for Nike. Can
It has nothing to do with the amount of love Scorsese's work and notably in you give us an idea of what you mean
money they spent on locations, actors “Goodfellas”.    by that?
or wardrobes... at least not when you're
looking at a new director's work. You can How long did it take you to formulate Vincent Laforet: I walk people through
tell immediately if they understand the art the Directing Motion workshop? the initial client request, the treatment
and craft of filmmaking. process, the initial drawings and
Vincent Laforet: I worked on it for close storyboards, as well as the test we did
Your tour is comprised of different to 3 months. I've been joined by 3 others and prep. All the way through the shoot
sections. Is there any one in people and together we've exceeded and edit. It's as close as you're likely to
particular that you are more excited 1,000 man hours in terms of preparing the get to this type of process until you get to
to talk about? material and the animated diagrams that shoot a commercial like this yourself.
show the camera movement and blocking.

2014, Vol. 9, No. 2 23


ON CAMPUS Join Vincent Laforet for a 32-City Camera Direction and Movement Tour

TOUR SCHEDULE
1. Tuesday, May 6, 2014 Philadelphia
2. Thursday, May 8, 2014 Newark
3. Saturday, May 10, 2014 Boston
4. Tuesday, May 13, 2014 Columbus
5. Thursday, May 15, 2014 Detroit
6. Saturday, May 17th, 2014 Indianapolis
7. Sunday, May 18, 2014 Chicago
8. Tuesday, May 20, 2014 St. Louis
9. Thursday, May 22, 2-14 Minneapolis
What about being a photographer? 10. Tuesday, May 27, 2014 Denver
Has that made you a better filmmaker?
11. Thursday, May 29, 2014 Salt Lake City
Vincent Laforet: Sure - it's helped me 12. Saturday, May 31, 2014 Vancouver
to better understand people better, to
understand what drives different type of 13. Sunday, June 1st, 2014 Seattle
people and how to best capture that. 14. Tuesday, June 3, 2014 Portland

Many people would argue that with


15. Friday, June 6th, 2014 San Jose
today’s technology, you can teach 16. Sunday, June 8th, 2014 San Francisco
yourself anything. Do you feel that
17. Tuesday, June 10, 2014 Sacramento
going to film school is necessary for
an aspiring young filmmaker today? 18. Saturday, June 14, 2014 Irvine
19. Sunday, June 15, 2014 L.A/Burbank
Vincent Laforet: School and knowledge
never hurt anyone. I don't think going 20. Tuesday, June 17, 2014 San Diego
to school is a substitute for experience
21. Thursday, June 19th, 2014 Phoenix
however. I've always said: go out there
and shoot. You'll learn plenty. Having 22. Saturday, June 21, 2014 Austin
mentors and teachers who guide you can 23. Sunday, June 22, 2014 Dallas
be critical to learning more quickly.
24. Tuesday, June 24. 2014 Houston
Who do you think this class is for? 25. Thursday, June 26, 2014 New Orleans
Vincent Laforet: Anyone who sees their 26. Saturday June 28, 2014 Nashville
work and knows something is missing. I 27. Sunday, June 29, 2014 Atlanta
can see people just starting off as well as
people who've been shooting for over a 28. Tuesday, July 1, 2014 Ft. Lauderdale
decade benefitting from this content. In 29. Tuesday, July 8, 2014 Charlotte
fact the attendees have confirmed as
much to me on a number of occasions 30. Saturday, July 12, 2014 Washington, DC
already which is great! 31. Sunday, July 13, 2014 NYC
By the end of the tour, what is one
goal you want achieved?

Vincent Laforet: To still be standing! No


seriously, I think I've already seen people
leave super pumped and satiated. As
long as we can keep pulling that off I'm
already quite happy with the unusually
positive way people have reacted to the
content and delivery so far.

One word to describe the way you feel


about your Directing Motion Tour?

Vincent Laforet: Ambitious.


24 2014, Vol. 9, No. 2
ON CAMPUS
Interview with SNL
Film Unit Editor Adam Epstein

The Cutting Edge Post-Production


Tour with Adam Epstein:
32 Cities | July 20th - September 22nd
Adam Epstein, the editor for the Adam Epstein: There will be a balance Adam Epstein: I feel that the software /
Saturday Night Live Film Unit, is between the technical, the theoretical, NLE's that one chooses to use is a matter
launching his Cutting Edge Tour and the interpersonal. By breaking down of personal taste based on their needs
on July 20th and will travel to what goes into working on different and the needs of the project. That being
styles of pieces -- promos, short films, said, I personally prefer to use Adobe
32 cities in 9 weeks covering
commercials, trailers -- the different Premiere CC as my go-to NLE along with
the multifaceted intricacies techniques used will give a much broader the rest of the Creative Cloud. For the
of post-production. You can knowledge base than a straight ahead type of work and the timelines we deal
find out more information "how to" type of workshop. with in the SNL Film Unit, it makes the
about his workshop on www.   most sense for our particular needs.
CuttingEdgeTour.com. What can an attendee expect to learn
and know after taking the course? What footage will you use to teach
the course?
Adam Epstein: We will be looking
Tell us about at a wide range of post-production Adam Epstein: When it comes to showing
Q&A the workshops
you're teaching
topics, everything from specifically
technical points such as project and
how specific projects I've worked on for
the SNL Film Unit came together, I will be
at the MZed Post bin organization, sound design, color using the original source material, giving
Production Tours. correction, prepping for finish, motion attendees the full scope of what goes into
What sets the post production graphics, plugins, compositing, to these types of projects. We will also look
workshops apart from other broader topics such as rhythm, timing, at classic film scenes, commercials and
editing workshops out there? story and tone, to the interpersonal side other pieces that have inspired and taught
of post, such as how to constructively me along the way and analyze those in a
Adam Epstein: My workshop will be an
collaborate with other people and how to more theory-based manner. 
expansive look into the many facets that
avoid mistakes that editors can make.  
go into modern post-production, showing Are there any tips that you would
 
how I go from a blank timeline to a Are there any pre-requisites? recommend for student filmmakers?
finished, broadcast-ready piece. While we
will also be talking about classic editing Adam Epstein: I wouldn't say that there Adam Epstein: My main tip for student
theory, what sets this workshop apart is are any pre-requisites. In theory you filmmakers, or really for anyone who
the fact that attendees will be able to see could know "nothing" about post and find wants to work in a creative field, is to
how pieces that they know and recognize the workshop informative and interesting, just go out and make as much stuff as
come to fruition from start to finish, using but I'd say that having a basic knowledge you can. There is no better way to learn
the original source media.  of some of the technical foundations of and improve than through experience,
  editing wouldn't hurt. repetition and by figuring out how to
Are the Post Production workshops correct the mistakes you will make. Don't
geared towards beginners or Are attendees required to use worry about things being perfect right
professionals, or both? Tell us more different editing systems during the from the get-go...just get out there and
about it. workshops? Or is there a specific make things.
system you focus on?
Adam Epstein: I plan on designing the
workshop in a way that both beginners and
professionals will be able to come away
from it with a deeper understanding and
appreciation for their own craft as well as
having a few new tricks up their sleeves.
One of the best aspects of post-production
overall is that there is never an end to
what you can learn, whether you're just
starting out, or you're an established pro.

Can you tell us about the Post


Production curriculum and
objectives?

26 2014, Vol. 9, No. 2


ON CAMPUS Interview with SNL Film Unit Editor Adam Epstein

CURRICULUM Evening Seminar:


Focusing less on the technical aspects of NLEs and other post-
Daytime Workshop: production programs and more on broader concepts such as
rhythm, tone, and story, Adam will break down some of the
If you’ve ever wanted to see what it takes to take a project from scenes from films, music videos, commercials and other sources
an empty timeline to a network broadcast in under 24 hours, this that have inspired him over the years. Then, the class will focus
is your chance. Using the actual, full projects — with the original on the more interpersonal aspects of editorial that Adam has
source media — that he’s worked on in the past as a guide, found to helpful…the ones that you won’t find in any manual.
Adam Epstein will illustrate just what goes into each piece,
showing the techniques unique to each project.
WHAT WILL BE COVERED:
What you will learn: • How to be truly collaborative, and the paramount
importance of working as a team.
• The importance of empathy and knowing your place
• How to keep your projects and sequences clean and
• Understanding when and how to get your ideas through.
organized — and why this is so important.
• Overall techniques to keep your own creative process
• Tips, tricks, and shortcuts that will help you to get
fresh and sharp.
more done in less time.
• Using sound design and music to really make scenes
and pieces come to life.
• Getting “the look” right — color correction, effects To view some of Adam Epstein's work, view the tour dates, and
and other ways to get the most out of your footage. signup, visit www.cuttingedge.mzed.com.
• Understanding the rhythms and archetypes that come
with different styles — what makes a promo different
from a commercial or a short film?
• Plus a deep, deep rabbit hole of other topics:
Importing and working with multiple cameras, how to
deal with various codecs, multi camera workflows and
techniques, compositing and keying, motion tracking,
exporting for final delivery and many many more topics.

2014, Vol. 9, No. 2 27


NETWORKING - FEATURED NETWORKER Join the Filmmakers Network.
Start networking with film and video makers of all
Natalia Jaramillo, Student levels around the globe. Login or Sign Up at
Bogotá, Colombia http://networking.studentfilmmakers.com.

Natalia Jaramillo is currently


studying in Bogotá, Colombia,
at Universidad de La Sabana,
to become a filmmaker. In
2012, she received the SCAD
Challenge Honorable Mention
for a video she created and
was featured in the challenge
web page. She is finishing her
first year of studies.

FIRST CAMERA create such an excellent production. provides me a high quality of video and
The first time I used a camera was a Later on, I continued feeling each time it’s got a diversity of features that provide
Panasonic film camera I used to shoot a more amazed by every movie I watched, me with different tools when shooting.
short film for a school project. I was ten and it was then that I realized I wanted
years old when I did my first short film. to create an audiovisual production that I would love to have the experience
Ever since I was a little girl I’ve enjoyed could cause such great impact in an of shooting with a professional filming
watching movies and I’ve been obsessed audience like the impact I’ve receive from camera, the actual cameras used in films.
with the whole process of making a film. all the movies I’ve ever watched. The Later on in my career I’m going to have
But it was just after I did my first video feeling of joy I experience every time I the opportunity of getting to learn more
that I knew filmmaking was what I would watch a movie is indescribable, and at a about the use of these cameras.
want to see myself doing for the rest of young age, I discovered that I wanted
to make people feel like I do whenever I
my life. The experience was indescribable;
watch a movie.
TOOLS I’M LEARNING
having the possibility of portraying I’ve learned a lot about the sound
reality into video and communicating a design in movies and its importance.
story through it was amazing. I enjoyed I’m a fan of Steven Spielberg’s work. I
I’ve had the opportunity of learning the
every second of it. From experimenting love his films, and I grew up watching
diversity of equipment required for a
different angles to shoot a scene to see most of them. I also like Alfonso Cuarón.
sound design. I’ve learned about the
which one was better, to experimenting Not only did he direct one of my favorite
importance of microphones, and I’ve
different camera movements and directing movies, Harry Potter and the Prisoner of
had the opportunity of working with
the actors. After that school project I Askaban, but his work inspires me to work
several programs for sound editing like
continued filming many more short films. harder and to improve.
Protools and Adobe Audition. I feel
really passionate about sound in movies,
INFLUENCES FAVORITE CAMERA I believe it has a great impact on the
I remember the first time I watched The camera I have is a Canon T3i, and narrative and it’s fundamental to count
Harry Potter and the Philosopher’s I consider it’s an excellent camera. It on a really good sound design to create
Stone. I was utterly impressed by an excellent production. I’ve also learned
how great the movie was. I was about the movement in films and I
amazed by the visual effects, by consider it to be an essential factor for the
the story and the characters. I meaning that wants to be communicated.
was amazed how someone could I’m really interested in the diversity of
camera movements and how one can play
with them to produce a more interesting
content. Regarding editing, I believe it’s
vital to have knowledge about the editing
processes and the best editing programs.

CURRENT PROJECTS
Right now I’m finishing two short films,
one of which is a soundtrack short film,
for university projects. I’m also planning
the new projects and short films I will be
working on this summer.

28 2014, Vol. 9, No. 2


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Contributors
twenty publicity projects for Universal specializing in background music for
Studios Home Entertainment where he television and radio programs. Since
made video documentaries and wrote Peter John 2001, Philippe Falliex has dedicated
Kim E. Welch publicity materials. He published his first Ross himself to composing music for televised
book, “Freelance Writing for Hollywood,” and radio programs and created his
for Michael Wiese in 2000, and has a first company through which his work
Kim E. Welch is the Publisher of Welch new book about Tim Burton. Peter John Ross is an award winning is contracted: Stereolithe. Stereolithe
Media, Inc., publishers of HDPROGUIDE filmmaker and producer of the Emmy has been responsible for theme and
Magazine and STUDENTFILMMAKERS nominated PBS show FRAMELINES, background music for some of the most
Magazine, headquartered in Manhattan, airing regionally in the Midwest. Ross prominent shows on French television
Dean Yamada has published articles and books on and radio.
New York City.
www.hdproguide.com filmmaking, and has played at film www.philippefalliex.com
www.studentfilmmakers.com festivals around the globe.
Dean Yamada received his MFA from www.sonnyboo.com
USC and is an associate professor at www.peterjohnross.com Scott
Peter Stein, Biola University, where he specializes
Essman
in production and post-production
ASC classes. “Mujo No Kaze”, shot in Tokyo, Ryan Pickett
went on to win 1st Prize at the Inigo Since the mid-1980s, Scott Essman has
As the Director of Photography on Film Fesitval in Sydney, Australia. been writing and producing projects
more than 50 feature films and TV “Jitensha” has won multiple awards Ryan Pickett, owner of about motion picture craftsmanship.
movies, Peter Stein has photographed including Best of Fest at the Broadcast ryanpickettproductions.com, has his He has published over 350 articles as
major studio and independent releases Educators Association Festival of Media BA in English with a minor in Film from a freelancer and has produced over
including classic cult films in various Arts Festival of Media Arts (2010); Best the University of Maryland College Park twenty publicity projects for Universal
genres such as comedy and horror - as of Show at the Imago Film Festival and he is currently working on his BS Studios Home Entertainment where he
well as noted documentaries. He was (2010); and Best Dramatic Short at the in Computer Science and Information made video documentaries and wrote
invited to join the prestigious American Windsong Film Festival (2010). Systems from Austin Peay State publicity materials. He published his first
Society of Cinematographers in 1999. www.jitenshathemovie.com University. Before Ryan created 6-time book, “Freelance Writing for Hollywood,”
www.petersteinasc.com www.persimmonfilm.com award winning short film, “Look”, as for Michael Wiese in 2000, and has a
www.cicadathemovie.com well as short film, “You Only Loved Me new book about Tim Burton.
Twice”, he played Young Oscar Bluth on
“Arrested Development”.
David Worth Erica
Bill Zarchy
McKenzie
Theresa
David Worth has a resume of over
thirty-five feature films as a Director Bill Zarchy is a freelance director Pickett Erica McKenzie is a contributing writer
of Photography and Director and has of photography, writer, and teacher for STUDENTFILMMAKERS Magazine
worked with talents like Clint Eastwood, based in San Francisco. His new book, Theresa Pickett, owner of www. and STUDENTFILMMAKERS.com.
Jean-Claude Van Damme, Shelly “Showdown at Shinagawa: Tales of theresasreviews.com, has her BA in
Winters, Roy Scheider, Dennis Hopper, Filming from Bombay to Brazil,” features History from Flagler College and her
Sondra Locke and Bruce Campbell. He 18 tales (from Japan, India, China, M.Ed in Elementary Education from Edmund
has taught filmmaking at Chapman Uganda, the Philippines, New Zealand, Vanderbilt University. Theresa worked Olszewski
University, USC and at Chapman France, Singapore, England, Taiwan, behind the scene and on camera for
Singapore where he also lectured at the Mexico and Brazil) and 21 pages of over a dozen projects and was voted
NYU TischAsia campus. He is presently color photos, the rich experiences of a Edmund Olszewski joins
a part-time professor at UCLA and one of Nashville’s Best Local Actresses in
cinematographer on six continents. See STUDENTFILMMAKERS Magazine and
The Academy of Art University in San the Nashville Scene’s Reader’s Poll.
www.showdownatshinagawa.com —or— HDPROGUIDE Magazine as Advertising
Francisco. His first textbook, “The Citizen on Amazon. Director. Prior to working with Welch
Kane Crash Course in Cinematography,” Media, Inc., he has worked for more
was published in 2008 and is available Steven
than 10 years as a cameraman and
at www.amazon.com. David’s website is
Nancy Silvers editor for a faith-centered cable TV
www.davidworthfilm.com.
network based in New York. He has
Yachnes
Steven Silvers began writing stories as also worked as a videographer and
a child, fueled by the unseen mysteries cameraman for different independent
Peter Kiwitt Nancy Yachnes, Executive Producer, found within. He grew up on progressive productions. For more than three years,
Sparkling Photography, works music, folk, jazz and classical artists and he has assisted Peter Stein, ASC in
together with husband Norman, was fascinated by the pure, emotional lighting and cinematography workshops
Peter Kiwitt is an Assistant Professor in and partner, Beto Ramos. They stories they conveyed. He became with StudentFilmmakers.com.
the School of Film & Animation (http:// have been in business for ten years, a musician, making soundscapes
cias.rit.edu/schools/film-animation) producing wedding films (primarily and sound effects on his synthesizer
at Rochester Institute of Technology in the Orthodox Jewish market), web and explored the world through field Tincuta
(RIT). He is also a member of the commercials, cinematic biographies, as recordings. He started film school in Moscaliuc
Directors Guild of America with years well as commercial and family-oriented Vancouver BC and learned the discipline
of professional film and television still photography. Nancy was trained at of shooting 16mm. Today Steven lives in
SVA, is an Apple Certified Pro, and is Tincuta Moscaliuc is the
industry experience as a director, writer, Los Angeles where he works on sound
VP and Treasurer of NYPV. She favors designer of Welch Media, Inc.’s
producer, editor, and executive. design and editing, composing and
shooting with her Canon 5D Mark III. STUDENTFILMMAKERS Magazine and
scriptwriting projects.
www.SparklingPhotography.com HDPROGUIDE Magazine.
https://soundcloud.com/szsilvers
Scott 16mm short film: www.youtube.com/
Essman watch?v=AnE73as2Two
Manuel
Valladares David
Since the mid-1980s, Scott Essman has Philippe
been writing and producing projects Falliex
about motion picture craftsmanship. Manuel Valladares is a contributing writer
for STUDENTFILMMAKERS Magazine and David serves as Editor’s Assistant/Intern
He has published over 350 articles as
STUDENTFILMMAKERS.com. and office mascot.
a freelancer and has produced over Philippe Falliex is a French composer

34 2014, Vol. 9, No. 2

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