I start shooting the new web show on July 25th, so things are really starting to move forward.

Been scouting locations, doing casting, working on the schedule, doing storyboards and shot list, etc. A TON OF WORK. I'm actually doing a lot of the pre-pro myself just based on the budget and availabiltiy of crew. The main person I'd be working with now is the production designer, but the guy I use is on a film in Oklahoma. So, I've been working with a variety of other folks to fill his shoes, and I think we're doing okay.

Next week we build a Jail Cell set. That should be interesting, again, without a production designer - but I know what I want and think it will be fine. Plus, I'm hiring a Scenic (painter) referred by the production designer to make it look good.

I have had some of the normal SNAFUS that come with producing a show, like for example we lost our Church location because it was found to have black mold. We also lost a 80s van I had booked for a scene. And, we're having a heck of time locating a 70s or 80s "farm truck" for another scene.

If anyone has or knows of anyone with an 80s van or a 70s/80s pick-up truck (in the DFW area) please let me know. I can definitely use it in the show! :)

Looking forward to the shoot...

-Blake

Man, Scott Kirshner's CinemaTech blog is really a great place to find info on new distribution models - especially dealing with the Internet. He's really on top of his game.

I HIGHLY suggest reading his blog regularly. I'm especially interested in his reporting right now with my new web show about to shoot, and also with distribution opportunities for several of my feature films.

Definitely check it out!

-Blake

Things are moving ahead nicely on the new web-based TV show I'm producing/directing in late July (still tentative shooting dates). I'll be posting extensively about the actual show in the near future, but for now I just want to comment on working with the actor's union AFTRA (American Federation of Television & Radio Artists).

On my last feature film, "Killing Down", I worked with SAG (Screen Actors Guild). The experience was okay. But SAG is not that easy to work with, well the people are fine, it's all the paperwork and rules, rules, rules you have to deal with. Not that AFTRA doesn't have paperwork and rules - they do - but not like with my SAG experience, and that is very nice.

I understand and appreciate SAG for what they do for their actor members. Heck, a lot of my closest friends are actors and they use SAG for their insurance, etc. The thing that gets me is how MUCH power they have over a given production, and this coming from a union with 96% unemployment! Again, SAG is good and the actors they represent are even better (typically speaking), but they can definitely be a headache.

With the new web series I considered SAG at first, but then talked to a few fellow filmmakers and learned that most "web shows" are going with an AFTRA contract. I found this intriguing so I investigated. Turns out they were right. A lot of big companies like Disney, etc. are turning to AFTRA for their web content dealing with actors.

Funny thing is neither AFTRA or SAG has an agreement yet for the Internet! I really couldn't believe it. I know web TV shows (or shows SPECIFICALLY created for the web) are a fairly new thing, but the IDEA for them has been around for a while. So I was just really surprised that no contracts exist yet for this - so what happened? Well, we got to create our own "custom" contract which worked out very well.

Another filmmaker friend of mine did this on a web show he produced - but he went with SAG - and they created a custom contract for that too. So it can be done with either union, but I must say that SO FAR my experience with AFTRA has been MUCH, MUCH EASIER (than working with SAG). Of course we still have to do all the production paperwork, and then post-production paperwork, etc. (similar to SAG) - but the upfront work has been pretty much a breeze.

Have to give thanks to the local Dallas AFTRA rep T.J. Jones for being very helpful and working things out with me. She's been great, even if at the beginning she really didn't understand what kind of show I was producing. I kept using the word "pilot" and that made her and the AFTRA national reps nervous. I guess they hear that word and think NETWORK TV PILOT and lots of money. So, we dropped that word from the conversation and things went a lot smoother. :)

I'll let folks know how everything ends up after the shoot. But for now I would highly recommend considering AFTRA for web-based TV shows and the like (they're indie friendly too).

-Blake

To accompany the stills below (in the previous post), please see the actual test footage...

Quicktime (SD):
http://www.blakecalhoun.com/canon_letus_test01_sdqt.htm

Windows Media (SD):
http://www.blakecalhoun.com/canon_letus_test01_sdwm.htm

-Blake

These shots are with and without the Letus35 Flip Enhanced adaptor on my Canon XH-A1 HDV camera. Subject was standing 6 feet in front of camera. Everything was shot at 1080p 24fps at 1/48 shutter.

There are notations on the bottom right corner of the pictures as to what lens was used and if the adapter was on or not. Overall I'm impressed with the results. BTW, these stills are directly from the raw footage - no color correction or color grading has been done whatsoever...




















You can really see the shallow depth-of-field (DOF) in the shots with the adapter. This give the footage a much more cinematic feel. We found that with the adapter and SLR lens on it is rated at approximately 50 ASA - very slow (2 1/2 stops of light loss). And with the adapter off it was rated around 300 ASA.

I will be posting more information and video from this test soon.

-Blake

These shots are from the set of "In The Electric Mist" from Julio Cedillo. Pictured from top to bottom are the DP (with the camera), John Goodman and Julio (second b&w shot), and then Tommy Lee Jones with the director and producer of the film...





















-Blake

Yep, there is a lot going on right now...

1. The Texas Legislature PASSED the new film tax incentives bill and Governor Rick Perry will be signing it today (or very soon). This is GREAT news for Texas.

2. My next feature film project is starting to take shape. The script has been done for about two months and we're now working on financing, etc. We also have sent the script out to a Casting Director and a well-know actress for one of the leading roles. Just got word TODAY that the actress loves the project and wants to work on it! This can and likely will help us secure the rest of our production funds and help us lure other name talent to the project. More news on this very soon.

3. I've been talking some recently about a new Web TV Series I'm developing and now THAT project is moving ahead very quickly too. We're actually planning to shoot it in late July and "premiere" the series after Labor Day. I'm very excited about this project for a variety of reasons, but mainly because it is so different. We'll be producing 10 three-minute webisodes to start with (aka "the pilot"). It is going to play much like a serialized comic strip or graphic novel and we have several recognizable actors in the leading roles for this project too. If the show takes off we'll move ahead with future webisodes later in the fall. Look for a new website and Myspace page for the show in the coming weeks.

NOTE: We will be casting for this show in the next few weeks if you are an actor and are interested.

4. My latest feature film "Killing Down" was just at the Cannes Film Market in France. I don't have many details, but I do know it's bee playing well to foreign buyers. I expect to see DVDs start popping up around Europe and the Middle East any day. We have not as of yet secured a domestic distribution deal, but we do have several offers - but we're playing the field some and not in a huge hurry. Hope to have good news though in the near future about when the DVD will be available in the US and Canada.

5. Matthew Tompkins, Sheree Wilson and Julio Cedillo have all been VERY busy since we wrapped "Killing Down" back in early 2006. Just this last weekend Sheree starred in a Lifetime Movie Network movie-of-the-week called Anna's Storm. Matthew recently wrapped a costarring role opposite Dolph Lundgren in Sony Pictures' "Missionary Man", and Julio just finished a leading role in "The Electric Mist" opposite Tommy Lee Jones, John Goodman and Peter Saarsgard, and also a part in the new Frank Darabont movie "The Mist" from a Steven King short story. It's great to see these guys and everyone else involved with the film keeping busy and doing good work.

This is looking like it's going to be a fun summer! :)

-Blake

On June 2nd set your Tivo's to record "Anna's Storm" on the Lifetime Movie Network. Sheree Wilson, the star of my recent film "Killing Down" is starring in this new movie-of-the-week.

Here's a link to the show on IMDb:
http://www.imdb.com/title/tt1029097/

-Blake

I pulled this article fromt the LA Times. A good read re: Web TV Series...

---------------------------------------

Eisner wants 90 seconds from you
The former Disney chief's super-short format soap 'Prom Queen' gets the hits.
By Margaret Wappler, Times Staff Writer
May 20, 2007

"PROM QUEEN," a flashy teen-aimed soap opera, wouldn't be out of place on the CW or MTV. Tribes of teens trade quips and barbs at their lockers. Snatches of rock or hip-hop underscore most of the drama, and there's a blink-of-an-eye edit about every three seconds.

But "Prom Queen" is an Internet show that according to Media Week has gotten nearly 3.7 million views on MySpace, the show's leading distributor. With 80 episodes, each clocking in at a lean 90 seconds, and a new episode airing every day until the show's finale June 14, "Prom Queen" shrinks and shellacs high-concept drama for the text-messaging-while-driving-and-eating-a-burger attention span. Episodes can also be downloaded to a video player or watched at Veoh, sponsor ElleGirl and old reliable YouTube.

What separates "Prom Queen" from scores of similar click-hungry projects is, of course, its financing, which comes courtesy of Michael Eisner's Internet production company, Vuguru.

Eisner was burned by Web-based entertainment during his tenure as chief executive at Disney — the company's disastrous Go Network was shut down in 2001 after losing millions — but those were different days. Speaking on a cellphone from a Manhattan sidewalk between meetings, the 65-year-old executive, who started his investment firm Tornante Co. in 2005, said that for the first year or so, the rewards would "be more in education than economic." The money, he hopes, will come later.

Eisner waved away any distinctions between Old Hollywood and New Media. "Old Hollywood at one point meant motion pictures, and then Old Hollywood had Jack Warner and Leonard Goldstein to make the first deal for Old Hollywood to make broadcast television. Old Hollywood and New Hollywood became one.

"It's simply new ways of doing things…. Old media, new media, it's just labels put on older people and young people. I don't think it really means there's a fine division."

Big Fantastic, the Santa Monica-based Internet video collective behind "Prom Queen," first caught Eisner's attention with their self-funded video podcast "Sam Has 7 Friends," the flagship vehicle for their 80-episode, 90-second format. The Valley-based murder mystery about a struggling actress finished with a strategically open-ended resolution in December.

"Like a lot of things in my life, I was attracted to the content," Eisner said. Internet entertainment, he finds, "is not that different than the beginnings of the Movie of the Week that Barry Diller and I were toying with in the '60s…. We were dealing with a new form in an old platform. Here's a new form in a new platform."

As technological hurdles are cleared, Eisner thinks the Internet will become a primary platform.

"Actors realize they can get discovered here," he said. "Is it better to do off-Broadway theater in New York or an Internet show based in L.A. that gets 8, 12 million views and opens the eyes of agents and TV producers?"

Although the financing for "Prom Queen" is fancy, you wouldn't know it from visiting the set at Valencia's College of the Canyons. On a Saturday in April, the shoot buzzed with the scrappy, hustler energy of a low-budget student movie. Production designer Helen Harwell's appropriately cheesed-out prom set with silver drapes, balloons and a disco ball was cobbled together from loans from vendors Harwell knows in the industry, she said. The nonunion actors, palpably giddy about being on a set — any set — joked around in tuxes and strappy dresses.

Big Fantastic's four director-writer-editor hybrids, Chris Hampel, Chris McCaleb, Ryan Wise and Douglas Cheney, all in their late 20s and early 30s, were multitasking to the extreme. Wise and his assistant director lighted the next scene, the crowning of the prom queen. Hampel and McCaleb, former assistant editors for "Miami Vice" director Michael Mann, were outside shooting video for one of the character's MySpace blogs. Cheney, tucked away in a classroom piled with clothes and makeup, was editing an episode on his Mac using Final Cut Pro.

Working with a 10-person skeleton crew, "Prom Queen" is all about running fast. The shoot knocked out four episodes in 12 hours. Filming from a 1 1/2 -page script per episode (whittled from a whopping three to four pages), they often take an episode from script to screen in five to six days, Hampel said. Each of the Big Fantastic members, who met at Washington State University, write and direct 20 episodes and maintain several MySpace pages for the characters.

"We want messages left from character to character on MySpace. We want to hit that viral energy," Hampel said. "It's about what we like to see on the Internet…. YouTube is filled with images like skateboards to the face, girls jumping on their beds. We want things to pop to the camera."

"Prom Queen" is loaded with of-the-minute high school behavior gleaned from Hampel's recordings of his teen brothers and their friends. Plots are heavy on texting, instant-messaging, updating MySpace pages, and recording video diaries with a hand-held recorder.

As an artistic experience, "Prom Queen" doesn't break many rules. The dialogue runs from smartly glib to perfunctory. The displayed rebellion is safe enough for Hot Topic. But to the show's credit, "Prom Queen" doesn't run from teen sex, though it's mostly rendered in soapy, steamy overtones.

BUT for all the tech savvy, mall-princess mentality and backseat relations, "Prom Queen" is still concerned with story continuity and character development. And perhaps surprisingly, it decently hangs together as a feature, bound by its dedication to the cliffhanger-a-minute style.

"You have to get people to watch more than one episode, so it's important that it works as a whole," Eisner said. "You start to understand the characters with the accumulation."

Hampel won't divulge how much Eisner invested in "Prom Queen," but he'll play ballpark: " 'Sam' was done for a little less than $50,000. We got more than that, but not much more."

"These guys are the most fiscally responsible people I've ever worked with," Eisner said. "We're going to make at least one or two more shows with them."

Eisner's support of Big Fantastic officially qualifies as a big break, but so far, Hampel said, "no one's upgraded their lives. We're just paying our rent."

-----------------------------------------

The show I'm developing we're looking at roughly 3 min. webisodes. 90 seconds almost seems TOO fast. Of course I realize that length is really for cell phone users since Verizon is a sponsor of the show.

And if Verizon wants to sponsor my show I'll make 90 second webisodes too. :)

-Blake

In between everything else I have going on I'm now developing a new web TV series.

Hold on, let me back up.

We just finished the screenplay for my next feature film and are just about to start sending the script out to actors, etc. And, we're of course fundraising.

Also, I'm continuing to deal with the foreign ditribution of my latest feature "Killing Down", and we're still shopping the movie for a domestic deal.

And of course I'm still doing my bread and butter corporate and commercial video projects.

So anyway, yes, I am going to tackle developing a new web series. I have a good idea. Have some cast in mind. Already working with a writer. Even have a mock-up poster design done (yeah, I really do - on almost all my features I typically work on a poster look way before the movie even exist - helps me be creative).

Why am I doing this? Do I really think it can be successful?

I get wrestless if I'm not working on some kind of narrative project. "Killing Down" has been done for nine months. The next movie (we hope) will shoot in the fall. I need something to do now.

Can it be a success? Have no idea. Odds are definitely stacked against it, but I'm willing to try.

I really like the idea of the Internet allowing fimmakers to be their "own distributor". I also like the idea of keeping control. And keeping costs down.

So we'll see. Right now we haven't even written word one on the page. We've been bouncing ideas off each other and thinking of show titles, etc.

All I'll say now is if it goes as planned it will not be your "typical" web based fare.

Well on second thought, it will have sex and guns, so maybe it will? ;)

-Blake

Found this cool little company called Cinetactics. They make very affordable matte boxes and LCD screen hoods for video cameras (mainly the medium to smaller sized ones).

I bought a screen hood from them and it's pretty impressive. I will likely be buying a matte box too.

Great stuff for the budget minded indie filmmakers out there...

Check them out!
www.cinetactics.com

-Blake

I'm talking the Movie AND the Dallas Mavericks.

Last night's game was awful. I can't believe the way the overall team performed, but especially Dirk. He choked big time. Not sure what the deal was? But yes, the Mavericks definitely looked "dazed and confused". And so did Mark Cuban.

Speaking of the Movie... I watched "Dazed and Confused" two nights ago and forgot how much I like that film. It's one of Linklater's best movies in my opinion. It has that "Slacker" feel of no real story, but somehow it moves forward and you care about the characters and "the story" - even though there isn't one per se.

Seems everytime I watch it too I notice another familiar face that wasn't familiar when the film came out in 1993. On this viewing I realized Cole Hauser played the bully opposite Ben Afleck. Never realized Cole was in the film. First few times I watched it I didn't realize Afleck was in the movie. All the actors just looked so different - partly because of their real age at the time (very young), and partly (or mainly) because of the time period of the film being set in 1976 (and their costumes/looks).

At any rate, I really like the movie and it reminds me a lot of my high school daze, or days. ;)

-Blake

P.S. Of course I graduated a decade later in the 1980s, but we still listened to a lot of the same tunes from Boston, ZZ Top, Deep Purple, etc. and a lot of us still dressed the same as they did...

So I'm sitting here right now watching the Dallas Mavericks play in Game 5 of the 1st round of the NBA playoffs (behind in the series 3-1). At one point we had a 21 point lead in the game. Now, we're behind by 6 points with only a few minutes left to play. I can't stand to watch. I've actually hit pause on the "Tivo" (satellite DVR). I'm debating on going to bed (it's almost 11:30pm anyway). Or, maybe I'll fast forward through the end. Can we pull it out? Not sure. I am pissed off for sure at how the Mavs are playing.

How does this post relate to filmmaking? Mark Cuban of course. He owns the Mavericks and HDNet, and HDNet Films, and 2929 Entertainment (with Todd Wagner). I'm watching this game in HD on TNT.

So there. I'm not completley off topic. I just had to vent. :)

-Blake

UPDATE: Well, we won! Yeah, I went ahead and hit play on the Tivo. We'll see you in Oakland...

This is a slighly off topic, but not really...

Spinal Tap is REUNITING for the Live Earth concert in London on July 7th. That's right, all the original members too... Nigel Tufnel, David St. Hubbins and Derek Smalls. All together once again.

And, with a new song for the event - "Warmer Than Hell".

"This is Spinal Tap" is one of my favorite all time movies. And the director Rob Reiner will also be at the reuninon show in London. AND, the coolest part, he's directed a new short film about the band and what they've been up to recently. The film is actually going to premiere next week at the Tribeca Film Festival in New York. Al Gore (of course, who else?) will be hosting the opening night events at Tribeca.

Read the full story at Yahoo!

I hope the new film goes to 11. ;)

-Blake

Okay, so I went to NAB in Vegas this year really to check out HD cameras and some accessories. I was very impressed with everything I saw from the prosumer models...

1. Canon HDV - I like the XH-A1
2. Sony HDV and their new XDCAM EX (competition for Panasonic's HVX)
3. JVC HDV - I like the HD110U

And all the way up the line...

1. Dalsa 4K
2. ARRI D-2
3. Grass Vally Viper
4. And of course RED ONE

I have been very skeptical of RED since it was announced last year. Why? I'm really not sure. It just seemed too good to be true that you could buy a 4K camera for $17,500. As it turns out, it was, for the price anyway. The body does only cost $17K, but then you need a hard drive, a viewfinder, an LCD monitor, a lense, etc., etc. - so really the $17K camera will end up costing around $35K - $40K. So, that does kinda suck. Well, not really.

You're still getting a 4K camera - a complete camera package - for the price of an old broadcast Betacam rig.

While it will knock a few indie folks out at this price point, the majority of people who understand what high-end stuff cost will be all over this thing.

Onto the RED booth at NAB... I mentioned I was skeptical, and I was - until I went to the NAB booth. My filmmaker friend David Maddox is a reservation holder (#600 something). He plopped down $1000 last year to pre-order an unknown, not yet even built camera. I wouldn't have done that. But he did, and I'm now very glad he did.

The line to just GET IN the RED booth was about an hour wait. It was busy to say the least. We waited and got inside and first thing we were shuttled into a theater. It seated about 40 people and had a 20 ft. or so wide screen. Everyone sat down and then Jim Jannard (the founder of RED and of course Oakley Sunglasses) introduced the screening and in no uncertain terms said that if anyone taped what we were about to see on a cell phone (or whatever) and posted it on YouTube they would get the "shit" beat out of them. So I calmly and every so quietly put my Razor phone back in my pocket... Jim is a pretty big dude.

The lights go dark and up pops a logo for "Wingnut Films" in New Zealand. I'm like, "What?". I thought this was "test footage". Well, as it turns out the "test footage" was a 12-minute short film directed by PETER JACKSON. Yeah, THE Peter Jackson of "Lord of the Rings" fame, etc. He evidentally asked Jim if he could shoot some footage and as it turns out it was an entire short film set during WWI with tanks, explosions, tons of gunfire, aerial shots of old bi-planes, etc. Think of the opening to "Saving Private Ryan" (without the shutter angle and all the blood) and that's how parts of it felt. It was GOOD. Oh, and it looked even better.

I was amazed at what I saw. This from a partially working set of "Alpha" cameras. The theater was projecting on a Sony 4K projector. It looked like Super 35mm film without the grain. I was impressed to say the least. VERY impressed.

On a side note, we ran into Shane Caruth at the booth too. If you don't know Shane, he directed the indie feature "Primer", which WON Sundance in 2004. If you haven't seen his movie definitely check it out. It's not for everyone, but it is good. And, it was shot in Dallas and he still lives in Dallas (gotta get those Texas plugs in you know). Shane is also a reservation holder. He's 200 or so behind my friend David. Shane set next to me and my other filmmaker friend Cliff, at the screening. I can only assume he has a project in mind for RED too?

Anyway, after the screening we checked out several "working" models and I was very surprised at the size of the fully loaded camera (see photo in previous post). It is BIG. Reminds me of a 35mm rig in many ways. This is not a small "run and gun" camera. But that is good. It looks and feels very sturdy. My feeling is it will stand up to the hard work of feature filmmaking duties.

David's RED camera is supposed to ship in August or September. I am planning to shoot a new feature this fall and I'm producing another one. I'm now highly considering shooting both of them with the RED camera.

Like I said, I'm now a true believer. Long live RED. :)

-Blake

P.S. Soon I'll post about Apple's new toys released at NAB. Very cool stuff AND they are working with RED as well.

I just got back from NAB and will soon post some commentary on the RED camera and also the Apple announcements. All very cool things for indie filmmakers!

-Blake

News from Hector Garcia, TXMPA President:

HB 1634 passed today unanimously. We are so thankful to Representative Dawnna Dukes and the co-sponsors of the bill. Next, the companion bill, SB 782, will be heard in the Senate. We will send updates on SB 782 as soon as those details are available.

So, what does this mean? Read the following piece from the Dallas Morning News...

------------------------------

Action, lights, cameras?

TV/MOVIES: House OKs bill that would fund incentives to bring
productions to state

12:00 AM CDT on Thursday, April 12, 2007

By KAREN BROOKS / The Dallas Morning News
kmbrooks@dallasnews.com

AUSTIN – After a cliffhanger in the Capitol last week led to a shaky premiere for Texas movie incentives, the House approved legislation Wednesday that would shore up an incentive program to bring films and TV productions to the state.

The idea of helping Texas compete with other states to bring star-studded, multimillion-dollar productions and cutting-edge video-game projects is popular, so it was never a question that lawmakers would eventually create the program.

The nail-biter was whether it would be funded.

But this year, the House budget includes $20 million in incentives for a program advocates say will cement the state's status as one of the best filming locations in the country.

Not to mention, supporters say, stop thousands of production jobs from moving to other states every year.

The bill, endorsed by the House on Wednesday on a voice vote with no objection, would let producers apply for reimbursements for a percentage of the money they spend in the state if they use mostly Texas crews and can illustrate, after the production has wrapped, what kind of economic benefit the project had for Texas.

"The movies that are being shot in Shreveport that are about Dallas, or in Manitoba that are about South Texas, or in New Mexico that are about El Paso – we will be able to bring all those productions back home," said Rep. Dawnna Dukes, the Austin Democrat who sponsored the bill.

After a final procedural vote today, the bill heads to the Senate, where an identical measure is awaiting a hearing in a committee.

Texas' TV, film and video production industry employs about 18,000 people each year but has lost 4,500 jobs to states with incentive programs. About $700 million in production budgets have gone somewhere else, and in the nearly five years since states began creating incentives to lure productions – some tax breaks, others reimbursements – Texas' share of the regional production market went from 85 percent
to 18 percent.

The incentive program was created in 2005 by Sen. John Carona, R-Dallas, and Rep. Peggy Hamric, R-Houston, and originally promised to reimburse up to 20 percent of wages paid during a production.

The program had plenty of fans, and it won legislative approval two years ago with no objection. But lawmakers provided no money. Gov. Rick Perry's office was pushing for $30 million in incentives to fund it but met resistance from budget writers who were trying to find a way to fund the state's public-school system and had local priorities they were trying to pay for.

Ms. Dukes' bill changed the existing, unfunded program to base it more on how much money the production brings into the state – forcing filmmakers to prove, after production wraps, that they had a positive impact on the state's economy before they can get any money from the program.

The change of heart in funding came when lawmakers began to realize that movies, TV shows and commercials want to come to Texas but can't always afford it. And that spending money to bring Texas to the silver screen – instead of New Mexico or Louisiana or any of the other nearly 40 states with incentive programs – wasn't a job welfare program.

But a political dispute threatened to hold the bill up last week. Once it was resolved, lawmakers agreed to provide $20 million for the program, with the assumption it can be expanded later.

The new, performance-based approach "is changing legislators' minds about the value of the industry to state coffers," said Austin lobbyist Lawrence Collins, a former budget director in the Capitol who is pushing for the program to be funded.

"The industry will have to perform," he said. "We've made no bones about that."

-----------------------------

Good stuff.

-Blake

Seems the Canon HV20 camera I bought is already starting to get some buzz.

Check out this link at DVInfo...
http://www.dvinfo.net/conf/showthread.php?p=657950

A DP out in LA rigged the camera with a Redrock M2 lens adaptor. He has some stills posted of the footage he shot in 1080p24.

I just can't overstate how impressive this is for an $1100 camera!

-Blake

I recently bought a new "consumer" HD camcorder. I put consumer in quotes because while yes, it is a one-chip camera, and no, it doesn't have XLR audio inputs or an HD-SDI connection - but the features it does have and the images it produces are up there with cameras many more times expensive than it - so I'd call it a "prosumer" camera for a "consumer" price.

The camera is the brand new Canon HV20. Click here for a link to the Canon website.

The main thing (for me anyway) that sets the camera apart from anything else remotely close to it is the 24p capabilities. This is the first camera in this price range offering TRUE 1080p24. This is not some "cinemode" or frame blending technique. This is real 24 frames per second. And I must say, it looks really, really good.

The camera also offers a myriad of other "pro" features like manual white balance, manual focus, manual audio adjustment, and manual exposure.

In the 24p mode (or even in the interlaced mode) you can switch between several different gamma settings to achieve a more "filmic" look. This again is very nice and has never been available on this level of camera. The 1080i video looks great too. Especially in bright sunshine.

Earlier I mentioned the camera only has one-chip. And this is true. But, don't think that means bad image quality. The chip is CMOS instead of a CCD. I won't get into the technical mumbo jumbo here, but I will say that all the major high-end HD cameras like the Viper use ONE-CHIP CMOS setups. The Viper was used most recently to shoot David Fincher's "Zodiac". Now I'm not saying my HV20 can produce those kinds of images. Not at all. What I am saying though is that one-chip cameras are a lot different than they used to be.

A few weeks ago I was in Mexico on a corporate shoot and our crew was shooting at the Pyramids at Tulum (near Playa Del Carmen). We had a JVC HD100 HDV camcorder and couldn't take that in (too big), so we had a second, smaller camera - a Sony VX2100. The officials at Tulum let us bring that in (for a $35 fee), but as we were shooting a security guard approached and said the camera was "too professional" (we had put a wireless mic on it) and they confiscated the tape. We fought it, but as of this writing it has not been returned (even though it was supposed to have been).

So why am I telling you this story? Well, obviously I wish I'd had my new Canon HV20. There were many tourist there with small palm sized cameras and NO ONE said a word to them. EVEN THOUGH the HDV ones will shoot a better image than most of the mid-sized SD cameras.

I personally own a JVC DV500 camera. I bought it in 2000. It has been a GREAT camera for corporate style work (and I shot my second feature on it too). The camera has three 1/2" chips. So it produces nice images. But I gotta tell you, I shot some test footage with the HV20 and I think it looks better. Of course it's HDV and not standard def DV, but the clarity, etc. was just plain better.

The JVC costs me roughly $6500 and the new Canon cost only $1100. Crazy.

Of course understand that I'm not planning on using this new Canon for my main camera on my pro gigs. I mainly bought it for scouting locations, shooting behind-the-scenes footage, and for cast/crew interviews for DVD extras, etc. I also might use it as a "B Camera" on a shoot or two to match in with my main camera.

I'm attending NAB next week looking for a new primary HD camera. I plan on taking the HV20 along to shoot some footage in Las Vegas. Maybe I'll shoot some HD video of my new HD camera? Isn't technology great? :)

-Blake

As mentioned in several earlier post, I am developing a New Movie and it's going pretty darn well I must say.

Tonight, the writer I've hired and working with on the screenplay, is flying in from LA (to Dallas) to meet with me and our Life Story person (we optioned the Life Story from someone to write this movie). The meeting is tomorrow night and hopefully it should be our last one before the final screenplay is done. Our goal is to have the script finished by May 1st. And we are on target.

Next up, we'll start sending it around to a few select actors and gauge their interest in the project. Would love to make an offer to a couple of folks we have in mind almost right away.

Other main thing we're going to do is have a big "fundraising party" and make an announcement (to the press) about the actual project. We've kept it pretty quiet thus far. Our development money has been secured (that's how we hired the writer, etc.), but our main finances are still being worked on.

IF, and that's a big IF things go well I'd love to be shooting in the early fall. We'll see though. This one is going to be a tough one to cast. You'll understand once you find out the subject matter. :)

-Blake