Mike Feifer's IndyFilmBlog

Just announced! DSLR kit for the Canon EOS D5 Mark II

I don't know about you guys but I get off on this stuff.  RedRock announced a new kit made specifically for the new Canon D5 Mark II DSLR camera so you can use the camera more efficiently as a movie camera.  This is the DSLR camera that shoots 1080 Hi-Def Video!  The kit comes with a follow focus (for precise repeatable focusing), a matte box (to hold your filters), rods and mounting hardware and more to connect the entire kit to your camera.  I still can't get over how cool it will be to shoot a movie on a Digital SLR camera.

http://redrockmicro.com/

Kodak or Fuji?

Well, what's the point of a blog if I don't begin to give my opinion on something to help you be a better independent filmmaker.  One of those questions that always comes up is...Kodak or Fuji?  Honestly, my first inclination is to say Hi-Def but often times that's not an option.  So, if you're committed to shooting 35mm film the question needs to be answered.  And, for me, the answer will always be Fuji.  Why?  Budget, of course!  A DP can give me their reasons until they're blue in their face why he or she likes the look of Kodak better but when it comes down to it...Fuji is significantly less expensive.  And, when you finish your film, most likely, you will do a DI (Digital Intermediate) which means that you can manipulate the image virtually any way that you want.  Also, Fuji's Eterna stocks look spectacular.  No, I'm not getting anything from Fuji out of this, I just want to make sure that you have the most money to make your film with.

So, let's say that you get a great deal on Kodak at .50 cents a foot (which is a very good deal) and you shoot 200,000 feet of film.  That's $100,000 just for the film!  And, what if you get a deal for Fuji around .40 cents a foot.  That's a savings of $20,000!  That's a lot of money for an independent.

Also, another option for saving money on film, which I'll discuss in another post, is shooting 3 perf...

"3-perf solves the film wastage problem by changing the camera gate and shutter mechanism so that each frame is 3 perforations long"
http://en.wikipedia.org/wiki/Negative_pulldown

which means that you must use a camera that's been re-engineered to bring the film through the gate with three perferorations per frame rather than the traditional four.  By shooting 3 perf you will generally shoot 20% less film.  The only major draw back is that cameras set up for 3perf can be more expensive to rent.

The 30 Mile Zone

As an independent filmmaker this is a very important term to know and understand.  The "30 mile zone" or the "Studio Zone" is a circular area around Los Angeles that delineates the furthest areas that a union member can travel without having to be further compensated.

The center of the zone is at the intersection of La Cienaga and Beverly Blvd while the radius of the zone is 30 miles out from that center point.  If you choose a location that is outside of the zone you will have to pay a union member from the moment they leave their home.  And, you will also have to offer them a place to stay overnight along with per diem.

Surprisingly, the zone actually covers a huge area from Long Beach to Valencia (South to North) and parts of Malibu to San Dimas (West to East).  And, the zone is "as the crow flies" so a curvy road up to Angeles Crest Forest won't particularly work against you.

In any case, the zone is very good tool to use whether you're shooting union or not.  Working a crew twelve hours can create a lot of legal liability that you have to be aware of.  Sticking to the union rules will help to minimize the potential labor dangers.

Hint: One way to deal with the zone is to find a place to park cars near the edge of the zone and drive crew or actors from that location over the edge of the zone to your shooting location.

Location: Lincoln Heights Jail

Location of the Day-Lincoln Heights Jail

The jail, which is was an actual city prison that closed in 1964, is owned by the City of Los Angeles and available to rent as a film location through FilmLA.

There is no location fee, although, you will need a General Services police officer and a FilmLA lisason.  Usually a 12 hour day will cost approximately $1000 which is a small price to pay to have virtually an entire building to yourself.  Also, there is plenty of parking for crew and equipment so you won't have to rent any other lots.

SAG: Ultra Low Budget Agreement

SAG offers a very good agreement for using SAG actors.  It's called the Ultra Low Budget Agreement.  The agreement allows you to hire SAG actors for $100 a day.  Also, you can still hire non union actors and extras in your feature.  Don't forget that the $100 is for an eight hour day so you'll have to pay overtime.  And, you'll have to pay state and federal taxes and SAG pension and health.  It's still, though, their best deal.

Check out SAG's indie web site for more information: http://sagindie.com/

Locations: Linda Vista Hospital

One of my favorite locations to shoot is the infamous Linda Vista Hospital.  Originally it was called the Santa Fe Railroad Hospital and was owned by Howard Hughes.  In fact, Howard Hughes once recovered there after one of his near death plane crashes.

Linda Vista Hospital is interesting because it has so many different looks.  Although, it can't play as a contemporary hospital it works great for period pieces or haunted hospitals.  I've also used it as a restaurant, school, police station, prison, and more.  There's also a boiler room that's dark and almost gothic.  Just be aware that if you shoot in the boiler room you'll need a Fire Safety Officer there with you and they're not cheap.  Linda Vista Hospital does have plenty of crew and equipment parking and Francis, who manages the location, is extremely accommodating.  In fact, if you can't afford honeywagons for your cast Francis will help you with spare rooms in the nurse's dormitory just next door.

The link below has some good pictures...

http://www.abandonedbutnotforgotten.com/linda_vista_hospital.htm

Equipment of the Day: Apple Box

As one of the most ubiquitous and useful pieces of equipment on a film set Apple Boxes are used by anything that needs propping-up or supporting temporarily, such as: propping-up furniture, light-stands, leveling camera dolly track; or providing temporary seats, workbenches, and mini-ladders.

Often the need arises to make an actor appear taller, either because of their height, or because of the way a particular shot is composed, in this use Apple Boxes are jokingly referred to as "Man Makers".

Job of the Day: Gaffer

The following is a brief description of what a Gaffer does on a movie set.

A gaffer in the motion picture industry is the head of the electrical department, responsible for the execution (and sometimes the design) of the lighting plan for a production. In British English the term gaffer is long established as meaning an old man, or the foreman of a squad of workmen. The term was also used to describe men who adjusted lighting in English theatre and men who tended street lamps, after the "gaff" they used, a pole with a hook on its end[citation needed].
Sometimes the gaffer is credited as Chief Lighting Technician (CLT).
Experienced gaffers can coordinate the entire job of lighting, given knowledge of the time of day and conditions to be portrayed, managing resources as broad as electrical generators, lights, cable, and manpower. Gaffers are responsible for knowing the appropriate color of gel (plastic sheeting) to put on the lights or windows to achieve a variety of effects, such as transforming midday into a beautiful sunset. They can re-create the flicker of lights in a subway car, the motion of light inside a turning airplane, or the passage of night into day.

Usually, the gaffer works for and reports to the director of photography (the DP or DOP) or, in television, the Lighting Director (LD). The DP/LD is responsible for the overall lighting design, but he or she may give a little or a lot of latitude to the gaffer on these matters, depending on their working relationship. The gaffer works with the key grip, who is in charge of some of the equipment related to the lighting. The gaffer will usually have an assistant called a best boy and, depending on the size of the job, crew members who are called "electricians", although not all of them are trained as electricians in the usual sense of the term. Colloquially they are known as 'sparks'.

Many gaffers are expected to own a truck complete with most basic lighting equipment and then rent extra lighting equipment as needed.

Sony EX3-The next great low budget camera!

1080/24p/Interchangeable Lenses! What more could you ask for. I'm shooting my next low budget indy on this camera!

The PMW-EX3 compact camcorder with an interchangeable lens system incorporates three ½-inch type Exmor™ Full HD CMOS sensors, each with an effective pixel count of 1920 x 1080, delivering stunning-quality HD images in 1080P, 720P, and 1080i HD resolutions. A rich variety of features for creative shooting are incorporated into this camcorder such as “Slow & Quick Motion”, which is also commonly known as “over-cranking” and “under-cranking”, selectable gamma curves, slow-shutter, interval recording and Picture Profile™ feature. Additionally, the PMW-EX3 offers a convenient remote-control and multi-camera operation capability, which allows use with high-end camera systems.

http://pro.sony.com/bbsc/ssr/mkt-government/mkt-governmentvideoproduction/product-PMWEX3/

American Film Market is back again!

Once again the American Film Market will be on at the Loews Hotel in Santa Monica.

November 5th-12th

The business of independent motion picture production and distribution - a truly collaborative process - reaches its peak every year at the American Film Market. Over 8,000 industry leaders converge in Santa Monica for eight days of deal-making, screenings, seminars, red carpet premieres, networking and parties. Participants come from over 70 countries and include acquisition and development executives, agents, attorneys, directors, distributors, festival directors, financiers, film commissioners, producers, writers, the world’s press all those who provide services to the motion picture industry.

http://www.ifta-online.org/afm/home.asp