Wednesday, April 14, 2010
The ICLONE software, by REALLUSION, is the newer kid on the block with 3D real-time animation. ICLONE is so much simpler to use for animating that it puts POSER and DAZ to shame. It has some interesting features that will definitely appeal to a certain segment of the populous. This intuitive and affordable ensemble, will have its place among filmmakers, even if it does not producing high-end visual effects for professionals. ICLONE has tools that can aide producers in storyboarding, set layout and lights. Ultimately, this software will be used for creating Avatars, for general online use. The models have a low poly count, and are great for video game apps, or animation for non-realistic cartoonist avatars. The facial texturing is not set up for realistic rendering for photo-reality. Nor does it seem to be able to export meshes. Its fun to navigate the FREE TRIAL, and get an idea of what ICLONE has to offer. It will not replace DAZ or POSER users, but I could see a lot of end users enjoying the application.
Wednesday, July 7, 2010
Sunday, July 4, 2010
Shadow of Crime - Our Trailer / First Day of Shoot Story
In celebration of being Independent filmmakers on Independence Day, we are going to finally get our trailer up on our blog.. :D
We had a few motivations for producing a crime film. First off, we enjoy crime films. We enjoy a lot of types of films, but we were watching a rash of crime films and thought it would be a good start. We had been watching some of our faves including: Snatch, Fight Club, Lock Stock and Two smoking Barrels, Boondock Saints, Once upon a time in Mexico, Heat, and Ichi the Killer. The stories in all of these films are exceptional, stylish and very fast paced. With a low budget, your limited on the devices you can use to make the production happen. The convenience of being able to write your own screenplay is that you can assess what resources you have and work with those while writing your production. Not only did we have a bunch of ideas for a story, but we had a network of awesome actors that were ready to go for our story and we had worked with some of them on a short we produced and that went very well..titled "The Difference".. Producing a crime drama story can be very cost effective for a low budget production...especially with a good group of actors on hand...good story...and accessible locations.
SO here we are....LIGHTS..CAMERA.....ACTION!!!!
USING THE CANON HV20 TO SHOOT OUR FEATURE FILM
We decided to use the CANON HV20 to shoot our film “Shadow of Crime” for one
reason, it produced a much better quality image than MiniDV. As matter of fact at the time it produced the best quality image I’d seen for a camera at the $799 price range ever. We did a few practice shots with the HV20, and brought those into our NLE which was Adobe PREMIER CS3. At that time PREMIERE CS3 did not have a preset for a 24p timeline for HDV, so we made our own. We set the timeline to be a 24p, at HDV’s 1440x1080 with a1.33 aspect ratio. It worked well. That gave us the necessary confidence to go ahead and start the process of film making.
This part will explain all the equipment we used along with the HV20. We built two camera supports out of PVC one was based on the FIG-RIG, the other was based on the GLIDE CAM. These worked well on the light weight HV20, and I was very happy that we constructed these. They performed very well through out the film, we needed to keep a wrench around, because the bolts keeping the section that held the camera on kept coming loose, but it wasn’t that bad. We used an old tripod I Had left over from when I used to do a lot of shooting with my Arri SB 16mm. It was a bit heavy and over kill for the HV20, but we already had it. WE BOUGHT 3 Altman 650 Fresnel 165Q for $147 a piece. We already had 2 Ellipsoidal focus spot, two soft edge boxes, 6 halogen work-lights, so we were set on lighting. FOR SOUND we already had the AZDEN SGM-2X Shotgun Microphone, but we decided to buy a second for back up, also for those times when we would need two MIC’s. We decided on the Azden SGM-1X Shotgun Microphone $169. We bought a 2XLR to 3.5mini Jack adaptor$10. It was a “Y” shape. Two mono XLR’s to the stereo mini jack. The HV20 handle this fine. We didn’t need a Beachtek or Juicelink. We used the camera’s internal manual microphone adjustment to control the sound. As far as I know, before the HV20 no other consumer camera had this feature, and they handled sound poorly even if they had an external MIC jack. We used a telescopic paint pole, and a brush holder that attached to the microphones integrated shock-mount , that’s what I love about AZDEN these Mic’s come with their own shock- mounts. We used the Sony DVM-63HDR tapes, they were more expensive than regular miniDV tapes, but we had a few DROP OUT on our test on the Sony DVM60PRR, so we switched to the DVM-63HDR’s and we never had another DROP OUT through out the film. We shot 40 tapes. Some we filled up the full length of 63minutes, most were around 45min. WE shot a lot of footage 1825 minutes, and the film was 99min long.
Now back to the camera, our first day of shooting was August 24, 2008 at the MGM Grand Casino Parking lot. We had 6 pages of the screenplay to shoot, we had from 1pm to 10pm, at least that’s what we told MGM Grand, “We should be done by 10pm or so” They shut down the whole 8th floor of the parking garage for us. The first scene we shot was of a MOB BOSS that goes into the parking garage elevator and is killed by one of the hit men. We set up two 750w Altman’s to throw some light around in the Elevator waiting area. I set the camera to 24p, and switched over to Cinemode in the MGM Grand Casino Parking lot. We had 6 pages of the screenplay to shoot, we had from 1pm to 10pm, at least that’s what we told MGM Grand, “We should be done by 10pm or so” They shut down the whole 8th floor of the parking garage for us. The first scene we shot was of a MOB BOSS that goes into the parking garage elevator and is killed by one of the hit men. We set up two 750w Altman’s to throw some light around in the Elevator waiting area. I set the camera to 24p, and switched over to Cinemode. Then took a few passes at the entrance of the Elevator Waiting area door. It was 3pm, and daylight was coming in from all over. This is supposed to be a night scene. So I was forced to shoot from inside the elevator waiting inside out, and would have to go back later and get the approaching mob boss when it was dark. We pulled a bunch of our cars up near the entrance to the elevator to block some of the Sun. We set up inside the waiting area. The actor practiced his move through the doors and up to the elevator. It looked good. The first shot was ready to shoot. I plugged in the 3.5mini jack Microphone, and all I heard was hiss. “OH SHIT, IT’S BROKEN! Damn, I should not have tried to use a consumer camera to shoot a film”. I said to myself, “Settle down, it’s a connection”. I checked all the connections, no change. Now I’m thinking “All these people, our first day, I’m going to look really bad, the actors are going to quit, MGM won’t let us back to shoot, I’m an ass.” Everybody is looking at me, like what’s wrong. Suddenly, my Cell Phone rings, it’s an actor calling for direction. I answer the cell, tell everybody I’ll be right back. I walk over to my camera bag and grab it, and go out the elevator, and sit in my car. I tell the actor how to get there in a minute or so. Leave the phone to my ear and go over the HV20 manual real quick. Hoping everybody thinks I’m talking to some one real important, and will be right back. “This didn’t happen in the test we did, but those were two months ago.” I’m forgetting something or the camera is broken. What am I going to do if it’s broken? I read through the microphone stuff then get to the head phones. As Sweat drops off my forehead, and drops onto the manual I remember, as I read, the head phone is plugged into the same jack as the AV in/out, and I have to switch this over. I close the Manuel wipe my forehead and head over to the camera. The whole time I’m praying “PLEASE BE IT, PLEASE BE IT” as a walk to the camera. I reach the camera, click through the menu, and hit the switch that turns it from AV to HEADPHONES, and the hiss is gone. I smile, and look up to everybody. Sorry about that, are we ready? Everybody says “yes” meaning they have been. The actor takes his position. I hit record, then yell “action”. He enters the elevator, and the sound was crystal clear. Using the manual adjustment’s I had perfect sound. I never had another problem with the HV20 again. We shot all six pages, but we didn’t get out of there until 1am. The ability to change exposures on the fly using the joystick on the back was great. The weight and size of the camera was great for getting into tight places, or hand holding for very long periods of time. We shot some weird angle stuff that would have been impossible even with the XH-A1, the HV20’s bigger brother. The two microphone trick, using the “Y” adapter worked great. We never used a mixer through the whole film.
The HV20 doesn’t have as great a low light capabilities as a three chip HDV camera would have or even a miniDV with three chips, but we knew that wouldn’t bother us, because FILM is the same way.
We only had one other problem, and that was with trying to shoot using the AC adapter we kept getting a slight buzz, recorded to the tape. We fixed it by taking a break and letting the camera charge for 45min, and we finished out the day on battery.
ANY QUESTIONS ABOUT THE HV20 or HV30, ask us..we will do our best to help!
We had a few motivations for producing a crime film. First off, we enjoy crime films. We enjoy a lot of types of films, but we were watching a rash of crime films and thought it would be a good start. We had been watching some of our faves including: Snatch, Fight Club, Lock Stock and Two smoking Barrels, Boondock Saints, Once upon a time in Mexico, Heat, and Ichi the Killer. The stories in all of these films are exceptional, stylish and very fast paced. With a low budget, your limited on the devices you can use to make the production happen. The convenience of being able to write your own screenplay is that you can assess what resources you have and work with those while writing your production. Not only did we have a bunch of ideas for a story, but we had a network of awesome actors that were ready to go for our story and we had worked with some of them on a short we produced and that went very well..titled "The Difference".. Producing a crime drama story can be very cost effective for a low budget production...especially with a good group of actors on hand...good story...and accessible locations.
SO here we are....LIGHTS..CAMERA.....ACTION!!!!
USING THE CANON HV20 TO SHOOT OUR FEATURE FILM
We decided to use the CANON HV20 to shoot our film “Shadow of Crime” for one
reason, it produced a much better quality image than MiniDV. As matter of fact at the time it produced the best quality image I’d seen for a camera at the $799 price range ever. We did a few practice shots with the HV20, and brought those into our NLE which was Adobe PREMIER CS3. At that time PREMIERE CS3 did not have a preset for a 24p timeline for HDV, so we made our own. We set the timeline to be a 24p, at HDV’s 1440x1080 with a1.33 aspect ratio. It worked well. That gave us the necessary confidence to go ahead and start the process of film making.
This part will explain all the equipment we used along with the HV20. We built two camera supports out of PVC one was based on the FIG-RIG, the other was based on the GLIDE CAM. These worked well on the light weight HV20, and I was very happy that we constructed these. They performed very well through out the film, we needed to keep a wrench around, because the bolts keeping the section that held the camera on kept coming loose, but it wasn’t that bad. We used an old tripod I Had left over from when I used to do a lot of shooting with my Arri SB 16mm. It was a bit heavy and over kill for the HV20, but we already had it. WE BOUGHT 3 Altman 650 Fresnel 165Q for $147 a piece. We already had 2 Ellipsoidal focus spot, two soft edge boxes, 6 halogen work-lights, so we were set on lighting. FOR SOUND we already had the AZDEN SGM-2X Shotgun Microphone, but we decided to buy a second for back up, also for those times when we would need two MIC’s. We decided on the Azden SGM-1X Shotgun Microphone $169. We bought a 2XLR to 3.5mini Jack adaptor$10. It was a “Y” shape. Two mono XLR’s to the stereo mini jack. The HV20 handle this fine. We didn’t need a Beachtek or Juicelink. We used the camera’s internal manual microphone adjustment to control the sound. As far as I know, before the HV20 no other consumer camera had this feature, and they handled sound poorly even if they had an external MIC jack. We used a telescopic paint pole, and a brush holder that attached to the microphones integrated shock-mount , that’s what I love about AZDEN these Mic’s come with their own shock- mounts. We used the Sony DVM-63HDR tapes, they were more expensive than regular miniDV tapes, but we had a few DROP OUT on our test on the Sony DVM60PRR, so we switched to the DVM-63HDR’s and we never had another DROP OUT through out the film. We shot 40 tapes. Some we filled up the full length of 63minutes, most were around 45min. WE shot a lot of footage 1825 minutes, and the film was 99min long.
Now back to the camera, our first day of shooting was August 24, 2008 at the MGM Grand Casino Parking lot. We had 6 pages of the screenplay to shoot, we had from 1pm to 10pm, at least that’s what we told MGM Grand, “We should be done by 10pm or so” They shut down the whole 8th floor of the parking garage for us. The first scene we shot was of a MOB BOSS that goes into the parking garage elevator and is killed by one of the hit men. We set up two 750w Altman’s to throw some light around in the Elevator waiting area. I set the camera to 24p, and switched over to Cinemode in the MGM Grand Casino Parking lot. We had 6 pages of the screenplay to shoot, we had from 1pm to 10pm, at least that’s what we told MGM Grand, “We should be done by 10pm or so” They shut down the whole 8th floor of the parking garage for us. The first scene we shot was of a MOB BOSS that goes into the parking garage elevator and is killed by one of the hit men. We set up two 750w Altman’s to throw some light around in the Elevator waiting area. I set the camera to 24p, and switched over to Cinemode. Then took a few passes at the entrance of the Elevator Waiting area door. It was 3pm, and daylight was coming in from all over. This is supposed to be a night scene. So I was forced to shoot from inside the elevator waiting inside out, and would have to go back later and get the approaching mob boss when it was dark. We pulled a bunch of our cars up near the entrance to the elevator to block some of the Sun. We set up inside the waiting area. The actor practiced his move through the doors and up to the elevator. It looked good. The first shot was ready to shoot. I plugged in the 3.5mini jack Microphone, and all I heard was hiss. “OH SHIT, IT’S BROKEN! Damn, I should not have tried to use a consumer camera to shoot a film”. I said to myself, “Settle down, it’s a connection”. I checked all the connections, no change. Now I’m thinking “All these people, our first day, I’m going to look really bad, the actors are going to quit, MGM won’t let us back to shoot, I’m an ass.” Everybody is looking at me, like what’s wrong. Suddenly, my Cell Phone rings, it’s an actor calling for direction. I answer the cell, tell everybody I’ll be right back. I walk over to my camera bag and grab it, and go out the elevator, and sit in my car. I tell the actor how to get there in a minute or so. Leave the phone to my ear and go over the HV20 manual real quick. Hoping everybody thinks I’m talking to some one real important, and will be right back. “This didn’t happen in the test we did, but those were two months ago.” I’m forgetting something or the camera is broken. What am I going to do if it’s broken? I read through the microphone stuff then get to the head phones. As Sweat drops off my forehead, and drops onto the manual I remember, as I read, the head phone is plugged into the same jack as the AV in/out, and I have to switch this over. I close the Manuel wipe my forehead and head over to the camera. The whole time I’m praying “PLEASE BE IT, PLEASE BE IT” as a walk to the camera. I reach the camera, click through the menu, and hit the switch that turns it from AV to HEADPHONES, and the hiss is gone. I smile, and look up to everybody. Sorry about that, are we ready? Everybody says “yes” meaning they have been. The actor takes his position. I hit record, then yell “action”. He enters the elevator, and the sound was crystal clear. Using the manual adjustment’s I had perfect sound. I never had another problem with the HV20 again. We shot all six pages, but we didn’t get out of there until 1am. The ability to change exposures on the fly using the joystick on the back was great. The weight and size of the camera was great for getting into tight places, or hand holding for very long periods of time. We shot some weird angle stuff that would have been impossible even with the XH-A1, the HV20’s bigger brother. The two microphone trick, using the “Y” adapter worked great. We never used a mixer through the whole film.
The HV20 doesn’t have as great a low light capabilities as a three chip HDV camera would have or even a miniDV with three chips, but we knew that wouldn’t bother us, because FILM is the same way.
We only had one other problem, and that was with trying to shoot using the AC adapter we kept getting a slight buzz, recorded to the tape. We fixed it by taking a break and letting the camera charge for 45min, and we finished out the day on battery.
ANY QUESTIONS ABOUT THE HV20 or HV30, ask us..we will do our best to help!
DIY - FLESH CARVINGS OR BLOODY TATToo'S SPECIAL FX
FLESH CARVINGS OR BLOODY TATTOO's SPECIAL FX CARVINGS DIY
Have you ever wanted to simulate a scalpel carving in the skin for Halloween or a shot for a film? This is a DIY flesh carving that you can create wherever and whatever shape desired. The materials are simple and cost effective and SAFE.
Materials:
- Grease paint
(red, blue, white, flesh tone 
)
- Blood Paste
or thick fake blood (we posted fake blood recipes on our blog)
- Detail brushes (small brush more detail)
- Wide flat brush (blending)
- Makeup Sponges
- Makeup remover
(for mistakes, and or clean up)
HOW TO:
Mix red paint and fake blood proportion ratios 1:1
Take small detail brush and draw basic shape using straight lines.
Note: if you taper lines, it will come across more like a razor blade had cut the skin..
Make sure you use blunt cuts so it’s not blended or smooth. This helps it appear like a cut. Next: mix the white and flesh tone paint to recreate a flesh tone one shade lighter then subjects. It will be so it looks as if when you scratch your skin it looks a bit lighter…Apply the lighter flesh tone with the wider flat tipped brush using light longer strokes… in areas where you want the skin to look like it was lightly scratched (a scratch will have different depths. The deeper the scratch the darker the color….we are using a few shades to create the illusion of depth on a flat surface), and make sure it is on the outside of the carving. Not inside, unless you’re doing something specific that would need an inside skin scratch... A recommendation is near corners where two detail red lines meet... or at the end of the red detail lines on outside edge.
Next Take the blue paint and add just a very little drop to red / fake blood combo to darken it….After it is mixed you will take a sponge and add a very little by dabbing the sponge around cuts where you wish to show more depth for the wound…..preferably at the corners where the knife or tool would have started and stopped….This will give it the illusion for a tad more depth..(NOTE: just a lil blue is needed. The blue should fade into a darker red color..you don’t want to see BLUE..but the darker red tone )
Now, to give the carving the extra varying depth….use the detail brush and apply just the blood to it..you will want to apply varying amounts of blood paste or fake blood along the carving lines..the areas you apply the blood will have more depth ..
And as always be creative..you may figure out a better way by trying these techniques~! BTW: Ben Nye is a very Professional brand, it is the brand we try to use and it has been a standard in the industry for years..it is not the only brand out there and it is in the medium price range but its a excellent product and gives excellent results. You can purchase brushes anywhere but be careful about to inexpensively made ones the hairs on the brush fall off into the paint applied on your subject and its very very very difficult & annoying to remove without affecting your applied wounds. Grease Paint is thick and it pulls on the brush more then other types of paint.
Final sealer
: apply this on top when you are finished. This will set your work and keep it from running and melting off during your shoot.
*** DON’T FORGET, LESS IS MORE, YOU CAN ALWAYS ADD MORE ITS HARDER TO REMOVE IT AND REDO IT ****
Have you ever wanted to simulate a scalpel carving in the skin for Halloween or a shot for a film? This is a DIY flesh carving that you can create wherever and whatever shape desired. The materials are simple and cost effective and SAFE.
Materials:
- Grease paint
(red, blue, white, flesh tone )- Blood Paste
or thick fake blood (we posted fake blood recipes on our blog)- Detail brushes (small brush more detail)
- Wide flat brush (blending)
- Makeup Sponges
- Makeup remover
(for mistakes, and or clean up)HOW TO:
Mix red paint and fake blood proportion ratios 1:1
Take small detail brush and draw basic shape using straight lines.
Note: if you taper lines, it will come across more like a razor blade had cut the skin..
Make sure you use blunt cuts so it’s not blended or smooth. This helps it appear like a cut. Next: mix the white and flesh tone paint to recreate a flesh tone one shade lighter then subjects. It will be so it looks as if when you scratch your skin it looks a bit lighter…Apply the lighter flesh tone with the wider flat tipped brush using light longer strokes… in areas where you want the skin to look like it was lightly scratched (a scratch will have different depths. The deeper the scratch the darker the color….we are using a few shades to create the illusion of depth on a flat surface), and make sure it is on the outside of the carving. Not inside, unless you’re doing something specific that would need an inside skin scratch... A recommendation is near corners where two detail red lines meet... or at the end of the red detail lines on outside edge.
Next Take the blue paint and add just a very little drop to red / fake blood combo to darken it….After it is mixed you will take a sponge and add a very little by dabbing the sponge around cuts where you wish to show more depth for the wound…..preferably at the corners where the knife or tool would have started and stopped….This will give it the illusion for a tad more depth..(NOTE: just a lil blue is needed. The blue should fade into a darker red color..you don’t want to see BLUE..but the darker red tone )
Now, to give the carving the extra varying depth….use the detail brush and apply just the blood to it..you will want to apply varying amounts of blood paste or fake blood along the carving lines..the areas you apply the blood will have more depth ..
And as always be creative..you may figure out a better way by trying these techniques~! BTW: Ben Nye is a very Professional brand, it is the brand we try to use and it has been a standard in the industry for years..it is not the only brand out there and it is in the medium price range but its a excellent product and gives excellent results. You can purchase brushes anywhere but be careful about to inexpensively made ones the hairs on the brush fall off into the paint applied on your subject and its very very very difficult & annoying to remove without affecting your applied wounds. Grease Paint is thick and it pulls on the brush more then other types of paint.
Final sealer
: apply this on top when you are finished. This will set your work and keep it from running and melting off during your shoot.*** DON’T FORGET, LESS IS MORE, YOU CAN ALWAYS ADD MORE ITS HARDER TO REMOVE IT AND REDO IT ****
Saturday, July 3, 2010
DIY- Fake Blood Recipes
Fake Blood Recipes - DIY
What's a Horror movie without blood for special affects? Fake blood is available in novelty and party supply stores but making it yourself is fun -- and you'll see some pretty realistic results.
Here are some basic recipes for you to make your own Horror films come to life! Real blood is reddish brown so you may need to alter the amounts of ingredients for the desired affect. Keep in mind, fake blood is messy and some of these recipes may leave stains -- (use with caution).
DIY Fake Blood
1 c. Karo Syrup
1 Tbsp Water
2 Tbsp Red Food Coloring
1 tsp Yellow Food Coloring
Mix together in a mixing bowl and you're done. Try adding blue or yellow for a different shade.
Chocolate Fake Blood:
This is not good for close ups, yet it is good for splattering and spraying out of the mouth FX..since its safe...and it looks good when it stains shirts..for that nice for that nice dried crusty blood look! If you use Koscher salt and mix it in there until the salt disappears..it turns out looking like a scab! This is better then using Karo for scabs because it drys quicker.
1/2 c. Warm Water
4 Tbsp Corn Syrup
1 Tbsp Powdered Cocoa
1 tsp Red Food Coloring
Blend the water and cocoa together and then add the rest of the ingredients. Let the concoction sit for awhile and skim the bubbles off of the top. Add a couple of drops of yellow food coloring if you're not satisfied.
Simple Fake Blood:
Dark Corn Syrup / Karob
Red Food Coloring
Milk - Optional
However much fake blood is how much corn syrup you'll need. Pour it into a bowl and mix in some red food coloring. Add some blue if you like. Adding a small amount of milk will make the blood appear darker and thicker.
Realistic Blood Recipe:
2/3 c. Corn Syrup
1/3 c. Warm Water
5 Tbsp Corn Starch
4 tsp red food coloring
1 Tbsp Powdered Cocoa
2 drops of green or yellow food coloring
Mix the corn starch with the water in a large mixing bowl. Stir in the corn syrup. Add the food coloring slowly, checking for color.
Gravy Blood:
Gravy Granules
Red Food Coloring
HOT Water
The directions are EASY, all you do is make the gravy up as you would normally but if you feel like it, you can make it a bit thicker, then add the red food coloring. It's up to you how much you add but too much will stain as it will not have been diluted enough. YUM!
Blood for Spider Veins:
This is good for spidering (VEINS):
Plain Flour
Water
Red Food Coloring
1 tsp. of Coffee
Boil the water on the stove, then sieve in the flour, making sure you get ALL of the lumps out. The quantity of ingredients aren't important, it just depends on how much you want. Once you have the flour mixed nicely into the water it should look nice and thick. Next, add the red food coloring.
You will notice that it's a ghastly, bright red colour but don't worry this is why we add the coffee. It is important that when you add the coffee to make sure the mixture is hot, otherwise it wont dissolve, but up until adding the coffee can be done in a ordinary mixing jug or pan.
Palmolive Imitation Blood:
You can also make fake blood with Palmolive dish soap, (it doesn't matter how much you put in) it depends on how much blood you want! Add red berry powdered Kool-Aid!
Or you could use what TOM SAVINI USED IN DAY OF THE DEAD(we don't recommend this for sanitary reasons)...in the shots where the zombies are not eating people..they used real calves blood and intestines..YUCK! :) During the Shoot, they left the set and the refrigerator went out ..which left the REAL blood and gutz nasty...they still used them for the scenes..and look on some of the actors faces during those shots..THAT WAS NOT ACTING! lol...
What's a Horror movie without blood for special affects? Fake blood is available in novelty and party supply stores but making it yourself is fun -- and you'll see some pretty realistic results.
Here are some basic recipes for you to make your own Horror films come to life! Real blood is reddish brown so you may need to alter the amounts of ingredients for the desired affect. Keep in mind, fake blood is messy and some of these recipes may leave stains -- (use with caution).
DIY Fake Blood
1 c. Karo Syrup
1 Tbsp Water
2 Tbsp Red Food Coloring
1 tsp Yellow Food Coloring
Mix together in a mixing bowl and you're done. Try adding blue or yellow for a different shade.
Chocolate Fake Blood:
This is not good for close ups, yet it is good for splattering and spraying out of the mouth FX..since its safe...and it looks good when it stains shirts..for that nice for that nice dried crusty blood look! If you use Koscher salt and mix it in there until the salt disappears..it turns out looking like a scab! This is better then using Karo for scabs because it drys quicker.
1/2 c. Warm Water
4 Tbsp Corn Syrup
1 Tbsp Powdered Cocoa
1 tsp Red Food Coloring
Blend the water and cocoa together and then add the rest of the ingredients. Let the concoction sit for awhile and skim the bubbles off of the top. Add a couple of drops of yellow food coloring if you're not satisfied.
Simple Fake Blood:
Dark Corn Syrup / Karob
Red Food Coloring
Milk - Optional
However much fake blood is how much corn syrup you'll need. Pour it into a bowl and mix in some red food coloring. Add some blue if you like. Adding a small amount of milk will make the blood appear darker and thicker.
Realistic Blood Recipe:
2/3 c. Corn Syrup
1/3 c. Warm Water
5 Tbsp Corn Starch
4 tsp red food coloring
1 Tbsp Powdered Cocoa
2 drops of green or yellow food coloring
Mix the corn starch with the water in a large mixing bowl. Stir in the corn syrup. Add the food coloring slowly, checking for color.
Gravy Blood:
Gravy Granules
Red Food Coloring
HOT Water
The directions are EASY, all you do is make the gravy up as you would normally but if you feel like it, you can make it a bit thicker, then add the red food coloring. It's up to you how much you add but too much will stain as it will not have been diluted enough. YUM!
Blood for Spider Veins:
This is good for spidering (VEINS):
Plain Flour
Water
Red Food Coloring
1 tsp. of Coffee
Boil the water on the stove, then sieve in the flour, making sure you get ALL of the lumps out. The quantity of ingredients aren't important, it just depends on how much you want. Once you have the flour mixed nicely into the water it should look nice and thick. Next, add the red food coloring.
You will notice that it's a ghastly, bright red colour but don't worry this is why we add the coffee. It is important that when you add the coffee to make sure the mixture is hot, otherwise it wont dissolve, but up until adding the coffee can be done in a ordinary mixing jug or pan.
Palmolive Imitation Blood:
You can also make fake blood with Palmolive dish soap, (it doesn't matter how much you put in) it depends on how much blood you want! Add red berry powdered Kool-Aid!
Or you could use what TOM SAVINI USED IN DAY OF THE DEAD(we don't recommend this for sanitary reasons)...in the shots where the zombies are not eating people..they used real calves blood and intestines..YUCK! :) During the Shoot, they left the set and the refrigerator went out ..which left the REAL blood and gutz nasty...they still used them for the scenes..and look on some of the actors faces during those shots..THAT WAS NOT ACTING! lol...
What exactly is a 35mm Depth of Field Adapter (aka DOF adapter)?
What exactly is a 35mm Depth of Field Adapter (aka DOF adapter)?
A Depth of Field Adapter is used to achieve shallow depth of field on a video camera whose sensor size is not adequate to achieve it native. A DOF adapter could theoretically be used on a multitude of platforms, although it is most useful on prosumer digital camcorders where high resolution is a capability but the sensor size is still small enough to elicit use of the adapter. The term 35mm adapter is common, since most designs use a focusing screen the size of a 35mm film frame (24×36 mm) and interface with lenses designed for 35mm cameras.
Do you need An 35mm Adapter to get Depth of Field?
The term is a little confusing, let me define it first: DOF is the distance in front of and behind a certain object that is considered imperceptibly in focus - everything else would be considered out of focus.
Now, with that said, a 35mm Cinema camera can give you a much shallower Depth of Field than any 1/3″ CCD camera can. People often call it “The Film Look.” You can get shallower depth of field with a video camera by opening up the aperture all the way, but you will not get the shallow DOF that a 35mm Cinema Camera can give you. That’s until you add a 35mm DOF adapter.
Other than a shallow depth of field, what else can the 35mm DOF adapters offer?
They can help to limit the amount of light hitting the CCD, so hot spots aren’t as hot. This really helps when shooting outside - since shooting outside is often video’s weaker area.
What are the cons of using a 35mm DOF adapter?
There are plenty of cons to using a 35mm DOF adapter.
1. They lose light - 1 to 2 stops, and that’s not counting the added lens!
2. They can take a while to setup.
3. They are often expensive - the better the quality, the more expensive.
4. They are bulky and can add inches/feet to the overall length of your camera.
Should I get a 35mm DOF Adapter?
Yes. But, that doesn’t mean you should use it on every shoot! Similar to using a wide-angle lens on the front of your video camera, 35mm DOF adapters should only be used in the right places.
Think of the DOF adapter as a great addition to your video arsenal and you won’t go wrong. It makes for a great “film look” and allows you to use cinema lenses. Perfect for shooting with a low-budget, when someone wants a higher quality than they can afford…
Are there other ways to get DOF from a video camera?
Using the zoom lens at its greatest zoom, and backing up from your subject will get a better DOF.
What about adding DOF in POST?
This technique works, but you are limited in many way. Different layers and mask are used to accomplish this effect. It’s doable, but not easy.
If you pre-think your shots on set then you can do DOF much easier in post. Make sure your subject doesn’t have any objects crossing behind his head in the back ground, where the mask, and layer will be use to blur the back ground or at least have a point as it crosses his head that you can use as a layer. Think about it this way your going to have a blurry Layer and a sharp layer. The less you have to mask out on your subject the better. This can be done to great effect if the actor is some distance from the background to start with.
Any of these will work, the idea is to use DOF to get a more pleasing interesting picture, and WOW your audiences.
A Depth of Field Adapter is used to achieve shallow depth of field on a video camera whose sensor size is not adequate to achieve it native. A DOF adapter could theoretically be used on a multitude of platforms, although it is most useful on prosumer digital camcorders where high resolution is a capability but the sensor size is still small enough to elicit use of the adapter. The term 35mm adapter is common, since most designs use a focusing screen the size of a 35mm film frame (24×36 mm) and interface with lenses designed for 35mm cameras.
Do you need An 35mm Adapter to get Depth of Field?
The term is a little confusing, let me define it first: DOF is the distance in front of and behind a certain object that is considered imperceptibly in focus - everything else would be considered out of focus.
Now, with that said, a 35mm Cinema camera can give you a much shallower Depth of Field than any 1/3″ CCD camera can. People often call it “The Film Look.” You can get shallower depth of field with a video camera by opening up the aperture all the way, but you will not get the shallow DOF that a 35mm Cinema Camera can give you. That’s until you add a 35mm DOF adapter.
Other than a shallow depth of field, what else can the 35mm DOF adapters offer?
They can help to limit the amount of light hitting the CCD, so hot spots aren’t as hot. This really helps when shooting outside - since shooting outside is often video’s weaker area.
What are the cons of using a 35mm DOF adapter?
There are plenty of cons to using a 35mm DOF adapter.
1. They lose light - 1 to 2 stops, and that’s not counting the added lens!
2. They can take a while to setup.
3. They are often expensive - the better the quality, the more expensive.
4. They are bulky and can add inches/feet to the overall length of your camera.
Should I get a 35mm DOF Adapter?
Yes. But, that doesn’t mean you should use it on every shoot! Similar to using a wide-angle lens on the front of your video camera, 35mm DOF adapters should only be used in the right places.
Think of the DOF adapter as a great addition to your video arsenal and you won’t go wrong. It makes for a great “film look” and allows you to use cinema lenses. Perfect for shooting with a low-budget, when someone wants a higher quality than they can afford…
Are there other ways to get DOF from a video camera?
Using the zoom lens at its greatest zoom, and backing up from your subject will get a better DOF.
What about adding DOF in POST?
This technique works, but you are limited in many way. Different layers and mask are used to accomplish this effect. It’s doable, but not easy.
If you pre-think your shots on set then you can do DOF much easier in post. Make sure your subject doesn’t have any objects crossing behind his head in the back ground, where the mask, and layer will be use to blur the back ground or at least have a point as it crosses his head that you can use as a layer. Think about it this way your going to have a blurry Layer and a sharp layer. The less you have to mask out on your subject the better. This can be done to great effect if the actor is some distance from the background to start with.
Any of these will work, the idea is to use DOF to get a more pleasing interesting picture, and WOW your audiences.
Canon Rebel T2I - REVIEW
CANON REBEL T2I
The new flagship of the EOS Rebel line, Canon EOS Rebel T2I brings professional EOS features into an easy to use, lightweight digital SLR that's a joy to use. Featuring a class-leading 18.0 Mega pixel CMOS Image Sensor and increased light sensitivity for low light photography, the EOS Rebel T2I also has an advanced HD Movie mode for gorgeous Full HD movies. Able to capture up to 3.7 frames per second, it's ready to go the minute it's picked up. Advanced Live View, a new wide-area screen, plus features like Canon's brilliant Auto Lighting Optimizer and Highlight Tone features ensure brilliant photos and movies, easily. With some of the most advanced features of any digital SLR, it's simply the best Rebel Canon has ever created.
The T2I seems to be meeting if not exceeding consumers expectations when it comes to photography. Lightweight, Good battery Life, Quiet, Easy to Use and Excellent Image Quality. We have noticed that if your shooting HD-VIDEO, you may run into some heat issues. While the Still Pictures are AMAZING, there has been complaints of the camera overheating even as early as 6-7 minutes of shooting Hi-Def Video. The images are stunning, but the real advantage is HD video. You get a HD video machine at a third the cost of a dedicated HD video machine.
MAJOR PRO:
You now have use of all of your lenses with the advantage of depth of field missing from most video cameras. When you carry your camera gear it is only for one camera & that at least for me is wonderful because I have lightened my load by half.
MAJOR CON: You lose some bells & whistles of course and the limited audio can be worked around by purchasing a XLR pre-amp with a good xlr mic (something you should have with a dedicated video camera anyway) & audio issues are gone.
Also, the T2I camera over heating in video mode is a major issue if you want to shoot a full feature film. After an hour of continued use the camera will issue a high internal temp warning...an issue with all HDSLR units. So if your still wanting this camera, bite the bullet initially & buy a fast (10) card this will help, not eliminate the heating problem. Also shut off the camera for a minute or two while your in between shots every 20 minutes or so. This allows the camera to cool down & overheating is less of a problem.
Bottom line is if you are a photographer or a PROSUMER Videographer, and want to get a feel of how to shoot with a motion picture camera..this would be a great camera to learn from. The T2I can help teach a novice filmmaker, what the
different lens sizes will do for the images and give you a grasp on dept of field that you wouldn't get unless you were shooting with film...
Again, for anyone wanting to make full feature films..it is very impractical camera. If you like professional looking stunning images, for short-beautiful HD video clips, a camera you can learn depth of field via lenses from, and that is easy to use, while being inexpensive, then the Canon T2I is the one for you.
Canon T2I Feature Highlights:
The new flagship of the EOS Rebel line, Canon EOS Rebel T2I brings professional EOS features into an easy to use, lightweight digital SLR that's a joy to use. Featuring a class-leading 18.0 Mega pixel CMOS Image Sensor and increased light sensitivity for low light photography, the EOS Rebel T2I also has an advanced HD Movie mode for gorgeous Full HD movies. Able to capture up to 3.7 frames per second, it's ready to go the minute it's picked up. Advanced Live View, a new wide-area screen, plus features like Canon's brilliant Auto Lighting Optimizer and Highlight Tone features ensure brilliant photos and movies, easily. With some of the most advanced features of any digital SLR, it's simply the best Rebel Canon has ever created.
The T2I seems to be meeting if not exceeding consumers expectations when it comes to photography. Lightweight, Good battery Life, Quiet, Easy to Use and Excellent Image Quality. We have noticed that if your shooting HD-VIDEO, you may run into some heat issues. While the Still Pictures are AMAZING, there has been complaints of the camera overheating even as early as 6-7 minutes of shooting Hi-Def Video. The images are stunning, but the real advantage is HD video. You get a HD video machine at a third the cost of a dedicated HD video machine.
MAJOR PRO:
You now have use of all of your lenses with the advantage of depth of field missing from most video cameras. When you carry your camera gear it is only for one camera & that at least for me is wonderful because I have lightened my load by half.
MAJOR CON: You lose some bells & whistles of course and the limited audio can be worked around by purchasing a XLR pre-amp with a good xlr mic (something you should have with a dedicated video camera anyway) & audio issues are gone.
Also, the T2I camera over heating in video mode is a major issue if you want to shoot a full feature film. After an hour of continued use the camera will issue a high internal temp warning...an issue with all HDSLR units. So if your still wanting this camera, bite the bullet initially & buy a fast (10) card this will help, not eliminate the heating problem. Also shut off the camera for a minute or two while your in between shots every 20 minutes or so. This allows the camera to cool down & overheating is less of a problem.
Bottom line is if you are a photographer or a PROSUMER Videographer, and want to get a feel of how to shoot with a motion picture camera..this would be a great camera to learn from. The T2I can help teach a novice filmmaker, what the
different lens sizes will do for the images and give you a grasp on dept of field that you wouldn't get unless you were shooting with film...
Again, for anyone wanting to make full feature films..it is very impractical camera. If you like professional looking stunning images, for short-beautiful HD video clips, a camera you can learn depth of field via lenses from, and that is easy to use, while being inexpensive, then the Canon T2I is the one for you.
Canon T2I Feature Highlights:
- 18.0-Megapixel CMOS image sensor
- DIGIC 4 Image Processor
- Full 1080p HD EOS Movie Mode
- Full range of frame rates available in video mode
New 7x Movie Crop mode at 640x480 (DVD Quality)- New iFCL 63-zone, Dual-layer metering system
- ISO 100-6400 (Expandable to 12,800)
- New Wide 3.0" LCD with 3:2 Aspect Ratio
- Ultra High-resolution 1.04 million pixel LCD resolution
- New SDXC memory card compatibility
THE CRAFT OF SCRIPT WRITING
Premise and Theme
People arrive at the task of writing a screenplay in a number of ways. Many have an idea that comes to them as inspiration, involving a central character and a situation. Some people want to work in a genre they love, like science fiction or action adventure. Some people have a strong theme or concept for a film that seems to preoccupy them. Still others wish to illustrate a point about contemporary society. All of these are good solid reasons for starting to write, but they are only the foundation. Understanding what will make a good story involves the complex weaving of premise and theme.
Many definitions of the premise of a film exist within the film industry. Some use premise as a kind of philosophical statement about what are actually the themes of the film. Others use premise to describe a one-line synopsis of the story. The best version of a premise is four or five words that capture, in a nutshell, what the film is about. An example of a good premise is "love conquers fear" or "good always overcomes evil". The truth of a premise is in the mind of its creator, but a good premise holds a value or an ethic that is universally identifiable. Whether or not you agree that "good overpowers evil" is not important, but the fact that such a premise can be readily understood by others is important. A premise that is obtuse or complicated will not lead to a successful story.
Just as many definitions of premise exist, so opinion varies on what makes a good theme. Theme is often confused with premise and premise with theme. A theme is even more general in nature than a premise. We could say that the film "Saving Private Ryan" (1998) deals with the themes of war, bravery and sacrifice. A premise is the genetic structure of a script -- its DNA. But the theme is like the skin that spreads over the whole body of the screenplay. It should be discernible in almost every scene. The theme is a bell that, once rung, reverberates in every page of the script
Linear and Nonlinear
Storytelling
The next time you find yourself telling a story, stop and listen to the way it flows. Most stories move in a straightforward way, from beginning, to middle, to end. They have a flow. We call that structure linear storytelling, because the events of the story progress in a line, and one event clearly follows another. Each new development in the story is the result of what came just before it.
But not all stories move with this kind of simplicity. How many times have you heard a friend say, "Oh no! I forgot to tell you an important part!". Stories can also move backward and forward in time and space, sometimes logically and sometimes illogically, to establish events that are required in order to make sense of the story. This way of storytelling is called nonlinear, because the story does not move in a continuous forward-moving timeline.
The events of stories are linked together by a common element -- usually the hero, or the person telling the story. Whether you have chosen a linear or a nonlinear style, that common thread is essential to keeping the story clear.
In filmmaking, there are a number of ways to create linear and nonlinear storytelling. Although camera and editing techniques can help to make both linear and nonlinear flow, the most important choices are made in the use of narrative forms.
Understanding Story
Some people have an innate feeling for story, while others rely on the study of forms to guide their inspiration. The next section takes a snapshot look at the history of storytelling. It shows some of the ways in which stories have been freely adapted through the ages. Understanding the history of dramatic story is not essential to writing a screenplay, but it sure helps. The evolution of any art form can be as inspiring as learning the craft. And some of the necessary tools are hidden in here too.
Remember the rules? All drama develops from character. And the most important journey is the hero's journey of self. If you haven't already taped those two sentences to the top of your computer screen, or put them in a prominent place in your workspace, do so now.
But how do we actually apply those rules to the story we want to tell?
Like any art form, screenwriting involves a certain amount of free-flowing expression and inspiration, but it also requires a mastery of craft. The craft of screenwriting is the same in many ways as the craft of writing a novel or a play. It starts with the love of words. The passion for ideas. But in cinema it also particularly requires the obsession with images. If you do not see your story, then you will not be able to render it visually. And if you don't feel any of these inclinations, the chances are that you are not really a screenwriter. How do you decide?
Understanding your own investment in a story is a critical first step in knowing whether you should be writing a screenplay. If you see a story primarily in terms of camera angles and image sequences, perhaps you are a director or cinematographer. If your story obsesses you in the way that the images are put together, perhaps you are an editor. Many people are not screenwriters, but have terrific story ideas for movies. Working with someone who is a screenwriter can dramatically increase the chances of having the story told well. Would you want to have a suit designed and made by a car mechanic? Never underestimate the craft involved in being a writer.
I have terrific ideas, but every day I work at the craft of SCREENWRITING, which I have not mastered yet, and I fear it is not something that I can master.
Professional screenwriters agree on the importance of studying good screenplays. Here's an Internet link to http://www.joblow.com/ script gallery which contains numerous screenplays you can download.
Not sure which scripts to read? Here are some recommendations:
• The Usual Suspects
• Pulp Fiction
• The Sixth Sense
• Shakespeare in Love
• As Good as it Gets
• Witness
• Chinatown
• Get Shorty
• Network
• Silence of the Lambs
• Good Will Hunting
• Jerry Maguire
• LA Confidential
All personal favorites of mine.
Written By: Richard James
People arrive at the task of writing a screenplay in a number of ways. Many have an idea that comes to them as inspiration, involving a central character and a situation. Some people want to work in a genre they love, like science fiction or action adventure. Some people have a strong theme or concept for a film that seems to preoccupy them. Still others wish to illustrate a point about contemporary society. All of these are good solid reasons for starting to write, but they are only the foundation. Understanding what will make a good story involves the complex weaving of premise and theme.
Many definitions of the premise of a film exist within the film industry. Some use premise as a kind of philosophical statement about what are actually the themes of the film. Others use premise to describe a one-line synopsis of the story. The best version of a premise is four or five words that capture, in a nutshell, what the film is about. An example of a good premise is "love conquers fear" or "good always overcomes evil". The truth of a premise is in the mind of its creator, but a good premise holds a value or an ethic that is universally identifiable. Whether or not you agree that "good overpowers evil" is not important, but the fact that such a premise can be readily understood by others is important. A premise that is obtuse or complicated will not lead to a successful story.
Just as many definitions of premise exist, so opinion varies on what makes a good theme. Theme is often confused with premise and premise with theme. A theme is even more general in nature than a premise. We could say that the film "Saving Private Ryan" (1998) deals with the themes of war, bravery and sacrifice. A premise is the genetic structure of a script -- its DNA. But the theme is like the skin that spreads over the whole body of the screenplay. It should be discernible in almost every scene. The theme is a bell that, once rung, reverberates in every page of the script
Linear and Nonlinear
Storytelling
The next time you find yourself telling a story, stop and listen to the way it flows. Most stories move in a straightforward way, from beginning, to middle, to end. They have a flow. We call that structure linear storytelling, because the events of the story progress in a line, and one event clearly follows another. Each new development in the story is the result of what came just before it.
But not all stories move with this kind of simplicity. How many times have you heard a friend say, "Oh no! I forgot to tell you an important part!". Stories can also move backward and forward in time and space, sometimes logically and sometimes illogically, to establish events that are required in order to make sense of the story. This way of storytelling is called nonlinear, because the story does not move in a continuous forward-moving timeline.
The events of stories are linked together by a common element -- usually the hero, or the person telling the story. Whether you have chosen a linear or a nonlinear style, that common thread is essential to keeping the story clear.
In filmmaking, there are a number of ways to create linear and nonlinear storytelling. Although camera and editing techniques can help to make both linear and nonlinear flow, the most important choices are made in the use of narrative forms.
Understanding Story
Some people have an innate feeling for story, while others rely on the study of forms to guide their inspiration. The next section takes a snapshot look at the history of storytelling. It shows some of the ways in which stories have been freely adapted through the ages. Understanding the history of dramatic story is not essential to writing a screenplay, but it sure helps. The evolution of any art form can be as inspiring as learning the craft. And some of the necessary tools are hidden in here too.
Remember the rules? All drama develops from character. And the most important journey is the hero's journey of self. If you haven't already taped those two sentences to the top of your computer screen, or put them in a prominent place in your workspace, do so now.
But how do we actually apply those rules to the story we want to tell?
Like any art form, screenwriting involves a certain amount of free-flowing expression and inspiration, but it also requires a mastery of craft. The craft of screenwriting is the same in many ways as the craft of writing a novel or a play. It starts with the love of words. The passion for ideas. But in cinema it also particularly requires the obsession with images. If you do not see your story, then you will not be able to render it visually. And if you don't feel any of these inclinations, the chances are that you are not really a screenwriter. How do you decide?
Understanding your own investment in a story is a critical first step in knowing whether you should be writing a screenplay. If you see a story primarily in terms of camera angles and image sequences, perhaps you are a director or cinematographer. If your story obsesses you in the way that the images are put together, perhaps you are an editor. Many people are not screenwriters, but have terrific story ideas for movies. Working with someone who is a screenwriter can dramatically increase the chances of having the story told well. Would you want to have a suit designed and made by a car mechanic? Never underestimate the craft involved in being a writer.
I have terrific ideas, but every day I work at the craft of SCREENWRITING, which I have not mastered yet, and I fear it is not something that I can master.
Professional screenwriters agree on the importance of studying good screenplays. Here's an Internet link to http://www.joblow.com/ script gallery which contains numerous screenplays you can download.
Not sure which scripts to read? Here are some recommendations:
• The Usual Suspects
• Pulp Fiction
• The Sixth Sense
• Shakespeare in Love
• As Good as it Gets
• Witness
• Chinatown
• Get Shorty
• Network
• Silence of the Lambs
• Good Will Hunting
• Jerry Maguire
• LA Confidential
All personal favorites of mine.
Written By: Richard James
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