The Two Fools were invited to shoot the launch of the Austin office of the Wilhelmina Brown talent agency.

Here’s my first video shot at the Ren Festival entirely with the 7D, edited with FCP 6 and graded with Magic Bullet.

I’m thrilled with the images that came off that camera – especially given that I was shooting with non-pro lenses: the Canon 50mm f/1.8 and the Canon 17-85mm f/4.0-5.6.

Everything I read about the 7D from guys that know way more about shooting with DSLRs than I do said that the 7D is a killer, and they were absolutely right. Granted, it’s not meant as a replacement for my PMW-EX1 – a dedicated video camera at that level cannot be replaced by a multi-function still/video camera for a variety of reasons – but for what the 7D is good at, it’s REALLY good at. Plus, the biggest hurdle for me to shoot video is the availability of a camera that I’ll actually take with me – and the 7D is much smaller and lighter than the EX1 – and that alone gets me far down that road. I’ll actually grab the 7D bag and take it with me to many places that the EX1 just wouldn’t make it.

Looking forward to a lot more fun stuff coming off this camera in the future.

Here’s the link to the full video:

More information about the production after the jump…

For those that care about the specifics, here’s a quick run-down of the tools we used for production and post-production:

Production:

• Sony PMW-EX1 (Camera A)
• Canon 5D Mark II (Camera B)
• Rode NTG-2 microphone (straight into EX1)
• 3x Arri 650W tungsten open faces (kept setting off smoke detector, too – ugh)
• 2x Cool Lights 650W tungsten fresnels
• 1x Cool Lights PMD 4×55 Fluorescent light
• 48″ collapsable 5-in-1 Photoflex reflector + arm
• Various stands, clips, gels, and diffusion for lights

Post-Production:

• Final Cut Pro 6
• Adobe After Effects CS4
• Magic Bullet Looks
• Magic Bullet Mojo
• Pluraleyes software (for syncing the video between the two cameras)

All footage was conformed to ProRes 422 HQ using Compressor, including re-timing the 5D footage to true 29.97fps to match the EX1. The footage was graded using Mojo at first but I didn’t like how it was coming out, so I switched to MB Looks and found a great look that matched what I wanted and still made it look not overly-stylized. The “B&W” footage is actually more of a bluish sepia effect than actual B&W. The highlights are also a light yellow, not actual white.

I can’t say enough about my first use of Pluraleyes either – it was AWESOME to have it lock the cameras’ footage together inside of about 30 seconds instead of me fiddling with it for 30 minutes or more. When I saw it do that during the demo, I bought a license immediately.

Also found a great new font, thanks to Andrew Kramer over at VideoCopilot.net. Century Gothic is a very cool, modern looking font that I’ve used already on three projects, starting with this one. I was going to pop for Gotham as it’s an amazing font – but at twice the price I couldn’t justify it. I’ll do it next project, though, for sure.

A big thanks to Cameron who was integral to this shoot – he ran the second camera, helped design and set up lighting, helped with the talking points and delivery of the material, and provided a great location. He’s our Honorary Fool for this production!

Amy and I are both from Lubbock, Texas but we haven’t seen each other in years. We recently met at Blue Dhalia, a small cafe in East Austin, to catch up and discuss film (given our busy schedules, this was no small feat). She was already sitting in the restaurant by the front window when I walked in. She’s dressed comfortably in a grey t-shirt and is tapping away on her iPhone. As I approached her, she turned around and I was amazed about how little she had changed. She’s pretty with gentle eyes, a warm smile, and a very kind presence. I remembered how Amy always had a way of focusing on you and making you feel comfortable. She hadn’t changed in all these years.

After a warm greeting and catching up a bit, Amy and I switched to the topic of film.

“After not seeing you for years, I bumped into you in Austin about 10 years ago. Our chat was brief but you mentioned that you were in the film industry. How did you get into the industry?”

“I lived in Los Angeles when I got out of school. I worked for a fashion designer who invited me to a music video shoot. This is when I discovered what I wanted to be doing. I wanted to work in film but I didn’t have the opportunity until I heard about a film titled Leap of Faith being produced in Plainview.  Since this was something I was interested in and it was being filmed in West Texas, I knew I had to be involved. I was hired as a PA (production assistant) and given my background also worked in wardrobe.”

“It seems most of your work has been in the area of costume/wardrobe. Did this evolve naturally or did you plan to focus on this area?”

“This was a natural fit given my background and it continues to be an important part of what I do but my experience includes producing, directing, and I’ve also been focusing on acting. I recently completed work on a project with C. Thomas Howell titled Mia’s Father.”

“What have you found to be the most challenging aspect of costume design for independent films and what would your response be for studio based films?”

“This is probably no surprise but independent films struggle with time and money, which has a direct impact on costume and wardrobe. With studio films, there are typically too many cooks in the kitchen. Finding the right balance with what you have to work with and being able to adjust quickly is the key to success.” As Amy is describing this I think about how this parallels my personal experience in both software start ups (time and money) and large corporate enterprises (too many cooks in the kitchen).

“What are two things you would say most people would be surprised to find out (or just don’t know) about costume or wardrobe work on film, either independent or big budget?”

“For actors, wardrobe is typically their first point of contact. How well wardrobe does their job has a direct impact on how confident actors are during their performance. The way they feel about what they are wearing can make or break an actor’s performance. Another thing that people probably don’t think much about is continuity in costumes from scene to scene and the need to have double or triple the same outfit for an actor, just in case one of the outfits is ruined. You add the need for a stunt double and you need to factor this into your wardrobe plans. You can’t assume the stunt double wears the same sizes as the actor because they typically don’t.” This shows my inexperience but I hadn’t thought of this, Amy’s response are wise words indeed.

“For independent productions that don’t have ready access to a dedicated costume/wardrobe person, what things would you suggest they focus on to cover this area sufficiently to make it better than nothing?”

“You need someone focused on costume/wardrobe period, even if the person is an intern from UT.”  As I listened to Amy, I started to feel something hot near my arm and I smelled something burning. I looked down and my interview sheet had caught on fire from the candle on the table. After a few seconds to process what was happening, I tried to blow the flames out (smooth move considering air fuels fire). I then ended up stamping it out with my bare hands (let me tell you, there is no calm or elegant way to put out a fire). The strange thing is that no one else in the restaurant noticed, not even the girl who sat next to us. Amy was calm and we both chuckle. We then continued the interview.

“You have a lot of experience in costume/wardrobe, you’ve worked as a producer and director and you are continuing to expand you experience in acting. What has been your proudest achievement to date?”

“I’m proudest of Lubbock Lights. It’s a documentary I produced and directed that focuses on the city of Lubbock and the musicians who are from there. I remember being in Lubbock listening to Jimmie Dale Gilmore at the Warehouse District and there were very few people in the audience. Jimmie Dale Gilmore is a legend and I wanted to run outside and grab people to shake them and ask them why they weren’t inside listening to him.”

I shared with Amy a similar experience I had at Saxon Pub with a handful of clients from Disney. There were a grand total of 6 people in the whole place listening to some of the most incredible live music around. Even though there were very few people in the audience, Carolyne Wonderland delivered an extraordinary performance befitting a much larger audience.

Amy’s eyes sparkled and she became even more animated.  ”Exactly! We’re talking about musicians that seem to be more known and appreciated in Europe than they are at home. This is what drove me to produce this documentary, to make sure people are aware of the great music that has come from Lubbock. It is my attempt to show an appreciation for life, art, and philosophy that comes from West Texas.” It is obvious that Amy has an affinity for documentaries and she continues to share with me her interest in this area.

She continued, “I like how documentaries take shape organically.  As a filmmaker, you may have a particular story you plan to tell but as you go through the process more stories are revealed and you adjust to what you learn. For example, Capturing the Friedmans was this way. Andrew Jarecki didn’t originally intend to produce a story about the Friedmans. He originally intended to film a documentary about children’s birthday party entertainers including the popular clown, David Friedman. The nature and scope of the film changed as the story of the Friedmans was revealed in the process. This is what draws me to documentaries. I recently completed a behind the scenes documentary about 48 hour film racing and I have so many other ideas from female evangelists to stories about east side kids.”

Amy certainly has a lot of irons in the fire. In addition to her interest in documentaries, she is also developing a web series and continues to be sought after for studio films. At the end of the day, like the musicians she focuses on in Lubbock Lights, Amy is a storyteller with many stories to tell. The big question is what story will she tell next?

As my time with Amy began to wind down, I was aware that she needed to get back to her studio but she didn’t rush the conversation nor did she show signs that she needed to rush off. I shared with her my appreciation for taking valuable time out of her busy schedule to meet with me. As we walked out together, I looked at the black smudges on my hands and I thought about how the interview could have gone terribly wrong (or become more interesting) if I had inadvertently burned down the cafe. I wondered if Amy thought the interview was a waste of time. I thought about how much I overthink!  My fear is quickly alleviated as she smiled, gave me a hug and said, “We’ll keep in touch, for sure”. As I always remembered and in her own special way, she made me feel…comfortable.

* I had a chance to catch up with Amy again since this interview and her days continue to be jam packed.  She is busy preparing and planning for Predators, a new film from Robert Rodriguez.  She will be on location in Hawaii and will be working on this project through the end of the year.  

As many of you know, despite our comical name (Two Fools With a Camera), we take film making seriously.  As we continue our journey, we recognize it is important to not just learn the “tricks of the trade” but to understand the trade itself.  Sure, this requires training and experience but we believe it is also important to draw from the community of people who have been there, are there, people who continue to hone their craft for the enjoyment of film-lovers everywhere, the people in the credits.  To this end, we are interviewing a variety of people in the industry who serve in different roles and capacities and we want to share what we learn with you.

Why are we sharing this with you?  The answer is two-fold.  First, we hope that your appreciation for the art, the craft, the industry and the people involved in filmmaking will continue to grow and second, we want to share with you our own personal growth in this area.

First up, an interview with Ingo Neuhaus…

With roots in Austin, Ingo Neuhaus has spent the last 15 years as a working actor in Los Angeles with many credits in both film and television. He is also a writer, director, and producer but he is best known as one of the top commercial actors in Los Angeles, shooting over 100 commercials over the past decade. He is currently working on a project for the sci-fi channel, a show he wrote and directed. As a veteran in the industry, we were interested in his experience in filmmaking, his perspectives on acting, and his thoughts about Austin with respect to the filmmaking industry.

Ramil: Although most of your work is as an actor, what would you say about your experiences with writing, directing, and producing? What did you most / least enjoy about those various roles?

Ingo: My experiences with writing directing and producing have been extremely satisfying, providing a lot of stimulation for every aspect of my creative self. The opportunity to express ourselves is a deep human need, and writing, directing and producing fills this need.

Ramil: It seems as though most of your work as an actor seems to fall into the category of commercials. Was that intentional or did it “just happen”?

Ingo: Only at first glance does it appear that most of my work is in commercials. The truth is, most of my work has been in television, film and theater. Commercials are more numerous, assume a higher profile, and are quite lucrative, so any actor in it for the long haul will recognize the need to create income. Commercials provide a steady stream for work, so as to free up my days to pursue more work. Commercials are an art form unto themselves.

Ramil: What would you say is your proudest achievement to date in film?

Ingo: My proudest achievement in film would have to be the work I did on the films “L.A. Confidential”, “The Rock” and “Executive Decision”, in which I was able to work with great actors such as Russell Crow, Kevin Spacey, Ed Harris, and directors like Michael Bay.

Ramil: What are your thoughts about “commercials” vs. “traditional” / narrative film acting in terms of craft? Are they entirely different disciplines requiring some amount of specialization or are they somewhat interchangeable for actors who have the command of their craft?

Ingo: In my mind, there are no differences. Acting in commercials is like eating a bite size candy bar, while films are like eating a whole bag.

Ramil: Before living in LA you were based in Austin. Was Austin lacking something in 1994 that made the move to LA important for your career? Do you think Austin has, since then, filled in some of what was missing for a professional actor, or do you think being LA-based is still critical?

Ingo: I thoroughly enjoyed acting in Austin, it’s a town that has consistently produced great talent. However, Los Angeles is still the center of the film and television world, and a great city in it’s own right. I consider myself to be a citizen of both. While you can make a great living as an actor in Austin (no small feat), I have always wanted to test myself against the best in the world, and so I moved to LA

Ramil: What is the general perception of Austin as a film community from an LA actor’s perspective?

Ingo: Austin has a great reputation among actors in LA, both for it’s natural beauty and charm, and for the creative energy that it provides. It’s like a satellite community for actors

Ramil: If you had to suggest two books as critical for an aspiring professional actor to read and internalize, what would they be?

Ingo: Two must read books for any actor is “Book on Acting”, by Steven Book, and “Which lie did I tell?” by William Goldman. Read those two books, and you will begin to understand.

Ramil: What suggestion(s) would you give to a new director or producer about working with an experienced actor, especially about the ways to get the best performance out of an actor?

Ingo: Good actors are like expensive race horses. Nervous, high strung, and headstrong. To get the best performances, one must constantly reassure the actor that they are giving you what you need, and are being guided with a sure hand.

Ramil: The film / movie industry has been changing in the last few years particularly with lower cost equipment and alternative forms of distribution – allowing lower-budget (or “no budget”) productions to get in front of viewers with higher production quality than ever before. Have you personally seen the effects of this continuing shift, either in your narrative or commercial work, and if so, how? Have you had to change the way you approach the craft of acting or the way you find work as a result of this shift?

Ingo: The past three years has seen a titanic shift in the industry, as disruptive technologies change our business. The only changes I can see on my end, is the need to keep up with such changes, and to keep our faces in the public eye, in whatever form distribution takes.

Ramil: What two things would you suggest to someone wanting to get into acting?

Ingo: Patience and a good headshot.

* At the time of this interview, Ingo was focused on one of his many projects related to film.  Two Fools With a Camera would like to thank him for taking valuable time out of his busy weekend to answer our questions.  We look forward to seeing more of his work in the near future.

This post isn’t about Kansas, though, it’s about color-correction (yes, again)…

I did some filming while I was there, taking advantage of some of the scenery and green color that’s a bit harder to find in the Austin area right now.  I haven’t done much with the footage yet, but I did bring in a bit to see what I could do with some color correction, and below are the results of the primary color pass.

You’ll notice in the frames below that I’m holding a color chart.  This helps me balance color in post – it contains a 90% white, various grays, and a 90% black, along with other “important” colors that represent vegetation, skin tones, sky colors, etc.  I flash this in front of the camera briefly to record the color (for each set up) and then get the shot.  Note that I don’t use this as a replacement for white balance, which I’ve done prior to shooting the color chart.

Here’s the first frame grab with no color correction – click the picture for a larger version.

Here’s the same frame with primary and secondary passes.  Hopefully you can tell a difference without them side-by-side, or you can download it or something to view them side-by-side.

Basically I had to remove a slight red cast across the entire image, even though I balanced with a white card and NOT a warm card (as I’ve been doing in the past).  What I’m finding out is that the EX-1 is “red happy” and tends to add some red to the image on its own – from what I’ve read it’s a bi-product of the CMOS sensors and the way the data is collected from them.  To best honest, I don’t understand the details, but it’s there.

In the secondary pass, I used two secondary bins – one for the grass and another for the sky.  I qualified (“qualified” in color correction terms is just a fancy way to say “selected”) the green areas – specifically the grass and trees – and added some yellow in both the midtones and highlights.  This basically made the grass and trees – which have more yellow than you’d think – “pop” out and appear much more lifelike.  I desaturated them quite a bit – down from 1.0 to 0.68 – because adding that color made them almost glow.  I wanted them to look more lively and “spring-like” but not quite glowing.  You can tell a difference if you look at the first and second pictures.

The second big change I made was to bring up the blue of the sky by adding more blue to the mids and highlights.  For this correction I selected the blue in the sky which also happened to match the blue in my jeans – so I had to use a vignette to limit the correction to square area just at the top.  It ended up catching a bit of my jeans but not enough for me to worry about, especially since if I were to cut this footage into a film I wouldn’t have my jeans in the picture at all anyway.  The result of this correction is a much more blue sky, although I think I might have wanted it to be a bit more desaturated as it’s almost too blue next to the trees and almost “pops out” behind them.

Here’s another correction on top of the last correction:

This is the same as the last frame except that it adds a “film filter” to the image, which includes a film gamma curve and simulated film grain.  Not my favorite, but the curve is nice – it adds some nice additional contrast that I think would add some cool production value to the final output.

All of these corrections were done in Apple Color on ProRes 422 (HQ) footage, 1080p at 23.97 fps.

And for those that ask, the big metal thing in the middle of the frame is a giant Kansas-style outdoor BBQ.  It’s a giant tire rim (probably from a tractor or truck) where you put wood and charcoal, and you cook on the top grate.  Great stuff.

Today, something is different, something catches my eye, something unfamiliar, a striking woman in a pretty summer dress with a tattoo of what looks like a serpent snaking down from her neck into her dress.. she’s standing there, as still as still can be as the crowd weaves past her in a fluid choreography of colorless sights and droning sounds. She’s looking straight at me…whoa.. who is that girl?  [car behind me honks] The girl is gone.  I gotta get to work.

Sooo… Mitch and I don’t lack ideas for film projects (only exceeded by the plethora of business ideas that we muse about).  What I just shared with you is a very brief snippet of one of the more promising stories that we’re developing.  Our work is always highly collaborative but this particular project will allow Mitch to flex his muscles in the production/post production processes and it will test my ability to come up with something truly unique.  A story that, as far as we can tell, hasn’t really been told before.

Clearly, I haven’t shared enough to tell you what this story is really about but that’s by design. This is a taste, a teaser, an appetizer of things to come.  We hope you will continue to join us on our journey.

Stay tuned.