Webspace of Eric Brodeur

Perspectives on storytelling and digital cinema technology

Our final day of shooting Filly Brown was filled with a variety of last-minute shots, notably an insert which required a prop iPhone playing a video. The clip was exported to H.264 and tested on my personal iPhone 4. I rushed to set knowing I would transfer the clip via Internet.

If only it had been that easy. I understand the argument for having an SD slot on the iPhone.

Problem #1 – Not a prop

Our "prop" iPhone 3G actually belonged to a crew member. This means I couldn't just wipe it as needed.

Problem #2 – iTunes

The computer used to sync the iPhone wasn't available. For this reason I couldn't use my copy of iTunes because this forces you to wipe the device.

Problem #3 – AT&T coverage

Emailing the video clip was terribly slow because of AT&T's poor wireless coverage in the area.

Problem #4 – Virgin Mobile coverage

Our Virgin Mobile Mifi adapter also had poor reception – no improvement here.

Problem #5 – Adobe Flash

Suffering through a slow transfer using Virgin's Mifi I tried WeTransfer.com for a web-to-browser transfer. I discovered that WeTransfer requires Flash on the client to download the file. There is no Flash on the iPhone.

Problem #6 – Wifi transfer

I attempted a MacBook-to-iPhone transfer using wifi. That didn't work either because the Virgin Mifi adapter doesn't support infrastructure/ad-hoc networks – only direct to Internet.

Problem #7 – iOS 3

I used Dropbox and the iPhone app Download Manager Pro Lite to retrieve the clip. After a lengthy upload and download with AT&T Wireless, I opened the clip to discover that iOS 3.13 doesn't play it. Apparently there are limitations with H.264 in iOS 3 compared with my test on iOS 4.1.

The clip was re-exported out of Compressor using an iPhone specific setting and re-transferred via Dropbox.

Finally…success.

What We Learned

The entire process took hours to complete and most of the time was spent waiting for slow transfers. Some/all of the problems could have been avoided with more preparation but that's not always an option during a shoot.

An SD card slot would have been ideal. No wireless transfers over slow broadband, no iTunes limitations, no requirements for Adobe Flash.

Apple's reliance on wireless or iTunes sync works well…in a perfect world. However, the world is not perfect and we sailed into a perfect storm of events that revealed limitations of our technology – particularly the iPhone.

I'll do things differently next time but it won't stop me from searching for a direct method of iPhone transfers, SD slot or not.

These tips come courtesy of my assistant editor Monty Bass. We implemented them on our post-production Macs to save a few CPU cycles and remove extraneous application prompting.

Disable Dashboard

From a Terminal prompt, enter the following commands followed by [Enter]:

defaults write com.apple.dashboard mcx-disabled -boolean YES

killall Dock

Disable Time Machine Prompts

From a Terminal prompt, enter the following command followed by [Enter]:

defaults write com.apple.TimeMachine DoNotOfferNewDisksForBackup -boolean YES

Disable Spotlight Indexing

Open System Preferences then click Spotlight.

Select the Privacy tab and add every internal and external disk volume you don’t want to index. You will need to mount them first.

A premiere (and catharsis) for Bedrooms

One of the films I edited, Bedrooms, had its festival premiere at the Los Angeles Latino International Film Festival on August 20, 2010. The producers and crew went into overdrive to fill the 450+ seats at Grauman's Chinese Theater.

The results paid off with a sold-out theater and Honorable Mention for Best Directing.

The film was shot in early 2009 and I hadn't seen or spoken to some of the crew since we wrapped. It was great to reconnect with Angel our composer, Jordan Belfi who played "Julian," Ben Kufrin (D.P.), Maury Rogow (producer), and many more.

As would be expected, the congratulations on a fine screening were spread far and wide amongst us. If a passer-by cocked an ear they'd probably think we were self-indulgent ego maniacs as we discussed how well the score fit a particular scene or how a nuance of Jordan's performance paid off.

Putting some thought to this, the kudos and congrats have little to do with self-indulgence. Quite the opposite.

Creating a feature film is an epic event. Pulling it together in post-production reveals everything about the footage: the good, the bad, the ugly. Great performances are ruined by soft focus or a boom and test screenings uncover new ideas leading to more work in the edit suite. Even when it's complete all you can remember about the film are the fixes and changes.

All of these congratulations and kudos are nothing more than a catharsis and genuine relief that we pulled it off. Self-indulgence? I prefer to call it self-assurance.

Announcing South Bay Filmmakers at Meetup.com

Earlier this year I became organizer of a Meetup.com group. Renaming it South Bay Filmmakers (SBF) and re-launching in June, it has seen consistent membership growth and meeting attendance.

If you live in LA's South Bay region (Manhattan, Redondo, Hermosa Beach and surrounding areas) you know how much of a hassle it is attending film industry events. Most are held in Santa Monica, Hollywood, or the San Fernando Valley – not a fun (or short) commute.

Also consider that Manhattan Beach is home to Raleigh-Manhattan Studios, Marvel Studios, and soon an Arcight Cinema. A number of current television shows have been shot here including CSI Miami, The OC, Weeds, and Medium. A variety of films including Point Break, Men At Work, Pirates of the Caribbean, American Beauty, and Superbad.

Clearly, there is a strong film industry presence but it's under-represented by independent filmmakers and the cast and crew staffing larger shows.

Not any longer. SBF is the only group of its kind serving filmmakers in the South Bay.

Visit us at http://www.southbayfilmmakers.org/ and RSVP for our upcoming events. Guest speakers are booked through the end of 2010 with more on the way for 2011 covering a variety of topics. Our list of sponsors is growing and includes product/service discounts and give-aways.

Membership is free and open to anyone with a passion for filmmaking and interested in meeting like-minded people to learn, network, and collaborate.

iPad used for screening dailies on-set

Last month I attended an event hosted by the LA Post Production Group. Speaking was Michael Cioni from LightIron Digital about file-based workflows (RED, Alexa, DSLR, etc.) and image resolution. What I took away from the presentation is the robustness of REDCODE for both resolution and color space, especially compared to DSLR's (paltry in comparison) HD resolution and lower color bit-depth.

At one point someone asked about Michael's iPad controlling the Keynote presentation and he shared a little nugget about using iPad in film production. They are using a pair of 64 GB iPads in Mel Gibson's latest feature to screen footage.

As they pull files off the (seven or so) cameras they are converted for iPad playback. These dailies (should they be called hourlies?) are organized by scene in iPhoto and copied to alternate iPads which are swapped throughout the day for Gibson's review. Michael indicated the screen size and battery life is ideal and 64 GB of storage is enough for the entire feature.

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