Unlocking the Hidden Beauty Cinema H2O by Mike Valentine, …

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2010, Vol. 5, No. 1

Unlocking the Hidden Beauty

Cinema H2O by Mike Valentine, BSC John Bailey, ASC on Brief Interviews with Hideous MenA High Fall and a Helicopter: Capturing the StuntRainforest Filmmaking Crash CourseLive from New York, It’s Alexander SerpicoMixing Panel Techniques for Location DialogueShedding Light on Homegrown Flare Effects

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2010, Vol. 5, No. 1 studentfilmmakers �

Table of Contents 2010, Vol. 5, No. 1Cinematography 6 DIY: Shedding Light on Homegrown Flare Effects

Here’s how to make your own… by Ira Tiffen

8 Cinema H2O Unlocking the Hidden Beauty of the Underwater World by Mike Valentine, BSC

Close Up14 Live from New York, It’s Alexander Serpico

Defying Traditional Rules and Mores of Post-Production Schedules by Scott Essman

18 Exclusive Q&A withJohn Bailey, ASC, Director of Photography for ‘Brief Interviews with Hideous Men’ Insights into Lighting and Anamorphic 35mm Shooting

Directing26 A High Fall and a Helicopter

by Todd Grossman

Production30 A Crash Course in Rainforest Filmmaking

by William F. Vartorella 35 Tips for Shooting in the Rainforest

by Heidi Braudenburg

Music & Sound36 Mixing Panel Techniques for Location Dialogue by Fred Ginsburg, C.A.S., Ph.D.

Screenwriting46 27 Ways to Add Humor and Funny Moments to Your Scenes

by Sherri Sheridan

New Media48 Cell Phone Cinema by Karl Bardosh

52 Call for Entries54 Featured Products, Services, and Events58 On Campus

Filmmakers Networking 62 This Month’s Featured Networkers

On the Cover Sinking sports car scene in Basic Instinct 2. After driving through the streets at a dangerous speed and plunging into the Thames, Sharon Stone (as Catherine Tramell) and her passenger are trapped inside the sinking vehicle. Mike Valentine, BSC (pictured with camera) films the underwater scene.

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September 2009

Exclusive Interview with Michael Goi, ASC

Digital Revolution and HDThree Kings on the New Digital Filmmaking: George Lucas, Steven Spielberg, and Robert ZemeckisWhy RED? Teacher’s PerspectiveHow Are Filters Made?Keep the Audience on the Edge of Their SeatsGetting MobileArt vs. Commerce: The Eternal Creative Tension



September 2009 studentfilmmakers �

Table of Contents September 2009Tech Focus 4 Three Kings on the New Digital Filmmaking

George Lucas, Steven Spielberg, and Robert Zemeckis Discuss the Power of Digital Technology, Working with Actors in the Digital Age, and More…

12 How Are Filters Made? by Ira Tiffen

26 Why RED? Teacher’s Perspective by William Donaruma

Close Up16 Exclusive Interview with Michael Goi, ASC

Goi Discusses the Direction of the ASC, Shares His Insights on the Digital Revolution and Technology, and Gives Advice to Filmmakers by Kim E. Welch

Screenwriting30 26 Tricks for Adding Layers of Suspense to Your Stories

by Sherri Sheridan

Directing34 10 Tips for Startup Directors by Pete Chatmon

Music & Sound38 Getting Mobile

Keep it simple, light, and dependable. by Bryant Falk

Film Business40 Art vs. Commerce: The Eternal Creative Tension for

Filmmakers by Robert Marich

How To42 5 Things You Can Do When Your Production Stalls Out

by Anthony Q. Artis

44 Featured Products and Services46 Call for Entries52 Featured Film and Video Events


On the Cover DP Michael Goi, ASC behind the camera on the set of “The Dukes.” Photo by Christel Golden.

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May 2009

The Twin-Lens P2 Camera Recorder for

3D Full HD ProductionLighting for an HD Multi-Camera ShootJust Say No to Three Point LightingCreating Journalism in a New Way17 Scene Reversal IdeasAudio Techniques for AnimationBest Practices for Monitoring Your Soundtrack



May 2009 studentfilmmakers �

Table of Contents May 2009Cinematography 4 Lighting the ‘Whale Room’ for an HD Multi-Camera Shoot for a

Television Satellite Channel by Laurent Andrieux

8 3 Reasons Why to “Just Say No” to Three Point Lighting by Dean Goldberg

Broadcast Journalism10 Creating Journalism in a New Way

by Carl Filoreto

Tech Focus14 Panasonic’s New 3D Full HD Production System

Screenwriting16 17 Scene Reversal Ideas: Keep Your Audiences Guessing

by Sherri Sheridan

Music & Sound18 Audio for Animation: Try These Tricks

Creative options for getting an animation completed in less than ideal circumstances by Bryant Falk

20 Techniques for Monitoring Your Soundtrack The Right Headphones for Location Audio and How to Use Them by Fred Ginsburg C.A.S. Ph.D. MBKS

24 On Campus 26 Call for Entries


On the Cover Exterior POV night scene in Córdoba, Argentina.Eddie Semaan is shooting with the JVC GY-HD 251-E(European/PAL version of the JVC GY-HD 250-U).

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April 2009

Discovering the Narrative: Strong Bodies Fight ,

an HD DocumentaryCreate a Futuristic Look with a Tilt-Shift LensMarcus Nispel Breathes New Life into Friday the 13thCast the Right Kind of Talent for Your StoryOscar-Winning Editor Chris DickensUtilize the Hierarchy of Microphone TechniquesIs there an Aftermarket for Your Media?



April 2009 studentfilmmakers �

Table of Contents April 2009Cinematography 4 Lensing Your ‘Futuristic, Other-World’ with a Tilt-Shift Lens

by Saro Varjabedian

HD Documentary 6 Capturing the Story for the HD Documentary, “Strong Bodies

Fight” by William Donaruma

Pre-Production12 Cast the Right Kind of Talent for Your Story and Project

by John Carrico

Screenwriting14 40 Basic Plot Points for a Feature Film

by Sherri Sheridan

Close-Up16 Reviving the Bloody Franchise:

Nispel Appeases Loyal Fans while Breathing New Life into Their Gory Classics Interview with Friday the 13th Director Marcus Nispel by Scott Essman

22 Slumdog Millionaire’s Oscar Winner Chris Dickens by Scott Essman

Music & Sound24 Four Track Recording Muscle by Bryant Falk26 The Selection and Use of Shotgun Microphones on the Set

by Fred Ginsburg C.A.S. Ph.D. MBKS

Props & FX Makeup34 Recipes for Special Makeup Effects by Todd Debreceni

Film Business38 Finding Aftermarkets by Vicky Collins

Commentary42 The Digital Revolution: What is Missing?

by Dean Goldberg

44 Call for Entries


On the Cover Tomas Castillo, William Donaruma (center), and Leo Rubinkowski in a village in Biroy, where they wait to be served a sweet, boiled tea, which was served to them everywhere they went. William lets the kids use the little camera a lot. 38

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March 2009

Interview with Film Editor Cara Silverman

The Sundance-Nominated FilmThe GreatestAvoid Fried Lighting Circuits On The SetBeetle Queen Conquers Tokyo Doc Defies Labels17 Fast Tips for Creating Realistic DialogueHow to Be Your Own Art Director DIY-StyleThe New Medium in Capturing Sound3D Prosthetic Bondo Transfers



March 2009 studentfilmmakers �

Table of Contents March 2009Cinematography 4 Fried Lighting Circuits On The Set

When Your Genny Fails, and Blowing Granny’s Fuse Box is Not an Option... by Jack Anderson

Documentary 8 First-Time Director Jessica Oreck’s Debut Documentary

“Beetle Queen Conquers Tokyo” Defies Labels by David Kaminski

Screenwriting16 17 Fast Tips for Creating Realistic Dialogue

by Sherri Sheridan

Pre-Production18 How to Be Your Own Art Director, DIY-Style

by John Hart

Close-Up20 Collaboration in Post Production Can Take in Many Forms

Interview with Film Editor Extraordinaire Cara Silverman by Kim E. Welch

Props & FX Makeup26 3D Prosthetic ‘Bondo’ Transfers by Todd Debreceni

Music & Sound24 The New Medium in Capturing Sound by Bryant Falk

On Campus28 Art Center College of Design’s Film Program Emphasizes the

Entrepreneurial Approach to Filmmaking

30 Call for Entries

30 Products and Services


On the Cover Camera crew films Zoe Kravitz (who plays Ashley) and Johnny Simmons (who plays Ryan Brewer) for a scene in “The Greatest.” Photo courtesy of Silverwood Films.

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February 2009

Interview with Director Ken Kwapis

he’s just not that into youFilming a Key Shot for Spielberg’s HookBackpack Journalism: Get RoadworthyNon-Dialogue Film, Begotten: Merhige TalksGhetto TechDynamic Shots with the Use of PerspectiveAudio Recording in the Great Outdoors



February 2009 studentfilmmakers �

Table of Contents February 2009Cinematography 4 When They Look to You on the Set

Filming a Key Shot for Spielberg’s “Hook” by Jack Anderson

Production 8 Backpack Journalism

Get Roadworthy with Award-Winning BP Journalist Mara Schiavocampo of NBC News, and Denver Journalist Jennie Castor of KMGH-TV. by Carl Filoreto

Close-Up12 Interview with Ken Kwapis

by Kim E. Welch28 The Making of the Controversial Non-Dialogue Feature Film,

“Begotten” Interview with Elias Merhige by Scott Essman

Technology Focus22 Ghetto Tech: Cheap Solutions with Old Gear by David Kaminski

Pre-Production24 Dynamic Shots with the Use of ‘Perspective’ by John Hart

Music & Sound36 Audio Recording in the Great Outdoors by Bryant Falk

Meet the Manufacturer38 Zylight Sheds Light on Its Palm-Sized Juggernaut, the Z9039 Interview with FiveSprockets Founder Randy Ullrich

On Campus40 Los Angeles Film School Expands43 Columbia College Hollywood Teaches Boot Camps on Its New,

State-of-the-Art Gail Patrick Soundstage 47 Compass Film Academy Alumni Board Announces Its Annual 24

Hour Film Festival


46 Call for Entries


On the Cover Jennifer Aniston with director Ken Kwapis on the set of New Line Cinema’s romantic comedy, “He’s Just Not That Into You,” distributed by Warner Bros. Pictures. Photo by Darren Michaels.

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StudentFilmmakers.com The #1 Educational Resource for Film and Video Makers US$5.95

January 2009

Interview with Director Darren Aronofsky

Wrestling with Rourke’s DemonsDemystify the Bluescreen and Greenscreen Process As an Editor, You Can’t Just Follow the ScriptDanny Boyle Reflects on “Slumdog Millionaire”Editing: “Targeting Animation” Method Applied6 Different Kinds of Voiceover DemosShopping for HD Monitors? 10 Important Tips



January 2009 studentfilmmakers �

Table of Contents January 2009Shock Waves 6 News Implosion: When One Door Closes, Another Door Opens

by Carl Filoreto

Cinematography10 Demystify the Bluescreen and Greenscreen Process, and

Achieve Professional-Looking Composite Effects by Saro Varjabedian

Tech Focus14 Window-Shopping for HD Monitors: 6 Serious Sets of Questions

to Ask Yourself by David Kaminski

Close-Up18 Danny Boyle Reflects on “Slumdog,” His Body of Work, and What

Lies Ahead by Scott Essman22 Wrestling with Rourke’s Demons by Scott Essman

Acting26 6 Different Kinds of Voiceover Demos, and Tips for Showcasing

Your Talent Rob Kaye

Editing28 As an Editor, You Can’t Just Follow the Script by Jeff Turboff32 Editing Video Clips for Projection onto a Screen

by Torb and Nola Jensen

Wardrobe & Costume Design34 Working in the Wardrobe Trenches during the Production of

“Gods and Generals” by Richard La Motte

31 Meet the Manufacturer


38 Call for Entries

44 On Campus

46 Global Marketplace


On the Cover Mickey Rourke with the Director Darren Aronofsky on the set of THE WRESTLER. Photo Credit: Niko Tavernise

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StudentFilmmakers magazine speaks with Nick Kougioulis, director and editor of Ciphering, third place winner of the Summer Shorts 2008 Film and Video competition. Shot with the Sony V1U and recut in HD, the psychological thriller looks into two strangers, Lufkin (Brian Deaver) and Victor Sarmast (Joe Bartenhagen) crossing paths in a library, and one of them has a story to tell.

How long did it take to write, shoot, and edit your film, Ciphering?

Nick: Here’s the fun part, Ciphering was originally a short created for a 48-hour film festival. Which meant we wrote, shot and edited the film within that time. After the dust settled, I really wanted to take the short to the next level, but that wasn’t going to be easy. My first order of business was to basically re-cut the film in HD, considering all of the previous editing was in standard definition. I would also have to rework the visual effects scenes, color correction and do additional timing work on audio and edits.

Your main character, Victor, is played by Joe Bartenhagen, who wrote the script for Ciphering. What inspired the storyline and this collaboration?

Nick: Given the time constraints to get this film done we all kind of brainstormed on what we have access to in the real world. I had access to a library overnight, so we had our set piece. After that, we thought, what could go wrong on a slow night with a couple of strangers and a room full of books? We decided on two characters that are complete opposites that somehow do a role reversal by the end. It was also important to me to put the Lufkin vignettes in there to really show how he truly sees himself in his own mind. Then we turned Joe loose on the script and he did an amazing job.

Did the script change much while you were in production?

Nick: Not very much, there were a few simple changes that made sense on the day to switch around. But nothing major.

What lighting setups did you use in the library?

Nick: Oddly enough the library lighting worked well with our setup. We did have a couple of soft-boxes that we used here and there.Become a Part of this Exciting,

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