Student Filmmakers - June 2008 - (Page 11) Student Film Makers to a video camcorder, a video tap in the motion picture camera allows you see the image that is being captured to film. You can record it to tape (or hard drive), play it back to check the performance, and even check for continuity concerns, etc. You get a reflex image – which means, the video will record exactly the same framing and lens size that will be captured to film. Jerry Lewis revolutionized a new technique that virtually every filmmaker shooting with a film camera uses to this day. The cameras image can be manipulated or corrected using filters. There are correction filters and special effect filters. A correction filter is used to correct the image for color balance. If you’re using indoor film stock outside, you would use an 85 filter so you don’t get an unwanted blue hue. If you’re using outdoor film stock inside, you would use an 80 filter so you don’t get a strange yellow/orange or red tint. Why use indoor film outside? You can buy one type of stock and make it work for both (using color correction filters), rather than trying to figure out what percentages of indoor and outdoor film stock you’ll need. A polarizer filter helps to dial out pesky reflections when shooting through a car window. A neutral density filter (ND) is used to cut down the amount of light coming into the camera (like sunglasses for the camera). Then you have colored filters that can add hues to your footage. You can create a gold hue to your image, or turn a daylight scene into a night scene using a blue filter (as long as you don’t show the daylight sky in the shot). I’ve been in love with the film camera since I was a kid. I’ve been tempted by the digital camcorder, and felt guilty for even considering it. I’ve also found that distributors (worldwide) still prefer to know that you shot your movie on film. Some distributors are weary to even look at a movie that was not shot on film. Long live celluloid! THERE’S AN AZDEN SHOTGUN MIC DESIGNED TO IMPROVE YOUR AUDIO QUALITY SGM-1000 A phantom powered shotgun mic with new high-performance microphone element that features: phantom 12-48V or 1.5V "AA" battery • wide frequency response • highly directional pick-up pattern • high sensitivity/low noise • shockmount holder with new taller integrated shoe mount • XLR output • switchable low-cut filter • On/Off power switch • standard foam windscreen • length - 310mm (12.5"). Battery and cable not included. MSRP $360. SGM-2X Ideal for full-size cameras, it is 2 mics in one. Combined, they are a 15.75" low-noise, wide bandwidth, shotgun, with balanced low-impedance output. Includes same features of the SGM-1000 but no phantom power. The short barrel (8.125") is a general purpose omni mic. MSRP $310 SGM-1X SGM-1X. At 298mm (11.75") with XLR output it's ideal for smaller DV cams with XLR audio inputs. Comes supplied with the same unique integrated shockmount with shoe-mount as the SGM-1000. Cable not included. MSRP $230 Bryan Michael Stoller who (www. has bryanmichaelstoller.com) is an international award-winning filmmaker produced, written and directed over eighty productions that include, short comedy films, half hour television, music videos, commercials and feature films. Bryan has directed George Carlin, Howie Mandel, Gilbert Gottfried, Barbra Streisand, Drew Barrymore, Jerry Lewis and Dan Aykroyd. Dolly Parton wrote and recorded four original songs for one of Bryan’s films. Jerry Lewis wrote the foreword for Bryan’s book, “Filmmaking for Dummies.” P.O. Box 10, Franklin Square, NY 11010 (516) 328-7500 • FAX: (516) 328-7506 ® SGM-X At 216mm (8.5") the mini SGM-X is a complete system, including windscreen, shoe-mount holder and mini cable. With mini output, the SGM-X is perfect for smaller DV cams with mini-jack mic inputs. MSRP $155 For full specifications e-mail azdenus@azdencorp.com or visit our Web site: www.azdencorp.com June 2008 studentfilmmakers 11 http://www.azdencorp.com http://www.bryanmichaelstoller.com http://www.bryanmichaelstoller.com
For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.