Jon Kline Cinematography and Visual Media

Solid state workflow and same-day edits Posted by Jon on November 13, 2010

Like almost everyone else using under-$10,000 cameras, I've been shooting almost exclusively on solid-state media lately. But this weekend was the first time a client asked me if I could deliver an edit just 15 minutes after the shoot ended. Of course, I said yes, and promptly started figuring out how I was actually going to do it.

I knew right away I'd be shooting on the HVX200, since transcoding to an editor-friendly codec wasn't an option. The goal was a fast-paced, frenetic shoot with fast cuts to add excitement. The HVX200's handheld formfactor and ability to snap zoom also helped get the look I wanted. I've shot indoor sports on a shoulder-mounted ENG-style cam before, and it can be tough to move quickly and get creative shots, like low angles and dutch tilts.

Edius' incredible native support for P2, including the ability to send a clip to the bin and edit with it on the timeline while it's still tranferring from the card to the drive made a huge difference in my ability to edit quickly. Media management had me very nervous, since I needed to be sure each of the performing groups were included. I was glad I didn't have an assistant, it would have taken more time to communicate, swap cards, and scrub through footage if there was a second person involved. My method was to edit while the shots were still fresh in my head, so I could jump through the clips more rapidly. After awhile, all the stunts can start to look the same.

The client requested an h.264 mp4 file, and that had me a little nervous, as well. Multi-pass encoding was out, so I decided to deliver in a higher-than-usual bitrate in 720p HD. It still meant I was losing 5-6 minutes of my time just encoding. I would have to finish my edit only 8 or 9 minutes after the last group left the mat.

Overall, I'd say the shoot went very well. Being able to do something that would have been impossible in the tape age was a very fun project. Here's some of what I ended up delivering.

Lessons from the DSLR Frontier Posted by Jon on August 7, 2010

Long time, no post, but with a short break in the action between shoots, I thought I'd make some updates about shooting with my Canon T2i. Having had most of the summer to work with the most recent addition to the HD video-shooting dSLR category, I've been completely wowed by the performance per dollar ratio of the cam. For under $1000 It does some things my $8000 rig can't do, but then again, it has some pretty serious weaknesses. Here's some of what I've learned so far.

1. Audio stinks.

   Basically, there is none. You have one mono, noise-ridden, compressed, AGC circuit that sounds terrible. I've heard better from super 8. You can use it as a reference, of course, and programs like pluraleyes combined with an audio recorder can pick up the slack. But audio on this (and right now, any) dSLR will slow down production a little and add time to post production. For most of my work, I've used a Zoom H2 with a lav attached directly. Since it's only a little larger than a wireless mic transmitter, the talent doesn't mind. I record a continuous file to the memory card and can use it to create timecode for the entire day. If you want to shoot with a boom and shotgun, spring for the H4, which offers phantom power and XLR ins.

2. It's not actually $850.

   Sure, you can buy the camera with the kit 18-55mm IS lens for $849 from almost every retailer. And every camera needs accessories like a case, batteries, and media. The real additional cost comes from adapting the camera to a form you can use for shooting. Getting the camera onto a shoulder mount is a must for any handheld work, and some sort of viewfinder enhancement is necessary for any outdoor shoots. You'll also need some sort of audio recorder. Unlike almost any video cam, there are no built-in ND filters. Being such a budget-minded camera, it's tempting to cut corners here, but you're going to get weak results (and look like an amateur on set) if you don't have the right gear.

3. Beware of Jell-O.

   Not the amazing low-calorie dessert, but the effect caused by CMOS' rolling shutter. The worst results come from handheld shots, long lenses, shaking and twisting, fast motion, and lack of image stabilization. I probably shoot 90% of my stuff mounted on a tripod or jib. If you decide to go handheld, IS lenses make a huge difference in your end results. As beautiful as high-speed primes are on the T2i, there's no way I'd use them without a camera mount, since they don't offer the IS available on the rather inexpensive kit lens or the 55-250mm telephoto zoom available from Canon.

4. Choose your lenses wisely.

   I've been shooting with 3 inexpensive lenses in my bag, the 18-55mm IS kit lens, 55-250mm IS lens available for about $210, and the 50mm f1.8 prime lens available for under $100. Why haven't I spent more on glass? I'm virtually certain that the ef-s lens mount isn't going to be the standard for whatever video camera I own in 2012. With manufacturers certain to push large-format sensors into handheld and shoulder-mount cameras, the cost-savings of in-camera image stabilization, and my likely move to full-frame (as opposed to crop factor) sensor size, I can't see investing in anything that I can rent for under $75 for a weekend. Companies like lensrentals.com will be getting a lot of my business until I upgrade to whatever is next.

5. It's not a pro video camera.

   This is the real heartbreaker, because most of the results from this camera look like a million bucks. Then you get back to editing and realize that the one critical shot you needed was overexposed or underexposed by almost a stop. You have no zebras, no video meters or levels. The screen, like all LCDs, tends to lie occasionally. If you need to know that you got it on the first take, don't shoot it with a dSLR. Spend a little time with the dynamic range expanding features to give yourself a little insurance, as well.

   I shot "Enough About Me" on the Canon T2i with a lightweight jib and three inexpensive lenses.

6. Your subjects are going to be confused.

   Often I'm taking candid video and people stop and pose, as if I'm trying to take a picture. Clients often need to be assured that I'm shooting with a "real" camera. Of course, rails and a matte box can help, but then you're losing lots of the advantages of shooting with a small cam.
7. Plan time for post-production.

   You will have to sync audio and video, and you will have to transcode. I've been using Prores 422 files on the Mac and Canopus HQ files on the PC. The end result is great if the shots were properly exposed. It's definitely worth the time to try to get your look in-camera, since the shots tend to fall apart under heavy grading.

So what kind of projects should you use the T2i for? Music videos are well-suited, since the audio issues are irrelevant. I used the T2i with my three lenses for the Archie Powell and the Exports video released this week. I find that clients with serious budget constraints like the price/performance balance as well.

The Top 10 Things a PA Can Do to Stand Out Posted by Jon on April 25, 2009

I have done my time as a Production Assistant and have worked with hundreds more, and I thought it was time someone put together a list of what exactly makes a good PA. Here's my top 10 list when I'm thinking about rehiring or promoting.

1. Show up ready to work.

   Be early and wear something appropriate. This can be difficult to guess, and it's okay to ask. Appropriate attire for a PA could be a three-piece suit or a one-piece swimsuit, depending on the day. Be comfortable and if you think you might need something, bring it.

2. Be prepared on set.

   Do you have a tool chest and a flashlight in your trunk? Did you bring an extra jacket and an umbrella? A road map and sunscreen? Producers often forget the small details when they are making big plans, and are very grateful when someone can step up to handle the simple but big problems.

3. Don't step on toes.

   If your opinion is wanted, it will be solicited. Remember that there may have been a dozen meetings or years of market research backing up these odd decisions. Always assume that the producer is knowledgeable and informed. On some sets, you may find that PAs are only supposed to carry certain gear, or not allowed to help with the camera or lighting departments. Figure this out as quickly as possible and get out of the way when necessary.

4. Put down your cigarettes.

   If the producer isn't taking a break, you shouldn't be, either. Silence your cell phone, stop checking facebook, and don't ask if you can smoke. Production teams are exactly that, teams, and they need to play together and break together to function effectively.

5. Know the area.

   Many producers travel across states or countries, and aren't going to know where to go for whatever the production needs. A good PA will know where things are in the neighborhood. If you're not from the area, look up the basics before you get to set. Office supply stores, supermarkets, and coffeeshops are a good place to start.

6. Be tough.

   A good on-set PA should be able to lift at least 75 lbs. and stand all day. Being able to bend steel is a bonus. If you're not in shape, you're probably not going to make a great PA.

7. Have a career plan.

   Great PAs are great beacause they aspire to be more. PA-ing is an opportunity to network with people that have the job you want, learn the trade, and become more comfortable on set. If you're there for the free lunch, maybe you should be working at McDonald's.

8. Anticipate issues before they happen.

   This will be easier the more you know about the project and your production company. When you have down time on set, check the weather and if it changes, update a producer. If you see an actor getting cold, grab a blanket for them before they step off set. Producers tend to focus on their biggest problem, so when you have time you can be focusing on the smaller ones.

9. Don't whine.

   It seems so obvious that I shouldn't have to mention it. But every shoot has someone who can't stop talking about not having a good time. Maybe it's how you cope, or how you bond with the crew, but please find a way to stop. If your feet hurt, buy new shoes. If the insects are bugging you, bring insect repellent next time. And if you don't like it, quit. Negative attitudes are poisonous.

10. Research the project or client.

    Take some time to know what it is you will be helping create. If it's a commercial, what other commercials has the client commissioned? If it's a film, ask for a copy of the script. Research the production company or companies involved. Knowing as much as possible about who's paying you and who's paying them can give you a leg up on the competition.

April Shoots Bring May Edits Posted by Jon on April 23, 2009

If you haven't read it yet, be sure to check out my article on ultra-low-budget film production published this week on moviemaker.com. It's a revised version of a blog entry I posted after finishing "Six Bullets" on a $20,000 budget.

Right now it seems like everything I'm working on is in post-production. "355" is still being edited, "The Machine" is waiting for a finished score, and my series of public service announcements for the Northeast Wisconsin Community Foundations is going through some final tweaks.

Earlier this month, I decided to spend some time on the other side of the camera, acting in a college sitcom pilot. It's always informative to see productions from a new angle, and this was no exception. I gained a new understanding of how difficult acting can be in various circumstances, and picked up some ideas on how to manage time, cast, and crew more effectively.

Film, Video, and TV all at the same time Posted by Jon on November 13, 2008

Three Fifty-Five has wrapped principal photography, and it's a great feeling. With the exception of a few odds and ends, the film is in the can. It looks great, and sometime soon this Summer's footage will end up on my reel. Shooting with Graham and Signal Fire Films is always an awesome experience, and this was no exception. I'm looking forward to getting the footage back and working with color.

I've begun shooting my first claymation piece. It's a short called "The Machine". It's black and white, and very expressionist. We nearly went with super 16mm black and white reversal, but decided to shoot on a Canon dSLR and keep the footage super high res for a possible 2k filmout. We opted to use an older dSLR without live preview, for budget reasons. I would definitely push for a newer model dSLR on future projects. Being able to shoot at 4k resolution for under $1,000 is certainly a nice change of pace, though.

I think I'm falling in love with the new crop of dSLRs that shoot full-frame HD video. Looking at what's attainable with just a few thousand dollars is shocking. I could see myself buying a Canon 5D MkII in the next year, just to avoid renting a 35mm adapter for small jobs. Being able to shoot stop motion would be an added bonus. The rolling shutter is an issue, but a good DP will know the strengths and weaknesses of the rig and make adjustments. I'd expect the 5D MkII and the Nikon D90 to completely dominate the indie music video market for awhile, until people get sick of the "it's almost 35mm film" look.

While I never expected to have so much fun working on children's television, Titan Forest has been an absolute blast. Producing the show has been so rewarding because we're getting such quality programming. I'm looking forward to submitting the show for awards, I'm sure we'll do very well. I'll see about getting a podcast up for those who might be interested.

Eight things I learned while shooting with the RED OnePosted by Jon on June 15, 2008

After having a chance to work as assistant camera on a RED One shoot, I felt the camera was impressive, but doesn't live up to the hype. It's obviously a great value (whether comparing it to high-end video cameras or budgeting for film), but I think the excitement about RED still hasn't translated into a product that can make digital filmmaking simpler than celluloid, yet. I thought I should take a few moments and review what I learned, and maybe give other cinematographers and ACs a chance to learn from my experience.

• 8. Get the accessories. The Red One camera is known for being relatively inexpensive, but if you're going out in the field without the proper equipment, you're not going to get an image that's worth shooting. High-end glass is critical. Have a nice monitor, and a heavy-duty tripod and head. You're not going to want to carry this camera very far, since it's easy to get up to 25 pounds. Bring the crew to go with, there is a lot to handle with this camera.
• 7. Prepare to spend some time with the DI. The workflow options now are very much like film, where you pass your editor a slightly mis-timed workprint and make your real color decisions in the DI suite. The RAW files give you a lot of flexibility with color without adding noise. Don't WB at all, but if you have time, you might get slightly better results using filters to take your image closer to the finished product.
• 6. 4k RAW files are huge. We were generating about 200GB a day once we got up to speed. In a doc situation the amount of data could be crushing. Hire an AC whose primary job is data management. Use a RAID 1 array on set. Bring much more empty space than you think you'll need. The plus side is that you've got a sharper image than a 35mm 4k film scan. You might want to add film grain if you're not outputting to film at some point in your process.
• 5. Bring a light meter. Don't let the digital element fool you, this is a film camera. You have the added benefit of a histogram, but light with the meter to prevent surprises. In many indoor situations available light will be a stop or more too dark. The meter will also keep you more confident when you start seeing your footage played back with gamma and LUT issues inherent to Red on the Mac.
• 4. Use external snyc sound. Red's software has workflow issues with sound right now. The hardware on the Red One takes decent audio, but the software makes it difficult or impossible to use. Hopefully Red will sort this out with a few software revisions, but right now, treat it like a film shoot with sync sound.
• 3. Don't use the HDD in any environments with vibration or shock. We mounted the Red One on a bike and the hard disk couldn't handle the vibration. The CF cards were pretty reliable, although we did have one file error over our five-day shoot.
• 2. Red's software solutions suck right now. RedCine and RedAlert look and function like they were coded in a high-school C++ class. If space and rendering time aren't an issue, I advise getting away from Red software as early in your workflow as possible. The R3D files have lots of data, but without an application to manage it, you're better off just getting close and finishing the work in Color and FCP. I'm hopeful that plug ins for the Adobe suite will make things simpler, since After Effects could do some very amazing things with the RAW R3D data.
• 1. Always rate the camera at 320 ASA. Pushing a stop to save time lighting will leave you wanting more later. The bottom 1/3 or ¼ of the histogram is the noisy part, and shooting at 640 makes most of the image gritty. This isn't a filmic grain, but a non-organic noise. Because of the RAW format, the single pixel grain doesn't devolve into macro blocking, and would probably come out very well with a sofware de-noiser, without much loss in sharpness, but you'll already be spending a lot of processor time fixing gamma, LUTs, and cropping footage.

The Red One 4k 35mm sensor is competitive with film in about every way except latitude. I found my rolling shutter fears to be completely unfounded, although we didn't push the camera to see its limits. Latitude came in around 9 ½ stops, which is enough for almost any indoor shoot. I would really only feel confined by the latitude in a documentary or run-and-gun situation. In a controlled environment, no details were lost, even white walls and black clothes held detail in the RAW image. It's not Vision2, but anyone with a light meter should be able to make it work.

Overall, I wouldn't suggest the camera to anyone unfamiliar with a traditional film workflow. You will be editing on the digital equivalent of a work print, you will have sound issues, gamma issues, and copious amounts of data. If you're looking at digital cinema cameras like the ARRI D-21, then consider the RED One. If you're more comfortable with a video workflow, you can get more latitude and all the benefits of RAW (with fewer drawbacks) using a camera like the Thomson Viper. And if it's budget concerns that are pushing you toward RED, consider turning to a 35mm adapter solution on a 1080p HD camera.

As we begin SummerPosted by Jon on 5 June 2008

I've wrapped up classes for the semester, and managed to make the Dean's List and Honor Roll for the second semester in a row. I will be returning in the fall, but not before I finish work on several fun film and video projects.

I recently had the pleasure of serving as second assistant camera on the set of The Killers, a short super 16mm film based on the story by Ernest Hemmingway. The film is being produced by the UW-Oshkosh Film Society. It will probably be six months or more before we see a trailer, but for now you can check out my behind the scenes photos.

My next big project on deck is a short film called Test Day, directed by Frances Perkins. The film will be shot later this month on the Red One digital cinema camera. I am third AC, in charge of data management for the shoot. I'm excited, as this is my first time to work with this über-hyped camera, already made famous from Peter Jackson's short film "Crossing the Line".

Squalls out on the gulf stream, Big storms coming soon. Jimmy Buffett

Predicting rain doesn't count; building arks does. Warren Buffett

Pet Connection has wrapped its final episode and will be airing this week on Titan TV. Special thanks to my dedicated crew of Ben, Shannon, and Sam for your help making such an amazing show. I have signed on as co-producer of Titan Forest, a half-hour long children's television program. It is a primarily studio production, and the next episode will air in late September, 2008.

I'm backlogged with about 40 hours of editing work for the UW-Oshkosh Lifelong Learning and Community Education department. Their projects tend to be a lot of tape that gets edited down quite a bit. Next week I'll be shooting parts three and four of the summit on Autism Education.

Three-Fifty Five is still pressing on, with about twenty shoot days scheduled over the course of the summer. We've had some great additions to the cast, including Doug Mancheski and Steven Koehler of the Milwaukee Rep, and Dancing With the Stars' Tony Dovolani. With about one-third of the shooting completed, the dailies already total about 400 GB.

New Look, New Site, New ReelPosted by Jon on 29 February 2008

With the dawn of www.jonkline.com comes the need for new content. Classes and work have kept me busy, but it's been far too long without a blog entry. I updated my reel, so those interested can see what I've been shooting, editing, producing, directing, and everything else. The rest of the blog entries have been ported over from my blog with Signal Fire Films.

On my plate right now is the Titan TV show "Pet Connection", shooting its third episode this week. You can catch new episodes every Thursday at 4:30pm on channel 66 if you're in the Fox Valley area. On deck, I'm DPing shoots in March and April for the feature film 355, with the high definition Panasonic HVX200 camera. We're shooting in the Pabst Mansion in Milwaukee and the Galloway House in Fond du Lac.

Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. Oscar Wilde

I'm also continuing to work with UW-Oshkosh's Lifelong Learning and Continuing Education departments, shooting, producing, and directing their promotional TV and web spots as well as their video podcasts.