BURKEPOST BLOG

I’m shooting and editing more RxPrep lectures. Nothing too fancy; just some standard def academic material for web subscription. Instead of using a second DVX this time (for board writing CUs), I thought I’d mix formats by shooting my DVX at 30P and my 7D in standard def, at 60 frames per second, since that’s the only setting for 640 pixels across. Despite the excess fps, that gives me way more card space – about an hour and a half on a 16GB card. The 4 GB individual file size limit is around 26 minutes at 60/640, as opposed to 12 minutes at 1920×1080. And it’s four or five hours of lectures, so I’ll have enough CF memory (64 GB) without needing to clear anything. The 7D may need a cooldown after a few hours, no biggie. This test, from a 29.97 timeline, tells me it’ll work just fine.

30P on DVX, 5600K
60/640 on 7D, 5600K
Ikan LED, 5600K – Figured I’d horse around with the light to see how the three daylight balances look, and to compare temps when dimming.

Part two in the 1-min artsy-fartsy 60-frame comedy series.

I liked how the branches and bars were breaking up the sunshine on my bedroom wall. Shot that in 60 frames, boom boom boom, turned around, shot the light-breakers, la la la, and really liked how they composited in FCP. Plus, I wanted to a fun ambient beat made from reversed and slowed down audio scraps, mostly birds. But all of that might be obvious from watching the thing, which is shorter than this paragraph.

I bought a Canon 7D and it’s been raining in Hollywood. I treated some footage of my deck like it was on a bolex optical printer. Plus, raindrops at 60 fps! Loving the new setup.

The Artivist Film Festival (Dec 1-4, 2010) hired me again this year to shoot and edit the first two nights. It was insane, given that they needed all content edited by the following day, which meant two consecutive all-nighters.

But I’m pleased with, and amused by, the results. Here are the three videos I produced, in glorious standard def.

First, the RED CARPET, oooooh.

The other two are audience reaction pieces. The first night’s main presentation was ReGeneration, about political apathy among youngsters.

How Weed Won the West screened on the second night. It is, of course, about medicinal marijuana, so there were some interesting comments.

This show was phenomenal. They played all of their second album, Thirteenth Step. We shot the first five songs for Last Call, and Josh G cut this version of The Noose; so good. I was in the crowd, near the front left, mostly on silhouette-cam of Maynard, James Iha, and Matt McJunkins the bass player. Here’s somebody’s upload of it.

Danny Boyle is the awesome director of Slumdog Millionaire, Trainspotting, and now 127 Hours, among others obviously. I was on his closeup for this interview.

Me, Pete, and Hammer (dir) on 7Ds in Canada for Last Call. Produced by LiamG. Edited within a couple days of return by CO Los Dos!

Wicked cool piece about the guy who does the score for True Blood.

Joe Lamattina directed, shot, and edited the segment for Last Call with Carson Daly (NBC-Universal).

I was basically B-camera, tight. As usual, we shot on the Canon 7D.

“Who is that?” It’s none other than The Daily Show‘s Women’s Affairs correspondent and Mel the Stalker from Flight of the Conchords. “Why is there a Burkepost Blogpost about her?” Because NBC-Universal’s Last Call with Carson Daly has begun its 10th season, and we shot a sweet interview with her recently. Here it is (after a word from an NCBU sponsor). Rated PG-13 for adult themes.

As We Enter is my new favorite song. It’s the first one on the new Nas and Damian Marley album, Distant Relatives. Fortunately for me, I was introduced to it live, shooting a secret show at the Roxy for Last Call with Carson Daly.