It Ain't Easy Being Chroma Green - Ignite Guelph talk

Back in the Spring I had the opportunity to speak at Ignite Guelph (like TED Talks, but much quicker). Here I was joined by other speakers as each of us got 5 minutes on stage to present pretty much anything we wanted to a room full of people ready to be enlightened. Given that at the time there was a lot of hubbub going around about the visual effects industry after what happened at the 2013 Academy Awards and the bankruptcy of several long-standing facilities, I decided to use this chance to inform folks what has befallen the wizards of movie magic and what has caused it. This proved to be incredibly difficult to sum up in just 5 minutes, so it has been immensely simplified. You'd be amazed how quickly those minutes go by when you're in front of a hundred or so people waiting to hear what the next words out of your mouth will be.

On top of all that, Merc Media had sponsored the event and so I was also in charge of filming everybody's speech. So you can now enjoy my talk along with the 14 others up on the Ignite Guelph channel. You'll be amazed at what you'll learn from these talks in such a short amount of time! Go give them a look-see.

Here's mine below. Big thanks to Shane Luis from ReRezTV for helping out with second camera, especially when I was on stage fumbling for words.

Stay tuned for an announcement for the next round of talks by visiting the official Ignite Guelph website.

Why I chose to not protest 'Man of Steel' on opening weekend

Sunday night of Man of Steel's opening weekend I made the choice to go see it even though I was asked not to. There is both a long answer and a short answer to why I did that.

The VFX Solidarity movement called out to the visual effects artists to hold off on going to see 'Man of Steel' during its first two weeks of release. With all of the commotion in the VFX industry over work conditions, job security, forming a union (or not), etc. somebody came up with the idea that if enough supporters of the hard-working artists withheld from spending money on tickets in those crucial early days, then the effect of reduced box-office numbers would send the message to the studios in Hollywood that "We are mad and we are NOT going to take it anymore!"

Specifically Warner Bros. was the actual target of this protest. Of all of the studios that had movies being worked on by Rhythm & Hues when they went bankrupt, they apparently were the only ones who didn't help finance the VFX company enough to complete their work. Instead they asked for their movie back to give to someone else to work on.

While I am all for taking steps forward to help make the VFX industry better for the artists, the goal of this protest was to raise more public awareness and to wake up Hollywood suits who were unaware (or apathetic) of the incredible strain being put on the artists' lifestyles. At least, it was something to do while everyone was trying to figure out whether or not we should unionize and make a permanent solution. Public awareness is great and all, but my love for going to the theatre and appreciating the sold-out, weekend-opening experience of a movie wins out. To me that's what we are trying to preserve, it's what we are trying to tell people to appreciate. And to give props to the hard-working folks who made it happen.

As for making a large enough dent in the movie's box office? With all of the hype surrounding it, that was incredibly unlikely. If anything, news of the protest may have even served as "negative publicity" and motivated more people to see it. Controversy is the most effective kind of marketing, after all.

It was an interesting idea, but I just didn't see it flying.

And the short answer? It was Father's Day and I could think of no activity my Dad would enjoy more than for his son to take him to see our favourite superhero in an incredible spectacle on-screen. That being said, the movie looked better than amazing, the visual effects were absolutely mesmerizing in AVX 3D, and when we stayed to watch the credits once everyone else had left the theatre (upon being informed by theatre employees that there was no post-credits scene a la Marvel) my old man turned to me and asked me, "Why are we staying to watch the credits?" And I spent a few minutes explaining it to him and helped bring him up to speed on the industry I'm striving to work in. Now that's raising awareness for you.

How to Slate for the Camera like a Boss

Few people know what all those things on a movie slate are for. Even fewer know the proper way to slate for camera properly. It's the job of the 2nd AC (Second Assistant Camera, or sometimes referred to as Clapper Loader) to write out the slate and be the person who holds it in front of the camera before each take. It's an iconic job on a movie set, being the person who makes the loud SNAP right before the director calls action. However there are actually some important tips to know about slating in order to do it properly. Often you can impress the rest of the crew when you show you already know how to slate like a pro.

Keep in mind that there isn't necessarily one "right" way to call slate, but this is the way I've gotten used to seeing slate happen on sets. Sometimes the order changes, and some terms may be called out differently.

Step 1: Filling out the slate

The slate holds all of the information that the editor will need to identify which take was which part of the script and also to sync up video with audio later to the sound of the CLAP. It is unbelievably integral for many reasons, which you can see in an earlier post. Use chalk or dry erase marker (whichever's applicable) and write in the following:

- Production Name obviously!

- Director and DoP Names (do not misspell these! Go off of the call sheet, or even better, ask how they would prefer it spelled. Sometimes they want a nickname there instead)

- Current Date

- Scene number

- Take number

- Roll number/letter

Name of the production, director and DoP are self-explanatory and don't really change. The date obviously needs to be kept current. The scene, take and roll numbers are what you need to stay on top of.

Check with the script supervisor if you need to know which scene you're on, often it'll be called out so pay attention. If it's Scene 42 in the script, then you first write in 42A (the first shot "A" of Scene "42"). Then whenever it is a new camera setup, you advance it by one letter. A new camera setup means a new camera angle, framing, position, etc. So if the wide shot is slated as Scene 42A, then the medium shot will be slated Scene 42B, and the close-up as Scene 42C, and so on. If the camera setup doesn't change at all, then you're just doing another take and so just advance the Take number.

The Roll number used to denote what film roll each camera was on. Nowadays with most productions being digital, it means which memory card you are on. Whenever a new card is loaded into the camera, you advance the Roll number. Each camera gets assigned a letter at the start of production (for multi-camera productions, Camera A, Camera B, etc.) and so you should include the camera letter before each roll number. So if you're using two cameras, you might write for Roll "A023, B016". This would indicate that Camera A is recording to its 23rd memory card and Camera B is on its 16th card. This way the editor knows which card folder each take is in on the hard drive.

Step 2: Getting the slate in position for camera

When the AD calls "Slate!", that means you. Better have that slate filled in and ready to go because you're up. The camera operator will not roll camera until the slate is in position, so you need to jump in there. This is to ensure that the first frame of each take has the slate clearly visible. That way the editor can browse through the thumbnails of each take and know right away which shot it is without having to play through each one. It makes their job a million times easier, therefore earning you a friend for life.

Where specifically should the slate be? Pay attention to the lens being used. If it's a wide angle lens, you can stand closer to camera. If it's zoomed in for a close-up, you should be near whatever the subject is. If this is Brad Pitt's close-up for an emotional scene, the slate should be near his pretty face. Ideally the slate should fill the screen as much as possible and be in focus enough to read it easily.

By the way, is there audio recording for this take? Then the sticks should already be open so that the editor knows there is an audio track to go with it. If there isn't? Then keep the sticks closed and don't clap them at all. Oh, and write MOS on the slate, if you can. (Tip: MOS is said to stand for "mit out sound" as a 1920's German director may have said once, but it most likely stands for "motor only sync". Really, it just means there is no sound being recorded. That's all you need to know.)

Step 3: Reading off the slate

When the actors and crew are ready and the AD wants to get shooting, a bunch of crew members call out some words to indicate they're ready to go. Pay attention to the order so that you know when to do what. This is what varies from set-to-set but usually it goes something like this:

- The AD calls for everybody to settle and shouts "Roll Camera!"

- The 1st AC or Camera Operator rolls camera and calls "Camera Rolling!" and the Boom Operator or Production Sound calls "Speed!" meaning he/she is now recording. Once you hear both of these get shouted, you can then finally...

- Slate for Camera! Read off the Scene number, Take number, say "Mark!" and then CLAP the slate. Want to really sound like a pro? Use the NATO phonetic alphabet for the Scene letter (alpha, beta, charlie, delta...). If the slate is close to Brad Pitt's face or the boom is close to it, then audio department may call "Soft sticks" meaning you can close it gently. No need to be loud. Otherwise, snap the hell out of it. If audio doesn't pick it up, they may call "Second sticks" meaning you need to re-slate. Just quickly say "Second sticks", and snap the slate properly. Then what do you do?...

- Get the hell out of the way! Quickly and quietly. You've done your job, now you're all that's standing in the Director's way of calling "Action!". *sigh* Great, you can now relax and watch the actors perform, enjoying their performances...

- But wait! There's more! Rather than get caught up in what the actors are doing, you should opt to wait to see it on the DVD and instead be filling in the slate for the next shot. Wipe out the Take number, write in a new one.

And that's pretty much it! It's not rocket science but few people know how to slate properly for the camera. If it's not being done right, it might as well not be done at all. After all, this is to help the editor not have a meltdown while searching through dozens upon dozens (or more!) clips for each scene. Often an overlooked and undervalued job on set, knowing how to slate can be amazingly helpful and make you look good in front of other crew members.