Shane Hurlbut is known for more than just being the guy on the other end of the Christian Bale shouting match. He is a DP who has been tirelessly touting the value of shooting high-end films using HDSLRs (High DEf still cameras that can also shoot HD video) like the Canon 5D Mark II. In fact, in a recent fxGuide podcast (podcast #56, about half way through) he makes a passionate case for why these cameras will eventually “kill film.” It’s a thought provoking and (frankly) pretty exciting podcast. For those of us who step back from a headlong rush into something new just because it’s new, this will raise some great issues about what earthly use celluloid film really has.
Shane also has an interesting entry on his blog at Hurlbut Visuals, talking about the digital workflow issues that he and his crew dealt with on a recent Navy Seals film (that he also talks extensively about in the podcast). In it he talks about media management, a skill which is sadly lacking in many crews who shoot file based cameras. There is an illusion that, because it’s easy to keep shooting, and because stopping to reload cards “interrupts the creative process” (as if decades worth of shooting 11 minute loads of 35mm couldn’t create good creative films), that media management is an impediment to creative filmmaking. Hurlbut takes the piss out of that one:
The unique skill set that my Elite Team brings is that they all have a film background and are comfortable with certain rituals that accompany being a motion picture film loader and 2nd assistant cameraman. These include: managing the truck; keeping track of the gear and specialty pieces of equipment; creating an inventory and log; assessing how many magazines you have to load and color coding it according to the stock; labeling the magazines with the date, job, film stock and amount loaded on the magazine itself; and writing a camera report with the same information.
When I see students of mine with disorganized editing bins, into which they’ve loaded unlabelled takes digitized from tapes that have not been sub-clipped for easy access, it drives me insane. One of the great advantage of digital editing is that it should make it easy to find anything that I need to create a finely edited sequence. If I have to scroll through a ten minute series of takes in order to find the one that I want, it’s going to stop my creativity much quicker than taking the 20 minutes to subclip and label each one of those takes before I edit them.
by the same token, dumping dozens of takes of unslated, unlabelled takes, into my NLE does nothing to help my creativity. And having to hunt through all of the dailies because the production people didn’t bother to create usable camera and sound reports, or script notes, makes the editing process so much more difficult.
One of the things that encouraged me to write my recent book on editing room procedures (THE FILM EDITING ROOM HANDBOOK) was the awareness that filmmakers were wasting countless hours and brain cells because of lack of organization. And that this organization, which we use quite naturally on higher budget films that have assistant editors by the score, was easily adapted to low budget films with no assistants. A little bit of work at the start, saves a whole boatload of work later. And that work is complicated by the fact that the director will be standing over your shoulder while you’re scrolling through a 25 minute clip, looking for the one 50 second take that has the piece he or she wants to look at. Or that opening and clicking through a dozen badly-named sequences, in order to find the version of the cut that you liked from two months ago, is just a really stupid idea.
There are ways to avoid that nonsense and creative DPs like Shane aren’t afraid of them.
And neither should you.