The workshop commenced with the topic of digital movie production. William Mayo, PMPDA (Philippine Motion Picture Directors Association) president, gave an overview of the technical aspects of digital production.
Unlike shooting with film, Mayo said that shooting in digital does not require the clapper sound which was used to synchronize the audio. Digital editing handles this part since the computer is capable of the necessary audio format conversion and adjustments.
The full-packed seminar hall of Janet’s Resort in Matabungkay, Lian, Batangas
To further demonstrate the advantages of the digital over the traditional film, costs estimates were given. A moderate shoot of a movie would need 22 rolls of film that would total to 60 rolls after the editing. At 8,000 pesos per roll, that’s very costly.
In contrast, the digital camera uses a memory card that can be uploaded to the computer and later on be reused. Another plus for the digital is that you can see the actual footage in the computer’s screen.
Net 25 president Art De Guzman dished out the opening remarks while Station Manager Manolo De Lim led in the prayer
The digital camera has many types in terms of resolution. Starting from the standard video of 640×480 pixels which is being used by television, we now have the 720p (1280×720) HD format and the full HD of 1920×1080.
The p in 720p indicates progressive. This is a simulation of the film where the whole image is displayed on the screen at once. Take note that the video’s standard of display is interlaced, i.e., line by line.
But the most in resolution is the so-called 4K size. The Red Camera can capture 4096×2304 resolution which is an exact replica of the film in frame size. This is preferred especially when the digital footage is converted into film.
The larger the number of the frame size, the better the resolution when blown up by the projector. The digital footage, especially the larger ones, can be converted to film by the process called kinescoping which costs around 1.2 million pesos.
The rental for a Red Camera is estimated at P20,000 per day. As for the cost of purchase, the latest model Red Mysterium X is selling for $25,000. Only Oli Laperal has this kind of camera in the country right now.
As an actual example, Imus Production has rented 2 Red Cameras from Oli Laperal’s RSVP Film Studios. Panday is now shooting with Bong Revilla and Marian Rivera in the lead roles. It is an entry for the December film festival.
With the digital camera, making a movie has become much easier hence the proliferation of the indie movies. But it is sad to note, according to Mayo, that indie producers make movies for the sake of making movies only.
The monitors of the P2 camera, at right is the monitor of the 3D rig
Oli Laperal dissected the technicalities of the 3D movie, from the camera to the output. The 3D rig has 2 types – side by side or mirrorized. The side by side is used for full shot while the other one is best for close up shots.
There was the thing called convergence which is actually the reference point of the images. The image can be behind the convergence or in front of the convergence point which would give a protruding effect.
To be taken into consideration is the size of the theater’s screen. Normally, the theater screen is 40 times the original size of the video’s frame. Shooting with a 3D requires some measurements.
For a breaker, Laperal showed what he called toys. There was the 3D still camera that he bought for $400. There’s also another 3D still camera that is capable of taking photos underwater. The output of these cameras are photos in 3D.
The gyroscope is a new thing that amused the film directors. Once connected to the underside of the camera, the gyroscope stabilizes the momentum thereby lessening or eliminating the jerk. It provides a smooth movement for the camera.
For the viewing glasses, there’s the anaglyph and the polarized. The polarized can be circular or linear in type. The US and Philippines standard is the circular polarized glasses which costs around 45 cents.
Polarized 3D viewing glasses. The linear at left and the circular at right
Laperal emphasized that the type of viewing glasses depends on the projector. Furthermore, the 3D movie for the theater screen is not appropriate to be shown on a smaller screen, meaning there should be a version specifically for the television.
In the beginning, Laperal said, 3D was only a support. It was meant to enhance the movie in order to attract more attention. Especially when the 3D camera was not that good, “nakakahilo pag hindi synch.”
Now, 3D is in the process of establishing its foothold in the movie industry, at least in the US (since there’s no local 3D movie yet). The success of Avatar, which sold more than two billion dollars, is a factual proof.
Having lunch under the sampaloc tree. Jun Posadas and Oli Laperal at the foreground
As a side story, piracy was mentioned. The anti-piracy law is toothless against the violators since the penalty is a mere P2,000. Piracy, being a result of technology should be fought with technology.
A good example is the DCP format of a hard disk that requires a per-mission by accessing a website in order to play the movie. This DCP method can accurately keep track of the number of showing of the movie that was loaded in the hard disk.
The participants were very attentive because the speakers were always sharing facts and figures, not to mention the visual aids. PMPDA president William Mayo invited the non-directors to join the guild as a Director 1 member.
Directors all. From left, William Mayo, Bert Talens Ortega, Jun Posadas, Cloyd Robinson, Bebong Osorio, Vic Belaro
Held from May 21 to 22 at the Janet’s Resort in Matabungkay, Lian, Batangas, the seminar ended with certificates awarded to the participants.
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