updated 12 October 2004

 

"Shooting Digital" by Marcus van Bavel
a review by Heath McKnight

Read a sample chapter here.

"Shooting Digital," written by the owner and chief engineer of DVFilm (www.dvfilm.com), a video-to-film transfer house based in Austin, Texas that also offers some software plug-ins for both Mac and PC NLEs, is more than just what the title alludes to. It's not just about shooting digital, it's about shooting digital video to make a movie with consideration for a possible transfer to 16mm or 35mm film.

Marcus van Bavel makes the argument that digital is just as good as projected 35mm film, given the technology of DV and how film projection seems to "decrease" the much higher resolution of 35mm. But, though out the book, van Bavel occasionally lets slip that digital does fall quite short of 35mm film that ISN'T projected, where it the degradation of the image can occur.

Other unique features in the book include tips on editing, preparing your footage for possible transfer to film, tips on getting in film fests and marketing your movie, how to distribute and a test case of his own film, REDBOY 13, where technology he developed to transfer CGI (Computer Graphic Images) to 35mm film, became the basis for DVFilm. He even includes an appendix with budgets, a bit of REDBOY 13's script, contracts, resources and more. Sure, he offers many plugs to his company's services and products, but in the appendix section, he offers links to OTHER transfer houses!

One little side note, I bought the book because I am hoping to shoot my next film on digital, but with an eye to transferring to 35mm film. After reading the book, the bulk of which was done while Hurricane Frances was hitting my hometown in Palm Beach County, Florida, I realize I'd have a hard time transferring to film with the styles I've used before (i.e., the transfer would look for like video-to-film than something that appears to have originated on film, based on van Bavel's advice). I will break down the review into the different parts and highlight the chapters. There are three parts and 15 chapters, and also seven appendices, including working with 24P cameras.

Part One: Production

Author Marcus van Bavel's friendly, easy-to-follow and intuitive writing helps out even the novice filmmaker. He wants the reader to focus more on the filmmaking than allowing the reader to get bogged down with the technology. And right off the bat in chapter 1, Why Digital?, we get an educated decision from van Bavel why shooting digital for possible (he emphasizes that it isn't important to go to film UNLESS a film festival or distributor requests it) transfer to film is much more affordable with many of the same results, if shot properly, than shooting on 16mm or 35mm to begin with.

In the next five chapters, van Bavel walks the reader through selecting the camera and understanding it and the limitations, how to light for digital cinematography, what types of support (tripods, cranes, etc.) one should look for, and framing and frame rates in digital filmmaking. He breaks it down easily, allowing the reader to not get confused or even put off by digital filmmaking. But many of his suggestions and tips aren't just for the novice filmmaker, but even seasoned digital filmmakers who haven't shot a movie for a film transfer. What I mean is, when one shoots a movie with thoughts of transferring to film, the way it's done is much different than just shooting a digital movie for digital projection, TV, DVD, etc. And van Bavel's book even helps those who actually have made a movie and will need a transfer.

The author also provides information on shutter speeds, which are extremely important when shooting for a film transfer. He also mentions that the JVC HD1/HD10 HDV (consumer high definition video) cameras, that 720p30 (30p) is nearly impossible to transfer to film because it is progressive. Though many will argue that Twixtor can help change 30p footage into 24p clips ready for transfer, with a little bit of work. He recommends shooting 24p, 50i (PAL) or 60i (NTSC).

He gives great tips on framing and how it will work when going to film (basically, shoot in native 16:9 or get an anamorphic adaptor). van Bavel also gives great tips on how to build lights and camera supports, many of which he has used on his two films, TEXAS COMEDY MASSACRE and REDBOY 13. In chapter 6, the author reverses things by instructing the reader how to shoot film for digital, also explaining software to properly make conversions to NTSC and PAL. By the end of Part 1, van Bavel delves into the all-important sound recording, and how to properly get some sound. He even offers many examples he's had to face in the field with his films. There's also a little bit about how the sound will eventually go to film.

Part Two: Post Production

In Chapters 8 through 11, van Bavel talks about using computers to do non-linear editing, especially when transferring 60i video to 24p and 24p to "true" 24p (minus the 3:2 pull-down, which he de-mystifies). He also focuses on mixing and preparing the sound, something very important for the film transfer.

What is usually something readers don't think about too much about, titles, van Bavel gives us a cold-hard reality: regular ol' titles won't look good transferred to film. He recommends making extremely high-resolution titles in Photoshop, or see if the transfer house will do them for you (DVFilm does this for free).

In the final chapter of Part 2, van Bavel gives a detailed explanation of how to prepare the Master Tape to send to the transfer house. It's filled with some interesting things, like making your tapes, if not sending on a fire wire drive, 20 minutes each. The tapes will end up more like what it will look like on a 35mm film reel.

Part Three: Film Festivals & Marketing

In Chapter 13, appropriately titled Film Festivals, van Bavel gives pretty good advice on getting into film festivals (submit to as many festivals as the reader wishes, but be sure to submit early). He also says this is where the reader will have to decide whether to make the transfer to film. Usually film festivals will tell you if it's necessary to have a film print, outside of RESFEST and other digital-only film festivals.

Chapter 14 details how distributing an independent film works, with or without the support of a studio or micro-distributor. From my experience, it's not too hard to get into a small mom and pop theatre, if you're willing to have screenings during the week. But van Bavel offers tips on working out a deal to have your film screen over the all-important weekend.

He also touches on other forms of distribution, including DVD, VHS, TV, Cable, Internet and more advice on what the reader needs to know for distribution of any kind. One tip: get an entertainment lawyer on your side if a studio, TV network, etc. wants your film.

The final chapter of Part 3 gives a "test case" of the author's film, REDBOY 13, offering sage advice and experiences from his own film, shot on 35mm film with digital animation-to-35mm transfers he did himself.

Appendices

The appendices offer many valuable assets, including specifics on transfers, a sample budget of REDBOY 13 (which is quite nice to reference) and a sample portion of the script, some contracts the reader can use for making a film (including actor release, etc.), a list of resources (including other transfer houses), video-to-film transfer methods (there are three types: Kinescope, EBR and Film Recorder, which explains in great detail) and specifics on shooting a movie on 24p, with an eye to a film transfer.

All in all, the book gives great advice and tips on shooting digital for film, while keeping digital video's limitations in mind, and is also an invaluable resource guide for new and seasoned filmmakers. The price, $35 USD, is a little steep, but it's well worth it if an expensive film transfer is on the line and the reader isn't sure how different the approach will be to shooting digital for that transfer.

It should also be noted that the book is updated several times a year, according to the website. One nice thing would be to offer previous buyers of the book the chance to pick up the updated versions for a little less money. Especially since 1080i60 and 24p HDV cameras are coming out, and van Bavel is sure to update the book. Also, for educators, there are volume discounts available.

Written by Heath McKnight.
Thrown together by Chris Hurd.