Part 4 Chapter 20 Film 101: A Novel Approach

Film 101: A Novel approach1

Thanks for your interest in RED Digital Cinema. There is a tremendous amount of incoming email regarding sponsorship opportunities, product development, distribution and general biz dev, so it sometimes takes a bit of time to go through the incoming requests. We will review your email here and get back to you if we would like to discuss your proposal further.2

My Best.3

+ Ted4

Ted Schilowitz5

Leader of the Rebellion6

bizdev@red.com7

Please include this ID in the subject line of any future correspondence about this issue, or just hit the "reply" button in your email system.8

[RED #32169]9

-------------------------------------------------------------------------10

Dear Jim Jarran;11

Reading WIRED about your vision for RED ONE Camera, it reminded me about a ROBOT CAMERAMAN setup, I was thinking about with HEXBUG INCHWORM. I wanted to setup a camera set with a ROBOT CAMERAMAN, so I could picture a HEXBUG INCHWORM with a remote control on an ANTICS3D GREEN SCREEN STAGE using a SNAKE CAM for a camera. COST is $15 plus $22. I wanted to use the view of the CAMERAMAN via USB to a computer screen because my camera is offsite for the making of a 16mm black and white movie. It occurred to me that using a small blimp device positioned by the cameraman could float the camera. Just how to make the cameraman see the set as I did I asked. Well, it comes down to the same question with RED ONE. How to get your cameraman to see the scene the same way the director sees it from the storyboard, I asked? See Professionallcfilm.freehosting.net for more.12

Perhaps you are interested in the answers I have discovered in my film PORTLAND NOIR, a sequel to PARANOID PARK and a PARODY of SNOW CRASH: OUR HIRO and YOURS TRULY. To be submitted to FILM FESTIVAL WORLD in ROME, ITALY, MARCH 2009.13

Sincerely,14

principal manager15

Professionallcfilm Company16

Author of FILM 101: A Novel Approach to FILMMAKING on www.storywrite.com17

Posted at Fri Sep 12 00:37:23 EDT 200818

Dear Ted;19

Thank you for your response. There were a couple of changes:20

It occurred to me that using a small blimp device positioned by the cameraman could float the camera. 21

Just how to make the cameraman see the set as I did I asked? I saw this in Popular Science Oct 200822

http://www.ceto.com.au/ceto-technology/wave-farms.php23

Just suppose I had numerous floating cameras, each taking a picture of the shadow of the blimps on the camera set floors. The changing size and position of the shadows would picture the wave overhead24

moving the blimps in the air, just as water moves the balloons. One could now get a feeling of waves. [See Oct 2008, print version for shadows]25

FILM 101: A Novel Approach to FilmMaking26

By Thomas McClure27

I. Introduction28

What size of a blimp does it take to float a 10-pound camera?29

[Popular Science, May 2008, p. 10] "Saucer-Shaped Aircraft"30

"This radio-controlled aircraft consists of a helium-filled balloon that is spun around by a diesel-powered motor. Winfield Matsler, Belleville, Ill. From the picture, if the motor is one foot, then the diameter of the balloon is six feet.31

I am assuming that a motor is larger and heavier than a 10-pound camera.32

If the camera is indeed hand-held, floated by the blimp, and pushed by the cameraman, it is like a snake-cam on a HEXBUG InchWorm. Thus remotely directing the HEXBUG will move the camera horizontally in 360 degrees.33

Elevating the camera vertically will send the picture via USB to a computer for the cameraman to see and to direct the blimp upward, sideward, or around. The miniature HEXBUG CAM set directs the blimp camera.34

In addition, the shadow of the blimp from an overhead lamp gives a surmise of the blimp's position and of the wind wave, moving it. Like a water wave, the balloon shadow on the ocean floor gives a surmise of the moving wave.35

Now consider that worldwide, there are camera sites with BIG RED Digital Cinema cameras. Each is like a blimp floated cam under a flood lamp. Each is capturing the shadows under the wind waves, implying a worldwide surmise.36

II. Antics3D37

Dear Antics3D customer, 38

Here at Antics3D HQ we are busy getting ready for the launch of v5 in October. V5 will have a number of cool new features, including character emotions, and as you have been using an existing free version of Antics3D, I thought I would give you the opportunity to upgrade to the professional version – and automatically receive a free version of v5 Professional when it is released - for just $195. That's a third off the price on our web store. 39

By going Professional now you will also be the first to get your hands on Antics V5. I probably shouldn’t, but I think our online content store is so cool that I’m throwing in free access until December to $thousands worth of premium content. And with SketchUp importers you can add animation to any model from the Google SketchUp Warehouse – completely free. 40

This offer is only available through the following link. 41

http://antics3d.com42

Your discount code on that page will expire September 25th, so you will need to act fast. 43

If you have any questions, or need a hand getting going with Antics3D then drop me a line, or email getintouch@antics3d.com. We love to hear from customers, so whatever the question is – we can help. 44

Thanks, 45

Gary 46

Community Manager 47

Antics3D 48

This message was sent from Gary Conway. It was sent from: Antics, Los Angeles Center Studios 1201 West 5th Street, Suite F-40, Los Angeles, CA 90017. 49

So the intent is to create green stage screen characters for the screenplay.50

Then use HEXBUG INCHWORM robots for the cameramen with snake CAM as eyes to direct the RED Digital Cameras under blimps to create shadowing.51

Lighting on a random robot will create floor lighting on the micro set via USB.52

III. A Novel Approach to FilmMaking53

It is inevitable that the screenplay will proceed in time from the meeting of the two characters, male and female. The seduction for both of them is for the male one of physical attraction and capture and for the female one of spiritual attraction and obsession with other goals and plans. He resists and succumbs and resists and does the right thing. She has already done the wrong thing, like cancer or exposure to deadly virus, she must drag him into her trap. She is the femme fatalle; he is malleable man. In the end, he must refuse her or face inevitable doom. The screenplay is as linear as the shadow radius from the center of the camera. Up and down the wave above rides his destiny. Shadows lengthen and shorten. The play of the cameraman raising and lowering the blimp changes the overhead lamp.54

And this is happening not only once in one camera location, but in multiple locations around the world. Each with different actors following the same screen play as depicted by green screen stage directions from ANTICS 3D.55

But these directions are changed into ROBOT cameramen creating overhead lamp shadows. There is no overhead wave changing the lamps. Only the shadows change on the floor below, creating a surmise of the wave above.56

Like a multitude of balloon power stations riding on the crests of the wave, the cameras at the ocean floor film not under water, but in the airy sets. 57

IV. Conclusion58

A novel approach to filmmaking with ANTICS 3d green screen staging of ROBOTS, and directing RED Digital cameras worldwide is new for movies.59

Making a black-and-white 16mm film in NOIR makes the shadows mean something in the plot and in the screenplay. It is in what that is under the wave we surmise is there, but what we cannot see yet, that the inevitable arrives. It is a sense of the tragedy of man that reveals his redeemption. 60