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Now if only they could do something about shooting in old, dank locations (old NM State Pen, anyone). From an email: Green the Scene: A Practical Guide to Sustainable Film Production In just five minutes on set, one can quickly see that production practices tend to be wasteful and damaging to the environment. From the energy consumed to the temporary nature of the sets, the use of expendables, non-renewable woods and environmentally unfriendly paints, cleaners and other solvents, the film and television industry tends to waste valuable environmental resources at a high rate. Around the nation, union members and members of the community are taking a stand to truly make our industry a sustainable one and are committed to reducing the impact that our industry has on the environment. From studios who are developing environmental and sustainable departments to independent consultants and crews on sets, the green movement is spreading throughout the industry and the question people are asking now, is not “why” but rather “how.” Presented by member Holly Roach and founder of Reel Green Media, Lauren Selman, who combined, have greened over 20 films. The class will be held at the Center for Progress and Justice, 1420 Cerrillos Road in Santa Fe (next to the 480 office), on Saturday, April 7, from 1 to 4 pm. To sign up, email michelle@iatselocal480.com. There is no charge for the class.
Indie filmmakers Joe Rubinstein and Elle Schneider are getting funded on Kickstarter to help fund their project to create the Digital Bolex D16. The goal was set at $100,000 and, as of this post, with 14 days left in the campaign there is an impressive $284,628 in the kitty. It’s a nifty looking unit that offers unprecedented resolution and features for the price. High points on the spec sheet shows that it will shoot 2k, 12 bit 4:4:4 RAW images. That’s pretty cool for a camera that will retail at $3,300. That price is for body only, no lens. It will come standard with C-mount but you have the option of PL, EF and B4. The camera not only has a slick retro design and also an old school ISO range (100, 200, 400). The XLR inputs greatly adds to the usability of this camera for more run and gun style shooting. It’ll be interesting to how Digital Bolex slots into productions. Needless to say, there are a ton of uses for a 5lbs camera that shoots 2k, 12 bit 4:4:4 RAW. I know I’ll see the D16 on a feature film set mounted on rods with good glass and built into an unruly mass with a bevy of accessories. I’m thinking that if you have enough light, this camera is gonna kick arse. The D16 goes on sale at the start of the Fall in 2012. Get the specs here. Image courtesy Bolex and Cinemeridian inc. Photo courtesy of Ursula Coyote The camera department for the feature Code Name: Geronimo (Seated above) Chris McGuire, Mark Gutterrud, Aaron Lieber (Standing) Bret Latter, Erick Castillo, Bill Mitchell (Seated below) Turtle O’Toole, Ursula Coyote, Alexander Paul, Peter Holland, Will Emery |
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