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Eric Escobar
Eric Escobar is a filmmaker and a filmmaking technology geek. On the filmmaker side, when he was 16, Eric worked as a video store clerk at Bob's Video in Hollister, California, where he was paid to watch movies all day long. A few years later he started making his own movies and never stopped. Eric's films have screened at festivals all over the U.S. and internationally. In 2005, he was awarded an Honorable Mention in Short Filmmaking from the Sundance Grand Jury. Eric has written and directed a dozen short films and a staggering number of industrial videos, commercials and PSAs. On the geeky side of things, he blogs. In the late 90's Eric answered your Premiere and After Effects tech support phone calls at Adobe Systems. From 2001- 2003 he was on the Final Cut Pro Development Team as a QA Engineer at Apple, Inc. Nowadays he likes to develop Magic Bullet Looks Packs for Red Giant Software. Eric currently works as a commercial director for Kontent Films (www.kontentfilms.com) in San Francisco, which is the most awesome job he's ever had. |
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The Indie Economics of SLOG and the Sony PMW-F3. Is it worth it?Shooting SLOG/444 on the PMW-F3 puts the per day cost within spitting distance of an Alexa or Epic rental, what’s an indie filmmaker to do?
As a recovering technoholic-cameraphile, I am desperately trying to make my way out of the addiction cycle of endless camera tests and back toward the rest of humanity. I want to be a part of the species that just wants to viscerally respond to a beautiful, spirit-moving image of light, shadow and color. I want to be thrilled by beauty, not sourly deconstructing the failings of this week’s latest offering from the constellation of video camera vendors. more »
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The Cinematic Soul of the ARRI Alexa and How It Will End Test Videos on VimeoThe Alexa has ruined me for other digital cinema cameras, especially DSLRs.
Here is my decidedly non-technical perspective on shooting with the Arri Alexa. I shot in Rec 709, not even Log C and I don’t care, it was so pretty. I didn’t measure latitude, and I didn’t have a chip chart either. I just pointed the Alexa and stuff and fell in love with the amazing image it made. The biggest thing the Alexa has done is freed me from the idea of needing to do endless camera tests to determine under what conditions my cinematic image will break down and show it’s harsh little DV roots. With the Alexa you just shoot, there is nothing to test, and nothing to hide. more »Advice to My Friends with 100 GrandWhen you have 100K burning a hole in your pocket. 100 thousand U.S. dollars is, objectively speaking, a lot of money. Its enough money for a single person to live, comfortably, albeit modestly, in a major US urban center for half a decade without having to work. And every year, untold hundreds of people will blow that amount of money making a low budget feature film that never gets past a bunch of festival rejection emails. Here’s what I think you should do instead. more »
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Customizing Lens Flares Inside Smoke
Using VideoCopilot’s Optical Flares for After Effects
Lens flares are the new lens flares. Lens flares have made a comeback of late, largely due to recent developments in software that allows lens flares to behave in a more realistic manner with border adjustments and occlusions. Long are the days when all we had was a stock 35mm default flare. Now there are many good plug-in options. Red Giant’s Knoll Light Factory is a classic but is feeling a bit aged, even with its new 3D Flare add on, currently in beta. Genarts Sapphire v6 has a new reworked lens flare option, which is much improved over previous versions, and Optical Flares from Video Copilot is quite spectacular. More on Optical Flares in a minute… First you need to know how lens flares work inside Smoke.
Tip Tuesday: Disable a clip in the Avid Media Composer timeline
It’s not as nice as a built-in clip enable / clip disable contextual menu but it works.
In honor of TipTuesday over on Twitter I thought I’d share this simple Avid Media Composer tip that I use to counter the lack of a clip enable / disable feature in Media Composer. It’s all about saving an effect and getting easy access to that saved effect. There’s actually several tips in here that can be used for most all effects in Media Composer.
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