By Greg Pak
In several of my shorts, important images and sounds jump off the screen the instant the film starts. Many, many times I’ve seen these first few seconds spoiled during screenings because of bad focus or slow sound adjustments by sleepy projectionists.
So now I always put five to ten seconds of logo at the very head of my films. This is what business school geeks call “basic branding,” and is nice for promotional reasons. But more importantly, it gives the projectionist a few seconds to correct the film’s focus before the film itself actually begins.
I suppose the next step would be to put a trill of music behind that logo so sound levels could be checked as well, but I haven’t yet put my composers to work on my personal theme song just yet.
Maybe next week…
Equipment Specifics
By Greg Pak
I’ve recently received a number of emails asking for specific production and post-production equipment advice. What follows is a list of different equipment I’ve used to shoot each of my films with links to additional pages detailing the pros and cons of each piece of equipment. Hope it helps.
The Penny Marshall Project
Format: MiniDV
Camera: Sony TRV-700
Sound: Sennheiser K-6 series with ME64 capsule, plugged directly into the camera
Lighting: All available light
Editing system: Final Cut Pro
The Informed Consent Zone
Format: MiniDV
Camera: Sony VX-1000
Sound: Sennheiser K-6 series with ME64 & ME66 capsules, plugged directly into the camera
Lighting: Omni light kit, Japanese lanterns with Photofloods
Editing system: Final Cut Pro
Asian Pride Porn
Format: MiniDV
Camera: Sony VX-1000 and Sony TRV-700
Sound: Sennheiser K-6 series with ME64 & ME66 capsules, plugged directly into the camera
Lighting: Cheap lamps and Photofloods
Editing system: Final Cut Pro
Po Mo Knock Knock
Format: 16mm
Camera: Eclair ACL
Lenses: Angeniuex 12-120 and Switar 16mm prime
Sound: Sennheiser K-6 series, recorded on a non-timecode DAT recorder
Lighting: Omni Light Kit
Editing system: 6 plate Steenbeck (analog)
Fighting Grandpa
Format: 16mm
Camera: ArriSR for the main shoot, Eclair ACL for pickups
Lenses: Angeniuex 12-120
Sound: Sennheiser ME and K-6 series recorded on Nagra 4 tape recorder
Lighting: Cheap lamps and Photofloods
Editing system: 6 plate Steenbeck (analog), AVID
Mouse
Format: 16mm
Camera: ArriSR for the main shoot, Eclair ACL for pickups
Lenses: Angeniuex 12-120 and Schneider prime lenses for the main shoot, Switar 16mm prime for pickups
Sound: Sennheiser ME series recorded on Nagra 4 tape recorder
Lighting: Babies, inkies, Japanese lanterns with Photofloods, one HMI, color balanced practicals
Editing system: 6 plate Steenbeck (analog)
Mr. Lee
Format: 16mm
Camera: ArriSR
Lenses: Angeniuex 12-120
Sound: Sennheiser ME series recorded on Nagra 4 tape recorder
Lighting: Babies, Inkies
Editing system: 6 plate Steenbeck (analog)
Why I Plug Film School
By Greg Pak
People often ask me whether film school is worthwhile for aspiring young filmmakers. My simple answer: Yes.
I went to New York University’s much-lauded graduate film program. Like any film student, I had gripes about my school from time to time. But for several reasons, I’m greatly indebted to my film school experiences.
A place for real criticism
First, film school was the first place I got rigorous criticism of my work. Before film school, I made several films which friends and family told me they enjoyed. But no one ever told me this shot is too long; this scene is too didactic; this sequence doesn’t work.
In contrast, my professors and classmates in film school clearly and coldly told me what they thought about my work. It was seldom pleasant. But without clear analysis of my work’s strengths and weaknesses, it would have been much more difficult for me to grow and improve as a filmmaker.
A place to aquire specific skills
Second, film school gave me solid tools for directing actors. I had worked with actors for years as a director of various improv comedy groups. But directing for the screen is a unique undertaking which my professors at NYU helped me understand. Similarly, film school gave me a strong grounding in other essential crafts such as editing, cinematography, and most importantly, dramatic writing.
A place for contacts and professional advancement
Third, film school provided me with contacts and venues for professional advancement. I’m still in touch with many of my classmates — we help each other out from time to time, tossing each other info about jobs, lending each other equipment, working on each others’ films.
Professional benefits have come from the festival venues available only to students. I got several big boosts from student festivals and awards, including the Student Academy Awards and the NYU First Run Film Festival.
People often argue against film school by pointing out that a person can make a micro-budgeted feature instead of spending $60,000 on film school. True enough, particularly now that MiniDV and Final Cut Pro have made the costs of making features on video much, much cheaper.
But it’s also true that most of these micro-budgeted first features disappear, never to be seen by anyone except the cast, crew, and the filmmaker’s immediate families.
Before I went to film school, I made a sixty minute superhero spoof on Beta SP called “Random Man.” I have no regrets about making the film — I learned a huge amount from the experience. But the film didn’t really work, despite having a great first ten minutes. It played in only one film festival.
If I had skipped film school and put the money right into making more films, I suspect I would have made several more interesting but ultimately amateurish feature length films which nobody would have seen.
Instead, going to film school gave me the training and rigor to make each of my projects as good as they can be.
In short, film school helped me live up to my potential.
I know that film school is not for everyone — in particular, it’s not affordable to everyone. But even if you can’t afford film school, I’d recommend trying to create a network wherein you can get some of the benefits of film school. Specifically, I’d recommend joining or creating a community or workshop of filmmakers who can provide you the rigorous criticism and advice you need to grow.
One example of such a group is the Workshop, or the Asian American Filmmakers Collaborative.
The DIY Shockmount
By Greg Pak
As I was leaving my apartment on a recent trip to Alaska for my documentary “Brother Killer Wolf,” I left my boom pole and shock mount in my entry way. When I returned for it (after realizing in the Holland Tunnel that we’d left without it), it was, of course, gone.
I grabbed a microphone clamp on my way out the door and mulled over my options as we flew to Alaska.
Circumstances prevented me from getting a replacement shock mount — we were heading into the bush pretty much as soon as we got to Alaska. But I was able to borrow a little collapsible monopod from the Anchorage outfit from which we rented camera equipment. The monopod, which extended about four and a half feet, was designed for 35mm still cameras. But the small screw on its head fit the screw at the bottom of the microphone clamp I’d brought from home. Incredibly, it looked like I’d found my solution.
But of course without a shock mount, the mic picked up every bump and jostle I gave to the boom.
Luckily, I had a shock mount holder I’d made for use with my microphone clamp. As you can see from the photo, it’s just a short piece of wooden broom handle with a hole drilled in it for a bolt. The piece of broom handle fits into the mic clamp; the shock mount then screws onto the bolt.
My challenge was to make a shock mount which could screw onto that bolt.
After experimenting with a cut-up plastic water bottle, I ended up using a wire hanger. With a few twists and kinks made with my Leatherman pocket tool and a couple of big rubber bands, I rigged the nifty li’l dude you see in the adjoining picture.
New Haven Advocate on “Asian Pride Porn”
Hercules
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Incredible Hercules
The planet’s most irresponsible god and incorrigible teen genius wreak havoc in the wake of “World War Hulk.” Featuring Hercules, Amadeus Cho, and a number of extremely annoyed Avengers.
Comixtreme on Herc in “Incredible Hulk” #109:
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A Marvel Comics series written by Greg Pak and Fred Van Lente with pencils by Khoi PhamMarvel Nemesis: The Imperfects
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Marvel Nemesis: The Imperfects
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A five issue Marvel Comics miniseriesAmadeus Cho
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Amadeus Cho, aka Mastermind Excello
A Marvel Comics character created by Greg Pak for a special anthology issue of “Amazing Fantasy” #15, Amadeus Cho was featured in “Incredible Hulk” #100 and #106 to #111 and is now the co-star of “Incredible Hercules.” Newsarama on Amadeus Cho in “World War Hulk”:
TheFourthRail.com on “Amazing Fantasy” #15:
ShinyShelf.com on “Amazing Fantasy” #15:
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“Amadeus Cho is probably the strongest character in Marvel’s stable of properties today…”Incredible Hulk
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Incredible Hulk Named the Best Ongoing Series of 2007 by Wizard Magazine
Philly.com on “World War Hulk”:
San Jose Mercury News on “Planet Hulk”:
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Greg Pak’s work with the iconic Marvel Comics character began with the “Planet Hulk” epic (“Incredible Hulk” #92 to #105). Pak then wrote the summer blockbuster, “World War Hulk” (“Incredible Hulk” #106 to #111 and “World War Hulk” #1 to #5). The third part of Pak’s Hulk trilogy begins in early 2008 with “Skaar: Son of Hulk.” Hulk fans also won’t want to miss the “Warbound” miniseries, which follows the Hulk’s alien gladiator companions from “Planet Hulk” here on planet Earth.The FilmHelp Manifesto
| Welcome to FilmHelp.com, practical low-budget filmmaking advice from writer and director Greg Pak. Articles on this site are provided for educational purposes only. FilmHelp, PakBuzz, and Pak Man Productions do not guarantee or warrant the accuracy, appropriateness, completeness, safety or usefulness of any article. In particular, no article on this site should be taken as legal advice or legal opinion. Users and viewers are always advised to consult with a lawyer regarding any legal question. |
By Greg Pak
1. Help thy neighbor
Without the advice and experience of others, I could never have made any of my films. Hence FilmHelp, my attempt to spread some good karma — giving back by sharing the pointers I’ve picked up over the years. May we all continue to give and take, share information, become better filmmakers.
2. Be specific
Vague platitudes foster complacency. Specific, detailed information engenders reflection and action. FilmHelp will strive to base articles and pointers on real life experience, grounded in references to actual productions.
3. Demand rigor
The MiniDV revolution makes it possible for almost anyone to make a film. But making good films requires much more than mere mastery of technical elements. FilmHelp hopes to challenge all of us to become the best storytellers we can be, always striving to improve our craft and our films.