Subscribe: Comments on: FresHDV’s Oakhurst Interview
http://www.selfreliantfilm.com/?feed=rss2&p=63
Added By: Feedage Forager Feedage Grade B rated
Language: English
Tags:
begin shooting  begin  buy  camera  don  film school  film  good  josh oakhurst  make  money  panasonic  school  shooting  storage  time 
Rate this Feed
Rate this feedRate this feedRate this feedRate this feedRate this feed
Rate this feed 1 starRate this feed 2 starRate this feed 3 starRate this feed 4 starRate this feed 5 star

Comments (0)

Feed Details and Statistics Feed Statistics
Preview: Comments on: FresHDV’s Oakhurst Interview

Comments on: FresHDV’s Oakhurst Interview



Self-Reliant Film champions DIY, regional, and personal filmmaking.



Last Build Date: Fri, 09 Jan 2015 15:08:05 +0000

 



By: Josh Oakhurst Official Site

Tue, 07 Mar 2006 20:58:56 +0000

[...] I really like his last paragraph and the section about not being able to “get better in a vacum.” As you may remember, SelfReliantFilm’s Paul Harrill and I had a great discussion about attending vs. not attending film school. [...]



By: Josh Oakhurst Official Site

Wed, 22 Feb 2006 03:55:49 +0000

[...] Paul at SelfReliantFilm.com had a few bones to pick with me after reading PART I and PART II of my interview with Matt from [...]



By: Paul

Wed, 22 Feb 2006 00:58:08 +0000

Now that's what I call a comment! Thanks for reading, Josh, and thanks for writing. The P2 explanation/explication is appreciated. You may be right -- only time will tell, I suppose. Personally, I'm not won over by *any* of the current crop of 10K and less HD cameras right now. I want to be, but I’m not. As for the film school stuff, clearly, we had different experiences, so there’s no sense in trying to change each others’ minds about it. Frankly, I enjoyed your rant, in part, because it highlights how different of an experience I had. I certainly have encountered the whiny, self-absorbed, self-involved people you speak of, and if those were the people that I had to spend most of my time with, I'd be bitching too. But mostly my experiences with film school students (both as student and teacher) have almost entirely been at state schools with hard-working students that haven't known a lot of privilege. Not the privileged “whiners" you speak of. (Sorry, readers, if this sounds classist, but that whining is usually a function of growing up with lots of money.) I also think you're absolutely right to rail about the misconceptions and myths that some film schools feed to their students about becoming "the next Spielberg." I'd like to think that, at least for myself, I actually to do the opposite -- that I say, “Have your dreams, but do a reality check and make sure you have a skill.” I think the fact that I've had some success of my own and I still have a day job is a big reality check for some of them. And that pleases me. I certainly don't try to persuade anyone to go to film school, but if they choose to attend one, I do think some good can come of it -- that good being that, at some point, SOME teacher is going to tell them to stop making derivative crap that is a 3rd-rate retread of Scorsese, Tarantino, or whoever the hot director of the moment is. (Or, on the flip side, the teacher is going to tell the navel-gazers that art is communication and if they're not doing much good if they're only indulging themselves.) Either way, if that intervention doesn't happen -- or if they're going to ignore the intervention when it comes -- film school is probably worthless. They're better off just buying the camera and the G5. Sadly, though, for the kids that skip school and just buy the cameras and make the movies, that moment of intervention rarely happens. We've all seen the work these guys make. They make that movie with the guy (usually their buddy that they alternate bong hits with) and the gun. They don't just make it the one time. They make that same movie over. And over. The work gets more polished, but it rarely gets better because no one ever says: "Enough. Do something that isn't based on a movie you've seen. Or stop." Finally, as for the usefulness of graduate school, I will say that at least one reason for going is: M-O-N-E-Y. At least at the place where I went, I was PAID to be a student (fellowships, assistantships, etc). Yeah, during those days I barely paid my rent, but I was essentially paid to make movies -- my movies, not someone else’s.. Grad school can buy a person that time, and that can be a sweeter deal than either you or I have now, my friend. Then again, for those ones that PAY$150,000 for the privilege to write a screenplay, well... don't make ME defend those saps. I hope everyone gets a chance to create their own version of art and experience the joy of creativity. We all weave our own webs, ya’ know. Well said. I'll let your words be the last ones.



By: Josh Oakhurst

Tue, 21 Feb 2006 23:42:14 +0000

Hey Paul, thanks for reading! I've been peepn' your blog for some time now so its cool to get some feedback from you. I'll address your picked bones: ON WHY P2 WILL VANISH: First of all, I stated that n addition to P2's costs and AQUISITION workflow nuances Panasonic's past proprietary failures are all reason's P2 will fail. I LOVE LOVE LOVE the idea of P2 and would like to never spend time digitizing footage. But as a one man (self-reliant) crew, I don't want to be limited to shooting two minutes at a time or carry a hard drive with me and pay a ridiculous amount of money to do so. Suggesting P2 is another faulty attempt by Panasonic to revolutionize the industry because of their past failures is an absolutely legitimate arguement because it's obvious Panny spent a ton of time an money building and marketing a product they didn't think through to the end user. The developers of P2 should have stopped dead in their tracks when they realized capturing 110 seconds of 1080p material would cost thousands of dollars at a time. If you want to shoot constantly, P2 is not an option. I know P2 and a hard disk recorder can be okay for certain shooting settings, BUT IT STILL COSTS TOO DAMN MUCH. If the 8GB P2 cards were $40 bucks, then shit yeah! You could buy a ton of them, and I would be all over this camera, but since the price of P2 will never come down significantly, this format will fail. So while pricing was not, however, a cause of failure for MII or 6mm tape, Panny's track record for format innovation is not a good one. The same logic of past format failures cannot be applied Sony's Betamax and now HDV for several reasons. First, Betamax failed because of a format war with JVC's VHS and Sony's innability to loosen the technology licensing to other manufacturers. HDV was created from the tech conglomerate formed by JVC including input from all the major manufactures (Sony, Sharp, and Canon) accept Panasonic. Additionally, HDV is not a new TANGIBLE technology, merely a reprocessing of existing media (MiniDV tapes). P2 is wildly different in that the workflow necessary is new from the ground up. MORE REASONS P2 WILL FAIL One other thing to think about regarding P2: You must buy all needed storage up front to complete shooting. Example: Let's say you are working on a documentary and need to shoot 60 hours of footage now, and then another 60 in four months. Because the cost of archiving P2 is astronomical, you can' just let the first 60 hours sit until you're ready to begin post production. In order to begin shooting said documentary, you will immediately need to purchase storage for AT LEAST 3TB of media, and computer system fast enough to transfer it all. There are no tapes to store away until more project money comes in to begin editing. If you're traveling overseas, or backpacking, or just flying around the country - where do you keep everything you shot? You can't carry your shot media with you easily or cheaply, and because of this huge huge huge workflow nuance, the market for the HVX (in shooting HD material) shrinks considerably. In other words, in order to begin shooting on the HVX, your post production storage and editing infrastructure MUST ALREADY BE IN PLACE, and consequently, P2 WILL FAIL. Not everyone looking to shoot already has access to a computer or storage drives. Panasonic absolutely did not think about how this huge financial hurtle will severely limit their market. Think of it this way - your upfront cost to begin shooting 60 minutes of 1080(p or i) material will be: (on the HVX) Camera $6,000 (1) 8GB P2 Card $1,400 Laptop/ Tower $3,000 Storage (50ish GB) $60 $10,460 (on the Z1U) Camera $4,700 (1) MiniDV Tape $7 $4,707 Do many Indies already have an edit bay? Sure - maybe half. But an even smaller number have ample enough storage to begin shooting anything longer than a 30 second spot.[...]