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Forensic Quality Video Encoding. Web 2.0 Web Applications. iPhone Web Design.

Your Mobile Web Presence

Your Mobile Web Presence is likely to become the most important link to your Fans and Customers.

We'll consulte with you and cretae a fully functional WebApp for viewing by milloins of iPhone & G1 users.

Your mobile visitors will automatically be re-directed to your new Mobile WebApp using your main domain address while allowing desktop viewers to experience their usual web experience.

Deliver forensic quality video, audio and photograghic portfolios all at your fingertips and just a TAP away.





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Mind Power Inc
Las Vegas, NV
Director Of Photography / Technical Supervisor / Editor
Nationwide Health and Wealth Seminars
"How to Hypnotize Others" Special "Necker Island" Video
"Irresistible Influance"
"Subconscious Reprogramming"

HD-Encoding
Blu-Ray DVD trailer encoding and vaulting services
On line Editing, mixing, encoding.

Dean Martin Duets (2007 / in production)
DVD Extras Documentary
Migrant FilmWorkers in association with Capitol Records
1st Assist. Camera / Utilities

Warner Bros Studios
WBStudio Facilities – Utilities
Working knowledge of entire facility / stages..

Hypnovision Productions, Las Vegas, NV
Editor / Visual Effects Artist
"Tranced" (2006) (Feature Film) Visual Effects / Producer’s re-cut editor

Migrant FilmWorkers, Studio City, CA
Editor / Visual Effects / Location Sound / 2nd Assistant Cameraman
"The US vs John Lennon" (2006) (Feature Film) location sound
"Tranced" (2006) (Feature Film) Assistant Cameraman, Visual Effects Supervisor
"Holiday Home Invasion" (Reality TV) Assistant Cameraman
"Forest Lawn – The First One Hundred Years" (2005) (V)Assistant Cameraman

RMG 1 – Richard Mann Productions, Hollywood, CA
Editor / Visual Effects
"Jessica Simpson – Reality Tour Live" (DVD) Titles & Visual Effects
"Fat Joe – Live at the Anaheim House of Blues" (DVD) Live Event Stage Manager / Visual Effects / Titles / Assistant Editor
"Macy Gray - Live in Las Vegas" (DVD) HD On-Line Editor
"Spirit Lending" (Infomercial)

DREAM BIG PRODUCTIONS, Camarillo, CA
Editor / Production Manager / Camera Operator
"Howzit Made?" (children’s programming for KOCE-TV)
"Port Hueneme City Council" (political advertising)
"QuikDrop" Ebay retail stores (Television commercial)

MOVING HEADSHOTS, Los Angeles, CA
Consultant / Video Editor
Los Angeles based company that assists actors and casting agents using "video headshots" in partnership with L.A. CASTING and CASTING CLIPS

HBO BRYANT PARK SUMMER FILM FESTIVAL, NYC
Co- Designer / Producer / Festival Stage Manager /Audio Engineer.
Co-designer of festival’s famous “Airstream Projection Booth”; a fully mobile 35mm platter projector system and 40’ "Drive-in" movie screen. Designer of Audio system used on festival nights covering 9.6 acres.

EVENTS STAGING, NYC Equipment Manager / Production Coordinator / Video Projection Specialist
Company acted as support staff for Jacob Javits Convention Center, Marriott Marquis Times Square, New York Hyatt Regency Hotel. Video projection alignment and convergence, Video wall set-up, test and convergence, all audio configurations; small room / large hall.

NBC – TV, New York City,
Staging Crew
Set Construction on the sets of "Saturday Night Live", "The Today Show", "Phil Donahue", "David Letterman", "NBC Sports"

NEW YORK METROPOLITAN OPERA, Lincoln Center, NYC, NY
Staging / Set Construction

SCHARFF-WEISBERG, Inc., New York City
Audio / Video Rental Facility
A/V Technician. Duties included testing and configuration of audio and video equipment used in events throughout New York Metro area. Including analog (Sony, Barco, Panasonic) video projector alignment and convergence, Bacro video wall test and set-up, multi-channel audio FOH mix engineer.

Applications:
•Final Cut Pro Studio HD Non-Linear Editing • Apple Motion (2) •Adobe production Premium Suite (CS4) • Maxon Cinema 4D (10) • ProAnimator •Apple Shake (4+) • Adobe After Effects (CS4) • Apple DVD Studio Pro • Apple Soundtrack Pro • Apple Garageband, [others]

Other: California Commercial (CDL) Drivers License (Class B-P Endorsement)
US Passport

How Real Is Real TV?

Victor Goss, ASC

Creativity is the fresh perception of new meanings - David Bohm

Recently I was asked to direct and shoot an on-air image spot for UPN where a strong sense of Reality TV was the central issue. The spot involved shooting a rising female boxing talent, Lucia Rijker, in training for her shot at the title.

A gritty sense of realism and authenticity was intended, and because the electricity surrounding “The Blair Witch Project” (then in release) was thick in the air, the first conversations centered around using home consumer digital camcorders to capture a raw feeling of ‘presence’ and ‘immediacy.’

But Geoff Calnan, the head of on-air advertising, and many years a director himself, knew that the tonality of film photography was a value he wanted for his network. We had a real soul-searching in our early conversations deciding between shooting digital and film.

Is it REALLY about HOW SMALL THE camera IS?

Interlaced NTSC scanning combined with 60 fields-per-second has a noticeable quality of live motion that’s missing in the soft glow of 24 frames-per-second of film images. But digital acquisition possesses no mystery quality that film lacks. If you crank the Arriflex up to 30 frames and telecine frame-to-picture the display picks up the same kinetic value.

Recent digitally acquired feature films have demonstrated tonality and resolution comparable to (poorly photographed) 35mm film. There’s a tendency to leap at the idea that a consumer digital camcorder gives spontaneity in shooting freely in available light without worrying about blocking, rigging, and adjusting to the light meter, and the compact digital cameras can be left running without concern for burning the film budget. Pointed at anything, with auto-iris, auto-focus, extremely sensitive CCD chips in the hands of actors we could capture the most amazing footage. Well, yes, we can, but...

I’m thinking the attitude about how the cameras become involved in the scene is the real issue, and how subjects respond to the overwhelming presence of video cameras in our lives. The camera (digital or film) has become a participant in our lives, and a lot of the things we used to create for it on the set are now starting to look stagey.

Is it about a camera, or about something more essential, more vital, subtle, and difficult to narrow down? The Subjective Camera point of view has been with us from the beginning of narrative films... but somehow to capture the dramatic liveliness of the digital age we need to rethink our roles as voyeurs and become participants.

Our first lesson from “The Blair Witch Project” is not from the shaky, warpy photography, but from it’s ‘dramatic’ essence... that of being swept up in the scene as a participant. A new twist on an old subjective camera application.

Mobility. Speed. Spontaneity. Authenticity. Realism! What a great little camera! A new freedom beckons in the land of film(digital image) making!

Geoff and I and the others quickly decided that we would shoot on film and introduce all of these ideas into our spot. So what does this have to do with lighting?

Freedom from lighting!!! Ever since honing the concept of ‘available light’ in the stylization of the ABC series, “Gabriel’s Fire” ten years ago, and “Under Suspicion” half as many back, I always felt empowered by the fact that my preferred lighting style was to create atmospheric tone by setting one light, (or as few as possible) and create a complete and separate world. Why would I rely on chance for something this essential?

Our primary set was a boxing ring where Andy Shuttleworth, Steadicam driver extraordinaire, sparred with Lucia Rijker until they both were spritzed with perspiration from head to toe. The close-up punches slammed into his harness from time to time, jolting beads of sweat into the screaming backlight.

I knew the camera had to be free, the film had to be endless in supply, and the lighting not only had to look available, it had to create a dramatic setting, and also had to be invisible. The camera wanted to participate as a boxer, a sparring partner, but at the same time we had to suspend the disbelief of staged lighting effects that created this illusion.

The ring was a portable rig, the mat elevated to about waist height, which allowed me to place 1000 watt tungsten PAR cans on the floor surrounding the deck 360°, without being seen from inside. Then, anyone who stepped into the ring screamed with light from all directions, making camera shadows from the Steadicam and burning out any chance of shadow on my subject’s face.

I used a trick clever young Kevin Thompson and I developed on Nash Bridges whereby we floated a tent behind the glam-cam, shadowing the front 180° of Lucia by means of ‘Glide-Flags’ which were 4x4 solids dancing in the hands of agile grips behind the Steadicam. My gaffer and brother, Dennis Bishop, then fish-poled a small Chimera lamp over Andy, onto the boxer.

Lucia’s delicate features, attractive face, and deceptively slender body appear awesome before the camera. The Chimera becomes a glamour lamp, close to her face, moving with the camera, always maintaining a perfect angle, catching sparkling highlights in the boxer’s dark eyes. Because of the closeness of the big basher to her face, the falloff is immediately beyond Lucia and renders the set background in almost complete backlight.

Yeah, this approach makes for a big crowd in the ring, chasing around the camera, but good grips are fast and dancerly, and I think the finished product not only has the vibrance of an involved camera, but it LOOKS GOOD too.

What can I say? In the end, the 35mm camera is heavier and klutzier than a consumer camcorder, and constantly reloading expensive film stock (running at 120 fps) is an almost embarrassing fact of life.

But what I learned here came directly from what’s emerging in the digital movie world, and the great part is that nothing is lost, rather everything gained.

A real kick in the butt:

This was fun for me and my crew to approach this challenge with digital photography as an example since I am currently prepping a reality based ‘now entertainment’ movie entitled “Alien Artifact” which will go before the digital cameras this summer for a winter theatrical release. This UPN spot became a great beta-test proving ground for me. I’m gonna take all my ideas, old and new, and do the same thing, only this time with a digital camcorder.

How would I know which camera we’re using anyway? I spend most my time sitting behind the monitor (just kidding)!

- Victor Goss, ASC - a fellow starving film student. Copyright 2007, 2008 Victor Goss, ASC, and Starving Film Students, Inc. Permission to copy and post is granted and encouraged but in whole with website URL http://www.starvingfilmstudents.net attached and linked.

Film Noir and the Digital Camera

Victor Goss, ASC

The digital camera offers a palette of gamma control and color manipulation which is comparable to the idea of modifying the normally fixed engineering/design of the photo-chemical film in traditional cinema.

While adjustments made in-camera are somewhat interchangeable with those made in post (though not necessarily reversible!) the following stylizations each suggest a LOOK that can be more successful when achieved in the camera (rather than manipulated in post).

Post supervisors often insist on flat, wide-latitude original images to allow flexibility in final color correction - but the problem this creates is the photographic style is somewhat ABSENT during production and editing - including assembly screenings and director's cuts - and remains ONLY in the mind of the cinematographer (who often moves on to another project while post is being completed without his input).

As the worshipped Ansel Adams and outstanding mentor Minor White (progenitors of definitive exposure theory: The Zone System) instructed, contrast/gamma is created in the ORIGINAL, not by later manipulation. It's essential that shadows be placed where they belong, and everything else falls in place, (if you know what you're doing!) etc., etc.

To satisfy the tech requirements of post, a SLIGHTLY lower contrast original, to be later crushed into place, will solve most post supervisor's concerns. A simple output test in pre-pro will settle any important questions among powers-that-be.

Film Noir is a term used so freely it's meaning has become subject to wide interpretation – especially when it is somewhat loosely used to describe an associated cinematography style of low-key lighting and dynamic angles.

It has a much documented film history, but for this discussion let's say it was one of the most prolific and creative periods of American cinema where these grimly-themed crime/thriller films were a focal point for some of the most creative experiments in cinematic imaging ever.

Consider possibly the greatest of the bunch, SUNSET BOULEVARD (1950) photographed by brilliant cinematographer, John Seitz, ASC. Or for that matter, DOUBLE INDEMNITY (1944), also by Seitz, or THE KILLERS (1946), shot by the incredible Elwood Bredell, ASC. These three only scratch the surface of a rich tradition.

FOUR SUGGESTED EXAMPLES:

The following are four experimental strategies for creating dramatic images in either black & white or color, depending on your personal approach:

Double Bleach Bypass
Overexposed and fully blocked highlights
Fully crushed blacks
Most color removed through desaturation of chroma
Documentary/Soviet style camera
Grainy look added by increasing gain

Hand Colored Black & White Photograph
Blocked highlights
Increased contrast
Crushed blacks
Decreased color saturation - with highly saturated color added in post

Faded Kodachrome Reversal
Blocked facial highlights
Crushed blacks
Desaturated color (decreased, not increased!)
Faded reds
Broad lighting (frontal)
Homemovie style camera movement
Grainy/Noisy look

Pseudo-Solarized Luminous/Damaged Reversal
Extremely overexposed backlighting
Heavily cranked, wiped out highlights
Desaturated color
Moderate to heavy camera diffusion (e.g. Black Fog)

THE CAMERA IS A PARTICIPANT AS VOYEUR:
The camera lens responds to the dramatic conflict in the scene being created - revealing the story beat-by-beat. The camera lens interacts with the actors. Get in there! Short focal length close ups have power, intimacy.

Let’s face it, the camera’s interpretation can't really be static or fixed, but ends up being a sponataneous interactor between play, the set, lighting, cast, and even crew (as audience/participants feeding back into the scene).

Cinematic style then is more comparable to ensemble music than it is to painting which is relatively static in time... therefore it might be appropriate to think of our creation in terms of Rhythm, Tone, and Lyric.

RHYTHM

Camera movement - SteadiCam, handheld, crane, dolly (smooth/erratic)

Non-transitional cutting: swooping/blending/swish panning

Concealment/ exploring/ revealing

Speed ramping/ shutter blur/ skip frame… alternate states of reality

Contrasting intimacies: close up/against vistas of graphic breadth and striking depth

TONE

Dark, low key

Moody, color saturation

Monochromatic (single color tones, as opposed to Black & White)

Searing, distorted, tearing overexposed and brilliant, diffused highlights

Mysterious shadows

LYRIC

Shape-shifting and interpretation/transformation of objects

Symbolic and mythic references, forms

Abstraction and absurdity

Bold/Graphic

These images can suggest an intimate and sensual expression when dealing with character. But not only soft and lilting, it can be edgy and rough by use of rough-hewn shadows, strong highlights, and handheld camera movement - portraying uncompromising realism (impressionism). We might name this style film noir/poetic realism.

ATTEMPT THE FOLLOWING:

Shooting hand-held gives authenticity best if you use the added mobility to discover the subtleties of everything that is happening in the scene, searching for that hidden gesture, that suggestion of concealed truth in the smaller, less-obvious actions of the character.

Tight lenses, longer focal lengths, have a tendency to create anticipation by their very nature concealing the whole picture, leading and guiding the viewer's eye across important textures and bringing revelations. Mystery is developed through the nested hierarchies of revealed image, character motive exposed, and secrets uncovered.

The human face betrays the secrets of it's owner in reaction to events in the narrative more than dialog. The eyes are windows to the mind and soul. We try to see the character's heart through her eyes. The power of the close-up has no rival - especially the extremely close shot - but until connected to what the character sees (we're talkin' POV here) the complete story is untold.

NOIR can be defined as living hidden within the shadow, looking outward. It's as if you're in the dark world of the unconscious, looking out upon the world where there is light - and although you see it, it never quite reaches you. Literally, put your camera in the shadows, and aim the lens toward the lights.

You know you're doing it right when you spend your time on set fighting lens flare problems.

SYNESTHESIA

You can activate the various sensory experiences of the viewer beyond what is sensed by the eyes by compelling the mind in the way a shot directs attention.

For example, the sense of touch can be experienced by a viewer who is following the larger-than-life close up details in the act of touching. Seeing a delicate touch between lovers in a closely intimate shot is almost the same as feeling it.

More obviously, the sense organs of taste can be activated, by isolating and magnifying the sense object (say, a moist red strawberry)... and then confining the image to follow only the action of the wet berry touching lips and tongue. The viewer's response is a personal experience of the taste and texture of strawberry.

Portraying compelling sense objects in intimate interaction through close up becomes a shared experience of synesthesia.

THERE ARE ONLY THREE ANGLES IN FILM NOIR…

Like LOCATION in real estate, there are only three angles that matter: low angle, low angle, low angle!

If the camera is level you probably did something wrong. If it's a scene with no particular tension, jog the camera slightly to make things a bit uneven in composition and level. Keep the level bubble off the mark. If it's a really crazed scene, use extreme dutch angles, hell, turn the camera upside-down, or throw it in a garbage can (looking out, maybe?).

The rectangular 4:3 (or even16:9) frame is boxy, claustrophobic, squarish and not particularly dynamic. Do anything you can to shatter it's dimensions.

One trick is to cram the edges of the frame with the subject(s) - leaving an emptiness, a space, in the middle. Push objects outward, pierce the envelope of the frameline. Destroy the tyranny of rectilineality. Screw it up, break it apart, smash composition to pieces! Just have an idea why you're doing it. You will find the most amazing things in the gutter (of your mind).

Don’t be afraid to truncate traditional compositions.  Headshots become haircuts.  Split heads, cut arms and shoulders... less is more!!!  Create anticipation in your frame by breaking symmetry and balance, wholes into pieces by cutting off extensions and limbs, and leaving important information OUT of the picture for later payoff.

You create tension by arriving at a character’s dialog late, leaving the face mid-sentence, or by missing the first moments of important action.   This is tension followed by resolution, by finally revealing the missing elements.  Make them wait for it.

It’s similar to the editorial technique of avoiding the view of a brutal murder by only showing the knife arc up and stab down out of frame, again and a again, each time coming up more bloody..... 

AVOID THE FOLLOWING:

Camera on shoulder at eye-level.  Camera in any comfortable operating position.  Camera on a tripod.  Camera sitting anywhere you expect it to be. 

You know you have the camera in the right place when the crew is standing in the shot looking for the next set up, because the camera is where nobody expected it to be....

"Correct compositions" are likely to be incorrect - you’ve spent years learning how to do it right, now it’s your chance to do it your way!

Smooth shots are for suckering the audience into letting down their defenses; if you do a smooth shot you better plan on a shock or surprise to shatter their relaxed expectations!

Aiming the camera like a gun.  If you put the crosshairs of the viewfinder between a character’s eyes, cursed be the monitor! Targets are for bombs.  Never center the image - keep things off-balance. This is the nature of suspense and mystery.


If you think you know what the next shot is, or if you’ve done this twenty times before, and know what needs to be done, then come up with something more interesting! 

If you can easily describe your shot in industry parlance," (two-shot, reverse, moving master, walk-and-talk, relief cut) then you're just "slicing the boloney" - you're not creating, you're not keeping your audience fighting for balance. You DON'T have YOUR shot yet.

Storytelling in Film Noir is a game of cat-and-mouse. And if you've ever watched Tom & Jerry, you know the mouse always has a few tricks up his sleeve.


SUMMARY:

Film noir is promised and hyped in the pitch but often missed in the screening. It’s important to motivate our camera with an exploring attitude, with an agenda of discovery, of a need to UNCOVER THE SURPRISE and MYSTERY OF THE STORY.

The camera becomes a participant in the conflict of the scene by creating alternating moods of CONCEALMENT paying off in REVELATION. Along with the actors, the camera does NOT take a passive role but interacts - sometimes even DRIVING conflict.

These guidelines will only be useful if they can unconsciously transmit a level of anxiety into the narrative.  It is our goal to create a sense of voyeurism, of watching and being watched, to establish an atmosphere of uneasiness.

Film Noir is a classic style of story-telling art about the tragedy lying at the dead end down the road of selfish obsession and careless desire.

The razor’s edge we walk as filmmakers is to make sure this is revealed seamlessly and invisibly on the screen for the magic carpet ride which will transport the audience - and not by drawing attention to the camera with overbearing self-conscious cinematic gimmickry.

- Victor Goss, ASC - a fellow starving film student. Copyright 2007, 2008 Victor Goss, ASC, and Starving Film Students, Inc. Permission to copy and post is granted and encouraged but in whole with website URL http://www.starvingfilmstudents.net attached and linked.

This is Victor's Store Page