SFM documentary funded by House Parties & Kickstarter

Today we are hosting a guest blog post written by the team behind the documentary STREET FIGHTING MAN. The documentary (twitter, FB) is due out in Spring 2013, and the production and post-production have been funded almost entirely through two Kickstarter campaigns, which raised over $30,000. Additionally, the Street Fighting Man team threw a series of old school house parties, hosted by some of their biggest Kickstarter cheerleaders, in cities across the United States to supplement their campaigns. The combination effect of the Kickstarter campaigns and the house parties is noteworthy. Not only did they raise the needed money to help complete production on the documentary, but they also managed to create an audience for STREET FIGHTING MAN months before its release in the process. The following interview features insights into their success from director/producer/cinematographer Andrew James and producers Sara Archambault and Katie Tibaldi.

Continue reading →

Fanta-Pstik

The explosion of DSLR filmmaking in recent years has allowed independent filmmakers to create high resolution content with a shallow depth of field. In many ways the technology has done a lot to level the playing field between the independents and major studios. One of the better known examples of this leveling was the news that the 2010 season finale of House was shot entirely with a Canon 5d Mark II.

Anyone with DSLR experience knows that this high resolution imagery can be compromised by stability issues, however. Digital camcorders like the Panasonic HVX 200 had a sizable camera body that counterbalanced the weight of the lens and allowed for relatively stable hand-held shooting. DSLRs do not possess the same intrinsic balance. As a result, the run-and-gun style of many independent filmmakers yields shaky footage if attempted without stabilization gear. Now there are a number of solutions currently on the market that address DSLR stability, but the majority of them are often too complicated or expensive for my taste, which is why I was so excited to learn about the Pstik!

Developed by long-time DP and camera op Stephen J. Payne, the Pstik sells for $60 and utilizes a monopod and a few small lead weights to create a simple counterweight system, enabling filmmakers to run-and-gun with remarkably smooth and stable results. Here is how Stephen Payne explains it:

The Pstik. from Steve Payne on Vimeo.

Stephen started a kickstarter campaign for the Pstik, where you can get more information on the product, ask questions or stake your claim for one of these cool gizmos today.

DP & camera op Stephen J. Payne, inventor of the Pstik