Why I Chose DCP

In preparing "NYZ" for premiering at NYU's First Run Festival last week, they specified that there were only three deliverable formats acceptable: HDCam tape, Digibeta tape, or DCP, which stands for Digital Cinema Package.  Looking at these three formats, I decided to go with DCP.

Let's break down what each format brings to the table:

Digibeta, or Digital Betacam, is a great format with great uncompressed color and sound, but it comes with a few limitations.  First of all, it's standard definition (SD), so the maximum amount of pixels is 720x480 with an anamorphic squeeze.  And since First Run did not want anamorphic squeezes, that meant that my film, which is at a 2.39:1 aspect ratio, would simply be letterboxed into a 4:3 screen--obviously not the most aesthetically pleasing or economical use of space.

Then there's HDCam, which is high definition (HD) with up to 1440x1080 upscaled to 1920x1080.  That's great because 1080p was the native format that we shot in, so I know I won't be wasting pixels.  The only big caveat for HDCam, as well as Digibeta, is that it only allows for up to four channels of audio.  Since I mixed in 5.1 surround sond, that would mean mixing everything down to 4.0 at best, though most likely just 3.0--dialogue in the center, and everything else on the left and right stereo. All the work that I put into crafting a 5.1 surround mix would be wasted.

Which brings us to DCP.  DCPs are the new standard for delivering films to movie theaters in this modern digital age.  There are no reels, no tapes, just a server where all the media is stored and read as it's projected.  It can project up to 4k files and supports up to 7.1 surround sound.  And it plays back at true 24 frames per second.  So, for this film, it supported everything I needed.

Now the only problem was actually creating the DCP...

Day 763

(Technically: 910)

I'm feeling a bit run-down today. All of this running around and staying up till 1AM every night for the last week or so working on finishing up "NYZ."

For First Run, they accept either HDCam tape or Digital Cinema Package (DCP), which I've decided to use for one reason and one reason only: sound.

HDCam tapes can only hold up to 4 channels of audio, and DCPs can hold up to 6 channels, which would be best for the 5.1 surround mix I've prepared. I will be going to the theater to meet with the projectionist again to make one final stab at the DCP.

I downloaded a program that allows Macs to read and write Linux drives, but upon further investigation, discovered that most people didn't have much success with anything outside of directly using Linux, which I've been submerged in the past few nights learning how to use.

If it doesn't work, then I must use the inferior HDCam tape.

Day 761 [cont'd]

(Technically: 908)

No sooner I've exported the LCRLsRsLFE 5.1 sound mix than I find myself running into Andrew Cannizzaro, who was also in Yemane's Advanced Production class with myself, Tristan and Chris. He had just finished outputting to HDCam tape his 20 minute opus, "A Girl and Her Guardian," which myself and Eric did animation for.

I am excited to see it in its full form, having only seen bits and pieces over the past month as I worked with After Effects to animate a few shots in the storybook opening sequence. You should check out his website at www.agirlandherguardian.com. Here is the trailer below:

Day 761

(Technically: 908)

Yesterday I was at Tisch working on the final sound 5.1 mix for "NYZ" when I ran into Chris Hoffman, Tristan Nash (fellow students), and our professor Yemane. It was great to see them again and catch up, and they even came up to listen to the mix and give me some feedback (though not literal feedback, because that would be detrimental to the mix). I am pleased to say that their reactions were very, very positive.

Currently, I am bouncing out the 5.1 files and gearing up for the deadline this Thursday to turn in all the materials for the First Run Film Festival, where "NYZ" will have its world premiere on Saturday March 24th at 4:30pm.

Also, Tristan's film from our class, "No Wing High," will be screening at First Run as well. as well as a few other of my fellow classmates.

Day 758

(Technically: 905)

Today, we recorded the music for "NYZ," mostly the score by Ryan Kupchik, and a song by GioSafari.

Extremely busy these next few days as I prepare the final mix of the film and the DCP.

Just gearing everything up for First Run.

Day 751

(Technically: 898)

Good news! I know it's been a LONG time since I've updated this blog, but I am pleased to announce that "NYZ" is going to have its world premiere next month Saturday March 24th at NYU's First Run Film Festival!

I've been spending the past year mostly working on getting a job and securing my finances. However, I have been slowly chipping away at "NYZ," working on it whenever I can usually on the odd night or weekends, working with composer Ryan Kupchick last autumn on the score, finalizing color correction, making some special effects to sweeten the visuals, and, more recently, the sound design.

I regret not being able to get with a sound editor, but with the budget non-existant, I had to take it on myself, and I am no stranger to sound design, having worked on "The Sunset" by Misha Sundokovskiy from last year's First Run, and "Knee High" by Alexandra Naides, which premiered at the All Sports Los Angeles Film Festival last year and will be screening in New York both at First Run and at the Film Anthology Archives for NewFilmmakers NY in two weeks.

Anyway, I'll post more details about the upcoming screening when NYU updates the festival website. Stay tuned!

Day 465

(Technically: 612)

Today I think we've finished editing NYZ! I'll have to go through it once more just to be sure, but I think we are now picture-locked!

"What's the next step?" you may ask. "Surely that means you're finished, right?" No, not yet. But the hardest part is over.

Now all that remains is sound editing, designing, and mixing, music, visual effects, titles, and color correction. Then, we will be completely done and ready to send it out to festivals. At which point, we'll let you know where it's playing and hopefully there will be a place near you where you can come and see it in its full-fledged glory!

Day 436

(Technically: 583)

Shot some pick-ups today. Now, we are finally done shooting!

We met at Times Square, where it was really cold and gray, but thing warmed up as we went through the day, getting to about 65 degrees and sunny by the time we got down to Washington Square Park.

Alex our main zombie was great to work with, as usual, bring his very physical acting style to the role as he stalked tourists in the park.

We also met up with Danielle to do a few quick shots out in Brooklyn. The scenery around our first location has been cleaned up considerably, with a lot of the graffiti now gone, alas.

But it was a great shoot, with just me and Richard working the production end and after a quick session with Kristy yesterday, I was able to handle all the make-up by myself.

(Unfortunately, this is the only photo we have of Danielle today).

Once again, I want to thank everyone who helped out with the principal photography and the pick-ups. Now my goal is to finish a final edit by the end of the month.

Day 411

(Technically: 558)

Meeting with Richard Trammell, our Director of Photography, about planning a few pick-up shots in the coming weeks. Alex Demers, our main zombie, will be back in New York soon and I want to get some more shots of him throughout the city.

I am very close to completing the cut. My initial hopes was to find an editor, but I had so much fun just doing it myself. As much as I hate putting my name everywhere in the credits, I have to take the proper credit for the work I did: Written, Produced, Directed, Edited, Sound Designed, Fundraised, Marketed, and Distributed by George Westberg.

...Okay, that just sounds stupid.

Last year around this time we were gearing up for our Night of the Drinking Dead fundraiser at MJ Armstrong's here in New York City. Once these few pick-ups have been completed -- hopefully by the end of April -- we will have a final edit and begin the 3-month sound design process, during which time I am hoping to do some more fundraising for our post-production budget. We have a few ideas, and it looks like this summer will be the best time to do it.

Day 353

(Technically: 500)

(500) Days of Zombies.

Still editing a bit here and there, waiting for the weather to warm up a bit in order to film a few extra shots throughout the city. Also writing a letter to Sony Records to ask permission to use "Everybody's Talkin'" in NYZ. It's a long shot, but I figured it'd be best to ask just to see. There's always Plan B -- getting somebody to write an original song, which wouldn't be so bad.

This Friday all of us from Yemane's Advanced Production Workshop 2009-10 are having a reunion to catch up and check out each others' movies. After all this time working on the scripts in class, it'll be so nice to finally see everyone's films in their semi-finalized form. Plus Eric has promised to send some animation from USC. Looking forward to it!

Day 300

(Technically: 446)

Working on the new edit for NYZ with some temp music. 300 days and still working on it.

Met with Yemane briefly and we're going to sit down and go through it once more in December.

Hope you had a Happy Turkey Day and Shopping Day After.

Day 285

(Technically: 431)

88 Days ago I was in Seattle, where I screened Kiss Me, I'm English and a rough cut of NYZ to a bunch of video students at Ballard High School, where we discussed them and talked about how I can change my latest cut to make it better. It's come a long way since then.

But also while I was there, so was Gary Davis, who runs the local Artscacpe feature on KPLU and he was doing a piece about Ballard filmmakers, capturing our post-screening discussion and critique of my film and even interviews with current BHS students in an article called "Following Aristotle: Ballard High's Filmmakers."

Listen to the audio highlights and read the full article on the KPLU Artscape website!

Day 277

(Technically: 423)

Work has been put on hold momentarily while I've been freelancing and looking for jobs. Also looking for a composer for a Harry Nilsson-type song.

Like this.

In other news:

Last night at the New Visions and Voices Film Festival, Zachary Poots received an award for Production Design on Kiss Me, I'm English!

Congratulations, Zach!

Check out a short preview of Kiss Me, I'm English on Vimeo!
(WARNING: This clip contains ONLY strong language.)

Day 253

(Technically: 399)

Met with Yemane the other day and we sat down to go through the rough cut of NYZ. It was very productive, and we got some good ideas of how to make this even better. It may involve a few more pick-ups around the city, but all in all, it's very well within reach.

On a side note about the film, when the script was written last year, it was intended to be a 15-20 minute short film. But now, the latest cut has it down to under 11 minutes! That's quite an improvement, considering the shorter the film, the better chances it has of qualifying for more festivals, thus reaching a wider audience!

Also, finally finished the SAG paperwork and will be turning it in to their offices on Madison Avenue tomorrow.

Day 249

(Technically: 395)

Spent these past few days knee-deep in AfterEffects tutorials, learning about how to do this.

Also:

Working on the latest edit -- the fine cut.

Day 246

(Technically: 390)

Tonight we showed the 2nd rough cut of NYZ for the Monday Night Faculty Screening, where we got some great feedback on where to go from here.

Have also been going around the city collecting some sound effects and ambiance for the soundtrack.

Still need to find the right tone we want to go for, though. A funny movie with serious moments, or a serious movie with funny moments.

****A ZOMBIE NEWS UPDATE****

Check out the newest trailer on Vimeo:

Day 235

(Technically: 379)

****A ZOMBIE NEWS UPDATE****



Become a citizen of NYZ:

Follow us on Twitter @NYZthefilm
Join the Facebook group
Visit georgewestberg.com for more information!

Day 228

(Technically: 372)

Met with Yemane yesterday. He had been out of the country filming a documentary all summer, so it was great to sit down and chat with him about the progress of NYZ. As always, he had great advice of where to go forward from the rough cut, namely trying the Monday Night Faculty Screenings that he runs along with a few other NYU professors to watch students' rough cuts and give feedback. This Monday is booked, but we'll see if the next one isn't filled up yet.

Also working on the re-shoots+pick-ups, which we hope to complete before the end of the month, because autumn is fast approaching and it would be ideal to make it look like it did last April when we shot the rest of the film.

Day 197

(Technically: 341)

28 Weeks Later

We have a rough cut of "NYZ" assembled. I've just been doing it myself for now, and will be looking for an editor to come along and actually do a proper edit, since as the director I am a little attached to it and could use an objective pair of eyes to help.

I've been in Seattle for a week for a little break, and I got the chance to visit my old high school today to stop by and screened the rough cut to the high school kids in the video program. Got some good feedback, and we had a very thorough discussion afterward where the students offered some great notes on how to make it better. We'll most likely be doing some a pick-up shoot sometime soon to fix a few continuity problems as well as a way to improve transitions between scenes and adding to the storyline.

Speaking of things that won't die...

I know vampires suck, but really...? Do we really need this?