Pushpasis Sarkar
August 24, 2010

Back to Mysore Again from Pushpasis Sarkar on Vimeo.

Uploaded a second cut of this video...

Once again we went back to the city of Mysore. This time we were visiting the main parts of the city for the Nth time with my in-laws. Incidentally it was my wife's birthday too.

The shots were entirely hand-held. So please forgive me for some of the jarring camera movements. Like always I shoot unplanned. And then try to fit them to a background score. Hope you will like it.

Camera: Canon 7D
Lens: Canon 16-35 f2.8 L lens

- Yiourgh by Do Kashiteru [source: ccmixter.org]
- Midnight Theme by cdk [source: ccmixter.org]

Kim Welch
May 10, 2010
How can i connect and stabilize the Canon 5D on my bike. i want to ride around central park and shoot from the handle bars or higher up from the point of view of the rider? And, how can i attach and stabilize the camera from a lower point of view say around the pedal height?

Chad Soriano
October 8, 2010
[img]http://www.smugmug.com/photos/1017593130_gT84o-S.jpg[/img] This is my on my . It is a practical review of ISO and Image quality comparisons. There are galleries of 60d images and a video test. I even included and gallery of images and videos.

Tim Withers
October 2, 2011
[img]http://photos-h.ak.fbcdn.net/hphotos-ak-ash4/314631_238324136216539_100001168639151_607962_1228923646_s.jpg[/img]http://www.facebook.com/tim.withers2/posts/238445829538713 I have several albums on my facebook account that show the creation of costumes that could be used in a movie. Pepakura is easy to use and I have found its very cheap to produce. My thoughts is to take these helmets and armor and change them to make them much more unique. At least this way we have something I can change into something else. I really don't care if they look like any particular helmet from a movie or video game. My concern is to create unique space helmets that can be used for a movie.

November 13, 2010
To Whom This May Concern Hello to whoever feels the need to help me out. This is my situation. I have a panosonic DVX100. I filmed my footage at 24p (not advanced). I captured my footage in FCP using the preset DV-NTSC (29.97). Now, how do I edit and export to achieve that 'desired' 24p look? I'd love some help here...thanks:) Yannybaby

Pushpasis Sarkar
March 16, 2010

Plantation Trails and Dubare from Pushpasis Sarkar on Vimeo.

Two weeks back a friend's family and mine together went on a short trip of 2-3 days. We went to this wonderful home-stays in the midst of beautiful and serene coffee plantations of Coorg.

We got accomodations at the Cottabetta Estate Bungalow on top of the Cottabetta hillock, while my friend stayed in the Whoshully Estate Bungalow.

These estates are part of the TATA coffee estates in Coorg. TATA provides these homestay services under the name of 'Plantation Trails'. Please google for more details.

The most satisfcatory part of the whole trip is the walk that one gets to experience on the trails within these estates.

This video is entirely shot on Canon 7D at 1080 23.97p. I shoot unplanned instinctively. That's why many of my shots are hand-held, and also has the 'jello' effect.

- Canon 16-35 mm f2.8L
- Canon 50mm 1.4 mm
- Canon 70-200mm f2.8L IS (thanks a lot to Atanu for lending it to me)

Music: Hans Zimmer

Kim Welch
March 15, 2009

I like most movies and i have to admit i like super hero movies but for some reason this didn't really work well for me. I have a feeling it was because i neede to read the graphic novel first and then watch the movie. It is long. Very long. Parts of it drag and i felt it didn't fit together well. I think that is one of my friends told me the story as it was it would have been cool but i can't think of any other good things to say about it. There were several couples and a small group that got up and left the theater and one guy was cursing the movie when he left. I am starting to think that the yahoo rating are stacked some how by the movies marketing team because this movie didn't deserve a B-.




Steve Cleberg
January 15, 2012


When an actor picks up a script, they need to regard it in the same way that a musician regards a piece of sheet music. Those who have no training in music will look at a piece of sheet music and try to glean its contents from the lyrics. The trained musician, on the other hand, is able to discern a complete performance by marrying the words to the musical notations. They grasp the structure of what is before them. The same must be true for the actor and their script.

However, a script doesn’t have the precise notations that are found with music. To the musician, what is on the page means something very specific. The ambiguity of the script gives the actor more freedom in the choices they make but it also makes finding the vital structure of the script more challenging.

This freedom without discipline often results in preparation for a role which involves a general read through of the script followed by a line by line approach, in an attempt to arrive at a realistic line delivery. There is no attempt to put together a complete performance based on the structure of the script. The result is a shallow performance.

The structure of the script is the structure of action. The words on the page give clues to the action in the same way that the lines on an architectural blueprint can suggest a structural aspect of an entire design. To understand the structure of action, one must understand three basic ingredients.  When working on the script, the actor should constantly focus on answering these questions:

What does my character want?
What’s preventing them from getting what they want?
When does what they want change?

The answer to the first question leads to what is often referred to in the acting lexicon as the “objective.”  All action is based on desire. The stronger the desire, the more interesting the action.  The actor must discover what their character’s objectives are, in every scene in which they appear, in the strongest and most specific terms. They must arrive at objectives that are both powerful and playable.

The actor must also select objectives that they can make personal. It’s not enough to pretend that you’re going after what your character wants; you need to want it yourself and go after it until you’ve captured it for your character. Robert Cohen called this “victory oriented” acting.

But there is a paradox in this dynamic. How can the actor go after their character’s objective in powerful and playable terms even though the success or failure of their character’s quest is predestined by the script? In other words, it’s hard to genuinely pursue a victory at anything when you know the outcome. There are a few techniques that the actor must use in order to overcome this paradox.

The test of your action lies in the other actors. And I mean, specifically, the other actors; not the characters that the other actors are playing. In the process of attempting to win your character’s goal you must do so by, personally and genuinely, affecting the other actors around you.  Make it personal. Don’t think of yourself as a character surrounded by other characters. You are playing yourself, in the service of your character, and you are surrounded by real people who happen to be playing characters. These people need to be moved and changed by the needs of your character. Playing your objective in such personal terms will help to diminish the forgone conclusion in the script.

The actor in search for the structure of their performance will experiment with different possibilities when determining what objectives they will pursue for their character. They will arrive at the objectives which best serve their character’s desires and allow for the most powerful and playable actions.

As an actor, you “play” your objective. But there is something that the actor must also actively “play against” in order to remain in the moment. I’ll cover this dynamic and continue our examination of the structure of acting in the next entry.

February 4, 2007

I just finished my FIRST draft of my new script for my next short film. It is loosely based off the novel Sophie's World by Jostein Gaarder. In a nutshell it is about a girl who comes home and finds two notes in her mailbox, "Who are you?" and "What is the purpose of the universe?" As the plot unfolds it becomes a philosophical and romantic journey with a super twist at the end.

After I edit it a little with my co-writer if there is anyone who is interested in reading it and offering up suggestions for improvement I would appreciate it. I figure if anyone could help it would be fellow filmmakers. Let me know!

teddyki at gmail dot com