SET YOUR PHASERS ON FUN! CREATURE ENTERTAINMENT AT ORLANDO MEGACON
Creature Entertainment will be out and about at the ORLANDO MEGACON!
Feb. 17th – 19th, 2012!
Orange County Convention Center Hall D
9800 International Drive, Orlando, FL 32819
Come see us at Booth #20! We’ll have new issues of RAVENOUS, ZOMBIE YEARS, and TOMMY!
WHY AM I YELLING?!?
(Which I will be live TWEETING from)
CREATURE ENTERTAINMENT – Hitting the Pavement
Creature Entertainment at Megacon
So we’ve been running around here like chickens with their heads cut off.
SUCCESS is just too awesome.
After Wizard World Miami and Orlando Megacon, we have been overjoyed with people and thier response to our books/films/company. It’s made us take a little time, figure how we can improve, and get out the word, because so far, we have found that we have a great product under our arm, so now, we just need to get it into to your hot little hands.
Stories, people, Stories.
Watch for our ONLINE STORE to be coming soon and come out and see us at Tate comics on the 16th of April, Florida Super Comic (FSC) on May 7th, then onto Heroescon in Charlotte North Carolina, and then Wizard World Chicago in August!
And to all the folks looking for those awesome Zombie Years prints we had at Megacon we will have something up soon so you can get yours! STAY TUNED
MEGACON? MEGA-FUN!
Dumb-ass title I know, couldn’t resist.
We’ll have more on Megacon later this week, with interviews and such, but until then check out ZY today for the newest page and for the winner of the ZOMBIE YEARS TWITTER contest!
Back from MegaCon
We’ve just returned from Mega-Con in Orlando and what an awesome experience. We schlepped our wares into the back of my suburban and made the 4 hour trek towards visions of fortune and fame. What we got was better than that – the awesome spectacle and interaction that is a comic convention. Simply put, we loved meeting and talking with everyone who came by our booth to chat, peruse, compliment and support what we were doing. The community that these cons create is awesome. Overall, Comic Con people have a great disposition and attitude, especially towards anything indie. We are very thankful for that. Our dancing monkey for the company, Juan Navarro, took the time to chat it up with anyone and everyone regarding anything and everything. We were sooo excited that ANYONE would be interested in any of our products. We were away “from home” for the first time as a company and Mega-Con was a barometer–a litmus test if you will–of things to come. And Mega-Con did NOT disappoint. I was asked to sign my very first comic “Killswitch Billy”, no doubt a memorable moment. Despite some minor hiccups here and there, the weekend was a resounding success. We were glad to share the alley with IHero magazines’ Frank Fradella and Dani Burke. The amazing TV host, Keri Maletto Giles along with husband/sound-guy Chris came out to support us and conducted some interviews for a video piece we will be releasing of our experience at Mega-Con. We LOVE YOU GUYS.
Juan’s Zombie Years has emerged as Creature’s flagship title. His alternate cover with DVD version sold out after just a day and a half! Congrats dude!!! Selling out of some of our titles, movies and prints halfway through the con was an amazing feeling. I can’t help but feel that the talents of our friend and artist Patrick Reilly really helped us get noticed at the con. It was his banner design that hooked people to the booth. If I could compare an artist to a movie scorer, Pat is our John Williams, delivering iconic imagery for our titles. Pat, you are awesome!
Our very own Jose Varese was on-hand to sign books and sell sketches. Many folks were blown away by his pencils for our upcoming series, “Ravenous”. Freakin’ AWESOME. Congrats Jose! (But by contract, you’re still our b*tch!)
John and I had the privilege of having our short film “Reservoir Bats” shown at an indie film screening there at the con moderated by Terry Cronin (Students of the Unusual). We got an overwhelming response from the crowd and facilitated an indie filmmaking panel the following day along with Lady Death’s Brian Pulido.
We want to express a heartfelt thank you to everyone who came out and showed us love. We hope to have made you fans for life. We’d love to hear from some of you in the future. We most likely will remember you all.
Oh, and if you ever come across us at another booth or con and need to know the time, DO NOT ASK JUAN NAVARRO.
ZOMBIE YEARS CONTEST!
So this week we’ll be at Orlando Megacon at the Creature Entertainment booth selling and signing comics! So come by and say what UP, and maybe you can buy us a beer afterward while we regale you with tales of Hialeah and the Undead.
And for you folks that can’t make it, We have decided to make a special contest:
WIN ISSUE 1 AND 2 OF ZOMBIE YEARS, SIGNED BY JUAN NAVARRO, AND AN ORIGINAL INK SKETCH!
with three ways to win!
+Just FOLLOW Juan and Creature Entertainment on Twitter
+ RT this message on twitter: WIN THE 1ST 2 ISSUES OF ZOMBIE YEARS & ORIGINAL SKETCH, FOLLOW @FWACATA & @CreatureColumn GO TO http://bit.ly/dWObVf RT FTW! #COMICS
+ Leave a comment on this episode of Zombie Years!
Do all three and you’ll get 3 chances to win! Boom! So give it up! (We should have pictures of the new editions sometime this week when they get in from the printers!) Juan will choose the lucky winner on next week’s episode of ZY!
Swipe File: Zombie Years on Bleeding Cool.com
FYI, we find this funny and frustrating. It’s just one of those things, you know?
Japan Quake
Our prayers and thoughts are with everyone who has been affected by the earthquake in Japan. Our friend and Creature colorist Greg Narvasa; who lives in Japan was able capture the quake as it happened. Thankfully he was not hurt.
Observations About Live Video Capture with the 7D and 5D
The 7D and the 5D are not ideal for steadicam work (or any work requiring the camera to make quick movements) because of its so-called ‘jello’ effect, where the frame wobbles from side to side during fast pans. The camera’s sensor scans the frame line by line starting at the top, vs CCD sensors (Sony V1U and Canon XHA1s), which expose the entire frame at once.
The rig is also too light for our Glidecam, so minute touches of the camera for framing or focusing, wobbles the camera excessively.
Focus can be remotely controlled by this device:
http://www.engadget.com/2011/02/11/okii-usb-follow-focus-knob-makes-remote-focusing-your-canon-dslr/
It can be mounted on the Glidecam’s grip handle, on a shoulder rig or on a fluid head handle to replace physical follow focus ring.
Requires Canon USM lenses.
($400. $350 w code okii50).
http://www.okii.net/ProductDetails.asp?ProductCode=FF%2D001
Published features:
● Functions with Canon EOS 5D Mark II, 1D Mark IV, 7D, 60D, 550D/Rebel T2i/Kiss X4, 500D/Rebel T1i/Kiss X3
● Controls focus by use of lens autofocus motor (Canon USM lenses recommended, not all third party lenses will function)
● Works in tandem with the HDMI output of the camera, allowing you to use both the Follow Focus and an external monitor
● Compatible with non-powered USB extension cables – currently tested up to 10 meters
● Starts/stops video recording
● Toggles Live View on/off
● Initiates image capture
● Initiates autofocus or metering
● Saves and returns to four focus points*
● Cycles digital zoom 1x/5x/10x to aid in focusing
● Adjusts focus step size and focus command send rate
● Adjusts ISO, aperture, shutter speed, and exposure compensation
● Adjusts focus zone positioning
● Reversible knob direction to match 3rd party lenses
The manufacturer warns:
It is important that potential users understand how Canon’s USB implementation has shaped and enabled the development of the Okii Systems USB Follow Focus. Certain characteristics of Canon’s design make it perform quite differently than a mechanical follow focus, so it is recommended that you read the User Guide and the Canon USB Protocol article in the Technical section of the Okii website.
Included is a 30 day money back guarantee, which ensures that you can fully test out the USB Follow Focus with the type of film or photography work you do, along with all of your cameras and lenses.
—–
With an ultra-light left-hand touch for framing on the Glidecam, could be pretty cool.
It would be cooler if it was wireless, b/c the wire to the camera will influence the the flow of the sled.
I love this stuff!
I know this is starting to sound old but it has been one hell of a ride these last few weeks trying to get our books finished colored and printed and get movies cut and burned to disk.
In the middle of all this storm of activity is little ole me trying to keep it all coordinated. I am the one that makes sure the pages for the comics fit the printers’ templates and that we get them there on time. I also have to make sure the DVD master disks get to the duplication place on time and still find time to update our Facebook, website and Twitter with all our latest news. In order to write this very blog entry I have to do it on the train on my way to work. Did I mention we all have regular 9 to 5′s? Yeah; blah, blah, blah….I know.
Anyway enough bitching I just wanted to take a moment to let you guys know the reason we do all this. It is because well; WE LOVE ALL THIS! WE LOVE MAKING COMICS and WE LOVE MAKING FILMS! We use every bit of our spare time that is not dedicated to our families and day jobs to dedicate to ALL THIS. But why do it and add all the headaches to our already busy lives? Because it makes us happy; and all the hard work we put into our projects shows! We have been getting so much positive feedback from people and we have been getting a lot of people wanting to collaborate with us. The best part about that is these people share our same enthusiasm for making comics and film. They are from the less talking and more doing school of thought. We are so fortunate to have met these people. Then there are our fans. Yes surprising even to us we have fans and supporters. Fans that believe in what we are doing. To you guys we are most grateful to.
Ok time to get off my soap box. Thanks for listening and more importantly thanks for supporting us. Now I need to get off the train now and schlep my butt to work.
OUT OF THE BOX no.4: STOP READING SHITTY COMICS
So we’re suddenly surprised that American Comics are corporate driven piles of shit.
I guess.
There is this big out cry right now for people to buy Creator Owned work, started by (originally, I guess) a blog post from Steve Niles, a pretty damn awesome video from The Goon’s Eric Powell (it’s no longer online), and the poor sales of creator-owned comics.
I really don’t give a shit, and yet I should as a creator, and as business man… I’m just too busy making comics.
It’s hard to look over my shoulder at everything and everyone right now, with all that is going on in comics now between formats, distribution, and fads. The fact to be mad about this, has it’s good reasons overall, but is rather moot. To talk about raising the bar on comics is one thing (and we are, Look at Becky Cloonan, Farel Darlymple, Jason Latour, and Brandon Graham to show it’s being done) but the fact that it’s about Creator Owned work and why it’s not more COMMERCIALLY SUCCESSFUL, even bigger than MARVEL and DC?
That’s a wee bit retarded.
And here’s why:
You have to contend with the market. Now the market, all in all, are Geeky Sweaty Assholes, even now. Sure the whole Geek Chic is coming along, and yes, their are more Vagina’s in the comic shop, but overall it’s the same shit as always, go to a con and tell me otherwise. That’s the market place. Don’t deny it, and most of them, want heat vision, big tits, and capes. They do.
AND THAT’S WHAT HAS TO CHANGE.
The good news; it is changing. As more and more independent creators make more and show more and in the end, SELL MORE, we are getting there. But a lot of fucking nerds need to get laid or die off for that to happen. A lot of folks need to expand their mind. And lot of whiny fuckhead creators need to evangelize and do as much possible to get people into the shit they think is so great.
It is just that no one wants to really do it, or bother themselves too much, really. They rather sit and whine than make comics or do their thing.
AS FOR THE BIG TWO:
Who gives a fuck? Torrent their latest big event “saga” of shit, and spend some cash on the indies. FUCK ALL. Last thing I read that was half way thorough was Blackest Night and Civil War. After that, it’s been shit except for some diamonds.
More Ravenous concept art…Blackthorn
Here is some more Ravenous concept art. This week we have the hero our story BlackThorn.
BlackThorn concept
BlackThorn battle damage
Check out these Babies…
We are starting to get some of the books in from the printer. Here are the first two. Forgive me Father 1 and 2. I feel like a proud parent holding these guys. We will be selling these guys at Wizard World Miami Comic Con.
See you guys at the Con.
Cranker down…
My apologies for missing last Friday’s blog. I’ve been working a lot and researching some capture related ideas, which I’ll write about in coming posts.
In the meantime, here is an interesting discussion on how to get plenty of motion blur on under-cranked footage (the footage plays ‘faster’ than real-time capture, the opposite of slo-mo). It starts as a simple question about the relationship between shutter speed and frame rate. The interesting bit is at the bottom (thread:: jan 31 2008 21:24), where lordtangent explains…
Undercranking: Shutter speed vs. frame rate.
[Read down to the bottom thread Jan 31 2008 21:24 lordtangent]
My deconstruction is this:
Think about a horse running by your frame from left to right. If you shoot that horse 3 times per second, the horse will have made large strides between every frame. If the shutter is only open for 1/48 of a second, you’ve somewhat frozen the motion of the animal in each frame. Sure, there will be blur. If you were shooting still pictures and really wanted to freeze the motion of a fast moving object, you’d use a high ISO and high shutter speed of 1/250 or more (at higher ISO’s, the sensor is more sensitive to light at the expense of grainier pictures).
But if you wanted a streak across the frame… more motion blur, you could set the shutter speed to guarantee that the shutter stays open the entire frame (think about what great motion blur stills you can get by pointing a camera at a road at night and capturing the lights of cars streaking by with the shutter open for a twelfth of a second). So, you could choose a frame rate of 24 fps and a shutter speed of 1/12. The video camera stores extra frame(s) to represent the entire time the shutter was open. In our example, the shutter was open for the duration of two frames. So, the camera ads an extra frame after each frame (the shutter is also open for the entire duration of that second frame). In post, if you want to speed up playback, those frames can be removed to get back to an intended frame rate (e.g., 12 fps to be played back at 24fps)… under-cranked. Or, if you just want to shoot in very low light and want a lot of motion blur, you could leave those extra frames in and play at regular speed. With ND filters, you could get a lot of motion blur while shooting in daylight.
I haven’t tried this yet, but I will and I’ll post some video.
Molding and casting on the cheap
OK continuing with my set of posts concerning cheap and easy prop making here is an article by Dave Lowe; a very talented illustrator and prop maker. Dave always has plenty of tips on budget film props so check the rest of his site after you read this great tutorial of his on cheap and easy molding and casting.
Molding and Casting, Cheap and Easy
The Evolution of Digital Filmmaking
Last week my compadre Julio wrote a great article on HDSLR. I too have been smitten and wanted to jump on his coat tails on the matter.
The holy grail of indie filmmakers has always been to get “that film look” when shooting digitally. Way back in the day, we were confined to using filters and film grain to get somewhat of that feel. But that film look entails several characteristics, tools and money. Even novices notice the difference between film and video. In my experience, the basic elements that make film look like film are frame rate, sensor size, optics, latitude, resolution and lighting skills. Oh yeah, a little celluloid helps too. Film back then as it is today is a VERY expensive format. For many years the film industry enjoyed a relative monopoly on the market. Indies posed no threat to the big houses for quite some time. Then along came the Panasonic DVX100. This camera was revolutionary as it was the first CCD digital camera that was able to shoot 24fps (frames per second) digitally, the same rate for motion pictures. That in and of itself was a HUGE deal. Amongst its other bells and whistles was a built in cine-gamma filter that rounded out images in a very pleasing way, similar to film. Other companies like JVC and Canon soon followed suit with their own versions of 24fps cameras. Indie filmmakers everywhere were out dancing in the streets. We were one step closer to making our films look like, well, film. The impact these cameras made could be seen everywhere. The DVX100 for example inspired www.dvxuser.com, a website created after the same. It became and still is a staple and mecca for indie filmmakers everywhere. You can share your films and get feedback, share tips and get advice from people all over the world. Great films, commercials, music videos and documentaries were being made with the DVX. I was a proud owner myself and launched a somewhat successful career with it.
The explosion of indie filmmakers spawned an industrial revolution. New affordable and innovative tools would soon emerge that would further close the gap between the big production houses and the indie filmmaker. Enter the mini35 adaptors. Companies such as Brevis, Letus, and Redrock manufactured devices that enabled one to put relatively cheap still photography lenses in front of our digital cameras to get the optics and depth of field of film. Some of their offerings came complete with matte rods, matte boxes and follow focus rigs and whips. Some of their rigs even allowed one to put motion picture lenses on a mini dv camera; another huge step forward for the indie filmmaker. I too jumped on the mini35 bandwagon. It was the new drug on the block. We all knew that this was a GREAT time to be an indie filmmaker. We finally had attainable, affordable tools that were helping us make respectable films.
Now we are currently enjoying the wonderful world of HDSLR, still photography cameras that can record HD video. Prior to HDSLR’s, the next “affordable” option was to go with the RED, body only at $17,000. Now don’t get me wrong, I know that $17k is not cheap, but if you wanted anything better at the time, there was nearly a $100k gap between the RED and next comparable camera (which at the time I believe was the Cine-Alta). So in light of that comparison, $17k IS cheap. But HDSLR’s are in the ballpark of $750-$2,500 body only and they are SWEET. It took a while for people to take them seriously as is with any new AND smaller technology. What professional actor would take a camcorder tricked out with a mini35 rig or HDSLR seriously? Apparently that happened with 24′s Kiefer Sutherland as a JVC GY-HD100 was brought on the set. It was small compared to the larger more intimidating 35mm film cameras and apparently Kiefer didn’t take it seriously. But soon, HDSLR’s were making their mark. Experienced DP’s started producing beautiful images and films with these little miracles. A season finale of HOUSE was shot with the Canon 5D and the other major networks soon saw its value. I have shot several music videos and short films with the Canon 7D with amazing results.
Why I LOVE HDSLR, the Canon 7D in particular.
1. Simplicity. Although mini 35 rigs had a value at a certain time, when you stepped away and looked at your rig, it had a “frankensteined together” look. Big and bulky; HDSLR’s are delightfully smaller while delivering better image quality and maneuverability in the field.
2. No light loss. If I could pick just one reason why I love HDSLR’s, it would be for this reason alone. Compared to mini35 rigs, HDSLR’s suffer no light loss except for the speed of your lens. My Redrock rig was NOT low light friendly. It ate up a lot of light between the prism inverter, ground glass unit and lenses. There was just no way I could shoot a low light scene such as a bar scene for example. On the other hand, the Canon 7D was able to shoot a low light bar scene with just two 75watt bulbs with AMAZING results. HDSLR’s allow one to adjust ISO settings. In a low light situation? An HDSLR will allow you to bump up the ISO to brighten the scene with minimal noise. I shot some of my Killswitch Billy bar scenes with the Canon’s ISO set between 400 and 640 with no noticeable noise.
3. Consistent Focus. HDSLR’s optics to body allows for consistent focus. No “middle parts” to contend with or expensive monitors. The focus enhancement feature is great and it just works. No more fumbling around calibrating a rig for ground glass focus, then lens focus yada yada. Those older rigs were notorious for coming out of focus if handled incorrectly; even correctly at times!
4. Cheap acquisition. Remember the FireStores? If you don’t, you missed a painful and expensive part of acquiring HD footage. Good riddance I say. The HDSLR’s allow you to capture source material to CF cards and SD cards at a fraction of the cost. No charging an external unit, no moving parts. CF cards fit in your shirt pocket. I had a FireStore crap out on me on an upscale travel shoot. Never again!
5. Price. For the price of a complete mini35 bundle, without the camera and lenses, you can get an HDSLR WITH lenses.
6. Resolution. HDSLR’s are the only affordable means to deliver quality 1080p content.
The only setback that some have seen with the HDSLR’s have been cited by Julio as well. Namely audio acquisition and the rolling shutter effect. I don’t have a problem with either of these. Here’s why. If you are doing professional film work, your camera movements will be clean and smooth, eliminating the rolling shutter effect. Pro audio is almost always captured separately when in professional environments. So for those in pro environments, it’s not a big deal. Slates are invaluable in these situations.
To see samples of what I’ve done with a Canon 7D, check out these videos.
Bloody zombie arm stump
If you’ve been keeping up with our current lineup of short-films you might have noticed a little juicy morsel of a film called “Zombie Years: Thanks Grandpa”. To date is the film that required the most effects shots. It required a set extension shot to show the ruined city of Hialeah, a zombie’s arm being sliced off and flopping on the floor plus a rather gruesome head-stomp that sent pieces of zombie brain flying at the camera. All these effects turned out rather well and made it into the final film; all except for one that I didn’t mention.
The one I’m talking about is the bloody arm stump shooting out petrified zombie blood. The effect looked decent on camera but in the end it really took away from the overall look of the movie and was cut out. This goes to show that not all shots should be included in your short film no matter how good you think it is. If it detracts from the look or the pacing of the film then leave it out! So without further ado here is the shot of Norbert Velez as a zombie after getting his arm chopped off.
Tune in next Monday when I tell you how I made the arm stump prop!
Ravenous “old-wolf” concept
Ok last week I posted some werewolf concept art for Ravenous. This week I would like to show you a sketch I did for an “old-wolf” type character. We still haven’t figured out what we will be calling these guys. But we are envisioning them as elders of the pack. Wolves that have been around for a long time and have earned thier place as alpha-males.
Old Wolf Concept
Here comes the Convention Season
Well here we are one week closer to the Wizard world Miami Comic Con; where we will be debuting our comic books. You’ve heard us telling you we are getting ready for the upcoming cons so here are the first three that we will be attending. Hope to see you there
Also make sure to check out the front page news section for our complete Con schedule and updates.
Really, really, cheap stunt props
This week has been extremely hectic. We have been running around putting our books and movies together; getting ready for the upcoming con season.
But anyway I finally get to sit down and do a little blogage ( yes I just made up a word). Last week I was talking about building film props on a budget well this week lets talk about stunt props on a budget. But first a little info on stunt props. They are basically rubber versions of the original film props stunt men and women use during action scenes in order not to destroy the original. In some cases the real prop may also be dangerous to work with. Stunt props are usually shot from far away or in certain angles so you can’t even tell they are rubber.
Now how do we do this in the indie no budget world without the use of expensive molding and casting of the original screen prop? Enter our dear friend cardboard.
Here is a neat little example of a prop made from cardboard I found on instructables; that you can shoot from far away or from certain angles; so you don’t have to worry about destroying your original incase it gets dropped for example in the middle of an action scene. You can also use it if you don’t have the money to purchase a decent looking prop. Just get creative with your camera angles.
Visions of the ZOMBIE YEARS
One of the cool little side gigs I have going on at Zombie Years is going after and collecting artwork done based on Zombie Years. Some are fan pieces, some are commissions, and others are just out of the blue. Here is a never before seen sketch by Jhomar Soriano of Blade of the Immortal fame.
Awesome, eh? More can always be found on ZY at the Tag FAN WORK
Killswitch Billy
Last week, I wrote a nostalgic piece about growing up on comic books. A few days later I realized that I had made a glaring omission, namely that Creature Entertainment will be printing the first appearance in comic form of Killswitch Billy; a concept I came up with last year for a short film. Please understand, I have never printed a comic book or thought that I could ever do one. It was just something that was never on my radar. On top of that, I have been out the comic’s scene for YEARS. And now I feel like the Ted Williams story, where many years later, a dream comes to life. A very unexpected dream. There are waaaaay more talented people out there that deserve to have a comic done for them.
I am LUCKY. I have contributed to a genre that I have admired and loved while growing up, even if it’s for this one time. That is an AMAZING and AWESOME feeling.
Thanks to everyone at Creature Entertainment and Pat Reilly for making this a reality.
