Tag: Documentary Production

Canon 7D Mark II, Sony a6000 and Ninja Star Review

Post author By JRM
Post date February 6, 2015
7 Comments on Canon 7D Mark II, Sony a6000 and Ninja Star Review

A look at the new Canon 7D Mark II, the new Atomos Ninja Star Pro Res recorder and how they can be used together to shoot Pro Res HQ 4:2:2 or 4:2:2 footage. Also how the Ninja Star can be used with the Sony A6000 to get equally great video with a relatively small package and price.

Technology, when it comes to photography, film and video, never ceases to amaze me. Advances in equipment and resources over the past forty-five years boggles the mind; if you consider what technology existed for professional production back in the 1970’s. If I had all this wonderful, relatively modestly priced gear back when I got out of film school… But that’s another story.

This story is about the new Canon 7D Mark II, the Ninja Star and the Sony A6000.

First Canon’s new 7D Mark II is a significant upgrade from the 2009 7D. It’s an amazing tool for both still photography and video production. As an owner of the original Canon 7D I thought long and hard about whether to upgrade to the 7D Mark II at about $1799 for the camera body. All my EF lenses are compatible with the new camera so I only need the body. I did consider a Canon 5D Mark III and/or it’s anticipated upgrades due out soon. But there is a big price difference.

I use the 7D for still photography and video. The still photography quality is excellent and the video is good. But I always felt the camera was primarily suited for still photography. Even after a firmware upgrade allowed the audio to be manually controlled, the camera sound recording was only suitable for a scratch track or home movies. But acceptable audio may be recorded externally working double system. With the right rig some decent documentary footage could be shot.

While waiting for the new Canon 7D Mark II to come out I bought a Sony Alpha a6000. This is an amazing, mirrorless DSLR (interchangeable lenses) that is very small but big on quality with 24.3MP APS-C Exmor APS HD CMOS sensor. It produces high-resolution photographs and full HD movies in low light with ISO sensitivity up to 25,600. Street prices for this camera with a lens are around five to six hundred dollars. The camera has complete manual or automatic shooting options and records HD 1080 Progressive or Interlaced footage at a number of frame rates. Great camera for shooting stills or video without attracting attention, however, audio still needs to be recorded on an external device like the Zoom H1, available for $99. This small digital recorder can be mounted on the camera’s hot shoe or handheld. One problem with mounting a recorder or microphone on a DSLR is it will pick up camera sounds like servomotors, auto focus and sounds made while zooming.

The Sony A6000 uses micro four-thirds lenses like the Black Magic Pocket Camera but the a6000 has a Sony E mount. An adapter can be purchased to convert the Canon EF mount to the Sony A6000, however, some functionality may be lost depending on the lens. The a6000 will also work with the Ninja Star.

I decided to buy the Canon 7D Mark II after looking at the specs and reviews of the camera. It seemed like it would be great for all types of production including still photography and digital video. One important aspect of the camera is the uncompressed output from the HDMI port on the camera.

My earlier experience and knowledge of the original Canon 7D was helpful, but more of an introduction to the Mark II. The little booklet that comes with the camera is a quick start guide but it’s necessary to download the User Manual from Canon to get really familiar with all the features and functions of the camera. You can set it on “Auto” and basically “point and shoot,” but that would be a waste of the amazing amount of potential the Canon 7D Mark II offers.

The Canon 7D Mark II is built to allow the shooter all kinds of options that can be programmed or accessed easily on the fly. The super 35mm, APS-C-sized 20.2MP CMOS sensor, and dual DIGIC 6 image processors make this DSLR well suited for all types of production. The Canon 7D Mark II has a 65-point all cross-type phase-detection Auto Focus (AF) system and Dual Pixel CMOS AF technology. This is ideal for accurate focusing for both the optical viewfinder and live view shooting. Live view shooting on the 3.0” LCD monitor is available for both still photography and video. It records full HD 1080p/60. Movie formats: H.264, .MOV, MP4 are all compressed formats. The HDMI output is uncompressed.

Photographs may be shot in .JPG and/or Raw. The compressed video (.MOV) quality is excellent and can be imported directly into Final Cut Pro or other editing software. With a high native ISO speed of 16,000 (expandable to ISO 51,200) you can shoot in very low light situations. There are white balance options, manual aperture, shutter options and menu options for the in camera video and the HDMI output. The camera has audio in and out as well as a built-in microphone. There are excellent in-depth reviews of the Canon 7D Mark II features online including B&H Photo.

Initial test shooting of stills and video (using double system sound) went well with a one-person handheld rig including a Zoom H1 recorder for the audio. The camera is easy to handhold even with one hand, but using a zoom lens and holding a recorder can be difficult. Mounting the H1 recorder on the hot shoe is an option if you turn off the Auto Focus. There are brackets that are available that allow the offset of the microphone or recorder. This may help to stop the recording of camera and lens focusing sounds. Disabling auto focus options in the camera menu can minimize the clicking the lens makes trying to focus on something. One option, for picking up ambient sound working hands free, might be to wear a lavaliere microphone and connect it to the camera or the recorder to pick up ambient sound away from the camera. Double system, recording audio separately, using a sound recordist, is the best idea.

Both the Canon 7D Mark II and the Sony Alpha a6000 are excellent cameras for certain applications. They produce stunning results and have advanced features on their own. Still if there is away to kick up the video quality and get uncompressed ProRes 4:2:2 footage, it seems a good idea. Up until recently one way to do this was to buy an Atomos Ninja 2 monitor/recorder for $695.00. The Ninja 2 is a fine device and can be used with many cine cameras including the Canon C100. But Atomos has come out with another smaller device without a monitor for $295 that is perfect for a DSLR like the Canon 7D Mark II, the Sony Alpha a6000 and a number of other cameras. (Other cameras supported)

The Atomos Ninja Star Pocket-Size ProRes recorder and deck is a great addition to the Canon 7D Mark II if you want to get professional HD ProRes footage to edit. Here are the basic specs:

Records 1080p 10-Bit, 4:2:2 via HDMI
ProRes HQ, 422, and LT Codecs
Micro HDMI Input & Loop Output
Stores to CFast Cards
Audio Line-In
Audio Level Indicators
Battery Life & Time Remaining Indicators
5 Hour Battery Life
Mounting Plate with 1/4″-20 Thread Holes
Lightweight at Only 4.6 oz

There are a number of settings that need to be correct on the Canon 7D Mark II before it will work correctly with the Ninja Star. The Ninja Star recognizes the Time code of the HDMI footage coming from the camera. So you need to have the Time code turned on and running. In addition the Record Command setting under Time code must be on. If all the menu settings are correct you can control the start and stop recording from the 7D Mk II start button.

Field Test Making a Short Documentary.

To access this menu camera must be in movie mode - auto (A+) — Canon 7D MK II To access this menu camera must be in movie mode – auto (A+)

You may also connect the Ninja Star to an external monitor to view footage as the Ninja star will also function as a deck.

Sony Alpha a6000 with Ninja Star below.

The Ninja Star records from the Sony Alpha a6000. Output from Ninja Star is ProRes 4:2:2.

Review by James R (Jim) Martin Author Create Documentary Films, Videos and Multimedia – J R Martin Media Inc

Link

[amazon_image id=”0982702329″ link=”true” target=”_blank” size=”medium” ]

Tags Atomos Ninja Star, Canon 7D Mark II, Documentary Production, J R Martin Media Inc, ProRes Hq 4:2:2, Review, Review by J R Martin, Review by Jim Martin, Sony a6000 with Ninja Star

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Canon EOS C300, C500, 5 D Mark III and 1D C Comparison for Documentary Production

Post author By JRM
Post date July 2, 2012
4 Comments on Canon EOS C300, C500, 5 D Mark III and 1D C Comparison for Documentary Production

After attending a recent screening and demo of the latest Canon EOS digital cameras I started thinking about film after one of the hosts mentioned that digital would soon be better than film quality. I also thought about comparing which of these great digital cameras would be best for documentary production. The demo and screening of the new line of Canon EOS digital cameras was held at a local Regal multiplex. Tim Smith of Canon and James Neihouse of Full Sail University spoke, showed a couple great looking films, and fielded questions. I was impressed with what I saw and heard. We also got a chance to actually handle some of the cameras. So after all was said and done I got to thinking which cameras would be the best bang for the buck for documentary work? Is the most expensive gear the best for all situations? These are all high-end digital cameras. Once you hit a certain level is it’s more about the knowledge and experience of the Cinematographer or Photographer then how many mega pixels you have?

Digital is making great strides but film, real analog film is always going to be my first love. How can it not be, I grew up with it, I touched it. It touched me. Negative film stock for still images and positive reversal stock for slides and prints. Kodachrome, Ectachrome, Black and White photography, Tri-X (fast but grainy and high contrast), slow film with fine grain, Plus-X, names that have all but vanished. Some of these film stocks were available for motion pictures. For a while in the seventies and eighties many people were using positive 16mm stocks like ECO and EF for documentaries, commercials, industrial and TV News (film at eleven). Then new generations of film negative emerged and we all switched back to negative film stock. I was lucky enough to shoot two nationally broadcast PBS documentaries on negative. Mike Goi ASC, was my DP, on both. Film stock balanced for tungsten 3200k, or daylight 5500k, different ISO’s (ASA’s in those days) provided great versatility for every situation. Then came video. I hated video, ¾”, Betacam, whatever, it was not pretty. It had limited everything. It was not tangible, you couldn’t touch it or feel it esthetically. It looked mostly terrible especially NTSC. PAL a little better but still analog video.

Today we have digital video and there’s a lot to like starting with HD in it’s various formats. Contrast, color, color saturation, depth of field and other elements have brought film like qualities to the medium. But it isn’t film and it will never be film. It will try to look like film, walk like film, but it will never quack like film. It isn’t a matter of quality or 4k images; it’s about texture, the look and feel of film. Even if digital surpasses film in resolution it still isn’t film any more than a CD is a vinyl recording. But digital video is here to stay and it offers its own qualities and possibilities to explore and create.

Comparison

How would an ultra high end 4K/HD EOS-1D C – not available yet – (Estimate $15,000 base price) compare with the, 4K RAW EOS C 500 – ($30,000 up base price) or the EOS C 300 camera at about $16,000 base price? Maybe we should also include one more camera in this comparison, the 5d Mark III at a mere $3500 (body only). [Price estimates from B & H Photo and online sources – Body only] One great thing is they all take EF Lenses. The 300C and the 500C also come in PL versions.

Here are some basic specs:

EOS 1 D C crpIMG_0354 — **CANON EOS 1 D C -DSLR – 4 MEG**

EOS-1D C Camera (Body Only)

18.1Mp CMOS Sensor
4K Cinematic Quality Video
1920 x 1080 Full HD Video
Dual DIGIC 5+ Image Processors
3.2″ LCD Screen
Eye-Level Pentaprism Viewfinder
Dual CF Card Recording Media
Canon EF Lens Mount
Magnesium Alloy Body
61-Point High Density Auto Focus

EOS 5D Mark III Digital Camera (Body Only)

22.3MP Full-Frame CMOS Sensor
3.2″ Clear View High Resolution LCD
DIGIC 5+ Image Processor
61-Point High Density AF
Full HD 1080/30p and 720/60p Formats
Built-In HDR and Multiple Exposure Modes
Extended ISO Range (50-102400)
Up to 6.0 FPS Continuous Mode
Dual CF and SD Memory Card Slots
Durable Magnesium-Alloy Construction

EOS C300 Cinema EOS Camcorder (Body Only – EF Lens Mount)*

Super 35mm-Size CMOS Sensor
EF Lens Mount for Broad Compatibility
Canon XF Codec – 4:2:2 50 Mb/s MPEG-2
1920 x 1080i60 & True 24p Recording
Rotating 4″, 1.23 Mp LCD Monitor
HD-SDI Output, XLR Inputs
Dual CF Card Slots
Timecode I/O, Genlock In & Sync Out
Canon Log Gamma
Modular Design: Removable Grip & Monitor

EOS C500 Cinema EOS Camcorder (Body Only – EF Lens Mount)

4K RAW (4096 x 2160) Output
EF Lens Mount for Broad Compatibility
8.8 Mp Super 35mm-Size CMOS Sensor
Also Puts Out 2K, Quad HD & Full HD
2x 3G-SDI Outputs
50 Mb/s Proxy HD Recording to CF Card
10-Bit 4K RAW at Up to 60p
10-Bit 4K Half RAW at Up to 120p
12-Bit 2K 4:4:4 Signal at Up to 60p
Canon Log Gamma

Included in this comparison are two primarily cine cameras, the C300 and C500. Also two primarily still cameras with HD video, the 1 D C and 5 D Mark III. The EOS C500 and the EOS 1D C both have 4K technologies. The EOS C300 and the EOS 5 D Mark 3 are HD video.

If I were shooting a theatrical documentary where the subject and budget warranted the highest quality digital available then the C 500 might be the ticket. Maybe a nature documentary or even a multi-camera event documentary, like a concert for distribution on the big screen in theaters. I would want both cameras available. However I might want to compare shooting this big budget documentary (Is there such a thing except for the BBC?) on film. Film still has a certain texture and warmth that says, “This is not digital.” If the shooting ratio was not expected to be high super 16mm might be an option.

The EOS C300 and the 5D Mark III also make a lovely couple for a documentary production where high-end HD digital video quality is required. A documentary where too rich a look and feel might lessen the “actuality” of the subject or situation might be a job for these cameras. For example a documentary like Restrepo that was shot in a war zone. These cameras offer great size and weight for run and gun type shooting as well as from a tripod.

Both of the DSLR cameras, EOS 1D C and the EOS 5D Mark III, need more support gear to make them fully functional for digital video shooting. Shoulder braces, focus pull and viewfinders for a start. Also a digital external sound recorder would be needed in certain situations. Shooting double system requires a sound mixer working with the camera operator. The C300 is a ready to go camcorder.

For a documentary project with a limited budget the EOS 5 D Mark III is a viable option, with external audio recording and mixing available. Outfitted with the 2.8, 70MM to 200mm lens, a decent support system, a good tripod and a digital audio recorder the EOS 5 D Mark III package could be purchased for around $10,000 to $12,000. EF lenses from other EOS cameras might also be used to round out the package. The 5D Mark III is not heavy by itself, but for documentary work needs a focus pulling attachment and a viewfinder. Mounted on some sort of shoulder brace it is still not heavy at all. The 5D Mark III would also be useful for stop motion (single framing) action. This camera, with the right lenses and accessories, qualifies for the “best bang for the buck” tag.

There are other features to be considered about these cameras and documentary production. Weight for working handheld is important; also ease of use, controls and memory storage capacity for each camera. Also various recording speeds and formats available. Is slow motion or a variable speed shutter available?

A camcorder not reviewed in this article is the C 100 Mark II which is an upgraded version that now shoots 60p. Also as of late 2014 there is a new Canon 7D Mark II that has enhanced video upgrades and utilizes an APS size sensor. (see Canon 7D ).

As far as the camcorder models, if you can afford it, the EOS C300 feels the best for documentary work. However with a stabilized long zoom lens it also might start to get heavy for hand-held work. Using shorter zooms or primes, the camera may be handheld easily. A shoulder brace of some kind should be part of the package if handheld shooting is anticipated. The EOS C500 is heavier because it has fans built-in to keep it from heating up too much while it makes all those 4K images.

Each camera has been built for a primary function. The C300 and C500 are designed to make movies. The 1D C and the 5 D Mark III are dual purpose but built on a DSLR model. Production requirements and budget decide which camera to use. If you own a 5 D Mark III it might make sense to buy the extra gear needed, things like camera mount, matt box, focus etc, to bring it up to speed. Starting from scratch with documentary film projects going into production, the C300 seems like an excellent choice.

That’s the bottom line unless you happen to have an Éclair NPR with some good lenses sitting around, and a project with an expected low shooting ratio…

Special thanks to James Neihouse for arranging screening and demo.

REVIEW BY J R MARTIN, director of Emmy nominated, Wrapped In Steel, a documentary about the Industrial community on the Southeast side of Chicago and Emmy award-winning Fired-up- Public Housing Is My Home, both documentaries aired nationally on PBS. AUTHOR CREATE DOCUMENTARY FILMS, VIDEOS AND MULTIMEDIA Also Director of the Documentary Course at Full Sail University. See other documentary reviews by James R Martin at https://www.jrmartinmedia.com/reviews

Comments invited.

Tags 4K cameras, 5 D Mark III, Canon 1 D C, Canon C300, Canon C500, Canon EOS Cameras, Comparison Canon Cameras, Documentary Production

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DOCUMENTARY PRODUCTION CREW POSITIONS

Post author By admin
Post date December 6, 2009
2 Comments on DOCUMENTARY PRODUCTION CREW POSITIONS

DIRECTOR OF PHOTOGRAPHY/CAMERA OPERATOR

Working handheld requires a steady hand.

The Director of Photography (DP) working on a documentary production works closely with the Director, often as collaborator, and camera operator. The DP is responsible for lighting or complementing the lighting of a given location. If the production crew includes a Gaffer the DP works with him to create either a subjective or objective lighting scheme depending on the Directors’ priorities. In a documentary situation the DP is often also the Camera Operator. The Director must convey to the DP/Camera Operator the exact type and style of coverage he requires so that the DP/Operator can anticipate what needs to be shot as events occur spontaneously.

Director Jim Martin and Director of Photography Mike Goi on location in Southeast Chicago — On Location with Director of Photography Mike Goi(right) in Southeast Chicago

A subjective lighting approach tends to give the scene being shot a look and feel that interprets the actual reality in some way. An objective approach seeks to reinforce the natural feel of the location. For example a documentary interview conducted with an interviewee in her office might require some minimal lighting simply to insure a good exposure and give us a feel for the environment as it is. The more the scenes lighting is enhanced or re-created the more subjective it becomes.

A Camera Operator for a documentary film production is often required to handhold certain shots. This person should be adept holding the camera steady and working quickly to frame shots.

Excerpted from Create Documentary Films, Videos and Multimedia by JRMartin —

Available from Amazon.com — Create Documentary Films, Video…

Tags Directing Documentary Films, Documentary Crew Positions, Documentary Production, Television Documentary

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Documentary Feature Film Production

Post author By admin
Post date November 23, 2009
No Comments on Documentary Feature Film Production

When you think, “feature film” it’s usually about the latest fiction theatrical release, but there’s another type of feature film playing in theaters and on television, which is Documentary or Non-fiction feature length films. Not all feature length documentaries are “top grossing” candidates at the box office; as successful theatrically as Inside Job or one of Michael Moore’s films. Often they will be in local “art house” theaters for a week and then gone not to be seen again until Netflix picks them up and/or they come out on DVD. There are many types of documentary films from advocacy and socially relevant stories to anthropological and nature productions. The first feature length documentary to play in theaters world wide was Nanook of the North, considered by some to be an Anthropological or by today’s standards “salvage anthropology.” Directed by Robert Flaherty this film was made to tell a story and be entertaining enough to play in theaters.

Many current documentary films find their roots in early Broadcast television including Robert Drews, Direct Cinema, Primary and the work of Fred Friendly and Edward R Murrow.

Early Broadcast Television Documentaries

Network News productions like CBS’s 60 Minutes carry on a tradition started by Edward R Murrow and Fred Friendly with documentaries for television like Harvest of Shame and McCarthy Hearings. Public Television documentaries produced independently and by PBS Network affiliates like WGBH’s Front Line documentaries and PBS Network productions like The Civil War by Ken Burns are feature length and longer documentary films made for Television.

Cable – Non-Broadcast
Network News productions like CBS’s 60 Minutes carry on a tradition started by Edward R Murrow and Fred Friendly with documentaries for television like Harvest of Shame and McCarthy Hearings. Public Television documentaries produced independently and by PBS Network affiliates like WGBH’s Front Line documentaries and PBS Network productions like The Civil War by Ken Burns are feature length and longer documentary films made for Television.

Cable – Non-Broadcast

A number of Cable Channels like HBO, Showtime, Discover and others feature non-fiction programming with emphasis on a particular subject. They either originate the programming or pick it up from Independent Producers and Syndicators. The programming is a mixture of non-fiction subjects and documentary productions. A few of these documentaries played theatrically before coming to TV.

Theatrical Documentaries

Documentaries made with the specific goal of playing Theatrically, i.e. in the theaters may cover a wide range of subjects. Every year the Motion Picture Academy awards an Oscar for Best Feature Length Documentary. What qualifies a documentary to be nominated for an Academy Award is that it is being distributed commercially and has shown in theaters to the public.

Directed by Robert Flarherty 1922

Robert Flaherty’s Nanook of the North was the first feature length documentary to run in theaters worldwide. Since then there have been a steady stream of documentary films shown in theaters, however the average theatergoer can probably count on one hand how many documentaries they have seen in a movie theater.

Many documentaries make the festival and art house rounds but are not seen in first run theaters. So the financial return is limited. With the advent of DVD documentaries have the opportunity to reach a larger audience. The financial returns of the majority of feature length documentaries that get theatrical release do not gross huge amounts of money in the theaters but do well on DVD. However there are some notable exceptions that have done exceptionally well in the theatrical circuit.

According to internet sources like www.boxofficemoho.com, as of August 2008, three out of the top five grossing documentaries in the US have been Produced and Directed by Michael Moore.

DOCUMENTARY INTERVIEWS

Many interviews for documentary projects are shot under less than ideal conditions in offices, at events, factories, on the street and in dangerous or hostile environments. Lighting is essential in getting a properly exposed segment.

Shooting Interior Interviews

Indoor lighting can vary in a some ways from daylight and tungsten in homes to daylight and fluorescent in office situations. There may be mixed lighting sources with varying color temperatures. A light kit with a few lights can help with supplemental lighting but often it’s more about working with available light. White balancing is important.

An office often has a window and a person’s desk in front of it. There are a number of possible choices. If there are blinds or drapes see if they can be drawn and use a simple 3 or 4 light set up with at least a key, fill and backlight light setup.

What if there is no way to block the light from the window? Is a better environment available like a conference room? One alternative is to consider how to shoot the interview using available light. Can we use the light coming from the window as a key light? For example it might be possible to shoot the interview from an angle or from the side of the desk where you use the light coming from the window as the key and then use a reflector to bounce light in from the other side. Your subject is facing the camera and both are parallel to the window. Remember to white balance for daylight.

Whenever possible think about lighting a subject with a key, fill and back-light whether it is available light, lighting instruments, reflectors or a combination of light sources. A key to fill ratio of between 2 to 1 and 4 to 1 is ideal for most video interviews and other documentary situations. Appropriate subjective lighting may be used to get a certain look or feel for an interview, however, most of the time, in documentary situations, we’re looking to capture the flavor of the environment; we try to reinforce the existing lighting so that we can get a decent exposure without adding our own interpretation.

Example of an interior interview may be seen in the preview of The Baldwin Park Story. In this situation we had a number of options including an office, conference room or meeting room area. We chose a neutral background that we could light to give some minimal contrast with a lighting ratio of about 2.5 to 1.

Actuality Interviewing and Listening by James R Martin

Available from Amazon.com –[amazon_image id=”0982702361″ link=”true” target=”_blank” size=”medium” ]Actuality Interviewing and Listening: How to conduct successful interviews for nonfiction storytelling, actuality documentaries and other disciplines … (Documentary and Nonfiction Storytelling)[/amazon_image]

Tags Documentary Audio, Documentary Production, Television Documentary

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Interviews and Shooting in Baldwin Park

Post author By admin
Post date October 28, 2009
No Comments on Interviews and Shooting in Baldwin Park

The Baldwin Park Story Documentary production plans to interview a number of current Baldwin Park Residents, Shop Owners others as part of the ongoing documentary effort. A number of future events in the area will also be documented.

Additional interviews with experts in the areas of Urban Planning, New Urbanism, Green Communities and Planned Communities.

J R Martin

Tags Baldwin Park Story, Documentary Production

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“Actuality”

The word “Actuality” when used to describe the material used in in documentary or non-fiction project, whether it’s film, video, or a photograph means that it was recorded “actually” happening and was not staged or manipulated in anyway.

Newgrange prehistoric mound in Ireland © JRM — Newgrange prehistoric mound in Ireland - The rising sun shines through the window above the entrance on the Winter Solstice. © JRM

In a pure sense a documentary film is a story that uses actuality sources to create a non-fiction documentation of some reality. Actuality meaning something that “actually’ happened and was in some way recorded on film, video, still photographs, audio, or other medium. It’s a non-fiction reality, somehow witnessed and recorded. A documentary does not employ actors to recreate a reality of which we have knowledge in some way. As soon as we employ actors, or script what is going to happen, even if it is based on a true story or event, we have created a fictional story.

Tags Directing Documentary Films, Documentary Production, Non-fiction

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Documentary Production Update – The Baldwin Park Story

Post author By admin
Post date October 21, 2009
No Comments on Documentary Production Update – The Baldwin Park Story

: 2012 Doggie Derby Day – Corrine Common

After some interviews with individuals associated with the development of Baldwin Park in Orlando, Florida shooting began in and around the downtown area and along Lake Baldwin. The notion was to get some footage that would complement the interviews and give us a feel for what this “planned community” looked like.

Baldwin Park is built on the ground, which was once a Naval Training Center that was closed 1993. Located in Orlando, 10 minutes from the down town area it was acquired by the City. After much debate and time it was developed as new community, based on New Ubanism concepts in the heart of the city.

The documentary begins with this community and plans to explore the ideas of New Unbanism, Planned Communities, Green Communities and the shift from suburban living to revitalized urban environments.

Baldwin Park, Orlando has been successful in a number of ways as an urban planned community and provides the documentary with starting place to look at other communities and aspects of New Urbanism and Urban Planning.

The documentary also plans to follow a number of families and individuals moving to and living in Baldwin Park and similar urban areas to learn first hand who and why people live there.

Downtown Baldwin Park, Orlando, FLorida — Downtown Baldwin Park, Orlando, Florida

Tags Baldwin Park Story, Documentary Production

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