The Art of Filmmaking and Editing

 

Lesson Info

Shoot with Kevin Kubota Continued

We're gonna start with Kevin as Action Man, and honestly my justification for that is 'cause he was wearing the outfit, there was no reasoning behind that or psychological preference, it's just he was wearing it, so it saved time, and from him, changing his outfits. This is where you'll see me get into more, a more directing status and I'll start to like, get really detailed with the lines, so Kevin, why don't you have a seat? And I'm gonna talk about opening up to the camera. Because of the set here, we have to shoot against this wall. Normally I would probably do a two-thirds view of him, an over the shoulder, that's not gonna be really realistic in this situation, because of the monitor back there, there's lights, you guys are back there and then there's a brick wall over there, with the exception of one shot. So I'm gonna do a medium profile and a medium, or in a close up profile, as my close ups and my medium shots. So because Kevin is gonna be sitting in profile, how he's sitting...

right there, okay, is exactly what I'm talking about when it comes to opening to the camera. So Kevin, why don't you bring your leg in, and just sit normally and bring this leg in, and kinda close yourself off. If I have a profile shot of Kevin here, and he's so closed off to me as the camera, that's gonna feel really, just kinda closed off to the viewer. So what I always, you'll here this as proper etiquette, you might wanna write this down if you're taking, you know, set etiquette notes. Open up to the camera. So you go up to your actor and you say, open up to the camera, and if you have anyone who's ever been on a stage before, basically if you have a stage on a play, they'll say open up to the audience. So you wanna open up. So when Kevin, if Kevin has like a look off camera, or some situation where he wants to look up, he's not gonna look towards the window, he's gonna look towards my camera. My camera is the stage. So I'll always tell him, Kevin when you're sitting this way, open up to the camera. If you have a look and you wanna do something, you wanna, we purposefully put the Photoshop Everyone DVD on that side so we can see him reach for it. If we had it on this side and he reached for it in this way it would be more closed and we wouldn't see it yet. So these are all things I'm keeping in mind because of where he's sitting in relation to the camera. So open up to the camera. The second thing is, Kevin, I'm gonna have Jeff read for you or somebody else. No! Cause I wanna operate the camera. I can read. You can read, okay? You can read! I did pass fifth grade. Do you know script format? Well enough. Okay, so a couple things I wanna talk about, I'm gonna have a script format discussion tomorrow, the one thing I wanna explain to you is that, anything under a character's name in parentheses is just an inflection, it's not, you don't say it, and then obviously under the character's name is the line. A character's name in a script is always all in caps. I'm not gonna get too into script format right now, so we wanna get into shooting. So first thing we're gonna do, Kevin, you're gonna run through your whole scene again. Okay, starting from-- As Action Man. I'm gonna have you stay right there, and get into your position so that I can frame you up here. And I'm gonna use this monitor. So, now I wanna talk about a couple things on the DSLR camera, this, if you're on a 5DMark3, this little magnifying glass here, will Zoom into your character 5X and then 10X. Why am I doing this? Focus. And, we just want to make sure Kevin shaved this morning. Alrighty. Great, he did. And on your 7Ds your 5Ds, it'll be this top right button here, I don't know if we can switch it to this camera. There will be a button right here on your 5Ds and your 7Ds your Mark3 will be right here. You can actually change it to be this if you want to. And into the camera settings. Also, I'm shooting this on 800 ISO at 7.1 why? Because Action Man's a little nervous and Action Man moves a lot. So when he moves, I wanna make sure that he's not going in and out of focus. If I were to open up to one two, there could be a lot of soft shots in here later on so I'm compensating for his movement. And I'm on the monopod and you can see right here, that when Action Man moves, trying to get rid of all this here, when Action Man moves I'm just gonna try and keep frame with him. And then as he gets a little more antsy, I'll try to keep my frame so that it adds that fly-on-the-wall look. So if everybody's ready, why don't we do a mic check on Kevin? You can bring the mic a little lower. And Kevin why don't you talk in your normal Action Man voice? Action Man voice baby! This is my Action Man voice. You have lovely hair. I love your sweater too. That's not my Action Man voice. You should try a whisper too 'cause that's tough. Okay, and so what I'm talking about is your hair. I wanna put your hair in the fire, burn you. I did show her it. Okay, alright I'm ready. And I'm gonna have you walk into the shot and you have a question. I have a question. Yes? Should I look and talk directly at her or do you want me to kinda cheat to the side here or just this is enough? This is enough. You wanna talk directly to her, 'cause it is a profile, but when you have the opportunity to look off camera or make a facial expression, you wanna make it in our direction as opposed to the plants. Alright. Alright? Um, excuse me, Ross? Candle is in your shot and is not lit. Good job, Script Supervisor. Here's a lighter, do you know how to use one? I do. He did pass fifth grade. Not as well as you do though. Ha ha ha ha. Very funny. Alrighty. And that would have been a big problem. So I'm glad Jeff caught that. That'd made me look real silly. Just do it, we moved a prop. Alrighty. Now, I'm leaving about an inch or two of head room on a medium shot, alright. This is not the way to do it. When we go into a close up, you'll see I'm gonna cut off the top of his head in certain situations, but for a medium shot I'm gonna leave about an inch or two. Maybe even just a little smidgen more because I can scale it in editing and frame it the way I want so it gives me a little latitude and leeway. And you'll see that tomorrow in our editing demonstration. So without further ado, Kevin please exit the shot. And let's start. You ready? Yeah. Speed. I don't have a phone to do the phone thing. That's okay you just pretend. And what, I can't read the word. What? What was it supposed to be, the phone? Heart rate monitor? <v Ross &amp; Woman>Heart rate monitor. Pacemaker. Okay. And just make sure you don't overlap him. Obviously you know as monitoring the audio how that can be a pain. Alrighty. Ready and action. Sorry I'm 42 seconds late. Traffic you know, was (stutters) is that a cell phone? No, heart rate monitor. Don't you travel by boat? Eh, yeah. Whatever, do you mind telling me why you're here? Do you mind telling me what that's all about? It's my movie, How to Photoshop Everyone. (Kevin grunts) (whispers) Excuse me, my movie. Yeah. It's my movie, How to Photoshop Everyone. Excuse me, that's my movie! Yeah see, that's me. Kevin, with a K. Kubota with a K. Uh, sorry re-cue. I see where you're confused. Yeah, okay got it. Kevin with a K. Kubota with a K. Yeah, well I see where you're confused, but that's me, Action Man with an A. (stutters) What are you looking at? (whispers) Why are you making that face? Why are you making that face? I think you're the one who's confused because this is me. Yeah, sorry. I'm just like. Let's start from the top. Spaced out. So notice, because he kept making mistakes, I wanted to start from the top just to get a fresh take, so I'm gonna cut this, you can cut the audio. We'll start from the top, we cool? Yeah, I'm just thinking about chocolates. You're thinking about chocolate? Something else, I'm sorry. Okay. Plus I don't look much like you. (laughs) No. I don't really look much like him either. You got it cut from the very top? Yeah let's go from the very top. Oh right. And then make sure to, well it doesn't really matter for her, put it back on the table. Yup, nope, doesn't matter for her. And as we made our point about the cat in the window earlier, the How to Photoshop Everyone DVD on the table will end up being our cat in the window, just for the record. And I'll show you how we do that in a second, somebody's shadow is on the wall. Or is it the plant? No it's-- It's Adam's elbow. Yeah it's your elbow. Yup there you go. Okay. Ready? Rolling. Speed. And action. Sorry I'm 42 seconds late, there's traffic. (stutters) Is that a cell phone? No, no, heart rate monitor. Yeah. Whatever, do you mind telling me why you're here? Do you mind telling me what that's all about? It's my movie, How to Photoshop Everyone. 'Scuse me, my movie! Yeah see, that's me. Kevin with a K. Kubota with a K. Yeah whatever, I think you're a little confused because that's me. Action Man with an A. Is it my line? Why are you making that face? (laughs) Why are you making that face? I think you're the one who's confused because this is me. (whispers) You're kidding right? (whispers) Yeah it's you're kidding right? You're kidding, right? I mean it doesn't even look like you! Bone structure! See that's me! Is there a point to this meeting? Yes well I'm glad you asked because, see I don't come out of the woods just for anything, it has to be very important. I was visited by a girl, Allison. You know who I'm talking about? I do. Okay so, outta nowhere, she comes to my cabin in the woods and wants me to teach her about (whispers) actions. So I do. Then next thing I know, it's on this DVD. Can you explain that? Well she wanted to learn about Photoshop. You know, the coffee shop owner taught her work flow. The day walker showed her all about layers. The geek spoke about fixing problems. Tony taught her how to add the art. And you about actions. So we made a DVD and shared it with the world, cool, huh? No it's not cool! (stutters) I don't get out very often! I come out of my cabin every 30, 40, 60 years or so. I let one person in the door, the next thing you know I'm starring in a movie! Co-starring. (Kevin laughs) No I'm the star. Co-starring. No, I'm the star! Well actually, you're the supporting role. But anyway! Okay that's what I came to talk about, okay? So I blow up my cabin. Blow up all the land around it. I escape in a boat and I forgot. One more time, okay? All the land around it, escaped in boat and need to reintroduce myself to the world. That's what I came here to talk about. See I blow up my cabin, all the land around it, and I escape in my boat. And I just think it's time for me to reintroduce myself to the world, okay? How so? A sequel. Part two? Photoshop Everyone Else? No no no, Action Man. So basically you want your own spinoff movie. (stutters) Spinoff movie! Listen Kevin with a K. Automation is like the wave of the future! Action Man is like a fricking super hero! What do you think? You don't need my permission. You are me, and I am you. I am you and you are me. Means I'm not even here. Wait, you're not even here. Action Man is back, baby. Action Man is back baby! (laughs maniacally) Alright, cut it. Let's run it again now that Kevin's all warmed up. Are you gonna move the position or are you gonna stay right where you are? No I'm gonna do the same shot again. Kevin, when she's doing that monologue about Tony and this person and that person, keep up those facial expressions 'cause we're gonna really need those at some point. Just to keep in mind, I don't know, we were streaming my camera the whole time. Yes. Okay so we noticed how Kevin was making those expressions when she was going through the whole monologue of who did what. Those reactions don't have to necessarily be used right there. So you wanna think about that. I'm like almost hoarding reaction shots from Kevin throughout this whole thing and I'm thinking they can go anywhere I want. So if he makes a great reaction to something, it doesn't mean that it's gonna have to be to that line, I can put it wherever I want later on and you'll see how that comes together in editing. Do we have a pillow around here anywhere? No pillow, alright. Just a note, over here we've had to change batteries in the Zoom, whenever you're using phantom power and it's providing power to that microphone, those batteries go quick. So you're gonna wanna have rechargeables and lots of 'em on you. Kevin, can I now have you just sit in the seat one more time? [Woman In Audience] Do you want app gloves? No I'm okay, I was just joking. Knees are overrated. Alrighty. We just streamed your lips to the rest of the world. Alright let's do it. Ready? Speed. Rolling. Waiting for the bus to go by. And action. Sorry I'm 24 seconds late, there was traffic and, (stutters) hey is that a cell phone? Heart rate maker. Oh. Don't you travel by boat? Yeah, funny. Whatever, do you mind telling me why I'm here? Do you mind telling me what that's all about? It's my movie, How to Photoshop Everyone. Excuse me! My movie! Yeah, see, that's me. Kevin, with a K. Kubota, with a K. Yeah I think that's where you're confused because that's me, Action Man with an A. Why are you making that face? I think you're the one who's confused because this is me. Are you kidding me? Doesn't even look like you! The bones! Look at the bones! The bones, that's me, that's clearly me! Is there a point to this meeting? Yes I'm glad you asked. I only leave my cabin if it's really important. I got a visit from a girl. Her name's Allison. Know who I'm talking about? I do. Okay so she wants me to teach her about actions. I'm aware. Alright, so I teach her. I show her actions. Then next thing I know, it's on this DVD! Can you explain that to me? Well she wanted to learn about Photoshop, you know. The coffee shop owner taught her work flow. The day walker showed her about layers. The geek spoke about fixing problems. Tony taught her how to add the art. And you did the actions. So we made a DVD and shared it with the world. Cool, huh? No it's not cool! I let one person into my cabin, I don't leave for 40, 60 years and the first person I let in, I'm on a movie! I'm starring in a movie! Co-starring. No, I am the star! Well actually you're a supporting role. But anyway. (Kevin mutters) That's why I came here. Yes. Well actually you're the supporting role. But anyway. That's why I came here, okay? So (laughs) that was the 30, 40, 60 years, is that part? No you blew up your cabin and you need to-- Yes I know, okay. Alright we're good. Actually you're a supporting role, but anyway. That's why I came here. I blew up my cabin in the woods, blew up all the land around it. Escaped in my boat and frankly I think it's time for me to make a reappearance to the world. How so? A sequel! Part two, How to Photoshop Everyone Else? (grunts) No! Action Man! So basically you want your own spinoff movie. Spinoff! Listen Kevin with a K! I am Action Man! Automation is the wave of the future! Action Man is like a fricking super hero! Huh? C'mon, what do you think? You don't need my permission. You are me and I am you. I am you and you are me. That means that I don't even exist. You don't exist. Action Man is back baby. Action Man is back baby! (laughs maniacally) Alright cut. (Jeff claps) Alright let's do a close up. Kevin when you say, when she says How to Photoshop Everyone Else and you say no, Action Man, don't say it in an aggressive way, say no Action Man, like it's like the greatest idea that's ever been invented. Okay. Okay? Alright. I'm trying not to rattle the papers, are the papers okay? You wanna grab me, no. Let me see, can you sit in the spot? The 85? Um no, I don't wanna use the 85. 135? Um, possibly. Would you like me to get that for you? Yeah you can grab it. Actually you know what you should get me, the hundred macro. Okay. It's in the blends bag. So we're gonna switch lenses, I'm gonna go into a close up here. Jeff's gonna grab me the hundred macro. Now it's really important, the hundred macro has image stabilizer on it. Assuming, let's assume there wasn't a boom there, and let's assume you didn't have an onboard mic if you're using image stabilizer, the camera audio is gonna be absolutely 100% useless 'cause you're gonna hear a gear grinding the entire time it's going on. So that's why one of these mics is really really important because it takes it, that's why it's sitting in these rubber things 'cause it eliminates it from all the camera sounds. So if you're actually using that on camera mic, just make some adjustments and some setting changes and you'll hear every single thing. Another thing that happened during that take is you and me made eye contact, our audio monitor made eye contact with me because a car went by. And I told her to keep going. And the reason I told her to keep going was because it was on a line that we're not using from the opposite character, so that's why it didn't matter. All that was, was about Kevin's reactions which the audio will be used from a different take. So that's why that was okay. Lens cap. Lens cap. Your lens cap or this one? My lens cap is in my pocket. On this other side. Thank you sir. And let's get back over here. I'm gonna turn image stabilizer on. Get close here. Jeff can you get me the tripod? I can. Actually no, nevermind. Yes or no? No. Sorry, I'm indecisive. I have a question for you Ross. How come you're shooting directly perpendicular to the scene instead of more of an angle where you can see his face when he's talking to her more? Because of the background. So normally what I would probably do is, I would do this, right. So Kevin you can look at her. Now if our audio guy wasn't there, and all that stuff like the back of the, whatever that is behind him, then normally I would do that. And what I'd like to say is, Kevin take you glasses off for a second. So what's the proper 2/3? You guys probably know this from photography. Look at her. The proper 2/3 is when you can see the flesh on the far eye holding in the eye. If I'm over here, broken 2/3 as I like to call it and you can't see the flesh holding in the eye. Looks like his eyeball's gonna fall out. So a lot of situations when they're moving, that'll break sometimes, but the proper 2/ is when you can start to see that flesh on the far eye. Since we're not gonna do this shot today I just wanna show you what that looks like and then you can clearly see the flesh in the far eye. Right? Absolutely, go Monty. I was gonna say, Monty would be proud right? I wanna see the flesh, I wanna see the flesh. Alright, so. Kevin look at her again. Now for the closeup, see how I'm gonna cut off the top of his head, just a tad? That's what I'm gonna do. And I'm gonna focus in on his eye here, and I am going to keep my settings all the same, everything, 800 ISO at 7.1 at 1/50 of a second. And that's what we're gonna do. And we're ready to go. So Kevin with a K or Action Man with an A are you ready to do this? Give me one solid close up, then you can become Kevin with a K. Where are we going? From the top. From the top? From the top. Walk in and everything? Walk in and everything. Actually don't walk in, don't walk in. Stay right there. Here's why I'm not having him walk in. Because I'm telephoto, there's no way that I'm gonna use the close up shot of him actually walking in. So the reason why I'm not having him walk into the telephoto shot, is just for the sake of focus. If he walks in and his chair slides two inches to the right, he could be completely out of focus and I might not see that on the back of my LCD screen. So for a close up shot, you don't have to have them walk in and out of the frame. Walk out of the frame is fine, 'cause you don't need it anymore. But walking in is not necessary for this shot. So let's do it. Speed. Almost like you kinda put a, yeah. Sort of lift up a little bit with your body. Like take your weight off of the chair. And like sit into it like that when I start, that make sense? So it's almost like you're in the middle of sitting. Okay. Yeah. You ready? Speed. Rolling. And action. Sorry I'm 42 seconds late there was traffic in the, (stutters) is that a cell phone? No it's a heart rate monitor. Don't you travel by boat? (Kevin scoffs) Oh whatever, why don't you tell me why I'm here? Why don't you tell me what that's all about? That's my movie, How to Photoshop Everyone. Your movie, that's me! That's me! Yeah, see that's me. Kevin with a K. Kubota with a K. Look I think that's where you're confused because that's me, Action Man with an A. Why are you making that face? I think you're the one who's confused 'cause this is me. Are you kidding me? Are you kidding me? That doesn't look anything like you! The bones, bones, the cheek bones! Look, that's me. Is there a point to this meeting? Yes I'm glad you asked. Because I only leave my cabin if it's really important, okay? I had a visit from a girl. Allison, know who I'm talking about? I do. She asked me to teach her about actions. I'm aware. So I did. And next thing I know, it's on that DVD! Explain that to me! Well she wanted to learn about Photoshop, you know. The coffee shop owner taught her work flow. The day walker showed her about layers. The geek spoke to her about fixing problems. Tony taught her how to add the art. And you about actions. So we made a DVD and shared it with the world! Cool, huh? No it's not cool! I've been in hiding for 30, 40, 60 years! And this first person I let into my cabin, the next thing I know I'm starring in a movie! Co-starring. I'm the star! Well actually you're a supporting role. Anyway. That's what I came to talk about, okay? I've blown up my cabin, blown up all the land around it, paddled away in my boat, and quite frankly, I think I'm about ready to make a reappearance. How so? Sequel. Part two, How to Photoshop Everyone Else? No, Action Man. So you basically want your own spinoff movie. Spinoff! Listen Kevin with a K! Automation is like the wave of the future! Action Man's a fricking super hero! C'mon, what do you say? You don't need my permission. You are me. And I'm you. I am you and you are me, so I'm not really here. No you're not really here. Action Man is back. Action Man is, Action Man is back baby! (laughs maniacally) Alright cut it. Let's do it again. We have to really be conscious of what's happening behind that wall. Yeah that noise. They can't whisper, I can hear it. I know that can hear it. Yup thank you, we let them know. Did you give him eye contact on the noise? Hm? Did you give him eye contact when that noise happened in the background? I think so. Hey Kevin. Don't let it hinder your performance, but try not to lean side to side. Forward and back is just fine. Ross is there any way to get more of a 2/3 angle and we can just move our audio people out? No because of that little box. It's like the ugliest thing ever. He's not talking about you. No, the box, I mean we could try here let's try to move you guys out. Let me see what happens. Far enough? We'll see. Who's in a position of power here, Kevin or Action Man? Who do you wanna shoot up on or down on? Neither because it's a comedy. Okay. So I'm not gonna shoot, that's why I'm eye level. Can you move all that stuff? Yeah I'll move the bottles, yup. Yup. Is it possible, can I untether for this take? 'Cause it's Yup that's fine! extremely difficult to operate and tether, both. How's that, is the background good? Yup, alright let's do this again. Kevin can you look at your mark there? Alright. You're not gonna sit into it, you're just gonna do it right from there. Okay. You ready? Okay speed. Rolling and action. Sorry I'm 24 seconds late, there was traffic and, (stutters) is that a cell phone? No it's a heart rate monitor. Don't you travel by boat? (Kevin scoffs) Oh whatever, why don't you tell me why I'm here? (laughs) I'm sorry. Let's go from the top. Wires. Let's go from the top, I'm gonna reset. You can reset as well. Did you hear the bus when he first started to say his lines? The buzz? Bus. Bus, yes. So stop then? So make sure you look up and, Okay. Alright Kevin, you ready? This is why I never go wired for drug deals 'cause something always happens. Alright. Rolling. Think we're good. Speed. And action. Sorry I'm 42 seconds late, but there was traffic, and you know, (stutters) is that a cell phone? No it's a heart rate monitor. Don't you travel by boat? Very funny. Whatever, why don't you mind telling me why you're here? Why don't you explain that? It's my movie, How to Photoshop Everyone. Excuse me, my movie! Yeah see, that's me. Kevin with a K. Kubota with a K. No see that's where you're confused because that's me on the cover. Action Man with an A. Why are you looking at me like that? I think you're the one who's confused. Because this is me. No see, you're crazy. Nope, that's not it. I know it. Kidding. You're kidding me right? You're kidding me right? The bones! Look at the bone structure! That clearly is me! Is there a point to this meeting? Yes I'm glad you asked, okay. I don't come out of the woods unless it's really important, alright? So, (blows air) one more time. Is there a point to this meeting? Yes, I'm glad you asked, see I don't come out of the woods unless it's really important. I had a visit from a girl. Allision, know who I'm talking about? I do. She wanted me to teach her about actions. I'm aware. So I show her about actions, the next thing I know it's on this DVD! How do you explain that? Well she wanted to learn about Photoshop, you know. The coffee shop owner taught her work flow. The day walker showed her about layers. The geek spoke to her about fixing problems. Tony taught her about how to add the art. And you about actions. So we made a DVD and shared it with the world. Pretty cool, huh? No, no it's not cool! Because, I, nope. No, it's not cool! I spent 30, 40, 60 years in the woods in isolation and the first person I let into my cabin, the next thing you know, I'm starring in a movie! Co-starring. I'm the star! Well you're actually a supporting role, but anyway. That's what I wanna talk about. Okay? I destroyed my cabin, destroyed all the land around, paddled away in my boat, and you know what? I think it's time for me to make a reappearance to the world. How so? Sequel. Part two, How to Photoshop Everyone Else? No, Action Man. So basically you want your own spinoff movie? Spinoff! Listen Kevin with a K! Automation is the wave of the future! Action Man is like a fricking super hero! C'mon what do ya say? You don't need my permission. You are me and I'm you. I am you and you are me. So I don't even exist. No you, you don't exist. Action Man is back baby. Action Man is back baby! (laughs maniacally) Alright cut, go be Kevin again. (applause) Is this the last thing we'll see of Action Man on the set? Yes. Say goodbye to Action Man, he's gone forever. Bye! Until editing. Until the sequel. Until the sequel, yes. Alright so we're gonna do the exact same thing with Kevin on that side. And then we're going to get shift Tony out here to make an appearance. How much time do we have left? [Woman In Audience] We have 30 minutes. Eons. Eons in film. Alright, does anyone have, we could take a question right now, while we're waiting. Perfect let's start with our studio audience, do you guys have any questions in there? Lance? They're busy. Alright what have we got Mallory? We have something from earlier. Love note was asking, Ross seemed to talk faster so when you were playing the opposite role, which could apply here, talk faster to avoid the battery dying, will that affect the pace in editing? That's actually a really good question. Yes normally it would affect the pace in editing. We've actually, the Facebook thing with the devil angel on the shoulder was the exact same idea of the timing here. And we wanted it to be one shot, but the reason we had to go into the close ups of each one is because the timing sort of got off beat as the scene went on. The reason why it won't affect it as much here is 'cause I can always put, I can put the lines wherever I want. As opposed to it being a seamless conversation. So I'm gonna be able to control the pace here because I can cut half of the frame, if that makes sense. And you'll see that it'll make a lot more sense when we're editing it tomorrow, but I can actually cut out parts of the frame and speed it up, slow it down and do all sorts of things to it to make it actually work. Cool. So yes in most cases, in this situation, not really. Alright, we have a question from Leila who says do you keep the same depth of field for different lenses, focal lengths for constant bokeh between shots? No I do not. I determine my f-stop obviously based on light, number one. Number two based on how much is moving. So Kevin is gonna move a lot less than Action Man. I was shooting at 7.1 for everything so far, so when I go to Kevin, I'll probably go down to 5.6. For everything on that lens or for every lens? Actually for both lenses. But that was a coincidence right? You don't normally switch a lens and then keep-- Yeah, no I don't normally switch a lens and keep bokeh consistent, that's not, you don't have to worry about the continuity of the way your bokeh is, you know how much bokeh you have. Really it should just dictate how much the subject is moving and how much you have to follow. Like even right there, I don't know if we ever got me with that camera, but I was actually riding the focus. As he would lean in, I would follow focus him, lean out. So there are gonna be parts of that shot that are actually out of focus, but you'll see in editing that doesn't matter. Not only does it not matter but sometimes starting the very beginning of a clip a little out of focus and then having it comes in focus can be artistically nice to look at because it kind of gives you a feeling like you're there. So not having something crisp in focus the entire time, is not necessarily a problem. Great. One more question, Brenda Channels asks can Ross please explain why you focus on the eyes? Great question. The reason I focus on the eyes is because when you're focusing on someone's face, that's what you want in focus. You want the eyeball sharp. Now because Kevin was wearing sunglasses, obviously we lose that. So I just focus on the sunglasses, so I always focus on the eyes. It's very important, especially in the DSLR when you're shooting shallow depth of field with these lenses. When we did the Happy Ending movie, I focused, I used to focus on someone's beard and it would make their eyes soft. So you gotta be really careful when shooting at 1. or 1.8 or whatever that you really do focus on the eye. Alright I have a question from gramaldo77 who's question I tried to ask earlier and he or she said that it was auto correct that caused the problem, so. The question actually was, when doing a live event and using secondary audio, is it better to leave the audio on the Zoom recorder running or pause it? I think I said boom recorder. If that Zoom is being taken off of a mixer, which I think is the question that he's asking. So you have secondary audio and you have it from a mixer from the band at the reception or the AV team, leave it running, because Pluraleyes will do all the work for you. Ross is gonna discuss Pluraleyes, show it tomorrow, but Pluraleyes syncs audio up for you automatically and so you don't have to worry about spending hours and hours and hours of your life syncing it up. Right, thank you. Someone asked what the best audio practice is for a reality show. The best audio practice for a reality show, depending on how many people you actually have, really I'm actually, I'm gonna do it, I'm gonna reference Jersey Shore right now. I swear I never would. They all wear lav mics. So you can lav mic people. Actually a really cool thing to do would be to lav somebody with an H1 on a reality show because it's very hard to monitor several people's audio and you just can rely on the auto gain. It won't be 100%, the problem with the auto gain it's actually perfect. The only problem with the auto gain is that if you haven't been talking for a while, it'll try to level out the noise in the room to be the proper recording level so then when the person starts to talk, the first couple words will be over-modulated or over-exposed, as Jeff likes to call it. But the H1 is actually really really good for something that you have to do in that situation. And then you might wanna have someone running around with a boom as well. Ross just reminded me, we didn't get a chance to do this this morning because we were running out of time during the demonstration prior to doing this live. But this is a Zoom R16 Mixer, they also make an R24. This one I think is $399, the R24 is $499. And it gives you eight simultaneous inputs. And if you can see that, what that means is that depending on how big your production is, you can actually put eight different microphones in here. You can adjust each of them individually. And where does it record? Well it records on an SD card in this slot. So when Ross and I did our Get in Motion Tour DVD, we actually had his mic, we had my mic, we had the input from his laptop that gave us the audio, we had the audience mic'd, we had six channels going simultaneously, all the levels and we just press one button and we're recording all six of those channels onto the card. So if you think you're gonna be out and about, it also has a built-in pair of stereo mics so you can record ambient sound yourself. So if you think you're gonna be in a situation where you think you're gonna need more than two channels, which is what the Zoom H4n gives you, the R16 is a great, it'll run offa batteries too or it'll run off of AC power. It's a really great addition to your collection. Alright so I think we're ready to go. Kevin with a K. Kubota with a K. Is gonna step into his spot there. Do you want me to walk in so he can follow me? Or do you just wanna pretend? No that's actually okay. We're gonna, not for this shot, but I will have you do that at some point. Kevin you can take a seat there. Gonna be seated. So we're gonna be starting with medium, correct? No we're starting with a close up just because I had this one on. 'Cause you had that lens on. I need to get the other lens for you. Yeah. Can you scoot in just a little bit? And I am going to frame you up here. It's hard to switch back characters, I remember the other lines now. Can you look at her Kevin? Alright. Do you wanna do a mic check? Yes, Kevin with a K. Kevin with a K. Kevin with a K. I'm here today. Yo, table in front of me. Check my lines, check my lines. And you're late. Why are you late? My cell phone? Worried about my cell phone? Don't be worried about my cell phone. Alright. K we're good. I can shoot tethered for this shot, yeah. We're gonna go back to tethered for this one. But I need to see it on there. Can we get the monitor to show the, yup there we go, great. Alright, Kevin with a K, you ready? Speed. Rolling. And, action. Sorry I'm 47 seconds late, traffic. Is that a cell phone? Um no, a heart rate monitor. Traffic, I thought you travel by boat? Anyway, you mind telling me why I'm here? Oh you mind telling me what this is? Let's take that from the top. (laughter) One thing I wanna make, I wanna make a point here. It's a little harder to do it on the monitor because everything's delayed, you can cut. But I like to call this telegraphing movements. Okay so I know he's gonna lean and grab that. So Kevin lean and grab that. I wanna follow him. And then follow him back. But here's what you don't wanna do. Alright go ahead. And you don't wanna get out in front of him. You don't wanna start moving until he moves. You don't want the camera to telegraph the movement of the body, so you wanna let him start the movement and then go. Although at home it may look like I am telegraphing it 'cause there's like a delay on this monitor, so I apologize if that's actually happening. But you're not supposed to do that. So let's do it, let's do it. Speed. Kevin if she forgets a line, and you know what you're supposed to say next, just give the proper pause and keep going. Okay. Speed. Alright. Rolling and action. Sorry I'm 47 seconds late, traffic. Is that a cell phone? Ah no, no it's a heart rate monitor. Traffic? I thought you traveled by boat? Anyway, you mind telling me what this meeting's about? My movie! How to Photoshop Everyone. Excuse me, my movie. Uh no, that's me. Kevin with a K. Kubota with a K. I see where you're confused. That's me, Action Man with an A. Why are you making that face? Yeah no, that's clearly me, see? You're kidding right? It doesn't even look like you! The bone, look at those cheeks, that's me! Look, is there a point to this meeting? I'm glad you asked because you know, I don't come out of hiding unless there's a good reason. I was visited by a girl, Allison, you know her? I do. She knocks on my cabin door, and asks me to teach her about actions. So I show her, and now it's on this DVD! Explain to me how that happened! Well sure, she wanted to learn about Photoshop so the coffee shop guy shows her all about work flow, then the day walker shows her about layers, and then the geek shows her how to fix things, and then Tony, Tony the chef shows her how to add the art and then you, you show her actions. I mean it's good stuff, it's great! We had to put it on a DVD and share it with the world! It's cool, right? No, it's not cool. I've been in hiding for 50 years. I let one person into my cabin in the middle of the woods, and now, I'm starring in a movie! Co-starring. No, I'm the star. Technically you're a supporting role, but that's not really that important. Well that's what I came here to discuss. I've since blown up my cabin and all the land around it, escaped on a boat, and need to reintroduce myself to the world. By? A sequel. Oh, Part two, How to Photoshop Everyone Else? No, Action Man. So you basically wanna make your own spinoff movie? Spinoff! Whatever you say, Kevin with a K. Automation is a wave of the future. Action Man is like a super hero. What do ya say? You know I think you don't really need to ask my permission, because you are me. And I am you. I am you, you are me. I'm not even here! Or wait, you're not here. Alright cut. Alright, let's do that again. I need to step out now? No you don't need to step out. Two two, I have two things also. You wanna say? No I was gonna say 2/3. Oh yeah, yeah, yeah. Two things I wanna say, when you're recording a conversation, it is so important, even if the script calls for overlapping each other, like if they were gonna argue and they interrupted each other, make sure there's a space and you put the overlapping in in editing because if she starts to overlap him that is gonna be tinny and sound like it's far away in that mic. So it's really important. Even if you have an argument, it's almost, you're gonna have to take away the organic overlap of the argument when you're recording it so that you get crispy audio, unless you run two boom mics, or two shotgun mics, or mic them both in some way, shape or form. That's the only way to make it organic, which will be helpful if you do. Second thing, Kevin I'm actually gonna make a crazy adjustment on you. I love the way you say, when the supporting role thing, but whatever, so I really like that. When you start going through the different characters, can you do the voices of every single one while you're doing it? Do you remember those? Yeah. Okay, I know it's a challenge. I'll try. We'll see if you can make it happen. Stay right there. I'm gonna untether for a second here. I actually can't be tethered for this shot. Right right. Do I need to leave more room then? Do you need to leave more-- Have I been overlapping a lot? No, no you're good. I just thought of that. So I wanted to make the point. I think it was my bad. I did jump the gun on her once. Got all excited. Do we have the Action Man shirt? Can we grab the Action Man shirt? [Woman In Audience] Yup. We don't need it right this second, but for a take I'm gonna do over the shoulder, I'm just gonna put the shirt on you. In the makeup room. Yeah. Just so I can show them, really, some real cheatin' cheap cheats. Alright let's do this again. And the major adjustment is his monologue. Alright and for this take I wanna start, give me like 10 seconds of him waiting and then I'll cue you on when you start your lines. So Kevin you're kinda waiting, patiently waiting. Okay. Alright? Speed. Rolling. And action. Sorry I'm 40 seconds late, traffic. Is that a cell phone? No, this is a heart rate monitor. Traffic, I thought you traveled by boat? Anyway, you wanna tell me why this meeting is, one more time. Anyway, tell me what this meeting's all about. You mind telling me what this is? Ah my movie! How to Photoshop Everyone. Excuse me, my movie. Yeah no, that's me. You know Kevin with a K. Kubota with a K. I see where you're confused. That's me, Action Man with an A. No I think you're the one that's confused. Because that is clearly me. See? You're kidding right? It doesn't even look like you! The bone structure, the cheeks, that's me! What's your point? I'm glad you asked because you know, I don't come out of hiding unless there's a good reason. I was visited by a girl, Allison, you know her? I do. She knocks on my cabin door, and asks me to teach her about actions. I'm aware. So I show her, and now it's on this DVD! Explain that! Well she wanted to learn about Photoshop. So the coffee shop guy, he shows her how to improve her work flow. The walker, he shows her how to work with layers. The geek, he shows her how to fix problems, you know like, little problems? And then Tony, chef Tony, he shows her how to add the art. And then you, you show her how to do actions! You know it's great! It's good stuff on there. We had a to make a movie and share with the world! It's cool, right? No, it's not cool. I've been in hiding for 50 years. I let one person in my cabin in the middle of the woods, and now, I'm starring in a movie! Co-starring. No, I'm the star. Well technically you're a supporting role, but that's not really important. As far as we're concerned. That's what I came here to discuss. I've since blown up my cabin and all the land around it, escaped on a boat, and need to reintroduce myself to the world. And? I'm thinking a sequel. Hm, Part two, How to Photoshop Everyone Else? No, Action Man. Okay, I got it. No, Action Man. Spinoff. Yeah. No, Action Man. Wait so you basically wanna make your own spinoff movie? Spinoff! Whatever you say, Kevin with a K. Automation is the wave of the future. Action Man is a super hero. What do ya say? I think you don't need my approval because I am you and you are me. I am you, you are me. I'm not even here! Or wait, you're not even here. Action Man is back baby! Alright cut. You've been waiting to say that all day. (laughter) Keep the shirt handy, we're actually gonna put, Jeff can you outfit yourself in that while we're on the next take? Yup. [Woman In Audience] We've got about 12 minutes. 12 minutes. Exactly, perfect, not yet not yet. Yup I know. Alright so I'm gonna do another close up. I'm just gonna do a few lines. One thing I want you to do, Kevin. We're gonna start from. Sorry I'm on page one. Is that page one? This is page one. Two. We're gonna start from your monologue. About Photoshop? Yeah. She wanted to learn Photoshop and the coffee shop? Yup. When she says, when he says I blew up my cabin, I want you to look at him like he's insane. Like a lunatic. Alright. Okay? I'm gonna come in here. And you're, I just wanna start right from your monologue. And then go to the end. Okay. Do you want me to say my line first so he can respond? Yeah. Give him the lead in line. Wait for the bus. We're always waiting for the bus. (laughs) Alright you ready? Okay. Speed. Rolling and action. So I show her, and now it's on this DVD! Explain how that happened! Well she wanted to learn about Photoshop. So the coffee shop guy, he shows her about how to automate her work flow, and then the walker, he shows her how to work with layers, and then the geek, well he shows her how to fix problems, and then Tony, Tony the chef, he shows her how to mad the art, screwed that line. Sorry. Keep going. It's okay. Go. And then Tony, Tony, he shows her how to add the art, and then, and then you, you show her how to automate, and how to make actions and well it's just good stuff. It was too good to keep to ourselves, we had to make a DVD and share it with the world! It's cool right? No, it's not cool. I've been in hiding for 50 years. I let one person in my cabin in the middle of the woods, and now, I'm starring in a movie! Co-starring. I'm the star. Technically you're a supporting role. It's not really important. Well that's what I came here to discuss. I've since blown up my cabin and all the land around it, escaped by a boat, and need to reintroduce myself to the world. By? A sequel. Part two, How to Photoshop Everyone Else. I like it. No, Action Man. So you basically want to make your own spinoff movie? Spinoff! Whatever you say, Kevin with a K. Automation is a wave of the future. Action Man is like a super hero. What do ya say? Well I think you don't really need my permission because I am you and you are me. Alright cut. Okay so for the last take of Kevin Kubota, Kevin Kubota before you become a chef, Jeff I'm gonna have you sit in. You're gonna come into the shot. So this is where you're gonna follow him, I'm gonna have you come from there. I'm still gonna have you read the lines. Oh okay. Just 'cause you're more comfortable with it at this point. I'm going to a medium shot. Kevin at the end I want you to get up and just walk off set. Because I need a shot of the empty chair. Okay. And then I kinda have an idea for a new ending as we were shooting there. So if we don't actually get to the chef's line, we need him to light the candles anyway. And, whoah. So Jeff can I get you to sit into the spot please? Sit into it. Yeah well just sit there for right now and put the hat on. His hair's a lot grayer than mine. Just thought I'd point that out. Color correction baby, color correction. You're off the camera. Hello here. How about sunglasses, you want sunglasses? Nope, just his shoulder. Okay. So I don't need the hat on? You will for the sitting in part. So you may as well just get used to it. You don't like hats? I've seen you wear a hat before. LSU is the only hat I wear. Well you're wearing that. You're not an LSU fan, you're an Action Man right now. Action Man's back baby! Okay so Jeff do you know what to do? I'm gonna tap you when I want you to pull the, the Photoshop DVD out. Or actually you can tap. Okay. Tap him when he's supposed to pull the Photoshop DVD out. Okay? So Jeff I'm gonna have you come off set. And this is like, the big definition of cheating right now 'cause we're having Jeff sit in and he's got Kevin's shirt on as the foreground. And I'm gonna have you walk from further back Jeff, just so he has a eye, a point of, where he can walk. I'm gonna have you bring the boom mic in. Bring the boom mic in. Stick up his collar a little bit 'cause I had it all, I can only see the back of his shoulder. Oh okay. Yeah. Hold on. Ready? Speed. Rolling, I'll cue you. And action. Sorry I'm 47 seconds late, traffic. Is that a cell phone? Ah no, no this is a heart rate monitor. Traffic? I thought you only traveled by boat? Whatever, do, wait. Anyway, tell me what this meeting's all about. It's my movie. Ah my movie! How to Photoshop Everyone. Excuse me, my movie. Uh yeah no, that's clearly me. See, Kevin with a K. Kubota with a K. Take that line back. Take it from picking it up. Sorry. And go. Ah. My movie. How to Photoshop Everyone. Excuse me, my movie. Uh yeah no, that's clearly me. Kevin with a K. Kubota with a K. I see where you're confused. That's me, Action Man with an A. No I think you're the one that's confused because that is clearly me. You're kidding right? It doesn't even look like you! The bone cheeks, The bone, look at those cheeks, that's me! Is there a point to this meeting? Well I'm glad you asked because you know, I don't come out of hiding unless there's a good reason. I was visited by a girl, Allison, you know her? I do. She knocks on my cabin door, and asks me to teach her about actions. So I showed her, and now it's on this DVD! Explain to me how that happened! Well she wanted to learn about Photoshop so she went to the coffee shop, and the coffee shop guy shows her how to automate her work flow, and then the walker, he shows her how to make more efficient layers, and then she goes to the geek, and the geek, he shows her how to fix problems, and then she goes to Chef Tony, and Tony shows her how to add the art, and then you, you show her actions! It's great stuff! We had to use it, we put it on the DVD, we made a movie, we shared it with the world! It's cool right? No, it's not cool. I've been in hiding for 50 years. I let one person in my cabin in the middle of the woods, and now, I'm starring in a movie! Co-starring. No, I'm the star. Technically you're a supporting role, but that's not really important. Well that's what I came here to discuss. I've since blown up my cabin, all the land around it, escaped on a boat, and I need to reintroduce myself to the world. And how are you gonna do that? A sequel. Part two, How to Photoshop Everyone Else? No, Action Man. So you basically wanna make your own spinoff movie. Spinoff! Whatever you say, Kevin with a K. Automation is the wave of the future. Action Man is like a super hero. What do ya say? I think you don't need my permission because you are me and I am you. I am you, you are me. I'm not even here! Or wait, you're not even here. Action Man is back baby! Now Jeff hold your hand up and look at it. Right there. Okay now get up. Alright cut. Okay so what I did there at the end was I actually pull focused from the empty chair to Jeff's hand. 'Cause we had Kevin look at his hand just to kinda see if I'm real. Kevin can you come sit in your spot really quick? I wanna get this cutaway. Jeff can you come back to play Action Man one more time here? I just want you to toss the the How to Photoshop Everyone in the spot. Yeah. You good? Yeah. You okay? Yeah. Can you put it in the spot where you're gonna toss it please? Right there, okay. So. I get a nice focus shot on Kevin's face here. You want me to, actually. Yeah that would actually be better. So if you could toss it right there, that'd be cool. Ready? Yup. Actually I'm gonna need it for when that crane's not moving. Ready? Yup. Pick it up. Again? Yup. Not as far, right? No right there was perfect. Ah. One more time. My movie. Ah, my movie. Great okay, now Chef Tony. Chef Tony. While we're waiting for him to do our last two shots, we can take a couple questions. The one thing that really really worked well was actually having Jeff just be Action Man's shoulder. I'll give you guys a screen shot if you wanna op to see that for tomorrow. But it obviously, and Jeff did a really good job of just moving while the talking was happening, so it seemed like he wasn't so still. So he obviously he does this enough, so he's locked into what he actually has to do for the movement wise. Okay any questions on the world wide web? Yes we do, we have a question from Chris Hanlen, who's in New Zealand. Who says, for the mid shot are you looking to include hands gestures and then tighter in the close up? Or are the hand gestures not necessarily part of it? Yes, the medium shot is definitely all about hand gestures and actually one of my quotes, hopefully this makes the quote round. I always walk up to an actor if they're doing a monologue and I say if I tie your hands down, you shouldn't be able to give this monologue. So I always say talk with your hands. Because it becomes very animated. And you have to, you know, as much as we're trying to make movies and film reality, I think we made the point really hard yesterday, that people don't really want reality and I always say this to Jeff, you know, 'cause he'll say something like, oh he read a script of mine, he was like nobody would ever talk like that. And I say movies are movies, not real life. And it's kinda the same thing as we were talking yesterday. Nobody wants to see the real wedding, we wanna see the fantasy version of the wedding. Movies are the same way, all of this is the same way. Try to make it as fantasy like as possible while staying tied to the laws of reality. A question from Adrienne Farr in England. If the DVD is not thrown onto the table in the exact position every time, does this cause problems when Kevin with a K picks this up? It can if we focus on it and try to make it seem very seamless, it can be. I filmed it in such a way that no it doesn't matter because when, you'll see this tomorrow when I cut, when he starts to throw it, in the middle of the throw I'll cut to the shot that I just used, and you'll just see it come into the frame, land, and then when Kevin reaches for, once his hand grabs it and picks it up and starts to come back is when I'll cut to Kevin going back. And this is all, goes to the theory of cutting on an action when you're editing. And eye goes to the movements. So as long as the continuity of the movement matches up, it's gonna feel like, the whole idea is to make those three shots blend together as in they're one seamless shot and you never see the cuts. So no it won't matter. Okay good to know. A few questions have been coming in related to shutter speed. I know that you briefly discussed it yesterday, about shutter speed and frames per second. Yes, where's the hundred macro? I'm listening, yeah. It's over on the box. Basically just wanting to reiterate why and what shutter speed you're using when you're shooting on a DSLR. Everything I've shot today was 1/50 of a second for motion blur. So you want your shutter speed to be double your frame rate. Now if I was trying to do something and I wanted to isolate movement or get really sharp movement, like let's say I wanted to put the candle flicker in slow motion, I might shoot that at a faster shutter speed and a faster frame rate, a higher frame rate. But I'm always pretty much, 90% of the time shooting everything at 1/50 of a second, at 24 frames a second. And the DSLR does have a rolling shutter, I got a question about this on my Facebook, so I may as well put it out there in the universe. DSLR does have a rolling shutter. When you pan, sometimes you can see it. If you stick to your shutter speed rule, you should be okay. I don't necessarily see it all the time. But here's what I say about it. It does have rolling shutter, there's not much you can do about it. Your other alternative is use a video camera without interchangeable lenses. So you know, it's sort of the sacrifice we make for these things. But yes, we do have rolling shutter and you can see it. I'll blow these candles out. Alright, seems like we're still waiting for Kevin. So another questions from Adam Nelson Photo. How and do you record room tone while shooting a scene and what is it used for when you do? Absolutely great question. And I ended a take by saying no one go yet, it seemed like it was over and I let it roll for a second and that was to get room tone. Normally what I would do in a compromised set, so we're pretty controlled here, with the exception of some of the things that are happening behind set. But as far as the room tone is concerned, you guys are pretty conscious about the air conditioner and things like that. But a lot of times I'll say alright, everyone be quiet, 30 seconds of room tone. And the reason I do that is because room tone does tend to fluctuate throughout the day. You may not hear it. Just like the sun moving, it's very gradual. And what I use it for is if, let's say I have a clean shot of Jeff talking and then I need to match it up when something he said later on but put it right next to each other and the room tone was a little bit louder in one of the takes, I'll put that actual dead air of room tone underneath the other line, so that the air between the cut is the same. And you'll see that in editing tomorrow because it'll certainly happen because we have to compete with some of the things that are happening with the crane and the dolly behind, so we'll have to edit around that. And you'll see me do that, actually. That's why I got the room tone. A question from MBDeck, I know that you want to keep it real life, but what about proper English? Do you concern yourself about this when writing a script? No. And the reason why is people, you wanna keep people talking the way they should talk. And this is actually a debate me and my friend have a lot is does the writer write the way they want the actor to speak the line and deliver the line? Or should you write it in proper English and let the actor and director interpret? Me as a writer, I always write it like with the slang, with the accent. I'm big on that. So no, you don't write in proper English, you write the way it should be delivered. So if someone talks in a southern accent, ya'll is not actually a word, I'm sorry I apologize. It certainly is, most certainly. Ya'll is not a word, it's you all. But if I was writing dialogue for Jeff, I would not write you all, I'd write ya'll. So I would always do the slang. Bring it on in, Chef Tony. Who's got my lighter? I'm gonna need that later. (Jeff mumbles) Don't be stealing my light. It's like Gaff tape. Okay so the first shot we're gonna get is you lighting the candle, macro shot. Okay. So you're gonna stand right behind there. I'm actually gonna have you walk into the shot and do it. I'm gonna have you light that one. So, we're gonna bring the sound right over top so we can get that clean sound so why don't you do a test? I'm gonna tether this just so you can see what a macro why I'm doing this macro-style. Well I'm gonna frame it first, then I'll tether it. So Chef Tony. There's no dialogue in this first one right? No. This is just you lighting the candles. Okay you can bring that mic down really close. Right there is good. Kevin can you go light, just hit that sound so that they can hear the levels? Okay. Kevin I'm gonna have you enter from that side. Light it, and then exit from that side. So you want it like this? No you can come right to the front and just, light it how, yeah light it how you normally would. Okay. Okay? Speed. Rolling and, wait like five seconds and then go. Action. (lighter clicks) Alright cut. That was pretty easy. And now we're gonna get Kevin's line. We just have one last shot, correct? Yeah we have one last shot. need the 50. Okay. Kevin I'm gonna have you bring in that bottle of wine. Can we crack that? The champagne. Champagne? Is that possible or is that gonna take too much time? (woman speaks far away) Actually he should film you doing it. I'm gonna film him. I'm gonna have him have the wrapper off and then I'm gonna have you crack it. The wrapper off first? Do you want, film him actually? Well when I get the crack, I need that. You want my crack? No, film him taking off the-- I need the thing first so he can do it all in one shot with a take. The thing to pop the champagne. Isn't there something or you just-- No you do it yourself. Oh really? You can see how much I drink. (laughs) You can see how much I drink. Should I shoot it right in the lens? Frame yourself up. Actually yes. I was visited in the cabin behind the woods by a girl. Can you come right in-between the candles there? Can you light that second candle for me Jeff? Or Kevin or somebody. Come right above his head. So I'm gonna pop it and pour? Or just pop? You're gonna pop it and pour. Actually, you know what's funny? Let's just play on the character. Pop it and then just start drinking it from the bottle. So I want you to walk in to the shot, and you're looking this direction at Action Man running away. I'm gonna have you enter from, I'm gonna have you enter from this side. No I'm gonna have you enter from this side, I'm sorry. Getting my bearings all messed up. So come from right behind there, right behind the boom people. And you're just looking at him running away. And then just give him like a, what a lunatic. And then it's like Action Man, I'm the one with the hit cooking show. Pop it, try to shoot me with that thing, and then just drink it, and then walk off frame the other way. Okay. Alright? So no pouring, just pop and drink? Pop and drink and then walk off frame with it. And this is a one-time deal because once he pops, once you pop you can't stop. You can't do it again. So I hope that quote makes Twitter. Let me just walk through that blocking one more time, just make sure I got that before I do actually. Yup. Okay. Alright, if I get hit with that, it's not gonna hurt is it? Oh yeah. Will it? [Woman In Audience] Yeah. Action Man. I'm the one with It would? The hit TV show. Yeah. Cooking show. Alright. Alright ready? Do you need to move the DVD? What? I'd be more worried about the camera. Continuity DVD? Ah no it's not in the, it's not in there. Okay. Alright we ready? I'm the one with the hit cooking show. Wait Kevin stay right there. Might take me a while to finagle this cork off, it's been a while. Okay. That's okay. Like, four hours. If I start to move in to you and out, don't stop unless I tell you to. Alright. Alright, ready? Got it. Rolling. Speed. And. Action. Action Man. I'm the one with the hit cooking show. (cork pops) Alright cut. (laughter) Kevin can I get you in this shot one more time? Can I get you to drink it? Again? Alright ready? Speed. And action. That's not easy to do. Cut, that's fine. Alright that's a wrap. (applause)

Have you ever thought about using your talents, training and equipment to design moving images to tell a story? This film workshop is your opportunity to learn how to become a visual storyteller with Jeff Medford and Ross Hockrow. Whether you're a photographer or an aspiring filmmaker, you will come out of this class with all of the skills to produce web commercials, wedding, birth, family and event films.

Discover what you'll need for your camera bag, lighting, how to shoot a conversation - all during a live shoot! You'll learn how to create a story throughout the editing process. This film workshop is 3 days of non-stop information, all of which will allow you to expand your business and increase your profits.

 
 
 
 

Reviews

  • Great 3-day workshop! I work for a college, teaching students to communicate via the video medium, as well as producing video for promo and events. This video is super useful to me... The most basic info was review, but it's great to see another team's approach to explaining and teaching the concepts. Some of the more advanced materials is on level or a reach for what I'm doing, so it's teaching me to move forward with my abilities. Just a note to the Creative Live folks, I love the idea of viewing for free and buy if you like to see again. I was able to catch a half hour here and there, which was enough to convince me to buy the whole thing. I wouldn't have been likely to plunk down $99 for a video when there really is so much out there for free. The difference, and reason it is worth it, is because this is so well organized and complete, and discusses a broad range of budgets as well as info for a range of skill levels. This live for free then pay to download model is great.
  • TERRIFIC workshop! Extremely helpful/educational ... and rather entertaining, too. (Bear in mind, I'm new to the cinematography end of things.) I'm pretty sure, no matter where you may be on the experience scale, you'll get enough ideas from this program to make it well worth your watching. I love the way they prioritize equipment needs & wants, and help us sift through the PILE of options out there. And their "$750 starter set-up" was definitely an eye-opener. (Um ... that's AFTER your camera and lenses, guys.) It's critical (and difficult) to maintain audience interest over a 3-day course ... otherwise, even the best material will go right over our heads. But Jeff and Ross were perfect together -- playing off, and feeding, each other continuously. Sometimes their banter is used for clarifying potentially confusing concepts ... and other times just for chuckles. All-in-all, I would recommend this to any but (perhaps) the REALLY advanced cinematographers out there. (Scorsese ... keep your wallet in your pocket.) For anyone considering purchasing the videos, consider this: Most of us who've already bought them ... did so AFTER watching a considerable amount of the workshop for free. That should tell you something of the quality of this material. Thanks, Jeff and Ross, and Creative Live!
  • <p>Came to this course late (Mid 2014) in fact was being hit with promotion for the new Filming Motion course that Jeff Medford&#39;s group have put together, and was trying to work out where to start with a DSLR getting into capturing more than still images, and found this course. The taster sessions looked really good, so went ahead and purchased the course, and not disappointed. One hiccup is that they regularly refer to materials on the Cinestory.com/Creativelive page, which alas is no longer there, but searching for Ross and Jeff across YouTube finds most of the materials that they refer to, I think it was only a copy of the script which I never found, but I do not feel not having this detracted from the learning experience - indeed Ross edited the script on the hoof while filming, and then again while editing.</p> <p>Very good introduction. Left me wanting more, but also left me feeling I know what it is I need to be working on next - &quot;Shot Sequencing&quot; as it happens - for which I am hugely grateful. </p> <p>I think without this course I would have ended up meandering into constantly improving gear and producing at best mediocre materials.</p> <p>Many thanks Jeff, Ross, and Creativelive.</p>