Skip to main content

Guerilla Filmmaking

Lesson 33 of 41

Shooting Action

 

Guerilla Filmmaking

Lesson 33 of 41

Shooting Action

 

Lesson Info

Shooting Action

Now we're getting into shooting action. I am not a fight choreographer. I'm not a stunt man, but you know, not just action films will have action in them. Even if you're doing a drama, one character punches out, another slaps another. Someone has to do a fall of any kind. These air, this is all action. They're all stunts. And what seems like this is what I ran into isn't a stunt is entirely a stunt and actually dangerous for your actor or actress. You want them to do some kind of fall pratfall falling back, whatever it is that's actually a stuck. Because if I have to fall back, if we wanted to be convincing, I can't look, we're going. I can't obviously catch myself so these things can be dangerous for them. And it could shut down production if somebody gets hurt. Above all, you just don't want anyone to get hurt. Safety is always first. So it's a few different tricks on how to get some of these things done without harming people. Unless you're a little brother than you know, do whateve...

r you want with him. Yeah, screw that guy. So it's a falls. We're gonna talk about? What would they think they saw? That's really what it's all about. What you think you saw, Not what you actually saw. You know, seeing someone get a good example of what you think you saw was proximity When he's cutting off the leg of the then dead Josh, speaking of torturing Josh, we never show it. But there were people that actually got mad at how gory the film was, which I thought was hilarious. I like Man, that film was so gory, and I'm like, I literally didn't show thing other than the leg coming up. We never really showed anything. You never saw the Rock connect with the foot. What's not one time but people were telling me how good the effect of the foot coming off was like it never happened. So in their mind, they saw it and they never saw. That's an extreme example, because I was like, What are you talking about? We weren't even trying for that effect, but it's a lot about making them think they saw the thing that they never saw. A lot of horror movies. We'll do this. We'll cut, cut away just in time you think you saw something that you never really saw? And that's really what you'll get out of a punch. Dutch, come here. What's demonstrate? I don't know if this is gonna work, obviously, because there's no camera and we're doing it life. But if I wanted to dio, uh I don't want Jack Josh's stuff up. I would do something like right. And the way that reason, the reason things like that work is the person throwing the punches, really selling it by putting himself into it. The person receiving the punch is really selling it by their reaction. But more than anything, we're just crossing. We're creating layers. If I were to do it over here, I mean, that look, real it all to you guys. I got nose and I got yeses. Eso my punch him in the face here, right? If I'd punch him in the face, right, it might look a little good live on camera. It's gonna look solid. But if I go over here, it's like speaking of reaction is everything. But if I go over here, it's gonna look pretty ridiculous. I'm not a fighter, so I just look stupid doing it I'm a lover, not a fighter. Guys on the pacifist. That's why my life wife loves me. I'm a teddy bear, this guy's killer. So it's all about the guy throwing the punch in the eye, which we were talking about later. If you have somebody who doesn't fight this guy trying to act like he's fighting, it's gonna look stupid. So if I were in a scene where there was a fight, the character that I would have to play, somebody who doesn't know how to fight otherwise I'm gonna look like an idiot. The scenes not gonna play. He's has a really good physical presence. He could do all these things, so it's a lot about how you're selling the reaction. But more than anything else, it's where you place the camera for the punch. So from you guys is view. We'd be placing the punch here, going cross his face. But if you're looking at it from this angle, you could be over here and it's totally going to sell the punch. Why don't we grab a camera real quick? You said You're a fighter. You want to come on up, we'll go handheld, But let's come over here with it. Want to go right here? Let's take the shutter to about 90. You drop your friend? Uh, no, I'm just a 24 s. So go ahead and give it 1/ speed sort of deal. Cool. And you're gonna throw your body into it a little bit more, really. Give some weight to it. So you're gonna bring it, okay? So don't move your body so much. Just when just have your shoulders to sell it. Okay, That's good. Just give me a little bit more of a whip back. The other thing is what you will hear stuntman talk about is if you're coming to a fight scene and your actors or whipping their head around nonstop, you can't actually get whiplash in. The Josh has been sore several times to stretching out before you do. It is a big thing. If you're gonna ask your actors to do a fight scene that you're gonna be working on for act hours, make sure they stretch. They might think it's stupid, but the lanky later Josh has hated life after a fight scene before. Throw it one more time. Let's go and help. Just just give us a clap with it. Try one more time. Right? Let's go ahead and got it. Well, can you weigh? So we had a 90? Yep. Let's go a little bit. This way. So we're not getting really the TV, actually. Go right there. Do right here. Let's drop the arms. Just come in. And that Go for it. Was I right here? This is practicing, you know, and let me see where you're gonna throw it. Now we're gonna want to go right across his eyes. I mean, a real punch in a real fight is gonna be this right here. You're just gonna punch the dude and you're gonna whip back. That's not very cinematic. And obviously you're gonna punch in the face. So you're not gonna wanna do that. You're gonna want to come right across. Yeah. Try to get right across his eyes as much you can. Obviously, it's not a real punch. It's a movie punch. Yeah. Don't actually punch Josh. Well, I mean, you could punch out. Well, you can come off his face, little, but you could be over here. That's totally fine. Let's go half speed again. I want you to actually take a step into it. So come into it like you actually take one step. Okay? And, Josh, give us a clap. Let's go. 75% speed. All right, let's go. Full speed and action. All right, So we have the movement of the camera movement. Had that one. Look, Courtney, not please, you're not fully. Please, let's speed it up. Just a touch. We got it. We got to make Courtney happy. All right, Let's go one more time and let's actually roll on it. And action. Good. Cut. Let's go again. Let's throw it on my shoulder here. Don't you guys step out to right here? Let me and I'm gonna switch up inside. You got it? And a good way. If the shots not quite coming out what you want with the widest to punch in and give your camera a little more action like we're talking about. Get a little free with it with your actors. If they're admit fight, move around. Just the touch. I was keep my legs bent, my arms close in ready and action And we got that high shutter speed. It's whipping around quite a bit. Give us a clap. So the sound effect obviously is going to sell it a lot. And you could see that I'm selling with the camera to the cameras, feeling to hit. I'll do it without and action. Don't don't cross frame. We lost. We lose monitor, right? Let's swap batteries. You knocked out the monitor. Let's actually why we're waiting. Let's fly the crash pads in. Bill and Jason. Let's just set him up right behind Josh. Let's put the dirtiest one on the bottom. There's one that's a little bit more filthy than the others, not dirt wise. It's just a pervert pad. Make sure they're actually full of rocks. Basically. What way Have feedback. All right, let me see you. Let me see you do it again. Bill. Let's go half speed, All right, don't cross your head so much in front of Hiss and action. Good. Ready and action. OK, so that's what really soft camera move. Let's do it again and rolling and action So the camera will really sell it and make it feel real brutal on, and that's a great way, which we're talking about. They asked The question of you have people can't really fight How do you do it? Start having the camera sell it. That's the Bourne identity style. Makes action. Seems really easy to do. Especially if you're in here. Go throw a punch. You block it. You see that half speed? You throw a punch right hand, you just hold up and block it. You're gonna block. So let's have Let's quarter speed. Let's bring your arm around. You're gonna block it and then come through with that punch. So quarter speed. Try that half speed. All right? Now, you comfortable to go full speed? You want to do another half speed? One more half made. All right, let's do one full speed. Somebody give me a massive clap when Josh gets hit, okay? Massive class were looking like Oh, my God. He slash she just five times already. All right, so we're mid fight. We get really loose with the camera at some energy to it. And usually when I'm doing a fight scene like this, you might sound ridiculous. But proximity is a really good example of Todd and Joshua on the floor in the throws of passion fighting each other. So they're on the floor fighting, and they're exhausted and in between were waiting. I'm giving them direction. They're sitting there catching their breath. And now I say, OK, action. And they have to ramp up to immediately and go mid fight. That's really hard for them to do. So if I come in, like all right, Ready? And action. Now they're supposed to go from 0 to 100 right? So usually and Ali also because I'm a big nerd and I get weight into it usually ends up being something more like Ready. Okay, energy intensity get intense. Intense, intense. Ready at 3 to 1. Okay, so it's something a little more like that, and you get them ramped up. You sound like an idiot. I sound stupid as hell. I recognize this, but does it not work for you? Yeah, You start getting like Oh, yeah, and probably the audio team right now is like Ryan. Take it down. People at home. Alright, P headphone users. Let's one more time. Rolling and intense. Intense. Ready. 321 Action. Okay. And that's the basic idea behind it. You could take a seat for a second. Crash heads right there. Actually, no bill. Come back. Don't even hit Josh. Stand right there. So you're gonna get back into the positions you had and just you're gonna hit him. You threaten it. But you're so terrified because he's so intimidating. You just pass out from fear. Yeah, the public's gay out because we don't break creative lives. Stuff Josh is off the grid way lost him. His vitals just draw, all right, And this is more of a comedic deal. So we're gonna ready ruling, and you're just gonna threaten a punch, Josh, your real, like, come at me, bro. Action given a come at me, bro. Bill Threaten okay? And were able to get my God give a man a nostril and were able to get, uh, jk and were able to get that nice fall because we got the that crash pad that he could just drop right down on without the crash pad. Obviously, we're not gonna get that right, But there's another thing that you could do is cutting with the action to sell a great move. It's a bill. I'm gonna have to do this. So we're gonna be shooting from over here, and you're gonna lower down. Look, drop your knees a little bit. So it just looks like you're standing. I mean, obviously, if Josh is gonna launch himself back, let's go and frame it up. Actually, jk back up just a little bit. You get back up Just a touch. So if we're gonna do a scene where it's sort of losses X esque, which actually, I think I have the seem to show you guys real quick. Okay. Yeah, I have the same show. If we could switch over to keynote slaps, real quick is the same as, Ah, punch. You want to frame that up? It's all about creating layers of action. If I'm here, we could switch back to the camera real quick. Sorry, I hate me right now. If I'm here, give me a clap when I slap you, you whore. That's ridiculous. Doesn't really look like it. But if I'm here and I'm like, how could you? You know, that's working. We're going directly across. We're creating layers just like the punch. So it's a matter where you put the camera and of course you can put it here is well because his head becomes a layer for my fist. Right, So this is gonna work. Great. That totally looks like. And we punch in a little bit, actually. Let's go to all the way to the back of the lens. Okay, so this right here is not gonna look as good as now. Let's punch all the way in. Is that because we're compressing that? So we're using our focus, listens to compress everything down, so the fist is gonna look a lot closer. Sometimes it's subtle, but what you When you get in there and you're switching between the wide and along, you can see how much more the long is really selling it. Uh, okay, cool. So it's come back to the keynote. We'll take a look at this scene from losses real quick. And that's showing them what they think they saw, not what they actually saw. Right? So that's three shots to get something going. We had a mattress, not not a crash pad. Just a mattress that we tied onto the top of the car and took it to the place that we were shooting. Uh, but So here's how we did this. You have a couple of shots shot one stepping in the leg, right we got the close up of that happening. So we know how he's losing his balance shot to. We're grabbing a close up of us. Grabbing the shirt shot three is a side shot that we're gonna about two dio with that we're about to do. I'm not gonna lift him up at all. He's gonna do all the work, But if Josh were to do it regularly, don't bend your knees. Just go for it. Let's punch out of it. Let's go like half lines. Yeah, do like a medium shot. Ah, little less, actually. You know what? Sit down to get a little lower with it so we can get more of the scene without the crash pad looking right. You looking right, dog? All right, So without Josh bending his his legs were gonna get something like this, right? And if I want him to get air, so get some air on this guy if, like, I lift him up and thrown. If I wanted to get air No, keep your knees up. It's gonna look like this. And clearly he's jumping, right? That looks ridiculous. So come up. So just the fixes all we're gonna dio is bend his knees, and then now I'm gonna lift him up and slam them, right? And now that's starting to work better. It's looking like I'm just lifting him straight up. You don't know the difference because you can't see his knees. You take, you take a nap. It's kind comfortable down there and take a nap. Uh, Bill comfortable doing that? Yes. So, basically, I'm not gonna do anything. You could just palm his chest even. And he's doing all the work. I'm just falling with him. But you're also acting the scene out. So you're thinking of what it would be like if you were to really lift him up. So you're throwing a lot of weight into it, throwing your body around. I'll just let you shoot this one, but give it a little movement. Give it a little action. Let's frame it here. You guys wanna try it out once or you just want to go for it. All right, let's roll on this. Let's give it a little less. Let's go right here. So we can pan with them. Right? Right in there. Ready? And 321 Action. Okay, cool. Let's do one more time when you start, so let him start, then you go. So once you see him, start his move. So you're giving it energy. Let me see your face to your getting its strength. Just hook out minutes. Pretended to see Stan and day one of creativelive eso at the beginning. You're giving it energy, and you're lifting him up. And then once he starts, then you go with it. All right, Ready and roll. And 321 Action. There we go. Now we're talking. Okay, Cut. All right, so now we need to Let's move the crash pads out of it. You could just push this five. That's fine. So now we need to see you're gonna need to get on the floor. So, Sam, can you move to fly this chair up for me, please? Now we need to get the land. We need to get the hit right. And this is the easiest one of all. And let's get, uh, j k. Let me get you where Axel is, actually, and you could totally hold it like that to get that. Oh, that's that's completely fine. All right, so we don't want to slam Josh on the hard floor. So all we're gonna do is once again you're just gonna follow his action You're not gonna do anything to I'm gonna let him control everything. But you're gonna be here, and Josh is gonna do all the action. He's gonna throw himself up, slam it down and give it a lot. But you're gonna dio add a lot of motion to it. So we're actually going to start up a bit above him and on action. We have to do a few times. Nail it, But we're gonna come down with him. So the cameras doing the movement, not him. All right, So you want to get that shot? Let's try it once, right? Said Josh, you're gonna pay it up a bit or tilt up, brother, get a little over the camera a little to take the camera down and then tilt up, right? Right. And yeah. Uh, try Try the motions slow. Let's go. 25% good. And you and you go past him a little bit. Have to find it again. You lose him because of the action. So the cameras really alive with this? You need to bring those up way. Go. You know what? Just yuk unbreak it up a little higher so we don't have a vessel, though. Let's try one more time. They go and then find and make sure we don't cut his head off. There were more time. 25% and go. You could go a little higher and I'm going to say action. You're gonna go immediately. You're gonna like millisecond off right the 25% action. And again lose him, go a little too low, and then find him again. Track 50% and action and come back up. So we're gonna lose him bit. We're gonna come back up. There you go. You can raise up Muchas You need Teoh to get the motion. We need 50% again and action Mega too much. Let's split the difference of those and make sure we don't cut off his head. And 50% action. They go down a little bit more and head back, right? 75% and action. Okay. And don't don't so much go on the angle with them. More of a straight tilt with them. All right? You want to go 1% on this and make sure comes up and learn and everything. Ready? Ready, JK Rolling Pretty bill and member to sell it in the end. Just let your body like you just followed through with it. Okay? Ready and intensity. And 321 Action. All right, We lost a bit too much to do it one more time. Ready? Uh, let's up a bit. Here we go. And 321 action that works. Cool. All right, you can come up that solid, all right. And we'll piece together a little bit later, probably in the next segment. We're piecing together to see what it looks like, but that's how I did the losses, that he's on the ground when it happens. And he just left his body up. The other actors doing none of the work. He's doing everything because he knows where he's safe. He's knows what's too hard, what's not for him. And then we're letting the camera do the rest of letting the camera B that extra bit of violence that could be dangerous for our actors. So we kind of go around that by upping the shutter speed by giving the cameras and energy when you have a stunt coordinator and you have a fight coordinator and you have all these people that know what they're doing. Then you could start logging things down and letting things get crazy and really look at it. But it's again those compromises finding ways to really sell your action, especially when you have experience people and keep it safe, because again, above all, no matter what you doing, safety is 100% priority over this story over everything. Yeah, filmmakers, while shooting action, use footage and played in reverse to get some certain types of effects that we've ever used. The reverse effect for an action shot to really get everything really precise. Uh, just so if I wanted Teoh, which we've done this and I think film riot. If I wanted to throw a punch right of Josh's face and Josh is gonna catch it, or maybe it's a bad I'm taking a bath to Josh's face, and Josh is gonna catch that bat from your really hard action to pull off. But if I have, But if we start in reverse and you think in reverse, like throw punching me real slow throws a punch, hit it come back a bit, but I'm pushing. So we're gonna start here. We're gonna come back a bit that he's gonna let go. Right? So we got to thinking reverse. We gotta act in reverse, and we're gonna get that action you're not gonna be able to do. Like a full on three second shot is gonna be a second. I think we just showed that on film riot with somebody hitting somebody with a bat. He was like this. I walk up to him with the bat, we get a shot from him in front, me walking up. I go here, we cut, we cut over here. I'm starting here, and I'm limping back to come between those. We only let the reverse shot last for, like, a second half second. Saw what? They think they saw him. Not with the action, and it really sells it. Yeah, that that happens in major films all the time jumping to another, you know, the second floor of a building. We've done that. Just reverse it for the raid, where they're just really hitting where they're just covering really hard, insane. That's those. Yeah, that I mean, if you haven't seen the Rabe. Best fight scenes just salivate over the knives. Uh, those are super easy for me. You just have the rial one. And then, like, for instance, tell what he stabbed her with was tinfoil. So we took a knife and we wrapped in foil around the blade. So it was molded perfectly to the blade, and that's all he was holding the tinfoil piece in his hand, and he stabbed it with it. So you just see this blur of silver and it's a knife. It's works so many times. And she has, you know, all this patting on So it's not gonna harm her at all. The retractable knives work really well, if you know you're holding it and then you come in with it fully fine, it's just when you get close ups, the knives are a super simple solution because tinfoil and retractable as we already discussed guns, gas blowback, guns just want to grab both of these guys. I have never used one of these, and I really should. They blew my mind a little bit when they showed me and like, so simple, and I would have not broken so many of my gas blowback guns if I just use it. So this is one of those police prop guns You can actually see, uh, some of the paint stripping away to the blue below it. So it's like if you just wanna hold it, it's just a piece of whatever plastic. That's it. No moving parts so we could toss us around, let it slide. It's not gonna break. I've always just tossed our 100 something dollar air, soft guns and broken many of guns in the public's Just do it. We need to stop throwing things like the guns in proximity I had to buy when we were done, because when we got done with that fight scene were like So this is filled with mud. Did I just Did I just purchase this? Well, he bought it and I was like, Yeah, I'm just gonna buy it. That's cool. And he's like, they are like, cool shot looks good. And I'm just waving this, that you guys do you like the class? Do you like the class even when it's a fake gun? Even if it's a problem, gun like this has no barrel. Obviously, me pointing at use no issue But if you go in public public, this should go without saying. But I have had tweets telling me that they just got in trouble by the cops. And I at 17 had that same situation. My dad let us shoot at his office in an office complex. That was a stupid 17 year old head fog going inside of his office. And we're going in and out of the office dead of night wearing gas masks, holding like assault rifles on were like, This is totally fine, Totally fine. So we're done. I'm like, You know what? I'm gonna air out this fog because I don't want to be this in any more. And I have a gun. I'm playing with him like la la la gun and, like, you know, put it down. I opened the door and there's a cop with a dog dogs like on his back legs wanting to eat me for dinner. And I'm just like, Oh, you're in immediately and he's got gun drawn. And then I look over here. There's two more cops coming shotguns and I swear to God this 100% true on another cop over here, gun drawn coming in on me. And I'm like, sweet Jesus like, is there anybody else inside? And I'm like, Yes, there is like, my friend and they're like, help me out here like, well, dio so then they get him all out there and we're like, hands on the thing now and we're getting pat down the second hands Go on. The thing I go from, I'm peeing my pants, too. Yeah, this is happening. And then I look to buy to my left and everybody's that that's with me. It's just like like that That's the face and that makes me level. And then I get the pocket situation. First thing in my head is little toe lift, but I didn't say I wanted Teoh, but it didn't say it on. Then they told me that if I would have stepped out that door with gun in hand, they probably would have fired. And I'm like, That's not great. So if you're using guns especially outdoors and I you know, I know you guys wouldn't do this, but anybody watching who might be young regardless, even if has an orange tip, contact your local police department, contact everybody in the area. It doesn't take a lot of time safety. Always first that stuff can lead to some serious nonsense will be very, very, very, very cautious with it. When you're using gas blowback guns, these are awesome. You have this little piece in the back. We used it for a short film losses, which I think I have a clip of that that will show you guys in just a second. You take pain. You feel it with fast when you shoot it and throws aside black back just like a real gun and some gas will come out the top. And it's really helpful for when you're compositing later. These are air soft guns. There is a place where things can come out, so it is dangerous. You can hurt someone. This can get lodged into someone's skin. There can be something lodged inside of these. So again, even though it's not a real gun, just a pellet gun. Use safety when using these things. Don't point it at someone's face. If you don't have to on we, I don't think we've ever shot it directly in someone's face. Halfway eso again. Safety always sort of these guys, but these. This is great. This, like, looks like a friggin legit gun. Right? You have the clip that you could come out as long as you don't show it here. You could do all the fun bits of any kind of gun. Josh looks way cooler at doing this than me, so I should just be handing it to him. But here's the thing about guns. Give me Give me the typical fire fire. The gun here or the opposite extreme would be That happens all the time when we shot losses. Everybody's firing the gun like and I'm like, What do you think you're you single holding the frickin sawed off shotgun like No, a great way to explain how ah gun will feel, Especially mawr. If it's an assault rifle because, you know, you got the but going up against the shoulders just tapped the gun for you know, it's the suits the proper in. So we're not breaking anything, is start smacking the gun. That's what it feels like. So just slap. But this you've got a lot of that action happening up here. So you are gonna get a little bit of that whip actually pushing it back a little bit with assault rifle because it's up against here. It's just straight back. That's what it feels like. Just an explosion. To do that for them a few times. That's the look I want you to give. And then they're going to start getting the right look for you because it's like a little like frickin nine millimeter. And they're all like, You're holding a tank. Apparently. So the guns are super simple. Just take enough time again. Just like the punch. Have the reaction, Sell it. If the reactions not selling it, this is gonna look ridiculous. Your actors gonna look ridiculous and no amount of compositing is going to save you, So let's do a muzzle flash in camera. Let's actually grab that back. Let's get a can light in. Ah, Stinger. Let's bring it to right here. JK you wanna bring the camera around? We're gonna leave it on sticks. Let's put it right here. Carl. Yeah. So, Carla for of Lintas, both of these and I'm not I'm not my pronouncing last name correctly. Great. I'm not breaking your guns. I'm handling with care. I hold him and I love them. Thank you so much. Sir. You are glorious. I wanted to bring mine, but I don't think that would have worked out too well through TSA. We should have done it way. Should have gave it a shot. You know what I don't trust you, Bill William Travel with? Yeah, sure, buddy. Then I'm butt naked in the back with some dude with glove, and I'm like, it's a prop gun. And they're like, Well, we got to make sure it's a prop gun with a rifle. Very soft looking rifle. So I have no joke. My guitar case with a rifle in it, it's kind of awesome. You get there like Antonio Banderas Desperado. Okay, You're just trying to get for getting patted down. He never stopped. May. That's comforting you. You're gonna hold it. Let's just go with the prop gun 51st. So let's get you're gonna be right here. Let's go about a foot to your right there, JK Let's Let's truck the camera. That was given us some issue earlier to I think it's just not connected tight enough why we set this up. Any questions on what we've talked about so far? It's pretty easy stuff. Yeah, there are good. Just say, uh I know you've talked about it on film, right? It you mentioned it, but a good place to get, like, gas pullback guns and stuff like that. Just Google it, man. And then I cross reference everything because you want to try to get the lowest price possible. So find thing that you want. And usually what I'll do is copy paste the name in the Amazon. Because usually that's the cheapest place. Plus, they got prime. I love me some prime, which is also dangerous because it kind of feels like a free gift that I'm like, Sure, it's $30 but it to appreciate the Davy 100 bucks with free shipping? No, Monica do that. Couch has free shipping. Will do. He got accounts which free shipping. That's actually true story account with free shipping. What the hell is that? Which has nothing to do with anything. There's no reason for me to bring that up, But the point is, he got a couch with free shipping fires on that. So I can tell you now, and it will talk off line. Okay, because I don't think Bill could make that. Let's aim right here. Let's go in. Just in touch. All right. So what we're gonna dio if we don't have I mean, even if you're gonna composite, this is a good idea. But if you're not going to composite, let's go right about. But if you if you don't have any compositing capabilities, uh, again, what? They think they saw what they actually saw. So we're gonna get the barrel off frame. I'm going to punch you in the mouth, Joshua. Matthew Things is what It's like the work of this freakin kid. Yeah, just so we just want just the tip of the gun. I feel like they're, like, aiming at the people in the control. You just everybody in the control room, our at home. Is this feeling threatened? All right, All right. This is my time to shine. All right? We're gonna aim it right about there. Let's give it a little bit more headroom A little bit off, all right? And let's take Let's go down. Let's go down to a four. No, no, we're gonna expose off here. Let's bring it up. A touch still frame. Okay, Josh and let's roll. And once again. 3 to 1. Back, 3 to 1 back. OK, so that's pretty much. All we're doing is we're just snapping the light on, and that's it. And even if we pull this back here, maybe we'll give this to start to actually composite throw the got up. We're gonna go and frame the barrel in this time. So James Bondy, uh, it's giving a little less head room. Get their friend. Okay, Josh, up and roll. And 3 to 1 bank once more. 3 to 1 bank, once more, 3 to 1 bank. I have a bad habit of saying once more and meeting like 20 more. They complain all the time. About on one more time. Takes late and one more times. And 321 bank. How was that? I was the timing on that one. Solid. All right, cool. We got it. So it's really, really simple idea. Once again, that idea of digital impractical meshing together to try to make something that makes a lot more sense. I mean, you can add that light in and post which we do a lot. But did you want to say something you gave kind of like a me Ryan. Me, please. So you can add that you can't have that in post, but it's gonna look digital often. I mean, for losses. That's pretty much what we did the entire time, because we didn't have time going through and doing that sort of thing, but it's a good idea.

Class Description


Is there an idea for an incredible film banging on the walls of your brain and begging to come out? If so, join Film Riot founder Ryan Connolly for an immersion into envisioning, shooting, and producing films – with any gear on any budget.

In this course, you’ll explore the step-by-step process of making a film from start to finish. You’ll learn how to script, storyboard, location scout, and cast films. Ryan will offer insights on how to best work with your crew to make your sets fun, collaborative, and professional places to be. Ryan will demonstrate the process of getting the light you want for the shots you’ll need, whether you’re working with DIY lighting structures, available light, or gels and diffusion. Since lighting and sound are equally essential to professional-level work, you’ll also explore both production and post-production audio skills, including integrating music and sound effects. You’ll build a post-production workflow for editing, adding visual effects, and more to ensure you’re getting the pro look every time.

Whether you’re a first time filmmaker or a working professional ready to sharpen up your skills, this course will give you the tools you need to create superior quality films that reflect your unique vision as an artist.

Reviews

Samuel Befekadu
 

I bet this class will be awesome. the course is given by Ryan Connolly!! I have been watching this guy for more that 5 years. I just wasn't serous about film making then. but now since i love film making why not try to be one of them by learning form the best in the field like Rayn. he has been inspiration for a lot of film maker from his YouTube channel Film Riot. his way of teaching so funny and entertaining . I bought this course to learn Ryan Connolly's killer skill. Thanks creative live and Ryan Connolly!

Will Green
 

Great class! It starts at a very simplistic level and covers the full spectrum of filmmaking. I would not necessarily buy this course for advanced film students, however it is an amazing review for beginner students to intermediate students. I would love to see a BTS of a short film from start to finish. I've seen all of Ryan's BTS shorts and I would greatly enjoy a much more intricate play by play of the short. THAT"S SOMETHING I WOULD PAY A LOT TO SEE. An 18 hour compilation of prepro - post of a short would be awesome.

Jonathan Beresford
 

Love Ryan and everyone at Film Riot. Excellent course of the excellent quality I've come to expect from them. I just wIsh he'd act more. So funny.