HDDSLR: From Still to Video

Lesson 20 of 20

Hands On: Shooting a Cinematic Script Part 3

 

HDDSLR: From Still to Video

Lesson 20 of 20

Hands On: Shooting a Cinematic Script Part 3

 

Lesson Info

Hands On: Shooting a Cinematic Script Part 3

We've got five main shots coming up and then three inserts, and the good news about inserts is they could always be shot by a second unit if you don't make it. Uh, it's very easy to clear the whole crew out, you know, against any overtime and you keep, you know, a small crew to shoot, basically boxes, a telephone and a speaker, and I believe a clock as well, so we're in great shape, uh, actually is more that is six inch inserts who was a couch with celebrations were so great shape, and they've been informed that they lost fifteen minutes that we thought we had, so we just shave fifty minutes off, but they're doing well, and, uh, it will come town time. I'm sure at some point, to make a decision on what to cut in terms of a shot or complex to give a shot let's see how they go. We're into their time already. Um all right, you guys in every minute said, what do you want to go on? And I'll take questions already? Well, ok, have a question we've gotten so many comments about this great grea...

t shot from the sky boom. What kind of what is the brand of this's a kessler crane on? Duh. It's what you would call a jib j I be um and it's operated by one person right now uh he's able to get because he's got that handle that will tilt that head up or down on there's also a fluid head up there um that allows you to win of course the second person to reach the jib operate more precisely but it's it's one of those fantastic cinematic tools we would have loved to have use it in this scene but you know when you introduce a tool like this um you refused to give you a degree of difficulty and you could end up paying for it so uh it's it's actually necessary here's what you can handle this is not a small piece of gear you just kind of roll around and decide on last minute people are loving the kessler crying yes, that question from mikel hey justin you're running into your time to say you know yeah uh question was I know we talked about the calvin settings but uh if the finalist to you black and white if it were to be black and why is there a difference in how the grays translate with the different calvin settings yes there is um and uh if we were doing this for like a magic cinematic release he would do camera tests and find the absolute best settings in conjunction with the colorist um the truth is their rage role and it's gonna be close? Not cool. Thanks. Thanks. Uh the shadow way alright already said running this just for everyone out there we're doing reverse master of the second part of the scene because the action takes place on the other side of the desk. Roll sound uh oh. Camera seen one or two delta take one marker actually wait it's ridiculous. Not you wouldn't do this. She would, you know she would. We're not playing this game. You think we have a choice? Do we get a clue? What's marching like you wanted simple justin every turning back this by ever way purpose on these lives and bring us out of the way. We had a confusion right there. I just flooded with light. Okay, so as you can see, uh, the light is hitting her just fine. Just a little bit dark, but our main actor is gonna be way under exposed and that's not not merely little. We cover in post so instead of bringing new light and we're going to take a light it's already there, rotate it this way, but some confusion around it on and not get way down on dh that'll fill this scene up first question I asked justin wass, are we ever gonna go back looking this way because the moment we move that light facing us but when we go back we're gonna have troubles so go ahead and do that a little bit of throw light here packages it should be fine but really seen this wall again exactly not even the close up of the clock oh uh contracting singer singing that's okay, we can cover that more you said it all right, cool eyes all you wanted to uh one thing you notice as you guys get ready with performance stuff obviously this is a big wall. So you guys also how you khun uh catch all the movement on the frame we'll just live with that here also glass is always your enemy is as a reflective things she would probably take the glass away or uh spray samat uh stuff on here to make to make the reflections go away um quick little really ingenious step that they use for television is on a lot of sets where they have windows especially in like hospital room every window is on a swivel so that they could make a small correction there five, ten, fifteen, twenty degrees that's imperceptible to the audience but that will take care very quickly that one little glimmer that they're catching um so kind little tricks of the trade that you have there and uh always be wary of reflections there will always be your enemy uh just stay away from your fuck the surfaces so if I were in our direct right I would have put a painting that didn't have glass in front of it if I had the choice umm ideally all right uh let's have the director's shoulder out of the way yeah that's it there you go much better be a good idea see look at that everyone's like doing their job it's awesome because that was a venetian blind yet but frankly it's a shadow that if you don't move the booth even if you had us on a tripod you wouldn't notice yeah let's try that let's go it's the markets can before you roll real quick just we just if there's a camera available we just rotate this light away from the wall and we added some opel diffusion very quick solution took us what? One minute one minute so you go and if you want tio make this light less intense you just could bring the bike light up or bring the open forward I would back a lot of a little bit so cut it down and also widen up a little bit there you go, it's otherwise it goes perfect little tricks little little things and that's it uh justin go ahead way we'll watch your shadow clear friends all right roll sound camera and there's a sniper rifle in the creative live operator if he gets into the frame you will be shot on sight scene one of don't take to think three meaning marshall wait thats ridiculous not you wouldn't do this she would you know she would we're not playing this game you think we have a choice? Do we get a clue? Uh uh okay, cool the sniper uh operator can put the safety back on the sniper rifle I think you were laughing the entire time I will throw it out to the internet as they look at this set is there one thing that makes absolutely no sense in terms of, um what someone might do given the actual existing set if there were a bomb in the room uh you look really carefully around the room you know what you can see uh is there something you would do? I can't say more that getting away the answer but there's something that release, you know, counterintuitive here and it doesn't make any sense so the first person to get it uh let me know I'll let you roll out tell them what it is seeing one two don't take three marker actually it's ridiculous not you wouldn't do this. She would you know she would we're not playing this game. You think we have a choice? Do we get a clue over or under? I would the only thing I would change a little bit towards the end kind of the way they move around so you know, um I'll let you make the ultimate decision but maybe as you realize you're about to die you might want back back oil that from the bombs and then maybe towards the end like a couple of closer as you're begging for your life to the speaker maybe then come back all you make a decision that's the only kind of dead spot for me in the scene where you guys are just kind of standing there stoke playing the battle that like make decision ok they want to figure out what um what doesn't make any sense I don't think you yeah yeah so you can see like the thousand decisions you have to make also will you get your set and you look at the fact that there is a glass door right there I don't know many people who would try to use a pen try it on and get the door open let alone that wouldn't take a light or that typewriter is just smash it through the door so just little details like that always kill you what's sad especially that friday striking like all right yeah line's line's busy quite have call waiting back there today wait nothing is a talk over whatever they're talking over take for margaret actually exactly that way the camera market seemed to take five marker wait wait wait wait wait wait wait it's ridiculous not you wouldn't do this she would you know she would we're not playing this game. You think we have a choice? Do you get a clue good. Well, I do have one question that whose idea with the pen uh I would say it was mostly his okay, but that's not my mother no it's he looks around for anything that he could find on the desk okay to go and try and pry the door open. Ok, that was the problem was that war the ashtray? Did someone get the they got it? Yes, I mean sure could just kick it okay, I just never seen never seen anyone attack a door lock with of the pen down pit is moving on all right, one more last thing is you can always tell how well you're doing honest that we're going to go into him people chuckle at the stakes and the vibe is pretty like loose uh when things were really serious people are talking it's other like a really high pressure shoot or not going well so people are chuckling making jokes about it everyone has a much much better time and uh generally there's also go up so you can tell that with all the jokes going around we're on schedule ok, we're on let's switch three fifty well, let's see what uh, justin what's your next angle now uh medium close up on the doorjamb get this lighter way need to do is give the slider shots I like back with close right? So it's like rain um something on the side of one eighty like gap just real close in its fifty never stops in to save time they've gone ahead and they've swapped some shots around travis medium closeup shot of him at the door and they could do with the existing equipment as opposed to switching to a slider and then coming ballistics which probably should have done in the original schedule that's okay stand right here um but what I find, you know, really interesting is how people are just kind of finding places thanks the crew light over there and say like drilling there thought was and not knowing what's going on are looking worried everyone understands they're part of a bigger of machine and just play your role and everyone has a role there and things go smoothly where that you're attentive the patient and when you're needed you jump into your job and it's kind of part of collaborative process it is best I was gonna say there have been comments and from what it was from focused tio that said, watching this you could really tell that this is such a collaborative art form, so no definitely shift being a still photographer yeah, dependent, but when I look around at these students quote unquote most had never done any of this forty eight hours ago and the vibe in getting off from is the same but I would get off professionals on a regular set so they clearly can understood you know the process in their roles and it's nice to see you know especially relative to where they were the first during the first shoot this is the most relaxed I've seen a crew like this that's going down for so short of a period of time it's really nice to see I have a question from teapot alberg as a photography instructor what advice can I offer my students to piqued their interest in this video revolution uh check out the creative life siri's you know there are there are other resource is out there watch films by books on film theory and directing et cetera et cetera analysis but speak of things start I think for me personally as a guitar for the thing that inspired me was carrying hearing maybe you and chase talk about during your first work shot that it is it is a revolution just saying that that it is it is it's the new it's the new target digital photography yes yeah it's it's definitely a new kind of frontier in the byzantine general yeah it's you know it's filmmaking spin around forever what's interesting is that filmmakers are looking to photography and photographer looking to move into filmmaking or videography and it's talk about hybrids such the hybrid camera it's advertising everything yeah, well, this is inspiring photographers I'm sure yes, so on this was a question from air and you know and and it did come up a couple of times from other people hey said I don't know if this has been answered yet, but wouldn't the mikes pick up whoever was providing the cues full so people were wondering about the ring ring and you know what happened in that one point? I asked I asked the actress's first one was good because she kept going I'm like she was they were stepping on top of each other. Ideally you'd have someone motioning we're a little light going off something a little more sophisticated two thumbs fresh has asked, do you or any directory usually handle suggestions from cast or crew that you don't really agree with all the time? Well, it depends uh on this the kind of production it is and the kind of position you have think handles not the right ways is that there are appropriate times offer them inappropriate times not to offer them, so when you're ahead of schedule everything's going great, I don't think any director will ever well, it's not true I think a lot of directors will mind having someone offer up an idea when you're behind schedule, things aren't going very well or a rough shoot uh not a good time to offer suggestions unless you're absolutely brilliant. Andi I think I answered him into that effect yesterday's uh if you do offer the suggestion, make sure that it fits within the cut ah, random suggestion of a cool shot doesn't really help anybody. Uh if it's not going to work in a final cut so least inform yourself a little bit to what the storyboards are and how the transitions are how the style of the ed it's probably going to be based on the director's history or what you're seeing so far and do you think if it's suggested perhaps not it's it's a very on big means it's unspoken it's unheard of tow walk up to a director you might offer to your department head who then might offer it up and up and up the ladder? Um it's disrespectful that being said on small cruise or mediums as chris yeah, absolutely just make sure that uh interesting a psychology of this is that whoever the person is that is called the helmer the director they have feelings too they're just they're paid not to show it so when they hear suggestions coming their way, if it's things are going well, they're totally open to it more than likely and say they had secreted cska make for a really awesome shot thank you if things aren't going great and kind of going ok they might say well what do you mean you don't think that are the shots were shooting are good uh is that what you're suggesting something and they get you know they have a little bit in securities so just like in all communications delivery delivery is key yeah yeah just because you see uh an academy award winning actor upon stage accepting an award uh playing for the role inside like perfectly doesn't mean their heart isn't pumping out of their chest and off when you see them you can really seek carefully their hands are shaking now you play your role but inside there's still lots of stuff going on that's for sure yeah um question from antony sauce tre was I don't know if it's already been covered but vincent mentioned following motion with the camera for example while nodding could you explain that a little bit more yeah I mean you can't have it zits style you know you're going to go they're going to go and we'll address that way seen one or two echo take one marker e don't know if you caught that now it is a door break off in his hand was right and she said forget the door like a double way you think it was a pen okay okay I think you wrote a door the first way was just frantic personally okay and clear every time there ever here's a quick suggestions let's let's pull that frame because we're not we're not moving right it's weird shot you guys also how the frame casting is weird shadow is are we just take the frame out put it back all right no no no is this yeah all right open up just little bit oh ok thanks for um roll sound camera room actually I'm sorry market seemed to echo take to actually all right just wait just wait let's push the camera out and let's just going to grab our way this's question you got any munchies activities go on the block if you really are you all right first day just a little bad get into a lot of blade I've been all over your face and shirt man are you trying to grab that close up now yeah no no no I mean I would more important we're so many to reverse a hurt too I'm just thinking this is a collection like it's gonna tio I don't like just because cables stepping forsythe today we're not going to grab it and realized that no you're not um do you have a little mini like panel e? So we're thiss all works out of this supposed to insert the film we're now squeezing it in here and I think the general was his lines we can pull this off and ninety seconds or less way come out ahead way go that's good way don't need a light way out of bounds card all right, just slated asleep, please. Oh, no like panel, please pull it out. Yeah, we've got the bounce card in the profession. Zoom out, zoom out, pull this like, real quick. Will that'll do that'll do. Yeah. All right, keep going. Moving on. Yeah. All right. There is called black magic. All right. Seen one o to fox trot. Take one. Marker. Oneto roll, roll. Marty rolling. Just market margaret, describe. Thank you. Wait, e way, right. Clear, friend. Let's do it. Let's do the merely again on the first one tilt down a little bit because he didn't have the bottom his hand cycle in ieds head tilting a little that way. So I set him up on that one. So ruling. I miss my reflection in the door. Yeah, okay. I'm gonna direct your listening. Okay, please. All right, please. All right. Actually get the bombers handed us a little more there. You know, it's more important. All right and clear. I would have back up till that cattle back up, snap it off. All right? And we're nice answer. I will tell the broken well done. So, uh, nicely done. Uh, whenever you are operating way, yes, whenever you're operating a constantly asking yourself the question what is what is the single most important part of information I'm covering so as you have to make a decision as to whether you cut the top of his hand out or the bottom if the handles on the bottom air towards the bottom and on the opposite end when he puts the penan don't worry about kind about on his hands as long as you get the pen and sign a still photograph but you've got to get the crux of the information in the frame um that's kind of you know when you got to make a sacrifice go towards the information what's the important part so that worked out that they work out let's go ahead and move on okay what we're doing next justin next brother it's a close up of her two lines no no no we're gonna do the close up it's going to be on the sticks yeah it would come to this later alright just last shot on the storyboard fifteen minutes to do that yeah we're here that we get to that in ten believe so all right um john can you reset that light over there please we're just turning back on please this one direction in your way yeah it's it's the same set up same lighting setup is the master we're back and we're gonna be shooting your reverse for this um you know she wouldn't wear drinking it your mark please for that life e leading for his craft yeah that's exactly what you think do you know that oil back in platoon when charlie sheen hit his hand into the mirror you know that that was not scripted I'm not getting into it right wait we're talking about dad all right so what's yeah she's going to step in to watch the light weigh a bit tight isn't it? Yeah it's a little what do you want? Fifty yeah way but tied to me but as they figure this out um back it's just some camera language is very useful um whenever you say left that means rage many different things the very many different people on set depending where they're standing um so one kind of industry standard is this a camera left what that means is if you were the camera it would be on the left side of your frame or camera right uh or just say close to the camera farther from camera but um when you say just move left um it's it could definitely confusing and also in terms of speed you're very often are going to be telling people I want things a little bit faster that means nothing I want it twice a ce fast I want fifty percent faster I wanted ten percent faster wanted three percent faster and they could get a much better idea of exactly just how much or how little you want stuff um so camera left and camera it's a really, really good one because anyone on the crew understand what that means is if you were the camera it's the left um you know and the supposed to stage right up stage left a whole other thing and what are some other tips? Um it's very important to use careful language when you talk about moving the camera so I want the camera go down means nothing. You want the camera physically move its center of gravity down other words to kind of boom down our lower itself or do you want to tilt down or tilt up so as you say, a tilt up it's very clear that it's a tilt on the same axis till down pan left pan right um and um that's some important language as well versus booming down is what he's doing right now if you can kind of rotate over here that's booming down with egypt the cameras slowly lowering it's physically moving its center of gravity so you might say I want you to boom down and tilt up at the same time what he's doing there to counter his motion libro head and boom up until town all right, also simple language if I said, why don't you go left uh it's? You know, kind of weird it's better to say I want you to rotate it left on camera left just clear way of community they're communicating with your same thing as a photographer you talked to your subject and when you say you want to go left you merely do the universe and say look right you know so I'm always looking at him and putting myself in his shoes and saying all right, let me teo one eighty of what uh communicate the one eighty what I just put myself issues and see what would make sense is the best way of putting it uh zooming out um uh resuming in obviously refers to actually having a physical zoom on the lens where is pushing in or pulling out means physically moving the camera and are physically moving the camera out um as well as slide left or slide right that you can do on a dolly on slider sliding left obviously keeps the camera focused in the same position whereas sliding left and panning right we'll keep the subject in the center but yield a very different results so just learn the terminology and everyone on the crew will understand you um the most important thing you know tell you cruise I basically I want a medium close up and the best thing to do is to walk up to your subject and physically show them with your hands you know I want a close up shot meeting close up shot that call it's a cowboy this is where the cowboy guns used to be and you can actually walk up to your subject I want it from right over here you want to go with this lands at this height and especially the last thing I always tell them when you're setting up is if it's on sticks handheld or on what device go ahead guys all right all right roll sound we're starting from her stepping up to and relying on you know she would can we get yeah yeah absolutely start with this is ridiculous okay all right uh roll camera marketing it's seen one of two george take one marker actually this ridiculous nadia you wouldn't do this she would you know she would we're not playing this game do you think we have a choice do we get a clue nice uh camera operating there but someone understood that little move that he made up to me just added little attention that it's really well done so yeah I got it say just out loud but I'm thinking this is the onley lighting setup so far I'm not crazy about it's gotten very flat I'm wondering if we could kill alike don't kill this one thiss one right here that one no what's that shadow is going from his his hat let's just pull that out of the way for now okay we'll live with it well been perfect in a close to perfect till now that okay all right roll sound well, camera I didn't want to you george take two marker way cool and action it's ridiculous nadia you wouldn't do this. She would you know she would we're not playing this game do you think we have a choice? Do we get a clue? Uh was that it was soft that almost made it I stood right way you saw how we talked a little bit about how focus is a great way to help tell the story so we're focusing on the foreground actor first and then trying to hit the mark where she's walking into it a lot of finesse but it just really keeps the same dynamic and they on that one may just almost made it it was a soft like uh so close uh I thought you were like yes now. All right. Uh well, sam roll camera rolling market scene one of two george take three saw sticks actually it's ridiculous not and you wouldn't do this. She would you know she would we're not playing this game. Do you think we have a choice? Do we get a clue right ee ah, great let's smooth. All right, moving on. Thank you guys. Um what's the last one with chase uh don't worry about him but didn't get the kind of ways with students will be talking with trace no, no it's just me and talking so one of the scene okay, so we can just finish out the cutaways if you don't finish it yeah, absolutely just go off air so that's great. Yeah, ok, it doesn't mean you should stop the presses of course yes uh soothe. All right now reverse vest we're switching from sticks to a castle slider um what's great about the sliders that definite can handle this weight. A lot of sliders cannot um all we have to do is take the bull head off the okada bull head off of the o'connor sticks and put them down onto the adaptor on the castle crane we haven't motorized right now. Um just because we can is that so? No reason to have it motorised we had a motorized for example earlier. Yes, please, but they're going to very simple slide move, I believe from left to right. Uh, yes and just add a little bit of pa's ather production value and there's a reason we're moving from left to right can you explain that? Yeah, when not he comes on to the speaker. What kind of introduce there's a third characters were trying to shoot over the shoulder of the speaker toward frankie then taylor walks into frame and we're moving right to open up the frame and allow him to enter so we're looking over this speaker shoulder at both right, so you're using the motion to help tell the story yes, so it's not just a gratuitous use of the slider is a reason you're sliding it is to reveal more information as you go last night as you guys get finish prepping this is that our ever multi talented gaffer john has remembered to place uh the, uh wonderful award winning piece of art back up along with the stand over here this is what the script he would do they would actually take pictures like every single thing before anything got moved to make sure that on the last shot that wasn't like this and on this shot it's like that suddenly or that the umbrella fell every little detail because sadly, there are a lot of people out there who have nothing better to do than point out every single little I think it's often told that they do that's that's all the day to you um but obviously when it's it's really obviously terribly distracting um and um jesus genius is in the details so here we have them setting up their slider um it's a multi team effort apparently all lights a lot a lot of legs the director is not holding the camera and we'll get ready to go what you're not seeing a lot of here that you would tend to see a lot more of on a on a normal set that perhaps is not as russia a cz life as it is is lensing so one of the things I wanted to not copy uh that this we've been doing today is the idea of just kind of popping a camera down because it kind of fits there's I want to make sure that you lands each shot so what a dp and directoral have is what's called the directors you find her which is just a loop that attach is to appeal lens or whatever lens you're using that you can precisely find your angle and lens just as you would as a photographer is a very big danger when you work this way where there's so many moving pieces that you little just kind of flop a camera down and you never really finesse that frame and you all know it's photographers it's all about not a foot here or foot there it's a quarter inch this way or quarter inch that way up or down after right same thing applies here so I always recommend are you ready to go already? I always recommend that you have a bear five d or seventy in this case with a zoom lens so that you can go ahead and find your perfect angle just with a bare body and just really nailed and then someone khun mark exactly like we're the string or piece of tape exactly with the base of that lens is a cz wells the height and then they can match everything around there on dh that would apply to both the starting point and the ending point um basically as we lends us right now what kind of find out if it is framed well hopefully it will be but it might not frame as perfectly as it could have have we done it kind of the way photographer would do it or a dp with directors you find her don't forget that you're very used to be able to make slight small movements as a photographer as filmmaker he's even these cameras rigged up the way they are too heavy to even move like a little quarter inch forward or backwards so there is your slider um and uh we get all that compose it. Uh, private director it's not your problem right now. Yeah what's your problem right now is this true? The strip light can't go any higher way find out way could probably kill it and still survive what's really? I believe catching most of her hair is the other six fifty and I just stared at it which I don't recommend you do completely blind right now uh yeah that'll do for me in terms there you go yeah, I want to turn it back on and just rock that hole like that I just drop it back out of frame please let's drop it out of frame john let's lose it and we're good to go another common mistake uh that we all make is careful you see if you look really carefully the top of the edge there be matt uh box er is shade is just in the frames jeff you answer questions go answer a question yes sir. Is that a question? Can you people want me over here and we show you predator vision is it a three on this monitor this's what we call predator vision on these marshall monitors and you'll see that blue is under red is over so go ahead and change the iris you clearly under and now you're starting to get green is good pink is skin color obviously there's a blown out spot over here and over here we don't care that the lights believe or catching this light panel or we were a second ago for the wall got moved but that's that's how we dio equivalent of zebras it's also a zebra's built in doesn't it might no, no no never seen well, this is more useful than zebras anyways um so there you go that's how we do it answered that question cool, right? All right client going to go answer more questions on uh twenty minutes left how many shots you have left? Just this one yeah and then although details details weighing it down a little bit this year making sit down he said that right now if you want to go yeah already yeah yeah you want to chase one way we're gonna talk don't worry about us what did you just tell the camera pretty by the way was your language down know everything else all right let's go ahead and uh you might have seen us bring one of these lights behind the girls so you know like the two of us awesome thank you way natural light their way with stealing with wait where you plug it is always the hard part your way just get your beauty light up here e way um I guess what's that ok cool we're going to sit down to try and see if she can find a way if I support that one life battle on then they're working on that wait talk about what you do with this for years because of questions I think they're on their last shot so we'll just kind of watch them as they do their their pickups or their their close ups were pretty much done every morning they have one shot so you might be quiet one time I think that way school here this way okay hopefully you're hopeful your daylight balance will look like the divers is she all right? There comes giants in the nick of time all right, you guys wantto go ahead way. Have a special guest coming in. Eunice an empty chair here? Uh, not a hard guesses to who might be dropping by santa santa claus, but let's, go ahead and fire a few questions as they wrap up wrap up this lap. Last shot. Okay, um, jewish would I like to know what pieces would you suggest we rent versus buy? Thank. Include the camera in this question, rent as much as you can. Honestly, until you know that you're going to be able to make money off of the equipment you buy so everything until you know that you can remunerated a few times over. What do you remember? Said by mancini shoots everything. Yeah, yeah. Hey, man e thanks for coming to be back. I've been watching from afar it's been totally amazing. And since I just ran in from the men's room isn't cool that we're talking whether shooting right now. Um, are you guys going live? Oh, yeah. How awfully slow on this one. So you're seeing how you know, they just decide that incorporate a slider in there, even working on sticks. People have asked, you know, why not do handheld, um, you know versus sticks and what? What not sticks the cameras and move and when you set a mark its most like you're gonna stay the only x factor there's two of them that's why I'm not your first issue khun do his or her job and nail that hit that job for that position I'm tired and the second one is whether or not even the actor it can hit his or her mark there's like two points of hillary there then you add like a handheld rig gets a third point of phil because the operator might be literally an institute for far too forward or too far back on depending on what they're shooting that it's that space let's deal was talking about this morning that distance literally can't be this month, so if the operator leans forward and actor steps one inch too far forward than get issues and then so when you had a slider you can see this is easily the single longest setup we have yet done this entire day. And the question is as you watch this shot is a word what's it worth it reminds me of a shot from last year yeah way it's that one off the hard drives that the car pulling into the cannon legs class torrential that wasn't in every way that we shot when that was the show me the piece yeah, yeah, you know I get a couple questions since I've been on the sound stage here for for most the time I started playing back the parts of the weekend that I that I liked and I was wondering what you know whether people watch it again in the replay over they downloaded or whatever what's the part that you think of what you've delivered so far that merits the most attention uh a lot of attention maybe don't to say the most but I mean really you know would like to say that that I really think seeing the progression is kind of priceless um you know, if you if you watch all three days the first day you get to see the foundation being laid down and the first day you could see a kind of mad frenzy that happened on people starting to gel and then you see where we are today where we're shooting stuff um you know, on a extremely reasonable budget where experience reasonable lights uh, that wouldn't break anyone's bank introducing stuff it's pretty good looking, you know? And so it's kind of like the the thirty thousand foot view that that's like if I'm going to still some words and put him in your mouth for you if I'm picking up what you're putting down it's that there has been a process and you know yes, my favorite if I had had two point if they report it's actually now it's on camera it's watching us is I mentioned a little earlier in the malaysian rules let's let them roll all right, be quiet and do you mind if I stand up and speak on this side of the booth and yeah you read on actual way look at that look at the boxes all right roll sound like um that's him I believe that's good right there. That's good. Okay. All right. Well, sound roll camera you want to hector take one marker actually look in the booth do you want to change my one chance to get this ridiculous nadia and you wouldn't do this she you know she would we're not playing this game. You think we have a choice? Do we get a clue what part of that where we're going to meet your needs just the one more moving or using any of it earlier? Uh oh she's looking down with the speaker you want creep it well that during that time I know okay? Living shot I felt a little fast. Oh, no. Yeah. When did you start to walk back towards packages? You that's great. I'm gonna have to have been so cattle. So there are six minutes over this kind of answer. Yeah, and we're cutting into our close up in detail time where error in this case they're always award but they're kind of critical look at the boxes in this shoot because you remember half of the lines if not more than half the lines being delivered by nadia's characters from the speaker if they'll have a shot of the speaker where's that voice coming from inside on then there's the clock as well they're all looking at so yeah it was a slider worth it let's have a vote on the internet I mean that's not that's a that's a process that's constantly going even if you're honest story board a good producer will really keep you on your marks and it's my experience is that I want to do things as many times as I can because I'm always getting at five percent ten percent better but the people I just did applaud post my blawg on friday I think rodriguez please can I see you want to have to take two worker actually looking about breaking way? Maybe we can keep going it's ridiculous not you wouldn't do this she would you know she would we're not playing this game do you think we have a choice? We get a clue how about how about the tail end of it? I want to come back like the center of attention is going to the speaker we just slide a little bit left again because they're talking to this letter you got that move down great a tail end of it you want locked off or maybe just bring attention back the speaker keep going that way because they looked for the packages yeah, okay. You know often with the slider aren't you going to cut in the close up of the packages to damages just crediting okay right on the controls I would add a little bit of dampening and uh so the speed down just a slight bit on the uh you're doing just the who's doing the head doing it by hand. Okay. Cool. All right, yeah, yeah, I thought it was motorized so that I mean that was all right. Yeah, but what I'm saying is is that like there's a wisdom that you learned from repetition when you've got it when it's good enough for what it's great and it's time to move on to the next one? Yeah for me is continuously to this very day I'm I struggle with it down so much of these guys you want better but it's just a photograph it's trying a little better has just cost you so much more it's a little big thing, but and all this crew and stuff's expensive then it's it's well, if you went over every shot by ten or fifteen minutes and you have haven't shot today and you're you're sure she was however many days long you started in tons of days you won't you won't be there by the end of the year it's pretty fun much. And these guys work through it. You know, it's been quietly and you know, in their thing and the ones pulling their hair out let's go back and you want to stay here, or, um, I want you to watch one more take. I think it is. Ok back there. Hee hee hee. So what's what's the vote on the internet, uh, was the slider worth it? Yes. Or now people had a lot of comments about the slider, actually. Okay. I think most of them most of it was yes, you were right, amos. Yeah, I think that on the first take, my answer isn't and that's so much. Yeah. Second, like I get good. Good. You know, I think people said yes. All right, thank you. Roll. Sound camera seen one o two. Hector take three marker. There is no way you can it's. Ridiculous not. You wouldn't do this. She would. You know she wouldn't. We're not playing this game. Do you think we have a choice? Do we get a clue? You don't cut just for my fun, fun. Can you haven't go just before this ridiculous uh nadia and having just slide slightly left before that when you guys kind of pick up from that point when you leave the door yeah and just have you guys slide left towards the speaker and then slowly yes exactly I think I'm just adding something fun second position right there yeah and then after he says that's ridiculous not even move back to the first family first position toward first position go basically to keep his friends just just keep moving just go all the way to first all right on this is ridiculous that yeah right way wait okay the pin is broken okay, so pen is broken I don't know wade got plenty things you cut it yeah yeah yeah all right, well sound so everything's rolling gets everyone all right actually it's a ridiculous nadia you wouldn't do this she would you know she would we're not playing this game do you think we have a choice? Do we get a clue? But yes so they're often have yeah um I mean okay, cool. You guys are doing your breakup, right? Yeah, just like booth are the actress rather wear last two? Yeah justcause we've never gotten we got them from red, which is like michael never ok uh people more than you want to just run wild sound on these lines okay, okay so let's give you some quiet okay? And then we'll be going to some wild side okay, wait a second one with her about that or we could just uh thinking wait for the mic that let's just just audio actually holding only has one line doesn't she too okay, so on him at first maybe just wait till he gets the microphone running and then you can say your line and actually it's ridiculous nadia you wouldn't do this she would you know she would we're not playing this game do you think we have a choice? Do we get a clue for the actors that's right for the way we're getting a divorce all right, so they're not going to wrap the actor thank you. Uh we're gonna do some very important shots that are still left the crew's going tio the close up shots of the pickup shots on the packages and clock uh and that's relighting you'll get to see some of them as chase and I talk a look at the flip back and forth uh let's go ahead and go over there and chase stones knock yourself out on the job when you walk back I wouldn't be my first time would be my first time um wow yeah, it was fun yeah, so I'm excited tio there sweating right now not me not me personally but they're doing a remarkable job of working together that's one thing that um I've said it a million times to myself to my crew we've talked a lot about it you and me how how important repetition is and it's really hard to pick up like you know you're just getting to know the person you're left with a person on your right there weren't working together remarkably well yeah I mean and what I was trying to accomplish on the last shot when I asked him to take the last move I'm not even sure how well it worked or I didn't know what I want to try and show is that at the end of this shot it's a pretty static shot and just kind of staying there staring and it's not very dynamic and so you want to move the camera but moving the camera randomly doesn't make sense whereas if you move the camera so that that law fox which in effect is not yet representation of their fate comes and it feels like the world is rotating around that box if you look carefully uh I'm not sure if you did it just kind of worked magically I don't want to step on justin's toast too much but he just said, you know go ahead go backto one which I think works I wanted him to always stay keep that kind of a bead on that speaker and keep it in the same part of the frame because what that does is it makes the world rotate around that element, so it's like a really cool trick if you have a slider with a center element or on a curve track you see in films all the time just don't know what's happening, that person is kind of stationary either following the camera or stinks down the whole world is spinning around them, so in fact, their fate is spinning around that speaker now, so I was trying to kind of grab the end, and I think I think it worked out, I think again, I'm picking up on this a little bit late, but I'm understand they'll have a cut to shot. Yes, he's going to be able to get a couple of pickups on the right hand? Yeah, some closers have been a little bit wider, jacqui, and those are the things when you start running out of time, this person and what do I have in the can or what it was in libya was an easier shot to get after I've had four or five takes. One thing that I've noticed just being on set here is it's just, um, there are so many things going on, and you know, if it translates it the format that we're giving this to you in live here translates into, you know, we get sucked into the equipment we get sucked into the to the slider, to the to the moves and the director, you know, he's really focused on looking at the monitor. I haven't heard a lot of feedback for the actors and tumbling back and forth between those things and keeping all the balls in the air is a huge, huge job. Yeah, I'm exhausted just watching the guy that's going to go off air and a little bit it's like a balloon deflating is falling around. I'll pick you up there and get in here who absolutely but it's it's a huge amount of responsibility, and the worst thing you could do is tourism today you get so exhausted mentally, uh, and it's, good to have backups and look at your script supervisor and in just enough to be apologetic, don't they'll know you look at the menu and like it's that like, there you go because, uh, your your brain's gone or you've been thinking about other stuff and you don't have the piece of paper in front of you and it's we, if you did your preparations all written down and the answer that question is in your notes. Um, one thing that we didn't address gets a bit more advances. You know, as a director, you should be writing notes on the script as ugo and transfer those your shot list because obviously trying to create some sort of crescendo, that's, emotional and that's very easy to do or it's not easy to do, but easier everything in my last time doing things you do when you linearly and all the actors can keep track of where they are, but when you start doing, we're doing here, andi it's, not uncommon for them to shoot, you know, scenes weeks apart um, kind of lose reference like, at what point of my evolution and line, you know, and you've got to know that at all times, so write stuff down like furiously and that they don't really help and and fatigue like the end there's in the same way that people talk about your sprinting or you're running a marathon, I think trying to gauge your emotional investment you are you were loved attention to detail all those things. I don't have it in my nature to really kind of throttle back and pacing yourself on a multi day shoot, especially I have never even think the longest piece that I've got is fifteen to twenty minutes, and after that, you need to be on point the whole time and it's nice to have a crew that can cover for you and that's when there are people that you've worked with for a long time having them be able to pick up the ball and you're at a low is refreshing but like the page s of which you're like invested in that is important, I think and there's two things that I really can offer his recommendation um and um the first thing I would say is the number one thing you can do to make sure that you don't get to that point is a prepare but also during your preparation leading up to shoot don't get to the point does this happen to me a few times where I am exhausted before we ever yell action on the first shot and you're already kind of dead in the water from the get go because you've done it was trust too much that's very dangerous and you got you got that's happened to me a few times and the other thing is if you surround yourself with great people and you have done your prep communicated all of your ideas ahead of time all of your lighting wishes all of your transitions all the little details that you're going to forget when you're exhausted and they'll remember yeah and in truth the crew is equally if it's allocated if the rules and responsibilities are allocated well, then everybody is as invested as you are in their particular role on dh relying on folks to remember the things that you can't in that particular role, like the camera moves and whatnot here, a good working relationship with the folks in your crew, a phone is this mission critical? But there's, you could probably even feel it with the creative live production like a ton of energy going in, I think everyone's on eleven and then partway through you're like, you know, someone's breathing on dh that's when the middle of the shoot is one of the things that I find is it's hard to keep up the most energy, the most focus? And then at the end, when you're driving towards finish line like he has people, you see it's an end in sight, so you know, trend of light at the end of the tunnel? Yeah, like the pros that I have been lucky enough to stand behind and watch and or you're lucky me sometimes participate in it's like they're so poised and there's less emotional roller coasters, less energy roller coasters, it's they take that process invariably involves some really great highs and some really low lows on instead of letting themselves get dragged down by this bad days, they know there's a tomorrow, you know, that's the big difference, especially in filmmaking, in photography there often really isn't thisa multi day shoot you like that's the whole hero's hero thing, right? Yeah, where is in filmmaking? Uh, there almost always is this tomorrow? Well, this is like running twenty sprints within a marathon, and you have the marathon they're dealing with. But so much of indie filmmaking, in my opinion, is that and that's part of the spirit that, um, I think, drives folks it's also in reasons that people rarely if you look at the careers of really established directors, they really stay india all the time because they get tired on, you know, I felt like it's some of it is I love that andy feel I think I do is many things running down. We were talking about the mistakes that we've made, um, and I'm always trying to have an indie field, the production, mostly because I love the energy that it carries with us, but like finding that balance of where it doesn't feel, um, unprofessional, right? I've already referenced once in this segment, rodriguez some of this stuff, actually, we're about to show you off on friday over on my block. I did it, rodriguez says this sinkhole fifteen minute film school, where he replays takes from his his movies and how he did it, and just remarkably remarkably simple like goes down to mexico with six a crew of six the actors carrying things up like what roll around what take they're using their fingers mean is like and there's a great spirit that's captured there but again I I think it's fair to say rodriguez has done a good job of holding on to that andy's andy flare but he's certainly working with bigger budgets I think you just got hired to shoot the next godzilla so that's gonna be a little different than mariachi or one of his other films? So I'm the one internet questions all they've got questions you know they ask chase because I'm tired okay, well this khun be a question for you through chase I loved you ask it to me oh, okay. Mike kay would like to know what is the most rewarding part of doing this kind of production a film or education. I guess a film is the end result question uh this is the students like I honestly feel like I could throw a script of these six guys and throw them out with this equipment that shooting and find, you know, five minutes from now they'll be ready to go, you know they may have toe kind of rethink of these things and really the way it was, it was a lot easier we were handed a storyboard but they could do it but beautiful jelling already and that's one of things I like about you think that is a good one and you answer a little bit more completely on you brushed over really quickly the first one but not the final product yeah I mean it's brushed over it but it's a very complex answer I think I want the read tomorrow inform education is that they want that they want the complex answer when you when you put a photograph out in the world um it's one one still and uh it kind of goes on its own and you already get so many rise as we both know their logs of people who absolutely love it if she will absolutely hate it yet it's still generally just that one still and I'm amazed at how some stuff I put out there I think is like an example of bad photography but I've done people say that's great you know sometimes you get the wrong reaction unfilled there's something a little different layers to it and styles it's really hard to judge you know how good a film is and I think the ultimate judge to be what you think it is you know people that beautiful fact um tell you really will say and you can't go and say this was a critical disaster or it was a blockbuster but everyone knows it was crap in marriage for a tremendous amount of money lots of hits but for all the wrong reasons, you know, so you gotta know deep down, you know, if if you grew as a filmmaker, if people that were with you did their best and what the end result wass it's so much more complex with film because it's a more complex process and you know that the artist part and I think the thing that that froze me the most when I was getting into this was, um you understand that you want to create a perfect product and you may have, like, the best script the best gaffer, the best you know, six things, but that one actor every time you watch that performance, you cringe and you never could get over it or that one line or that one scene is so horribly lit, you know, and that's, you know that we have those things get hunt us there's many more of those little things that haunt you and film making them there are it's true? Any movement? If if I'm I'm gonna go a little bit deeper yeah, please do my my my ability to go deep right now is deep into a bed on sleep. So you, teo the I want to know about your favorite part of the process of filmmaking on set with the crew seeing the magic come together I'm starting to I used to do not like the prep because I was so eager to get on the set and I learned that I had to start to respect the press because if I didn't do the prep and put as much energy and attention to it, I pay for it on set and I would see it in the end results are now actually oddly finding a way to really enjoy the prep nonetheless there's nothing better than when you're on set and when you're all laughing at the end of the day you're halfway through two thirds the way from just have smiles on people's faces people are cracking jokes it's the ultimate camaraderie something you always get photographer when your solo on the top of mountain really with one or two people by yourself and to me that's my favorite part yeah it's it's so collaborative uh great great things will let me the release of the film is almost kind of like well, that's only and you have to go through like, oh now what other people say about commercials coming out days six months ago seven months ago you like was that you don't remember the exact internet agrees they said there's nothing like being on set that's I think that's why one of the the the highs of the job I'm going to back up a little bit and on offer a personal experience that maybe you couldn't come in what you feel like since this class is really about helping people going to take all kinds of different stuff out of it for the for the photographers who are getting into hs off each dslr filmmaking one of the things that really blew my mind was one I used just like agonize over every single frame you know I mean as a still photographer you like that it's gonna be all those things and then when you say ok then there's motion of the people involved in the motion of the camera then there's audio then there's the editing and that it's at first I thought I wanted to have a little meltdown and now that when I go back to shooting stills after having directed for a little while I'm like how could my cram all this stuff into one still and it's equally stressful going the other direction now how was that process for you on how is it on the occasion that you do pick up a still camera or talk to me about that evolution? That process honestly going back to stills feels like a meditative process to me um because it was so quiet because there's like havas many people maybe maybe not because there's one layer I have to focus on and it's the one layer I have a lot of control on whereas in filmmaking you have this much control as you can and trying to get everything lined up but I can't act a part for the actor um I can't edited for the editor I can't compose the score for the composer you pick the best people and you hope that it works um and there's always kind of that you know somebody like like you said, just so many multiple players where is when you're you know you're out there with the camera and especially if you're by yourself it's looks like you know it's it's it's like a zen thing it's like meditation for me now and I really I think as a result of filmmaking I've grown to love uh making photographs much more so yeah, I can say that they've my interest has been renewed in both and bouncing back and forth between them is you know, I still feel like I've been doing this this gets the only crew ever had it been doing this I've never had a real job besides taking pictures and uh same here I waited tables in tune skis, youngster, but like, I feel like I'm consistently getting fresh eyes that this is I don't like it for its yeah um a couple more questions from the tubes syriza tio just started and now it was an amber pm but nine drama morning I'm going to interrupt before we go to the phones this course um if if you were able to take all this stuff in and you may be we're gonna watch the re watch and you're not interested in buying it then this part is not for you if you are I have just been updated by the people upstairs better run that computers literally upstairs that um the nine nine dollars deleo goes to nine a m tomorrow morning so um and you know it's this this requires money to paul this stuff off so if you're considering it you got a little extra time to decide whether or not what has been created what are we watching it it's not too late you think that's maybe it's genius sticking behind this e don't know there might be something there but he made brighter minds nine nine am tomorrow is when the plight of price jumps up to one hundred forty nine bucks so um back to the phones they interrupted sorry no not at all is going to say and even at one hundred forty nine dollars I mean it's kind of ridiculous because the amount of content that you're getting all right and I don't want to talk about what if you know you were one of asia foul someone's phone booth it's present hasn't gone on I think maybe that's for the for the film maybe this so go back to l a with funds for sure so question from murky mosson still, maker are still going to video what is the best way about finding content or scripts to produce if you're just turning out that is an awesome question it's one that I'm personally wrestling with right now um ditto I love I love the right um I'm it's it's my weakest point so I'm trying to work on it um I'm going to talk a little bit this week uh tio to the folks that pay attention when I do on my block about making your own stuff we're making someone else's stuff and there's this little distance that you get that adds a hell of a lot of perspective when it's someone else's stuff and you can be more ruthless you could you know you can find the gentle easier it's a little bit more when I want to see the attach because I want to make something you really have to put your whole heart and soul into it but no no, I think that's a conversation we could have over days because uh I wholeheartedly believe that if it's your idea and you have to pitch it and you have to find a funding for it and then you have directed by the time you get actually making it you've got so much on the line uh that's in some of these people are producing it you know? They're putting money back they're putting money down there doing the horse it's someone else's idea and you can sing it on the best way that you interpreted it something a director is not a writer or you know it's someone who takes in french it's uh make total sense when he takes the uh the content and brings to life on the screen and I personally um I write relatively well but I am not a I don't enjoy uh writing process so painful and I'm not for your director yeah visual storyteller yeah that's why I love to try and find a story and help if it's just a great literally riel story have a great screenwriter you know adapt it or if it's a you know another write it and if it's a play or a book adapted right and if I'm gonna ask like it trying to go back this question specifically yes that's what I was what are we doing right or what would you recommend to people to go out and find I think a lot of it you can er in and around community like the these thing don't these things don't grow on trees and they don't just fall into your inbox um the occasion they depends on who's in box you're looking at but um you have to you have to let people know that you are interested you have to participate and then the community and I feel like that is is it goes for things like scripts and picking up ideas but also for other things like if you're trying to live in a cave and make make your are it's hard like you look for a community to support you and to be supported by and to give back to I think that's an important role in and taking scripts and bringing things the life you those things don't just fall in your lap and so are those forums are they whatever city you live in like what are you thinking? You know the local union it's the local um local trade organizations the local on dh now that the internet is all local it's participating in those communities online and not just not just lurking actually participating you know I'm just reading old nasty grams time doing been creative, right? You know and read you freed three talk sure read the paper three books talk to people you know you're gonna find the stories right around the corner yeah, I'm feeling creatively flat a trend of richard life is getting our get away from the you know, richer in the sense of like just being more active, getting outside more, going to see more films and like pulling yourself out of the crime so um more questions that was a good one and you have a note for me their surprising ways coming big the last big one, not the big yes no, that one okay all right all right here yelling I hear you and the winner is going to receive a synovate atlas ten slider and simplest dslr rig ice I pronounce that right well yeah over twelve hundred dollars for that in that boy and the winner is drum or drumroll everyone daniel brienza boom at weekend film crew the quote wass seen the magic come together nice move thank you very much daniel could wear the red rock price think we're saving that for something special. Okay, cool on the down low we don't even know what that is so special that you don't even make its own special way parents do you want to take more questions that way I think we need to wrap it up there's some I want to say thanks so much tio be an age for being a great supporter of what it is that we're doing here um if you can click on the I think down there you can click on the button if you're looking at the screen and if if you could spend your money if you're going to spend your money, spend it there and by clicking through a banner on pay of live that supports what it is that we're doing and it sends them a message that we care also you have a great relationship with those guys so props to those folks please use the affiliate link use these the feeling like it's you said I said that I think um I don't know how to wrap this thing I feel like I don't want to be over here and have the students over there they still they still working we're going take a quick break yeah that's that's not what I was lamenting is that they were over here and then they're over there and I think they those guys can party she was going through that come on students you guys work so freaking hard thank you comport to seeing a little bit more from you guys. All of you. Thank you so much appreciate it. Thank you more than walking nice work. Nice work. Um thanks, justin. One word from a cheetah right by the experience inspired awesome that's the best word stop they're costing exhausting fantastic informational sweet well events were about you buddy rob on and uh I'll go ahead and take that as a sign that these guys wanted go home get some sleep I I owe you guys so much for ah for what you have delivered to the world and thanks for helping us change the face of creative education spence hats off to you and we can think the students we we we want to celebrate you just now can we can we give around for all the people? Mind the scenes of the camera's point that way huge huge debt of gratitude don't clap with lawyers out and I'm not going to take the answers. I want you, tio. Go ahead and wrap this sucker events. Well, uh, take what you learned here, master these rules and then break every single one of them, and then someday we'll say, you know, look at that person look at jeff for daniel, uh, upon the silver screen, who knows? That would be the best to come out of here or anyone out there and seriously big thank you to all of you guys to chase creative live and a dozen or more than those people behind here behind the scenes in the shadows to marcus and justin he's still shooting. Ah, never let up maybe help support this if you can buy by purchasing thie download some more of these can happen in other instructors, come here and support great of live too. Just keep sharing the information with the rest of the world. And like I said, I think on the first day, you're not just helping us for helping people that would not have the opportunity to come out here or would not be able to afford tio to get this content if you weren't free. That's what's amazing about this community, is that the people that can't afford to put it on their ipad, their ipod there, I whatever. So they can reference all of the fire hose of information that it's a smoke and deal. I like to think and that's what we've tried to create here, but it offsets education that people couldn't have for literally millions of people around the world. So if you can afford to pick it up, you're supporting a great cause. And now I'm looking for you to say, the w r a p word. Uh, this was our martini shot. We might still be going on, but, uh, that's a wrap, guys, thanks very much. Thanks for joining us. And, uh, hope we'll see you next year.

Class Description

Learn what it takes to make the move from photographer to filmmaker in HDDSLR: From Still to Video, a digital filmmaking course with Vincent Laforet.

In this comprehensive digital video course you’ll learn; how pre-production can help you develop a better movie, both documentary and cinematic filmmaking techniques, and which editing suite is right for you. Vincent will demonstrate the production essentials of setup, script development, and shooting quality b-roll.

HDDSLR: From Still to Video gets you up-to-speed on the latest gear, cameras, and production techniques. You’ll learn the skills you need to make the transition from photographer to cinematographer.

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