Setting Up the Interview
So then the next one is about how I set up and I will roll into an Enel address. Um, a few things about setting up. Okay, so now we're going to go over setting up. And right now I'm going to do an interview of both Nam and Martus together. And I picked out this room because the lighting is really good in here and we have some really creative things that can be in the background and so immediately because I am really close. I'm thinking I might have to use my wide moment lens so that I can capture more of the background behind them. What we actually had to do, here's could they had monitor. So I did have to move a few things around so that I can shoot them this way, unobstructed. And so whenever you do issue, don't be afraid to ask if you could move a few things around and then I have this chair here, so I'm going to be using the Jobi mobile rig. And what I'm going to do is try to mount it on this chair so that I can shoot them going this way and then I'm going to mike them up and then ...
we'll see how that goes. I'm also thinking the white board behind them is a little bit bear. So I'm going to bring in maybe one of the boards from the other rooms to just ADM or visual interest. So let's see first, if we can Mathis on the chair and see how we can shoot them And if it's just the right height, What's cool about thes mobile rigs is that they have these bendy legs and you can really wrap this around anything. And so this is what I probably dio let's see if it mounts. And so right there, that's that's really sturdy. Um, and now I'm gonna put my phone in there. So let me loosen it up, make it bigger cause I want these giant phones and then actually, I'm going to put on the moment, leads on here so that I can capture that wide shot. And then once I put this on, I'm going to see what the framing looks like. Um, just to make sure I can get both of them in. So let's put that in here like this. Okay, so that's preset. So this is actually really cool. It's like a moving dollar. So I'm going to move this, cause already I can see that they're out of frame. And I am going to tilt this up a little bit so that we get less of that desk and I think ive go to move this a little bit in like that. So right there, I think that is a good way to frame it. So I'm happy with the way the shot looks. So I think I'm going to keep it this way at this height in this position. So now what I'm gonna do is walk around and add a few things to the background so we can capture that so that it looks good and actually seeing something in the frame right there. The scissors and the cup. That's a little bit messy. So I'm going to move that out of the shot. So that's that's better, Then I'm going to mike them up, so they're a little bit further from the cameras. I might have to add an extension. Teoh, my, um, my level ears here. So, like I said, there's two of them, so I'm going to use the road as C six l. So I can plug into Laval ears. So let me plug that in here. And then once I have this set up, I am going to monitor the audio. And so that's what the headphones air for. So I can tell whether my audio is peaking. It's really, really important. Even though you use your phone, you have to be just as anal about your audios. You would using any camera. I'm going to make sure the wires art in the shot. So maybe we can have it fall through the cracks here. Yeah. Good. Go there. All right, so they're all set up now. I'm going to take care of the background. So there's a board that I want to put back there seven into that now. Okay, So this board is from the other room, and I want to put it back here, partly toe also block out the glare from the sun on the white board, and also to add some visual interest. So I think I'm gonna have to move a couple of things here. Cool, little bullet. And I think that looks good. So I am going to check the phone and to see what it looks like in the frame. Okay, so that looks good. And I'm moving this a little bit more. Could you guys be a little bit pretend like you like each other? Um, so I think that's good. So what I'm gonna do now is test the audio, and then I'm gonna get ready to roll and then start doing the interview. So in filmic pro, you can pick the audio source. I'm gonna tap on audio and make sure it says road sc six so that I know that it's going to come in from the mikes. And the other thing I like to do is have each person tap on their mikes to make sure it's working. So Marta's can you tap on your mike? Good. Snow can use speak a little bit like state check. And sounds great. The audio isn't peaking. It's just that the right levels. So I would be really comfortable ready and ready to roll now. All right, so that was setting up. I have to say that is the most complex set up for me that I ever do with Mobile filmmaking because you have two people and you're making them up and you're setting. But Lava Lear Normally, it's not ever that complex. I really like to just use the shotgun, Mike, because I find once I put a lovelier on somebody, there's already that like, Oh, you know you're capturing my audio. I don't know why there's just something that happens where, you know, people become a little more tense. And so one of the beauties of filming with your phone is that usually you don't have that. It's just like it's just the phone, right? So I try not to use a lovelier as much as possible. I will use a shotgun, mike, but in that particular room, because it was echoey. I wanted to get good audio. So when your mike is closest to the audio source, you won't pick up all the ambient noise. So that's why I decided to use a love Mike in that scenario, Um, but you don't always have to use a mike, so if you are somehow, don't you know you want to film something and you don't have a mic. The phones do have a decent mike. You just have to make sure that it's close enough so that you can hear whoever was speaking. And if it's in a quiet environment. But but yes, so those were just different ways. Um, And again, it depends on the scenario, and you always have to gauge and listen. Right. So, um, there I could tell when we were speaking in that room, I could tell the resort e echo. So I know from experience that if I would choose a shotgun Mike in that scenario that you would pick up on that echo. So I went with the lava Lear Mike's.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Create a video entirely on the iPhone, from shoot to edit
- Master advanced video apps on the iPhone
- Learn how to use iPhone video accessories like gimbals and mics
- Build a story arch and shot list for your film
- Capture pro-level audio in an interview
- Shoot supporting b-roll
- Master iPhone video editing using apps
- Record and add a voice over
- Export and share your video
ABOUT CIELO'S CLASS:
Who says you need expensive video gear to create movie magic? In this course, Cielo de la Paz breaks down capturing effective and high-quality films with gear that can fit in your pocket -- the iPhone. She’ll walk through the importance of pre-production and crafting your story ahead of your shoot. Learn how to use a variety of iPhone video accessories and apps while exploring the technical side on how to get the best shots.
By going in the field with Cielo, you'll learn to navigate real-world scenarios, from problem-solving to prioritizing your shot list. While the iPhone may be a smartphone, she'll walk through every element of capturing pro-quality video from a simple device, from recording audio to using add-on lenses. Capture shots that make the videographers with the bulky cameras jealous by using the iPhone's small form factor to your advantage.
But the iPhone isn't just a video camera -- it's a powerful tool for editing videos anywhere. Cielo will then take you back in the studio and walk through one of the best video editing apps for iPhone and iPad out there while explaining how to piece together your story into a cinematic success. Add your own editing style to raw footage to create a story worth sharing. There is a lot of magic and ability in the camera that is always with you -- learn to use its capabilities to capture and create great video.
WHO THIS CLASS IS FOR:
- Beginner to intermediate mobile filmmakers
- Beginner filmmakers
- Social media influencers
- IGTV producers
- Beginner to intermediate vloggers
- Anyone interested in making videos with their phones
iOS apps LumaFusion 2019, FiLMiC Pro, and Hyperlapse
ABOUT YOUR INSTRUCTOR:
San Francisco-based mobile filmmaker and photographer Cielo de la Paz first found success with a Shot on an iPhone billboard. Since then, Cielo has been teaching others to find the same success using just a smartphone. The founder of TheStoryographist.com, Cielo teaches iPhone film and video classes at Stanford, as well as sharing techniques at conferences, private events, and even with government agencies. Over the course of her online and in-person courses, she's helped thousands to capture their own stories using the simplest video gear. Along with those Shot on an iPhone billboards and commercials, you can also find her work in Business Insider, USA Today, National Geographic, and House Beautiful. Her creative approach to iPhone filmmaking helped her earn the Gold Cannes Lions Award, as well as honors from the Mobile Photography Awards and iPhone Photography Awards (IPPA).