Introduction to FiLMiC Pro
We're going toa give everybody an overview of the ap landscape from pre production production into post production and with a little bit of an emphasis on audio because house will be able to tell you audio is equally if not more important than the picture that you're going to get andan we're going to get into filmmaking because mobile filmmaking at its core is from filmmaking and there are a lot of universal concepts that jonathan's going to teach you in the second half of today's program you absolutely I think that you know uh mobile filmmaking and also just shooting photos and video on your mobile device is it's kind of become this thing that's sort of taken off in a way and sort of crept up on us and it's really exciting to see these devices becoming better and better as the years go on we have several devices here that range from you know, little tiny small devices little iphone four is all the way up to the six plus and they're just becoming this great tools that like allow you to...
get your vision out quickly and easily or allow you to kind of get into the shooting start making your ideas and making films with a low barrier entry but yeah, we're excited talk about what our favorite aps are and what sort of tools we have tio kind of to create our vision for things let's talk a little bit about your app, because your apple is what made me get into development and I think that that wass on the iphone three gs or the three it was on the was two thousand nine, so I think it might have been iphone threes when it was out, but we made it for so you could even we even use on the iphone one believer. Oh, but yes, so they're happy that I created was it's called storyboard composer, it was called hitchcock previously and it's a it's, an app that allows you to kind of pre visualize your ideas and get them out of your head really intended not necessarily did to replace storyboarding by any means, but it's intended at the minimum for a director or creative to be able to kind of quickly and effectively convey their ideas, either to a storyboard artists who would then take the images and sketch them up and draw them or even on set where you're shooting, you've got a complex, a series of shots and you're trying tio uh, kind of you know, things happen when you're shooting, things happen that are out of your control, so oftentimes you'll something will will change and you have to quickly figure out what I line is or or maybe the next series of shots are, and so to be able to take your phone, take images of the scene rearrange them, add markups, play playback is a movie you can kind of get an idea of your piecing then and, you know I could never drop not a very good job. So drawing stick figures has always been very frustrating for me, so being able to like quickly took pictures and arrange them was was kind of this the the solution that I came up with and it's it's been it's been pretty successful, it's been doing pretty well and yeah, so it was certainly an eye opener for me at what an effective tool a mobile device could be, and I can't draw either and jonathan's app and enabled you to communicate with other people on your set at a speed with which I didn't even know it's possible definitely a game changer in preproduction and at the time, actually, if it was really the three, then there was no video capability at all. The three gs shot six forty by four eighty, which was pretty lousy four by three standard definition and so filmic pro came around with the iphone for which shot seven twenty p eight hd and wass the first credible smartphone for high definition video, it had some limitations uh, no image stabilization limited limited frame rates I think it topped out at thirty frames a second, then slow world ng shudder, but if you have a stable image, very stable image, you had great quality footage that you could cut in anywhere. So around the time after I created the aptly one on a couple of content trips, and initially they started out with jonathan shooting dslr and our first sort of gambit. Wass can we make a video that intercuts dslr footage and iphone footage on have an audience appreciate it and not notice a glaring differentiation and shots? And we certainly did that in the first trip on one of my favorite anecdotes is the second trip that we went on very early into it and jonathan's carrying around. I think it was a five d or seventy and you also have this external audio wigan's. We'd be trying toe hold the camera. Uh, calibrate the lenses, tweaked the levels and one day you ended up borrowing or using one of our iphones with the eye pro glenn's kit and then just said, you know, the hell with that? Yeah, why am I using ideas a lot? I remember that moment, clearly it was up, there were fewer croatia or some with some beautiful landscape where there's this kind of tall grass and this blue sky pulling the phone out and shooting just this kind of like b roll coverage of this landscape that was just looked so vibrant and it was it was like an iphone, I think with my iphone four writes it was just this tiny little thing and I'm like, you know, I'd already gotten into shooting stills with the phone, but I was just starting to shoot more and more filmic stuff and really realizing the power of of these beautiful landscapes with the iphone and being able to shoot these kind of really great moments and so I basically like mothball my camera for the rest of trip and basically jump right in we really cool about the april ends kid at the time was that you can swap out wide or telephoto lenses and really get those focal lengths that you, you kind of miss with a smaller format lens system. But the thing was really monumental about filming pro for me is that not only did it allow you to tap into higher data rates on your phone, so you're not kind of stuck with those lower fifteen megabits or thirty megabits per second, you could go up to fifty megabits per second, which really opens up the capabilities of the chip and also the native camera was shooting at thirty france for second if I'm correct right? And so it allowed you to drop into a twenty four frame sort of time line and look, which is for better or worse the frame rate that we're all used to being mohr filmic so now checks in the mail for that one so before we dive into the specifics, we're going to play you a short little video that shows some of the wonderful content that the people are creating all around the world with iphones on dh tell me so couple things just jumped out at me seeing that clip for the three hundred fiftieth the time is one I mean the incredible use of two hundred forty frames a second that you were just talking about in the snowflake just slowly moving across the screen and the expressive potential that these devices now have that they didn't have two, three, four years ago is unbelievable and you khun get not only great finished product, but if you're an aspiring filmmaker you can learn what the expressive potential is you can try out forty eight frames a second you can try out sixty frames one twenty two forty how does the yo yo player look at all of those different frame rates and which is the right one? And instead of having to go you spend twenty thousand dollars or you know uh twelve hundred fifty bucks for a day weight you're carrying that around in your pocket hopefully within eight dollars up um and learning as you go and then becoming a better filmmaker in the process the other thing that leapt out to me was actually the lovers on the bridge I think in paris I don't know for sure but just the emotion of it that translates no matter what I mean these cameras are shooting high definition ten adp footage, which is what you know de esa lars were using as a benchmark not very long ago so they're no longer a novelty act if you can convey emotion if you can convey a story, you can effectively do it on these devices it's pretty cool like it's pretty cool like I I spend a lot of time shooting on various types of cameras ranging from you know alexis is two reds down to dea solares even little point and shoot type cameras that are all have beautiful images and have different uses and different weights and different benefits and costs and whatnot, but the camera that he used more than any of those other cameras is my is my iphone I'm always in a situation inevitably where I'm walking down the street neil reference this yo yo story and it's you know you see an opportunity that sticks out to you and so often you just walked by opportunities it's so easy just to kind of like, well, I don't you know you don't have a gear with you whatever but like that saying the best camera is the camera that you have in your pocket it really is true when it comes to mobile video because you really often these moments of in that video I saw a couple moments that you know we're more planned obviously the birds flying through the air it's like these beautiful striking moments where it's like I need to shoot that I don't care if this is going to be in a movie that's going to be four k read whatever later but I need to get this down so we can possibly used to cut into in a moment or whatever and so being able to have not only a phone that captures high quality high resolution footage but being able to adjust the exposure and one thing I noticed pretty much throughout the whole thing is so money next for much of the exposure was spot on and exposure is one of those things that is just the rial kind of the not the hidden secret but a secret to really powerful imagery is getting that exposure right choosing where what to expose what to let go and you know using an app that allows you to be able have those manual controls is so critical in those times to be able to quickly access those things in some maybe a spontaneous moment that you see on the street and I think that's a perfect example of one of those core concepts that you can apply either to mobile devices to film a pro or to read epics, red dragons and every camera in between one follow up point. And so I'm actually still have tyler cannon five d, beautiful camera, incredible image quality, gorgeous and low light. Um, you know, tons of optic choices. I never use it. I never use it, never used it, never use it. And I think the spontaneity that you're talking about, like of you at a cafe or at a bar with some friends and somebody is telling a good story. You don't pull out your five d and take your twenty four to seventy two point eight and, you know, I mean the conversation stops and people like, you know, get that thing out of my face. But with mobile devices, smartphones, everybody is completely comfortable with it. And I think that there is sort of like a new I know everybody's, an actor, and everybody has the potential to be a filmmaker. So hopefully after today's class, you'll be inspired.