Mobile Filmmaking with IK Multimedia and FiLMiC Pro

Lesson 7 of 9

Shoot: Micing and Camera Angles

 

Mobile Filmmaking with IK Multimedia and FiLMiC Pro

Lesson 7 of 9

Shoot: Micing and Camera Angles

 

Lesson Info

Shoot: Micing and Camera Angles

Okay, so we're gonna go ahead and roll this camera here. Rolling our audio. Yeah, actually hold the roll for one second Okay. 'Cause there's one crucial thing if we can focus on the back of this camera that I would like to tell people to do when they're using an external audio source, actually maybe we'll do that. If you're using an external audio source with a line level input, you want to control the audio levels with your external microphone, and you want to do something that's called disable audio gain control from inside the FiLMiC Pro settings. What's that all mean? iPhones come with something called audio gain control that's on all the time. And what it means is it wants to give you a satisfactory audio signal at all times. So if there's a loud sound, it's immediately going to compress the levels because it thinks that you don't want that. But if we're filming this dialogue scene and something falls over and makes a sharp sound and it compresses the levels, suddenly the le...

vels for the rest of your scene are at risk. By using the disabled AGC, you're manually setting the levels and they're not going to get overridden by the iOS software. So how do we do that? We would go into Settings, go down to Audio, we're at 48 on compressed and we go to External Mic Levels, "disable AGC". Turn that feature on, you're done, come back out. And you're good! Then we control the levels which have actually already been set on the gain control with the iRig Pro. Very tact, the little thumb wheel right there. And then we're back into our scene! Back to you. Quite what you had for a shot? Yeah. Okay. So, we're gonna go in here and actually check out our exposure. Right now we have the exposure set to Full Automatic. So I want to go in and actually set both my focus, right there, and my exposure. I'm gonna actually push and hold down so what this allows me to do is it allows me to kind of do a manual adjustment here and really get my exposure dialed in specifically exactly where I want to, sometimes there's not a spot on my frame that truly represents my exposure, it's hard to really there's a smaller area that I want to get exposure on, and it can't pinpoint it. I can go into the full manual mode and actually slide this and adjust by half-stop increments the exact exposure I want. So, right now I want to go down to 0.5, I'm gonna lock that. And I see his arm is blowing out a little bit, so I've got my 1K kind of burning in right here. A little hot, it's sun but I don't want it to be that hot. So I'm gonna come over to my dimmer, and I'm gonna dim it down a little bit. There we go. That looks a little better. Alright, so let's go ahead and roll. Neal, how you looking over there? Fantastic, over the shoulder. And speeding. Okay, speed. Okay, whenever you guys are ready. So, I'm trying to top my fifth birthday party. Granted, I'm 31, it's been a while. So, fifth birthday being your best birthday party ever? Best birthday party, ever. Yeah. It was a Peter Pan theme. (whispers) Oh my God. So, first of all, how are you going to top that? I grew up watching Mary Martin. A lot of Mary Martin musicals in my household, but we had dress up, my dad made a croquet course, out in the back. It was like mini-golf with croquet, behind my house, that was specifically Peter Pan themed. So we had all the kids in the neighborhood get together. And basically, line up, play this amazing thing where's there's chutes and ladders of your backyard. And, I don't know, after so many birthdays I've had good ones! I mean, your dad sounds like a genius, so maybe you need to hit him up for some ideas. (laughs) Yeah, I agree, you're not wrong. I just, I don't know. I want to do something special, I want to make sure I'm getting older, I have to be the man now! I have to (laughs) You have to make the decisions. Yeah. Especially because you're having a baby. I know. You're gonna have to do the dad thing. You're gonna have to do the Peter Pan birthday party. For little mini-Casey. Do, do I still get to be Peter? Yes, absolutely. It's a given. Someone's got to be. (laughs) You know? But I've grown up. Well, they'll, with that attitude, yeah. (laughs) I feel like, as someone who's expecting to be a parent, it's interesting. And I want to be as creative as my dad was in a situation like that, both my parents were. Oh, you so will. Just knowing you (laughs) I mean, I don't know. I just don't want it to be embarrassing for them. Have you ever had an embarrassing birthday? Well, I my mom has definitely done a lot to embarrass me. But I've done a lot to embarrass myself. I think my most embarrassing story, so I am on a dance team here in Seattle called Sister Kate. And this was a show, this was during a show that we were doing. And it was the first time we were gonna do this kind of more sexy routine and I'm not really so comfortable with those, I'm more of the cutesy, funny, yada yada, jazz hands. It was a little bit more like that. But what was cool was it sort of was the Lumiere Brothers inspired with the fabric going like this and so it was kind of a neat fun thing. And I was really nervous about it, so I went to the rehearsal space, and I practiced and practiced all day long. Then I was walking home to get in the car to go to the performance venue. And I feel my bag and we had these sticks with fabric on them to do this routine to. And I'm like, where are my special sticks with the fabric? And it wasn't in my bag! And so I'm like, freaking out. And I'm supposed to be one of the responsible ones on the team and this is like the most irresponsible thing you could possibly do. A few hours before you go on to perform. So running back into Hold the role. Thank you guys so much, that was great. We would like to show you two things that filmmakers might want to do when working with actors. So, we're gonna take a quick look at the Storyboard app that we were just talking about. So, there was a great moment there where Jen was saying that she was particularly nervous. And so that might be something that you want to emphasize. How do you want to emphasize it? Do you want to dolly in? Do you want to be on a single? Do you want to be on over the shoulder? Do you want to be on a reaction shot? These are the discussions that you're gonna have, so this is gonna be pretty impromptu. What's gonna be a good level to show you? Sure. Actually, you might want to power that down just for a sec. Okay. So here we have a look at the Storyboard Composer app. We have a handful of setups that we can potentially use. We have a two shot, we have a single, we have an over the shoulder, we have another over the shoulder. We have a clean, we have an extreme close up and we have another extreme close up. So, let's see. Do we want Jen starting on the extreme close up? Do we want to track in even closer to an extreme close up? Probably not, from that tight. So maybe we actually want to dolly out. Maybe we start on a closeup on her eyes. She's like, do I actually really want to tell him this? Maybe I'm making a mistake. And then we zoom out of the shot. Or, potentially, we want to do a reaction shot. Same sort of thing, you can push in on it. You can push out or zoom in, zoom out. Can't believe what I'm hearing, don't know what to say. Let's go back to our scene here. We can arrange these shots in any fashion that we want. We don't have a great outdoor cafe shot that might be a traditional establishing shot. But in the same way that we were talking earlier about, know the rules so you can break them, starting on a two shot might be pretty standard. But what happens, if we move Jen's nice clean single into the first shot? Now we can read the scene as she's really happy, excited to meet this guy, then they meet and then let's go back to this panel. We're gonna move it third, maybe Casey's like, I don't know. (laughs) My brother set me up on this date. Maybe it wasn't such a good idea actually. Let's take the camera direction off of this. So now we've created a different narrative altogether. Closeup, two shot, extreme closeup, then we probably want to go into an over the shoulder on Jen. Maybe a matching over the shoulder and then, maybe she's like, uh-oh. Yeah, I'm not feeling this thing. And the great thing about the app is you can play with the scene duration, you can play it at any time, you can play with the duration of shots. You can stay on a particular shot for six seconds which is gonna make a much bigger difference than if you're watching it for two. Do you want to talk about some other gear for possibly some handheld shots? Sure, though actually the best rig for this I think is on that. But if you want to showcase how you might do it not so much in coverage but in a single handheld take, I think that would be great. Yeah, totally, okay. So, this is the B script. B script Pro. Cool. Which I don't think we're gonna showcase the wide angle because we have so much tech gear around the scene so we want to be really tight. Which I guess we'll showcase it later, but why the iPro lens is such a good option. So one of the things that is problematic especially if you're on a longer lens with these smaller devices is again, the shakiness of them. So it's nice to be able to add a little bit of mass to your camera as well as a little bit of size as well. So, what's really cool about this B script is there are, because it's scalable, you can fit several different types of phones. If you get one for the iPhone 6, you can actually make it bigger for the iPhone 6 Plus. It's got several different mounting points on it which is really nice. Quarter 20's all around it, quarter 20 is kind of the standard mounting type of screw. And you have a 37 millimeter screwed thread adapter here, so you can go again, wider lens, more telephoto lens. It's obviously a little bigger than the iPro lens. It's a different purpose, it's meant for a little bit more production. Heavy type stuff. But what I love about this is there's a grip on the right side here, and it allows you to kind of spread your hands out a little bit wider. Which is super handy when you're going in for a tight closeup on something, and you want to get a more handheld feel but you still want it to be a longer lens and you don't want to put on a dolly or something. So you can kind of float with it and whatnot, that way. So, yeah, this is one piece of gear that I'm really diggin' right now for my 6 Plus. Okay, so let's let's go back into this here. I'm gonna go for a couple different shots here. So what I want to do is I want to get a traditional I'm going for traditional overs. So, essentially, over the shoulder, over the shoulder to kind of get an idea of the connection between the two. I like to start a little wider and move in tighter. So, this this shot here is a little bit wider, or a little bit tighter, I'm sorry, rather. So let's go back into you guys' dialogue. Okay. Whenever you're ready. So, I lost the sticks with fabric on them, and I'm running back to the rehearsal space to see if they've fallen out of my bag. And I retrace my steps, they're nowhere to be found. They are completely gone. Then, as I get into the elevator, I see this woman with a scarf that is the same fabric that the stick prop was made out of. And I go up to her like a crazy person like, before I even say hello I grab the fabric gingerly, I'm like, where did you get this? And she goes, oh I got it at Joanne's Fabrics. And I'm like, inside I'm like, I believe you, but I think you're lying to me. Because I need this prop, right? But I just didn't want to press it and I was like, okay, she's probably telling the truth. So I leave, and then I have to tell my friend who choreographed the piece that we don't have the third prop. So, we had to hurry up and re-choreograph the routine for two people. This actually worked out because the stage was actually really tiny. And it wasn't enough room for three people for this routine. So it totally worked out. Except when I actually did the routine the week later when we reduced it to two, and it worked the first week. The second week, we had still two people but I was the one doing it, we kind of tag teamed. Three different people. And that performance we had more balloons on the stage than we normally did, had ever rehearsed it with. So we're going into this, you know, the song was Dead and Lovely by Tom Waits. (laughs) And it's this sensual, you know, right? And I call it the sad Batman routine, 'cause the fabric is blue. Seems like the perfect song to wave sticks to. So I called the sad Batman routine. And we're going into it and there's these big turns with movement and my dance mate, Gabby, her stick with fabric catches the balloons and gets caught up in the balloons. And at one point we were both caught up in these balloons doing a kind of sensual, sexy, sad dance. (laughs) And we're caught up in these balloons and we're like, what did we do? We're caught, like we can't turn this into a comedy right now. I feel like maybe the balloons could add to that. Like, how sad is this. Yeah, I mean Onstage that caught up in these We just had this moment where we look at each other, and we're caught up and we're just like, we're just gonna have a little sensual moment looking at each other, figuring out what to do, and so, we kinda slowly free ourselves from these balloons. And once we were free, we're just like, thank God! And we just started dancing around with these sticks and totally abandoned the choreography, completely abandoned it. At this point, we're just looking at each other to mimic each other, like ah we're gonna do this now. And then we're gonna do this now, and tried to sell it and it worked out, but (laughs) oh my gosh, I was so terrified. I think that was the moment when I was like, that was horrible. Nothing could be worse. But of course, they could be Yeah. I've embarrassed myself enough, so Well, I mean, when I was a kid I certainly I don't know how old you were at that point Twenty Last week (laughs) I definitely embarrassed myself a lot when I was a child. For instance, the first time when I learned how to play baseball. I, there's a very new, the whole concept of baseball is very new, and I happened to thankfully have a big backyard and my brother took me out back with the rest of the kids in the neighborhood and said, okay, Casey, you are gonna be the catcher so we want you to sit here. I'm ready, I have this glove. I'm just prepared for this moment and my brother's up at bat. And the only instruction I had was, be ready to catch this ball. Just be ready. Ball's gonna come. So, as five, six year old tactical thinker, I think, I'm gonna catch that ball before it crosses the plate. (laughs) So Nice. I'm digging deep, and I'm reaching down and I'm crouched and the pitcher winds up and just tosses the ball. And it all just seemed to slow down, at this very scary moment in retrospect, but I reached and I'm coiled, I'm prepared. And my brother's sitting, ready to swing. And I leap forward, and I felt like I was just just this tension, all this weight, I'm like, leap forward right in time for my brother to smack me in the back of the head with an aluminum baseball bat. (uncomfortable laugh) I have cried in my life. I think that was the beginning of serious tears. The name of the game is get the ball before the batter does! Yeah. (laughs) It's actually, it was get the ball before the And then you died. Yeah, before the catcher dies. (laughs) I'm glad that your corpse looks amazing though. It's amazing what science can do nowadays. (laughs) I hope there's there's so many people that these days we have to be so careful. I'm gonna turn your profile slightly. Yeah, there we go. So, if you wanna maybe drink from your coffee. Motivation. We're gonna do a little rack focus here. So let's take a peek, go ahead and pop in here. We'll take a peak and show one of the really cool features that Filmmaker has is you can set focus points, and you can rack from our foreground to our background, one character's generic, and the other character, it's a really good way to kind of show that emphasis and direct your viewer's eye from one character to another. So, setting the close mark right now. Actually trying to set the far mark but let's see if we can pull it in tighter to Jen. And we get Casey soft and we pull back out. So, they're pretty tight so it's not quite as dramatic if you're gonna go from across the room but you can definitely move him into a soft and direct the viewer's eye towards her. And then rack focus to get his reaction right there. Yeah, it's a really good way to kind of direct the viewer's eye back and forth. You guys can keep doing your thing. I hope that we have these experiences for my kid that he's I don't want to say that he's able to injure himself in that same way. In a safe way. But just, we were offered a lot of freedoms as a kid. And maybe I guess as a new parent, I'm starting to get scared. Did you ever climb trees when you were a kid? Yes. Okay, did you ever fall down trees when you were a kid? No, I was pretty good at it. (laughs) Thankfully, thankfully I also never fell but a friend of mine in the neighborhood tree, I saw him do what he calls now a controlled fall from It is a skill! Falling is a skill. I've heard. (laughs) Are you too good for them? Now, but I mean, we were just out, we would hang out in that tree, just for hours and hours. And all I can imagine being this new parent is this toddler hanging out of the top of a tree, not able to talk and yet somehow Getting in the tree. In diapers, falling down. I don't think that they'll be coordinated enough to shimmy up that tree as quickly. I think they'll be out of diapers by then. You're probably right. I think, I don't know anything about parenting. But what the movies tell me, yeah. You're fine. You're fine. I mean, is there can you give me some advice? Advice? Advice, I'd love to hear advice, yeah. Toddler away from from danger out of trees. Well cut all the trees down, obviously. No, don't do that. No, don't do that.

Class Description

In the last few years, mobile tools for filmmakers, musicians and creators have become more powerful, useful and more widely adopted. IK Multimedia has developed a range of products that are affordable and effective when paired with market leading filmmaking tools like FiLMiC Pro.

In Mobile Filmmaking with IK Multimedia and FiLMiC Pro, Neill Barham, the founder of Cinegenix and FiLMiC Pro, and noted cinematographer, Jonathan Houser will show how to use their mobile app with the IK Multimedia's iRig PRO and iRig Mic Field to get incredible shots and capture pristine audio that will fool anyone into thinking you have the budget of a hollywood film.

Listen to special guest filmmakers Sean Baker and Chris Bergoch talk about how they used iPhones and FiLMiC Pro to make their Sundance hit Tangerine, which was acquired by Magnolia Pictures and will be released theatrically this July. See the trailer here.

Both the iRig PRO and FiLMiC Pro were recently featured in an Apple iPad commercial with Martin Scorsese and are becoming more widely used as professional tools for filmmakers. Learn how to use them to get the breathtaking shots you want. See commercial here.

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