Mobile Filmmaking with IK Multimedia and FiLMiC Pro


Mobile Filmmaking with IK Multimedia and FiLMiC Pro


Lesson Info

Shoot: Micing and Camera Angles

Ok, so we're gonna roll this camera here um ruling our audio um yeah actually hold the world for once, okay? Because there's one crucial thing if we can focus on the back of this camera that I would like tio tell people to do when they're using an external audio source actually, maybe we'll do that. Um 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 disabled audio gain control from inside the filmic pro setting what's that all mean iphones come with something called audio gain control it'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 levels for the rest of your ...

scene our risk by using the disabled a g c you're manually setting the levels and they're not going to get overridden written by the ios software so how we do that we would go into settings, go down to audio, we're forty eight on compressed and we go to external mike levels disable a g c 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 game control with the I rig pro um very tact, a little thumb wheel right there and then we're back into our scene, so back to you weii what you had for shot? Yeah, okay, so they didn't go in here and actually check out her 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 we're actually pushing 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 and specifically exactly where wanted 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 want so right now I want to go down too point five on a lot that and I see his arm is blowing out a little bit, so I've got my one k kind of burning in right here. A little hot it's son but I don't want to be that hot so I'm gonna come over to my dimmer and I'm gonna dim it down a little bit way go that looks a little better all right? So what's good and roll neil how you looking over there uh fantastic over the shoulder and speeding okay speed can't whenever you guys already I'm trying to talk my good birthday granted very once in a while so so fifth birthday being like your best birthday party ever yeah uh it was peter pan thing so first of all, how are you about that? I grew up watching like mary martin martin musicals in my household but we dress up my dad made a croquet course out in the back was like mini golf with croquet behind my house that was like specifically like peter pan themed so we had all the all the kids in the neighborhood to get together and basically, you know, lined up play this amazing thing where there's like like chutes and ladders up your backyard uh and I don't know after so many birthdays like I've had good ones well, your dad sounds like a genius so maybe you need to, like hit him up for some ideas yeah, I agree you're not wrong I just uh I don't know like I want to do something special I wanna make sure like you know I'm getting older I have to be the man because you're having a baby you're gonna have to do the dad thing you're gonna have to do the peter pan birthday party for a little mini casey to lie still gonna be peter yes, completely given someone you know what it is but I've grown up well e I feel like you know it's a someone who's expecting to be a parent it's it's interesting. Andi I want to be as creative as my dad was in a situation like that both my parents were you so well just knowing you e I mean, I don't know I just want to be embarrassing for them. Yeah, well, I my mom has definitely done a lot to embarrassing me, but I've done a lot to embarrass myself. I think my most embarrassing story s o I monitor and team here in seattle upheld sister kate and this was a show this is during the show we were doing and it was the first time we were going to dio this kind of more sexy routine and I'm not really so comfortable with those more with the cute sea like funny you gotta just it was a little bit more like that, but what was cools it sort of was like the lumiere brothers inspired with the fabric going like this and so it's kind of a neat fun thing I was really nervous about it so I went to the dance rehearsal space and I practice and practice all day long and it was walking home to get the car to go to the performance venue and I feel my bag and we have these sticks with fabric on them to do this routine to like, where are my special sticks with the fabric and it was in my bag and so I'm like freaking out and I like so sorry one of the responsible ones on the team this is like the most irresponsible thing could possibly dio you know, a few hours before you go I'm getting to perform so running back into the rock hall the world thank you guys so much that was great. Um we would like to show you two things that, um filmmakers might want to do when working with actors, so we're going to 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 an over the shoulder? Do you want to be on a reaction shot um these are the discussions that you're going tohave so this is going to be pretty impromptu what's going to be a good level to show you sure and actually you might wantto power that down just for a sec um ok, so here we have a look at the storyboard composer app we have a handful of setups that we can potentially use um we have a two shot we have a single we haven't over the shoulder we have another over the shoulder um we have a clean we have an extreme close up and we have another extreme uh 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 close up on a rising like do I actually really want to tell him this? Maybe I'm making a mistake and then we zoom out of the shot um or potentially we want to do ah reaction shot same sort of thing you can push in on it you can push out or zoom in zoom out um can't believe what I'm hearing don't know what to say um let's go back to our scene here we can arrange these shots in any fashion that we want we don't have ah great outdoor cafe shot that might be a traditional establishing shot but in the same way that we were talking earlier about uh no the rules that so you can break them starting on a two shot might be pretty standard but what happens if we move jen's nice a clean single into the first shot now we can read the scene as you know she's really happy excited to meet this guy then they meet and then let's go back to this panel we're going to move it third maybe case he's like um I don't know my brother sent me up on this date uh maybe it wasn't such a good idea actually let's take the camera direction off of this um so now we've created a different narrative altogether close up to shot extreme close up um then we probably want to go into an over the shoulder on jen maybe a matching over the shoulder um and then maybe she's like oh yeah I'm not feeling this thing and the great thing about the apa's you can play with the scene duration you can play it at any time you can play with the duration of shots you could stay on a particular shop there six seconds which is going to make a much bigger difference than if you're watching it for two do we talk about some other gear for possibly a handheld shots um sure, though actually the best rig for this I think is on that, but if you want to showcase how you might, uh, do it not so much in coverage but in a single handheld take I think that'd be great, yeah, totally ok, so this is the business the b script kept his grip pro cool, which I don't think we're going to showcase the wide angle because we have so much tech gear around the scene, so we want to be really tight um, which I guess will showcase later, but why the eye pro 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 like again the shakiness of them so it's nice to be able to add a little bit of master your cameras was a little bit of size as well, so what's really cool about this be script is there are because it's scaleable you can fit several days and types of phones if you get one for the iphone six, you can actually make it bigger for that put six plus it's got several different mounting points on it, which is really nice quarter twenties all around it quarter twenty is kind of the standard mounting type of screw on do you have a thirty seven millimeter screwed thread doctor here is you can go again why your lands more telephoto lens it's obviously a little bigger than the ieper lends 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 kind of spread your your hands out a little bit whiter which is super handy when you're going in for like a tight close up on something and you want to get a more handheld feel but you still wanted to be a longer lens you don't put on a dollar or something you can kind of float with it and and what not that way so yeah, this is one piece of gear that I'm really digging right now um for my six plus ok, so let's uh let's go back into this here we'll go for a couple different shots here so I want to do is I want to get a traditional I'm going for traditional overs so essentially you know, over the shoulder over the shoulder to kind of get an idea of the connection with the two between the two I'd like to start a little wider and move in tighter so this the shot here is a little bit wider are a little bit tighter I'm sorry rather um so let's go back into your guys is dialogue whenever you're ready so I lost these sticks with fabric on them and I'm running back to the rehearsal space to see if they've fallen out of my bag I retraced my steps, they're nowhere to be found they are completely gone that is a get into the elevator I see this woman with a scarf that is the same fabric that this stick prop was made out of and I go up to her like a crazy person like and I before even say hello I grabbed the fabric gingerly and like, where did you get this sense? Because al I gotta joan's fabrics and like and I'm inside him 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, ok, she's probably telling the truth so I leave and then I have to tell me friendly choreographed the peace that way don't have the third problem, so we had to hurry up in re choreograph the routine for two people this actually worked out because the stage is 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 a week later when we reduced it to two and it worked the first week the second week we read it we had still to people but I was the one doing it, we kind of tag teamed he's three different people and that performance we had more balloons on the stage than we normally did had ever rehearsed it with. They're going into this, you know, the song was dead and lovely by tom waits senate's essential, you know, right? And I call it the sad batman routine because the fabric is like blue seems like the perfect wave sticks. I called it the sad batman routine, and we're going into and these 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 were both caught up in these balloons doing a kind of sensual, sad dance on were caught up in these balloons that were like, what did we dio were caught like we can turn this into a comedy right now, like e e it's? Yeah, I mean, performers way just how does when we look at each other and were caught up? And we're just like, we're just going to have a little sensible moment looking at each other, figuring out what to dio, and so we kind of slowly free ourselves from these balloons, and once we're free, we're just like they got their start dancing around with these sticks and totally abandoned the choreography completely abandon it at this point, we're just looking at each other to mimic each other like we're gonna do this now and then we're going to do this now and tried to sell it and it worked out, but oh my gosh, I was so terrified I think that was like the moment when I was like that that was horrible, that was nothing could be worse, but of course they could be I've embarrassed myself enough, so it's I mean, you know, when I was a kid, I certainly I guess I don't know how old you were at that plant, but twenty last week I, uh you know, I definitely embarrassed myself a lot when I was a child, for instance, like the first time when I learned how to play baseball, I it was very new, the whole concept of baseball is very new, and I happened to thankfully have a big backyard, and my brother, uh, took me out back with the rest of the kids in the neighborhood and it's that, ok, casey, you are going to be the catcher, so when you sit here, I'm ready have this glove, I'm just prepared for this this moment and my brothers of a bet and the only instruction I had was be ready to catch the small be right ball is gonna come so as like, you know, five six year old tactical thinker, I think I'm going to catch that ball before, so I dig in deep and I'm reaching down and I'm crouched and pitcher winds up and just tosses the bomb and all just sort of seemed to slow down this very just scary moment in retrospect, but I can reason I'm coiled, I'm prepared and my brother's sitting ready to swing and I leave forward and I felt like it was like just like like just this tension, always waving like leave for it right in time remember there smack me in the back of the head with an aluminum baseball bat I have cried in my life I think that was the beginning of serious tears like all in the name of the game is get the ball before the batter does get the ball before the funding for the before you catch your death looks amazing think it's amazing what science can do nowadays, I hope there's so many people that these base we have to be so careful training profile slightly yeah, so if you want oh, maybe drink from your coffee well, some motivation regular rack focus here um so let's take a peek good and pop in here we'll take a beacon show one of the really cool features that will make has is you can set focus points and you can rack from our foreground to our background one character to another character it's a really good way to kind of show that emphasis and director viewers I from one character to another so neil setting the close mark right now uh actually trying to set the far mark but let's see if we can pull it in then tighter to jen and we get casey soft and then we pull back out so they're pretty tight so it's not quite as dramatic if you're going to get from cross the room but you can definitely move him into a soft ah 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 you know direct the viewers I back and forth you guys keep doing anything way hope that we have these experiences for my kid that he's able to injure himself in that same way but just you know way were offered a lot of freedoms of the kid and maybe I guess is the new pants like I'm sorry concerning is scared like did you ever climb trees when you're a kid okay you ever fall down trees when you're a kid I thankfully thankfully I I also never felt, but a friend of mine in the neighbourhood tree. I saw him do what he calls now a controlled fall from from calling is a skill I've heard yeah, uh, no, I, but I mean, like we urges out, we would hang out of that tree of yours for hours and hours and like all, I can imagine, these three parent it's, this toddler like hanging out at the top of a tree, not able to talk, and yet somehow in diapers falling down but well coordinated enough to show me up, that tree is quickly. I think they'll be out of diapers by then. I don't know anything about parenting, but what the movie's tell me yeah, you you're fine, you're fine. I mean, is there is there, like, can you give me some advice? I love to hear it in my eyes? Yeah, from danger treaties, we'll cut all the trees down, obviously don't do that, 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.