No, sorry. Pretty good. We're gonna go with wait. That's sitting still. I want I want it right in here. Kind of like you got your first shot or sorry for medium medium of him. Just shuffling with this desk, founding money just to establish a little bit more of the settings way we're gonna go to the door opening rank our computer pulling in. Okay, um, I think for simplicity. So operator kendra yes, sir. And, uh, they'll take a shot. What, two minutes? Next shot? We're gonna we're gonna come in closer. And, uh, I definitely like this filling the space up with last, so yeah, so we're gonna have to get the stands opposed can hear this's one o five and I'm thinking, this is just barely barely long enough to get what I want is a close up shot of his face. Uh, this this is what I think this is what I want. Ok, but you couldn't do this unless you had it on a gym or something to get that close. So we put two hundred on it. I got mackerel, one hundred people, but getting the sticks over here ove...
r on top of the table. Doesn't matter what macro just means you can go closer on his face way get to underwood get that same shot that you are like the texture of the skin no I just I want this shot right here where we can see is the money in his hand so really your goal is to get the money in the hand's running in the eyes can you hold the money up a little more so the money in the eyes down everybody's hands right um and then do you even live close your face so you really can't tell what you're doing with be peeling off yeah like that that's great okay, now we're gonna play we're gonna play with this angle so a two hundred gonna give us rumoured that will be our next things you can get that ready two hundred next just to thank you and if you want it if you want you can go this's what I was saying wait a second wait price you'll be able to get a shot this is what I was saying is in this copy we don't show this twice I have a question on the neck shot there were like four or five shots wait what is that one is do we want a handheld you weigh one hundred and you could just cropping find that's what that's my decision well dude on dude on this list the first wave like ten different yeah, this one? Yeah. Playing playing so much next. I want you to know one of these sticks set up like a side pretty high so you could help get you to say you're ready. Need seventy. Remember? We're shooting here. We're ready to shoot, so we're a little under you. Okay? With that, we're gonna change out car way. See what we get his know that jared I need to talk the town way like what's your motivation. Wait a second. You some kind of god. So what? Yeah, do not move trying focus under your eyes. Don't wait with this money up there can you see your money? But right on the table like that way make sure I'm trying. Wait, go back out. I didn't do it out of the way this looks remember we're going to do to sectionals and shot first shot is gonna be you discounting your one time bride okay, that's all right, the second shot here is your second warning someone's here, but you're not scared now. So, it's just gonna be a very casual, more little grammy, like like your focus is gonna change. You could be lending money on the table. You get that, and then no, uh, this'll give you some controller diffusion and over color I don't think there's any color gels and they're pretty sure that just ceos just to make things aren't ct beans to make things blue there's free packs for you to kind of play with a little bit way we need a marker smelling that we haven't even talked way haven't even talked about sounds way uh we definitely have to talk about sound uh do you have any, uh, any dialogue? No doubt so you don't let cool shoot that's what we call mos which all fully there's no dialogue records see if anything, you should have an audio guy sums here with the boom mike and shoots a little bit of this a cz he's doing this or at least repeats it very sound has to match so doing fully delivery of times but grabbing a mic right off camera wear your hamper you mind if you told him so? Can you start shooting in the next booth? That deal is that one of their, uh, color temperature adjustable, you're moving the camera a little bit. You back? Okay, don't already. Well, great cameras ready? Just a second, man. Okay, so can I have a cruise? Attention work on the car was good and put leg getting out as a purse to picture it in my own guys, so for those watching and have you think we're sorry, matthew, for interrupting? We're, uh we're going into the chute. Matthew and the crew had about you doing. We have a new guest here named, uh uh, what's your name, mcraven. Dogma craven's in the house. And, uh, hello, he's going to try. And I'm not gonna try and make sense of any of this. I'm just gonna observe for a few minutes, but I like what I see. There's. A lot of people jumping around, moving quickly. Uh, talent looks good. Matthew seems in and let's let matthew, you know, take the helm again. Go for it, man. Okay, so this shot it's the storyboard isn't perfectly clear on how this is gonna be edited for ed, but for ed's purposes, we want to make sure we're gonna cover two actions in this shot. So we're gonna roll five to eight seconds of her talent here, counting the money out on the table. And then I'll cue you for gun on the talent is then going to stop counting money very calmly. He's. Not afraid. Reach over in the drawer and put the gun out on the table. So I want to make sure if this raining doesn't work for that, we won't try to do it in two stars. Focus on what I would like to do is get this is down with one shot and then we'll work our way up move it up two or three feet, we'll get the money in their hand like a grumpy old bear angle so far like I would like to do it here if you can't focus on it here. So wait, can you put the gun but next to the glass between the glass and your money instant, like two old guys from the muppet sets it up like I want youse are fifty. Honestly, it's it's, great to watch people working stuff out on the fly or you re a world is leskanic on this bigness? There are there are two thousand people watching, but this is a great practice because there's a lot of pressure. Many people are watching all right pounds. It seems like they're working through it. Matthew has got to be honest hair out. You have the post together in no time flat but it's really, really important part of the creative process that it's kind of lifting weights, you know, you stress yourself out a little bit. We're in the next time you're out of that pressure a little bit stronger and you do that over and over and over and then you you can perform under pressure on call which is really what it means to be fresh. So let's, go back to doing back to matthew this's not seen one. This is seen scenes of sales shot number yeah, scene for you have different scene, tommy seems you have oh, I see it's a shot, right shot number four top four got it. Weigh only have one scenes let's just talk about the shot scene one shot for already rolling. We're rolling already. Wow, we're not no, I mean, uh what I wanted to make sure is that the way the dark is, um I want to make sure that do we want the door open or not? Because, uh, for shooting because you're gonna have some issues with continuity if you open and close that light's gonna change drastically and and before we get going, I want anyone to take a deep breath, okay? And I want the director and the dp and you probably would have already done this to look at this first shot. Can we put the first guys that live for everyone to see the ultimate reason I'm slowing you guys down this very second because this first shot we'll determine every other shot in your short and I don't want to make sure is that before we just start going for the motions that the dp and director look at this shot uh I would like to make sure the gaffer dp and director are looking at this frame and they like the light they're like the lensing they like everything uh and I think it most important, I guess is the way everything's set up because once you start, you can't go back that's all I just wanna make sure you realize that I've already seen you guys catch a few things like, oh man, we should put some liquor in his cup, which, like now is the last time you ever, ever go back on the way we'll have all kinds of continuity problems did that one so way? Matthew, I think you should be looking at what they're cap you know I'm looking at on that one but it just never get so keep in mind that the the grey or look, they look green to me on the screen lines stay on that things are actually like basically letterbox and that uh supposed to be even though you might be seeing images in there it's not being reports and see if so always be careful that's a very common mistake that you can see stuff for the translucent gray door remember it's out of the frame when he I think they did a pretty nice job to be honest it's pretty cool it's also my shot kun already way should actually that's that's yeah, sure, yeah you don't let us interrupt you when you guys were a role do we just wanted to give you guys what role this camera's ready so you're needed in your director talking talking you come back to the shot okay he wants actually tio what the scene again? So seventy two like a handful of things your light on his shoulder is nice out there's one problem that I see that we're not gonna be able to eradicate all the reflections in his glasses maybe that's why they've been discussed you're able to see the camera and the lights and stuff that's really a limitation of you we're in time that we've got right now and start and I think every real production be down that in overall yeah, I think that for uh ten minutes ten minutes on I'd be proud with this I would probably playing a bit more with light personally because I know that she wants the life that I can't fix it um and I think that it's quite onset we've been told to shut up okay, we uh we're gonna skip audio way got speed now I'm not gonna be quiet, you unless you want this particular honor, you should probably not be the guy slating you should be behind the camera actually watching what's going on and not what? This is a very important point not what you're seeing with your eye right now as a director it's absolutely relevant what the cameras seeing is what you should be staring at that makes sense very good that's why you see the to direct the director's sitting you know, on chairs looking at a monitor so second or carson you know how to do it. That's carson's second, I think it's a great point that's that's uh, something in vincent's and early in the deal, you've got to remember what your role is and you're making the finalist is that everything that's in that monitor is a winner and if you're over there slating it's hard for you to see what's going on port were seen one shop. All right, steve. Camera rolling. All right. Seeing one shot for back don't you want to keep going? I just got it. And, uh, quick directorial question uh, is he doing the counting of the right speed that you'd like this that's gonna that's? Why coke? Oh, yeah, like I'd like you to be a little more a little more methodical here you're not doing your taxes, your little happy about not a fact not that not as best way like savoury yeah save it so that's good directions savor it uh you khun talk in mathematical terms I want you to be twenty percent slower I want you to go six times slower I think savoring it it's like a great way savor the money you're in absolutely no rush uh kind of take him into the whole thing and saving the money is a good thing to remember. All right, teo like that wait, we can move on to the next shot. All right, so this is, uh, there's a shot blake ofyou door's gonna be opening your realizing someone's building a moment don't end up where you want the camera very calmly don't move the camera for the gun the gun on the table with a shot this's technically shot six six ok, which is missing in our records hey, carson when you're slating actually showed to the camera like you were kind of jumped to yourself just make sure you can't even see it that's your way just like that you're not afraid is coming just like bring it in and, uh can I have a quick uh, jared uh you're shooting at um a thousand s a four on the lens that shoots open it I believe to wait do you need that the field and you may, you know, do you? Do you want that? The field? Do you want me less noisy image? I'd have taken that he's not moving much. Or do you think that by going to shallow, you're gonna lose a lot of detail? It's in the scene, I'm couple I'm already losing detail in that chinese statue and that's only if, but from his face. So I want a little bit of whiskey. Little bit of people. See that and have you checked it out? I just we're gonna give you a little more time. Perhaps because I'm interrupting on purpose. I want a littler thing. Is they go? Do you want to quickly show them what, uh, five hundred and say it to eight? Looks like on this land. It's too late. Five hundred and, uh all right. And you go the opposite way and go to two thousand saying five, six stay on the monitor. Two thousand projects that's your decision. What do you think? More or less at forward with this one hundred way switch down to like something like thirty five. I think we'll go back down to eight or something like that. But it is not bothering that quote. The cool thing is you can't see sort of that this is a door yeah I think it was kind of a sweet bike what want to make sure that it's all this chaos I guess you're kind of looking at and having fun with it go ahead well in the key thing here is he's gonna pull a gun out of your table we need to make sure people know and are you going to plan on doing a rack focus with that no we we've had increased set within the hyper focal range where x one also so that's the answer that's why we're ready for school just take a little bit of any breath here enjoy it there's a little bit twenty percent too much stress on step up myself were still free spreading actually right for me you were shot that has changed rejected injecting cameras ready let's go back in on the second one is your question for ten years you call that wait this is shot six hey you do five a shot you know whatever don't worry about that stuff all right we're gonna call this shot six point two two three four five six still seem so uh I'm just going to say when it's time you could still be counting money blake I'm gonna say open the door blake two seconds after the door starts opening acknowledged that something's happening and pulled a gun out but you're still going like yeah yeah and then you know you're right yep I'm increasing your guard yeah, just make one suggestion when the door opens that everybody remain still and carson gets out of prison so there's no shadows cross set built a great car and you say you can say action one for him action too for the door action three for the gun they will you get this? We're not doing mos you as a director really? Get to feel it. Okay and have them react all right? This is a scene one shot six take one martyr act one action too that might work that way the whole thing with you know do we have a white panel we make do this without door what's what's wrong you don't like that it's getting over exposed just the time. Such a central wide but it's not dale one over here let's, just move these let's move these flags these kind of live here way happy with this way got a lot of time where you spend a lot of time on this shot. So one of the lines I think we can I think there's something in the light has changed and cut it to a point where it's not over or we could grate it aggressively white bounce exactly you completely saturated contrast it put on a uh ok let's shoot the son of the last game one thing one thing that I realize is missing here is there should be a consistent communication between you and the camera that is ok when everyone's ready alright roll camera and then camera suspecting you speed and then you're calling your action if you're not consistent cruz never gonna know what I know is that he's been in the same exact position for twenty five minutes so just just be a little bit more aware twenty five more aware of your surroundings like you have to have a good connection with the camera and the camera crew had to have a connection with those of the two people you're worrying about everything else should be out your mind on someone else's table okay, first of all it's just really but calling the camera the way you want to see it carson we're gonna set up the uh close up shot this next part is not smooth is to get money for his large tio so we'll probably have to wear this is an issue right here just uh wow you walk and you wear that so craig, how many way have tio you have our memory teo be seven wakes up then we're down to right on down to right way making a mess a little later after this shot with regard to you for help yes, I remember her well you have a workflow work, folks. Yeah, but we're trying to hand off all the footage of this scene in one easy handoff theater. Do we pull this car camera for doing? Is that a bad? Um are there are there refloat our their lines and their regards? There are lots of memory cards, so they're marked for here here's, the one hundred macro and we'll need a ladder for this cameron or of apple box or some promise of shoulders. I wouldn't buy recommendations. You're not taking that card and out of one cameron put into another ever ever. So you want to do like this. That thing is retired for the time being and it's gonna get downloaded to have new card heart's going intothe he's asking for the car right now. Just hold on a second. Just so you guys know I keep a a blue card wallet for the gunshot cards and a bright red card wallet for what shot there were there's, never any confusion, a sze to which car, nicole. Also, I have the cards facing up when they're done shot on upside down when their shots, some key little technical tips, so make sure you don't make that so here's the first it's also because I was mentioning you're never, never, ever take the car. I mean, if you could afford it, I realized that it's less than on my team have multiple cards. But if you if you could have more than one card taking keep it out of one camera going in there without formatting, it is either work or it could three problems. It's higher chance of error. So whenever you can avoid that avoided so we need to get you a ladder there. Green water. Uh, so we're gonna have teo get in hd. Am I for this? Get out, marcus with you, man. We have about our we have about ten thousand dollars or fifteen thousand dollars. Coming just on the ground, sitting for people over and falling microphones. Dale, are, uh, jeff scrapped. Andrew that's, your baby. You know, that's the last years, no one has your baby's kind of changed. I'll leave it on the ground and ten units talk there. Then we'll grab it. Yeah no way we're gonna use this for the garage door so yeah every card has a number on their looks can we get it so we only see the money in the glasses and not on the left of the frame that you want this open and I think this's what I want here I want one of them that was not me just take a sneeze in the head with flashing way want to make sure we don't get this in there that's what you want to get in there and you want to get get down you guys have a huge cost if you want it wrapped around his white shirt or whatever it is from that angle I got your back many many places no way could be those two old guys but I'm gonna get down on it so way way have stabilized him holding back so I got that you like it there's no way that girl you better keep your hand in it so this is gonna be a film how long the second just shot me it's still can't stabilize quite well we are on our way let's stop right now let's find out what your depth of field is in your eyes I am the vice of sixteen hundred uh stop of eight so let's go down to with that let's get down to f four again we're pretty good you like it stay that way what part of fall off I wanted to create a washed out judge that covers is washed out so you guys can see how much of a big deal it is. You can't have the director or anyone else seeing what they're shooting with handheld mode with very body was that's why we these big rigs? All the guys first for a team that's good job around you not want teo let's take a shot at a very big mistakes when I was able to see what's being shot. Except for the one operator. Yeah, we all like to be is lightening fastest possible way. Don't pull it back, especially don't use stuff just to use it um but I think the last time my balls that you have done something more problems or chancellor problems aren't special. Just the camera sound like they're about to shoot this late. I was checking you guys slate anything? No, that was just a test exposure to waves coming out like that with all right. Quiet on the set waken live with john's reflection is shot two already. What is that? It's a scene one shot two take one marker a little couples marker actually let me call on camera rolling too where you do the nice catch man was just about to jump all over you good job what do you feel he didn't roll? Camera camera didn't call back speed before a collection. Were they rolling them? Just that it's. Pretty good, huh? Let's, go out and have you to one where you set it down here. Just okay, so we need so all money down get kissed me coming in and try to do it right there, right there. So for this one, I said you could get a little bit. One of the things that you gave my notice is you have a very big version. Face. Yeah, is that right now? Everything's it's calming down out of your head and there's good. A little bit less chaos. Right on set roll camera. Thank you. Alright, scene one shot to take two action is the only point I want to make that you're doing something really good, which is to review the footage after you shot it. Especially with these cameras. A lot of people make that mistake because on the average production, you know you don't do it is critical, especially focuses. I wouldn't mind playing it because this is a cool shot. Yeah, but it's, you just request playback isn't a saying it's like we're trying to get you to hone your your language a little bit, yeah, let me see play I don't crowd around look at the last shot just I'd like to see playback on that looks good I want to see playback and then when you've seen play back that's when you move on you know uh if you've seen it you like it tell your first eighty we're moving on to the next shot in which one okay, we're done with the desk let's uh to the garage so there kind of yeah settling in our bit to flow now the first twenty five minutes is ro chaotic and I kind of feel that same thing is even a multi day shit on five day shoot first day is always the most category because everyone's kind of figuring out how the other person works the camera and the first day c guy they had working before they're working out their kinks and we're seeing that on a micro scale right now on this little production here it's like a portrait session the first time in the first few series of shots you make you know things might not be working perfectly haven't found the light yet we haven't connected to your to your subject times time enough time to get to know them on and what's really true in the film crews the first shot is often the hardest one to pull out and it could be super stressful but generally gets better and better and bears ago and that's one of the great things that were for the crew that you know it's not as tough the first time you shoot something but also in general as a team you get to know each other and things gel I think I'm sitting where they're going to set their camera so she popped right up do that and move over here okay, so our editor is gonna give him some logging feedback and while he's doing that to parlay what vince was saying that's more than a lot of the reasons that uh that dps and first day cds usually then come as a package when you hear the car they go skiing for hard way directories he respects and appreciates that because they come with kind of a pile of experience of working together on getting chaotic again it's getting good quickly jared was handed the car did he just shot it's been ingested on dh told format over to get he's like there's putting on this car like that we know format over no record of that hard drive fails technically it was dr only once I know I've got a back up the original so good catch on jared's part no no not in the pocket that goes somewhere good way get a new blank one way take this back please today's check shoot yeah and then it would be helpful for me if maybe if you're digging stop let your longer know what your file number is they don't know that with the candidates yeah, fun, huh? Chase is their solution looks like let's get a different brand of camera that's a set and way door good laugh everything loathe this shot's gonna be the door's already open and that's one of their point it's really easy for you for events and sent back here pick off in truth they watched us get you home could be giving us back too because nothing's ever perfect were just pointing out things that are really obvious testing anything more you'd do well to get more it's like shooting fish in a barrel right for these guys their new film way looking car way over wash its silhouette it and you know, like everything's blown out was exposed way don't see this stuff out there just like that's coming in for a scene like spacey out and at a certain point I was like I was making some pretty one after the other way a problem I think giving way turn that way don't need what school is for starting understand their roles and what each person should be restricted to like right here on the show kind of separation that scythe intelligent way shot away from us get it off his garage door I'm gonna need a different lands good ones, but it's that hundred on excellent, you hundred. I'll figure out what that's great I'm thinking. I need, like more like, I don't know, twenty, forty seven what we just, uh, got back about what you were saying. I'm from broots, a lot of about twenty five better together on this body when you get home again, that's another example. But earlier that there's a nice conclusion that twenty days shoot the first couple of days, a rougher and that gets better and it's exactly what you would expect. A mystery but that's. Another reason. Well, why people are inclined to work with people they know respect have looked with past so you can build a little crew around you, a dp or as a director or even a gaffer. First, a city. Whatever you I hear you're taking with, you experienced every set and that's kind of part of the reason the filmmaking industry is a bit more insularity. Van, your photography industry just once you find someone. That you know does a job well, you tend to want to keep working with him because as you can see in a photo shoot there is x amount of moving pieces on uh you know as any to tell you you wantto eliminate risk and on a film crew you've got twenty, thirty, fifty or a hundred people working once you found that great gaffer dp or first a c on you know they work well with them and they do a good job you're very likely to hire them again. Why in the world would you want to hire someone new if that person you were with his great right that's kind of a big big deal to think about it it's like they want to make enemies yeah, enemies or bad anyway but there there's a there's another good takeaway from that is is uh if you are one of the people that's in that role and you get a knopper eternity to work with somebody it's really an opportunity to demonstrate how great you are to work with so no work hard the first time you get in with someone we got every time but yeah really work to demonstrate your abilities that first opportunity get because that will have to get rehired and make sure people enjoy working with so you really think they're front street photography? Of course, being a good photographer and being someone it's enjoyable we'll definitely help the clients hire you again, but being a crew member that is easy going, it doesn't get stressed out too much that instead of adding stress coming to the director by pointing out mistakes, I'm ready to be slightly more of an aggressive manner as opposed to being someone who's, you know, a bit more with this camera moved out here and helps remove problems ahead of time that helps fix issues and help solve problems makes to me when I work with people, when it's, you know, having first system on their busy pointing out that next wines he is wrong, that doesn't help me believing extracts, whether they magically do it or do it in a way that doesn't make it my mistake, you know, I'm well aware I made a mistake, but they don't feel the need to point it out, so everyone else knows that I made a mistake on dh er that helps to atlantic cit house, trusted and really valuable, because I might be getting stressed from other factors, and, you know, they're a safety that I have. I know I can rely on my crew to have my back and make all of us is collected, reached a new level, right? And, you know, this is it it's a really a fine point because, um there's, you want to be light and airy, you wannabe cutter drinking on the job you want, you wanna be lightened area and like you don't want to be laugh and when people are really seriously once there's something going on, you want to try and find a way to measure your response to stuff always be looking for ways to make the situation better and in reality, a lot of filmmaking, a photo shoot or filmmaking is solving problems on the fly by measuring their response to close it. Don't point it out you make everybody aware person just made made a terrible mistake move into position, rake and fix that thing you do so with a smile and a chip on your shoulder like these two guys from the muppets, and then have your producer fire them that's the worst part I mean, you hear the stories about directors firing people on set, and that happens the sad part is all too often or something levels of hierarchy that else wish for something or someone and someone comes out from left stage left and says, uh, way, have a talk it's a tough world, but as long as you work hard and attitude, he had great attitude, it goes extremely long way is there a remote quicker, I think it's unlikely I just saw back on and then they sail. Then let's give sameer you're one by one. Looks brains like across here. So wait have time. I'm gonna give you fifteen minutes for all the interruptions we're giving you. So you're drop dead that on your last shot is it to fifteen? No exceptions that's it movie's over to fifteen with first aid just lied to wait twenty minutes instead of thirty depending on what's going on, you know, keeping an extra ten minutes in his pocket photo three prisons here in the next shot. Wait here, just like six inches off hands. You don't just bounce with you. Wait it's, not time for distractions. Got a few reasons to main one being that a friend very like you don't have time to camera department hasn't been preparing for this sweet back as you get ready for the shot and I think three way before I really analyze whether it's a good idea or not way big picture this a great idea. You know what can kill on? That was chasing you locked up on sometimes saying no to good shots. But your baby, you may lose the battle, but when warren way bigger measure success here comes wayne, please. Headlines like emergency lights way. Okay, this is a great example. Awesome. Having a great time right now is that a car lights wait headlights that will be all that stuff. And the car pulls up and they turned the lights on and there's a headline like that is real life because when you it is and I actually, uh, in a music video I shot recently, I we've spent three weeks tracking a certain model in certain colors car's on when they pull on side everything's going good and that the count one to get the back seat and a back door back left door didn't open. And the guy who provided the car for us so I didn't know that you needed the back left the door open for them. There's so what's happened here is it is it could be more real and now they're gonna have to find a way to shoot around. Ideally, you figure out a ll these things before, so if you have time and if you have a storyboard in the store, bird calls for the lights of the car. When you're tracking down the car, when your producers out there finding stuff first and yes, okay is the right cards, right? Make do that light sword is the bet, and you'd have a fresh battery on set a car start exactly where the car struck a fresh battery on set, just in case when you're capturing the shot, you have to have the car headlights on for extended duration of time. So all those all those air luxuries that if you have time budget, you can, you can make that happen in this case, we have neither. So they're probably gonna shoot that thing with lights on fantastic example that happened here is well, is when you get these cool cars very often, these limitations to what they'll allow you to do with it. So I'll say only x person could be driving this car, and a huge part of your story involves wide shots, the car driving through the neighborhood with main actor in it and that, you know, is gonna print a lot of issues for you or they'll say, you know, you gotta make sure that if you have people like, you know, writing in the back with top open you've got to make sure the time actually on that's what a good line producer will do his or her assistance is really just ask every single question questions on a test that's what differentiates low budget communion logic that you have time and energy so I gotta be honest with you I worked on it and it's not uncommon to have, you know, be extremely last minute, right? Like, you know the client gives the green light you know, a day or two or three more shoot sometimes you just don't have time to go through all this and that's one working experience producers eyes going to make the world difference because they know they're not gonna have time to test the headlights stores that will have a technician on hand can't say half of that car and that's exact with a solution that I mentioned earlier with the car that way couldn't open the door. Kate, our producer and way had set designer made sure his complete set of tools on hand in case anything went wrong and it was we were trying to make a lot of people do a few people do a lot of work and so he kind of camera that had his, uh, there's cheddar tools and coming into every day so for a guy like I actually want it's what they're doing right here marking where the car's in the way so it looks like they're pressing tape they're putting tape on the grounds coming to mark spots one of the basic things you gotta remember is to make sure that dr yourself herself has a reference prints by precise putting a piece of tape in front of a wheel it doesn't help the driver hit his mark but you know you have radios and one of the best single best tools you can bring any film production we're gonna need a set of walking where that is wear so so mean so hardcore about radios everybody get radio checked out with today they're all numbered one ever go to master's way they're not your radio frustrating because sometimes you need a big set of tracks here styling motor just just really efficient again so we could take into account that you think these might be things that you can't acquire at first but just as you start thinking about creating your own production these nice things get budget having instead of walking you could rent me the target by twenty dollars walking to you doing anything with a moving vehicle that's you know not within earshot next we're gonna have trouble communicating with the amount of time you're gonna waste running up to the car back at lights and giving you a certain construction running back but if you change your mind and it almost becomes comic surviving talking about twenty dollars a handheld motor you can afford it great upgrade those twenty dollars you don't have ideas yourself I mean central leave on speaker in the car before we have our people out. Yeah, I'm moving back in with you more wei have markers set up. Are you good right there? Wait eleven muchas because he's gonna drink because I can see an upset here like this line and then tell booth way to make this happen and thirty seconds way get ready to drive way out to see our chapter soothe I live right there. Wait right on catalog like okay, let's, back it up. Are you getting your folks? I'm not checking my focus, so wait logistical problem way we're gonna have in the back seat so you can get the car far from here to the side or shot in the back booth pull up another three way. Okay. Doesn't matter with point forget level way into focus way let's go for a safety question. Who was a driver to start? Stop! You hear? You can't hear you don't drive it with the camera. He's watching a hand signal right way can't see your mark, right? You're aware that that mark on the camera see your mark in the camera see your mark only it's not in frame alright, great, cool, but I just want to make sure that way lights on light weight on perfect yeah I mean good party like every way so make sure it's a question of eleven thousand wait let's turn that light off that one is the brake way hopefully not wait, wait wait jordan change but change focus okay it's been set for when he's in we're just gonna just one fifty way back up on audio yeah, okay cool there's a backup on the way out here I don't see you sandwich you know, for those of you watching uh obvious thing you know is that way a lot of for example shot a car pulling no needle nose should reverse way like that like that pathetic a lot time some ways to use the car, for example for tithe hard to run the camera phone call without breaking any of that stuff in the inner city kids so you start off camera for the photo shoot my first exposed as long as nothing in the background is gonna be trade the fact that people walking that you shot in reverse she waits like that this's shot three year you have to break a few cameras to figure that out yeah, way sharper camera dropping straight towards the ground and goes black and the last thing you see that really is going to hit we got oh my god, it was expensive insider not really you wait, the last shot, all set and ready to go. Okay, way focus on the door. This is way, way back. Ready to go down with this thing. Okay, this shot is ready. We're in focus camera cameras ready. Your shop. This is how we rack focus. No record is ok. Just so everybody knows. We're shooting the five seconds. Still the door and nothing is happening that simple assist, right. Okay. Camera rolling, camera rolling. I'm seeing reflections in that metal band let's go with their camera. Like already carson carson. I think it's, seen through dirt so shot shot through my bad carson when I said, we're switching all right, camera rolling and we're like, all right, so we are seeing one shot, three marker. Okay, nobody move. You can do whatever you need for the car. Wake are smooth. What do you want? The arbitrary way. So we were to go back to after eleven and a thousand. Hey, get something else to stop the car because I don't want to hold this please can someone get a different bag or something after eleven out of thousand done and then we're going to go back to our focus a way the only thing I'm worried about you you move the camera but I don't like the way we get the cadillac something way let's turn this back way need to do this in one take it otherwise it's way yeah, right here on the tape for this shop for safe you think we're gonna have nobody in front of this area except for the cameraman aside so you could be like behind him wailing friends now okay, so we're at a eleven way too dark can't see so right now we're dark and goes where when it's alone out there don't asphyxiate yourself just a little duck down dale okay, wait, brother down shot the first one is we've just been wonderful folks that they're just playing with two guys in the booth show our waldorf and statler he coming so what next let's do it good. Otherwise we're gonna head over to the right percent roi alright, c'mon, hang on, hang on, hang on, let me do this by sunset we'll roll camera so that trick for whatever strange reason the car not stopped he has a very easy and obvious exits cat. I like to practice that just once, so you might not wanna be sitting on my one. You need to talk. So, uh, so, jack, you're going to pull him in. Okay. Quiet on set camera. Right. We're seeing one. Take a shot. You were shot. Five, take one marker. We'll do that again. All right, well, they didn't that again. I'm gonna give some feedback on that. What? I just saw it, right? They're gonna have pulled her all. This whole system relies on really good communication post if you and one of the things that I like to do, uh, I've been on the side. You through? You're the director or in most cases, on a bigger that the assistant director director just is giving people the lay of the land on a regular basis, like okay, next five minutes we're gonna shoot this shot. We're gonna do it, you know, first cut it's gonna go from this side the second cut's gonna go from this side. And so everybody on set knows where you are in the day. And I find that I do the same thing with my whole I don't set even on a doctor. We're still shoot, I'm constantly briefing everybody with what's going on so that everybody feels comfortable because people usually feel uncomfortable when they don't know what's going on, they don't have a good understanding of the big picture, so if you caught what vincent said earlier about, um, you know, I heard there was a lot of questions online about how do we make sure the camera guy doesn't get killed by the car, his foot's about the gas or on? I've seen it happen. I've seen that burger I'm happened where someone gets smashed into or escape or lands on a photographer because there's not good communication too crucial things one vincent I mentioned earlier, if there's ever a critical impact and you can do it without breaking continuity or that kind of sacrificing betraying the shot shoot reverse you can that's really help? Second, if you can't do that, if you're the camera operator and you're at risk or if anyone on sentence at risk, do you put yourself in a position like I noticed your camera guy? Yeah, because there's no chance of getting out of the way on your toes. I mean this's kind of action photography and cinematography here, but it's just a very dynamic yeah, and I know where your escape route is tell everybody on set where you're escaping here's the the camera did not move right, guys that are paying attention. Camera's locked off there's no need for a camera better to be there in the first place if you're doing a pandora tilt that's one thing, but if there's no camera movement, uh, don't put someone there. Another comment I want to make is, I think, what always gets lost with first time filmmakers and sometimes even a long time filmmakers it's, finesse and attention to detail and subtlety. You know you get so absorbed in shot selection just six lengths election that you don't pay attention, those little little details that really nice to me make films amazing waiter, waiter lost cases. Yeah, so you gotta work to a point where you get these basics down on their second nature and you can then start paying attention difficult or the more sauce, you know, the car was moving and stopping and moving of stopping a door was opening, you know, unless the guy is really in a hurry. I don't know anyone here who does that as an answer garage wait for the garage door open or they're completely driving has just because they're trying to escape a cop it's behind them in every way, can the car moves is communicating with the audience. What's five minutes four minutes wait this's such a classic thing because you do get hard deadlines when you shoot right you're going to be out of this building like a five you know or rush hour starts in six and the cops when they say you got to be off that street they're not kidding six o five the probably main shot of the film it's something they've left for the last shot of the film on that such a dangerous thing to do like you know if I were to be you know really tough on these guys at uh two fifteen on the dot yeah that's a rat yes whether or not they have it in the bag I'm not gonna do that much too I'm sure you guys would be amused but you never leave your key shot to the last unless you have no choice like its explosion of car crashes and I have one too many of those four minutes way just let them shoot past four minutes how long I wouldn't say just let him finish there there there there there there around the clock with just keep shooting because that would make a great point you keep shooting nice shot heart fell a woman in the red on red shirt black car timelines they're awesome it's nice to have a zoom lens to make quick little adjustment sometimes wait wait brick using that that uh little slider like a boy you know, and it seems they could, uh I don't think they quite grasp. The idea of less is more because you think it's the right way, we're catching the wave of the door waving flags person you, I'm gonna help you guys out this here. And one and one and two me. Oh, god, I got you gotta work. You guys do your job that way we could get some credits in this film that they're making executive producer mental take the c e p right for seattle car location. Wait hope the crew's catching. How nifty is that more that goes like panel thing. That's cool, right? You put that thing back in and that's nice. You're in control camera for that camera. Alright, rolled seven day marker. Wait! Is that enough like jared? I put it right where you had it. Just out of frame. So if you can't no letter and backlight her leg, tell me what? I'm not a friend. Friend friend wait, wait, wait! Take the diffusion off your calls or camera left further camera left for the camera left you're out sweet that's ok, we're in a reflection over there. There you want to go to you, you can go your way is not very vince you can move to your right if you want still anytime you're e all right. Okay, well cara and roll teo parker actually if you're not you're not told to stop shooting larry that's a rule of thumb if no one tells you to stop, keep shooting okay until the until the main boss but I know I said until the main boss tells you to stop you try and get your dick and I'm not paying attention where's the internet there while uh unless as this is my particular take on it if you could keep shooting and you need to get a shot you haven't got what you want if someone doesn't I tell you to stop and you need it and no one's telling you about the schedule keep shooting it's the, uh, assistant directors jobs keep hands guys but he's not holding you back and in this case, if I'm drinking my sorrows of white residents over there having a dewar's on the rocks keep shooting he just asked the time and get shot. Okay, roll camera. All right, all right. Shot seven take three marker actually, I haven't said anything, so don't ask, just do it without me noticing it another take okay, just wait just hold on this camera on the same plane straight up camp casey straight he expected the matchbox our car is like eight feet long between where the door opens and we're the tires so the slider is just gonna be used for uh uh artistic interest that this person is arriving plane train and we're not going theo a line so you want to you but we're gonna have to be angled yeah okay we'll start from there to keep it on an angle that I'm gonna get everybody alright everyone all the crew uh clear clear the set we have yeah and if you want to bring that other camera over here and shoot over my shoulder and so we can move right with this with this flag yeah you still got to step this way so long to call back because I'm waiting for you to stop wait karen are you in there yourself? I'm angle I can see a little bit of a slider but you know what we'll uh well consider it we'll call that a lesson learned and move forward how's that we'll pretend it's not there unless you learn your lesson you know it's there and everyone else knows it's there hey, so for this shot for this shot where we want to do is you wanna have a market moving way want tomorrow we're gonna come in rip slide left left going to go on record and then and then I think I'm gonna sneeze role after that vince is gonna smooth car yeah you might as well be camera ready or you're focused actually yeah, well have you stay in the car that way when you shoot it again uh what a three days already false alarm okay uh set ready? Okay. Roll camera I'm rolling just seven cut well that's just the monitor not okay sorry camera roll camera cameron shot seven day for marker okay starts later action cut you with that everything is great it's just the logistics of smoothly getting that leg out the door so that so that we may think it might be nice to have the sliders if you could time it stopped exactly when her foot makes contact are getting too complicated no, I think we can pull that off. You'd better wait let's find the mark that's still good for an angle if we push your button back uh no you don't need thio soon meet my parents for lunch I'm supposed to be yeah that's better okay that's even better that light way out uh little bit start cut so when when you hit that mark stop what gotta slow down yeah, yeah you do your best to ease it in. Yeah, um timing of everything was good, so go and get ready to close the door you said ready know anything like that no more that's less you one more so the slider stop carson, you realize every time you touch that door, they're going to bring in style right there. Ok. Ready. Still on set. Roll camera rolling shot seventy five. Marker starts later way panned down. We need to pan down because your shoes getting crops, can you on your foot there? Are you trying to have the operator stop when her foot makes you make sure he knows that? Now do I work directly with me, pierre this's, the last shot because chase's have to leave. So this is literally the last shot. So this is where you say everybody get it. And, uh, one thing I'd love to hear you do this time is have the first a c called stuff in terms of, you know, quiet on set, roll, camera speed and then you're going to move out of the things, makes everyone settles. You could say, settle. You know, I once still and then you go ahead, call action, okay? And just one little tip operated on in the last couple times. You haven't been able to hit that finnish mark by the time, so you're gonna have to speed up. Twenty five percent faster having maybe maybe fifty percent faster and um whatever wherever you're at make sure you stopped the camera when her foot hits the ground even if you don't make it there because your timing is such that she's in the frank you want to call the stuff out carson is that camera rolling shot seven take five marker go ahead mark six on there real quick sits not confusion do it again real quick cut roll camera rolling back camera shot seven take six marker everyone settles the real thing settled max cut congratulations nice job job that's a wrap good job. Great job right shoulders you're just buff right? They're really good your job way good like what have you got to see the smile on your face? You know very good welcome. What are you doing? Once you start to find the woman you are yeah a lot more fun, isn't it? You want to make a comedy? Oh, because I was after near was going talk with a storyboard long legs and a great star like you just directly along right that's important? Then everybody really pulled everybody pulled together. It was almost like this is not the same crew you think yes stirred a cnn and people were saying that on the internet they're saying you know what we are seeing in totally different crew here that's working together very differently in yesterday and that's. Also what it's all about, it's, onward and upward way. It was almost like people who had interest in certain things to scrap, dictated towards that's what I want, teo, for that, you know, my first my first direct story, a work with crew this size. Yeah, it was really great to have. People were proactive about their role, right? I didn't have to worry so much about making sure the pieces were moving as long as everybody had everything you need to do their job secret to success, whether it's being director so much anything else, this's, surround yourself with good town, alright, congratulations. Thank you. Alright, let's, turn the lights back on.