I did some searching around Boston and couldn't find anything that felt like my documentary qualified for.
I'm probably going to try again, though.
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The GAF Video and Filmmaking Thread
- Thread starter Thraktor
- Start date
I did some searching around Boston and couldn't find anything that felt like my documentary qualified for.
I'm probably going to try again, though.
Seductivpancakes
Member
I've been using a friend's mic and i think it's time I get my own. Im using 80D for filming.
I as thinking this. Its within my price range, $150 -$200.
https://www.amazon.com/dp/B00QCMEXIU/?tag=neogaf0e-20
Any suggestions?
I as thinking this. Its within my price range, $150 -$200.
https://www.amazon.com/dp/B00QCMEXIU/?tag=neogaf0e-20
Any suggestions?
ricardo_sousa11
Member
Dont think I had posted this before, if I have, sorry for the repost.
This is a wedding video i've done a while back, i'm doing quite a few later this year, excited!
https://vimeo.com/195702832
This is a wedding video i've done a while back, i'm doing quite a few later this year, excited!
https://vimeo.com/195702832
The Rode VideoMic Pro is my safety net on a lot of shoots. They're absolutely worth the money.
Anton Sugar
Member
Just came into a lot of money because the place I've worked at for almost a decade was just sold to a new company 
Thinking about buying a good set of lenses. Maybe 16/18, 24, 35, 50, 85, something like that. I have about $15000 to spend.
Open to good zooms, too.
Any thoughts?
Thinking about buying a good set of lenses. Maybe 16/18, 24, 35, 50, 85, something like that. I have about $15000 to spend.
Open to good zooms, too.
Any thoughts?
OrangeAtlas
Member
What does the Pro have over the other versions?
I've been meaning to buy a shotgun mic for some time now. Having to constantly use my phone to record decent audio and hoping it doesn't fail has become kind of a pain.
From what I remember, the Pro has a better signal to noise ratio, better build quality, and a pre-amp.
You can Google around for thoughts and detailed comparisons, though.
chekhonte
Member
I was watching an interview with Denis Hopper about his roll as Frank Booth in the movie Blue Velvet. If you've seen the movie there are parts where he huffs gas through a mask to get high. His original direction was to huff helium to give himself a baby voice before he committed all his atrocities. I want to pitch shift his voice to that and have a small screening for some friends.
I have the blu ray but no means to extract the files to PC. I also have an MP4 with AAC audio and AVC video encoding that I had a friend rip for me a while ago.
Is there any way to pitch shift the audio from the MP4 and then splice the audio and video back together where it'll sync believably?
Which tools should I use? Preferably free but I'd be willing to spend money if it's required.
I have the blu ray but no means to extract the files to PC. I also have an MP4 with AAC audio and AVC video encoding that I had a friend rip for me a while ago.
Is there any way to pitch shift the audio from the MP4 and then splice the audio and video back together where it'll sync believably?
Which tools should I use? Preferably free but I'd be willing to spend money if it's required.
Seductivpancakes
Member
I'll definitely look into it but I'm willing to go over my budget for it.
It's under $200, if I remember correctly. Honestly, it's just a great upgrade for any mirrorless or DSLR.
Hey, I have a new clip up today for my documentary!
Seductivpancakes
Member
It appears to be like $230 - $250 from what google tells me.
Hey, I have a new clip up today for my documentary!
That's cool clip. Is it your local store?
I actually went on a long, long road trip across the United States and into Canada for this project. My local shop would be Game Zone in Salem, MA.
We started in Boston and then hit Brooklyn, New Jersey, Virginia, Maryland, North Carolina, Tennessee, Oklahoma, Illinois, Toronto, and a few other places.
Seductivpancakes
Member
Negative- I actually went on a long, long road trip across the United States and into Canada for this project. My local shop would be Game Zone in Salem, MA.
We started in Boston and then hit Brooklyn, New Jersey, Virginia, Maryland, North Carolina, Tennessee, Oklahoma, Illinois, Toronto, and a few other places.
Damn that's awesome. I'm planning on doing something about local table top gaming in NYC this summer. Something to keep me occupied.
OrangeAtlas
Member
I've been pretty successful in having nice cinematography and decent editing, but I've noticed what usually makes or breaks a film is sound editing.
How do you guys usually do sound editing? I'm pretty good with getting a lot of line coverage and room tone, but things kind of just fall apart when I'm in the editing phase. It's not bad, but it just never feels quite natural.
How do you guys usually do sound editing? I'm pretty good with getting a lot of line coverage and room tone, but things kind of just fall apart when I'm in the editing phase. It's not bad, but it just never feels quite natural.
nintendork666
Member
I absolutely fell in love with the Shure VP83F. It's 4299 on Amazon, but maaaan. Hook this badboy up to a monopod, and you've got one kickass boomstick. It records directly to a micro-sd card which has been an absolute blessing for me. I couldn't imagine dealing with anything otherwise.
A lot of it, for me, is finding any detail you can add that has some sort of motivation on screen or implied. Even cloth movements when people turn their heads can make a scene feel more full and alive.
NipplesAndToes23
Member
I've been struggling with doing this editing job. It's been 3 years since I last had to edit anything so it's like I have to learn all over again. This shit sucks and I know it. After I'm finally done I'm not going to do another one again. It's too stressful and I don't like doing anything for money that I'm not good at.
Seductivpancakes
Member
That's definitely above my budget haha.
I'm envious. Rental or purchase?
Mike Works
Member
My film just got into its third festival (North Carolina this time). I shot it with a 1080p digital camcorder on a $50 budget.
If you're ever feeling stressed that your film won't be good enough for technical reasons, just remember that great acting, directing, and writing can overcome anything.
If you're ever feeling stressed that your film won't be good enough for technical reasons, just remember that great acting, directing, and writing can overcome anything.
Got a new ~1 minute clip up for the documentary. This is from Iceman Video Games in Toronto.
Some nice slider shots in this one. We have a lot more from this store but the goal is to try and attract people to the subject matter within a minute, so here you go.
I was just helping out on a shoot.
edit: upgrading my audio side! pre-ordered this
https://www.bhphotovideo.com/c/product/1333778-REG/sound_devices_mixpre_3_mixpre_3_mic_preamps.html
You have served me well zoom h4n, but its time to retire you.
itsbenoclock
Member
Shot a film this past week over four days. A thriller about a young man who attempts to investigate a series of suicides in a hotel room.
Shot on my Sony FS7, which was quite challenging as it was the first big project I used it on and the lighting kit we had was extremely limited, I mean just three 800w RedHeads and that's it! Gladly managed to setup the lighting on set to emulate daylight to a decent degree, it's not the best overall but I hope these stills entice some of you.
Screen Shot 2017-06-14 at 21.15.43 by Ben Grady, on Flickr
Screen Shot 2017-06-14 at 21.17.26 by Ben Grady, on Flickr
Screen Shot 2017-06-14 at 21.18.31 by Ben Grady, on Flickr
Screen Shot 2017-06-14 at 21.21.23 by Ben Grady, on Flickr
Screen Shot 2017-06-17 at 20.53.48 by Ben Grady, on Flickr
Have been looking at everyone's recent work on here and clearly I have a lot to learn
Shot on my Sony FS7, which was quite challenging as it was the first big project I used it on and the lighting kit we had was extremely limited, I mean just three 800w RedHeads and that's it! Gladly managed to setup the lighting on set to emulate daylight to a decent degree, it's not the best overall but I hope these stills entice some of you.
Screen Shot 2017-06-14 at 21.15.43 by Ben Grady, on FlickrScreen Shot 2017-06-14 at 21.17.26 by Ben Grady, on FlickrScreen Shot 2017-06-14 at 21.18.31 by Ben Grady, on FlickrScreen Shot 2017-06-14 at 21.21.23 by Ben Grady, on FlickrScreen Shot 2017-06-17 at 20.53.48 by Ben Grady, on FlickrHave been looking at everyone's recent work on here and clearly I have a lot to learn
New comedy short: The Lawn-Mowing Man.
We lost an actor last-minute and decide to run-and-gun the shoot anyway, doing all of this in an hour with just us three. It shows, but the post-production makes everything from 30 seconds on a gem, I'd say.
I had to draw countless frames of animation by hand for this.
We lost an actor last-minute and decide to run-and-gun the shoot anyway, doing all of this in an hour with just us three. It shows, but the post-production makes everything from 30 seconds on a gem, I'd say.
I had to draw countless frames of animation by hand for this.
Not that I've got the money right now, but I'm seriously looking at the Blackmagic Micro Cinema Camera with a few extras as a small, light run n' gun rig that doesn't compromise on quality.
1080P is a bummer, but that OG Blackmagic sensor still delivers a great image. Does anybody have any experience with that camera?
1080P is a bummer, but that OG Blackmagic sensor still delivers a great image. Does anybody have any experience with that camera?
OrangeAtlas
Member
New comedy short: The Lawn-Mowing Man.
We lost an actor last-minute and decide to run-and-gun the shoot anyway, doing all of this in an hour with just us three. It shows, but the post-production makes everything from 30 seconds on a gem, I'd say.
I had to draw countless frames of animation by hand for this.
Your work ethic is amazing, you seem to be doing a whole lot of projects at once.
Saying you managed that in an hour hurts a little because I can never coordinate team and it usually takes twice as much time and looks half as good.
I enjoyed it quite a bit. "The Bible" line got me to chuckle.
Much thanks.
We knew going in that we'd have to rush, hence the horrid color temp and sound, not to mention the dependence on visual effects.
Our speed is helped by the fact I've known these guys since we were in grade school, too.
Warm Machine
Member
I put this in the camera equipment thread but it makes as much sense here. Version 3 of my rig setup with the slider mounted to the tripod. There is more freedom of movement now while keeping stable.
I've actually got a shoulder mount on order and I'm looking forward to trying it. Really even though the stuff is still pretty expensive overall it is way cheaper than it ever has been.
I shot a spec beer commercial that I'll post up here when it is finished. Just have to lay narration on it.
I put this in the camera equipment thread but it makes as much sense here. Version 3 of my rig setup with the slider mounted to the tripod. There is more freedom of movement now while keeping stable.
I've actually got a shoulder mount on order and I'm looking forward to trying it. Really even though the stuff is still pretty expensive overall it is way cheaper than it ever has been.
I shot a spec beer commercial that I'll post up here when it is finished. Just have to lay narration on it.
Nice. Do you get my flex with that slider? How long is it?
I own a Konova K2, the 39.4" one, and it's basically a poor man's dolly for me most shoots.
Not For Resale's campaign wraps up tonight, if anyone was interested in jumping aboard.
We now have the Limited Run Games team locked for an interview thanks to the campaign. I'm heading to Pennsylvania this coming week to speak to the family behind Classic Game Junkie and James Rolfe, which should be entertaining.
Warm Machine
Member
It is just a 24" Kamerar slider. Seems to work pretty well so far for subtle moves. Have to put it through its paces.
I just finished this little spec commercial for a local beer company. This took about 2 days of work with the shooting and the editing of it.
https://youtu.be/UsWp8cAo5rU
I directed a music video for the first time for a friend
https://www.youtube.com/watch?v=obC_LuoMAsk
It's not perfect, but I learned a lot from doing it. I'm already editing my second music video and it's turning out a lot better.
https://www.youtube.com/watch?v=obC_LuoMAsk
It's not perfect, but I learned a lot from doing it. I'm already editing my second music video and it's turning out a lot better.
Another short: Everybody's Pants Now.
Took two days. Pulled out my Ronin M for this. A7S with a 16-70 APS-C for most of it, a 28mm FE for the Ronin shots.
Took two days. Pulled out my Ronin M for this. A7S with a 16-70 APS-C for most of it, a 28mm FE for the Ronin shots.
Ash Sparrow
Banned
You got some good shots very decent cinematography, but you need to sit the camera down. The only shaky scenes should be the driving scenes. Also the scene where his head is sticking outside the car or whatever is used too much IMO. Always watch for repetitiveness of shots. overall good job to me, if you can fix that you're in business. IMHO.
OrangeAtlas
Member
So this is a fairly vague question but...
How do you make a movie look and feel like a movie?
I've seen people shoot shorts using the exact same equipment I have and it always feels like an actual movie. But when I take a stab it just kind of feels like a YouTube video. Even a feature I worked on recently shot on a RED just looked off. Audio-wise too things never feel quite natural.
So what's the secret sauce exactly?
How do you make a movie look and feel like a movie?
I've seen people shoot shorts using the exact same equipment I have and it always feels like an actual movie. But when I take a stab it just kind of feels like a YouTube video. Even a feature I worked on recently shot on a RED just looked off. Audio-wise too things never feel quite natural.
So what's the secret sauce exactly?
Buttonbasher
Member
Framerate (23.967/24 FPS), Color Correction, and not using camera audio is the easy answer. RED footage without a decent color pass is very flat.
Care to link any of your work so we can offer more detailed advice?
Widescreen it. Boom cinematography
OrangeAtlas
Member
Sure thing. I'm putting the links in e-mail tags because I don't consider most of this to be finished.
Keep in mind also they're all student projects.
Also that I'm not looking how to make this stuff look like a Hollywood blockbuster; just not like Birdemic.
#1 was shot using a Nikon G7 and a Sigma 18-35. I've seen some incredible looking stuff shot with DSLR's, so I'm trying to decipher how exactly to make it look more movie-like and less YouTube vlogger. Compare it to #2 which was shot using the exact same equipment only a few months later. The more "cinematic" look is probably due to the heavy colour correction and black bars, but I'd rather not do that for comedic stuff.
#3 was shot using a Blackmagic Cinema and some prime lenses, and hasn't really been colour corrected. The issue moreso there is the audio. Barring the wind and poor dialogue coverage, I'm having a hard time distinguishing dialogue audio from the rest of the background audio. Is making some sort of soundscape to be layered over each individual scene the solution?
I suppose the thing I'm really looking for advice for is how to not keep reminding people that they're watching a movie. I want to shoot something a little more longform soon using my DSLR, and want help to find out how to make it look more like an indie film than a class project. I'm sure the real answer is "get better equipment", but I'd like to think there's a more creative solution than that.
As a once film student, that was always the answer.
That wasn't nearly as bad as I was expecting. It honestly looks pretty good bro. I didn't watch them thoroughly, but skipped through it to look at different scenes. I'm not at all sensing the extreme youtube video vibe you're mentioning. Got some pretty good lighting in some scenes, composition is nice, etc. So it's not as bad as you might think.
There might have been something with the motion, or I'm just searching for something to pick at. Did you shoot them in 30 fps? If so, try to go between 23.967 and 25 fps if your camera can do that. And try to shoot with a shutter speed of 1/50th. That helps a lot too.
Another cheap way to fake a cinematic look is by shooting with lots of depth of field. But that's more a cheap trick than anything really.
But mostly what might have been hindering your quest to the cinematic look was your actors. Putting friends and family in front of your camera only gets you so far. Seeing that immediately gave me the vibe that I was watching a hobby/student film. Try to get someone that looks the part. Be it an actual actor or model. It really helps a lot. I'd say the answer is less "get better equipment" and more "get better onscreen talent".
But once again, it was actually pretty cinematic looking.
As sec0nd is saying, it's really not that bad, especially the last clip.
I think one of the things you could work on is lighting. The subjects are often not lit up much, you need to make them stand out from the background (mostly in the shots inside). That's one of the reasons the first clip doesn't look movie-like, classroom lights are generally pretty ugly.
Speaking of making the subject stand out from the background, some of your framing makes the picture feel flat. Mostly in the first clip, but a couple shots here and there in the others too. Like when the guy first enters the class room, the shot of the class looking at him is really flat. Try to have something in the foreground, center and background to create depth. You do that when the guy sits down: classmate in foreground, subject, background. Always look for depth (unless you intend it to be flat like the straight on shots of the superhero opening his shirt). When the super hero reporter is laying in the sofa and gets the text, you could have had the phone in the foreground out of focus and focus on it when the text arrives or something. Make it more dynamic. When the reporter and the girl are on the bench, put the cameras more to the side so you see more of the other person in the foreground of the shot - reverse shots.
Another "film look tip" is to shoot on a big focal length. This won't apply to every shot, but using 100 mm or something makes the character seem bigger and it looks more filmatic.
Color correction is really important, the type of correction will of course depend on the story. Try out some LUTs if you haven't. Like Kodak 2393 or M31 for a hollywood teal and orange look.
"Film look" is basically a combination of things: framing/composition, focal length, framerate, movement, wide screen, lighting, colour correction etc.
You are definitely evolving though, it's easier to pick on the first clip and you are probably aware of the things I'm mentioning. I'm just a bit picky so your videos can have a consistent look, right now there are a couple of poorer shots that stand out here and there.
I think one of the things you could work on is lighting. The subjects are often not lit up much, you need to make them stand out from the background (mostly in the shots inside). That's one of the reasons the first clip doesn't look movie-like, classroom lights are generally pretty ugly.
Speaking of making the subject stand out from the background, some of your framing makes the picture feel flat. Mostly in the first clip, but a couple shots here and there in the others too. Like when the guy first enters the class room, the shot of the class looking at him is really flat. Try to have something in the foreground, center and background to create depth. You do that when the guy sits down: classmate in foreground, subject, background. Always look for depth (unless you intend it to be flat like the straight on shots of the superhero opening his shirt). When the super hero reporter is laying in the sofa and gets the text, you could have had the phone in the foreground out of focus and focus on it when the text arrives or something. Make it more dynamic. When the reporter and the girl are on the bench, put the cameras more to the side so you see more of the other person in the foreground of the shot - reverse shots.
Another "film look tip" is to shoot on a big focal length. This won't apply to every shot, but using 100 mm or something makes the character seem bigger and it looks more filmatic.
Color correction is really important, the type of correction will of course depend on the story. Try out some LUTs if you haven't. Like Kodak 2393 or M31 for a hollywood teal and orange look.
"Film look" is basically a combination of things: framing/composition, focal length, framerate, movement, wide screen, lighting, colour correction etc.
You are definitely evolving though, it's easier to pick on the first clip and you are probably aware of the things I'm mentioning. I'm just a bit picky so your videos can have a consistent look, right now there are a couple of poorer shots that stand out here and there.
ShadowKingpin
Member
Currently in the process of buying the GH5 and a set of Veydra mini-prime cine lenses, so the first project I plan on filming (As a short test) will be a gun fight purely on practical effects and good props. My issue is a good squib or one that I can make for portable use on the cheap. Does anyone have any suggestions?
OrangeAtlas
Member
Really, really appreciate the input you two. I've definitely grown a lot in the last couple of years, but I still haven't nailed a perfect process.
Actors/sets (mise en scene I suppose) is the general critisism I've usually gotten, which is a hard thing to break away from when it's more comfortable and conveneient.
I use short focal lengths often, but I'm hoping to lean more towards flat and ensemble staging (think Every Frame a Painting's vide on Memories of Murder so I'm trying to find a way to step away from that. I'm hoping to shoot a comedic musical soon using my DSLR so I'm trying to nail down exactly how to make it look good without camera trickery.
My biggest problem I have that I feel makes things feel amateurish is audio. I'm not entirely sure how to make different cuts blend together into a seamless scene. I've used room tone, but the scene still never feels alive (i.e. my shots outside) and the dialogue never pops out above everything else.
If you can get a boom operator, get one. Look into pickup patterns and consider microphone placement. Not just proximity, but what you're aiming the mic at.
I did ADR for a 21 minute video that did reasonably well on YouTube and it took a month of recording with every actor. While it worked for the style of the video (90s kids TV parody), you can imagine the amount of times I wish I had just dropped a few hundred on a boom pole and mic.
Buttonbasher
Member
I agree with the post above about getting a boom operator. Also use wireless lavalier microphones if you can, as they capture more focused dialogue without as much world noise. As a full time location sound recordist, that also dabbles in post mixing/design, I'll always advocate getting as many different mic sources as you can. Also pull your sound mix into dedicated audio software like Adobe Audition, if you can. It gives you way more control over levels and fades in between tracks, and can be easily reimported back into your video editing software.
I watched the first Harry Potter movie last night (first time seeing it).
The opening scene, outdoors, was clearly ADR. And they had $130 million!
Outdoor audio can be real tricky. Indoors: never be afraid to shush everyone on set and take a listen to the room around you. Unplug a fridge, put a blanket over a window with street noise bleeding in, etc.
The opening scene, outdoors, was clearly ADR. And they had $130 million!
Outdoor audio can be real tricky. Indoors: never be afraid to shush everyone on set and take a listen to the room around you. Unplug a fridge, put a blanket over a window with street noise bleeding in, etc.
Anton Sugar
Member
I'm not a sound guy, but I know basics. The principles aren't too different from video, in terms of signal-to-noise ratio (although with video, that's a reference to available light more than anything else). A big part of that is: the closer you get to a signal (the source of audio), the less noise you generally have to deal with.
Think of cutting closeups together with wide shots. If all you have is your camera-mounted shotgun mic, you'll notice a different in audio/sound as you go through these shots. The closeups are probably a lot cleaner, less echo, less background noise, etc. because the mic is closer to the actor (and likely pointed directly at them). It picks up more of that signal, and cleaner, as well, because you're closer to the actor and can more easily separate what you want (the dialogue/signal) from the rest (background noise).
In a wide, the position of the mic moves and can completely change how the audio sounds. This is where lavs, boom ops, etc. become so critical. Lavs are a constant distance from the actor (since its somewhere on their body) and boom operators can move between actors as they talk or choose to focus on one, getting a clean, consistent signal.
Camera mounts mics are *never* the best option. They're very useful for run-n-gun situations, interviews, documentaries, etc., but they are never ever your top pick for narrative or "cinematic" work.
So many indie/starting filmmakers neglect sound, thinking "I need to make it *look* cinematic". Sound is just as important as video, even though it's far less glamorous.
Now, in terms of a cinematic image...I started doing video production around 2011 and started w/low-to-no budget crowds. I still see videos on Youtube and tips/tricks for getting a "cinematic" image. There are lots of opinions on this.
For me, it comes down to lighting, composition, and camera movement. It's not super shallow depth of field/creamy bokeh, it's not a specific color grade, it's not a slider, etc. There are no shortcuts! I may like shooting at a specific aperture, but the shallowest DOF=/=cinema. On the contrary, some of the most cinematic movies in the world have deep focus.
- Lighting: The core of how a shot looks: light! Many amateurs either tend to underlight or overlight. I think a lot of this is initial unfamiliarity with understanding exposure, as well as knowing how a lit scene looks "in real life" (on set) vs how it will turn out on the big screen/tv/monitor. There are a lot of basics to understand: hard vs soft, diffusion, color temperature, gels, etc. Lighting is a huge part in how "cinematic" your images look. Unfortunately, for low budget beginners, this is why a lot of productions don't look cinematic. Unless you just score a really good location with great lighting, it's hard to get the image you want. Even shots that are fairly easy in terms of concept (like a shot of someone in an office during the day or that classroom shot in yours) can benefit from extra light. More light allows you to control your ratios and decide where the frame is bright, dark, etc. A good but *very* general rule of thumb is that you always want your subjects/actors to be 1 stop or so above the background, in terms of a light. It creates simple separation and helps the audience focus on what's important. Again, a VERY general rule--but ultimately YOU decide what is cinematic. Grab a few of your favorite movies and pick out shots you like. How do you think they were lit? Look at the eyes of the talent--can you see where lights are positioned? Look at the shadows--where do you think a light would need to be positioned to replicate that? How much brighter or darker is the background? Deconstruct what you already consider to be cinematic.
- Composition/framing: The way the frame looks! What frame did you pick and why? Why is the actor in the lower left corner vs the lower middle? Or something as simple as, where are the props/set dressing? Why did you want the vase here but not here? Many times, the choice is simple aesthetics--"I think it looks better"--and that will guide you through your career. But you should try to understand *why* a frame looks good, why you like a specific composition, etc. to understand yourself and build on that. There is a lot of theory at play here, too: leaving a ton of head space for an actor can look very stupid or induce a feeling of uneasiness, for example.
- Camera movement: Movement is something that I think everyone realizes is very cinematic but is not easy to perfect. I'm sure you've seen lots of DSLR videos where the shooter went slider crazy, where the motion feels perfunctory or even distracting. Or even with flycams, drones, etc. Movement can definitely feel cinematic--I love a nice, slow dolly push! But it needs to fit the story and feel organic, undistracting. It can't be "look at me!". Movement can define the feel of your film completely. I don't just mean moving the physical camera--learn how to effectively use zooms, pans, tilts, etc. to tell your story. Pay attention to how your favorite filmmaker reveals scenes through these movements. Remember that every shot is planned and decided, from a hundred other options, and for specific reasons. Otherwise, you're just being lazy.
- Go to rogerdeakins.com and start reading everything. His breakdowns, the daily advice he gives to beginners, etc. You'll find that his lighting setups often are very simple and inexpensive (depending on the film). The cinematic quality comes from his eye and the way he has the cinematography service the script.
- Subscribe to American Cinematographer magazine. It's even better since they've added a section to each issue that addresses beginning filmmakers. This magazine is so valuable because it's full of interviews from directors and DPs and gets into the nitty gritty of what lights they used, why they chose a specific movement, why they don't like X or Y, what is cinematic/aesthetic to them, etc. And not just big budget movies, but a lot of indies too.
- Again, start looking at images (these can be paintings or stills, too) that you think have cinematic qualities and try to break them down or spend a weekend reproducing them. A lot of lighting is testing to figure out what YOUR look is. At the core of this, you need to establish what you think "cinematic" even means. Going deeper, "what is cinema?" is closely linked to this. All the masters, young and old, have strong opinions on what is cinematic: types of movement, lighting, etc. On the other hand, as you get used to camera systems, you may start to notice things that you like that feel more cinematic to you. The way motion is captured/rendered by a camera, the lens coating of a specific lens, the way a camera captures skin tones, etc. But to me, these are just preferences and dressing.
]
Here's a new clip from my interview with James for my documentary Not For Resale, for anyone interested. This just went up today.
This is my first project where I went all-in on using S-Log 2. I've been applying a color-only LUT and doing gamma + contrast on my own because I frankly hate the way Premiere and Da Vinci apply the official Sony LUTs.
We talked about tangible ownership, why people are drifting away from local retail, and, of course, retro games. James was a real nice guy- interviewed for 2x the time he original promised us!
Here's a new clip from my interview with James for my documentary Not For Resale, for anyone interested. This just went up today.
This is my first project where I went all-in on using S-Log 2. I've been applying a color-only LUT and doing gamma + contrast on my own because I frankly hate the way Premiere and Da Vinci apply the official Sony LUTs.
We talked about tangible ownership, why people are drifting away from local retail, and, of course, retro games. James was a real nice guy- interviewed for 2x the time he original promised us!
sans_pants
avec_pénis
Hey I know you already collected most of your footage for the documentary, but if you plan to get more, there's a guy in Vegas that has a place called game repair. He offers a lot of retro games but what he's really interesting for is that he services broken hardware, mostly newer stuff like broken optical drives but he also does Nintendo refurbs and stuff like that
OrangeAtlas
Member
Thank you so, so, so much for all of the incredible advice.
I've done a ton of research into cinematography and shot composition, but have yet to put it into practice. I suppose the best way to test out my own personal style would be to make more shorts.
I was hoping to start working on some more feature length stuff soon because I've been wanting to for so long and I figure the best way to learn is just to do it, but my concern is that if it doesn't feel right from the get-go then nobody will bother to watch it.
I've had a dedicated boom op (boom pole and H4n) for most of my work, but have never been sure on how to handle the post-production.
My final question is how do I make locations feel like the actual location instead of just having two people's dialogue being the soundtrack? For example, in the outdoor scenes having birds chirping or cars passing by and whatnot.
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Here's a new clip from my interview with James for my documentary Not For Resale, for anyone interested. This just went up today.
This is my first project where I went all-in on using S-Log 2. I've been applying a color-only LUT and doing gamma + contrast on my own because I frankly hate the way Premiere and Da Vinci apply the official Sony LUTs.
We talked about tangible ownership, why people are drifting away from local retail, and, of course, retro games. James was a real nice guy- interviewed for 2x the time he original promised us!
Geez I haven't kept up with James Rolfe since around the time the AVGN movie came out.
His Cinemassacre 200 is incredible and is probably one of the main reasons I became so interested in filmmaking.
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