Growing up, I had never thought to make my career in the film industry. But now that I look back, I see that the seed was sown during my childhood. My father loved to watch films. We had a video library. Every day he would bring a film DVD, and we watched the movie together. Born and raised in Porbandar, Gujrat, we moved to Ahmedabad after my tenth board. I love photography. In college, I used to shoot at events and functions. So, in 2017, I started my career as a photographer. I covered fashion shows and shot the BTS of music videos and films. Slowly, I connected with the people who were active in the industry. One day, I went to shoot the BTS of a music video. Unfortunately, the art director had backed out at the last moment. So, the director insisted that I take up the role of art director. I agreed but didn’t know how it worked. I learned the basics through Google and managed to pull it up. After the release, the director liked my work and subsequently offered me the job of an art director in more music videos. I also assisted him in a short film. For better opportunities, I shifted to Mumbai. But COVID-19 came, and luckily, just a day before the lockdown, I had gone to my hometown. The leisure period during the lockdown helped me introspect, and I decided to start directing. Sumeet had a script. We started working on it. We sorted the cast & crew through Instagram. But, producing the film was a challenge. So, I took a two-month break, did wedding photography, and saved money to make my first short film. You know, Quentin Tarantino is my idol. I have learnt a lot from him. While understanding him, I noticed something in common between us. At a young age, he worked at a video library, which led to his interest in films. So yes, our roots are connected with the video library. And talking about the short film, ‘Phillum’ is a story about everyone who loves to watch movies. There are a lot of people among us who do out-of-the-box things just to watch films. Phillum is the story of Chintu, who regularly crosses 3-4 villages to watch a movie. My real-life experiences inspire some of the instances in the film. So, it’s like life coming to a full circle through a short film. After winning several awards, ‘Phillum’ is live on HumaraMovie’s YouTube channel. Do watch it there. I’m sure you will meet the shadow of a passionate film lover in the frames. #shortfilms #humaramovie #delhistories
Delhi Stories’ Post
More Relevant Posts
-
The Definitive Guide to Creating a Film and TV Mood Board https://ift.tt/v5Um67P Tell me if this has happened to you: you're trying to pitch on a commercial or film, and you're having trouble communicating with the producers about the look and the feel of the project. Maybe the most important part of the pitch process is communicating how the audience should react. If you want to make sure everyone is on the same page, you might need to create a mood board. Creating a director's mood board is an essential step in pre-production for any film or television project. It serves as a visual blueprint, expressing the intended aesthetics, tone, and mood of the upcoming production. So let's go through how to make one together. This comprehensive guide will walk you through the process of creating an effective director's mood board, providing a solid foundation for your creative vision. Creating a Director's Mood Board for Film and TV Creating a director's mood board is an essential step in the pre-production phase of film and TV projects. A mood board helps directors visually communicate their creative vision to the production team, including the cinematographer, production designer, costume designer, and other key collaborators. Understanding the Importance of a Mood Board A mood board, sometimes referred to as an inspiration board, is a collage of visual elements such as images, color palettes, and videos. It's a creative tool that encapsulates the envisioned look and feel of a film or TV show. The Mood Board Is A Visual Communication Tool A mood board is a potent communication tool. It provides a tangible representation of abstract ideas, making it easier to share your vision with your team, including designers, cinematographers, and actors. By offering a shared visual reference, mood boards facilitate collaboration. They allow everyone involved in the project to contribute ideas and suggestions, refining the overall vision. From costumes and set designs to lighting to shot composition, a mood board guides various aspects of the production process. It ensures consistency in aesthetic decisions, contributing to a cohesive final product. What Are the Key Components of a Mood Board? I find it pretty flattering when directors make mood boards for screenplays I've written. It helps me understand their vision and make sure we are all on the same page. There are some essential components that help get this message across. When crafting a mood board, consider including the following elements: Characters Include visual references that capture the essence of your characters. This could include photographs, sketches, or even color palettes that reflect their personality or emotional state. Who's in this project? Who do you think should play them? Locations and Set Design Visuals representing the desired locations and set designs can help your art department understand your vision. Include images th...
To view or add a comment, sign in
-
An Aspiring Design Thinker | Creative Thinker | Young Mind | Enthusiastic Programmer | Social Observer | Impressive Behavior |
**Unveiling the Magic: A Glimpse Behind the Scenes of Cinema** While the silver screen dazzles audiences with captivating stories and breathtaking visuals, the true magic of cinema often lies behind the scenes. Behind every memorable scene, there's a team of dedicated professionals working tirelessly to bring the director's vision to life. Let's peel back the curtain and explore the fascinating world behind the cinema: **Scriptwriting:** It all begins with a story. Scriptwriters craft narratives that capture the imagination of viewers, laying the foundation for the entire film. **Pre-Production:** Months before cameras roll, meticulous planning takes place. Producers secure funding, directors scout locations, and production designers create sets that transport audiences to different worlds. **Casting:** Casting directors sift through countless auditions to find the perfect actors to breathe life into the characters. Chemistry tests and callbacks help assemble the ideal ensemble cast. **Production:** Lights, camera, action! The heart of filmmaking unfolds on set, where directors collaborate with cinematographers, actors, and crew members to capture scenes that resonate with audiences. **Costume Design:** Costume designers meticulously craft wardrobes that reflect characters' personalities, era, and setting, enhancing storytelling through fabric and color. **Makeup and Hairstyling:** Makeup artists and hairstylists work their magic, transforming actors into characters through prosthetics, wigs, and cosmetics, ensuring continuity throughout filming. **Special Effects:** From practical effects to CGI wizardry, special effects teams create the spectacle that brings fantasy worlds to life, whether it's a dazzling explosion or a mythical creature. **Post-Production:** The editing room becomes the final battleground, where editors weave together footage, sound, and visual effects to sculpt the film's narrative and pacing. **Sound Design:** Sound designers layer audio elements—dialogue, music, and sound effects—to evoke emotions, enhance tension, and immerse audiences in the cinematic experience. **Marketing and Distribution:** Even after the final cut, the work isn't over. Marketing teams promote the film through trailers, posters, and press junkets, while distributors ensure it reaches theaters worldwide. **Audience Reception:** Ultimately, the true measure of a film's success lies in its reception by audiences. Reviews, box office numbers, and awards ceremonies provide feedback and recognition for the collective efforts of everyone involved. #snsinstitutions #desingthinking #designthinkers
To view or add a comment, sign in
-
I Help Brands Grow Through Creative Social Media Strategies & Engaging Video Content | Social Media Manager & Video Editor
Color grading for Commercial videos and Film videos differs primarily in their objectives, techniques, and aesthetic goals due to the distinct nature of these mediums... 1. Objective & Mood: Commercial Videos- The goal is to grab attention quickly and often convey a specific message or promote a product. Colors are often more vibrant, clean, and polished to make products or services appear attractive. Mood can vary, but commercial grading is more about clarity, appeal, and brand alignment. Film Videos (Narrative/Feature Films)- Film grading focuses on storytelling and mood, contributing to the emotional tone of the scene or entire film. Filmmakers use a wide range of color palettes, from natural tones to stylized looks, depending on the narrative. There’s often more subtlety and artistic freedom to evoke specific feelings. 2. Time & Budget: Commercial Videos- The turnaround is often quicker due to tighter deadlines. The grading process might be more straightforward, especially if the aim is consistency across a brand. Budgets can vary but are often less flexible compared to film productions. Film Videos- Film grading tends to be a longer process, sometimes involving multiple rounds of review with directors and cinematographers. Budgets may allow for more detailed work, including nuanced color adjustments, bespoke looks, and dynamic grading for different scenes or emotions. 3. Visual Style: Commercial Videos- A clean and sharp look is often preferred, with focus on high contrast, bold colors, and polished visuals to catch the viewer’s eye quickly. Skin tones are kept natural, but overall brightness and saturation levels are typically higher. The style is often dictated by the brand's color guidelines. Film Videos- Grading for film is more varied and cinematic, often involving deeper blacks, lower contrast, and sometimes more muted, filmic tones. Film grading uses color to emphasize atmosphere, whether through warm, desaturated, or highly stylized looks. Different scenes might have entirely different palettes to reflect mood changes in the story. 4. Delivery & Formats: Commercial Videos- Typically graded for online platforms, television, or social media. Color grading may need to conform to different formats and standards like Rec. 709 (HD TV standard). Film Videos: Graded for theatrical release or high-end viewing platforms, requiring work in formats like Rec. 2020 or DCI-P3 (cinema projection standards). There’s a stronger focus on the cinematic aspect ratio and the look in large-screen environments. In summary, while commercial videos aim for clarity and brand-specific aesthetics, film videos allow more creative freedom, with a focus on storytelling and emotional depth through color. #colorgrading #film #commercial
To view or add a comment, sign in
-
Have watched all the five Oscar nominated animated short films plus two honorable mentions. My thoughts below. Boston friends, you can see these films tonight at 7pm and on March 9 at 12:30pm at the Institute of Contemporary Art Boston! If I were the jury, I would find it difficult to pick one film because they were all so different and so worth it. PACHYDERM was this subtle memoir of childhood abuse as seen from the child’s perspective, wallpaper patterns, squeaky wooden floors and other details occupying a prominent place in the narrative. The abuse is not yet processed or conveyed, at least not in any direct way, sometimes you even wonder if anything actually happened, which is exactly what makes it such a masterpiece. The style is 3D animation like what you currently often come across on kids streaming platforms, personally not my favorite, but it may have been a conceptual choice. THE SIX SENSES made me cry. It’s an animated documentary about an elderly inmate who made one horrible mistake in his youth and spent his whole life in prison. On his last day (possibly prior to an execution) he ponders about what will happen to his senses as he dies. Various memories of his have been animated by different artists, which may look incohesive, but probably so do our memories before we die. Although a tragic story, it’s also a very funny film, easy to watch, but with a huge message of making someone so different from the average viewer so relatable. It’s animation as a means of reversing dehumanization. LETTER TO A PIG was, in my opinion, the deepest work. It begins as a story of a Holocaust survivor as told to a group of teenage students but unfolds on so many layers. It goes further than questioning dehumanization or going back to your childhood. It actually asks you to go to the origin of all living things. It’s also the only film in the lineup that makes it difficult to talk about it in words, because it achieves so much purely by its visual language — a language quite revolutionary in its technical innovation, by the way. If I were the jury, I think this would be my pick. The audience seemed to really enjoy OUR UNIFORM, a brilliantly animated memoir about a girl’s experience growing up in totalitarian Iran. It was great pleasure to watch but, in my opinion, it did lack certain depth or reflection. At the same time, one may argue the message is clear: the author doesn’t feel free in Iran and feels better when she isn’t there. Sometimes, it doesn’t have to be complicated. Electroleague’s WAR IS OVER is a gorgeous sample of Unreal Engine mastery and I keep thinking about its message, John Lennon and Yoko Ono’s War is Over If You Want To. Is it a pacifistic trap (because obviously you cannot tell Ukrainians the war is over if they want to, as there will simply be no Ukraine then and they will have to flee)? Or is it a message to those who do have the power to stop the evil spread of metastasizing war but are too scared of the responsibility?
Here are the five animated shorts nominated for the Oscars by Academy of Motion Picture Arts and Sciences. It's totally unfair how little coverage they are getting in the media. Two titles can be considered works of animated journalism (Letter to a Pig and Our Uniform), another two are devoted to timeless human themes (Ninety-Five Senses and Pachyderm). The last title falls somewhere in between as it reflects upon a politically poignant topic but the setting is intentionally detached from present day reality. LETTER TO A PIG (France, Israel) Trailer: https://lnkd.in/epsVprpd Director: Tal Kantor Produced By: Pierre Baussaron, Amit R. Gicelter, Emmanuel-Alain Raynal, Miyu Productions, The Hive Studio Synopsis: A Holocaust survivor writes a “thank you” letter, after the war, to the pig that saved his life. Following his testimony in the classroom, a young schoolgirl dreams a dark version of his story. Qualifying Win: Anima (Grand Prix Anima for Best International Short Film) NINETY-FIVE SENSES (U.S.) Trailer: https://lnkd.in/eryhMgqt Directors: Jared Hess, Jerusha Hess Produced By: Miles David Romney, Tori A. Baker Synopsis: An ode to the body’s five senses delivered by a man with little time left to enjoy them. Qualifying Win: Florida Film Festival (Grand Jury Award for Best Animated Short) OUR UNIFORM (Iran) Trailer: https://lnkd.in/ex6R3Te8 Director and Producer: Yegane Moghaddam Synopsis: An Iranian girl unfolds her school memories through the wrinkles and fabrics of her old uniform. She admits that she’s nothing but a “female” and explores the roots of this idea in her school years. Qualifying Win: Animayo (Grand Jury Prize) PACHYDERM (France) Trailer: https://lnkd.in/es8V8bFr Director: Stephanié Clement Produced By: TNZPV Productions Synopsis: Like every summer, Louise stays at her grandparents’ in the countryside for a few days during the holidays. It will snow at the height of summer and a monster is going to die. Qualifying Wins: Foyle Film Festival (Best Animated Short Film), Manchester Animation Festival (Best Short Film) WAR IS OVER! Inspired by the Music of John & Yoko (U.S.) Trailer: https://lnkd.in/e8gAGbJG Director: Dave Mullins Produced By: Brad Booker, Sean Ono Lennon and Yoko Ono (ElectroLeague in partnership with Lenono Music, Wētā FX and Unreal Engine) Synopsis: Inspired by the John Lennon and Yoko Ono’s 50-year-old classic song Happy Xmas (War Is Over). Set in an alternate WWI reality where a senseless war rages on, two soldiers on opposite sides of the conflict play a game of chess. A heroic carrier pigeon delivers the soldiers’ chess moves over the battlefield as the fighting escalates. Neither soldier knows his opponent as the game and the war builds to its climatic final move. Whoever wins the game, one thing is for certain: there are no winners in war. #oscars #animatedshort
To view or add a comment, sign in
-
Host of “Last Looks” YouTube/ Media Futurist /Media Consultant /Climate Advocate/ Jet Pack Aficionado 🚀/ Cultural Wanderer 🇺🇸 🇹🇷/ Ancient Civilization Explorer/ Ancient Food Author/ Writer/ Creator /AI Enthusiast
Managing dual roles, such as Director of Photography (DP)/Director or Director/Actor, in a film or documentary is indeed a challenging endeavor, demanding a unique blend of skills, extensive planning, and a supportive team. Individuals who successfully navigate these dual roles often employ several strategies: For DP/Director:🎥 Pre-Production Planning: Extensive planning is crucial. This includes detailed storyboards and shot lists that are shared with the team to ensure everyone understands the visual and narrative goals. Delegation: While maintaining control over the visual narrative, the DP/Director might delegate certain responsibilities to trusted team members, such as camera operators or gaffers, to focus on directing performances or broader storytelling aspects during shooting. Communication: Clear and continuous communication with the crew is essential to align the visual and narrative elements of the film. This includes regular briefings and debriefings to review footage and plan future shoots. Flexibility: Being open to improvisation and feedback from the team can help in adapting to unforeseen challenges without compromising the directorial vision. Efficiency in Decision Making: The dual role requires making quick and informed decisions to balance the artistic and technical aspects of filmmaking. For Director/Actor:🎭 Utilizing a Strong Support Team: Having a reliable second director or assistant director to supervise shots when acting is paramount. This person can provide feedback on performances and ensure that the directorial vision is being achieved. Preparation: Both roles demand immense preparation. As a director, understanding the vision of the film inside and out; as an actor, preparing for the role through rehearsals and character study. Time Management: Careful scheduling to balance directing duties with acting preparation, ensuring that neither role suffers. Objective Self-Assessment: It's important to critically assess one’s own performance impartially or rely on trusted colleagues for honest feedback. Mental and Emotional Segmentation: Being able to switch between the mindset of an actor and a director quickly is crucial. This may involve compartmentalizing emotions and thoughts relevant to each role. Examples of Success:🎬 Clint Eastwood, Ben Affleck, and Greta Gerwig are examples of individuals who have successfully managed dual roles in their projects, often citing the importance of collaboration, delegation, and a clear vision to navigate the complexities of such endeavors. Orson Welles in "Citizen Kane" and Charlie Chaplin in many of his films exemplify the successful blending of acting and directing, using innovative techniques and strong support to realize their visions. The key to managing dual roles effectively lies in a combination of meticulous planning, efficient team management, clear communication, and the ability to maintain a dual focus without compromising on the quality of either role.
To view or add a comment, sign in
-
Feel stuck? Technology has brought us so much connection. We can have video calls with people all over the world. I live in Austin and was just texting a friend in Mexico. It's awesome to be able to instantaneously share updates and photos with someone in another country. But how do you block out all the noise that comes from that technology? The limitless access to more reels, shorts, and TikToks to scroll through. How do we understand this new age of media? How do we stay true to our values in the face of all this? On a recent episode of the INTERNET SURFERS podcast, John Brecher joined me to discuss his experience in photographer and video production. John did the editing and cinematography for the 2022 ICP Infinity Awards video showcasing the work of photographer Acacia Johnson. Johnson says, “I gravitated towards photography because it requires you to get out of your comfort zone and meet people and listen and learn so much about the world that you never would have experienced.” In the below clip, John shares how his experiences with photography have mirrored this sentiment. In the face of ever-increasing noise, how can we tune into the signals that actually matter? That's a hard question to answer. But, I will say, that tuning into nature has worked for me. During the interview, John and I spoke about the COMFORTABILITY afforded by endless consumption. You can watch a video showcasing the amazing view from the top of the mountain, or of peaceful rainfall in a forest. But there's no risk. When you spend time in nature, you have to TUNE IN to your surroundings. Let's say you're used to jumping from stone to stone while walking through the woods. 👉 When it's raining, you have to factor in the increased slippery-ness of the rocks. You have to adjust to new circumstances, rather than simply watching a calming video of rain from your couch. --- What do you do to tune into the right signals? To tune out the noise? To make sure you are using technology, and not the other way around?
To view or add a comment, sign in
-
Video Content creation| Script Writing | Videography | Video Editing | Photography | Moment Marketing
Ever seen a film that messes with your mind through its visuals? That happened to me twice this week. You know that feeling when a movie scene hits you so hard you have to pause and go, "Wait, how did they do that?" I stumbled upon "Strange Darling" and "The Substance," two films that struck me with their visual storytelling. As someone who often watches movies just to study the cinematography and editing, these two had me completely hooked. From my perspective as a film enthusiast (not an expert), I want to share what I noticed and learned. While I might not get all the technical terms perfectly right, these are my observations and how these films impacted me visually. Let me break down what caught my eye... Key Technical Elements: Cinematography Techniques: Strange Darling: - 35mm Film: Creates rich grain texture and nostalgic depth. - Split Diopter Shots: Maintains simultaneous focus on foreground and background elements. - Neon Lighting: Used for psychological tension and mood enhancement. - Colour contrast: vivid reds against forest greens create visual drama. The Substance: - Tightly-framed Shots: Creates claustrophobic intimacy. - Fish-Eye Lenses: Distorts space and character perception. - Extreme Close-Ups: Emphasises skin texture and character transformation. - Practical/Digital Effects Blend seamlessly merges during transformation sequences. Advanced editing techniques: Non-Linear Editing in Strange Darling: - Six-chapter structure jumps across timeline. - Pattern: Setup → Tension → Reveal → Past Context → Present Resolution. - Transition Techniques: Fade-ins/fade-outs between chapters. - Impact: Transforms simple plot into complex psychological thriller. Rhythmic editing in the substance: - Pacing Variation: Slow burns to rapid-fire sequences. - Match Cuts: Connects disparate scenes through visual parallels. - Layered Effects: Practical effects timed with digital enhancements. - Cross-Cutting: Between reality and transformation sequences. Key Technical Takeaways: 1. Non-linear Editing (Strange Darling) * Breaks chronological order into six chapters * Uses fade transitions to guide viewers through timeline jumps 2. Camera Techniques * Uses close-ups and tight framing for emotional impact (The Substance). * Heavy emphasis on lighting and colour contrast (Strange Darling) 3. Editing Style * Strange Darling: Slow builds to create suspense * The Substance: Quick cuts during transformation scenes for intensity 4. Visual Effects (The Substance) * Blends practical and digital effects for transformation sequences * Uses extreme close-ups to showcase these effects (P.S.) Both are R-rated, so watch at your own risk. I might not have every technical detail right, but this is what amazed me visually. Let me know if you spot something I got wrong! Have other visually mind-bending films to recommend? Let's talk below! #filmanalysis #visualstorytelling #thesubstance #strangedarling #filmmaking
To view or add a comment, sign in
-
Those Names And Title Credit You See Before A Movie Starts, Do You Know What They Do? Sure most of you don’t. So Lets Break Them Down For Those Who Dont Know. EXECUTIVE PRODUCER -This is the one sponsoring the movie. He/She provides the funds and financial backing to execute the project. EPs are usually investors looking to invest their money in a Movie. PRODUCER -The Producer is the one who assembles the cast, crew, logistics etc He/She is also responsible for paying for cast and crew services (using the funds provided by the Executive Producer) and making all necessary arrangements to make the movie successful. A producer sometimes is also the EP. PRODUCTION MANAGER -This is one who assists the producer to manage the provisions being made by the Producer. The PM may also keep financial records and works with the Producer to ensure the Movie stays within proposed Budget. DIRECTOR -The one who directs the projects from start to finish. Ditecting is the most important part of the moviemaking. He/She takes the lead and directs actors and the rest of the crew to give the movie the desired result which the Producer have outlined. ACTOR -Actor gets into the character that must be portrayed. He/She has to be very skilled else the movie is not interesting to watch. STORY -The one who created the story SCRIPT/SCREENPLAY - The one who pens the story into spoken words, scenes and montages. The scriptwriter must know how many words that make up a scene in order not to make the scenes too lengthy or too brief. SCRIPT EDITOR- Reads through the script to correct any mistakes or blunders. EDITOR -the ones who arranges the video clips from scene to scene in order of sequence to create the movie. SPECIAL EFFECTS -the one who creates the effects. Example when you see a human flying in the movie DIRECTOR OF PHOTOGRAPHY -this person takes the video shoots. He selects what camera angles will suit each scene. LOCATION MGR -This is the person who seek out locations for each scene. He must know the terrains and laws guiding a Location or recruit assistants who know the terrain and laws. SET DESIGN -the one who creates the environment where a scene took place. Example a set designer would design an environment to have the feel and look of a kings palace MAKE UP -Some people think make up has to do with lips and cosmetics but it is much mor than that. The make up artist turns actors into a desired character. Example painting an actor to look like a scary ghost COSTUME -this persons selects all the dresses to be worn by actors for each scene SET PROPS manages the properties used on set MUSIC -This Person creates the music and soundtracks to be used. He/She may also work with the Editor to select which sound is suitable for each Scene SOUND -this person ensures the actors remain audible throughout the shoot. Their primary is to hold a mic close to the actors speeches whilst still hiding it from Camera.
To view or add a comment, sign in
-
Recently I made a spec motion piece and pitched it to the company I featured in the piece… This was my first time pitching a spec piece to a brand, and I wanted to make sure I nailed it. This particular brand has only been on the market for 6-7 years, and despite having a really cool product, their visuals had left something to be desired until recently. They debuted their product at this year’s Olympics and with that was a noticeable uptick in the quality of their visuals. Seeing this I knew my spec was going to nail the timing. It took 2 months of planning to produce this shoot. I collaborated with one of my fav female cinematographers to bring it together, and she and I spoke most days sending references back-and-forth and adjusting the run of show. I called in favors from top talent that I’ve worked with previously, found locations that were willing to let us shoot pro-bono (unless the spec sells), and studied the brand to figure out any brand guidelines (I.e. are branded shoes ok? How do they normally style? What kind of customer/demographic are they targeting with their talent selection?). The cinematographer and I collaborated on the budget for the crew we would need to hire to pull this off—drone pilot, gaffer, PA, on-set producer, editor, etc. Pulling off a high production value spec motion piece is no small feat. But the final result…worth its weight in gold. I sent the piece off to the brand with an offer to sell, and I heard back that it was passed along to the CEO for a decision. A win. :) 🥇 I’ll wait to hear what their decision is before I can make the piece public, but if it doesn’t sell then the pride I feel in what we were able to accomplish is more than enough for me. I can’t wait to show you all. ✨ - Creatives, I’m curious, do you like it when directors send you spec work? What’s your hot take? - Directors and photographers, what was the last spec piece you made that sold and why do you think it worked? 🤍
To view or add a comment, sign in
-
This week on LinkedIn I'm sharing 10 cinematography habits to save you DAYS in the edit! A couple each day. Here's day 1! #1 - THE HOLD HABIT. Back when I was first starting out as a filmmaker, I’d get out there for a shoot and be so eager to get as many different types of shots as possible. And not in a good way. I just didn't really trust any single one of the shots I am getting right now, so I thought, let me just get a bunch of options and hope I find something I like in the edit. Combine this with the feeling of not wanting to shoot too much overall footage that I would have to wade through in post production, and the result? Well, time and time again I’d get into the edit and the camera was just bouncing around all over the place. I would hardly have any moments where I could leave a clip on screen for like 5 seconds before suddenly I was moving the frame to something else. Everything felt frantic. Nowadays I make sure that whenever I am shooting anything, even if I am almost certain a clip will only be used for a split second, I hold on that frame for 10 seconds. Literally any type of shot. Just get in the habit of holding for 10 seconds so that you have flexibility in the edit. If you start a clip, but then reframe, start your count again. I’m always just counting silently in my head. Breathing and being patient This is also important when you are going to pan, tilt or zoom. Start shooting with your camera still. Hold on that image for a 10 second silent count, then pan, tilt or zoom in one fluid motion, coming to rest on your end image and hold on that image for another 5 seconds. Give yourself options. Maybe you thought a pan was perfect while shooting, but in the edit, it doesn’t feel right. You’ll be grateful you gave yourself a still frame to work with. #2 - THE REACTION HABIT When we are shooting conversations between two or more people, it’s so tempting to always follow the action of the speaker. Almost like we are following the ball in a soccer game — only filming the person who is speaking. But when we do this, conversations become a mess to edit because we never have anything to cut to when we are editing the conversation. That’s why you need to make sure to film reaction shots from the person or people listening. This goes for conversations and it also goes for presentations in front of an audience. Use your intuition to transition from filming the speaker to the audience, use the hold habit for 10 seconds, and then you can think about what’s next. And this isn’t just about getting cutaways. Reaction shots add depth and meaning to a scene. A scene is much richer when you not only hear what someone is saying, but you understand how the person listening feels about whatever is being said. Stay tuned for more tips! #documentaryfilmmaking #documentary #filmmaking
To view or add a comment, sign in
787 followers