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Author Topic: Pulling it together  (Read 3091 times)
Morgan_Moore
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« on: May 31, 2012, 03:58:59 PM »
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Just finished this (solo shoot and edit no crew) .. https://vimeo.com/43093783

The more I shoot the more I learn.

-the importance of story and structure
-sound (gathering and design)
-coverage shooting to match the audio - a stuggle on this one

I like video it makes your head burn.

On a different note I also did a sideways look at the Olympic Torch when it passed my house. https://vimeo.com/42490181

Enjoy

SamMM
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Sam Morgan Moore Cornwall
www.sammorganmoore.com -photography
fredjeang
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« Reply #1 on: May 31, 2012, 06:42:33 PM »
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Very cool !

I liked both. It's funny because I find that even when you do corporate, it has a journalistic approach wich is very different from an advertising's soul for ex.
(I know that corporate isn't advert but I'm talking about the inner style)

Yeah, I think that journalism is in your veins, it's there in all you do. And it works.

Congrat for those new babies.

Cheers from now too hot Madrid.
« Last Edit: May 31, 2012, 06:44:27 PM by fredjeang » Logged
Morgan_Moore
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« Reply #2 on: June 01, 2012, 01:58:28 AM »
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To me the 'excitement' over large chip cameras that are 'affordable' light and take stills lenses is that this 'cinematic' look becomes available to the solo operator on a smaller budget

My heritage is influence of the photojournalism look since I was a teenager - and I do shoot (less nowadays) for UK papers like the Guardian, Independent and Sunday Times
I am trying to create a look that is how those papers should do video

I have worked with another operator (from TeeVee background) who mainly shoots 17mm at F8-11 on his 7d, rarely a tight head shot usuall head to hands mid shots (that I find 'weak') He takes the 7d and makes it look like a 2/3 camera
That is strange to me as he owns a Z1 or Z7  - which seems a way better camera than his 7d for such a look (better image onboard sound and ND)
If I shoot with him again (in his style) I will suggest I use my EX1
Ill be clear - he is a great shooter very experienced and has his look completely locked down to his style - I just dont get why he uses a 7d
I wonder if you can tell who shot what me or him (check the horizon!) http://www.hilltribe.tv/2011/11/plymouth-university-dive-and-marine-centre-promotional-film-highlighting-the-services-and-facilities/

To me this look is obvious!

S


 
« Last Edit: June 01, 2012, 02:14:47 AM by Morgan_Moore » Logged

Sam Morgan Moore Cornwall
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fredjeang
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« Reply #3 on: June 01, 2012, 05:34:21 AM »
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To me the 'excitement' over large chip cameras that are 'affordable' light and take stills lenses is that this 'cinematic' look becomes available to the solo operator on a smaller budget...snip

To keep-up with this quote,

2 days ago, I asked a sound guy I work with to come to my flat in the Madrid's downtown to do some sound testings with a 100 euros Zoom H1. The guy in question is very experienced and has a portable studio in wich he connects Neuman mics. Each mic costs about 2000euros, they are tiny and have their own alim. Anyway, we took audio takes of live instruimental gypsy guitars because they are considered as a real chalenge. Were there differences? Yes! but...then the guy took the Zoom takes and with a quite fast post-prod in his studio, he could easyly match the audio of the recorded Neumans to the point that it would have been virtually impossible to guess who's who. The guy turned blue and impressed. (he also know what he does with the audio, so maybe that's why he could match easily the takes)

About your story on the 7D. I've been working with an old fox broadcast guy who owns his little prod house after decades working for teevee. He has a couple of high-end broadcast cameras but each time I saw him on set, he'd shoot a 5D2 coupled with Schneider lenses via an adapter. Why? Why not using the big artillery instead? Because the guy told me that with the 5D2 he feels like when he started, he feels like a child with his toy instead that with the broadcast cams he feels he is working; It ain't fun.

The other reason he would shoot a 5D2 is that he ends to record footage in circles in wich the use of a proper structure would have been problematic. So the guy film celebs without them to have the sensation to be filmed and records things in their intimacy.

Then, there is a point I'm forced to admit. I've been on sets now for about more than a year and experienced the workflows with mixed bags. Very expensive devices mixed with GH2 and 5D2. The fact is that in the reviewing and when we started to storyboarding, the takes we want to use are 80% the ones taken with the lighter and consummer gear. There are more alive, more dynamics, more interesting and more creatives.
This, happened over and over again.

And not only that. The less we storyboarded, the best. That's not a golden rule of course. But I know a famous cineast in L.A, big prod and big budgets who never story-board nor plan the takes but only live on set.
I'm talking about big big fish with impressive background. He improvises a lot and built his story step by step according to what is happening live. In other words, he has huge mediums but acts and think like the dslrs wanabees: we shoot first, we discuss later.
Of course every fish has its style and end to build a workflow that works for each person, but I'm closer to this L.A guy. The more I do, the more I see the necesity to not doing things we are supposed to, even if it may look more amateurish.

I've seen recently footage of young guys with no budget shooting on 7Ds and still tripods, no dollies, no cranes, no cine lenses but vintage Nikkors and cheap reduced rigs bought in China...doing fantastic work in advert, and building D.I.Y solutions to avoid to use After-effect. So their footage and look is indeed created for the most part on set and very little post involved further. Well, they are doing excellent  adv campaigns, up to the level of much more costly productions. They are highly creative and manage to get superb looks regardless of the possible limitation and artefacts of their gear.
They couldn't care less about the LOGs curves and all the soup, they just set their custom WB on set, point.
But they have fun. The roles, DP, Director etc...aren't defined.

They don't give a damn about established rules and procedures. And you know what? I'm also tired of all the heavy broadcast circus and give it less and less credit, highly technical, specialized and costly and more importantly, unflexible and slow. All my respect from a tech point of view, but my respects end where they started. I'm stepping-away from this because quite frankly, it's aint fun (at least for me and the way I see the things), extremely demnanding and not necessarly you end having good or better content. On the contrary.

Last time I was doing some unformal takes in the street with a GH2 handheld with no bloody rig, no mattebox, no EVF, no monitor but yes cine prime. Man, it was so refreshing ! So fun ! Then, I was sure that my footage was shaking like crazy and that I wasn't focussed. Big was my surprise when I reviewd the takes in the studio. It really made me think about all that.

I'm more and more convinced about very reduced team-crew (even what can do  one man-woman today is amazing), undefined roles (everyone multitask), and manouverable light gear.



To conclude, what you just been doing with the corporate, a few years ago it would have required a video team and mediums to acheive something similar. And not necessarly better. I've seen enough footage shooted by official corporate and arrogant video prods, to see that what you did is more above than below. And you alone.
« Last Edit: June 01, 2012, 06:51:28 AM by fredjeang » Logged
Morgan_Moore
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« Reply #4 on: June 01, 2012, 07:14:30 AM »
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Crew size production values - I think its all a balance youve gotta take the right thing for the shoot

If you have Tom Cruise and  Times Square shut (vanilla sky?) - you dont want flat batteries or mixed focus or moiree - you want to get it right and fast

You can also do great stuff with a GH2, $25 50mm and a stills tripod

I think I want the $10k per day look charge $2.5k - and put that in my pocket

I think the main thing is maybe breaking crew structure, having people who can boom an interview, or set a light or operate a Bcam and also have their mind on continuity or whatever else can mess you up

I worked with three last week (different job) art director from film and stills photographer - doing stills and motion project - the still guy - great guy - but got in reflections in mirrors - passed shadow across  my light - made noise - just has not made the leap to the 4 dimensions of video - if he got in the edit room he would make that leap  for next time (my fault not his)

We were 'free forming' a 'business conference' scene - you know two people - 'look at the laptop and smile' ans soind didnt really matter - so we should have been able to shoot together - I should have been more switched on - we both got the requirement - but he did some flash and also some shadows/reflections and I lost 50%, add 15% bad from me and some dodgy looks from the talent and it gets a little thin in the edit - enough but thin

Everyone must have a basic edit skill - crew who have not edited are useless - because they are blind to the real crunch time - does it hang together..

Of course working with a stills guy he was expert a with a reflector, knew where to place the lights, grab another lens and a bunch of other great stuff that was a big help to me


S





« Last Edit: June 01, 2012, 07:44:05 AM by Morgan_Moore » Logged

Sam Morgan Moore Cornwall
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fredjeang
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« Reply #5 on: June 01, 2012, 10:10:09 AM »
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Most of the highly specialized high-end cine and broadcast pros are unable to operate without budget or in very reduced crew with limited mediums. No need to say when it comes to do a one-man project from A to Z.

Most of directors never touch a camera. They are more aware of the editing stage though.

But all the young generation knows how to do everything up to the editing, grading and compositing. Because they have to, and have the tools for. Here, no trade-unions, no "I don't work from 2 to 4", no sending the footage to a Nukoda's for grading. All that orthodox heavy workflows are out of question.
To some extend, the photographers moving to motion are in the same situation. Most of the things included gaffer etc...are done in very reduced team.
And the photographer who can be the director, the DP etc...knows how to light to get this look. The cine director has to rely on a specialist for that: le directeur de la photo.

In the still world, I've been assisting a few real big fishes. Well, it's not rare to see a high-end photographer helping the assistants with the studio rigs, with tasks that are on the "dirty" side if I might say. Even if they earn millionaire cachés. I don't think a Scorsese would ever touch a cable...

So the people who are coming now yes are multitask and much more free and flexible.

At the same time, it's important to remember that we can be multitasks but also naturally inclined to...
For example in my case, when it comes to post, I have very limited capabilities in compositing, it costs me a lot, it's not natural for me. I've been learning that it's important to know where are your strong and weak points and then try to colaborate with people's profiles who are good where you're not. Even if everybody has multitasks capabilities, we don't necesarly shine in the same areas.
« Last Edit: June 01, 2012, 10:14:46 AM by fredjeang » Logged
Morgan_Moore
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« Reply #6 on: June 01, 2012, 10:30:19 AM »
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For example in my case, when it comes to post,

I hate editing (and post colour) - my comment 'everyone should edit' is more about learning what you need and dont need from a take or a sequence

Hopefully I wont actually edit for much longer

Same with post - you dont need to do it - but you need to know how far the files can move

That thing with LUT to give the director a non flat look on set is so dumb - it just means the dir is clueless on post!

S
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Sam Morgan Moore Cornwall
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Morgan_Moore
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« Reply #7 on: June 01, 2012, 10:32:50 AM »
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You know something strange happened in photography.

I spent my film years just walking to some processor and throwing the shot rolls at them (ok I did B+W as a kid)

Then having a moan about the prints - but I was not invoved

The coolscan, photoshop one, nikon D1 and I became in charge of post with no thought

I didnt do this game to sit in front of a computer!

S
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Sam Morgan Moore Cornwall
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fredjeang
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« Reply #8 on: June 01, 2012, 11:06:09 AM »
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I didnt do this game to sit in front of a computer!

S

Exactly ! Feeling exactly the same.
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Morgan_Moore
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« Reply #9 on: June 03, 2012, 02:44:07 PM »
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An update on my earlier 'jounalistic' effort - she got into the olympics ..

https://vimeo.com/36244144
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Sam Morgan Moore Cornwall
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