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Share: 3 Filmmaking Tips to Avoid Editing Slip-Ups

We had an idea for a new series looking at how the lessons generally taught in film school applied to real life editing. “Oh yeah, baby, work it!” In future episodes, we’ll discuss the power of discontinuity. The use of circles. And how Jean-Claude Van Damme’s hair can inspire the editing of an action scene. Before we get to today’s topic, I wanna let you know that this video is brought to you by

An exclusive source of video assets and After Effects templates for editing and motion graphics. In a lot of film schools, it seems like editing… It’s all an afterthought in the weirdest way. The people don’t know how to edit, they don’t understand where this stuff’s ending up and they think it’s like a human version of an old PC that you just feed shit into and then a movie will come out of the other end and it’s always going to be done the same way or the other. But it’s a ridiculous thing because it’s really like casting.

You could have a great role that Daniel Day-Lewis is the worst person in the world for. Right? You could have a great role that, you know, Meryl Streep wouldn’t work for. So finding that connection with an editor and casting someone as your editor, that’s kind of making choices in their performance. “I shouldn’t wear scarves.” And there’s this really poisonous kind of thing going around, Which I think is the worst thing ever to tell film students and it gets in their heads and everyone carries it around, this idea That, well, Hitchcock’s movies edited themselves or John Ford’s movies edited themselves.

You could only put it together in one way because of the way he shot it and that’s the biggest load of shit I could ever imagine and there’s endless examples in Hitchcock films, especially Psycho, where that’s completely untrue; not only are there scenes that he would let Anthony Perkins improvise. Improvise! There are a couple of scenes where he’s like “Well, just try something your own way.” – “I always change the beds here once a week, whether they’ve been used or not. Hate the smell of dampness. Don’t you? Such a… I don’t know, creepy smell. How are you gonna have Anthony Perkins do that entire scene – do ANY scene in Psycho and just do the bits that you’re gonna cut to him for? That’s insane! It’s damaging for filmmakers to think that way.

What you want to be doing is setting yourself up to have everything that you need to let an artist like Sven go to work and use his take on it to realize, whatever that ultimate vision is gonna be. “I mean, if you are an editor that has an ego and an agenda, then it becomes a problem; you’re not doing it because you’re Seeing it in the footage, but you’re seeing like “Oh, I can put my style on this, I can put my stamp on this and then you’re competing with the director.

With all the great directors that I was able to work with, there was always this appreciation for somebody who’s a strong collaborator with a point of view.” – “Yeah.” – “It is better.” There’s that movie coming out now, that documentary I can’t wait to see, the thing with the title of that, what does that tell you in terms of whether he knew exactly what was going to be used or not. Sven: “Right.” There’s like 27 extra shots that didn’t end up in that movie. Sven: “Yeah, he didn’t intend to cut it with music… Probably the first cut of that scene was very different from what it is now.”

“I think I’ll never have a shower again.” “Hitch?” “It’s getting there.” And the other thing With that shower scene, the example I love because we’re always telling students and filmmakers: Just get some cutaways. Which is a shot that provides atmosphere but has nothing to do with the story, that you can go to at any time? It’s invaluable, as an editor, in Psycho, the most famous scene Hitchcock ever did, the most meticulous scene infamously was ruined without him noticing it because he and the editor would not notice that Janet Leigh blinks when she’s supposed to be dead.

Sven: “Yeah.” But you watch that movie and they cover it with… a cutaway. In the shower. They just go to the shower head because he had that Footage and it’s a great example of a cutaway. That makes the scene more impactful, as it adds that feeling watching it – this is why I took it but like – “Shit, no one’s gonna turn that shower off.” – Sven: “Yeah.” You know, which is haunting in a way, and it was just to cover a mistake, but it makes the scene so much better. – Sven: “Well, talking about the blink, I mean there’s like this pupil moving at the end as the camera pulls away.” Yeah. – Sven: “I mean, obviously it’s a mistake, but it’s also so haunting in a way, that suddenly it becomes really real for me at that moment.

” What happens is, it goes from… they had a giant freeze frame. – Sven: “Yeah.” That’s what they did the effect with… – Sven: “Okay.” – …as it pulls out, so with that whole camera moving always out the freeze, that’s a freeze frame. But it’s so much better than anything. It’s something about it being real like I’ve heard people criticize that famous transition in 2001 Space Odyssey. They’re like “That doesn’t match perfectly, this is not good.” it’s like “Fuck you!

They cut it on film, like how, – what audience in the 70s is going frame by frame with their print, their 35mm print to make sure it doesn’t match. – Sven: “Even when I watched it the first time, I never thought “Oh, this is a match cut, because if you’re thinking “Oh, this is a match cut”, that’s not quite perfect, then the filmmaker has failed at that moment because all you’re…, it’s all visceral, it’s all like “Oh shit, we just jumped,… we just made this leap of humanity.

” You’re not thinking about any of this, you’re just feeling it. Now that everybody’s showing this cut and you can look at it and not think “Oh, it’s a match cut.” Yeah. A graphic match cut. Recap: Shooting less coverage doesn’t make a director great. Good directors want an editor with a specific point of view. Embracing mistakes can provide opportunities. Thanks so much for watching and we’ll see you on the next one. We want to thank for letting us use their 4K video overlays and audio transitions.

#7 Stupid Things You NEED To Have As A Filmmaker

Hello, everybody! I’m Daniel Brain and I don’t know why I did that but today we’re talking about seven stupid things that’ll save your life on a shoot.

Duck Clamps

All right item number one, duck clamps. Ooh, that’s got some kick, they are super sturdy awesome clamps. I use them to pin back backdrops, drapes, clothing, anything like that. I used them to hold my acoustic blanket over this massive window that I have and you can pretty much use these on a constant basis when you’re on set or shooting something. They always come in handy.

Secondly, they’ve got a little hole in the top which is perfect for mounting different types of gear, so you can throw a thread in there and put a friction arm or a magic arm on that and clamp it to the visor in your car for some audio fixes. You can put it on your desk to hold the little aperture LED light or anything like that but these things are invaluable, they’re super small, you can toss a few in your bag. Mm, off to the races, duck clamps, that’s number one.

Red Cable Ties

Item number two. No this is not a fashion statement this is item number two. These are little red cable ties. Now Think Tank makes these and these are amazing for so many different reasons. If you have stuff hanging off your camera bag that you want to attach to the camera bag you can use one of these. If you’ve got a bunch of cables like this that you need to organize in your backpack, whatever the bag is that you’re using.

You wrap that around, you pull this little thing in and there you go, you now have a perfectly organized little cable tie. These things are so handy. I have dozens and dozens of these, mostly because I lose them all the time and I end up giving them away to people who are like, can I have one! Yes, you can, but you can buy these in bags of like 12 or something like that, but they always come in handy to organize things, and that’s key. When we’re out there shooting we’re trying to get our stuff together.

You don’t wanna be digging through cables, you don’t wanna be digging like a dog in the dirt trying to find what you need. We’re just jerry-rigging here guys and that’s the beauty of these things, super versatile. So versatile, versatile, vers, whatever. They’re amazing, that’s what they are, that’s what you need to know. That’s item number two.

Gaff Tape

Item number three, is my all-time favorite, gaff tape. You can not go wrong with this. I know some of you might think like. Gaff tape can be used in so many different ways, primarily taping cables down to the floor. If you’re on the shoot and you’ve got boom mikes and you’ve got big strobes and you’ve got video lights and stuff like that, you don’t want people tripping. If you’re the one who’s in charge on set and you got people falling and hurting themselves, ugh, bad news.

So tape the cables down, super easy to do. Gaff tape doesn’t leave the residue so you can pull that right off the cable and you’re not gonna have a sticky disgusting mess. And beyond taping cables down to the floor you can use this stuff in a number of situations. I tape GoPros to the wall, I tape them to the ground, I tape them to my shoes. I use this tape to tape GoPros to railings.

I pretty much use it for whatever I can possibly use it for. It’s an invaluable accessory that just always comes in handy. It’s like one of those moments where you’re like, oh, we’ll just use gaff tape! Not only does it come in black but it comes in a whole host of colors so that you can use it to organize stuff. I put it on my luggage, I put it on my camera accessories. That way I know what is what when I’m trying to grab something out of my camera bag super fast.

Cap Case

Oh, so so good!  All right here’s a little camera hack I showed you guys way back, but this, these body caps, I actually bought extra ones for this very reason. I used a body cap, nestled with a lens cap, in order to hold all my little micro SD cards and all those stupid little bits that I always lose. Check this out. So these things here nestle together perfectly. Inside is where I keep all the micro SD cards and all the adapters, and then the cap goes on and it locks in there, and I throw this into my camera bag, into my closet, into my car.

Whatever it is I know that that’s not gonna get lost. It makes a lot of noise ’cause it rattles, I’m never gonna lose it. I can always find where it is when I’m dumping stuff around. But that’s such a great way to keep those loose bits, nice and tight together so you’re never gonna misplace them.

Grip Head

All right, next up is a grip head. Now not many people may know what a grip head is if you’re just getting into this. If you’re in the industry and you’ve done shoots before you know exactly what a grip head is. They are incredible little pieces of technology. So what is a grip head? Well this is a grip head, it’s this big obnoxious weird looking piece of technology that you might think to yourself that doesn’t look like fun however this slides on top of your light stand and then you lock it down, make sure it’s nice and tight, and then it’s got all these different mounting options on the side.

So you can stick a boom mike in it, you can stick flags in it so you can block off light. You can actually keep unscrewing these and then just use that open area as like teeth or a clamp in and of itself, and stick foam core in there or stick other things in there to bounce light, give yourself some fill, that kind of thing, instead of having someone hold it or just trying to balance it or lean it against something.

You know that you’re always gonna have a mounting option for audio, for flags, for bounce cards, for foam core, whatever it is, grip heads, they’re not the most exciting thing but oh man is they handy.

Acoustic Blanket

All right next up is an acoustic blanket. Now I use this so much. I didn’t think that I would but I do. If you’ve got a really loud light that’s making a lot of noise on set, maybe it’s humming, you can throw this blanket over it, and it’s gonna dampen that sound immediately. If you’re shooting and there’s an exit sign, maybe there’s some light pouring through a door somewhere, you can clip this blanket up and block out all of that light.

You can use the clamps to do that or you can take down the extra side so that no light bleeds through.

Now on top of that it’s an acoustic blanket so it’s meant to dampen sound, so if you need to record some audio using a recorder, you can literally throw this over your head like you’re dressing up for Halloween like you’re a ghost, and now that you’re under the blanket, you can start recording your audio and it’s gonna sound super crisp.

Be forewarned that if someone finds you doing this, and you’re hiding under an acoustic blanket recording audio by yourself in your bedroom, it’s a little weird but it does the trick so well. Lastly, I actually use these sometimes to cover all of my equipment in the back of a truck, in the back of a car, or in your trunk.

If you’ve got stuff that you don’t want to be seen through the back windows, just throw the blanket over everything and it’s completely black, it keeps everything safe, keeps the sun off of it. So an acoustic blanket has so many uses that I think you guys are gonna really love, and find that well how did I live without that.

Friction Arms

And the last thing, these things I love, and I’ve talked about them before, are friction arms. You can do so much with friction arms. They have these adjustable clamps. You clamp it onto pretty much anything and it gives you mounting options. You can mount monitors, you can mount recorders, you can mount cameras, you can mount GoPro.

You can literally mount anything with a friction arm and pretty much clamp that friction arm anywhere. So I have so many of these in a host of different sizes. I’ve been saying that a lot today, a host. I’ve got these in a mix of different sizes just because different sizes hold different weight equipment.

No one will hold a camera, one might only hold a monitor. It’s great to have a whole bunch of these because you can just configure them like Lego. The more equipment, and the more grip equipment you start acquiring, you start actually being able to come up with these new MacGyver ways to jerry-rig stuff onto different things and you just make things work for you.

When you have all of these tools that are stupid things that you would typically overlook, they end up helping up you and you end up loving them, and then you end up being like, I can’t live without them! So those are my seven stupid things that you can’t live without that’ll save your life on a shoot. I hope you guys enjoyed them. Hit that share button if you liked this. See you again.

How to Make A Short Film? Important Tips and Advice

Daniel Brain here. So today we’re going to be sharing tips on how to make a good short film so shorts can be anywhere from 45 seconds to 40 minutes but the general rule of thumb is the shorter the better if you intend to submit your short film to film fest once. You’re done with it then you probably want to keep it between a minute to 15 minutes. Because they’re much easier to program audiences, in general, tend to favor shorter short films over longer short films.

A short film that is from one minute to 5 or 10 minutes is going to fare a lot better than a short film that’s 20 to 30 minutes or even 40 minutes because the longer short films are much more of a time commitment almost but not always there are exceptions as usual you want to keep the film really short. Because it’s not going to be as time-consuming or costly to make time is not free and when you have a hungry crew to feed it can get a little costly and that brings us to us.

First tip know your resources a common mistake is being overly ambitious with your projects if you don’t have access to horses or you don’t own horses or you don’t have a boatload of cash don’t write a Western and don’t write car chase scenes that’s going to cost you a lot of time money and resources that you don’t have these things are all very ambitious for a short there are exceptions.

If you have a ton of money and a ton of experience and for sure go shoot a Western or a car chasee if you only have access to modest resources then think smaller show don’t tell everybody’s heard this row but still, a lot of people don’t listen to it. Because there’s an awful lot of really chatty talky shorts out there film is a visual medium you communicate with images.

You’re telling stories with pictures it’s the most economical way to tell a story and when you’re making a short film. It’s all about the economy if you’re trying to communicate someone’s an alcoholic show them drinking. If you’re trying to communicate someone’s bully show him picking on someone as an audience member things tend to stick a lot better when you see it for yourself and not just hear about it.

You want to start off with a strong open the way you open your film is exist super important.
It’s the very first impression. You’re making with your audience. So you don’t want to open your film with just like dialogue or two people sitting in a room talking. I mean if you’re going to have talked have it be an argument. You should start off with some action some conflict. There’s an interesting shot something powerful something engaging something.

That’s going to hook your audience and next up conflict is king why is conflict king because it gets your attention it’s something we can all relate with we all tussle with conflict Our Lives when’s the last time. You’ve watched a movie where there was nothing happening to any of the characters and you actually sat through the whole thing. You haven’t right because it gets boring there’s nothing to watch you need conflict in your story conflict allows you to see what your characters are made of try to infuse it into every scene.

Even if you have a scene with two friends just talking to each other get conflict in there they don’t have to be enemies they don’t have to be screaming and arguing even with your friends. You know when you hang around your friends. There’s always this kind of unspoken power dynamic between you maybe one makes a couple personal jabs at the other just jesting just having fun.

But that still conflicts your short film is not a feature film you can’t Jam 2 hours worth of content into 10 minutes. It’s not going to happen you want to minimize your backstory. You don’t want to pick subject matter that has a ton of backstory that you have to fill the audience in on if you spend 3 minutes of your 5-minute short film showing flashbacks and explaining everything that happened.

Before the film started your story is going to be very clunky flabby and unengaging try to avoid using narration. This is one of those narrative tools that has been overused to the point of being cliche and yes some stories work off the narration and some stories need narration. But most stories that do don’t need it oftentimes. You’ll see narration used in ways where it’s only reinforcing what we’re already seeing.

It’s not really adding anything to the storytelling if you do use narration it should contradict or be ironic to what we’re seeing, for instance, narration tells us that this guy Johnny can get any chick that he wants and he’s smooth with women. But what we actually see on-screen is? I’m getting slapped in the face by a chick that’s ironic it contradicts what we’re seeing so the narration, in this case, is adding value to the story.

It’s adding content it’s adding another perspective if not just humor but it’s doing something that is enriching the way we’re translating what we’re seeing you should pick subject matter that’s filmic and by filmic. I mean something you can point a camera at there’s a reason why action movies the hero is always after a briefcase or codes or a CD or money or drugs.

Because all of these subject matters are filmic. You can point a camera at it we know the story is over when Chucky carves up the babysitter or the boyfriend kisses the girlfriend or the hero gets the suitcase full of money. Because we can see the opposite would be making a story about someone. Who’s depressed in trying to find thoughts to get himself out of his mood or trying to find happiness and really really small things.

That’s not the film that’s not something you can point a camera at it now if you show someone getting depressed but then strike to get his medication and you make some kind of suspense out of it. That’s filming so try to infuse your characters with a goal that is outside of themselves something. We can point a camera at then your story will be much more filmic and easier to communicate without dialogue or a narration many of the best shorts tend to revolve around an event or an isolated moment by an isolated event.

I mean you have your protagonist who is presented with an obstacle or conflict and with that conflict comes a choice. He’s got to make a choice to resolve that obstacle or that conflict but there are stakes on either side and there are pros and cons to either choice. Which makes it a dilemma he chooses one and then. There is a resolution and usually when you write an event-based story.

It can happen in one location as in one game of pool one night one day at dinner at a party you know? But one spot where this thing happens to this person and they are forever changed after whatever choice they made when you’re writing your script you want to try and keep your characters to a minimum. Because the last thing you want is to hire a whole bunch of actors and open yourself up to the risk of someone dropping out on you have maybe two three four characters at the most.

But don’t write an ensemble cast if you’re asking actors to work for free with a promise of maybe a DVD copy or something afterward then you know? You stand a much higher risk of someone dropping out on you before or during the shoot or after when you need ADR from them that sucks to the same thing for locations the fewer the better. There’s a reason why most stories happen at one or two locations.

Because it’s much easier to manage as far as money as far as crew and equipment try and write for locations that are interesting to look at and practical. There’s a short that takes place in an elevator. It’s interesting and it’s practical very controllable when you think more along the lines of practicality. You’ll find yourself not pulling your hair out as much take risks.

You have the advantage of asking an audience for a small portion of their time you can follow an unlikable character in a short film. Because it’s only like ten minutes but with a feature film. It’s really hard to ask an audience to follow a character that they don’t like for an hour and a half so take risks explore and this one. I know everybody’s heard a million times but it is so true to write what you know your stories tend to be much more authentic and original when it comes from a place of honesty and a place of experience and lastly.

If you want to make a short film or you want to get good at making sure watch a ton of shorts not only will you get a lot of ideas. But you’ll get a good sense of what’s already out there and what’s already been done and redone after you watch a hundred short films. You’ll have a pretty good idea of what the cliches are out there less prone to follow a cliche if you’ve seen that same cliche done in like 20 other movies and that’s all.

I got for it if you liked what you saw please like and share if you really liked it and share it with your family or your grandma or your dog. So we’re sending a movie out to California to get a professional color greed and sound mix done yeah so over the next week the goal is to package the film up and get it ready to be sent off to California.

#Step up your Filmmaking: The Importance Of B-Roll

What’s up, everybody? Daniel Brain here and today, we’re talkin’ about B-roll. What it is, what it ain’t. How you can use it to make your footage, your films, and your videos, VLOGs, whatever, way better. And now that I think about it, I should have probably cut some B-roll over that intro.

So maybe we should redo that? What’s up, guys? Daniel Brain here and today, we’re talkin’ about B-roll, what it is, and how you can use it to make your footage and your videos better. What is B-roll? B-roll is the alternative or supplemental footage that you can use to cut on top of your main angle. So if this frame was my main angle, I could use B-roll to overlay and cut on top of this shot, anything I want, to make something more interesting, to tell a point, to bring you in a direction that I wanna bring you into, or simply to just cover up the fact that this is my face rambling for the next 10 minutes.

Because let’s be honest, I tend to do that. So to start, as an example, I’m gonna use the VLOG. A lot of VLOGs I start with a cinematic sort of intro, using B-roll shots to kind of tell the mood, portray how I’m feeling that day, where I am, what the weather’s like, and it kind of sets the tone for the episode. So let’s say I’m gonna go do a photo shoot in a forest. We’re gonna start the VLOG off in my car, but I’m not gonna use any B-roll.

This is what that would look like. Choo! What’s goin’ on everybody? We are outside a really cool forest right now that has some awesome light. So we’re gonna pack up our gear, and we’re gonna go inside and shoot, let off some smoke, get some cool B-roll, and yeah, we’re gonna go do that right now. Okay, so that was fun. We are freezing. We’re gonna get back in the car now and go do something else ’cause it is way too cold outside.

The wind is just killing… Okay, pretty boring. Not much substance, not much to look at. It wasn’t very much fun to watch. Yeah, just not feelin’ it at all. Let’s see what that looks like again using B-roll. Choo! What’s goin’ on everybody? We are outside a really cool forest right now that has some awesome light. So we’re gonna pack up our gear and we’re gonna go inside and shoot, let off some smoke, get some cool B-roll, and yeah, we’re gonna go do that right now.

Okay, that looks a lot better. The problem is, I only shot B-roll of us. Me taking pictures, my friend taking pictures. You don’t really know where we are, what we’re taking pictures of, what we’re doing at all. I didn’t really give you enough information. So that’s when we gotta shoot B-roll with the environment that we’re in as well. Cut those two together, it’s gonna look like this.

So now, we’ve got something. Now you can see that we’re taking pictures of this forest. You can see what we’re looking at when you see footage of us looking at something, which just helps fill in the blanks. It helps fill in the gaps and it gives you a whole experience. How do we take even more B-roll footage? Well, you can use drone footage, you can use your iPhone. Anything goes at all.

So let’s see what some drone footage would look like. It looks pretty good but because this is a VLOG, I wanna shot footage of me using the drone as well because I’m trying to tell a story of my day. I’m trying to tell a story of this photo shoot. So if it’s only shots of the footage, if it’s only shots from a drone, I’m not really giving you the full picture. So, let’s take a look at the drone shots with me operating the drone.

Nobody’s listening. Now we’ve got the B-roll of us shooting, we’ve got the B-roll of our environment, we’ve got the B-roll of the drone, we got the B-roll of me using the drone. So, how else can we make some cool footage? Well sometimes, you just gotta do cool sh– that looks awesome on camera. So for us, we used some smoke grenades. These things are awesome.

You’ve probably seen them before. I’ve used them in many photographs on my Instagram. I’m sure you’ve seen other Instagramers using them. They are all the rage. If you’re gonna use them, don’t do it inside or in an area that’s gonna get you into trouble. Be smart about it but I’ll drop a couple links below on where you can pick them up for yourself. So, what do they do and why do I use them?

They do, they just billow smoke, they just billow colored smoke and what’s the purpose of them? They look dope, that is it. If you’re not into that kinda thing, skip forward. No hard feelings. I’m into that. Pop a flare billows a bunch of colored smoke, looks badass, yes please, I’ll take five. So let’s see some footage of this smoke and what that looks like. So there’s not really much context there.

This guy’s just playing with smoke and it, alright cool, yeah it looks cool but it’s completely useless because we didn’t show the whole picture. ‘Cause we gotta smash together these shots of us shooting, the drone, me using the drone, the smoke, the whole mood, the environment, you gotta use these pieces to complete the meal. Right, it’s like throwing all this stuff into one big soup to finish off the dish so that everyone can jump in and enjoy it.

Really weird analogy and I think it makes sense, but now something to keep in mind is, I shoot my B-roll, a lot of it at 120 frames a second. Now, why do I do this? Because I feel that it inherently makes your footage look more cinematic when it’s slowed down. Do you have to do that? Absolutely not. There’s still great B-roll and everything to be shot at 24 frames a second or 30 frames a second.

I don’t really like 30, I feel it looks a little weird. I don’t know why, it just makes me feel like ugh, creepy inside. So if you’re gonna shoot 24 frames a second, that’s perfectly fine. That would definitely give off a whole different vibe. The slowdown of the frame just inherently makes it feel and look more cinematic, my opinion. Now, what you’re saying, I don’t have an expensive, fancy camera that can do 120 frames a second.

Well, if you have an iPhone, the seven-plus does 120 frames a second. It does 240 frames a second and it shoots in 4K. I know the Pixel phone has a ridiculous image stabilization. I saw a shot from my friend the other day of him literally one-handed driving down a driveway holding his phone out and it looks like he flew a drone, it’s insane. So, phone’s have come a long way.
Don’t underestimate them. Now when you combo a 4K smartphone with image stabilization and throw it into a DJI Osmo, you basically got yourself a 4K steady cam rig right there that you can bust out at any time to shoot incredible B-roll. I use mine, I throw it in the backseat, I throw it in the camera bag. Anytime that I am somewhere where I’m like, “Woah, this looks so good.” I put my phone on it, I run around for like 20 minutes, my wife’s sittin’ there waiting for me.

This is not a sponsored post, I was not paid to say that by DJI, I just think it’s a great product. I get the B-roll because here’s the thing. Just because you’re not shooting a project doesn’t mean that you’re not going to need that or could use it down the road. It’s important and sometimes, it’s real, really helpful to actually shoot a ton of B-roll throughout different trips, throughout your day, throughout the months.

Because you can backlog that into an archive and then if you’re shooting something or you’re running into a problem and you’re editing and you can say, “Do I have any, “I have like 20 minutes of B-roll that I shot “when we were going for that walk in that forest “’cause I had the Osmo in the car “or I just stopped at a traffic light “and filmed the clouds for two minutes “’cause they looked insane that day.”

That’s a really good pro tip for something that you guys can do to just make your stuff better and make sure that you have enough material. You can never shoot too much. The worst thing is when you get back and you’re starting to edit and you realize, “I’ve got a 10-minute clip of this guy in his kitchen “talking about B-roll, but I only have “like two minutes of actual B-roll to cut on top.

That’s the worst scenario to be in. I would rather be like, “I’ve got a 10-minute clip “of this guy talking and I have like 15 minutes “of awesome B-roll footage “and I’m not even sure what not to use “because I love all of it.” That’s where we wanna be. That’s the sweet spot. So, all in all now, when we take everything that we’ve shot and we mash it into one final piece, using the footage at the beginning of me saying we’re gonna go on a shoot and then, using all of that B-roll to right at the end, you’re gonna get away more whole experience of our experience on this photo shoot.

That would look something like this. What’s going on everybody? We are outside a really cool forest right now that has some awesome light. So we’re gonna pack up our gear and we’re gonna go inside and shoot. Let off some smoke, get some cool B-roll and yeah, we’re gonna go do that right now. Okay, so that was fun. We are freezing. We’re gonna get back in the car now and go do something else. So that’s it, guys.

That is the crash course in B-roll. I hope you enjoyed it. I hope you got something out of it and I hope that you start to use some of these tips and tricks to start applying these concepts to your own films and VLOGs and projects. Remember, it’s the details that matter. When we add all the different layers of details, that just gives us a more rich experience as a viewer and as a filmmaker when we’re trying to tell our stories across the world. So, that was a nice deep exit. I think I will leave it there. See you again.

DSLR film making: How to achieve a Film Look? | Oblivion

A film look is broadly defined as the look and feel of the footage you would see in a feature film. As you know there are many techniques involved in creating the video, but there are a few which are especially important to achieve this look.

This look is best achieved through techniques involving both the settings of the camera capturing the video, as well as editing in the post-production stage. Creating a film of some sort starts with the camera, so it makes sense that the camera settings are especially important in controlling the look of footage. It is still possible to create a cinematic look in post-production with just about any footage, but controlling the camera settings will give you much greater control over the final product.

First up, make sure that the camera is operating in the manual mode to allow for complete control of the settings. In most Canon DSLRs this setting is called Movie Exposure – so make sure that this is set to manual. A frame rate of 24 or 25 frames per second is one of the most important aspects of shooting video that will look like film. The frame rate is one factor that changes the amount of motion blur in the footage, and this is why it is so distinctive from other formats. I can’t show you what 30 frames per second or 50 frames per second looks like because this tutorial itself is being played back at 25 frames per second, however it easy to find examples.

If you search for the comparison of frame rates on the internet you will get a taste of what the others feel like. High frame rates have an odd feel to them. The technical reason for this is that the motion is smoother and there is less motion blur than traditional film. Also, we have been conditioned to perceive 24 or 25 frames per second as film, because this is the traditional frame rate shown in cinemas. Higher frame rates look more realistic but realism is not what we’re looking for in this case. You can change the frame rate of Canon DSLR’s under the movie recording size.

The shutter speed also changes the look of motion blur, and so this needs to be matched with the framerate. The general rule is that for natural-looking motion set the shutter speed at double the frame rate. This means that when filming at 24 or 25 frames per second, choose a shutter speed of fifty. This is known as the 180-degree shutter rule and it comes from the traditional shutter size of film cameras. Here’s an example of what a high shutter speed can look like.

As you can see the motion of the cars appears to stutter. This is what a shutter speed of 1/50th of a second at 25 frames per second looks like. The motion of the cars appears more natural. A shallow depth of field is usually associated with the film look. The depth of field is the distance between the nearest and furthest objects that are in focus. A shallow focus means that you can get shots that look like this. The subject is in focus and the background is blurred.

This is good for directing the attention of the viewer. A deep focus works better for wide shots when you want to keep everything in focus. To control the depth of field, adjust the aperture. The f/stop: value controls the aperture: a lower f/stop value means a wider aperture (and a shallow depth of field), while a higher f/stop value means a smaller aperture and a deeper depth of field. It’s reversed to what you think. To control the exposure change the ISO setting. In bright daylight, the picture might still be overexposed at the lowest ISO when you have the aperture wide open so you will have to reduce the aperture and sacrifice the shallow depth of field to maintain a proper exposure (Correction: Please see comments on ND Filters).

By default, most cameras increase contrast and sharpness while filming.This makes footage look good right out of the camera, but if you intend to color-correct footage later it reduces the flexibility that you have. Many cameras have a neutral picture style preset for this reason. Make sure that you enable this to have more flexibility in post-production. Remember that you can always add contrast or sharpness later.

Whatever footage you have to work with you can always make it look better in post-production. A common issue with low budget DSLR filmmaking is making smooth camera movements. A shaky effect can have its applications but in most feature films you’ll see that the camera movements are silky- smooth. The professionals use hardware stabilizers like this, but these are expensive.

We can achieve a similar effect with the software that we already have. Beginning with after-effects CS 5.5 and Premiere CS6, Adobe included an effect called Warp Stabilizer which is super easy to use. To use Warp Stabilizer search for it in the effects panel and drag it onto your footage. It will start to analyze the motion in your footage and then try to stabilize it after it does some processing.

Keep in mind that it could increase render times a fair amount, and that it usually reduces the resolution slightly. In some cases artifacts appear when the footage is too shaky. Sometimes lowering the smoothness in the effects control panel can help but this could just mean that the clip just isn’t suitable for stabilization. This effect usually works great without any tweaking, but you can adjust the settings for your taste.

The smoothness control does just what it says: it controls the amount of smoothing applied. along with stabilizing the footage for smooth motion, Warp Stabilizer can also make the camera look completely still. To do this change the motion result to “No Motion”. This is helpful for shots that should have been done on a tripod but weren’t. One of the most powerful ways to change the emotion of a shot is through color grading.

Feature films use color grading to convey the mood of footage visually. For example dark blues convey a depressed or dark tone while warm colors suggest happiness. Without any color grading, it is very hard to achieve a cinematic look. Here’s an example of a shot with the original footage and the color graded footage side by side. you can see there is a massive difference.

There are plugins that can automate color grading but by doing it manually you can have full control. Some useful tools built into Premiere and After Effects that will effectively grade your footage are RGB curves and Three-Way Color Corrector. Other compositing applications have similar effects. You can use RGB curves to adjust the darkness of the darks and brightness of the highlights in your footage. To start using RGB Curves, search for it in the effects panel and then drag it onto your footage.

You will see these graphs on the left here. Basically, this graph shows the highlights and darks of your footage and by adding a point to it you can change the response of these different areas of your footage. A popular cinematic look is to have the darks darker and to make the highlights even brighter. To do this, and two points to your line by clicking on it; bring the bottom point lower, and bring the top point higher to increase the highlights.

How you change the curve depends on the footage that you have and the effect you are looking for. For example, a comedy short film will have a different look to a thriller. The Three-Way Color Corrector effect can change the color tone of the darks, mids, and highlights of your footage. To use it; search for it in the effects panel and drag it onto your footage. Once we scroll down here we can see there are three circles for each of the parts of your image – the shadows, the mid tones and the highlights.

A popular cinematic effect is to make the shadows a blue hue and to make the highlights a warm color. So to do this, we drag the circle for the shadows to the blue part of the spectrum and move the highlights circle into the orange and yellow part. There is an infinite number of ways to color grade footage so it’s best to experiment and see what you like. You will notice that most films are not framed in the same aspect ratio that most DSLR footage is.

Standard video from most consumer cameras is in the 16 by 9 aspect ratio, also known as widescreen while most modern films are shown in the 2.35 to one ratio, also known as ultra-widescreen. There are numerous ways of achieving this ultra-widescreen effect in Premiere, but the easiest way is adding a black pass to the top and bottom of the picture, also known as letter-boxing.

You can achieve this by making an image mask yourself in the right aspect ratio or downloading this image in the description. After importing the image to Premiere you can use it by dragging it to a video layer above your footage. It will then mask off the top and bottom with black bars. That’s all there is to it. One of the drawbacks of this method is that you lose the detail at the top and bottom of your image, so it’s best to decide if you will use this format before you start filming say can keep it in mind when you frame your shots. So that’s the basics of achieving a film look with your footage.

There isn’t one right way to developing this look, and there are all sorts of plugins and overlays that you can apply to help the effect. As always the best way to learn is the experiment with the tools that have – because you don’t always know what you want until you see it. Thanks!