Ok, so, the title says “any location shot”, but it’s probably more like any outdoor location shot, when you think about things practically. Sure, you could use these tips indoors, too, although they wouldn’t make a whole lot of sense. But Ted at Indy Mogul talks to Phil Rhodes, writer at American Cinematographer in this video, to chat about water and how it can make a big difference to your shot.
Gaffer is one of those titles that unless you actually become part of the photo or film industry, you’re not really sure what it is. It’s just one of those jobs that scrolls up the titles at the end of a movie along with countless others. But they play a vital role on a film set. They’re the guys who make the light look the way the director or DP wants it while still making it look natural.
In this video from Vanity Fair, gaffer Andy Day, who’s worked on movies such as Creed II, The Bourne Legacy and Salt, shows us what happens when you shoot a scene without having a gaffer on set. And while the video is geared specifically towards the movies, the same holds true of photography.
Gimbals can be wonderful filmmaking tools, and they’re ideal for adding interesting movement to your shot with the minimum of fuss. But they’re not always easy to get to grips with instantly. To get the best out of them, you need to practice and experiment. If you’re very new, though, just searching on YouTube for gimbal tutorials can get overwhelming. Many of them cover advanced techniques without really showing you the basics.
In this video, Jason Vong goes through some gimbal basics to get you shooting cinematic footage as quickly as possible. And he not only talks about the techniques he uses but also his lens choice to get the most impact.
All of us writing for DIYP are into photography and/or filmmaking, and since you follow our blog, I believe you are, too. But are you also a Star Wars fan? If you are, then you’ll love this video recently posted by CookeOpticsTV. In this video, cinematographer Peter Suschitzky talks about his experience as the director of photography for Star Wars: The Empire Strikes Back. He reveals what it was like to build sets on a budget, how he lit the scenes, and even how he created the light for lightsabers!
It’s not like DJI to do anything quietly, really. Whenever they introduce a new product, they always seem to make a big fuss over everything with flashy on-stage presentations and a lot of hype. But during CineGear 2019, they’ve quietly introduced both a new DJI Storm drone as well as a new cinematography service.
Shooting video on a smartphone has become far more commonplace now than it used to be. Even for quite serious projects. And, sure, it was part of a Samsung Promotion, but even The Tonight Show has now shot an entire episode using nothing but Samsung Galaxy S10+ Smartphones.
But what can we do with our own phones to help up the production value in our smartphone videos? In this video, Zach Ramelan shares 7 tips to help you get the most out of your smartphone video footage to produce better results.
Grinding an editor’s gears is easy, most cinematographers can do it blindfolded. If you shoot video – for any reason at all – and you’re not an accomplished editor – you’re undoubtedly indulging in at least one of the Six Sins of the Cinematographer.
If you want to master video production — and become every editor’s favorite shooter — here’s how to avoid the Six Sins:
There’s been a lot of buzz around the new Panasonic S1 full frame mirrorless camera. Some of it good, some of it not so good. People like to complain about the size and weight, and the fact that it doesn’t have a flippy out LCD like the GH5. But how about the good? Well, cinema5D has been having a play with the Panasonic S1, and when it comes to low light performance, they feel it could be the new king in town.
The Fast & Furious franchise is notorious for using CG in their movies. Even though they have very highly trained stunt drivers, and even gave the actors some rather intensive driving lessons, some things are just easier and safer when done with CG. But they also do a surprising amount of effects practically, when possible.
One sequence that seemed fairly obvious as CG in the imaginatively titled fifth instalment of the series, Fast Five, sees our heroes dragging a 9,000lb vault containing $100 million through the streets of Rio De Janeiro (although it was actually filmed in Puerto Rico). Except, it wasn’t CG, it was shot for real, with a real 9,000lb vault.
While the long take is more famous in movies than in anything else, it’s become sort of a thing for vloggers, too. Often they’re walking, holding the camera while they talk and it can go on for several minutes. But it can be difficult to add creativity to these types of shots, especially when you’re filming on your own.
In this video, Peter McKinnon shows three camera tricks to help add some interest to your long shots talking to the camera, surprise your audience and leave them wondering how you pulled it off. The secret? You’re not filming on your own.