In both filmmaking and photography, there seem to be two sides: those who believe these skills should be learned at school, and those who prefer online resources and self-teaching. Regarding this topic, Richard William Scott and Robert Carr from The Film Look created a video for all those questioning whether they should go to a film school or not, giving some useful guidelines and resources for both these groups.
Depression is not when you’re feeling a bit blue on a rainy day. It is a serious condition that can last long and influence all aspects of your life. And although it’s stigmatized – it is real. Rob Nelson of Rob & Jonas’ Filmmaking tips is an ecologist and an awarded filmmaker who has dealt with long periods of depression. He ascribes his condition to the filmmaking industry – but many photographers will be able to relate to this as well.
The battle between iPhone and DSLR photography is never-ending. The iPhone advocates claim that it’s not about the equipment, it’s about the skill. On the other hand, DSLR photographers get mad at iPhone users who call themselves photographers. Although I love my Nikon DSLRs and hate the quality of the photos I make with my phone, I’m gonna have to agree with the iPhone users on this one.
This is precisely what Parker Walbeck tried to prove in his video, where he compared the footage taken with an iPhone with the one taken with a $50,000 camera. The results may surprise you.
Becoming a travel photographer or filmmaker has had a resurgence in the last few years. It’s one of those markets of photography that took a little dip for a while as cameras got into the hands of more people. Suddenly, companies didn’t need to send photographers to far flung corners of the globe any more. It became easy to license photos at microstock sites from those who had already been there on holiday and taken a few good quality snaps.
Now, companies are starting to realise there’s more to it than just showing people what these locations look like. They need to have images that look different to everybody else’s. They need to tell stories to draw prospects in and turn them into clients. This is why Gregg Bleakney founded travel filmmaking agency WhereNext.
If you’ve been shooting video on your DSLRs for any length of time, you’ve realised that in-camera sound is awful. Perhaps you want to branch out to an externally boomed mic. Sounds simple, but there are some things you’ll want to keep in mind.
In this video from Aputure’s series 4 Minute Film School, we get some valuable tips from boom operator Stephen Harrod. Even if you’re not operating the mic yourself, it’s good information to know. Many start out having friends hold the mic, and you can help direct them with these tips.
Knowing what to shoot and learning how to tell a story in your videos can be a challenge. It’s something you pick up with over time with experience, but where do you begin?
Rob Nelson’s latest video on Rob & Jonas’ Filmmaking Tips helps get you started with some solid story telling advice. While the primary subject is video footage, the same principles also apply to telling stories with a series of photographs, too.
Holding my breathe for even a minute is a difficult task, let alone for four minutes straight. And I can’t say that I’ve ever been tied up and sunk to the bottom of a pool. But, for free diver Marina Kazakova, it’s all in a days work.
“Lydia is a song about a failed relationship,” says Johnny Stevens of Highly Suspect, “and how it can be kind of tragic sometimes when two people’s life choices lead them in different directions but their love is still there.” Apparently, drowning a woman was the best way to communicate that (said in all jest).
The incredible music video, brought to life by Pier Pictures, was shot a single 4-minute underwater take, during which Marina held her breath the entire time. Now we get a look behind the scenes of how this inspiring film was created.
It has been my experience in life that you learn the most from past mistakes, whether they be of your own doing or from someone else. (Unfortunately, sometimes I have to make the same mistake several times before I finally catch on and move forward.) The same goes in the creative world. Being able to identify the bad can help us be able to more easily identify the good.
Darious Britt advocates just that in a recent video he shared on his YouTube channel. As he says in the 5-minute clip, “If you’re a doctor, how can you get good at diagnosing sick patients if all you’ve ever evaluated are healthy patients?” And he’s right. Analyzing great movies (and I venture to postulate that there are very few that fall into this category) is also a good practice when learning and honing your own skills, but it’s much harder to see what is truly great in it until you can understand what is truly bad.