Video marketing is still growing and become a necessity for companies like a web page and an email campaign have. Everyone watches Youtube and everyone says you and your clients need to be on it. But it feels like a black hole when it comes to views. Is it worth it and what makes it work?
You need to shoot an interview. Maybe it’s for a documentary, a client video, a youtube video. How do you do it? Maybe you’ll shoot them in their house? Their office? Outside? Do you need lights? And what about the audio? What if you don’t know much about lighting or audio? What do you do?
We’ll show you the two most important tips on how to shoot without lights and how to get great audio.
Knowing the names of the different types of camera shots is important but how do you decide when to use them? Would a close-up, medium close-up or medium shot work best for this scene? Should I use over the shoulder shots for a conversation? And what if the characters are not even facing each other? We'll show you the differences and the why to help you decide what shots work best for your projects.
In post-production, the editing timeline is where the magic happens. But all those layered clips, effects, and transitions can get out of control and cause unforeseen problems. In Premiere Pro, nesting sequences save the day.
Manu covers nesting tip and tricks such as adding effects to multiple clips, using warp and speed, and when to use nest or a subsequence.
Film and video lights are either used as is or put through diffusion to create diffusion lighting. But why use diffuse light for your show and which types should you use?
Frank talks about how to look at the world around you to find lighting answers, they three types of diffusion, and how to create affordable diffusion with household materials.
Frank brings his years of experience as a dolly grip to the world of camera slider techniques. A camera slider gives filmmakers the ability to create camera moves without the need to level track or the weight of a dolly. But there are certain basic principles common to both that should be known and practiced.
You may create mood boards to show your DP what look you want for your film. You may play music or movie clips for your editor to convey the feeling you're looking for. When working with actors as a director, how do you prepare? What can you convey to them to help communicate your vision?
Frank discusses his method based on his training with the esteemed directing/acting teacher Lenore DeKoven.
Most videos on framing and composition in cinematography focus on the 1/3 rule. But the creative art world has thousands of years of experience playing with composition. Let's learn how they use symmetrical and asymmetrical balance, shapes like the circle, triangle, L, and others to guide the viewer's' focus and create a feeling with shots for their story.