1 Person Crew Video Productions – Online Course – The Cinematic Look

Businesses of all sizes need better ways to offer their products and services to the world, and video is clearly the new language of brand communication. Learn how to plan a multi-camera production, increase production value through camera movement, and create cinematic lighting on a budget. Plus, get tips for adding great music and sound effects, saving time and money in post-production, and more!

Online Course

The complete online course is now available on LinkedIn Learning and on Lynda.com

Gear

All the video gear featured on (and used to produce) this course is available here.

Some links might be affiliates. If you purchase gear with them, I might receive a small commission at no additional cost to you. Thanks in advance for your support!

Questions?

Feel free to ask any questions regarding this course (on anything else) on Instagram.

1 Person Crew Video Productions – Online Course – Up and Running

1 Person Crew online course

From planning a shoot to DIY lighting solutions, learn how to produce professional videos with very little gear, tight deadlines, shoestring budgets, and no crew.

Online Course

The complete online course is now available on LinkedIn Learning and on Lynda.com

Gear

All the video gear featured on (and used to produce) this course is available here.

Some links might be affiliates. If you purchase gear with them, I might receive a small commission at no additional cost to you. Thanks in advance for your support!

Questions?

Feel free to ask any questions regarding this course (on anything else) on Instagram.

What the hell is HLG? And, do I need it?

SDR vs. HDR side by side

A quick Google search shows you that HLG (Hybrid Log Gamma) has been around for a while, yet, it’s something I didn’t really understand until very recently.

In today’s post I’ll share the most useful things I’ve learned about HLG, and when/how to use it.

SDR vs. HDR side by side

History

You might remember several HLG-related announcements back in 2017:

“Panasonic releases firmware update 2.0 for the Panasonic Lumix DC-GH5 with added support for HLG recording.”

“Adobe Systems updates Adobe Creative Cloud which includes support for HLG.”

“Apple releases firmware update for Final Cut Pro X which includes support for HLG.”

“Sony supports HLG on 2017 4K TVs with a firmware update.”

After reading about this, and watching some “official videos” my reaction was “meh, whatever.”

What the hell is HLG?

This is exactly why I waited so long to play with HLG.

Glad you asked. HLG stands for Hybrid Log Gamma, which according to Wikipedia is “a backwards-compatible high dynamic range (HDR) standard that was jointly developed by the BBC and NHK.”

One of the most interesting aspects of HLG is that it is essentially HDR, but compatible with existing standard displays, reducing complexity and cost for both equipment manufacturers and content distributors.

Interesting findings from my recent quest to understand the HLG standard

  • HLG is royalty-free
  • HLG is supported by HDMI 2.0b, HEVC, and H.264/MPEG-4 AVC
  • HLG is currently being used by many video services including YouTube

Takeaway: HLG is a free HDR standard that works on normal monitors and is widely supported. Got it.

But, what’s the difference between HDR and HLG?

This gets trickier and unnecessarily dense. So, let’s keep it super simple. There are three main flavors of HDR:

  • Dolby Vision Involves a complex and expensive workflow, not 1PersonCrew friendly.
  • HDR10+ The most available format, but also requires labor-intensive grading.
  • HLG

In a nutshell, HLG aims to solve two big problems. The first problem is that Dolby Vision and HDR10+ aren’t suitable for broadcast signals. The second problem HLG is trying to solve is the need to produce two version (HDR and non-HDR) of the same content. In theory, with HLG one can shoot, edit, and grade, and the final videos will look good both on normal monitors and on fancy monitors. This is huge!

Takeaway: HLG offers similar advantages of shooting HDR, but the key difference is that both normal (SDR) monitors, and super fancy (HDR) monitors can display HLG footage.

Now the real important question: Do I need HLG?

As always, it depends. I like the simple approach Atomos takes on this matter:

“The first step in HDR is to recognize you have a HDR scene. Look for a good range of contrast across the brightest and darkest parts of your image and also across the color and tonal range as each color also contains its own brightness or luminance information. Secondly ensure you are sending a Log signal into the Ninja V so that you are recording the HDR Log information. The main impact of HDR is apparent in the specular highlights and bright areas. The areas that would have previously been ‘blown out’ will now contain visible detail and information to enhance your content. HDR provides more headroom allowing you to show more detail.”

Simple. So, if you are facing a scene with a lot of dynamic range, with deep shadows and bright highlights, then it might make scene to shoot HLG.

I can definitively see the benefit of using HLG on some of the Artisans Stories I’ve been producing, especially when working with available light and very bright locations/exteriors.

How to use it?

Obviously, we need to start with a camera that supports HLG. In my case, I have easy access to a Panasonic GH5. What’s very interesting about the GH5 is that it supports recording, BUT not displaying HLG.

Thankfully, I also have access to an external monitor/recorder that support HLG recording AND displaying.

Setting up the Camera

To set up the camera, we need follow the instruction on this online PDF manual (Page 4).

After several tests, my recommended settings for the GH5 are:

  1. Select “Standard” as the Photo Style (aka Profile)
  2. Under Rec Format select MOV
  3. Under Rec Quality select 4K/8bit/150/60p (I know this doesn’t make sense, but follow along)
  4. Under HDMI Rec Output select 4K/60p Bit Mode
  5. NOW change the Photo Style to Hybrid Log Gamma

Important: For the GH5 to have access to 60p video, the camera must be in NTSC (59.94 frequency) mode. Weird, but that’s the way it is. Also keep in mind that with HLG the lowest ISO available is 400, and we can’t change Contrast, Luminance Level, or Highlight Shadow.

Setting up the Monitor/Recorder

To retain all of the 10Bit data, we need to set the Atomos Ninja V to record in one of the following codec formats:

  • Apple ProRes HQ
  • Apple ProRes 422
  • Apple ProRes LT
  • Avid DNxHR HQX (4k)
  • Avid DNxHD 220x (HD)

According to Atomos “another important item is a high quality HDMI cable that is capable of handling the bandwidth of a 10Bit 4K60p signal. These cables are generally labeled “2.0a” (though not every 2.0a cable is made well enough to work properly).

Here’s more info directly from Atomos regarding the Panasonic GH5.

Takeaway: Even if your camera supports HLG, you might need an external monitor recorder. The setup process is far from quick or intuitive, and LOTS of testing is required before using HLG on a real shoot.

The 1PersonCrew approach is to save the cameras settings we use more often as Custom Menu so we are up and running with a click of a button.

For example, on the Panasonic GH5 I have set the C1 menu for Standard 4k 24p 5600k shooting, the C2 Menu for slow-motion, and now the C3 Menu for HLG.

Not all resolutions and codecs support HLG, so check your camera’s manual.

What’s next?

I’ve been doing lots of different tests, under different lighting conditions and using different settings both on the camera and the Ninja V.

I might write a second post on this once I’m happy with the results and if/when I’m able to come up with a simple and consistent shortcut for the settings.

SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew

Gear: The Cinematic Look. Part 3 of 3.

Corporate Interview setup

I created three lists to share my favorite tools; one for the travel filmmaker who’s priority is size and weight. The second gear list is for those who are getting started or are looking to add new/better tools. And the third list is for more experienced filmmakers who want to take their productions to the next level.

Here’s the third gear configuration I’d suggest:

The Cinematic Look

This list is for people who already own the essential tools, but want to increase the quality of their video productions. A cinema camera and lenses, additional lighting tools, and better audio gear are included.

The “Cinematic Look” is what I’ve used for high-end corporate gigs, music videos, and even short films. Not all the items on the list are supposed to be used simultaneously. For example: I’d use the NanLite MixPanel 150 and a PavoTube Kit on most situations, unless shipping gear is required. In that case I’d use the Fiilex kit.

The same goes for lenses. Under controlled and well-planned situations, I prefer to use the Rokinon Cine lenses, but depending on the story, subject and shooting schedule a fast zoom lens might be a better option.

And here’s The Cinematic Kit on Amazon.com

Disclaimer

The gear lists are not paid or sponsored by anyone. They reflect my own independent opinion, and the companies and products I use and trust. Some links might be affiliates, which means I may get a few pennies if you decide to purchase something. Thanks in advance for your support!

Eduardo Angel on set.

The 21 Best Books on Filmmaking.

There’s no question that the best way to learn about filmmaking is to shoot, edit and make a lot of useful mistakes. The second best way is to watch movies, especially with commentaries so we can learn about the challenges other people have and how they solved them. And the third approach is to read great books.

Today’s post is a simple list of the filmmaking books that have inspired me over the years, and that I recommend or gift most often. Here we go!

The Books

Perhaps the two books Ive gifted the most are The Filmmaker’s Eye: Learning (and Breaking) the Rules of Cinematic Composition by Gustavo Mercado, which is essentially about “Understanding the rules of cinematography and how to successfully break them. and Rebel without a Crew by Robert Rodriguez.

Christopher Kenworthy has  authored two books I consider outstanding: 100 Ways to Shoot Great Dialogue Scenes and Master Shots: 100 Advanced Camera Techniques to Get An Expensive Look on your Low Budget Movie. Both are truly inspiring.

The more I learn about editing, the more efficient I am as a director of photography. There are three books I’d highly recommend: Great Cuts Every Filmmaker and Movie Lover Must Know by Gael Chandler, The Technique of Film and Video Editing: History, Theory, and Practice by Ken Dancyger, and In the Blink of an Eye: A Perspective on Film Editing by Walter Murch.

If you are interested in directing, Michael Rabiger’s Directing: Film Techniques and Aesthetics, Film Directing Shot by Shot by Steve Katz, and Directing Actors: Creating Memorable Performances for Film & Television by Judith Weston.

For those interested in production, The Big Picture: Filmmaking Lessons from a Life on the Set by Tom Reilly, The Complete Film Production Handbook by Eve Light Honthaner, and Making Movies by Sidney Lumet.

There are lots of technical books that are too hard to digest. A few exceptions are The Color Correction Handbook: Professional Techniques for Video and Cinema by Alexis Van Hurkman Cutting Rhythms: Shaping the Film Edit by Karen Pearlman
and Cinematography: Theory and Practice: Image Making for Cinematographers and Directors by Blain Brown

To understand the power of color as a storytelling tool, there’s no better resource than If It’s Purple, Someone’s Gonna Die by Patti Bellantoni.

And last but not least, really fun books that deliver lots of educational content even though they are not “technical”: Cabinet of Curiosities: My Notebooks, Collections, and Other Obsessions by Guillermo del Toro, The Philosophy of the Coen Brothers by Mark T. Conard, Hitchcock by Francois Truffaut, and Something Like An Autobiography by Akira Kurosawa.

The complete list is available here. If you know of an amazing book that I’ve missed please recommend it to me.

Story, camera movement, and tight spaces.

It’s great to talk about camera movement in the abstract: “the camera turns 360 like in “Gravity” and then we do a really slow long tracking shot like in “The Shinning.”

Sadly there’s also real life, and it comes with real people usually working in tiny and crowded spaces. Besides the actual physical challenges, we should consider the reasons to move the camera, in other words, it’s a good idea to think WHY are we moving the camera before we get into HOW to do it.

Watch the video below for a real life example:

And here’s a 90-second version of the Bookbinder’s story.

These are the tools I used to shoot this video:

If you want to learn more about Camera Movement, check the complete online course on LinkedIn Learning.

SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew

[jetpack_subscription_form show_only_email_and_button=”true” custom_background_button_color=”undefined” custom_text_button_color=”undefined” submit_button_text=”Subscribe” submit_button_classes=”undefined” show_subscribers_total=”false” ]

Gear, gear, and more gear. Part 1 of 3.

Which camera should I buy? What’s your favorite lens? How many lights do I need? What’s better, a shotgun mic or a lavalier mic?

I don’t know.

These are the kind of questions I get every week, and unfortunately it’s very hard for me to answer them objectively and responsibly. Why? Because I need a lot more info. For example, what’s your budget? Do you have other gear or are you getting started? Are you mostly working on location or in a studio?

The “ideal” gear for a travel filmmaker working alone is completely different than the one required by someone shooting products in a studio environment. A documentary shooter needs a few versatile lenses and works mostly with available light. Someone producing similar content, but as an in-house, full time employee at a corporation can afford more time and gear, especially lights.

As you probably know by now, my approach is “how to do more with less.” My goal is to own as little gear as possible, not only to keep my overhead low, but most importantly to select the gear based on each story, my client’s requirements, and obviously, the available budget.

I created three lists to share my favorite tools; one for the travel filmmaker who’s priority is size and weight. The second list is for those who are getting started or are looking to add new/better tools. And the third list is for more experienced filmmakers who want to take their productions to the next level.

After doing a lot of research and trying multiple options, it’s clear that the best way to keep models, specs and prices always up to date is to host the lists on Amazon.com.

Here’s the first of three kits:

The Travel Kit

This ultra minimalist setup consists of the most essential items I take with me on travel and lifestyle assignments, which is the main bulk of my production work. Travel assignments require extremely light and compact gear that must fit in one backpack, and maximum a carry-on bag.

It doesn’t matter how awesome a piece of gear is, if it’s too big or heavy, I can’t take it with me. On travel assignments most of the work is done with available/natural light and only essential sound (like interviews) is recorded on location.

Some post-production might be performed during the assignment (especially waiting at airports and during long flights). Backup is extremely critical as re-shoots are often impossible.

Here’s the complete Travel Kit on Amazon.com

Disclaimer

The gear lists are not paid or sponsored by anyone. They reflect my own independent opinion, and the companies and products I use and trust. Some links might be affiliates, which means I may get a few pennies if you decide to purchase something. Thanks in advance for your support!

Lessons from the Shipping Industry. Yes, really.

Container Ship

In the 1950’s the ocean freighters were heading into bankruptcy. It was too expensive and slow to move cargo around the world by water. The merchandise waiting at the docks often got spoiled or stolen.

The shipping companies, did what they usually do to lower costs. They fired a lot of people, and focused on making the ships faster, bigger, and more fuel efficient. That worked for a while, but the costs kept increasing and the shipping times didn’t improve substantially.

A good idea.

Then, someone had a great idea: What if the cargo could pre-loaded, so when a ship arrived, it would take hours, not days to load and depart? Bingo! The shipping container was born.

An even better idea.

A few years later, someone else had an even better idea; what if the shipping containers could have all the necessary parts to build a product, and the time from A to B could be utilized to assemble that product? Bingo again!

Today, all the necessary parts to build a car are loaded into a shipping container. The ship arrives, loads, and departs. While in transit, the cars are built. Three weeks later, when the ship arrives to its destination, complete cars get off to the dock and the empty containers are replaced with fully loaded ones. Brilliant.

Now, how can we possibly apply a similar approach to video productions?

I’ve spent a lot of time thinking about this challenge. The first step is to identify the most complex or time consuming processes, and then find ways to simplify them down to the least amount of gear and steps.

So buying a faster computer, a larger monitor or hiring a faster editor are just temporary solutions. What if we could blend some pre-production and productions steps? Even better, what if we could replace post-production all together?

This is a timely issue for me, as this week I am starting pre-production for a new online course for LinkedIn Learning.

The topic will the “1 Person Crew productions.” I’m used to travel and work alone, but for this course, for the bar has been raised. A lot. I need to find ways to do everything myself: shoot the story, capture behind the scenes footage, and produce valuable educational content, essentially at the same time. I’ll be producing short-form documentaries with real people in active locations, so I need to be respectful of their time. Not an easy challenge, but a very exciting one.

How am I going to pull this off?

I don’t know (yet).

My wife insists that a Vlog, could be a great way to document and share some of the ideas, tests, and challenges I’m dealing with in preparation to the 1 Person Crew online course.

I’m not so sure. I’m not young enough or thin enough to start vlogging. Even worse, I don’t have a mustache and I don’t wear tiny hats or striped shirts.

If (with an IF the size of a billboard) I go this route, I’d like to keep everything as RAW as possible, in other words, people would see my unmade bed, unshaven face, a crazy collection of cables, and a very unorthodox, but effective, workflow.

Why would I even consider doing this? I honestly believe that anyone interested or involved in run and gun scenarios (documentary, education, weddings, corporate, red carpet premieres, product launches, sporting events, music videos and even short films) will get something useful from my experiments (and public suffering). Let’s see. I might test the idea this week and see what happens.

Here’s an article, and a couple of related books, in case you want to know more. The “Minimalism” documentary is also worth watching because these people TRULY live with the bare essentials.

Sign up below to make sure you don’t miss upcoming posts and tutorials.

SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew

[jetpack_subscription_form show_only_email_and_button=”true” custom_background_button_color=”undefined” custom_text_button_color=”undefined” submit_button_text=”Subscribe” submit_button_classes=”undefined” show_subscribers_total=”false” ]

Exercising and Location Scouting can be one and the same.

The 1 Person Crew approach to scout locations during a lockdown

The Coronavirus outbreak has forced a global lockdown. Most governments are enforcing travel restrictions with random checks on roads, highways, and bridges and are requiring justification for traveling anywhere, even within a city. Because of this (and other reasons) most shooting assignments have been canceled or at best rescheduled. But this does NOT mean we can’t continue looking for interesting spots for upcoming projects.

This short article covers the 1 Person Crew approach to legally scout locations during a lockdown in two steps:

Step 1: Google and Google Earth

A quick Google search for “the best viewpoints in Lisbon” offers 30,000,000 results in 0.87 seconds. Wow. Another option is to search for “melhores miradouros em Lisboa” (306,000 results in 0.61 seconds) which most likely offers better recommendations from locals.

Three viewpoints immediately get my attention: Miradouro de Santa Luzia, Miradouro das Portas do Sol, and Miradouro da Graça. I like these three spots for several reasons:

  • They are reachable by public transportation.
  • They are close to main roads so I can use a share-riding service like Uber to get there.
  • The three are within walking distance from each other, yet they offer different perspectives of the city.
  • They all seem to offer good shooting opportunities at sunrise, sunset and at night.
  • Not only the views, but the viewpoints themselves seem visually interesting.
  • Portugal is safe at all times, so I don’t have to worry about that, but that would be another consideration anywhere else.

Here’ s a screen recording of my research process using only Google and Google Earth.

OK. I now have three potential locations, without leaving my desk. What’s next?

Step 2: Exercise

We are being “asked” to stay at home, with few exceptions, which usually include:

  • Buying food or other essential items
  • Going to work if unable to work from home
  • Going to hospitals or health centers
  • Going to care for someone
  • Returning to their primary residence
  • Walking pets
  • Exercising outdoors for short periods in groups smaller than 2 persons

Aha! This last exception is our salvation. Now that we have identified three interesting spots, close to each other, and at a reasonable distance from home, it’s time to go out and exercise.

Nobody, not even a nerd like me, scouts locations with a Canon EOS C300 Mark III, a bazooka lens, or a giant fluid head tripod.

I wear my gym clothes, my mask, hat, sunglasses, grab a water bottle, my cell phone, and my smallest Benro gimbal (B&H / Amazon)

Then we need to pack everything into the smallest possible bag to avoid drawing unwanted attention.

My lovely wife also enjoys working out while enjoying this incredible city, so I was lucky to have an assistant this time. =)

That’s it! You are ready to explore the world and scout potential locations for your projects. But remember: Wash your hands, don’t touch your face, maintain social distancing, and travel only for essential tasks (including location scouting for upcoming shoots).

PS: I wanted a “spy movie” kind of soundtrack, and it took me about 3 minutes to search, find, download and cut the song “Ace of Spades” from Artlist.io by far the best music library I’ve used. And now they also offer sound effects! Highly recommended.