Last week we talked about the differences between Video Codecs, and more specifically about the advantages and disadvantages between ALL-I and IPB.
DISCLAIMER This article is not paid or sponsored by anyone. It reflects my own independent opinion. I only recommend companies and products that I 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!
Audio File Formats
Since last week’s post I’ve received several questions about audio formats. Instead of rewriting what has been already done well, I’ll direct you to an article by Izotope, which is in my humble opinion the provider of best audio plugins in the market.
The article covers the differences between wav, aiff, mp3, and m4a, which is pretty much all we need to know as filmmakers.
Audio Gear
Lots of folks have also been asking about “the most minimalist audio kit” I’d suggest.
Here it is: a wireless system, an audio field recorder, and extra mic that can doble as on-camera shotgun mic or boom mic, a couple of XLR cables (always bring backup cables), and enough rechargeable batteries to have a fully charged backup at all times. The H4n Pro is specially power hungry, so I’d strongly suggest getting the kit with the AC adapter.
I added one more item that is nice to have, but nor essential; the Rycote Undercovers, which allow you to “stick” a lavalier mic to a subject over or under their clothes. Much more useful than you would think.
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?
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.
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“Cinematic camera movement seems too daunting. Where do I start?” I’ve heard endless variations of this comment.
Part of the problem is that there are too many techniques with confusing names, and lots of tools that achieve seemingly similar things. A bigger problem is that as a one-person crew our plate is pretty full with checking the proper exposure, making sure the image is sharp, directing, asking questions, monitoring audio, etc. Do we really have to worry about moving the camera? The short answer is yes.
Let’s get this out of the way; it is entirely possible to shoot good videos without any camera movement. But we would be overlooking a powerful resource. I truly believe that understanding when and how to move the camera can go a long way to enhance our video productions and infuse them with a more “cinematic” style. Let’s go over the most common options and briefly discuss their advantages and disadvantages.
Handheld
Handholding the camera is by far the easiest option. There’s no need for additional support gear, it takes almost zero time to set up or break down, and it is very quick and easy to reframe. When used properly, intentional handheld movement can infuse a shot with urgency and tension, something we typically see in war and action films, reality TV shows, and many documentaries.
A clear disadvantage of handholding the camera is that footage that seems “pretty steady” on a tiny monitor often proves unusable when watched on a larger screen. Another challenge is that even if I’m working with a small camera package, after a few hours of work my arms and back are completely exhausted. A more serious consideration is that even with an audience visually educated by YouTube, unintentional shake can make our videos appear amateurish to many viewers.
Handholding the camera and shooting at 120 frames per second.
Monopods
A relatively inexpensive and very powerful tool is a professional video monopod. By professional I mean that it should offer good payload capacity, counterbalance, a 3-leg base, smooth panning and tilting, and a universal quick release plate. It might be just me, but the quick release plate tends to disappear every other assignment.
A huge technical advantage of monopods is that we can mimic a lot of movements typically achieved with much bigger and heavier tools like sliders, jibs, dollies, and cranes, but monopods weigh very little and some can be packed in a carry-on bag. When combined with a versatile zoom lens and a shotgun mic, a monopod setup can go a long way.
Using a monopod in unusual ways can lead to interesting shots.
Gimbals
Gimbals have significantly improved my skills as a filmmaker. Small, very portable, battery operated, and relatively simple to set up and use, gimbals have freed me to expand my camera movement lexicon. They allow me to move with or around an actor and add kinetic energy to otherwise static subjects, such as buildings or trees. Gimbals give me the freedom of shooting handheld while keeping my shot perfectly stable, eliminating distracting or unwanted shake.
Of course, there are disadvantages, mainly that gimbals need to be perfectly balanced, and with anything that is added to or removed from the camera package, a new setup is in order. This is why when shooting with gimbals I prefer to use a very small camera and a fixed wide-angle lens and a wireless mic. Zoom lenses tend to be bulkier and if the focal length changes I might need to rebalance.
Gimbals allow us to get very close to a subject, and quickly explore multiple compositions.
Tripods
The good ol’ tripod is a wonderfully versatile tool, but I can’t afford to carry a 50-pound state-of-the-art tripod with me, just in case I need it. In addition to the weight limitation, I often shoot in very tight places, and most tripods need a considerable amount of space to set up. Luckily we now have access to tripods that are extremely compact and light.
A solid video tripod is ideal for very smooth pans and tilts. Do you need to rehearse and repeat the same motion? Do you need to time the actor’s movement? Do you need to hit precise marks? Then you need a tripod. Also, would I shoot a long interview with a fully rigged camera handheld, on a monopod or with a gimbal? Of course not, that’s what a tripod is for!
The good ol’ tripod is a very versatile tool.
Other Tools
The fourth and last tool (in this post) is called an “EasyRig.” It looks similar to a Steadicam vest, and on paper it sounds like a great setup for run and gun projects where the shots are hard or impossible to predict, the subject is moving continuously, and where extended shooting times are required. The perfect example would be shooting behind the scenes coverage on any of my projects. The “easy rig” looks too bulky and heavy for a one-person crew, but I’m definitely open to giving it a shot on future assignments.
On upcoming posts we’ll explore other tools and techniques, including the best jibs and sliders for a one person crew.
Conclusion
Camera movement is a lot more than following a character or capturing the action. And obviously, no single camera movement technique or tool will represent a specific feeling or message. Everything depends on the story and its context.
My advice is to learn as much as possible about camera movement, but NOT to incorporate movement just because we have a new tool; rather, understand and appreciate the dramatic effects of each type of movement and how it can enhance our stories.
DISCLAIMER This article is not paid or sponsored by anyone. It reflects my own independent opinion. I only recommend companies and products that I 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!
For the past six (or it’s been seven? eight?) weeks, I’ve investing my time reading a lot, writing a bit, but mostly thinking. I picked some marketing books that would inspire me to think more creatively, to look for new ideas, to imagine bigger dreams and set new goals. Then I’ve been trying to bring those ideas down to earth, connect the dots, and make something happen.
There’s another book that I enjoyed very much a few years ago, but this time has felt a bit “slow” or perhaps dated: The Blue Ocean Strategy by Chan Kim.
But there’s a fifth book, SO good, SO timely, SO jam-packed with useful and actionable ideas that it deserved writing a blog post, the one you are reading. That awesome book is “This is Marketing” by Seth Godin.
Almost every day I’be been going out for very long walks. The first chapter alone is so good that I also bought the audiobook version, and this is the only book I’ve been listening to.
Let me share some Seth Godin’s gems:
“The marketing that has suffused our entire lives is not the marketing that you want to do. The shortcuts using money to buy attention to sell average stuff to average people are an artifact of another time not the one we live in now. “
“Good marketers don’t use consumers to solve their company’s problem. They use marketing to solve other people’s problems.”
“People like us do things like this” is how each of us understands culture.
“Begin by organizing a tightly knit group, by getting people in sync. Culture beats strategy so much that culture IS strategy. “
“Who’s it for and what’s it for are the two questions that guide all of our decisions.”
Priceless. Straight to the point. And very true. Here’s an excerpt from the first chapter:
The 5 marketing steps suggested by Seth Godin.
Invent a thing worth making, with a story worth telling, and a contribution worth talking about.
Design and build it in a way that a few people will particularly benefit from, and care about.
Tell a story that matches the built-in narrative and dreams of that tiny group of people, the smallest viable market.
Spread the word.
Show up. Regularly, consistently and generously. Organize, lead and build confidence in the change you seek to make. Earn permission to follow up, and to earn enrollment, to teach.
Why is this book so impactful to me? Because Seth’s advice is precisely what I’m hoping to do with THIS website. I’d like to connect with other creative people who emphasize story over gear. To find interesting people who do amazing things and help them reach wider audiences. To build a small tribe where we can safely share our experiences, good and bad, cool techniques and time-saving tricks, so we can grow together and spend more time doing creative things and less fighting with cables and firmware updates.
It might take a long time, and I might not be able to achieve it, but I can promise I’ll give you my best. One more, for the road:
“We don’t need to rely on the shiniest, latest digital media shortcut. We have even more powerful, nuanced, and timeless tools at our disposal: we tell stories, stories that resonate and hold up over time, stories that are true because we made them true, with our actions, and our products, and our services.”
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.
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.
