Eduardo Angel, Author at 1PersonCrew.com

June 9, 2020June 2, 2020

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!

June 2, 2020June 5, 2020

Quick Multi-Cam Editing in Adobe Premiere Pro.

Today’s tip is about how to create sequence so you can edit multiple cameras in real time, with the click of your mouse (or using the number keys on your keyboard).

Like many people shooting documentaries and interviews, I often shoot with two (or even three) cameras, and record audio separately.

Syncing the footage with the clean audio source in Adobe Premiere Pro or DaVinci Resolve is relatively easy, but not always accurate. That is why for many years I’ve been using a plugin called PluralEyes.

Live editing is a great way to cut VERY quickly, but it involves a few “hidden” steps:

If you are serious about the craft of video editing, this new online course by Oscar-winning editor Tom Cross (Whiplash, La La Land and First Man) is pure gold. Highly recommended.

Do you find these tutorials and resources useful? Let me know!

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May 19, 2020May 12, 2020

Understanding Video Codecs, in plain English and under 2 minutes.

As filmmakers we read and hear about Codecs all the time, but it’s hard to find clear and concise information about what to use when.

Until now.

May 12, 2020May 11, 2020

Lessons from the Shipping Industry. Yes, really.

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.

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May 7, 2020June 13, 2020

The daunting topic of Cinematic Camera Movement.

“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!

May 1, 2020May 13, 2020

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.

April 29, 2020May 2, 2020

Studio lighting techniques (for web meetings) in 5 simple steps.

For obvious reasons everybody is spending a vast amount of time everyday on Zoom / Meet / Skype / Hangouts / FaceTime / fill in the blank.

And for obvious reasons I’ve been getting a lot of emails that roughly ask the same question “My lighting sucks, I look like a monkey (guys), I look fat (girls), what can I do?”

Well, here’s my 1 Person Crew approach in 5 steps:

Most people choose a spot next to, or worse, in front of a window. I’d suggest picking a location where you can control the amount and quality of the light, so it is the same for your 7AM meeting with Australia and the 10PM meeting with San Francisco. This is especially important for situations where lighting continuity is important, for example if you are creating educational content, webinars, or long interviews.
Under normal circumstances, people look better under soft light. “Soft” means that the light “wraps” around the contours of the subject, making the shadows indistinct and gradual in falloff. There are many ways to create soft light, but the easiest and quickest is to diffuse it using professional tools or an Ikea shower curtain for the unbeatable price of $1.99. Bonus Tip: Place the diffusion material as close as possible to the subject as possible, without getting in the frame. With a laptop this is not an issue.
My weapon of choice for very quick setups is a couple of NanLite PavoTube 15C. These beauties are incredible: Dimmable from 0% to 100%, adjustable color temperature from 6500-2700K, super light and durable AND they come with a built-in battery so I can use them on location. This handy “Gooseneck mount” allows you to have two lights on one stand, which saves set up time and space.
The lights come with all the necessary accessories, but we need a couple of light stands, a crossbar for the shower curtain (also at Ikea), and a super clamp to hold the crossbar.
To test your light and framing, simply open the app everybody has and nobody has ever used: Photo Booth. Add some props to the background, good headphones with a built-in mic, a glass of water (or depending of the time, an adult beverage) and you are all set to go!

Window light is great sometimes, but it changes all the time and can create too much contrast, especially for a webcam.
Closing a few windows kinda works during the day, but not at night.
Two lights, one shower curtain.
Increase the height of your laptop/camera with some books, and don’t forget the props!

Simple lighting techniques for web meetings.

An added benefit of this simple set up is that it’s very easy to move when not in used, or during meal times in our case. =)

March 3, 2020January 14, 2020

Post-Production for Low-Budget Films.

The Online Course

Experience a post-production workflow that is far from traditional, but is extremely efficient and logical. Recommended hardware, software and apps, batch renaming, 4K Proxy workflow, GPS tagging, the correct steps to color correct and grade footage, and even how to safely back-up and archive your projects.

https://www.linkedin.com/learning/video-post-production-for-low-budget-films/welcome

The best book for Photographers getting into Video.

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February 25, 2020January 14, 2020

Pre-Production for Low-Budget Films.

The Online Course

Learn the entire pre-production workflow, from brainstorming to asset allocation all the way to actually pre-shooting your project. This course is geared to filmmakers working with small crews, but it offers essential lessons and resources for all content creators.

https://www.linkedin.com/learning/video-pre-production-for-low-budget-films/welcome