The ultimate filmmaking resource on how to do more with less.
Composition is one of the least understood yet most important aspects of cinema. Using a wide variety of examples, Emmy Award-winning Director of Photography Eduardo Angel breaks down effective cinematic composition, shares his favorite compositional effects and techniques and even covers how and when to successfully break well established rules.
https://www.linkedin.com/learning/cinematic-composition-for-video-productions/welcome
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Learn wow to use the subjective power of movement and composition to guide the viewer’s attention and emotions.
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It doesn’t take a Hollywood budget to make to make the most of available light, and to learn simple tricks to reveal or obscure objects and subjects in your scene. Here’s your chance to learn field tested techniques to manipulate moods, add depth, and enhance your overall production with a few lighting tweaks.
https://www.linkedin.com/learning/lighting-design-for-video-productions/welcome
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I have been studying Ira Glass and Anthony Bourdain for a very long time.
Ira Glass is very well known in the U.S. because he is the producer and host of a very well-known radio show called “This American Life.” Bourdain was a celebrity chef, writer, host and producer of travel programs for The Travel Channel and CNN, exploring cultures and foods around the world.
The way the show works is as follows: a team of 12 people go out and find simple stories about everyday topics with normal subjects and characters, and produce fascinating stories about them.
For example, every highway has something called roadkill, which are the dead animals like deer, cats or dogs on the side of the road. Well, someone needs to go and pick them up. So many years ago, Ira Glass produced a story about the person who does that job, and it’s very appropriately called “Dead animal man.”
“I’d have given half my life for that squirrel at one time. I was a prisoner during the Korean War and I’d set up off at Han River and watch seagulls fly over, I’ll be laying there thinking I fry one. That’s how hungry I was.”
Clarence Hicks
The way Ira Glass asks and sequences the questions, and the kind of sounds he includes are all masterfully executed.
Ira Glass and his team approach pre-production in a similar way. Every Monday morning a group of 12 people meet, and each person pitches at least one story idea. As a group they pick and choose the best six ideas, and spend the rest of the week producing them. The following Monday they go over the six stories, pick the best one or two, and only those are the ones that get broadcasted. The other stories either die or get a second chance in the future.
The stories we hear on “This American Life” are incredibly good, not only because all the team members are super talented and work extremely hard, but also because they start with 12 stories, narrow them down to six and then hand-picked the best two.
Bourdain stories, on the other hand, were all about traveling to different locations and exploring local food.
“A prego is a steak sandwich slash booze mop that puts you right over the edge in a protein overdose, which is to say, happiness.”
The setup for all Bourdain’s shows was fairly simple. It was always Bourdain with a guest, talking about politics, culture and current events over food.
The way the shows were shot was very efficient. Two cinematographers recording sound on camera, and one director/producer/C Cam operator. Most of the time they used available light.
When one watches the show it’s hard to believe they only had a 2 or 3-person crew. And I believe a reason to achieve this high level of production is possible because they started researching each location a month before production, and spent a lot of time in pre-production.
Before each shoot the crew had pre-pro meetings to discuss core concepts, looks, shooting approaches. They found inspiration in movies, songs, books and researched about the history and the place in its current state. Yet, they didn’t use scripts, and Bourdain never wrote anything for a show beforehand.
“If you think you’ve already figured out what the show’s going to be about or what you expect out of the scene, that’s a lethal impulse.”
On location Bourdain and his crew spent on average a week of frantic work, and they shoot a LOT, between sixty and eighty hours of footage (on average) to produce a single one hour-long episode.
Most of us don’t approach our projects the way Glass and Bourdain did. We might have one or two projects or stories, we work on them, and then we might decide to publish them or not, but we don’t produce a high volume of content, and pick only the absolute best of the best to be shared with the world. That constant search for perfection is what makes them so great.
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.
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I wanted to shoot the upcoming wine harvest in Portugal. Where to start? This is where having a good understanding of pre-production is vital.
A quick Google search taught me that there are 26 DOCs (main regions), 4 IPRs (sub regions) and 11 VRs (regional wines). In other words, lots of options to choose from. A good problem to have.
Since I’m based in Lisbon and don’t own a car I decided to focus on two nearby regions, Alentejo and Setubal. After researching online a bit more, I found a very comprehensive and seemingly up to date website for the Wines of Alentejo.
I located the info for the marketing department and emailed them, asking for help selecting a few small wineries that would be willing to participate on a video shoot. Surprisingly, they replied, but the answer wasn’t good. Alentejo has 160+ wineries and they can’t recommend some over others. Understandable.
The next step was to pay a visit the marketing department. Perhaps over coffee I could ask more specific questions. For example: How many female wine makers are in Alentejo (answer: two). Who are the youngest winemakers with most potential? Any wineries using ancient or very different winemaking methods. Bingo! Now I had a list of 15 candidates. The pre-production research was starting to pay off.
Back in Lisboa I went to the offices of Viniportugal at Praça de Comercio. A complete waste of time as the two young employees only cared about checking Facebook on their phones.
My next move was to go to my favorite wine store in Lisbon, where I have developed a wonderful friendship with the staff. They helped me narrow down the list from 15 to 7 candidates. Much better.
Then I drafted a short, to the point email, indicating exactly what I wanted to do, why I wanted to do it, and how shooting as a 1 Person Crew would not interfere with their busiest and most important time of the year. Then I asked Fernanda, my incredibly awesome Portuguese teacher to help me translate the email to Portuguese.
I sent the seven emails and within two days received three replies, all positive. Honestly, much better than I expected.
With my friend Gonçalo we scheduled an early morning to scout two of them, Cabeças do Reguengo and Herdade dos Outeiros Altos. Both produce high-quality wines in very small batches, and both have incredible stories behind them.
Here’s a quick video that my friend Bruno put together from the location scout footage at Herdade dos Outeiros Altos.
A couple of weeks later we spent a whole day documenting the harvest and now we are just missing one last interview with the winemakers to deliver the final video.
The total pre-production process took me about a day or day and a half counting the roundtrip drive to Evora, and the location scout at two wineries took another day. Shooting was less than two days, including the interviews.
Keep it simple.