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
SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew
Learn wow to use the subjective power of movement and composition to guide the viewer’s attention and emotions.
SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew
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
SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew
When it comes to video length, a challenge is the tendency to equate “shorter with worse” simply because viewers aren’t used to ultra-short content (like 6-second videos) just yet. But that’s about to change, as lot of big brands with deep pockets have been exploring “six-second ads” including YouTube’s own marketing team.
According to YouTube’s marketing team “the key to success is to view the six-second time frame as a blank canvas rather than a limitation.” I like the sound of that.
All of the examples shown below have been produced for large corporations, with large budgets and most likely big crews. But the reason I believe this is relevant to small-crew and 1 -Person crew productions is because the applications are the same. Short-form videos may be a condensed version of longer stories, or they might be customized to reach specific audiences, for example YouTube vs. Instagram vs, LinkedIn.
Cool? Let’s move on. Other great examples are the Duracell bumper ad, the sequential story for Xbox, or the product lineup for La Mer.
I believe the most interesting examples happen when brands approach the six-second ads as part of a larger campaign—when storytelling expands beyond the boundaries of one ad unit and spans multiple ads served to the same viewer over time. For instance, KFC used a six-second add to tease an UPCOMING 30-second commercial.
Conversely, Danone used the six-second video as a way to echo something a viewer had already seen in a PREVIOUS video.
Similar campaigns by Estée Lauder, and SurveyMonkey are also meaty and memorable. According to SurveyMonkey “the 6-second time constraint was a great driver for creating a sense of energy while communicating the power of the tool simply. This was accomplished by effectively messaging the main components of our platform: creating surveys, collecting answers, and analyzing results.”
As I mentioned earlier, short-form ads an d videos may be a condensed version of a longer story, or they might customized to reach specific audiences through contextual targeting. Campbell’s Soup Company took the latter approach for its “SoupTube” campaign in Australia.
Here’s what Campbell’s did: To amplify a 15-second ad they created hundreds of variations of 6-second ads and ran them as additional media. Using some fancy audience targeting, Campbell’s delivered the contextually relevant 6-second ads to users by matching its product message with trending YouTube videos.
For example, users who searched for Pokémon Go were shown one ad/video where they were asked, “Legs hurt from walking around?”, while users searching the outcome of a specific soccer match saw a different version of the ad asking “Had your money on England?”
By building multiple 6-second stories that offered different facets of its message, Campbell’s proved that short-form ads can provide powerful touches to boost a longer story.
Campbell’s original hypothesis was that the six-second version would “help drive upper funnel metrics like ad recall” and the thirty-second version would “build on that initial impact by telling a longer story to shift perception.” That’s pretty technical, but I get the concept.
What happened with that hypothesis? Glad you asked. The 6-second clips alone were LESS effective than the 30-sec videos to shift brand perception. But, and this is important, when the 6-second clip and 30-sec clip were paired through remarketing (essentially exposing people who had seen the long-form ad to a bumper as a follow-up) the 6-second clips were a great way to reinforce the 30-sec clips.
According to YouTube “the optimal media journey for a viewer is a 30-sec spot followed by another 30-sec spot, followed by a 6-second ad.”
Let’s say you just finished a travel video you would like to promote. It doesn’t hurt (and it doesn’t take that MUCH extra work either) to cut different 30-sec teasers and a few 6-second clips, and try to target specific audiences based on each platform. You could target groups that talk about that specific destination on Facebook, and travel companies on LinkedIn and travel enthusiasts on Instagram. Same travel video, slightly different marketing approaches targeting different people.
What do you think? Leave your comments below.
SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew
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.
Thanks in advance for your support!
ONLINE COURSES
Lynda.com
Mini Tutorials
LinkedIn Learning
MY VIDEO GEAR
Amazon
SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew
Tennis? What? Did I come to the right website?
Yes. Chill and hear me out.
About two months ago I shot an interview with a highly successful businessman. The interviewer asked this gentleman “is there a book that you’d recommend to anyone starting or running a business?”
And he answered “Absolutely! I’ve read, re-read, and gifted “The Inner Game of Tennis” many many times in the past 20 years.”
Twenty years? I thought. How come I’ve never heard of this book? And tennis? Nonsense.
Until this past weekend, that is, when I found the audiobook version, and could not do anything else, but listen carefully and take LOTS of notes. The book is truly fantastic.
Here’s the first minute of “The Inner Game of Tennis” audiobook’s introduction and the transcript.
“Every game is composed of two parts an outer game and an inner game. The outer game is played against an external opponent to overcome external obstacles and to reach an external goal. Mastering this game is the subject of many books offering instructions on how to swing a racquet club or bat and how to position arms legs or torso to achieve the best results. But for some reason most of us find these instructions easier to remember than to execute. It is the thesis of this book that neither mastery nor satisfaction can be found in the playing of any game without giving some attention to the relatively neglected skills of the inner game. This is the game that takes place in the mind of the player and it is played against such obstacles as lapses in concentration, nervousness, self-doubt and self condemnation. In short it is played to overcome all habits of mind which inhibit excellence and performance. We often wonder why we play so well one day and so poorly the next or why we clutch during competition or blow easy shots. And why does it take so long to break a bad habit and learn a new one. Victories in the inner game may provide no additions to the trophy case, but they bring valuable rewards which are more permanent, and which can contribute significantly to one’s success. Off the court as well as on.”
Why post a book review on a website for filmmakers? Because the whole book it’s about something I strongly believe; learning how to use the tools of our craft is important, but we should also learn how to control our mind, our inner game in order to craft better 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!
ONLINE COURSES
Lynda.com
Mini Tutorials
LinkedIn Learning
MY VIDEO GEAR
Amazon
SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew
Most nights I feel like I’m eating at a Michelin-rated restaurant.
During the past year, my wife has been testing new recipes and the results are both stunningly beautiful and delicious.
This got me thinking on how similar two seemingly different crafts, cooking and filmmaking, really are.
Sometimes tackling a complete video production as a 1 Person Crew feels like running a restaurant by yourself. Possible, but borderline insane.
But the key question you should be asking yourself is “WHY am I doing this?”
If you have a restaurant serving multiple “sittings” each night, and striving to offer safe food, prompt service and an overall good customer experience, you most likely need a team of people working with you. Most likely you’ll also have a huge overhead and anxious investors expecting to see great reviews and even greater profits.
But what if your goal isn’t running a restaurant, but to improve your cooking skills, eat healthier, prepare dishes that are hard to get by where you live and/or simply have a relaxing time with your family or friends? Then you don’t need a commercial kitchen or a team to cook. You can do this alone.
I truly enjoy working “lean and mean” on short projects, learn as much as possible, and apply those new skills to the next project.
Working as a 1 Person Crew offers several advantages, including more intimate conversations with your subjects, the ability to work extremely fast, and forcing you to prepare well in advance, as more often than not, there are no opportunities for retakes (or blaming anybody else for the screw ups!).
Seeing how much time and effort it takes my wife to prepare even a simple meal that will be consumed in a short period of time is mind-blowing. And that’s not including cleaning the mess afterwards!
My wife needs time to find the right recipe and buy fresh, seasonal ingredients at a fair price.
I need time to write the script and shot list, determine a “look and feel” for the project, and test my gear.
She needs enough time to marinate the dish and to actually enjoy the prepping time.
(Lounge music and wine work great, by the way).
I need to allocate enough time to scout locations, get permits, props and go over any logistical challenges.
She needs plenty of time to cook, which often requires following many steps in a specific order and having the right temperature and amounts.
I need cameras, lenses, lights, microphones, monopods, and some sort of plan, or recipe, so I have enough footage to work with in post.
MY VIDEO GEAR
Amazon
The finished meal is often enjoyed by others within minutes or sometimes even seconds.
After days and days of prepping, location scouting, shooting and editing, and running like a madman, I might have a 2-minute video that most people won’t watch until the end.
So, unless someone is really into cooking or filmmaking, few realize how much time and work is behind each meal or video production.
The funny/sad thing is that, as a cook, you don’t have time to get attached to the finished product. Whether a dish is uneatable or it’s an art piece, you have to start from scratch the next day. Same goes with filmmaking. We can’t spend 10 years making sure our video is “perfect” before getting it out!
The best dishes are the ones tested and improved over time. The only way we can master any technique is to consistently practice and do our best to improve ourselves at every new opportunity.
Salud!
Adobe has a free app called Adobe Capture that few people know, and even less people use. Here’s why you might want to start using it today to very quickly and easily create a cinematic look, and even match the look of movies you like.
The way Adobe Capture works is: You take a picture and the app creates a color patch. Then that patch gets exported to your Adobe Creative Cloud library so you can share it with all the other Adobe applications. I don’t use it that way.
I do use it to recreate the grade or cinematic look of specific movie. To achieve this all I need is to get a screenshot of that movie, create a color patch based on that image, and apply that patch to my footage. These simple steps often get me pretty close to the original look.
Here’s more info:
Pretty cool, right? This is huge for people working under very tight deadlines or who aren’t super technical and don’t want to spend a lot of time learning applications like DaVinci Resolve, Lustre, Nucoda, SCRATCH, or Baselight.
Now, if you ARE interested in learning more about grading, and especially how color affects perception in storytelling, I can’t recommend this book high enough.
Want more? Check this “Amazing Adobe Premiere Pro Tips.”
Comments? Questions? Feedback? All of them are welcomed below.
ONLINE COURSES
Lynda.com
Mini Tutorials
LinkedIn Learning
MY VIDEO GEAR
Amazon
SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew
A common misconception is that there are three stages on any video production: pre-production, production, and post.
I’d argue that there’s a fourth element, perhaps as important or even more so than the other three. I’m talking about marketing.
Marketing is something we should start thinking about as soon as we start working on a project. Who is going to be interested in this message? Why? On which platform are these people spending most of their time? How do we reach them? Which other projects are similar to ours? How are we going to differentiate ourselves?
In today’s tutorial I use a National Geographic TV show called “Brain Games” as an example of a marketing campaign that is very unique and effective. The premise of the “Brain Games” show is how easy it’s to fool our brains. To prove a point they fool the viewer THREE times within 30 seconds.
Most noteworthy is that National Geographic not only fooled us 3 times with the 30-second commercial. They do it again 37 more times with their print campaign!
Yes, Jason Silva, the show’s host is a master storyteller. And yes, National Geographic is a powerful global brand with over 10 million followers on YouTube alone. But even they are thinking different and trying new things to promote a show. So, why shouldn’t WE do our best to find different approaches to market our projects? Perhaps starting with a killer 30-second trailer is a good start.
Do you have other marketing campaigns new or old that you admire? If so, please share a link or two below.
ONLINE COURSES
Lynda.com
Mini Tutorials
LinkedIn Learning
DEALS
Get 60 days FREE of the best music for filmmakers.
Get 30 days FREE of the best collaboration software.
MY VIDEO GEAR
Amazon
The traditional story structure taught in film schools is obsolete. We should be telling stories the same way we are consuming content, jumping from one story and/or platform to the next, almost never following a linear path.
The explosion of interactive video platforms is happening for a reason. And when you have not one but two 800-pound gorillas (Netflix with Black Mirror and HBO with Steven Soderbergh) competing to be “the leader” producing interactive stories, the writing is on the wall.
When is comes to non-linear storytelling, the platform we chose to publish our stories should shape the content; so having a clear understanding of your target audience is key.
ONLINE COURSES
Lynda.com
Mini Tutorials
LinkedIn Learning
DEALS
Get 60 days FREE of the best music for filmmakers.
Get 30 days FREE of the best collaboration software.
GEAR
My Favorite Low-Light Lens.
Best Travel Lights.
Best Gimbal.
Life-changing Headphones.
Travel Camera.
Studio Camera.
Field Monitor.
BTS Mic.
Compact Video Tripod.
Best Monopod.
Slider.
Best Camera Bag.
Editing Software: Adobe Creative Cloud
Screen Capture Software.
Sources of Inspiration.
MY VIDEO GEAR
Amazon
SOCIAL
YouTube: 1PersonCrew
Instagram: @1PersonCrew