Film School - Filmmaking

  1. A couple of people have asked me how I get the wide-angle interior car shots in some of my videos. Here's a very quickly thrown together (and admittedly very long) video that shows you really how simple it is to modify your Flip Ultra HD or Flip Mino HD with some off the shelf camcorder accessories and some super glue.

    Filmed on a Sony Webbie MHS-CM1

    (Note: This will probably void your warranty if you do it to your camera - YOU HAVE BEEN WARNED!)

    # vimeo.com/5089713 Uploaded
  2. This was a quick short I did just before Sunset. We had just had a blizzard the day before in Denver, CO, and it was the first time in a few days the sun had come out. Doesn't mean it was much warmer though.

    Camera: Canon 7D, 1080p, 24fps
    Lens: Canon 85mm f1.8, Canon 20mm f2.8, Canon 50mm f1.8
    Editing and CC: Adobe Premiere Pro CS3
    Music: Imogen Heap, Hide and Seek

    # vimeo.com/7359778 Uploaded 12K Plays 37 Comments
  3. I used all small cams the old Sony HC9, Panasonic GH1 and new LUMIX FT1 and of course my Sanyo Xacti HD2000. Sound Edirol and Tomrig. My idea about a monopod connected with two other pods to get a tripod is mad now by REDGED called the JanPod! So one of the three legs is possible to use as a single pod and all is light weight thanks to GlassFiber material. See also my clip about this special tripod here: youtube.com/watch?v=XEuoethomVk

    # vimeo.com/7352118 Uploaded 14.2K Plays 12 Comments
  4. ¨Idyll¨ is a shortfilm produced by EXPOSED FILMS (Norway) and co-produced by BLACKSTONE PICTURES (Tenerife,Spain)
    You can see the full credits at the end of the video.

    Many, many thanks to the CHROMATICS and Johnny Jewel for letting me use some of the wonderfull music they make... This song is called ¨running up that hill¨
    myspace.com/chromaticsmusics

    # vimeo.com/7315614 Uploaded 3,720 Plays 11 Comments
  5. This was a project for my lighting class. Each shot had specific details on which to follow, which are explained in the video. In more depth, here are the ten shot assignments.

    1. A three-quarter or waist-high silhouette of 1 or 2 people perfectly exposed for the background
    with the foreground figure(s) completely dark. There should be enough distance between foreground
    and background that the spill of one area does not interfere with the other.
    2. Invert the lighting in #1, using exactly the same pose and framing with perfectly exposed
    foreground figures at 4:1 key/fill (two stops) and completely dark or just barely visible details in the
    background.
    3. A waist-high person in soft (diffused) side light, no fill light, and a specular edge light from the
    opposite side with the background as dark and unlit as possible. An incident reading of the edge light
    should be about the same f/stop as the key light if the subject has light features, or one stop brighter
    if the subject has dark features. Expose for the diffused key light.
    4. Identical pose and framing to #3 but with added light and shadow (using barn doors, or other
    shadowing material) shaping and highlighting the background (think of it as painting the background
    with light and shadow).
    5. A scene with a standing or seated person, a candle (either held by hand or on a table) seemingly
    lighting the person but actually enhanced with additional light, and a circular glow simulating the
    effect of the candlelight on the background.
    6. A person reading in bed by lamplight at midnight (implied by light, shadow, framing, ratio,
    composition, and a “practical”).
    7. A person sleeping in bed at 3 am with shadows implying moonlight coming through unseen
    foliage or blinds onto part of the scene. You may want to gel the moonlight source or the fill light
    with a blue or other color gel.
    8. A person in bed at sunrise (implied by light, shadow, color, and composition).
    9. Simulate the pose, surface tones, and light of a specific frame from a film of your choosing. If
    possible, also turn in a still image of that frame.
    10.
    Shoot an interior still with at least one person in it using whatever light sources already exist in
    the location (lamps, overhead lights, windows, etc.), but without showing any of those sources in the
    frame. Now, turn off/cover those sources and replicate, as nearly as possible, that scene using only
    artificial lighting. Also shoot wide shots of both the “natural” lighting sources and the artificial
    sources.

    Since it is available in video, instead of using gels, I white balanced off of different color swatches, for a greener look, I white balanced off of a magenta tone, blue look, orange tone, etc...

    I also lowered the blacks and raised the mids in Color, to give the video a more filmic look.

    Over all, a very fun assignment

    # vimeo.com/7087427 Uploaded 94.1K Plays 70 Comments

Film School - Filmmaking

Tommy Rodriguez

tommyrodriguezfilms.com/
This is the free Film School of cinemacuteo.com which are published videos tutorials to make your film projects, from the special effects, to the steadycam, lights, cranes. Filmmaking demystifies. Also visit the free…


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tommyrodriguezfilms.com/
This is the free Film School of cinemacuteo.com which are published videos tutorials to make your film projects, from the special effects, to the steadycam, lights, cranes. Filmmaking demystifies. Also visit the free Film School Group at: Film School - Filmmaking
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  • Gwendolyn Audrey Foster

    Do not aspire to be like everybody else. I feel so sad when students my students try to emulate their favorite directors. They destroy their own visions before they even start making films. Don't be afraid to fail a little and listen to the ciritcs. Pay only attention to what people say is WRONG. That is what you must cultivate. It is the only thing that makes you different.

    Less Speilberg. More Kelly Reichardt. Less Haneke, more Denis Côté.
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