I know this is a very strange time for us all at the moment. I’m self employed and have been in a state of limbo for the past week.
Which is character building.
Im attempting to treat the next 12 weeks as self development period, learn some new skills, finally pick up my guitar and use the fender app course, and make the move finally from Adobe Premier Pro to DaVinci Resolve.
I am also intending to keep the blog going. Its important to establish routines, not only for my sanity but also to be productive.
Right lets crack on.
What is DaVinci Resolve?
DaVinci Resolve is basically and all in one video editor, effects generator, colour grader and audio editor.
‘DaVinci Resolve 16 is the world’s only solution that combines professional 8K editing, color correction, visual effects and audio post production all in one software tool! You can instantly move between editing, color, effects, and audio with a single click. DaVinci Resolve Studio is also the only solution designed for multi user collaboration so editors, assistants, colorists, VFX artists and sound designers can all work live on the same project at the same time! Whether you’re an individual artist, or part of a large collaborative team, it’s easy to see why DaVinci Resolve is the standard for high end post production and finishing on more Hollywood feature films, television shows and commercials than any other software.’
Recently I published a blog post on filming live performance which covered the basics of filming a live show, I recently however did a multi-cam film shoot for a theatre show and realised there’s a few things extra that I’d like to add.
On a multi cam set up there are a few things that you must figure out before we film.
I’ll assume you have not read my previous blog for catching like the form and so will do a quick recap here.
When shooting on two cameras let’s say camera A and camera B. Camera A will be your master camera, this wants to be placed ideally at the back of the room with a full view of the stage. You will want to put the camera on a tripod, lock it off so you’ve got a wide shot of the entire space. If everything else fails you will have this master shot to give to the company so they can they sell their show and they have a record of what took place.
When you set up camera A up make sure you work with the lighting and sound technician to get the level correct for the show, get them to turn the brightest light in the show on so you can set your Iso and aperture that way you won’t overexpose.
Remember, if you are shooting this on your own this camera will be unmanned so it needs to be set correctly. With Camera A ideally you will want to get a line out of the sound desk so you have a clean feed. In an ideal world, the actors will be miked up. This will save you no end of trouble when you enter the postproduction stage and will give you good audio levels.
Now you’ve got cameras a set ready charged with a fresh clean memory card in let’s move onto camera be. When doing a multi-cam set up, you really need to use the 180 rule.
What is the 180 degree rule
The 180 degree rule is a filmmaking guideline for spatial relations between two characters on screen. The 180 rule sets an imaginary axis, or eye line, between two characters or between a character and an object. By keeping the camera on one side of this imaginary axis, the characters maintain the same left/right relationship to each other, keeping the space of the scene orderly and easy to follow.
When the camera jumps over the invisible axis, known as crossing the line or breaking the line, and it can produce a disorienting and distracting effect on a viewer.
Camera B will be your close up/mid shot tracking. This means you can cook close on the actors you can follow the action you can create an intimate feeling as if the camera is almost on stage with the performers.
A cautionary note, make sure you set your ISO frame rate, Kelvin level the same across both cameras. If you are using the same type of camera, this won’t be an issue. Again, this will save you more time in postproduction if you’re having to cut between two cameras.
When I do a multi-cam set up I always send the footage from camera A straight off to the company so they have a record of the show which they can then send out to producers/theatres etc.
Once you’re in the editing suite (or in my case your laptop) you can sync both cameras together using the editing software of your choice.
If this has helped/inspired you, please do let me know. I can be found on all the social medias @waynesables or via the email at email@example.com and my website www.waynesablesproject.co.uk.
Well, I don’t mind telling you you’ve come to the right place. As you probably know I began my career as a dancer before moving into film. I’ve made quite a few dance films both for myself and for other people.
Is the dance film for yourself? i.e. it’s your project or are you making a dance film somebody else i.e. a choreographer? The reason I ask is that you approach each slightly differently.
For the sake of this blog I’m going to assume your making a dance for camera work.
The first thing you want to figure out is your choreography. When making material for the camera you have to approach it slightly differently,you don’t have a front per se. Meaning that the audience don’t watch it from one angle. One of the things I really love about making dance films is that you essentially re-choreograph it when filming and again when editing. You in control every step of the way. It’s exhilarating.
If this is your first time making dance films my advice is to try lots of things, try lots of ideas and definitely don’t be afraid to get it wrong. The great thing about working on film is that it is NOT live, you can do as many tasks as you and your dancers are able and they all don’t have to be done in the same day. (Obviously if you’re on a budget that impacts things somewhat).
Quick note; making a dance film is different to making a dance promo for a dance piece so for example if you’re making a dance promo you need to make sure you get the key points and narrative of the dance piece across in a short space of time, if you’re making a dance film you are re-writing or developing the narrative.
The first thing you’re going to want to do is figure out the concept and a rough guide to what the material will look like, if you are making specific material for the camera you will choreography it with the lens in mind. You don’t have to have a fully formed choreography, it can be sectional or bitty or just small ideas. You can tie it all together in the edit if necessary. You’re basically building up you narrative. In filmmaking terms this would be called the narrative character arc in dance terms it’s getting your shit together.
Once you figure out how the content is put together and roughly what you want to say it probablywould be a good idea to storyboard and shot list it. This will keep you on track when you start shooting the film and it will also give you a good sense of what it look like in the planning stages without wasting time and resources. Note; this is just one way to do it. You could of course just dive straight
Once you’ve got your shopping list and more storyboarding place it’s time to get cracking. Now there are no right or wrong ways to feel anything really it’s all down to your artistic interpretation, you’re filming and I, and what you want to say in how are you want to say it.
There are a couple of things however that I think will really help you create something dynamic. As you’re filming movement you have lots of choices as to how you capture the action. Taking the camera off the tripod and having movement within the shot always add another layer of dynamism to the finished film. Then it’s a case of cutting between establishing wide shot / close-ups / micro shots etcfocussing in the eyes or the body parts cutting across screen, you know the drill.
The possibilities really are endless (for those that are old enough that’s a Bob Hoskins reference). Make sure you get lots of coverage and lots of different angles of the same material, that way you’ll have lots of options in the edit process, you can always recut the movement if you’ve not quite captured it.
There is NO one correct way of working or creating a workflow when making films (despite what film schools will tell you). There are a fewsimple things such as do make sure you press the record button (I literally have done that before, if that happens you can always say let’s do another take for good luck). Try different filming approaches such as getting static shot so you’ve got coverage (you can always cut back to this if the other shots don’t work), to following the action so in affect the camera almost becomes part of the dance.
Right let’s assume you shot all of your footage and I’m guessing there is a lot of it (if you’re anything like me). It is and I can’t stress this enough IT IS vitally important that you figure out a comprehensive filing system. The last thing you want to be doing is searching for ages to locate specific shots or sections of your peace.
So go figure out a good filing system. I do something like card one, day one and the content that is on it and then I go through each clip and label adding notes on what is in that clip. I know it sounds boring as hell and it is but I promise you it will save you time in the edit. Some cameras also allow you to do this on the camera itself so it burns the metadata into the file. Proper timesaver.
All you need to do now is pop it in the editing program of your choice, get your second creative wind and get cracking and create a really amazing dance film.
I personally would love to see it once you finished it so please do send me a link.