Film Film Making and Digital Creativity

Dirty Schwein

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I had been looking for this thread for ages, finally found it again when I was searching 'bmpcc4k' on here.

Can I ask you a couple of questions about this camera?

I've been writing scripts since I was a kid, made a few short films in my teens - I'm now in my early 30s and I've finally decided feck it, I'm gonna make a feature film on a low budget. I wrote the script last year, an idea that I'd had for years. My best friend who's helping me produce, recommended the bmpcc4k, and having seen hundreds of videos on vimeo/ youtube and now you're raving about it - I'm definitely gonna shoot my film on this camera.

But I have a couple of questions about the lenses:

Does the camera need an adapter/speedbooster for every lens you put on it?

and also:

Is there a noticeable difference in image quality between prime lenses and zoom lenses? My untrained eye can't really tell the difference. But I've read prime lenses better in low-light? My instinct is to go with a zoom lens like the sigma 18-35mm so I have some options in terms of focal length, which I guess is going to be cheaper than getting a few prime lenses?

I would be very grateful for any advice you have.
I'm no camera expert (my main skill is editing) but from what I understand:

The speed booster helps the lenses with things like higher aperture and making the lens wider. From what I know, Metabones is the best one. Not sure if they made a speedbooster for the specific camera you're using... I would assume they have?

In terms of prime lenses, I tend to try use these. The quality is a little better (although zoom lenses are not exactly awful quality or anything) but I find that prime lenses are much better in low light. Due to the better aperture and f-stop options, they let more light into the sensor for low light and also allow you to have more control over depth of field.

But as I said, I'm no cameraman so I'm sure someone else will fill you in better.

But it's great that you're thinking of making a feature. It's been a dream of mine and I was close to getting one prepped to shoot (self financed), but then the covid happened and I lost 90% of my locations.

Have you done some shorts and things like that to practice? A feature is a long and expensive endeavour, you should be as prepared as possible...

Also, what hats you wearing? Director? Producer? Camera department? Etc...
 

jderbyshire

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I'm no camera expert (my main skill is editing) but from what I understand:

The speed booster helps the lenses with things like higher aperture and making the lens wider. From what I know, Metabones is the best one. Not sure if they made a speedbooster for the specific camera you're using... I would assume they have?

In terms of prime lenses, I tend to try use these. The quality is a little better (although zoom lenses are not exactly awful quality or anything) but I find that prime lenses are much better in low light. Due to the better aperture and f-stop options, they let more light into the sensor for low light and also allow you to have more control over depth of field.

But as I said, I'm no cameraman so I'm sure someone else will fill you in better.

But it's great that you're thinking of making a feature. It's been a dream of mine and I was close to getting one prepped to shoot (self financed), but then the covid happened and I lost 90% of my locations.

Have you done some shorts and things like that to practice? A feature is a long and expensive endeavour, you should be as prepared as possible...

Also, what hats you wearing? Director? Producer? Camera department? Etc...
Yeah I've heard the Metabones one mentioned, I think they do one for this camera.

Can I ask, how did you lose your locations? What is your film about? You should definitely get back on it when things get back to "normal"

It's frustrating not knowing when I'm going to be able to make the film - apparently I'm not going to be able to even get the vaccine until next year. But ofcourse the other side of that coin is, I've got plenty of time to do camera tests and shoot some rough versions of scenes with friends as practice before doing it properly with actors and locations.

I'm directing, my friend (who is a documentary filmmaker) is producer/DOP, he's got a sound guy who works in the industry and I've got another close friend who has worked on a few TV shows. So we've got a small crew, just obviously need to find the actors which is arguably the most crucial part.
 

Dirty Schwein

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Yeah I've heard the Metabones one mentioned, I think they do one for this camera.

Can I ask, how did you lose your locations? What is your film about? You should definitely get back on it when things get back to "normal"

It's frustrating not knowing when I'm going to be able to make the film - apparently I'm not going to be able to even get the vaccine until next year. But ofcourse the other side of that coin is, I've got plenty of time to do camera tests and shoot some rough versions of scenes with friends as practice before doing it properly with actors and locations.

I'm directing, my friend (who is a documentary filmmaker) is producer/DOP, he's got a sound guy who works in the industry and I've got another close friend who has worked on a few TV shows. So we've got a small crew, just obviously need to find the actors which is arguably the most crucial part.
I basically wrote a script called Henchmen and deliberately structure it so all the different locations are places that exist on the Sky campus. For example, there are scenes in a gym, coffee shop, canteen, alleyway, metal tunnel, open office, interview studios etc. These places all exist within Sky and the first entire half of the script is set in these places. The second half is all in a bunker, which I would have to rent.

However, Sky have become super strict on who they let in to the campus since Covid so I can't get a cast or crew in anymore for the foreseeable.

The film was about two documentary filmmakers who follow around a group of idiot henchmen to document what goes on behind the scenes. Then the henchmen are sent on a mission to investigate a satanic cult and as you can guess, things don't end well.

But it's not to be for now So I'm back to focusing on writing feature screenplays for contests and making shorts.

I would highly recommend making a few shorts to brush up on your skills and learn all the new workflow before embarking on a feature. There's so much you learn that you would never think of until it happens.

Case in point, I just done a short recently, it was about 3 minutes in duration. We shot it in 4k. The footage took over 500gb!!

Skins like a tight crew. Are the crew and cast getting paid if you don't mind me asking?
 

Dirty Schwein

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Recently my first feature script just made semi finals in the Final Draft Big Break contest. It's given me so much confidence to keep writing.

I made a short recently (during lockdown) and hoping Covid calms down a little by April as I wanted to make two shorts this year...
 

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I had been looking for this thread for ages, finally found it again when I was searching 'bmpcc4k' on here.

Can I ask you a couple of questions about this camera?

I've been writing scripts since I was a kid, made a few short films in my teens - I'm now in my early 30s and I've finally decided feck it, I'm gonna make a feature film on a low budget. I wrote the script last year, an idea that I'd had for years. My best friend who's helping me produce, recommended the bmpcc4k, and having seen hundreds of videos on vimeo/ youtube and now you're raving about it - I'm definitely gonna shoot my film on this camera.

But I have a couple of questions about the lenses:

Does the camera need an adapter/speedbooster for every lens you put on it?

and also:

Is there a noticeable difference in image quality between prime lenses and zoom lenses? My untrained eye can't really tell the difference. But I've read prime lenses better in low-light? My instinct is to go with a zoom lens like the sigma 18-35mm so I have some options in terms of focal length, which I guess is going to be cheaper than getting a few prime lenses?

I would be very grateful for any advice you have.
You should only need lens adapters if the mount on the camera is different from the lens (PL, EF, etc).

Prime lenses are typically faster than zooms (better with lowlight) and more lightweight but you lose flexibility of changing focal length on the fly.
 

Gambit

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I had been looking for this thread for ages, finally found it again when I was searching 'bmpcc4k' on here.

Can I ask you a couple of questions about this camera?

I've been writing scripts since I was a kid, made a few short films in my teens - I'm now in my early 30s and I've finally decided feck it, I'm gonna make a feature film on a low budget. I wrote the script last year, an idea that I'd had for years. My best friend who's helping me produce, recommended the bmpcc4k, and having seen hundreds of videos on vimeo/ youtube and now you're raving about it - I'm definitely gonna shoot my film on this camera.

But I have a couple of questions about the lenses:

Does the camera need an adapter/speedbooster for every lens you put on it?

and also:

Is there a noticeable difference in image quality between prime lenses and zoom lenses? My untrained eye can't really tell the difference. But I've read prime lenses better in low-light? My instinct is to go with a zoom lens like the sigma 18-35mm so I have some options in terms of focal length, which I guess is going to be cheaper than getting a few prime lenses?

I would be very grateful for any advice you have.
Does the camera need an adapter/speedbooster for every lens you put on it?
The camera is a micro 4/3rds (M4/3 from now on) mount . So you can use m4/3 lenses with it natively. m4/3 is a kinda halfway point between old film sizes super16 ( Hurtlocker, BlackSwan) and Super 35 which pretty much most films were shot on. The original Raid was shot on a M4/3 camera. Now the M4/3 mount has a short flange distance ( distance between the sensor and the lens) so that means you can get adaptors to use pretty much any lens type on it. You can also get speedboosters which will not only allow you to attach other lens types but will also in simple terms make it appear like a super 35mm or even full frame.

Is there a noticeable difference in image quality between prime lenses and zoom lenses?
Yes and no. Your entering the realm of cinematography now so there's a whole world going on there. Prime lenses tend to be better at their focal distance than a zoom at the same mm. Now the really high end lenses yes, theres a world of difference but to the untrained eye most won't realise it. For instance the likes of the sigma art zoom series is like having a bunch of primes in one lens. I personally reccomend those starting out to get a couple of good zooms, just make sure they are constant aperture which means the iris in the lens doesn't change when you're zooming in or out making it darker/lighter.

Whats equally as important is lights and how you use them.
 

Gambit

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If you have a DOP on board, then you should let that person decide lenses, cameras lights etc, you concentrate on the actors and how you want the frame to tell the story. Also, what is incredibly important is audio. Make sure you have someone dedicated to this. An audience will forgive bad visuals but they will never forgive bad sound.
 

Gambit

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To get an idea of lenses, and composition and how different focal lengths can affect storytelling, I recommend this episode of Film Riot which features something I wrote and produced.
 

Gambit

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I too recommend shooting short films, but only do it cheaply. I'd take some scenes from your film and just shoot them as practice. Only though if as I said cheaply and often.
 

Dirty Schwein

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If you have a DOP on board, then you should let that person decide lenses, cameras lights etc, you concentrate on the actors and how you want the frame to tell the story. Also, what is incredibly important is audio. Make sure you have someone dedicated to this. An audience will forgive bad visuals but they will never forgive bad sound.
100% this.

To get an idea of lenses, and composition and how different focal lengths can affect storytelling, I recommend this episode of Film Riot which features something I wrote and produced.
Elaborate!

I too recommend shooting short films, but only do it cheaply. I'd take some scenes from your film and just shoot them as practice. Only though if as I said cheaply and often.
Yes agree with this also. My shorts have always been under a grand. Well under. I have a mate who wants to shoot a £10,000 short and refuses to do it for a penny less. feck knows why :lol:
 
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Gambit

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100% this.


Elaborate!
I Co wrote, produced, Co edited and even at times directed both of philip blooms mzed courses. That episode of film riot features a nice section from one of the episodes on visual storytelling that I did.
 

Gambit

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Also storyboard the hell out of it.
 

Gambit

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Yes agree with this also. My shorts have always been under a grand. Well under. I have a mate who wants to shoot a £10,000 short and refuses to do it for a penny less. feck knows why :lol:
Oh I get it but that's paying for high end. A group I know shoot a short a year in their spare time (they work in the industry) and each one has a 20k budget, if you can do it then great but sod that for a game of soldiers. Don't think it's spend more than 500 on a short now unless I was working for someone else.
 

Dirty Schwein

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I too recommend shooting short films, but only do it cheaply. I'd take some scenes from your film and just shoot them as practice. Only though if as I said cheaply and often.
I Co wrote, produced, Co edited and even at times directed both of philip blooms mzed courses. That episode of film riot features a nice section from one of the episodes on visual storytelling that I did.
Sweet man. I follow Philip Bloom. Man knows his cameras (as do you obviously).

Also storyboard the hell out of it.
Have you used storyboarder? It's a bit unfriendly but you can literally create an animatic of what you want to shoot.

Oh I get it but that's paying for high end. A group I know shoot a short a year in their spare time (they work in the industry) and each one has a 20k budget, if you can do it then great but sod that for a game of soldiers. Don't think it's spend more than 500 on a short now unless I was working for someone else.
This guy I'm talking about can bring the budget from £10,000 to £300 of he simply changes the period the film is set in, which he can as the whole thing is set inside a stationary car in a car park. But he just won't do it!

My most expensive short was my latest, Amdusias, I'll post it here when I can. It was about £600 give or take.
 

Holocene

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I Co wrote, produced, Co edited and even at times directed both of philip blooms mzed courses. That episode of film riot features a nice section from one of the episodes on visual storytelling that I did.
Damn, thats impressive. Good job.

I watched a lot of Philip Bloom and Film Riot years ago. Glad to see the latter are still making videos. Haven't watched them in a long time.
 

Dirty Schwein

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Damn, thats impressive. Good job.

I watched a lot of Philip Bloom and Film Riot years ago. Glad to see the latter are still making videos. Haven't watched them in a long time.
Film Riot pissed me off recently. They did a competition recently where we had to make a proof of concept original film of 4 minutes (or under) for a prize.

I risked my health to shoot something the day before the second lockdown. Had to pay extra for crew and was very stressful. Then they went and picked films that were made years ago and already had many awards :lol:

i doubt I would have won but it did leave a sour taste.

here is my short if your interested.

 
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Does the camera need an adapter/speedbooster for every lens you put on it?
The camera is a micro 4/3rds (M4/3 from now on) mount . So you can use m4/3 lenses with it natively. m4/3 is a kinda halfway point between old film sizes super16 ( Hurtlocker, BlackSwan) and Super 35 which pretty much most films were shot on. The original Raid was shot on a M4/3 camera. Now the M4/3 mount has a short flange distance ( distance between the sensor and the lens) so that means you can get adaptors to use pretty much any lens type on it. You can also get speedboosters which will not only allow you to attach other lens types but will also in simple terms make it appear like a super 35mm or even full frame.

Is there a noticeable difference in image quality between prime lenses and zoom lenses?
Yes and no. Your entering the realm of cinematography now so there's a whole world going on there. Prime lenses tend to be better at their focal distance than a zoom at the same mm. Now the really high end lenses yes, theres a world of difference but to the untrained eye most won't realise it. For instance the likes of the sigma art zoom series is like having a bunch of primes in one lens. I personally reccomend those starting out to get a couple of good zooms, just make sure they are constant aperture which means the iris in the lens doesn't change when you're zooming in or out making it darker/lighter.

Whats equally as important is lights and how you use them.
Thanks for the advice - yeah my friend will be in charge of lenses, lighting and all that but I just like to have a basic handle on things. And yes I will definitely be shooting some scenes from the script as practice.

Skins like a tight crew. Are the crew and cast getting paid if you don't mind me asking?
Well, it's going to be virtually a no-budget film and I don't expect to make any money from it, so I'm not sure yet - it's something that needs to be discussed. I would like to pay everyone if it's possible. I imagine the sound guy will definitely need paying. I'll be sure to provide updates in here on the production as it develops.
 

Dirty Schwein

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Well, it's going to be virtually a no-budget film and I don't expect to make any money from it, so I'm not sure yet - it's something that needs to be discussed. I would like to pay everyone if it's possible. I imagine the sound guy will definitely need paying. I'll be sure to provide updates in here on the production as it develops.
Sound guys never work unpaid :lol:

If I would suggest something:

It would be advisable to pay everyone the same, even if that is simply expenses. I say this because I've been on two sets where crew walked out after finding out other crew were getting paid more than them. Apparently this happens often. Not the walk out, but you can easily end up with an unhappy crew. Or make that sound guy sign something that will guarantee he doesn't mention his pay.

Also, you may want to get paid actors, at least the lead role. I've worked with both paid and unpaid actors... The difference in quality and professionalism is night and day.
 

Gambit

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Sweet man. I follow Philip Bloom. Man knows his cameras (as do you obviously).
Other guys I'd advise following, Matthew Rosen and his Kinetik channel (1) KINETEK - YouTube . Cooke optics channel on youtube is stunningly good. (1) CookeOpticsTV - YouTube David Sandberg ( Director of Shazam ) who started off just making cool cheap horror films with his Mrs. (1) ponysmasher - YouTube and Studiobinder which is also a pretty cool online scriptwriting and pre prod app (1) StudioBinder - YouTube


Have you used storyboarder? It's a bit unfriendly but you can literally create an animatic of what you want to shoot.
I have but to get the most out of it you need to be able to 3D, which I'm useless at I'd rather just use grease pencil in Blender though which is also free.

This guy I'm talking about can bring the budget from £10,000 to £300 of he simply changes the period the film is set in, which he can as the whole thing is set inside a stationary car in a car park. But he just won't do it!
Yeah that is crazy. I do an on purpose pass at an idea as to what can I do to the script to make it cheaper and easier to shoot.

My most expensive short was my latest, Amdusias, I'll post it here when I can. It was about £600 give or take.
I'll give it a watch in a bit.
 

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Dirty Schwein

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Thanks! I've a library of CC stuff here available for non-commercial projects too:
https://freemusicarchive.org/music/junior85
I'll keep that in the bank for my next film.

Other guys I'd advise following, Matthew Rosen and his Kinetik channel (1) KINETEK - YouTube . Cooke optics channel on youtube is stunningly good. (1) CookeOpticsTV - YouTube David Sandberg ( Director of Shazam ) who started off just making cool cheap horror films with his Mrs. (1) ponysmasher - YouTube and Studiobinder which is also a pretty cool online scriptwriting and pre prod app (1) StudioBinder - YouTube



I have but to get the most out of it you need to be able to 3D, which I'm useless at I'd rather just use grease pencil in Blender though which is also free.


Yeah that is crazy. I do an on purpose pass at an idea as to what can I do to the script to make it cheaper and easier to shoot.


I'll give it a watch in a bit.
Big fan of Ponysmasher. It's the story we all want :lol: I've heard all his interviews, such a down to earth guy. I've chatted with him online, really humble guy.

Ill check out the rest thanks. I think I follow studio binder but not the others.
 

Gambit

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Film Riot pissed me off recently. They did a competition recently where we had to make a proof of concept original film of 4 minutes (or under) for a prize.

I risked my health to shoot something the day before the second lockdown. Had to pay extra for crew and was very stressful. Then they went and picked films that were made years ago and already had many awards :lol:

i doubt I would have won but it did leave a sour taste.

here is my short if your interested.

That works quite well. Only thing I would comment on is the sound design.
 

Gambit

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Dirty Schwein

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That works quite well. Only thing I would comment on is the sound design.
Thanks mate. Did you feel the sound design was too much?

This one has so many issues in the making of (as do most shoots).

6 people crew
DOP caught Covid two days before shoots so had to get another guy
Location duration went from 13 hours to 9
Wasnt expecting to shoot in 4k, so had to get last minute backup drives
The entire post had to be done in 6 days :lol:

This is just a 3 minutes short, I'd hate to think how many feck ups happen on an actual feature...

This is really good work. I'll pass on your details to some filmmakers I know. Can you DM your rates? Do you have any drama experience, there's a point of concept horror I may be working on for ITV later in the year (Covid etc, etc) I like your haunting ethereal style in some of them.
What is your job if you don't mind me asking?
 

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This is really good work. I'll pass on your details to some filmmakers I know. Can you DM your rates? Do you have any drama experience, there's a point of concept horror I may be working on for ITV later in the year (Covid etc, etc) I like your haunting ethereal style in some of them.
Yup, I can do that for you after work today. Not much drama experience, but the one I have on my CV is a small bit of work for a Stephen Sinclair production (Peter Jackson collaborator). These samples I shared are the easiest ones for me to find quickly :D

Edit: I've just realized I may have mixed up "drama" and "theatre"! That was a theatre production.

I've one major project on at the moment that's moving very very slowly, but I have space apart from that.
 

Gambit

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Thanks mate. Did you feel the sound design was too much?

This one has so many issues in the making of (as do most shoots).

6 people crew
DOP caught Covid two days before shoots so had to get another guy
Location duration went from 13 hours to 9
Wasnt expecting to shoot in 4k, so had to get last minute backup drives
The entire post had to be done in 6 days :lol:

This is just a 3 minutes short, I'd hate to think how many feck ups happen on an issue feature...


What is your job if you don't mind me asking?
I'm just a self employed multimedia (Digital) creative, every so often I do a bit of producing for people. I don't find the money, they come to me when they generally have small budgets and want to make it appear like they have lots more. I was trained in cinematography by Adam Biddle (DP on Crank, numerous tv shows and has worked on so many big movies its unreal) I have a few possible projects with an established UK director that may be happening (One has started filming in September for Netflix, which I helped out on some of the pre-vis and styling). Other than that I do various multimedia stuff, graphic design, website development, corporates, editing, online digital stuff, script writing for factual and drama when I get the chance as well. I'm terrible at 3D but I'm a good go between and designer for 3D so get a lot of work there. Last years been fairly dead so just been doing a lot of web work. Especially for people who want to become the goto podcast/youtuber for their field. I also have a large network of bods I can use. I've not done any video work now properly since 2019.
More detail in the op of the thread.

Yeah sound design, at times it didn't feel part of the scene or have its own story pace per se.one thing it felt like it needed was more quiet so there was the juxtaposition to the sound when it was needed. So when you got to the end and it was meant to be this crazy cacophony that she was wanting to literally stab herself in the ears to relieve herself from the pain of it all, it didn't feel different enough from what had gone before. Yeah sounds like you had a hell of a quick schedule to get through though. Camera work, performance and editing was good.

Features are pretty much the same as a short, just more people and more to go wrong over an extended period of time. More fallouts as well. It's only when you get to the true highend a lot of that stuff goes away.

Bloom course was worse on a lot of sense, no Fall outs but 3 cameras shooting 4k constantly, mixed with whatever else. Each ep an hour long, think we ended up with around 16tb of footage.
 
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Gambit

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Yup, I can do that for you after work today. Not much drama experience, but the one I have on my CV is a small bit of work for a Stephen Sinclair production (Peter Jackson collaborator). These samples I shared are the easiest ones for me to find quickly :D

Edit: I've just realized I may have mixed up "drama" and "theatre"! That was a theatre production.

I've one major project on at the moment that's moving very very slowly, but I have space apart from that.
Trust me my thing isn't going to be for ages if it happens at all. You'll get plenty of notice.
 

Dirty Schwein

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I'm just a self employed multimedia (Digital) creative, every so often I do a bit of producing for people. I don't find the money, they come to me when they generally have small budgets and want to make it appear like they have lots more. I was trained in cinematography by Adam Biddle (DP on Crank, numerous tv shows and has worked on so many big movies its unreal) I have a few possible projects with an established UK director that may be happening (One has started filming in September for Netflix, which I helped out on some of the pre-vis and styling). Other than that I do various multimedia stuff, graphic design, website development, corporates, editing, online digital stuff, script writing for factual and drama when I get the chance as well. I'm terrible at 3D but I'm a good go between and designer for 3D so get a lot of work there. Last years been fairly dead so just been doing a lot of web work. Especially for people who want to become the goto podcast/youtuber for their field. I also have a large network of bods I can use. I've not done any video work now properly since 2019.
More detail in the op of the thread.

Yeah sound design, at times it didn't feel part of the scene or have its own story pace per se.one thing it felt like it needed was more quiet so there was the juxtaposition to the sound when it was needed. So when you got to the end and it was meant to be this crazy cacophony that she was wanting to literally stab herself in the ears to relieve herself from the pain of it all, it didn't feel different enough from what had gone before. Yeah sounds like you had a hell of a quick schedule to get through though. Camera work, performance and editing was good.

Features are pretty much the same as a short, just more people and more to go wrong over an extended period of time. More fallouts as well. It's only when you get to the true highend a lot of that stuff goes away.

Bloom course was worse on a lot of sense, no Fall outs but 3 cameras shooting 4k constantly, mixed with whatever else. Each ep an hour long, think we ended up with around 16tb of footage.
Mate that sounds awesome. I wish I had a more diverse skill set. I tried learning 3D but man that shit is tough. I can use AE for compositing and basic gfx, but I really wanted to learn Cinema 4d. If I had a computer that could have handled it, maybe I would have had a shot. Too late now anyway.

I agree with the sound design thing. I remember asking the sound designer to strip it back more at the start but with only one day for audio post, I had to take what I had. Shame really. Hopefully the next one will be better. Already have a script, just need covid to calm down first.

I heard even in Hollywood features, you can have horrible sets. Sandberg said the DP was undermining him and really fecking up the Lights Out shoot to the point where Sandberg felt like quitting. I guess there are arseholes everywhere.

16tb of footage!!! Must have been a blast making proxies out of that footage :lol:
 

Gambit

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Mate that sounds awesome. I wish I had a more diverse skill set. I tried learning 3D but man that shit is tough. I can use AE for compositing and basic gfx, but I really wanted to learn Cinema 4d. If I had a computer that could have handled it, maybe I would have had a shot. Too late now anyway.

I agree with the sound design thing. I remember asking the sound designer to strip it back more at the start but with only one day for audio post, I had to take what I had. Shame really. Hopefully the next one will be better. Already have a script, just need covid to calm down first.

I heard even in Hollywood features, you can have horrible sets. Sandberg said the DP was undermining him and really fecking up the Lights Out shoot to the point where Sandberg felt like quitting. I guess there are arseholes everywhere.

16tb of footage!!! Must have been a blast making proxies out of that footage :lol:
Didn't use proxies.
Even though it was kept quiet, apparently the Logan set was a nightmare that they brought in another director for the reshoots to get it released. I do love the fact that all actors and directors always make it sound like an incredible honour and experience.
 

Holocene

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Film Riot pissed me off recently. They did a competition recently where we had to make a proof of concept original film of 4 minutes (or under) for a prize.

I risked my health to shoot something the day before the second lockdown. Had to pay extra for crew and was very stressful. Then they went and picked films that were made years ago and already had many awards :lol:

i doubt I would have won but it did leave a sour taste.

here is my short if your interested.

Thanks for sharing. I liked it. It had me gripped from the get go. Excellent work on the demon/monster too.

That's bullshit from Filmriot. What's the point of running a competition if the winners are old short films with existing awards? I wouldn't be surprised if they're friends with the winners to be honest.
 

Dirty Schwein

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Thanks for sharing. I liked it. It had me gripped from the get go. Excellent work on the demon/monster too.

That's bullshit from Filmriot. What's the point of running a competition if the winners are old short films with existing awards? I wouldn't be surprised if they're friends with the winners to be honest.
I've read this to be the case but it's hearsay so who knows. Either way, it just felt a bit of a kick in the teeth as me (and definitely 100s of others) went out to make something original during a pandemic and it felt completely demotivating to see films made without the added stresses of Covid all occupy the top 10.

I love Film Riot, it's a great tool to learn filmmaking but I doubt I'll be entering any of their contests in the future.

Thanks for watching the short.
 

Dirty Schwein

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Didn't use proxies.
Even though it was kept quiet, apparently the Logan set was a nightmare that they brought in another director for the reshoots to get it released. I do love the fact that all actors and directors always make it sound like an incredible honour and experience.
Wow. You must have a super computer.