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tygerbug · 6 years ago

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Do you have any advice for aspiring filmmakers without an actual cast and crew and (as of right now) no ability to get a formal education? Tips on what to practice or challenges so when I actually start involving people, I'll have a decent grasp on what I'm doing?

This is a big topic to discuss. I’m gonna write a long one here and reminisce a bit about movies I made a long time ago. Hope you’re into that sort of thing.

Shoot some footage on your own, record some sound and learn how to edit! I was on a Mac so I used the now very outdated Final Cut Pro 7 for many years. Adobe Premiere Pro is more standard. I used that when I started out, and I use it more now, along with After Effects. I originally trained on an ancient version of Avid as well.

Try to get a single friend to help you! That will help. But you can also do animation, or film yourself, or film scenery, or voiceover. There’s plenty you can do on your own.

I started in the 90s, when camera technology was terrible. The cameras now are amazing! The economy is not. I started to have trouble making movies because I need to pay bills! It’s a cliche but people’s phones are better than anything we had then.

Currently I have a Panasonic Lumix G7 DSLR which shoots 4K, and cost maybe $450. I used to know every feature of my camcorders and be in complete control, but I honestly don’t understand this one as well as I should. It’s nice though.

Before that, in 2007, I had a Panasonic MiniDV camcorder which must have cost $4500 or so. I was still using it for some things until recently, when it started eating my tapes.

I have a Sennheiser cardioid XLR mic (from 2007), and a Tascam audio recorder hooked up to it (from 2019). Maybe $150 altogether. I’ve somehow had the same microphone stand since 1993, maybe longer.

I also have a Parrot teleprompter mirror, for when I need to record web videos and read text off a screen.

We bought a heavy expensive tripod in 2007 and I found it difficult to use. I probably broke the damn thing. It wasn’t working well. I was used to much lighter, cheaper tripods, and kept using my old one. Then I ended up buying two tripods cheaply. I think both were Goodwill finds!

I still have an enormous greenscreen setup we bought in 2007, very wrinkly now and rarely used.

With the old MiniDV cameras (or before that Hi8, 8mm and VHS) you needed a lot of light to get any kind of decent picture. I’d buy a $20 shop light from Home Depot and point it at the wall. It was very hard light, but bouncing it off something would diffuse it and light up the room. It was also very yellow and we’d put a blue theatrical gel over it to change that. It was also very hot and would make the room tough to film in! We also had little clamp lights with regular light bulbs in them as needed. You can get that stuff at Home Depot or similar for cheap.

Cameras today are a lot better, and even if the footage is grainy you can noise reduce in post with plugins like Neatvideo. You’ll want to be more subtle with your lighting than I had to be back then. But a lot of times you’ll still want a powerful light that will light up the room in a clean-looking way. Even then I’d often work with cinematographers for a more subtle feel. They would put diffusion material over the lights, or black foil to concentrate a more powerful light into a single beam. It’s worth experimenting.

I guess I’ll get very personal with this and talk about my whole history, because I’m like that.

I started out making movies as a kid in the 90s. I started out doing little animations on my own, which grew into a 90-minute sketch comedy feature (I was 15-17). I attempted to involve my friends from high school, but it was hard to get them to commit and show up, so a lot of that film was just me doing animation and puppets to fill the gaps. Once I premiered it, everyone got very excited at what I had accomplished without much help and wanted to be involved. I worked with them to figure out what they were interested in filming, and they contributed to the scripts and concepts and production.

We shot four more comedy features in the first half of that year, before I left for college (USC Film School in Los Angeles, 1999), often with a big cast and in all kinds of locations. I was also writing a satirical musical play at the time, and was starting to try to be a screenwriter (I eventually wrote about twelve unproduced screenplays). The main feature we shot that summer was a 2-hr parody of Star Wars: The Phantom Menace which would have been my first “real” screenplay, and which was based partly on the ideas of others in my friend group. There was some improv to the comedy. We also shot a 5-hour improv piece which was a comedy-drama (and then cut down to feature length) and which aged better.

I came back the next summer and shot two more similar features (which were in the same style as the Phantom Menace spoof and the improv piece respectively). I also ended up collaborating with other filmmakers on some stuff, which I ended up regretting due to the people involved. And I made student films, and a big, overlong drama feature while I was in college called Gods of Los Angeles (which took about three years). Later in 2007-9 (ages 25-28 or so) I directed Shamelessly She-Hulk, a superhero feature which is on Youtube. I also did more animation, and some quick, low effort webseries and web video stuff on my own, and I continue to do so. I’m currently working on some Unannounced Projects.

I often think that moving to Los Angeles and attending USC Film School was a mistake. It’s an easy town to get lost in and just sort of fade away and disappear, even before the economy crashed and things got a lot more expensive over the past 20 years. At any rate, my film education at USC was similar to my film education outside of it- The teachers would just tell us to pick up a camera and go, and do our best with it. It wasn’t very formal. What film school did provide was an audience- Your fellow students would all give notes tearing your student films apart, and I had to get a lot better very fast to keep up and deliver quality filmmaking.

So my advice is that you don’t really need a formal education in film to make movies, at least if you’re starting out and doing your own stuff. What you really need is to be young and have a certain amount of financial support on your side. Once I got older and had to work and pay my own rent during an economic recession, it was a lot harder to make films. If you’re still living with your parents, great! Or if you’re in an okay financial situation, great! Use whatever resources you’ve got.

Mainly you need free time, and people to help you. There’s a lot you can do on your own. As I said, my early experiments as a kid filmmaker were pretty much done on my own, and I sometimes had to create scenes on my own for every movie that followed. I might do a quick pickup shot, or re-record some voiceover. Making movies on your own isn’t an ideal way to work, of course, but a lot of people on Youtube are doing it!

I learned a lot about filmmaking by simply doing it. I’d made something like twelve features by the time I was out of college. Nothing I would still want to watch today, but I learned a ton by doing them. I expected I’d become a Hollywood filmmaker, but making that happen takes money and resources and connections I didn’t have (and still don’t). People don’t want to admit it, but it takes money to get noticed at all in Los Angeles. And when you’re older and need to pay bills, time is also money, so it’s very hard to find the time to work on projects unless you have some money in your bank account. If you have money and time in Los Angeles, you can go to more events, meet more people, pay to enter your scripts into contests and things, and there’s not much of a chance you’ll get noticed by doing that either. But money and time allow you to make more art and try again.

At any rate, if you’re just starting out and learning, there’s plenty you can do on your own, but ideally you want to have a partner who is just as interested as you are, at least during the shooting. I have often spent years editing feature film footage on my own. WhoSprites, Shamelessly She-Hulk, The Thief and the Cobbler Recobbled Cut and Gods of Los Angeles all took years to edit. But the actual shooting of She-Hulk and Gods of Los Angeles and all my earlier features was usually done very quickly.

If you’re young and working with friends and collaborators to create a feature, like I did many times in my teens and twenties, there’s a certain momentum which is key, and very easy to lose. You can get a group of young people together to film a feature for a week or a month, and they’ll work very hard. All the features I ever shot were like that, where I had one or two main collaborators who were there every day for a week or a month or a few months, and we just worked and worked and worked, while other people came in and out.

The movie I did in college, Gods of Los Angeles, I flew my friend Dave in to star in it. That was summer 2002 and we had maybe a month to shoot with him, as well as do a road trip to South Dakota for an amateur film festival where we shot some other stuff as well. We worked on the movie every day. Other actors would come and go but I only had Dave as an actor for that period. Sometimes we were sleeping on the floor at a friend’s place before filming there - we were all over town. Dave lost weight in the desert on the road trip. But we had that momentum to get as much of the film done as we could. It was this ridiculous long script, like four hours worth of story. We ran out of time and I ended up cutting a whole act out and shooting a rewritten ending the morning Dave had to get on the plane back to Connecticut.

We had that momentum to work and get the feature done. We were young and in college, and it was summer. We had no bills to pay. We had free time. We shot most of the feature during that month. We worked around every other actor’s schedule but Dave and I were there every day.

After that, and when the school year began again, production was a lot slower. Trying to get any actor to show up for a shoot was tough. We went months inbetween shoots and it took a long time to finish the last few scenes.

I did notice I’d gotten a lot better as a filmmaker during that shoot. We had filmed Dave’s stuff during this crazed rush, and all the later stuff I was able to shoot in a much more controlled way. No-budget filmmaking, in my experience, is always a disaster. Everything goes wrong and you prove your worth as a filmmaker by rolling with it and still getting the scene done even if you don’t have that actor or that location or whatnot.

You learn a lot by just doing it, as a filmmaker, and it helps to be young and without bills to pay. If you have one good collaborator who is willing to really join you on this journey for awhile, for a week or a month or parts of a few months, you have a movie. All of my movies were like that.

Los Angeles never agreed with me, physically or in any way. I moved to Los Angeles 20 years ago, and left ten years later. I spent that whole first ten years wanting to leave. I knew immediately when I stepped off the plane that I’d made a big mistake. I did leave, for five and a half years, and then ended up back here. I had big dreams, but everyone in this business has big dreams. I expected Hollywood, but it felt more like tripping and falling into a white-walled room which locks behind you and sinks down into the ocean, and nothing else happened for twenty years.

So I’d often leave Los Angeles for awhile to make a movie with friends elsewhere. I went back to Connecticut one summer, and I went to the Midwest twice (a mistake), and roadtripped to South Dakota. I had just unsuccessfully tried to move back to Connecticut one Christmas in 2006, and ended up in some shitty apartment with two people who were trying to kill each other. Pretty typical for my Los Angeles experiences. It’s just a dangerous town when you don’t have money. You always feel like a criminal, and I can no longer count the situations I lived through where my life was threatened. That was almost a constant.

I needed to get out of there, and someone I’d met while doing stand-up comedy called me. He had a rich mother, and he was bored and wanted to learn how to make a horror film. For the hell of it I’d written this script about Marvel’s She-Hulk character. I’d written it in a week. My scripts usually took a year but this was an easy write. He read it, and he decided we should film that script.

I did warn him that it was a fanfilm, so we could never really make money from it, or release it on video, or show it at festivals, especially back then. I don’t think he fully understood that until we were four months into production and had shot most of the film, at which point he shut things down.

But for four months we worked together every day. Our She-Hulk actress came in pretty much every day for a few weeks to film on greenscreen. A lot of times we were shooting one actor at a time because of scheduling, and we pretty much shot the whole thing in that apartment in Santa Monica. I’d put sticky paper up to turn the walls green or black. We just kept at it, getting through a huge amount of material every day. It’s not great to shoot a big superhero feature one actor at a time. That was tricky to edit together later. But working with one actor, or two actors, at a time, is very controllable. You’re not wasting anyone’s time. You don’t have scenes where one of the actors doesn’t have much to do. They’re always working. Sometimes we had a bunch of people onset at once, and sometimes that was more chaotic. It did mean we had more people to work the lights and sound and effects. It can be tricky to get Los Angeles actors to commit to this sort of thing. You’re never sure who you can really rely on and who is going to flake out on you. We ended up shooting with fewer actors and less crew, and doing our best with it.

And when you’re not paying people, sometimes actors will quit on you. We lost one of our two lead actresses on She-Hulk, and by the time I’d recast her months later we didn’t even have money anymore, or most of the original actors. I was shooting on my own for no money. We had auditioned 400 people for the film. It was a huge, long process where I called in anyone in Los Angeles who would work for no money. But some of my first choices didn’t want to actually do the film in the end. I got my first choice for She-Hulk, and got the best people for the parts. But I recall that original actress saying she’d rather be waitressing and making money.

It was always easier to find great actresses who weren’t working. Finding guys who were any good was always tougher. On my college movie Gods of Los Angeles in 2002, I kept losing the male actors I originally cast in every single part, after a day of filming. They weren’t willing to spend that much time on such a ramshackle, no-budget feature where I was learning as I went. The women were all cast from the start, and stayed put.

I shouldn't admit this, but on both Gods of Los Angeles and Shamelessly She-Hulk I eventually had to cut scenes and edit around some male actors, who hadn't quite completed their entire parts, but had come close.The people who stayed, stayed because they believed in the project. We didn't have much money, but I was always a good dialogue writer, and was writing very meaty parts that actors enjoyed playing, even under the circumstances. And the circumstances were messy. (Screenplay structure was more of a weak point, though I got better at that too in my unproduced work.)

She-Hulk was a big role - she had tons of dialogue to get through - and we often shot her alone. We just kept working, and we had that momentum, and we wrapped her part in a couple weeks. Finishing the rest of the film later was a slower process.

But it’s about working within people’s schedules. That gets harder the older you get, because people have bills to pay and things to do.

On She-Hulk, one older actor usually had a beard for other roles. I wanted him to shave it for the part. One day he told me he’d shaved his beard and would want me to shoot his whole part in the next three days or so. We were already booked up for those days with lots of shooting with other actors. But we brought him in at night, and shot most of his part alone. Or in the morning, when he was already starting to grow the beard back.

I once shot a comedy feature in a week, where we all became horribly sick and injured in a dozen different ways. The director was depressed and not in the mood, and in retrospect was bullying me the whole time I knew him. It was horrible, but we still shot the feature in a week.

The Phantom Menace parody was filmed over a month or two, as was the one we did the next year. In both cases I was working every day with Dave, and other people would come in and out depending on their availability. So we had that momentum.

We also found time to shoot a comedy/drama improv feature. I had two collaborators on that first one, and we rehearsed for a couple of weeks while shooting the other movie, then shot the whole damn thing in one night. We tried to do it again the next year but everyone was too tired. We hadn’t really had a break, and Dave had barely slept all month.

Looking at the footage from those (summer 2000) movies later was a turning point for me. I was a dumb kid of about nineteen making dumb movies on low quality video cameras, but I was also a perfectionist. And I lost my temper a lot on that shoot, while trying to get my friends to take the shoot seriously and get the footage I needed.

As a director, if you lose your temper you’ve lost control of your film. You’ve lost the respect of those around you. It’s not going to get them to take you seriously. A director needs to be the nicest guy onset. You’ve got to make people comfortable, and feel like their contributions are valued. They should feel safe, and comfortable enough to give their best work to you. You need to earn their respect. If you have the right collaborators, they will do brilliant work for you, if you let them be themselves.

I was tough, as a director. I would shoot a lot of takes, until I knew I’d gotten the footage I needed in the edit. With enough preparation, four takes should be enough, but it’s not unusual for me to see 16 takes in the edit for more complex scenes. We wouldn’t do a ton of rehearsing. We’d shoot and fix problems on the fly.

I wouldn’t lose my temper. I’d just ask them to do it again, until we had a version where nothing went wrong technically, or with the performance. If an actor isn’t playing the scene right, it’s usually a bad idea to tell them how to read the line. It’s unprofessional but it’s also not how actors work. Fixing the exterior performance is phony. They need to feel and understand the scene inwardly. If they’re not playing the scene right, you haven’t explained it right, and you need to talk to them for a bit about what their character is feeling.

Or maybe it’s just a dumb scene and the actor isn’t feeling it. While looking back at the She-Hulk movie, there are a few lines which make me cringe, which I wish I’d rewritten. Easy jokes, which border on offensive or vulgar and don’t suit the character or the film.

I was looking at the raw footage from one of those scenes recently. I knew the line was bad at the time, and clearly I feel awkward directing the actress to say it. I ask if she can say it with a little more feeling, since she was playing it off very flatly, as if embarrassed of the line. She said “No, because it’s a stupid line!” The footage cuts off there. She wasn’t wrong. We should have rewritten the line, and she gave the best performance she could under the circumstances, because she needed to communicate that her character was embarrassed of the line too.

When I was making movies in college, I was still embarrassed that I’d lost my temper during the shoot in summer 2000. I was trying to be nicer as a director while still pushing hard enough to get the shot. I overcorrected. I have wavy hair which gets unmanageable unless it’s cut very short. I would let my hair grow longer than that, and I’d really look like a mess. A scruffy kid with glasses and mad scientist hair, wearing a red windbreaker jacket and scuffed-up jeans. I looked like a slob! I thought it helped the actors relax and not have to take things as seriously. I grew up in Connecticut as this gifted overachiever, always pushing very hard and being very intense about things. In California I was learning to slow down, and calm down, and go with the flow. I think it helped me, but I went with the flow so much that nothing ever happened in my career for twenty years!

But some of that was just that I wasn’t presenting a serious image to the world. I was presenting the image of a guy who really hated himself. I thought of myself as a clown. I felt bad that I was making my actors work so hard and do so many takes, and I thought I had to be the guy onset who was making things seem much more relaxed and casual, but also pushing them very hard to do brilliant performances and shoot a lot of takes. I should have loved myself more, enough to clean myself up and look professional onset. My appearance was at odds with the high-level filmmaking I wanted to do, because my self-esteem and self-image wasn’t there.

As a creative in Los Angeles, at least to an extent, you are who you pretend to be. The industry is full of pretenders. The industry is biased toward people with money and connections, but people with money and connections are also just more presentable. I had very high standards for the filmmaking I was doing, but I looked and acted like a weird kid! It’s amazing that anyone took me seriously enough to work with me. To an extent I had trouble making friends and felt very isolated, especially among people who really wanted to work in the industry. My friends tended to be people who didn’t fit in either, and who wanted to leave Los Angeles at the first opportunity. I took myself very seriously as an artist, but a lot of people at USC took me at face value instead, and seemed to hate me instantly! Young people can be very cruel. Well, all people can be very cruel.

I used to do stand-up and improv as an idiot character called Radio Man. When I’d perform him live on campus, people would treat me like I actually was this ridiculous character. I was thrown offstage by security several times! Maybe I should have pretended to be cool!

I feel like that was partly my problem with networking and trying to make friends in the industry and get work that way. This is an oversimplification, but I felt like the mindset in Los Angeles was very different. Not better or worse than New York and Connecticut, but upside-down. New Yorkers can be gruff until they get to know you, and they’re more open with how they’re really feeling. People in Los Angeles tend to wear a mask at first. They want to smile and seem pleasant and impress people in a non threatening way, and it’s a front. You find out what they’re really like later, if they like you. You see their dark side. I’m generalizing of course, but I was never a very social person, and this was all backward from what I was used to. People were being very guarded and false when I was trying to be open and truthful, and vice versa even! I was zigging, they were zagging. I felt like people hated me immediately wherever I went! Or at least couldn’t figure me out and weren’t impressed. I wasn’t great at putting up a front and impressing people. And in Los Angeles it’s hard to impress people anyway. You’re talking to creators, who are all boasting about what they’re doing as a multi hyphenate. At that point I’d made a bunch of features as a writer/director/editor, but I was still a dumb kid with few resources and no connections.

Youtube has changed everything, but it’s also not a filmmaker’s medium. Most of the people who are getting successful on Youtube are doing video essays as themselves, straight to the camera. People aren’t really getting known for making short films and features like we used to do. I still remaster material from the 2007 She-Hulk production for Youtube, and it feels very out of place with everything else that Youtube is.

That can be a positive, I suppose. It’s not a big deal for a filmmaker to record themselves doing video essays and reactions, and Contrapoints for example has stepped up that game with her colored lighting and aesthetics, bring a feature-film quality to Youtube.

I’d like to think there’s room for lots of different kinds of content on Youtube, and as a small creator it’s unfortunately very hard to get seen, so you might as well create what you like, and what really matters to you. The algorithm seems to push certain kinds of content (including some gross political content which is definitely helping cause the end of the world). The algorithm is also impossible to predict.

I had barely touched my main Youtube channel in eight years until recently. That was a mistake. I was sort of grandfathered in as an older channel, and once I put up new content in 2018, sometimes the algorithm would smile on me and give me millions of views. But it’s impossible to predict. One or two popular videos and the rest go thud.

I considered that a channel for the She-Hulk movie and my Doctor Who animations, and other filmmakery stuff. But I’d stopped editing that film, and was doing some very dumb web videos on my own instead for awhile, which I uploaded on another channel. I started other channels for my film restoration work. I hadn’t considered Youtube as a career. It was simply an outlet for the various things I was doing.

If I was starting a new channel now, I wouldn’t be getting the views I get on the old channel. It’s probably best to do everything in one place, do it well and make it easy to find.

As for the other stuff, the filmmaker stuff - actually learning how to make a film - just do it. You’ll learn as you go.

In my high school movies, these early comedies, I barely knew where to put the camera at all. At first I was shooting long wide shots, then some closeups. All very basic stuff. I was leaning heavily on the dialogue. Without dialogue I didn’t have a movie. There were only a few sequences I storyboarded or even shot a lot of angles for. Usually it was when we were parodying an existing movie, and recreating their shots. That was always fun- recreating a famous big-budget Hollywood movie on a budget of zero, and making it work somehow.

I learned a little more each time for sure, but in film school we had to do these little short films with no dialogue. I was leaning on the same style I’d had in my high school comedies. My first couple of shorts had the same goofy feel. One of them used pop culture references instead of having characters and story. And without dialogue that didn’t work. It was about some friends of mine as an action-hero fighting team (and not a very impressive one). It was pretty dumb.

This was for a class (in 2001) which originally shot on 8mm film, so it had to be silent. We were shooting on MiniDV instead, so we could have shot dialogue, but that’s not what the class was about.

I couldn’t use any of the tricks I’d had in my comedies. I had to tell a story without dialogue- something that people could take seriously. I didn’t even know how to get a performance out of someone without dialogue, which became immediately apparent. I couldn’t use any of my strengths, and that was great because I had to learn quickly.

My third short was vastly better. It really told a story without words. I shot a few more like that later, including four on 16mm film.

These were all supposed to be 5 minutes. I think short three was 16 minutes.

My fourth and fifth student-film shorts actually had heavy dialogue, but I was still learning very fast and challenging myself to do something different.

I scripted the fourth short without dialogue. It was about a dying cartoonist, and was intended as a very personal, serious drama. Writing it without dialogue forced me to come up with visual ideas to keep it interesting. I then rewrote it with dialogue but kept most of those ideas. I’d already been writing serious screenplays for awhile but this was my first serious film- a big step for a goofy kid like me! It was 18 minutes long.

As I recall, I got in trouble for using dialogue so heavily, and my grade was taken down a few notches. That happened a lot at USC, always on the films I was most proud of!

My fifth was an animated adaptation of the Terry Pratchett novel, MORT. It was crazy over-ambitious for a five-minute short at the end of the semester. I’d written a 45-minute script, and I had to shoot it in a weekend and edit it in about as long. I got my friends together and we recorded the voices in one long night. I played Death and I certainly sounded like Death by that point. For the animation I made some clay figures with drawn cutout faces, in real-world locations. It was nothing fancy, but I really did shoot it in a weekend, and made it work in the edit as best I could. I was new to Avid and digital editing generally. I released a 25-minute animated film, having cut out anything I didn’t absolutely need to tell the story.

I was proud. I’m sure I got in trouble for it! I wasn’t alone either- Someone else in the class had shot a dialogue-heavy adaptation of The Catcher In the Rye.

In another class, when shooting on 16mm film, the films really did have to be 5 minutes long, and not a second longer. We only got one or two takes because film stock was limited, and you really had to tell the story visually.

Due to shenanigans I was forced to take the class twice, and did better work the second time. With a partner I shot a fantasy film The Journey of Truesong (with thrift-store costumes), and a time-travel musical with CGI and splitscreen effects, all done in-camera. We also got in trouble for both, because both involved dialogue and were against the rules. We’d made the most exciting films in the class, and got punished for it. That sort of thing happened a lot.

I remember on The Journey of Truesong, our actress was vegan, and I didn’t know. I’d brought ham sandwiches for lunch. She was too polite to say anything and starved the whole shoot. When we opened up the fruit (and I think trail mix) her eyes went wide and she chowed down. Ask your actors about food restrictions and make sure you have a way to feed them! We were in Griffith Park, miles from anywhere!

A few years later I filmed a scene for She-Hulk, again in Griffith Park, with four actors. They were supposed to barbecue hamburgers in the scene itself, so I bought a grill and figured that would be our meal for the day as well. I wanted to wrap an actor playing a bad guy so he could go home, so we shot his scenes first. The sun was going down by the time we grilled the hamburgers. The scene was grainy since we were losing the light, and getting the grill running was taking time. The actors had to get a little silly and improv around it, and I reshot some of it later in a different location (obviously so). By that point the hamburgers and other food had been sitting out in the sun for hours and were absolutely inedible. Everyone was starving!

Today you could maybe use a food delivery app. Maybe not, because we were still in the park in a very remote location. It was a disaster of planning on my part, and I think an actor quit after that. When you have no budget, going out on location means going out on a limb and hoping it works. In this case I wasn’t able to feed my cast. The actresses rolled with it and forgave me. An actor didn’t.

Food is very important, and easy to overlook! If you’re shooting in your own home, or a very controllable location, you can keep food in the fridge. On location in the park, in the heat, the food had a very limited shelf life, and so did the actors.

If we weren’t out in the middle of nowhere, we might all drive to a fast food restaurant to eat. That can take up hours in the middle of a shoot if you’re not careful. Having enough food onset certainly helps.

I had very high standards for the sort of actors I’d cast. In high school I was just casting friends, but I grew out of that. Even so, I think that someone who will really stick with you and is willing to put in the work with you is just as important as raw talent. If someone can’t act, maybe they can run the camera, or hold the microphone, or just generally help out onset and with the production. They can drive around, get the food, set things up that need to be set up. They can be an extra, or a costumed character. There’s so much that needs to be done, and no-budget shoots immediately become a trashfire of problems because it’s hard to get it all done in time. Things will always go wrong, and you prove yourself by how you deal with all of that.

I know that got very personal, and very long.

But I hope that helps!

#long post

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xxwhisperofdreamsxx · 2 years ago

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Hi Tina! Do you have any preferences or go-tos when it comes to editing? Such as favorite plugins, effects, transitions, etc.. that kind of stuff :) love your videos! 💖

Hi! Yes, I do, actually. :)

— S_BlurMoCurves for doing any kind of zooms

— TwixtorPro for slowing down the clips

— NeatVideo for making footage looks more smooth and better quality

— S_FilmGrain for adding grain

— I use a lot NewBlue V3 Spotlight and NewBlue V5 Selective Tint to make some colors pop out more

— with transitions, I sometimes use NewBlue MB Zoom but otherwise, I prefer simple transitions in the majority of videos that I do... I do add animated Gaussian Blur to them but I do that manually

I think that's it. And thank you so much — makes me so happy that you like them! ♡

#answered #vidding

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loadmen815 · 4 years ago

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5/6 + 7/8 Fraction

Edius Effects Alpha Pack 5 6 7 8 free. download full Version

Edius Effects Alpha Pack 5 6 7 8 Free Download Pc

Edius Effects Alpha Pack 5 6 7 8 Free Download

Updated plug-ins installers for Grass Valley EDIUS

All filters except chrominance or chromakey updated to 10 bit with proper Alpha channel support (in EDIUS 6.5 not all filters had been updated) Direct editing of XDCam off SxS card; Download: Edius 7.42 download.

Aug 30, 2019 SHL Motion HD Effects For Edius 5,6,7,8,9 Free Download. In This Post I well share New 3D Boris Effects SHL Big Collection Edius Data.Now Download Free Boris HD SHL Effects.Make More Attraktive Video Easy Step.Shl Is Big Studio This Effects Only Download Here Stats4game.com.If You Want More Effects For Video Editing Then Follow Our Website And.

Jan 31, 2019 - Explore Lamonteer's board 'EDIUS البرنامج المفضل' on Pinterest. See more ideas about green screen video backgrounds, free video background, frame download.

The plug-ins on this page do not run without a valid license or only as a limited demo version.

If you have purchased any of the plug-ins, you can unlock it by entering your serial number.

If you are interested in purchasing a plug-in, please contact your authorized EDIUS reseller.

VST (Audio) Plug-ins

Acon Acoustica PostProductionDownload the update/trialVersion '7.3.0' for EDIUS: 10 Acon Deverberate 2Download the update/trialVersion '2.0.7.0' for EDIUS: 7,8,9,10 Acon Restauration Suite 2Download the update/trialVersion '2.0.9.0' for EDIUS: 7,8,9,10 Voxengo ElephantDownload the update/trialVersion '4.11.0.0' for EDIUS: 7,8,9,10 Voxengo VoxformerDownload the update/trialVersion '2.18.0.0' for EDIUS: 7,8,9,10

Title Plug-ins

NewBlue Titler Pro 5 for EDIUSFree Download on EDIUS-ID Website Version '5.0.171213' for EDIUS: 9 NewBlue Titler Pro 7 for EDIUS XDownload for EDIUS XVersion '7.3.201014' for EDIUS: 10 NewBlue Titler Pro 7Download the update/trialVersion '7.0.200903' for EDIUS: 7,8,9 NewBlue Titler Pro 7 UltimateDownload the update/trialVersion '7.0.200903' for EDIUS: 7,8,9 Prodad Heroglyph V4ProDAD Heroglpyh V4 Pro ProDAD Heroglpyh V4 LEVersion '4.0.289.1' for EDIUS: 7,8,9,10 VisDom VistitleDownload the update Download the trialVersion '2.9.5.6' for EDIUS: 7,8,9,10

Video-Effects and -Filters

FXHOME Ignite Pro 4 (2019)Download the trialVersion '4.1.9221.34279' for EDIUS: 9 (Windows 7/8/10)FXHOME Ignite Pro 5Download the trialVersion '5.0.10623.34279' for EDIUS: 8,9,10 ISP RobuskeyISP RobuskeyVersion '1.0.0.0' for EDIUS: 6,6.5,7,8,9,10 Neatlab Neatvideo V4Neat Video 4.x (Demo) Neat Video 4.x (Update)Version '4.8.7.0' for EDIUS: 7,8,9 Neatlab Neatvideo V5Neat Video 5.x (Demo) Neat Video 5.x (Update)Version '5.3.0.0' for EDIUS: 7,8,9,10 NewBlue EDIUS EffectsDownload the update/trialVersion '6.0.201006' for EDIUS: 7,8,9,10 Prodad AdorageDownload the trial Download the updateVersion '3.0.122.1' for EDIUS: 7,8,9 Prodad Mercalli V2Download the trial Download the updateVersion '2.0.129.2' for EDIUS: 7,8,9,10 Prodad Mercalli V4Download the update/trialVersion '4.0.491.1' for EDIUS: 7,8,9 Prodad Mercalli V5Download the update/trialVersion '5.0.510.1' for EDIUS: 7,8,9,10 Prodad Vitascene V2ProDAD Vitascene V2 Demo ProDAD Vitascene V2 Pro ProDAD Vitascene V2 LEVersion '2.0.252' for EDIUS: 7,8,9,10 Prodad Vitascene V3ProDAD Vitascene V3 Demo ProDAD Vitascene V3 Full ProDAD Vitascene V3 LE Demo ProDAD Vitascene V3 LEVersion '3.0.262' for EDIUS: 7,8,9,10

EDIUS Effects: The best 15 effects, filters and tools from NewBlue for EDIUS in one package

By using video effects you control the attention of your viewers. With just a few mouse clicks, you intensify colors and contrasts and thereby moods, you create reflections and mirages. Or you retouch skin blemishes automatically if necessary - if there, as so often, was no time for putting make-up on before the interview. You can position a picture-in-picture effect freely in space, for example on the screen of a monitor.

Such versatile and useful effects and tools are rarely found in a low-cost entry-level effects package. Together with NewBlue, we have compiled the 15 best and most important effects and video filters for EDIUS and named the package EDIUS Effects.

EDIUS Effects includes the following NewBlue filter: This video shows more examples of the 15 filters of NewBlue EDIUS Effects

Please look forward to the following filters, tools and effects:

01 Active Camera

You would like to bring dynamics into a rather static recording? With Active Camera you transform pictures from the tripod into those from a jittery hand-held camera. You decide how much movement you want to get a realistic result.

If the script requires so, you can also simulate violent vibrations. Regardless whether you need a light shake or a severe earthquake: presets and fine adjustment options let you decide.

02 Image Mapper

Microsoft 365 license key crack. A moving video image should be integrated into an existing scene in perspective? A typical picture-in-picture filter would be overwhelmed with such a task. The Image Mapper filter goes far beyond that in its capabilities and versatility. You may scale, compress and stretch the overlay video by positioning the four corners of the overlay (4 corner pins) independently from each other. In this way the overlay video can be distorted in perspective and adapted to almost any desired surface. In addition, the edges of the overlay can be softened and the contrast and brightness can be perfectly adapted to the surrounding scene.

5/6 + 7/8 Fraction

03 Reflection

Whether product or image film - certain settings, including titles, are even more impressive with the addition of mirroring effects. The Reflection filter offers all options for further customization. This makes it possible to precisely determine the position, orientation and extent of the mirroring, as well as transparency and course.

04 Tile

The Tile filter arranges your video sequence in a desired grid as 'tiles'. This can be used to create a moving background – for example as a transition effect or as an animated background for the insertion of graphics or texts.

By using keyframes, the desired grid can be changed dynamically, up to an abstract mosaic effect of many small tiles. In addition, the tiles can be colored differently and their transparency changed. You will enjoy trying out the presets to discover the variety of design options.

05 Time Clock

Whenever it comes to illustrating the duration of a process or a countdown (in a wedding movie, for example, the hours to the wedding), the insertion of a time clock is popular. The effect filter Time Clock offers a large selection of different time clocks. For example, as a dot matrix display, as an LCD clock or displayed in handwriting. Display format, size, position and color can be determined freely. Should the display not start at 0, a desired starting time can also be set.

06 Viewfinder

You would like to simulate the look of a surveillance camera or the view through the viewfinder of a video camera? The effect filter Viewfinder offers the matching overlays. Individual elements such as the RECORD indicator, battery level, counters or even the black-and-white display still common with tube viewfinders can be activated individually or in combination and give your video sequence the desired look.

07 Auto Contrast

No question, EDIUS has its own excellent tools to professionally adjust brightness, color and contrast and to control this via waveformmonitor and vectorscope. Sometimes, however, it is important to complete a project within the shortest possible time if, for example, you want to document an event and present the finished video at this event.

The effect filter 'Auto Contrast' achieves an excellent result with just a mouse click. It gives liveliness and expression to low-contrast material. In addition, the filter can help you automatically compensate for contrast differences, such as those that occur when you step out of a house into a sunny environment with your camera. Presets are available. Of course, you can adjust the intensity of the filter to your wishes.

08 Flash Remover Pro

If you shoot at a press conference with your video camera, you will not be able to avoid flashes by photographers. But of course, these overexposed frames disturb the viewing, even if they occur only very briefly. The Flash Remover Pro filter detects these annoying frames and swaps the 'flash-frame' with a correctly exposed single frame. At a frame rate of 30p and above, this duplication is barely perceptible. The disturbing flashes have disappeared, and the picture impression is again calm and harmonic.

09 Lens Correction

The look of a wide-angle lens is often deliberately used as a stylistic device. Occasionally, however, these typical distortions also disturb. Using Lens Correction, these distortions can be reduced and a natural image impression achieved. Likewise, Lens Correction can also be creatively used to alienate your recordings. Thus, this filter has many possibilities and a wide range of applications.

10 Skin Touch Up

Often there is no time left before the interview or the statement in front of the camera to put make-up on the talent. However, HD and even more UHD/4K resolutions mercilessly depict every blemish on the skin.

The 'Skin Touch Up' filter works like a digital make-up. You decide how intense the filter should be. The skin is smoothed, impurities and beard stubble disappear. Other details, however, such as the frame and the glasses in a pair of glasses, remain unchanged. This makes 'Skin Touch Up' an excellent tool that you will probably not want to do without.

11 Frame Rate

Edius Effects Alpha Pack 5 6 7 8 free. download full Version

With current video cameras frame rates of 50 / 60p and more are standard while in the world of cinema mainly 24p are used. Super 8 cameras usually exposed 18 frames per second. For this reason, the playback of older films often looks jerky while the soft 50 / 60p playback is rejected by film enthusiasts as a TV soap opera look.

The Frame Rate filter gives you the option of giving your shot the look you want for a particular scene. Depending on the specification, you will get a stroboscope-like effect all the way to the time-stretched playback of single images. Or you can dazzle between the frames and get a flowing look.

12 Old TV

Do you remember the time of the tube TVs and the then typical picture errors? With the Old TV filter, you have almost all the parameters from light to massive picture interference to send the desired video sequence on a journey back in time to the past. This filter goes far beyond the options offered by other effects programs. Try it. It is fun to test the presets and to customize them for the respective purpose.

13 Tilt Shift

By means of the 'Tilt Shift' filter you can give pictures of landscapes, cities and idyllic nature the look of a miniature landscape. The filter increases the saturation of the colors and creates a blur in the foreground and background. You control the degree of intensity and arrange the sharpness in the desired region of the image, just as if you were turning the focus wheel of an wide open lens.

Regardless if you are working on a professional travel movie, holiday impressions for your friends or you want to alienate a recording with this effect: The Tilt Shift filter lets you experience your recordings in a new perspective and transforms your world from big to small.

14 RGB Shift

Some video effects are not only impressive to look at, they also seem particularly complex and therefore probably rather complicated to use. RGB Shift produces such an impressive effect - and it is very simple to apply! RGB Shift separates the color channels red, green and blue, placing them in space and time in relation to each other. This results in complex patterns that suggest a considerable effort in the application of this effect. The use of the filter RGB Shift is however completely uncomplicated. The filter can be conveniently configured via presets and keyframes and additionally customized via a large number of parameters and dials.

15 Zoom Blur

The filter Zoom Blur creates a particularly dynamic effect. A virtual camera zoom is combined with a blur effect. If you apply this effect to a sunset for example, you may align the effect’s center point with the sun and use keyframes to track the setting sun. Night scenes with lights are particularly impressive, allowing the blur effect to prove its special magic and radiance. This effect also gives you many options for further customization.

Edius Effects Alpha Pack 5 6 7 8 Free Download Pc

All current plug-in installers you find on our download page.

Edius Effects Alpha Pack 5 6 7 8 Free Download

This plug-in is available at your local EDIUS Reseller or directly here.

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supercheapsheep · 6 years ago

Photo

New review coming next week to my YouTube: Rodrrico Can you guess what it is from this editing screen cap? #neatvideo #sydneytimelapse #sydney #vlog #youtubereview #vlogger #youtuber #youtube #premierecc #a7sii #sonya7sii #sonya7rii #reviewer #review #50mm #lapsing #longnight #timelapser #photography #videographer #videography #photographer #editor #filmmaking #filmmaker #filminglife #35mm #achievement #personalgoal #beautifulworld https://www.instagram.com/p/B0nTg45h9vd/?igshid=32hzu303u45

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artwalktv · 8 years ago

Video

vimeo

In the summer of 2016 my girlfriend and I embarked on a week long trip to Hanoi and Ha Long Bay. When we weren't busy eating incredible street food, we filmed some stuff. Thank you Tina, for being so patient while I tried all those hyperlapses! Filmed on Sony A7s with Canon L lenses Edited in Adobe Premiere Coloring in Davinci Resolve (with lots of denoising in Neatvideo) Music: Ryan Taubert - Returning

#Videos & Films

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itsjusttaaylor · 6 years ago

Text

Feedback from Geraint

We managed to get some feedback from Geraint on the edit and footage.

One thing he said instantly was the framing of shots. so when we re film we are definitely going to get more close ups because certain areas of the frame look great. (like the face, head and hand close ups)

Another thing was the slow mo, because there’s frames skipping so we will try to film in 50 fps and even speed the song up 2x so when we stretch it out, it will be like he’s singing in slow mo but full synced. this is a creative idea and we could use this well. (plus it fits the song)

we will also run footage through neatvideo to remove noise

and he showed us a great grade on the footage which really pushes the highlights, this made it look very cinematic and exactly what we are going for.

#musicvideo

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el-delacruz · 8 years ago

Video

vimeo

Hungry In Hanoi from Alex Schiller on Vimeo.

In the summer of 2016 my girlfriend and I embarked on a week long trip to Hanoi and Ha Long Bay. When we weren't busy eating incredible street food, we filmed some stuff.

Thank you Tina, for being so patient while I tried all those hyperlapses!

Follow my adventures and other shenanigans at: @axlsteez @heyyoufilms

Filmed on Sony A7s with Canon L lenses Edited in Adobe Premiere Coloring in Davinci Resolve (with lots of denoising in Neatvideo)

Music: Ryan Taubert - Returning

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axteck · 8 years ago

Video

vimeo

Hungry In Hanoi from Alex Schiller on Vimeo.

In the summer of 2016 my girlfriend and I embarked on a week long trip to Hanoi and Ha Long Bay. When we weren't busy eating incredible street food, we filmed some stuff.

Thank you Tina, for being so patient while I tried all those hyperlapses!

Filmed on Sony A7s with Canon L lenses Edited in Adobe Premiere Coloring in Davinci Resolve (with lots of denoising in Neatvideo)

Music: Ryan Taubert - Returning

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dreamcitychurch · 8 years ago

Video

vimeo

#DreamCityChurch

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laeirbag · 8 years ago

Video

vimeo

* In the summer of 2016 my girlfriend and I embarked on a week long trip to Hanoi and Ha Long Bay. When we weren't busy eating incredible street food, we filmed some stuff. Thank you Tina, for being so patient while I tried all those hyperlapses! Filmed on Sony A7s with Canon L lenses Edited in Adobe Premiere Coloring in Davinci Resolve (with lots of denoising in Neatvideo) Music: Ryan Taubert - Returning *This is a Vimeo staff pick video added automatically. So I might be interested.

#vp #vsp

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ozkamal · 8 years ago

Video

vimeo

#IFTTT #Vimeo

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dronewithcamerastore-blog · 8 years ago

Text

DJI Mavic Pro - DON'T Get This Setting WRONG! | Soft Footage Fix

The best settings for the DJI Mavic Pro to avoid soft, mushy footage and keep the image sharp. Download the sensor noise profile built for Neat Video plugin - https://sellfy.com/p/BqOm/ Download Neat Video plugin - http://geni.us/NeatVideo If you want more tests like this for the Mavic Read more at http://dronewithcamera.store/dji-mavic-pro-dont-get-this-setting-wrong-soft-footage-fix/

#4k #Best Settings #best settings mavic pro #blurry #dji #dji mavic pro #drone #mavic #mavic pro #mavic pro footage #pro #sharpness #soft footage

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kierancoynea2 · 8 years ago

Text

“how did you use media technologies in the construction and research, planning and evaluation stages”

Research and Planning: September

youtube

Planning - (post planning phase), Construction Editing and evaluation: April

youtube

Media Green Screen Script:

Technology has played a vital role in all aspects of the construction of my short film and ancillary tasks, being my film poster and magazine review page. Throughout the researching, planning, construction, editing and evaluation of my media coursework pieces I have used technology and has played a quintessential role in everything that I do in media. This year I have improved in all aspects in using technology, both becoming much more knowledgeable, efficient, to a more professional standard and using more varied tech.

Construction:

While filming I have used several online cloud based solutions when storing my raw footage and creating rough edits when filming. The cloud storage that I settled with was iCloud, as I was able to store everything seamlessly by simply saving my work to my desktop on either my laptop for on the move, or on my home computer where I would do a majority of my editing later on. The main reason for why I had decided to use Icloud was because of the efficiency and ease of use – being able to use multiple computers and having a synchronised workspace I found fantastic when organising my narrative. This year I have use predominantly all my own technology – such as my own DSLR this one here. I decided to purchase and use the canon 700d as the camera had a large sensor and better low light filming with less noise than the Nikon camcorders at my school. Most importantly, I was able to make full use of the tilting and adjustable screen on my DSLR that allowed me to use a wider range of shots – such as low angle shots, extreme close ups and much more with ease. Additionally, I was able to inject a mod of the canon firmware called “Magic Lantern” that allowed me to have full access to every setting of the camera – from a histogram display to forced higher bitrate recording and fps “overclocking”. All of which I have used in the construction of my film. Additionally, I have used my camera to recreate certain scenes in front of my improvised green screen – taking photographs specifically for my film poster and magazine review page. The use of the histogram I found extremely helpful, as I was able to see if I was overexposed in my shots when filming location shots throughout London as it was an extremely bright day – and conversely when filming in my house at night I was able to identify if I was underexposed and if the shots would be too noisy as a result. Although did have a new camcorder, I still found that I was using my phone to record some of my film – as I could not reach a high enough fps (120 fps to be exact) on my DSLR to be able to film slow motion, something that I used in my introductory shot that enacted as my “hook”. This very much proved to me that we are all prosumers and that technology is almost certainly in the hands off all (democratisation of tech) furthermore – I have found that only to a certain extent does technology seem to be rewarding in that you will only be paying for incremental improvements for an extremely more expensive product. This means that the most expensive might not always be the best, so narrative and purpose is the most important factors to consider when making a film – not what expensive things you are using to create the media. In the words of one of the most successful examples of this, the filmmaker Casey Neistat who stated: “I am not bothered with technology. The pros for using new technology is only 60/40, only providing a 10% improvement to my work, but the 10% is worth it to me”.

With regards to the audio of my short film – I used the music and audio editing software Logic pro 10 to capture my voiceover, using studio microphones to capture my voice for my main protagonist. Moreover, I had used my laptop to present to my voice actor with his lines, characterisation and showing my film its self so that the process was swift and effective. I had also used my iPad to show my actors on set coincidentally my redrafting’s of my current script, shot lists and other extracts that I have already posted on my Tumblr on the move.

There are numerous ways that I have improved from my previous year in the construction of my film. Firstly, I had used all the school’s camcorders, all on automatic settings (point and shoots camera). I had used premiere pro, however was not confident in the software and additionally did not move or back up any of my data in the process of making or editing my film. Last year I had recorded my voiceover in my dining room that gave a bad echo, and was not of a high standard/quality. When filming the outside shots in Spirit Quay, I had also experiences severe wind muffling and this year compensated for this with an external microphone with windscreen muff. I had also Printed all of my scripting drafts, and sketched my storyboard and and shot lists previously, that made my planning hard to understand and easily misplaced unlike this year.

Photoshop – took photo of the white-millers and doctored the photo, making the image look old.

Editing:

In the editing process of editing my media coursework, I used two main editing softwares: Adobe Premiere Pro and Final Cut Pro. I had used premier pro for editing my my short film, as I have the most knowledge in the adobe ecosphere. I used Final Cut for the more modular elements of my coursework such as montages and other shorts that could be constructed quicker, as the software is much more simplistic and offers less options but is much faster and intuitive to use. However, I did find it useful in adding my titles for the final parts of my film, as I could place simple titles over my already rendered film – and because of this, could be done on my laptop which was really convenient and therefore an efficient process.

I have use the adobe ecosphere extensively in my second year – using almost all adobe applications in my film and ancillary tasks. There are several instances where I have furthered my competency with technology with the application. This including the overdubbing of diegetic sounds, as one scene shown somewhere around me is constructed completely of post production sound, from the creaking of the steps to the television is all placed after the footage had been shot. The way in which I was able to do this was through several layers of sound that I had modified from gain, panning of the television and so on. One thing I found extremely useful within the Adobe ecosphere was the harmony between other adobe applications. I was able to directly open and edit audio sources from Adobe Audition and export them back into wherever they were exactly in the premiere pro timeline. One example of where I had done this was my “kitchen scene” where I had to overdub my main protagonist with a voice actor, but had to account for real life elements such as echo and the effect of the room. I managed to use adobe audition to increase the bass in my actor’s voice and adjust dynamically the reverb from when he is speaking in the room to when he is speaking with his head inside a fridge – all in order to create a more believable overdub. Overall, I believe I have improved my competency in editing, as I have used much more complex post production techniques in my film. Examples of this range from the use of montage in the opening of my film, compiling differing scenes between each other to create a thick texture to what is happening in the narrative, giving a strong introduction to my short film. The use of an external adobe plugin called the “neatvideo” noise removing application, that I used in scenes where my film was rather dark and as a result produced noise. Other advanced techniques such as the use of ellipsis, timelapse and synchronicity in my shots.

Throughout the year I have also become more acquainted with adobe photoshop, illustrator and adobe lightroom for my photographs that I had taken for my film poster and magazine review page. In Photoshop I have been able to: Manipulate with several effects such as saturation vibrance, and cut out my main protagonist to place in my film poster and magazine review page using the magic wand tool. I also used feathering, the use of an inner stroke to match my desired colour of my background all to create the most professional looking product as possible. Of course make the poster and magazine review page its self

I had also made use of a second monitor this year to edit my short film and media products, as being able to see my products as an audience would next to me I found extremely helpful.

Whereas previously last year I had only used one post production technique of using a “three-way colour corrector” to under saturate my image in order to give an eerie atmosphere, I had also done this this year but have improved in my use of the technique, using only in moderation so that I didn’t lose both verisimilitude and video quality. Last year I had a very simple narrative and timeline and therefore did not need to do as many post production techniques such as the manipulating sound and so on. I had also taken royalty free music and inserted the sound into my film, whereas this year I had researched and composed the music myself on Sibelius using a virtual romantic orchestra in the style of Stravinsky and Shostakovich.

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