When you think about this side of it, you really see why it takes years to get films made. It's such a meticulous endeavor before any acting or filming begins. And seeing how much of a long process it can be, it makes you appreciate the art and craft of movie making when you encounter a good one, and it makes you very much wonder since it does take a long process how do so many very bad movies get green lit and made.
Executive taking over the creative process often end up in bad movies. They overlord everyone and often end up hiring people who please them rather the ones who actually can get the job done. Some movies are made to money launder.
@@dutchmilk Yes, a movie as a front to launder money does happen. But really the majority of how such bad movies get made comes down to who you know, because the people with the leverage really don't know what makes a good movie. And that the other people with leverage know that there is a large size audience that really does like the bad movies. A bell curve that's shifted to the left.
Sometimes people think a creative decision is great, even if it actually makes the film worse. For an example from a director I respect, Unstoppable (2010) has a scene near the end that involves two (and later three) people talking in the back of a news conference. Instead of doing a sustained two-shot or traditional coverage, the scene is shot with three camera set-ups with zoom lenses zooming in and out, one of which is a helicopter shot. The editor then cuts between these three for a nauseating scene that does not complement what is supposed to be happening in the story. Most likely, Tony Scott thought this collection of set-ups (which cost more than typical set-ups) would look cool, and spent the money to make it happen.
@@alinkbetweengames4328 We have numerous recent examples of bad movies that keep getting repeatedly made. Not just a decent a movie that has a scene that is poorly edited or filmed.
Great advice for sure for a feature film cinematographer. TV and commercial DPs will follow different routes however, but with a similar base of prep being the most important part of any project.
@shelbyworks5742 it's mostly in how the prep is more about client expectations, genre in commercial is a real thing but not in the same way as feature films. You know what an Apple ad is supposed to look like, but actually lensing one is a different style of prep than say shooting a romcom. Understanding the genre of commercial you're expected to deliver, and then weaving in the client expectations of style, colour, and overall feel is a subtly that doesn't come with a feature film or TV show, because we have to nail all of that in 30 seconds so there is no wiggle room in story development and often your visuals will be supporting everything else in equal proportions, or else the message won't land properly. That and no one likes to ever pay for you to location scout for commercials which makes life a bitch.
The DP role looks so easy and simple to me when I'm working on sets as a DIT but when I've shot low budget shorts and features as a DP I've always found the hardest part of the job is nothing to do with the camera and your knowledge of lighting because that stuff will come naturally, especially if you've planned out a lot ahead of time. It's genuinely such a tough gig if you're not prepped adequately. The actual hardest part is resource management, building a workflow with that works with the director and engaging with the producers & your team. For example, I had no money left in the budget to hire crew but we had two people drop out and I had to replace the operator and gaffer with people the director was friends with but weren't necessarily right for that project or experienced enough to work at that level (student film sets are run very differently to semi-pro and professional sets and not everyone is ready for that). The budgeting for lighting & camera was easy enough because the limitations gave me reason to come up with creative solutions. The crew however, can be a really difficult thing to get right if you don't have a 1st AC you trust to crew up properly or experience working with them beforehand. This stuff gets easier with larger budgets but its a weirdly almost political/managerial aspect to being a DP on low budget projects. The other aspect of this is the workflow with the director. If you don't know how they work then it can be a massive headache dealing with their approach if they put the actors opinion's on blocking ahead of the camera/lighting side of it. Adds more time to finessing lighting and can limit your ability if they've simply committed to a performance movement that doesn't allow good lighting from windows or pracs, doorways etc. Working with a director and camera team you've worked with before or know more about their process is such a massive gamechanger for the DP because you can actually flex your creative muscles without the constraints of other people's needs. If you have a good system of designing the scene's coverage, blocking and lighting you save so much time and can get much better shots much faster and in a way where everyone trusts you and is supporting that, not just trying to make things easier for them. My recommendation to anyone working on low budget or student films is to do as much recceing and test shooting as possible. Even with non actors, getting the lowdown of a location or the limitations of your kit and studio space will be super useful. We couldn't recce on my last film because we shot in a different country and they wouldn't pay for testing or recces so we had to change locations last minute and deal with problems that lost us our natural light and had to reshoot lots of stuff in a very brief window. My other tip is don't ever work for free because you think it will "be fun", making a film can be fun but it is also hard work and you deserve to be compensated for that!
i'm prep'ng for my short film but logistics and coordination are very tiring and boring sometime . but for high budget film it's easier cz you have many people doing the work . great video
the part where panavision sits down is so funny. I really love how you pay homage to filmmakers you respect in all your videos while simultaneously making great educational content. and a lot of the moments with the filmmakers and timing is so funny
And remember that the time for testing the lighting on an actor is BEFORE action or AFTER cut have been called! Sometimes sitting back and drinking your beverage is the RIGHT thing to do on set.
i think its The Treasure of the Sierra Madre (1948, John Huston) - its PTA's self-described favourite film of all time, and he took a lot of inspiration from it for There Will Be Blood
That combo doesn't really exist, I can't think of a single case I've ever seen. I've had the ability to weigh in on scripts from an early stage, but the Cinematographers job is the visuals first and foremost, not the creation of the whole story unlike with a writer director.
Never say never, but I think you would struggle with finding a director who wants to work with you in these combined rolls. I've never seen it done, but very often work with writer directors.
![The Pre-Production Process in Film Explained [Stages of Filmmaking, Ep 2]](http://i.ytimg.com/vi/U6I1tMgjW-I/mqdefault.jpg)
When you think about this side of it, you really see why it takes years to get films made. It's such a meticulous endeavor before any acting or filming begins. And seeing how much of a long process it can be, it makes you appreciate the art and craft of movie making when you encounter a good one, and it makes you very much wonder since it does take a long process how do so many very bad movies get green lit and made.
Executive taking over the creative process often end up in bad movies. They overlord everyone and often end up hiring people who please them rather the ones who actually can get the job done. Some movies are made to money launder.
@@dutchmilk Yes, a movie as a front to launder money does happen. But really the majority of how such bad movies get made comes down to who you know, because the people with the leverage really don't know what makes a good movie.
And that the other people with leverage know that there is a large size audience that really does like the bad movies.
A bell curve that's shifted to the left.
Sometimes people think a creative decision is great, even if it actually makes the film worse. For an example from a director I respect, Unstoppable (2010) has a scene near the end that involves two (and later three) people talking in the back of a news conference. Instead of doing a sustained two-shot or traditional coverage, the scene is shot with three camera set-ups with zoom lenses zooming in and out, one of which is a helicopter shot. The editor then cuts between these three for a nauseating scene that does not complement what is supposed to be happening in the story. Most likely, Tony Scott thought this collection of set-ups (which cost more than typical set-ups) would look cool, and spent the money to make it happen.
@@alinkbetweengames4328 We have numerous recent examples of bad movies that keep getting repeatedly made.
Not just a decent a movie that has a scene that is poorly edited or filmed.
@@gregorylagrange Oh yeah, those tend to be the result of executive meddling.
Great advice for sure for a feature film cinematographer. TV and commercial DPs will follow different routes however, but with a similar base of prep being the most important part of any project.
Let’s hear about the differences.
@shelbyworks5742 it's mostly in how the prep is more about client expectations, genre in commercial is a real thing but not in the same way as feature films. You know what an Apple ad is supposed to look like, but actually lensing one is a different style of prep than say shooting a romcom. Understanding the genre of commercial you're expected to deliver, and then weaving in the client expectations of style, colour, and overall feel is a subtly that doesn't come with a feature film or TV show, because we have to nail all of that in 30 seconds so there is no wiggle room in story development and often your visuals will be supporting everything else in equal proportions, or else the message won't land properly. That and no one likes to ever pay for you to location scout for commercials which makes life a bitch.
Thank you so much, I am a senior in highschool and I’m working on my first feature film as the cinematographer
Keep going 🔥
a feature film?? in high school?! nice
5:18 also sometimes the location manager on bitter productions.
The DP role looks so easy and simple to me when I'm working on sets as a DIT but when I've shot low budget shorts and features as a DP I've always found the hardest part of the job is nothing to do with the camera and your knowledge of lighting because that stuff will come naturally, especially if you've planned out a lot ahead of time. It's genuinely such a tough gig if you're not prepped adequately.
The actual hardest part is resource management, building a workflow with that works with the director and engaging with the producers & your team. For example, I had no money left in the budget to hire crew but we had two people drop out and I had to replace the operator and gaffer with people the director was friends with but weren't necessarily right for that project or experienced enough to work at that level (student film sets are run very differently to semi-pro and professional sets and not everyone is ready for that). The budgeting for lighting & camera was easy enough because the limitations gave me reason to come up with creative solutions. The crew however, can be a really difficult thing to get right if you don't have a 1st AC you trust to crew up properly or experience working with them beforehand. This stuff gets easier with larger budgets but its a weirdly almost political/managerial aspect to being a DP on low budget projects.
The other aspect of this is the workflow with the director. If you don't know how they work then it can be a massive headache dealing with their approach if they put the actors opinion's on blocking ahead of the camera/lighting side of it. Adds more time to finessing lighting and can limit your ability if they've simply committed to a performance movement that doesn't allow good lighting from windows or pracs, doorways etc.
Working with a director and camera team you've worked with before or know more about their process is such a massive gamechanger for the DP because you can actually flex your creative muscles without the constraints of other people's needs. If you have a good system of designing the scene's coverage, blocking and lighting you save so much time and can get much better shots much faster and in a way where everyone trusts you and is supporting that, not just trying to make things easier for them.
My recommendation to anyone working on low budget or student films is to do as much recceing and test shooting as possible. Even with non actors, getting the lowdown of a location or the limitations of your kit and studio space will be super useful. We couldn't recce on my last film because we shot in a different country and they wouldn't pay for testing or recces so we had to change locations last minute and deal with problems that lost us our natural light and had to reshoot lots of stuff in a very brief window.
My other tip is don't ever work for free because you think it will "be fun", making a film can be fun but it is also hard work and you deserve to be compensated for that!
Always love when your videos come up.
I love your videos! Thank you, again! I'd love it if you'd list the movies you sample. Speaking of which, what movie is featured at 2:42?
^^
i'm prep'ng for my short film but logistics and coordination are very tiring and boring sometime . but for high budget film it's easier cz you have many people doing the work . great video
the part where panavision sits down is so funny. I really love how you pay homage to filmmakers you respect in all your videos while simultaneously making great educational content. and a lot of the moments with the filmmakers and timing is so funny
And remember that the time for testing the lighting on an actor is BEFORE action or AFTER cut have been called! Sometimes sitting back and drinking your beverage is the RIGHT thing to do on set.
Beautiful. Explained well
I’m going to transfer this video to text and use it as my BIBLE. Thank you so much for sharing. 🙌❤
Please don''t stop creating content :) Larning from your videos a lot !
Incredible and detailed guide. Thank you so much
Thank you for these fun and educational videos!🙌🏻
Thanks a Lot!
Perfect timing
I haven't personally used it but the Pro version of Aputure's Sidus Link App has a cool function for creating lighting plans.
Thanks for the video! Could you tell me the name of the film in the thought bubble at 3:34?
i think its The Treasure of the Sierra Madre (1948, John Huston) - its PTA's self-described favourite film of all time, and he took a lot of inspiration from it for There Will Be Blood
Thanks for this video! Shooting my first feature soon.
Very interesting as usual. Thank you
great video.... just curious the movie you use in your video shot on the yacht - what is that film called ? thank you
Great vid..
Love you guys!
Great video as always, thanks!
What is the name of the film at 4:32
Great video, mate!
What was the name of that app for iphone, viewfinder one?
Great video man!
Anyone know where can I get this template? 7:28
can you make another video for editing?
🔥
Who have the dream of Film making?
We do man if you wanna be one to ti hope you got after it and do it best of luck man I’m starting it on TH-cam
🙋
@@nelwinrivera3446 🙂
Me
@@aldenfernandes3012 Do it you can!
Very helpful i recommend you put this in a pdf format please
No sound recordist at the location recce I see ... everything forgets about sound :-)
What is the name of the film at 5:35?
The Film is called Moffie a 2019 War/Drama
Damien chazelle or Barry Jenkins 3 part budget
I'd rather watch a Kathryn Bigelow than a Barry Jenkins video. He's not made a huge leap to actual high budget so it would not be a useful video
@@Jorge_Ambruster all fair points, I wouldn't be mad at more female directors for the 3 part budget.
Better Call Saul Spoilers 2:53
What is an HOD?
Head Of Department
Which what tool you can work on a moodboard? Is there any specific one or you can do it as you like in a desing program/software?
I use MilaNote
@@TehMr thanks!
I use indesign personally, or illustrator if it's a more simple document for a commercial or music video.
@@willprosor8962 thanks 🤝
What is HODs?? Someone knows?
@Zizi Ndzombane gracias hermano 👍👍👍
Would this work if u were a screenplay writer/ cinematographer? If so could u explain
That combo doesn't really exist, I can't think of a single case I've ever seen. I've had the ability to weigh in on scripts from an early stage, but the Cinematographers job is the visuals first and foremost, not the creation of the whole story unlike with a writer director.
@@willprosor8962 but can u be both... or is it going to be overly complicated?
Never say never, but I think you would struggle with finding a director who wants to work with you in these combined rolls. I've never seen it done, but very often work with writer directors.
@@willprosor8962 oh well thank u anyway
🙏💖
I want to learn cinematography ❤️.
Do it
@@Sludge_Inc Thank you for your reply. Is there any way to self-learning.
@@chariraju9955 read, take photos and videos. Critique yourself. Then repeat.
Very well explained, it would be great if someone could refer the same preproduction process from the perspective of a production designer.
RIP Charlbie
I feel personally attacked by the coffee comment 😄
Hey Deon, big fan of your work hope to see you on a commercial set soon 😂
I just wanna do some acting. Anyone looking for an actor in PTA ZA?
Ii
Otherwise engaging
Who love to make films
First
What's the name of the movie that takes place in the Yatch?
same question lol
Triangle of sadness
@@thejackoss Thanks
What is the name of the film at 12:16?
Triangle os sadness
What's the name of that movie in 2:42?