Lessons

Lesson Info

Guiding the Eye

Talk about guiding the eye you guys can chill for just a second josh you could chill for just a second uh but like literally a second because I'm gonna bring you back up here in literally two seconds we're going to go through light a little bit of shot design and ah, little bit of using focus could we fly uh those chairs back in here let's put him there let's get uh marine you wanna help get this guy bill you want to help her let's move that over there courtney and jason you want to grab this light let's let's swap that over to hear the kino you want to just man the camera make sure it's solid and we're shooting a scene from saved by the bell a little run in it did you just get drunk? Let's just move this out of their way. Just move it up for now. Cool it's also it's clear this card real quick done ok and then back to camera let's bring that in a little bit more let's go like right here with it and let me handle this god knows what happened. All right let's uh turn it on its side let's...

go right here with it about this height as well cool and just watch the laptop let's take this and move it to the other side sam, you want to help him relocate this watch that cabling we're gonna flip this around on the wall hey, ryan yes? I think you're going to meet uh loosen up a little bit because tempting studio said this is the most composed they've ever seen you careful clothes will start coming off me okay. Hey phil making serious business let's get sam you want to grab this guy? This is a three hundred alright let's get this guy let's turn that into a backlight so let's go now that that set you want to wrangle some of these cables organized them a little bit let's go right here with it. We're gonna get about this high, okay, let's make sure we don't get any cables under the lights as well. Let's go right about here. Uh I mean level where you're as probably gets uh go down just just above shoulder I'd say you got that solid what's that that's a good height that's fine. We'll work over here it's just grab one of those charges off. You can sort that out that's funny. How is it? Okay, cool it's just and just to help with the tension on these cables, they have these little ropes here that you could take the tension off the cable. So if anybody yanks on this it's not yanking directly on the cable into the fixture, all these tungsten and areas have these so it's a good idea just tow wrapped that up just a little bit so if anybody yanks on it it's not really going anywhere so let's kick this on before you do say ice ice take that rock on all right so we're getting a lot on him so we're gonna tilt this fixture down he's a barn door to take it off tells down more on let's take it up to about here so let's take it up about a foot because we want we want to try to get it on josh but not so much on stark good way to figure out what it's doing just wave your hand in front of light so you see we still got it on start or we could work that barn door justin one of the guys uh yeah, we could stick with the guides let's get uh bounce in here walter you want to grab that guy just gonna be hollywood into we don't need to stand bring it right here. Just a little bit of fell back it up a touch get a little bit less I take away let me see what it's done back in I got off just a little bit I want to keep a little bit of contrast just not as here we go now back and take it away again let's see what's doing back in great all right talking headquarters so it's not a just exposure for that you keep that hot okay, so this is not guiding the outing says I to me this we gotta really blown out background josh is a little bit under lit which could be cool for bouncing, balancing it with the background but right now I just keep looking at that brick wall I don't know about you guys miser is going directly to the brick wall over and over and over again so your background being brighter than your subject is often just going to make you continually look towards your background is if something matters back there but same background just a little little bit of tweaking and I'm looking at josh a lot more our subject is brighter than a background and our eyes going directly to him now let's, get a chair over here maybe let's say right let's get a chair right here that works josh doesn't mean to sit just boarding. All right? Let's uh let's get somebody in there volunteers you're on the clock bell people were talking about deal with some child labor laws because sam then everyone's like we're not paying him so it doesn't matter yeah, we're good let's switch uh towards me, megan focus is a great way teo to go ahead and guide your audiences I built you want to go this way a bit more and here's you know one way clearly josh look a little bit off and then I'd start going to tell you we were just gonna rack josh a little off screen right and then go ahead rack josh and then we're just you know josh starts talking so we're forcing our audience back to bill it's a very simple example but you can already see that focus is just going to put your audience to look exactly where you want exactly when you want them to so maybe it's not maybe he has something to say and we instead doing several setups we're doing a single bill we're doing a single of josh for doing the single star this is two setups same mode so they're on conversation go ahead and look at stark you have something to say josh was looking slightly over shoulder let's recto bill it's pan down just a touch we're gonna pan up and reacted josh so he says something josh you're kind of listening to him looking over your shoulder just a touch and then josh turns to say something stark we rack we tilt up just a touch yeah and actually we could just hold framing us well let's just hold frame right there let's lock that right there all rights racked the bill josh you listening bill has something extremely interesting to say and he says it and then we go and we wrecked it josh and now on josh delivers his opinion on the situation let's roll on that actually so people can have that forever bill say your most interesting thing in the world and then josh has an opinion on it josh so and it's a really dynamic and interesting shot a lot more interesting and dynamic than if you were just tow have singles that you're cutting around to spielberg does this type of thing constantly we'll get in a little more to it but designing different shots like that again extremely simple but how much a shot like that adds to your film and how much we're whipping from one to the other so instead of just cutting from one to the other were physically, you know, moving from one to the other which also says something it makes the conversation a little bit more lively takes a little bit more prep to dio it needs that solid timing but it works extremely well. Bill, I think you can take the chair how you're good to go I like let's move teo let's got moved to the other side no sorry not you you you're right here I wasn't paying attention you at all I just said yes why aren't you sitting like a c slater come on, man it's an episode of saved by the bell home way loose here is that what happened with that? Let it roll you'll fix that after the fact just bring it this way you go uh start I'm gonna have you moved a little bit to your right and let's pull out just a bit like a thirty five probably we're getting we're getting immature giggles from that lets josh you go camera left josh campbell a little bit more and start actually you go camera left as well start let's go ahead and that's him innit suspension let's go one bank on that so just flip one off okay? And this goes back to sort of the shadow side that I was talking about so much more flat this looks how much it's changed the tone of what we're shooting not much has changed we even dropped one light we have more intensity off our light now and this is feeling far less intense than we had before far less dramatic than we had before which could be fine it's still you know, okay lighting but just having the shadow on camera side gives you much more dynamic field to your shot I'm gonna bake you a little bit josh nick the name is saying you have no pores I don't know how to take that I'll take it as a compliment thank you he's a vampire pours out of you I really don't think I can hold off on this question any longer ryan spark pictures young alex so many people want to know where is emily home? I think I hope uh hopefully not burning down the house I assume something mischievous is going on knowing emily uh but hopefully home behaving yourself which odd? Yeah odds of that are very, very slim uh so where your eyes going even even if we're wrecked on josh I keeps going to bill right? And if he has nothing to do with scene our lead rooms off we have somebody in the background which is telling me something's going on the palmer use this all the time, you know, mission possible some great examples of it on it worked beautifully he's back there doing something maybe stand up bill no let's not let's stay on josh and bills maybe turn to the side a little bit bill's working on something we're even more out of focus on bill we would throw this morning focus maybe go down to a tew do we have when we get down to a two on here? Okay, we got the wrong lens on here so maybe go down to a tew throwing mortar focus so we're still trying to focus in on josh, but clearly I'm telling you that something's up with him even though you fully can't see if he's out of focus on that word again you're doing that intelligently and you're doing it on purpose great if you're not doing it on purpose that's just extremely distracting so these air very simple sort of ideas for guiding the eye focus and light intensity and where you throw it is lust a cz well as your shot design is really going tio to set that up for you so there's the three things that you want to think of when you're trying to focus in your audiences I on something what intensity are you giving to the subject in the scene to they're sort of like the close up the level of intensity of the light is kind of reporting with the level that you want your ideas paying attention to them the focus drawing their eye this way or that and what you're doing with your shot design making sure you're not putting anything distracting in the scene that you're not purposefully setting up to be so so that's a big part of lead room that ends this segment so if there's no other questions about the specifically are you ready anything on this entire segment what does khun start close that down let's move that that way well, you could move that back what do you wanna cut that light for me, sam? You want to help cut this one josh we could stage set there and why they're doing that I could take any questions on line if there are any so sam too had asked what what do you mean when you say to hollywood something can you just steal review of that? Uh let's see walter grab me that we're just going to hollywood that bounce on stark that's hollywood and there's no stand he's just going to hold that you know we can hollywood alight weaken grabbing led do the same thing we're just going to hollywood the light on stark so you're just not setting up a stand you're running gunning the thing just handheld thank you all right and a question keep trump is do you rehearse a lot with your actors before shooting or you just mainly talked with them about what you want uh before I have never done rehearsal full on before a shoot weii rehearsed before those shots are on the day I've done table reads I always make sure I meet with my actors before we shoot to get acquainted with them then understand how I work vice first media figure out their personality because that's a director level personality is different and you want to cater to that personality s so it's really, really, really important in my opinion to meet up with your actors before you shoot but usually rehearsal will happen before we do the shot we set up the shot that we rehearsed, then we roll all right? Do you mind if I ask a couple kind of just like general filmmaking questions before we go segment all right males this media wanted to know can you recommend any good indie film festivals for people to that are watching to submit their films too? Uh there's a website called I believe it's called out of the box right without a box thank you there's a website called without a box that you could pop your film onto it actually goes through absolutely everything you need to submit your film to film festivals it kind of gives you a perfect guideline of all the things you need to think of it I'll show you which festivals will have the criteria of it has should it could never have been shown before ever or the ones that just don't care because there are some festivals that if you're film's already online they're not going to accept it they want like the first premier or at least not have been shown online but I would just say go to that web site and they really break everything down uh really? Well, sweet and then just another general question this is from dorothy a do you think where you live matters for filmmaker yeah, absolutely again it's just like everything else I keep saying it really depends on the person we're in sort of the landscape where uh there's so many avenues it's insane it used to be you have to go to california, you're screwed that's not the case anymore you know, I'm not in california and texas originally, I was in florida, it just depend on the person I wanted to go my own round, I wanted to do my own thing, but in florida was next to impossible to find anybody toe work with there's, not many people doing it down there there's a lot more people in texas, which was one of the reasons for us, which we didn't really want to be in california it's insanely expensive, is like we have a big house, my house is five times the size of my cousin's apartment, and she pays twice as much as I do, so, you know, doing an indie film company doing it out there, trying to get a studio, yeah, right, so it's a lot more difficult, so depends on person if you just want to go out and do your thing, find like minded people and, you know, plug in and start doing it somewhere where there's obviously a big community of that, like austin, california, new york, chicago, louisiana is up and coming, I think that obviously matters a great deal, so it depends on you if you're just trying to do your own thing or if you're trying to plug in some way of trying to plug in somewhere. You should definitely think about moving one of those places california is the easiest because when you do bigger projects to for me the budget does go up because when you're working with certain people you're flying them in and things like that where is it in california used to drive ten minutes and you're with them all right? And we'll just do one more before we go to break pablo, andrea says. How do you maximize time on set and become more efficient with a two person crew when you have to block the actor set focus point set lights and shoot at the same time so that the actors don't get bored waiting for you set everything up before shooting I would settle before the actors got their esso I would set my scene with stand ins get all the lights going how I want them to go and then have the actors come in and do it if you block it with the actors, they have some great ideas and you switch things up that's a whole lot easier to tweak something than it is to start from scratch. So if you're only a two person crew which I have been I usually set up I always would set up before time get there like three hours before the actors are asked to get there, get everything set up and going so they're not standing around getting antsy