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Hands On: Shooting a Cinematic Script Part 2

Okay, let's start with the Gary greens question for Vincent's. How do you handle wearing so many hats on this set? Um, it's Ah, uh, good question. Uh, it's enough when you you're directing is definitely a lot of work. When you're teaching is a lot of work. Trying to both is a bit overwhelming trying to do that and also kind of keep an eye on how this all fits into a live broadcast challenging, Um, and if you see any snafus along the way, it's probably really trying to balance all three of those. Once, Like I said, that little promotion video we did just You can't let people see you sweat. And I think the most important thing you could do is that when things going really wrong, if it's your fault, just, you know, admit to it. And if it's someone else's fault, don't scream or call them out. Just absorb it and address it later. Uh, because screaming people, you know, throwing tantrums, firing people on set puts everyone you know on eggshells. So internalize it, even though you know that t...

his is absolutely not your fault. But you're the one that's on camera just roll of the punches and try and find an easy out. But it's not easy. I got to tell you, it is not easy. I think the consensus in the chat room online is that your demand, it's not appreciate that is the overall overall valves. I'm never happier than this is perfect, so people are impressed. So another question from the chat room from JJ Cromwell was during the last section says a newbie question. But when the script supervisor sees an error, does that Scripts of Birther asked the director to retake the shot, even if it doesn't even if it does not alter the continuity too much. So say that the actor forgetting we're leaving out a word is absolutely advisers, absolute scripts, risers role to hopefully catch it before it ever happens. It's really their role. And if it does happen to let everyone know if it's definitely director DP wardrobe, whatever it is, and then you will take a little consensus on how you can deal with that error. You can you cut around it, you know? Can you, um, to Savio, um, you know, there are lots of tricks of the trade and depending on how big of a gaffe it is. You'll make the executive decision to say it's going to cost us more to reshoot than this to fix it in post, or we gonna cost savings will cut around it or no, we got to do it again. And as long as someone catches on set, though, that's why the Scripture weather is so important. Um, your cool. It's just when you don't catch it till it's too late. That's expensive. Yeah, this question is from Anton, and he wanted to know minutes before the shoot starts. What is the primary focus at that stage? That all depends on the crew that surrounds you. Ultimately, um, you know we don't have here is we don't have a line producer. We don't have every key department head during their job. So as a director moments before the shoot, all I should be worried about is making sure that theaters and everything is looking the way that I conceived it. Everything's lined up right. I should be relatively relaxed. If everything's going well, my only worries that, you know we might run into some blocks are problems along the way. In a moment like this, you know, seen behind me. And if they can cut to the light angles, it's kind of like peering into an episode of sad night Live where you see them at the commercial frantically moving things. We are, as of right of this minute cutting into our shooting time on there, blocking the scene out. We'll talk about that a little bit. I'm gonna take a step away from directing on this one. Justin is going to first a d slash direct. Um, and I'm gonna talk you and walk you through every single step as best I can off camera, maybe even on the set, so that they can have a chance of making their schedule. This schedule right here is their bible. It's not a suggestion. They're hard, hard stops. If they go over, they have to decide what they're gonna cut out and sacrifice later on. These time goals are not. You know what you should be aiming for. Always be aiming to get there before the end of times. You have more time on the other shots, and so that specifically that you're shooting schedule. That's a shooting schedule. I'm told that you have the script available online. People gonna read thief 1st 4 pages we end on, Do we get a clue? I'm not sure if they put the whole script or just the 1st 4 And the story basically is about two actors. Um uh, that air in an office, it's It's this gentleman with his mistress. We just shot Nadia, the wife calling in, um, and telling me what? She's put a bomb in the office and you're gonna follow the progression. How they deal with that, we're gonna cut at the end of it when they realize when she asked the question, Do we get a clue as to which one of these two boxes has a bomb in it? Very simple Scene just to clarify the shooting schedule on the storyboards are available with the purchase of the class. Yes, if you purchase now, actually will see the shooting schedule that we have here and use it for reference for yourselves. And you'll also be able to see the storyboards and follow along if you want to produce this cool and just a quick follow up. Um, people have been asking, where did you get this script, script and come about choosing this one, correct. So we would have had to contact, you know, studios and script writers if we want to use existing scripts because they're copyrighted, Of course. So I'm lucky enough to have a very talented uncle who's having to be a Hollywood screenwriter. And I asked him, Hey, you know, we need some help in getting an original script, that kind of use with just two, maybe three actors in an incredibly small setting, one scene only with a one little cut away on. Do you think you have time to do that? And Ron wrote this script and lifted up in 90 seconds, and we're shooting unfortunate small part of it. That's that's where it comes from. A family coming through free there. Yes, that's awesome. I can ask another question. Yeah, Can I get asked? Have you ever run out of guiding inspiration for the talent, and if so, what do you do? You don't show it, Uh, and you just tell them that, um good. It's a good skill to have in terms of being able to ad lib. And either you tell me, do you think about a little more or what lawyers do, which is to answer any question with another question. So if someone asked me a question I can't answer, I'll have to actually ask him another question back and see if they could sell it themselves and force case if you take a positive. So you know what? Let me think about it. You go around, talk to someone else. So you do. You have some tricks to go ahead and come right back because they're not ready. Okay. And put some pressure on them. I'll be right back in five seconds. So, um, it looks like you guys air five minutes away. Two minutes away. Two minutes. Are you on 21? 20 Lens. I called for a tournament. Boxes 21. I said 21. I absolutely. What lenses on there right now? Yeah. What did I say? That one lens right there. Um, just so you guys know you are already five minutes over schedule. We're gonna hold you to it. Yeah, just you guys now, right? Absolutely. So we're back. More freshness. Okay. More questions. We have a question from no breaks. 15. How do you deal with too much ego on the set. I know you film all kinds of people. And do you have some tricks that used to do that? Uh, well, you know, whether you're photojournalist are generally a human being. In general, psychology is part of every interaction with anybody and you as a director, make sure that you inform yourself what potential ego problems face. If they're part of your crew, almost. They're incredibly talented. You're probably not going to choose them. So if I get a reference thing, I've got to fantastic X people, which is a dirty piece. Onda One is absolutely brilliant. But she is really difficult to work with. And B is almost as brilliant, incredibly easy to work for you. That's what I'm going with, just want with actors. You're kind of stuck. Um and you know, when you get to the big big time production is there definitely more important than directors? You gotta hold your own. You know, the moment they see weakness, your debt. The moment you let them run over you, you have no control. You're powerless. Your your lame lame duck Bleustein. And your job is not to rule with an iron fist. It's just a least be able to. I know that if there's any one final person that makes that decision the final call, it's gotta be you. Because if that no one knows who makes that final difficult call, then we're all lost. And then we have three different department heads to discuss what the best solution is, and then it really becomes an ego trip. Do you run into a lot now? It's business now. I mean, not my laurel terms of commercials. I don't do major Hollywood films. I think when you get into major Hollywood films, you run into it a lot, you know? I mean, if if an actor doesn't like the way that DP is lighting him or her gone, if you like a director, it could also be very easily. Directors could be switched right? You know what the town is? Do you run into it more in video than you would in photography? Is it just human? The human? Uh, yeah, because you know, photography's gently one session, you know, if they don't like you, they walk away or whatever. Directing is at least a one day process, but definitely film. It's over a period of time Yeah. And don't Don't forget that actors approved directors too, you know? Okay, Question from JAIA. What makes a good filmmaker? Is it just vision, technical knowledge, collaboration, all of the above. And then some. Let's go ahead and start shooting. Awesome. All right. Thanks, Vince. Okay. All right. You're focused about the shot. Yeah. Do the dogs tested? Always been moving. Yeah, I think we're gonna move in shooting, OK? Actors have been blocked. Justin, I'm sure your freakin but we never relatively good places. Technical rehearsal. Okay, that's cool. Okay, uh, record the first part of this. Okay. All right. So, um, what I'm gonna do is just can't explain what's going on. Justin is acting as the first a D. This is actually pretty accurate. So what first aid he would be doing? Um, the director would be sitting back there anyways, looking at a monitor. Um, some directors will never get up. Just whisper things to the first a d or someone else to pass it along. Some director like to get up all the time. They have gone ahead and done a few things that we should mention. First of all, we have a set schedule. So this first shot is a shop that's going to start off on the chair and they're gonna pull back. And it's actually probably the most difficult shot we have of the day. That's why we made it the first shot. Because if we can't pull it off in time, we have we're gonna back it down into a very simple shop. They won't be as impressive, but we're not gonna go over schedule on this one. What you'll see is the idea is that, um, are actors going to sit down in the chair is gonna motivate the wheelchair to pull back, and then our actors is gonna walk in and put on her shoe. What we've done is we've blocked out of scene. This is difficult for a number of reasons. There's many layers here that could go wrong. Office to work, right. Each of their actors has to hit their marks on the right time. So there's physical marks on the ground that we showed you before. You can see there is a red T and a blue T uh, the blue tes obviously for our actress, um and, um, we have to coordinate perfectly the timing of actor, one actor to and camera as well as make sure it's sharp the entire time in terms of focus and that the motion works a lot of stuff to do all at once. That's why it's a very ambitious shot. Sound has to work as well. They're doing what they call a technical rehearsal, so they're gonna rehearse it without rolling. Some directors, like Spielberg roll on rehearsals a lot because they like to really just keep going. Um, and I find that unless you're really, really big rush, it doesn't help anyone to roll in the rehearsal because the whole point of rehearsals letter one to try it out. Once at their own pace, about too much pressure. Point out the problems, then if you're rolling the rehearsal, people aren't as loose and they're not gonna be free to tell, you know, make little suggestions. So take a rehearsal. Here we go. Let's watch what Justin is doing. You've got obviously, the operator actor number one takes a seat. Okay, camera pulls back Justin Cues, the actress who puts her shoe on and runs for her first line. Okay, let's go back to one. You'll see a number of things happening that Justin has made happen when our first actor sits down just playing around with his wedding ring. Small little detail. You can see that the difficulty on her part as well is it. As she walks up to the desk, she has to go ahead and put her shoe on, which is not an easy move. You're only as good practice quite a bit. We did go through a series of different shoes for her to make sure she could slip them on easily. Ah, lot of things to consider. Um and, uh, okay. So we can see the lab box on her relatively easy. I would just leave it on at this point. So we have good sound or put on the side. Yeah. Don't remove it. The front of her dresses now, sq, we will see her in front of this. Okay. All right, let's go. So you may ask. You gonna roll in this? Laws were talking. Were using wheelchair, just to show they don't have to have a dollar or a slider. They're gonna roll on this one, so be quiet and watch them down. You just camera and one or two. Take one marker. All the actually. So you didn't tell her? Not in the Senate today. Held their senses there. I love somebody else. I'm screwing her in the office. I'm leaving you. I'm planning on doing it, But this weekend was kind of so when we just did it, you lied to me telling her she knows. Okay, that's as good as me. Talent. She knows. So she says, I know. And you say you're right. I'm leaving. Wasn't a good time to do that. So you denied it. I told her she was crazy. Took her to bed to show how much you still loved her. It's gonna be better for everybody. You, me, everybody if this thing is handled right, Good. Okay, So now is when everyone sees how the first shot went out. Justin has 1000 things going on, actually directing. Plus, we've got 10 minutes to let to get this shot, and I mentioned earlier. You actually want to get this done. Earliest. You have more time for other shots. Um, ideally, in a perfect world, every department head's gonna say cameras a little wobbly here. The lights not right there. Um And then the director will only have to make notes on performance and timing. Perhaps right now, um, we don't have all those department heads, so we all have to kind of multi task. I couldn't go in there, make some comments, but I'm gonna let him go for his second take and trying to get it right. And, uh, whenever he's ready, he's going to go ahead and do the second take. You'll notice that at this point, you have to know how to do focus marks you have to do to slates can be teaching that procedure right now. And, uh, Okay, camera speed marker one to take marker one to take to. Actually, if you didn't tell her, none of this in today held their senses there. I love somebody else. I'm screwing her in the office. I'm leaving. I'm planning on doing it. But this weekend was so what? We just did it there. You lied to me about telling her she knows. OK, this is good as me telling her. So she says I know. And you say you're right. I'm leaving. It wasn't a good time to do that. So you denied it. I told her she was crazy. Took her to bed to show how much you still loved her. It's gonna be better for everybody. You mean everybody. If this thing is handled right, leave it. I have to take it. Leave it. I have a business to run. So you slept with her this weekend? Is that what you're telling me? I have to take this call. Yes. This is this worse. It's a whole lot worse. It's This is not a good time. Tramp. She said, I know I'm here by myself, you know, She's It is. I think so, cause Okay, so, uh well done. Some notes. We saw that the first a c had his slate going to the frame one point, which is kind of a bad one. You should also notice that this is not the final film. We're shooting what we call coverage. So we're gonna be inter. Cutting things is not the longest seen in the history of mankind. Way We're going to be cutting different shots of this. We're going through this whole thing through. So we have coverage. So we have material you can cut back and forth to, depending on the other pieces fit together. I have some justice, some suggestions I'd like to give on performance, but I'm gonna ask permission to Justin. I think that your performance was fantastic. Uh, especially towards the latter half. The only the only point I would make is that when you first come in your ray out of breath. Maybe too much. So either use ran up the stairs. We had a huge argument. Realities you mentioned slightly out of breath. Other than that, I think it was great. You know, we did get to see you much, but what you did was fantastic. I would maybe be a little more suggestive in the way that you put the shoe on a little more central, the idea being in case you haven't gotten it, Um, having read the script is they just have slept together on now they're coming back together. So, you know, I don't think him being that out of breath is no so that realistic. And the whole idea of reporting on that shoe is actually element to suggest that they just slept together on the couch in the office. That's what all those elements were there. I would also stick on the clock. A few seconds to start More of Hitchcock type shot where you're seeing Kind of the grandmaster shot with the clock ticking. I I think these guys are ready to go again. Yes. Okay, so he has time for his business. The timing wise Look in the box. Are we going that far? I don't. You were right there, so I didn't know. Justin, are you going to the next line or stopping? What? We start? Stop. Naturally. You keep going into having this whole scene. No, no stopping their last readers. Yes. OK. Yeah. Thank you. Okay, so All right. One little suggestion as well. Just to keep their own room or relaxed. Just more stroll. Sound camera. Slow down. Keep him relaxed. Seen one to take three. Market National. So you didn't tell her? No. In the sense that hell other senses there. I love somebody else. I'm screwing her in the office. I'm leaving. I'm planning on doing with this weekend, So we just did There. You lied to me about telling her she knows. Okay, that's is good. Is me telling her so? She says I know. And you say you're right I'm leaving. It wasn't a good time to do that. So you denied it. I told her she was crazy. Took her to bed to show how much you still loved her was gonna be better for everybody. You, me, everybody. If this thing is handled right, leave it. I have to take it. Leave its. I have a business to run. So you slept her this weekend? Is that what you're telling me? I have to take this call. Yes, this is worse. That's so I get a lot worse. It's her is not a good time. You travel. I'm here by myself. You're she's I'm store is locked. Cut. Pretty good way. Have a good time. You've got another take Fifteens Aaron on this again. Um do you have any notes that you saw? You know I mean, what's I guess? Ma Parayno three Go ahead. She almost acknowledged that. Uh, no. I said I fix the door. You know, it's yes. Yes, that that didn't bother me in terms of operating. I want you to make a decision because you've got the cut better in your mind. Should he be adjusting to frame a little bit slightly. When she raises and lowers to keep in mind. We're gonna cut out of her for him. When she turned back to the door, her eyes were cut off right here. We've got a reverse on that, I'm sure. But you want perfectly stationary. Could you try and and follow a little bit? I'm afraid that since he's so low, no way to live and stay locked, I would state. Okay, Great. I still think you're out of breath too much. Way too much. Your site, Maybe a little more satisfied, Have you know, it's a question of Okay, quick. You have maybe have starting this. Have an argument right before this. But you haven't been in like the system. So you know what's going on much? That's how that works. Okay, But we got shadows. And you also notice one continuity thing that we have to keep track of is the clock, the clock master. Very set for every single scene, because obviously that'll be quite noticeable. Um, it's fine. No battery in it. All right. All right. Whatever These guys already before you get going, I'll just I will just kind of point out that the initial master shot shows a few things. It shows a package, uh, slightly on the left. It shows a phone and a clock and also shows a typewriter, which gives you from the first time you go live on this shot for shot. Your film, You kind of get an idea of the period appeared were in. And if you're looking for clues, everything in the frame is information. The clock is gonna probably be part of this 12. The phone and the box. That's that's a lot of reasons for the these elements split. Well, I saw. Okay. All right, All right. So it gets five minutes to get the shot. Okay? You're struggling between trying to get the boom close enough to the actors and also casting a shadow you can see on the back there, which is always the delight of every cinematographer. Slash astonished. Their team is trying to find a balance roll sound. Okay, roll camera. Seen one or two. Take four marker, actually. So you didn't tell her sense that what the hell other sense is there? I love somebody else. I'm screwing her in the office. I'm leaving. I'm planning on doing it, but this weekend. So what? We just did it there. You lied to me about telling her She knows. OK, it's as good as me telling. So she says I know. And you say You're right. I'm leaving. It wasn't a good time to do that. So you denied it. I told her she was crazy. Took her to bed to show how much you still love her. There's going to be better for everybody. You mean everybody. If this thing is handled right, leave it. I have to take it. Leave it. Have a business to run. So you slept with her this weekend? Is that what you're telling me? I have to take this call. Yes, this is I just got worse. That's a whole lot worse. It's This is not a good time. No training. She's there. I'm here about myself. You're not. She's I'm I fixed. Good. Great. I think you should move on. They got it done early. Three minutes early on the tough shot with a late start. That's awesome. While they get set for the next shot, Justin is going to tell the crew where to go. Marcus is going to get the camera ready. We're gonna tell the actors, make sure the reinforce their egos. And to be honest as well, You guys did a great job. I really like that last performance, like you bounce stuff really, really nicely between every little detail. Acting is not just about hitting the lines. It's also about every little move he made from the look of frustration. When the phone came on the way, he moved his eyes to the way play with his ring to his glance at the door to your timing on looking back. Not too, could know too quickly processing the information. You understand what's why looking at door and I think it's fantastic. One rule that all mentioned as they get set for their next shot is the 1 80 rule crossing the line. At a certain point, the director has to make an absolutely critical decision in this case is where is that line? What that means is, at all times, if you were to draw an imaginary line for this scene and you can cut through the overhead the overhead camera, you the camera must stay on the same side of the line the entire time unless you want to get really fancy and sophisticated the moment you cross the line, everything starts to get confusing for the audience. In this case, I would draw the line as so from here all the way down, we back to the back of this room. The moment this camera on any one of these setups crosses this line, it's gonna become very difficult, not impossible to edit on very visually jarring. Some directors have done it and done successfully. Some just a flex their muscles, some for great purpose. But no matter what, as a d, as a director and as an actor, we all know that there's that imaginary line in there. Once you get crossed, you know it doesn't matter who you are on set. So what are we crossing a line here? Because once you commit to that, you're in trouble. So that's called the 1 80 rule on and or Crossing the line, one of the most single, most basic rules. We did it last year. We did the interview, making sure that when you do an interview between two people facing one another, both interview cameras are on the same side. If they're on opposite sides. People, instead of looking at each other in the interview, are actually looking opposite ways. So with that said, we're gonna move to this next set up, which is I like to describe it. It's, um, you've got in close up. It's gonna just by their turnover names easier. Okay, uh, it's gonna be his coverage or like his reverse for the coverage that we just picked up in this last master shot. It's only half the scene. We'll be getting different reverses for the rest. So they have two shots that air similar angle just once. A tighter version of the other. So ones EMC, you a medium close up and the other is a close up. The good news about that is there is no big camera move. Once they get the camera set nicely, all the time we have to do is add change lenses or make a small move with the camera. And, um, we're gonna have the two characters in position, and it's this kind of his moment. So are you gonna call you by your your character names? Taylor is going to have to. This is his moment to shine. You want to make sure that he looks good, that he has the attention if he needs. This is where the gaffer and VP would come in. John. And when I'm looking at him, I think he's really well, it just so I don't think that would touch anything. I think we do the reverse Rancid. A little bit of light. And, um, what are you waiting for? In terms of when you want me to be quiet? Um, you should quite right. Now let's move on. Yes, you go ahead. Yes. Um, can you go ahead and hit your mark? We're gonna have you dirty and frame. All right? Can we, uh, we bring this up? Yes. Hey, Chuck. A little bit closer in on his island. So what? Lens. And we've chosen Marcus 55 0 So we've gone from a 21 millimeters of 50 which is more than the 30% change. Kind of like, kind of random rule thrown in there. Um, we want good when you guys more. So move it closer in on his eye line. Sorry. Let me define that. When I say move in close honors, I move more to in front of it as opposed to clover toward. And if we didn't like this, my boss No, you're not at all. Don't come any further to your right. So, Marcus, if you want to act of his DP as well as everything else that you're doing, be great in terms of frame, something justice got is his, uh, play pretty full. And we'll take this one from your entrance. So when actually, you don't have to do this just so one another. Come set concept we have not yet to discuss is coverage. Just start talking. We want to go the way for okay is coverage. I think I may have mentioned the idea is that we have a wide master for the majority of the scene. We're not gonna have this shot to cut into whenever we feel like it. And if something doesn't work, if you blink, see flubs line. If someone dropped something on set and he reacts to it, God knows what we should've boom shadow. You can cut back to the wide or vice person. So the principle of coverage is give yourself enough material to not only cut the perfect peace, but also give yourself some outs. All right, we're gonna ready to roll on this one. All right. First positions tonight. You entering? Thanks. No, no, that's what you don't wait. That's true. Now, is that a little tight for you? Like the framing? Yeah. Okay with great. Go for it. All right. And action. Uh, roll sound roll camera. Seen one or two. Take one soft sticks accent. So you didn't tell her? Not in the sense that held their sense, is there? I love somebody else. I'm screwed her in the office. I'm leaving. I'm planning on doing it. But this weekend was so when we just did it there. You lied to me about telling her She knows. OK, this is good as me telling her. So she says I know. And you say you're right. I'm leaving. It wasn't a good time to do that. So you denied it. Told us she was crazy. I took her to bed to show how much you still loved her. It's gonna be better for everybody. You meet everybody. If this thing is handled right, leave it. I have to take it lead. I have a business to run. So you slept with her this weekend. Is that what you're telling me? I have to take this call. Yes, this is a bad time. I know it's been getting worse. A whole lot. It's her. This isn't a good time, You know, She said, I know I'm here by myself. You're not. She's with you. I'm in the lobby and your office store is long. I fixed it. Check. Why did you put me on speaker? Good. Okay, I'm gonna give you direct us to the operator operators. Job is to anticipate the motions. So when I couldn't make him your okay over there, when the phone rings, you should be John. When the phone rings, you should be motivating the phone. Motivates your emotion there so that as he reaches there, you're already moving there. And how the audience get there and following him. I think they already making the adjustment of the shot there. I thought I try to say something, but you went with it. I felt that you were in between. In other words, yeah. They were looser. Retire than what you were. You were living in between land, which I hate. And if I had made a quick change person on that one. I was simply a pan down Tobago again. Tilt it down again and cut him a little bit lower on the on his forehead to get his hands and some of the details before decision we made there was back camera that will see the desk. Yep. I agree with you a little more room yet. We're moving closer for, uh, this considered medium close up closer for his close up and punctuate those lines when he's perfect. Cool. And then John to the operator. You know, with the exception of last shot where he goes up, you can ask just if he wants you to follow him. But everything else you were trying to anticipate every move and react with him. So the camera is moving and really help in terms of edit. If you're just locked off like that, it's gonna be hard to cut. The last comment I would make is that I find her elbow in the foreground is not, You know, it's aesthetically not the best that you back a little bit. I think the fact that you pulled back it should be okay. But on that last shot, I want everyone. That's that's better. I would never even rolled on that personally, so I would keep that in mind. You know, that's how you let him. But that's not your elbows. The framing of your elbow. Okay, I'm sure. Get her reverse to speak up. I think you're Mike. All right. Yeah. So I'm telling John right now That what? He's framing Taylor in this shot. He should keep him no bias towards the right side of the frame because on her reverse will have her bias towards the left side not established the screen direction and their islands. And just people know what we're talking about. You guessed it. Keep going. We talked about earlier. I want to reiterate a reverse shot is this is shot number one going this way. The reverse will be the reverse angle. Looking back the other way. So what, Justin, make sure that the operator understands is how this is all gonna be covered. And he's basically explain how this is gonna ideally be cut and saying, Don't worry about this part because we'll be on the other shot the reverse at that point. But make sure you're doing this when we're gonna be on him. Everyone in the crew understands how Justin is anticipating cutting this. Because even though storyboards do exist, it's not uncommon for Cruz not to look at them. And sometimes on big time commercials where it's very secretive, not even get a chance to see them. You good? Yes. Okay, So we, uh we have six minutes to do this shop, plus the other shot. Okay. All right. Roll sound. Well, camera seen one or two. Take two marker. Excellent. So you didn't tell her? Not in the sense that you have other senses there. I love somebody else. I'm screwing her in the office. I'm leaving. I'm planning on doing it. But this weekend was so when we just did it there. You lied to me about telling her she knows. OK, this is good as me telling her. So she says I know. And you say you're right. I'm leaving. It wasn't a good time to do that. So you denied it. I told her she was crazy. I took her to bed to show how much you still loved her is going to be better for everybody. You, me, everybody. If this thing is handled right. Leave it. I have to take it. Leave. I have a business to run. So you slept with her this weekend? That what you're telling me? I have to take this call? Yes. This is a bad time. No. It's going to get the wars that is going good. A whole lot worse. It's her. This is not a good time. She said, I know I'm here by myself. You're not. She's with you. I'm And the story is long. I fixed, Jack, if you don't believe me. Well, good. Okay, so you now have four minutes to do the close up. Do you want to do that? If you want to run that for this against your decision, that would make I would actually rather get this shot again. Yeah. So what? I so what we're doing right now? They're deciding on the fly. Just get them. Given the instructions is we had two shots scheduled for this one was a medium close up. The other was a close up instead of having to in perfect shots were going to stick with one and get it down perfectly, which I think is the right decision. And, um, he's gonna give some notes and we're gonna write Really roll pretty quickly. Uh, e I think Marcus is walking John through operating. I think it might be nice. Just just to show this will pull back out later is to have markets jump in and operate this one and show a little bit more how you can use the camera to naturally create editing points. So Marcus is going to make a decision as an operator to show you that as he moves the camera that is creating potential transitions and movements on, we're going to run through it again. Okay. Marcus is gonna operate. Yes, I want him. I want him to see what operating can add to this. Give you more edit points. Right? Ready marks on one last detail, your entire performance I am reading. And I'm reading your entire performance for your hands. So I don't want you over exaggerate it. But I I'm paying attention to it. Just know that. Yeah. All right. Uh, I'd say more. I mean, I know that it's really that that's to you. In the C will sound camera seen one or two up, but take three marker. So you didn't tell her. Not in the sense that what the hell of their sense is there? I love somebody else. Screw in early office. I'm leaving. I'm planning on doing it. But this weekend was so what we did just there. You lied to me about telling her she knows. Okay, that's as good as me telling her. So she says I know. And you say you're right. I'm leaving. Wasn't a good time to do that. Do you deny it? I told her she was crazy. Took her to bed to show how much you still loved her is going to be better for everybody. You, me, everybody. If this thing is handled right, leave it. I have to take it. Leave it. I have a business to run. So you slept with her this weekend? Is that what you're telling me? I have to take this call. Yes. This is a bad time. I know it's worse. Is that I don't get a whole lot worse. It's her. This isn't a good time, You know, She said, I know I'm here by myself. You're not. She's with you and you're off the store. It's not next, Jack. If you don't believe me. And why don't you put me on speaker? That's good. Nicely done. Next, set up. So, I mean, for me, I was maybe obsessed with her hand, but I was looking at every little detail that she was doing with her hands because it was telling me a lot of emotion, a lot of the tension and the doubt. So I think great directors or people who could not get all this stuff down. But can you heard the saying Genius is in the details? Uh, that's one of those details. Maybe I was too obsessed with it, but I really enjoyed watching that. And if that had been are only cut, that hand would have kept me focused on the scene the entire time. Of course, we have other cuts. The one day dream to be careful about is that you don't get you Don't get too fancy, because then you might hurt your cut by doing too many things. I personally would have gone with a camera little more so that every time she did do something, I would kind of lean into the hand little bit. That's me. But he has the cutting his head. You know, this is his cut. So I'm a defer to him so that they're cheating the desk, which is the oldest trick in the book. We're in a very confined set. We can move the wall back if we need it to. We could take the wall out on. We can, of course, pushed to set the desk forward. Um, we're gonna go ahead and do what is now called the reverse shot. You should also notice that there was a reason that are actress was in the shoot is that she stays part of the shoot. If we had focused just on her actor, that relationship and that connection is lost. And all those deeds forget the details about the hand. Just the initials shot is is a very different type of shot. Then when you have both characters in there, I believe this is gonna be a dirty shot when what 30 means eyes to match the last one. But obviously what dirty simply means that you can see the foreground actor in the shot. So these people aren't acting in bubbles. They're acting in a scene connected together. Whether or not you choose to add the foreground actor into the action is very critical in the way you direct. That gets a little more advanced, but I'm just gonna mention it for now, that the choice to shoot over her shoulder below her shoulder with her inner out of the frame has some pretty significant consequences on what your final film will feel like. All right, so now we're reversing the angle. John here is trying to make sure that our actress looks as beautiful as she is because the reality of any cinematic lighting is it, actually, uh tends to try and make every person's flaw come out. So you gotta make very careful. Careful. Put a lot of careful attention. Teoh controlling, aligning its what He spent time with diffusion. God forbid I was ever in front of a 50 foot screen and movie theater Video and compressed video on the Internet is just fine for me. Um, a little touch up the makeup. When are you ready to go? Great. So, while the makeup is done, I want you to explain why on the initial shot, you chose to have the camera lo on the first shot on his medium close up versus eye level or above. What? The decision was there? Yeah, keeping the head camera many of the same height. All right, honestly, Just didn't want to jump the camera all the way up here and shoot down. Uh, okay, just a you know, a few words. Okay, I understand that, Um, if you're shooting over her shoulder like this, it's It's a whole different psychology as well. Shooting over her shoulder and that could be swinging does later. But I think in that case, the choice was perfect because it allowed the hand to be a part of the scene in a significant way. Wait. Lots of questions. The questions. Yeah. I'm asking if he wants another. That's Blackmore. A beauty. Like I would just bring this life over the camera. One camera straight down on to her. Okay. Okay. Yes, I think he doesn't share. Okay, So our next shot, as we exact same principle, medium close up into a close up. We've got, uh where how we early you made a mistake and added 15 minutes onto here. So you just bought yourself 15 minutes. Uh, so that's good. You're 15 minutes ahead, So you have a full a lot of time. Plus, let's forget we have that extra padding and pretend we didn't about that. Okay? Yeah. Alright. How does she look? Like a screen. She looks great. That's I find that when you're in a pinch in terms of lighting. And John was saying, Well, let's put one light here. Let's fill her life there. Uh uh on someone with very beautiful lines like this, a straight light looking down, you can see how there it is off. Here it is. On her face can absolutely support one. Beautiful. Your light and the shower doesn't bother me at all with her. We could feel that he wanted to. A very simple way to fill this would be quickly has put a little card right here if you wanna grab one. We could do that. Um, and even hand Hold it in there. But the beauty of this lighting for me is remember how we talked about they light. You can see that we just lost signal. On top of that, we have blue light coming in from back here now because they light outside. But this really strong light eyes effective one stop brighter than this light over here. So we always knew we'd have to fill it. But you see the beautiful edge light it creates on her. I think it's makes the scene look quite beautiful and very classic Hollywood. Very classic Hollywood. Yet to the, uh, just hold. Just hold it there. Wait until I pull out. Speaking to your friend. Okay. Looks fantastic. If you want, just tell that light down. So it's not okay. I would open up half a stop on her face. Okay. There you go. There you go. It's good to May. Yeah. Here. I don't think that story about his point it's all right. We're good. Watch. It just was that light? Marcus condemned it. Uh, yeah, I would do the opposite. Okay. So, yeah, I'm looking at it. Is that I'm looking hers. I feel like she's overfilled from below. They go and I can close back down 1/3. There you go. It feels good to me. Feels good. And you can also never say fix it in post. But there's more than enough negative, which is an antiquated term. But material there to open her up a little bit if you felt like it. Whereas you won't be able to bring his side of his head down at all chuckling about. All right. I think it looks good. Okay. All right. Have for step towards that. Come with You want them? Lapin? They're starting. You wants to cheat it out. That's fine. Um, right. Roll, sound, roll camera. All right, technical difficulties. All right. So how are you feeling, Justin? OK, ok, yeah. Yeah, we're back on. We get her back up. Well, sound camera seen one or two. Bravo. Take one marker accident. So you didn't tell her what the hell other sense is there? I love somebody else. I'm screwing her in the office. I'm leaving you. I was planning on doing it, but this weekend, when we just did it over there, you'd lied to me about telling her she knows. Okay, that's as good as me telling her. So she says I know. And you say you're right. I'm leaving. Wasn't a good time to do that. So you denied it. I told her she was crazy. Took her to bed to show her how much you still loved her is going to be better for everybody. You me, everybody. If this thing is handled right, leave it. I have to take Leave it. I have a business to run. So you slept with her this weekend? Is that what you're telling me? I have to take this call. Yes, this is a bad. That's get a lot worse. It's her. It is not a good time. You know, she said I'm here by myself. She's I'm the long and the store is. I think so. Okay, great. If you go but not giving you 45. It's from 3 45 to 4. I know, but remember, be drinking dirty whole thing that's up. No, just right there. It was just right there. Four o'clock. Technically, that's supposed to start at 3 30 and ended 3 So you matter Way have 15 over. We're trying to. All right, One little this again. Um, can I have a vote? Yes. Uh, can you tilt up a little bit deeper hole top of her head in? What's the vote? What's that? Well, do you guys want to her forehead enter? Do you want it chopped out like this? We're headed. Okay. You gotta give down here or like right about three. This is her hero shot. You know, she's a beautiful woman. Men, you know, you can definitely do that, but, uh, unless she's got a hat, I the whole time I was going like, what is going on here? So let's definitely kisses her moment. I don't need to see his shoulder. Doesn't give me any information, right? It's her moment. I don't know. I know it's and I love just as feedback. I loved every little thing she did while he was talking. Obviously, all that little reactions. It's all about this little detail, and it's really important that we roll on her reactions throughout despite not saying anything. Absolutely, that's when he was a lot of good stuff, had to. One of the biggest directing mistakes you can make is to forget to roll on reactions both on a narrative. Also in interviews, people forget to get the nods from the interviewer in interviews, and they're great little pieces. When something goes wrong is you cut back interviewer just nodding, and it could be from a totally different part of the scene. It's a beautiful little piece toe have, and this is a great case in point. So as you shoot this as a as a shooter, remember, this is you know, you got to think of this A slight, classic Hollywood moments. This is her classic Hollywood moment. So you should be attending to make her this, like, this is her beautiful beauty frame. Okay? You should feel Should feel comfortable right right now and felt less uncomfortable. And also, you had a lot of I believe a lot room over here that wasn't necessary. Ok, All right, I go for Well, Sam. Oh, Camera rolling. Seen 102 Bravo. Take two marker. Actually, you didn't tell her what the hell other sense is there? I love somebody else. I'm screwing her in the office. I'm leaving you. I'm planning on doing it, But this weekend was so when we just did it there. You lied to me about telling her it was OK. I'm only gonna cut because it's so early in. She's soft. All right, so let's double check her focus when she leans forward. All right. Okay. So oh, position. Yeah. Better. Good. OK, on the board. Well, that's hard to watch on a 50 foot screening. Not you you saw. Like, for a DP. It's like a nightmare. Have stared a whole scene with the entire take a soft. Okay, great. And last thing again. I really want you guys to get used to when she leans forward. You go with her. Okay. All right, here we go. Uh, move along. All right. Well, camera Roy actually seen one or two. Bravo. Take three marker. Yes. So you didn't tell her? Not in the sense that what the hell other sense is there? I love somebody else. I'm screwing her in the office. I'm leaving you. I'm planning on doing it with this weekend with. So when we just did it there, you lied to me about telling her she knows, OK? It's as good as me telling her. So she says I know. And you say you're right. I'm leaving. Wasn't a good time to do that. So you denied it. I told her she was crazy. Took it a bed to show her how much you still loved her is gonna be better for everybody. You meet everybody If this thing is handled right, believe it. I have to take it. Leave it. I have a business to run. So you slept with her this weekend? Is that what you're telling me? I have to take this call. Yes. This is a bad time. I know. It's That's so I get a lot worse. It's her. This isn't a good time. You know, She said I don't. I'm here by myself. She's thanks. Why? Great. So just I'm a little confusing the schedule. You're trying to create a buffer, and this is not accurate. But this is accurate. It was just a message. Okay, so I need You seem so we have 15 minutes because someone right, But the point is, we have another 30 minutes. We should move on. Let's get one more. These okay on? Do you think that you want a two shot variation? Feel tied to me? Feels beautifully type. You want one more wider Yet? What? We have the time. Yeah, I would. Do you think so? There's no need to go out in the tighter. So this would be my close up. Let's just give a little water, okay? Not on the lens, which which lenses. You get what you want with the light in time. Everything. What you want you want to just go way 25 or 35? Let's see, uh, thistles. The only reverse wide rehab. From this angle, we have another one kind of shows. Always have another one second. How Why doesn't that's gonna like it? 20 c. It's about this one. It's probably like a 2121. All right, let's go on a people at home. I only can waken show it to the storyboards aren't available yet. People who But, um I thought that was a great great once I didn't think the next one. So that's why I try to get you to get a different you guys. Yeah. Okay. All right. So are making quick. Let's swap. Let me know if the boards in on the lighter Yeah, the reason I overruled Justin on moving the camera back because I just kind of saw a cascading series of things where in the light would have to get moved. And it was just, you know, if all you could do is quickly change the lens, let's try and make that work reframe. It's the worst thing we have to do now is pull this out. How was that? I think we're gonna get Yes. So when they're perfect. There you go. All right, Let's, uh let's set focus marks. I'm gonna let them shoot this again. Someone might ask, Why would we do a wider version of this again? Just coverage. Um, depending how they cut this, you might find that that other shot was just a little bit too tight. Especially if they're going back and forth to actors, the size might be to slimmer in the frame. Whereas here, you give yourself a little bit of an option for the editor on. Uh, that's good. I'm gonna go and see if there's any questions I can answer while they get ready for this. Thank you very much. Scorned woman. Thank you very much. Graduations. Great job. Thank you. Thank you. All right. So, e Well, we're all schedule going for my shots. Thistle is thistles, I think for people have been washing for three days while you have a shot schedule so that you know it all times where you are, What's coming up If you're on time, if you're behind, everything's planned out and you see all the moving pieces in front of you and you could see any problems go. You know what can happen. But if everyone has, like clear little road map, we have very few supplies. You don't have road maps like in a documentary, just more frankly accurate. You have a lot more problems and uncertainties. I have a question from Mats Mattos. Good. What was that? About 33% rule in lens changes. 30%. Rule is applied. Both editing or lens Lensing is if you have one, came wrangle that goes from there. Let's say here very small to move. When you come back and forth, it's gonna be a little jarring or if it's greater than three degrees or 30% Uh, it's going to be It's gonna cut better. So if you go from a 52 a 60 millimeter lens, it's just gonna feel like that's just a little bit weird. 52. A 90 millimeter lens. It's gonna feel like, Okay, you're just not going to catch up on it as well. All right. Same could be said kind of randomly about angles as well. And then someone else has said so it's about zooming, uh, another. It's about it's about the size change, you know? Or angle change in during the cut, but specifically size. Thank you. One other question. Yeah, sure. Um, Prada had asked, Um, I don't know if I missed it, but what has been the procedure for white balance wasn't done at any point and comment. Thank you for showing more of the film source footage during the scenes. By the way, no worries. The white balance was set, like, way long ago. So, you know, white bounce to something recovered more in the first workshop way. Can't get to these concepts. If you go for all those little steps, you saw how much their stuff is theirs to get out. But it was one of the first things we decided on. We set the white balance as degrees Calvin specific. Make sure all the cameras were sink. And that way, there's no no issue. And he's bring us back. Right. Seen 102 Charlie, take one marker. So you didn't tell her? Not since. What the hell other sense is there? I love somebody else. I'm screwing her in the office. I'm leaving. I'm planning on doing it, But this weekend, so when we just did it there. You lied to me about telling her she knows. Okay, that's as good as me telling her she knows. So she says I know. And you say I'm leaving. It wasn't a good time to do so. You denied it. I told her she was crazy. Took it a bed? Sure. How much you still loved gonna be? Better for everyone. You meet everyone. If this thing is handled right, leave it. I have to take it. Leave it. I have a business to run. So you slept with her this weekend? Is that what you're telling me? I have to take this call. Yes. Lovers back. This is not a good time. She's there. I'm here by myself. No, she's with you. I'm I think. Why? Speaker? Cool. That was good. You want to move on? I do want more. You move on my mark. Let's move on. Let's be absolutely one last tip is at the end. You could have You could follow him a little bit at the end to give you that cut point to cut too. Do you want do that immediately? Right now. Are you ready? Moves that battery too. late. You could always just grab that piece. Right now. Let's show them how that would be useful. And there's a reason again What? We always go. Why too tight? You'll notice it to me on the wide shot. This light was incredibly distracting on the wide shot since we started tight thinking would go tighter and we reversed. There's nothing you could do about it. Your what? You call pop committed as a poker. You have too much money in there. You can't change. We couldn't if we change this light, which we would have messed up the first shot. So we're just going to just the last line of this real quick check? Yeah, definitely. Yeah. At the door. I'll just stand in for me. All right? You got it. It's a sharp. Okay. Great. I just You're Celeste were just when I call Action. Just read your last Nadia line. Yeah. All right. Okay. Well, sound camera seeing one to Charlie. Take two. Action. You are. I don't know. I fix it. Uh, okay, but just moving on. But it would have helped to frame the last shot before going all the way through that, uh, less alert. So wear glass. It was it was glass glass, three strikes, and we're out to the next shot Earlier. Leaders, I say we too early on the briefs. We get sentence, master, I work. All right, so we're gonna go to break, uh, you want to take one? Two questions go right to break. Hi, guys. Good job. All right. Good job, guys. That's great. So how about you guys fun for me to watch them yesterday and today? Apply it kind of. Know what they're doing? More time. But students. Not much panic. I definitely clearly I hope you can hand to see it coming through already from that initial wide master pullback. Teoh reverse on her as well as his close ups and her medium close up. You're starting to see how we're giving the editor, not just snippets of each where we think it's gonna fit. We're just staying on there because you could think about all the amount of time it takes a light and compose that one shot. Um, it pays off. Just run through most of the scene. It seldom pays off. Run for the entire scene, especially. It's a long scene. You kind of got to pick the section that you think is relevant. If it's a short scene, run through it, you never know. And that last piece have been a nice piece to have, you know, And what they just failed to kind of go through the motions and realize that we're going till down this much. And Pan left that much because on the shop where he was just a little bit in, just needed a little more of the left. And even if you still out of focus over work for me, I don't need to have him in focus because I got a state. My I could stay with her. So go ahead and fire off some questions. See you, Sarah Stagner has asked, Is it worth the risk to take to shoot takes on the fly without framing once in a while? I hate ultimatums, like just randomly. Just true to take without, uh, framing to shoot. She takes on the fly without framing once in a while. Is it worth the risk? Was question. It's definitely worth the risk if you have the time and nothing to lose, right. But, um, I don't going from a photographer. It's kind of a weird question, isn't it? But, uh, definitely for some, perhaps especially if you're doing kind of a free flying video. Like what we saw from yesterday from stealing the G of documentary, where it's a little bit more all over the place. I don't think doing that in this situation would necessary work. Well, you got a kind of see what kind of type of of Pete you're shooting. I would like to tell if there is at any point would you just Absolutely yeah, yeah, it's a totally different field feels a little more dynamic, and it's a big decision. I think the reason we didn't do that here, trying to kind of minimize the potential amount of errors that students could make. So you know, as you can see, it's hard enough for them to operate on a perfect fluid head. But to operate with their body is yet another skill. On top of that, the more you go off of sticks and the more you go and hand held, a more energetic, the camera feels, and this is more of a dramatic scene, where I'm not sure you want the camera moving too much at this point, you want to be focusing on the little details like her hands, their emotion. Whereas a cop show is going to be much more about the hospital muscles, you gotta try and match style. The camera moves to the field. I don't know that it would really help in this case. Does everything do everything? Yeah, they do. But I would say from just thinking about you know, most of what I see, it's, you know, Hollywood tend to be very steady. Cam, Dolly Jib kind of fluid camera. You're not aware of it. And so that when something dramatic does happen like an explosion going off suddenly you goto handheld thing entire time to show how things are more hectic. I believe in inception. Um, forget the point where they split it. But the whole 1st 3rd or half the film was all done on kind of professional stabilized gear and believe once they got it had to be one when they transfer a certain layer of reality. While not Wally Wally Pfister on Christopher Nolan decided to go do everything handheld for the second part of the film to give a very different feel to it. Yeah, Yeah, my brain surf. I hope I'm not making that up, but could you talk a little bit again? People were asking again about the settings that are being used here in temperature and speed. Hey, Marcus, what's your what's your t stop? So we're four. And if somebody had asked what I have So we're at 1 60 to get a very, very clean image, we could go to 3 20 to give ourselves one more stop. We wouldn't lose much quality. Our degrees Calvin is where 313,100 degrees Kelvin 50th of a second. Our picture style is set to new usual struck us all the way down, saturation down to and, uh, contrast down to Thank you way have the equivalent of we're gonna make sure to get a shot. This for you way have now coined predator a vision here, but it's a martial art twice monitor function called false color. And when we go back after this break, we'll make sure to show you what that IHS It's exact same thing as zebras. And I believe I'm pretty sure actually that the marshals also have zebras so we just don't have eternal. I find it very distracting. Okay, but I used any scopes, if I can on the set.