Cinematography - Week 15
23/05/2019
I talked with Ash this morning and he convinced me to complete whatever filming I can do possible for the showreel. Even if the genre sequence is just someone walking past in a wide shot or if I did half of what I had planned for the chase sequence. Beforehand, the testimonial was doable with a 50/50 chance of the product shoot because I have to have faith in the rest of the class when it comes to that.I got an email from Liz's secretary, Sue asking to come into the office today to clarify some details, which was fine by me because I was coming into the office anyway to ask if they knew anyone who can drive and would be happy to get me and the filming equipment to the estuary for filming the B-roll for the testimonial.
I came into the office and I spoke with both Liz and Sue clarifying about filming the testimonial tomorrow. Liz asked me about how long the testimonial will be in the end and what will happen to the testimonial in the future. I asked about whether they knew people who could drove me over to film the B-roll Wednesday next week and Sue said she would ask around. There will be a different person from the person that was intended to be with Liz in the testimonial. The other person will be someone to do with water quality called Sarah.
I have sent an email to Nathan Gill, enquiring about getting filming consent at the local estuary for Wednesday next week. I have to just now wait for a reply from him.
Apparently, I will have to wait until tomorrow for a proper reply because I received an automatic reply stating that he is out of his office today and will not return until tomorrow
I managed to get the equipment issued out for filming tomorrow, consisting of two tripods, 2 Blackmagic cinema camera suitcases, SSD card reader suitcase, and a camera lens bag. It took two rides on a lift to get the camera suitcases down to the TV studio. I was really hoping I wasn't going to get stuck in the lift again like last term. Tim was able to help out and carried the rest of the equipment down for me.
Once all the equipment was in the TV studio, I took photos of the contents of the equipment to remind myself where things go in the case and to make sure I don't lose anything and as proof if Chris finds something out of the ordinary with the equipment when it's returned to him. Blackmagic camera #1 was definitely heavy t lug around, so I would definitely just use the second Blackmagic in future (if possible) if needing only one camera and for filming B-roll next week.
Once all the equipment was in the TV studio, I took photos of the contents of the equipment to remind myself where things go in the case and to make sure I don't lose anything and as proof if Chris finds something out of the ordinary with the equipment when it's returned to him. Blackmagic camera #1 was definitely heavy t lug around, so I would definitely just use the second Blackmagic in future (if possible) if needing only one camera and for filming B-roll next week.
I spent nearly an hour and a half in the afternoon, practicing and familiarizing myself with setting up a Blackmagic camera. Tim stayed with me for a helpful, second opinion on my camera setup. Spending time practicing on the Blackmagic made me feel a bit more prepared for tomorrow.
Me and Tim tried to figure out how to configure the white balance on Blackmagic cameras and after some time of thinking and going through all the camera settings, we believed that you have to guess the white balance when it comes to these cameras. We came to be guess that the white balance would be 4500K.
I had drawn out lighting plans for the shoot tomorrow. I had an Aladdin with diff in mind for lighting, but it has been booked out by someone else, possibly third years. I will have to make do with what lighting equipment will be there in the TV studio.
Me and Tim tried to figure out how to configure the white balance on Blackmagic cameras and after some time of thinking and going through all the camera settings, we believed that you have to guess the white balance when it comes to these cameras. We came to be guess that the white balance would be 4500K.
I had drawn out lighting plans for the shoot tomorrow. I had an Aladdin with diff in mind for lighting, but it has been booked out by someone else, possibly third years. I will have to make do with what lighting equipment will be there in the TV studio.
24/04/2019
I came in early at 7.30 in the morning to make sure everything is ready for filming today. Once Tyler (gaffer) and Oisin (sound) arrived, I explained to Tyler what I wanted by showing him the lighting tests that I did weeks ago and told him that we didn't have the Aladdin for the filming, so I asked him to make do with the lighting equipment that we had available. Oisin helped Tyler with the lighting as well as move the couch in position, while I setted up the cameras and tripods.
Once the cameras and lighting was ready, I did some tests with the cameras to get them in position, drew up a lighting plan to document what lights were used for filming my testimonial,and decided for all us to take an hour long break because we were ahead of schedule and had the lights turned off in the meantime. We were to return a half an hour before the interviewees arrived for filming.
The testimonial was lit by using a Lowel Frenel for fill and key, along with applying diff with a c stand. A Pro light was used as backlight. Flags were put in place in front of the pro light and above the couch to reduce the brightness and lens flare coming from the pro light, as well as so the pro light wouldn't be in frame.
The camera pointing towards the left side of the interviewees used the 35mm lens, whereas the camera in the wide shot and pointing towards the right side of the interviewees used the 18-35mm lens. I adjusted the focal length of the 18-35 mm to being 24 mm because it was framing that I was happy with and you couldn't tell much difference between the framing of the two cameras, despite being in different positions. Having the camera at 24 mm was good thing since there was not much room to move back for the framing when moved to the right side of the interviewees.
The testimonial was lit by using a Lowel Frenel for fill and key, along with applying diff with a c stand. A Pro light was used as backlight. Flags were put in place in front of the pro light and above the couch to reduce the brightness and lens flare coming from the pro light, as well as so the pro light wouldn't be in frame.
The camera pointing towards the left side of the interviewees used the 35mm lens, whereas the camera in the wide shot and pointing towards the right side of the interviewees used the 18-35mm lens. I adjusted the focal length of the 18-35 mm to being 24 mm because it was framing that I was happy with and you couldn't tell much difference between the framing of the two cameras, despite being in different positions. Having the camera at 24 mm was good thing since there was not much room to move back for the framing when moved to the right side of the interviewees.
Oisin couldn't do much to set up the sound at first because Tim had the Zoom H6 and we didn't have a boom pole. I went to see Chris about issuing the Zoom H5 and a boom pole. In addition, he gave me a few batteries and a battery charger to use for the Zoom H5. However, Tim had returned the Zoom H6 to the TV studio by the time I returned with the Zoom H5, but I kept the H5 for filming just in case.
Oisin managed to get sound sorted before the interviewees arrived and had the shotgun mic placed on a c stand rather than on a boom pole.
I have been thinking about when filming the B-roll footage and I think the ICC Parks and Reserves are the people to talk about getting filming consent for the local estuary, not Nathan Gill. Plus, I still haven't received a reply from him.
I was uncertain what format to use for filming the testimonial, so I consulted with Tyler and Oisin, who both recommended me to use DNxHD, rather than ProRes or 2.5 RAW.
When the interviewees arrived, and were preparing themselves and getting themselves in position, I took a photo of what one of the cameras was seeing on its viewfinder to give them an idea what the framing is like.
I would say that filming went fine and managed to get it done ahead of schedule since it took a little over than an hour rather than two hours. There wasn't much gaffing needed during takes, so I got Tyler to be AC and do the slate for all the takes.
The interviewees were quite impressed by the programmes taught here and one of them, Sarah Thorne has asked me if there would be students interested in completing short videos for a conference next year that is being held by the organisation she works, Landsafe. Landsafe is an organisation that help encampment groups and they are groups of farmers that work towards improving water quality in the region.
I will inform either one of the film tutors or Kathryn about this opportunity for film students next year
However, there is a legal issue to do with filming the testimonial that needs to be sorted out. I gave release forms to the interviewees for them to sign, but they were not satisfied with the terms in the release form and demanded that the terms are more specific towards this testimonial and showreel, otherwise they will not sign. They have found the release form too broad and I used the release forms that are in the Resources drive. It something I need to consult with the film tutors.
I managed to ingest the audio files from the Zoom H6 before it could be used for Lukas' filming this afternoon / evening. However, I couldn't do so for the footage because the card reader needed to be pluged in and there wasn't a spare plug port in any of the classroom that were avaaible for me to use, so I ingested the footage at home.
After ingesting the footage at home, I tried to view it, but it seems that the codec is not complitible with Windows Media Player or VLC Media Player. I later took the footage to polytech to see if it had the same trouble on the computers there and they did. However, it works fine on Premiere.
I did manage to preview the footage on Premiere and was absolutely impressed by the technical quality. It came out much better than I expected or what I could see on the viewfinder of both cameras. The video quality is perfect.
I didn't really do any editing tonight because I focused myself on completing my research project for the exhibition next week.
Testimonial credits
Interviewees
Liz Craig
Sarah Thorne
Gaffer / Assistant Camera
Tyler Baikie
Sound
Oisin O'Connell
Genre sequence
Actors and crew needed
- 1 actor
- AC - Tyler Baikie (TBC)
- Soundie
Chase sequence
Get actors and crew
- 1 actor
- 1st AC - Tyler Baikie (TBC)
I have been thinking about when filming the B-roll footage and I think the ICC Parks and Reserves are the people to talk about getting filming consent for the local estuary, not Nathan Gill. Plus, I still haven't received a reply from him.
I was uncertain what format to use for filming the testimonial, so I consulted with Tyler and Oisin, who both recommended me to use DNxHD, rather than ProRes or 2.5 RAW.
When the interviewees arrived, and were preparing themselves and getting themselves in position, I took a photo of what one of the cameras was seeing on its viewfinder to give them an idea what the framing is like.
I would say that filming went fine and managed to get it done ahead of schedule since it took a little over than an hour rather than two hours. There wasn't much gaffing needed during takes, so I got Tyler to be AC and do the slate for all the takes.
The interviewees were quite impressed by the programmes taught here and one of them, Sarah Thorne has asked me if there would be students interested in completing short videos for a conference next year that is being held by the organisation she works, Landsafe. Landsafe is an organisation that help encampment groups and they are groups of farmers that work towards improving water quality in the region.
I will inform either one of the film tutors or Kathryn about this opportunity for film students next year
However, there is a legal issue to do with filming the testimonial that needs to be sorted out. I gave release forms to the interviewees for them to sign, but they were not satisfied with the terms in the release form and demanded that the terms are more specific towards this testimonial and showreel, otherwise they will not sign. They have found the release form too broad and I used the release forms that are in the Resources drive. It something I need to consult with the film tutors.
I managed to ingest the audio files from the Zoom H6 before it could be used for Lukas' filming this afternoon / evening. However, I couldn't do so for the footage because the card reader needed to be pluged in and there wasn't a spare plug port in any of the classroom that were avaaible for me to use, so I ingested the footage at home.
After ingesting the footage at home, I tried to view it, but it seems that the codec is not complitible with Windows Media Player or VLC Media Player. I later took the footage to polytech to see if it had the same trouble on the computers there and they did. However, it works fine on Premiere.
I did manage to preview the footage on Premiere and was absolutely impressed by the technical quality. It came out much better than I expected or what I could see on the viewfinder of both cameras. The video quality is perfect.
I didn't really do any editing tonight because I focused myself on completing my research project for the exhibition next week.
Testimonial credits
Interviewees
Liz Craig
Sarah Thorne
Gaffer / Assistant Camera
Tyler Baikie
Sound
Oisin O'Connell
Genre sequence
Actors and crew needed
- 1 actor
- AC - Tyler Baikie (TBC)
- Soundie
Chase sequence
Get actors and crew
- 1 actor
- 1st AC - Tyler Baikie (TBC)
25/05/2019
I helped out on the filming of Julian's showreel stuff and tried what I could by being the boom operator. The filming was at the basement of the Downtown campus and I was on standby for a while, but it wasn't hard to operate the boom today because the angles being filmed allowed me to be in comfortable positions and not apply much tension on my co-ordination. I was only needed for the morning, for the genre sequence, because they were going to move onto the chase sequence and I have difficulties being fast and stable enough for holding the boom in such scenes.
I quite like the lighting idea that used in the filming of Julian's genre sequence, where a pro light was used in the background and in front of object, in order to create high contrast shadows in the background like you would see in a German Expressionist film.
They let me go after lunch and so I spent time editing my testimonial.
It was a challenge teaching myself syncing up sound since it had been five years since I had done it last, but I really just synced them up by syncing with the slate. Two hours later, I only managed to sync up and edit two clips. I went away to rest up because I was exhausted after this.
I quite like the lighting idea that used in the filming of Julian's genre sequence, where a pro light was used in the background and in front of object, in order to create high contrast shadows in the background like you would see in a German Expressionist film.
They let me go after lunch and so I spent time editing my testimonial.
It was a challenge teaching myself syncing up sound since it had been five years since I had done it last, but I really just synced them up by syncing with the slate. Two hours later, I only managed to sync up and edit two clips. I went away to rest up because I was exhausted after this.
26/05/2019
For filming Tim's showreel stuff, I initially did my boom operator duties and did so by assisting Felix and hold the boom during the first shot. However. I had difficulties with being boom operator because how it was pointed in the direction of the actor clashed between my and Felix's point of view perspective, and it was a struggle for me to keep the boom pole high up above the framing during takes.
I was temporarily replaced by a magic arm during static shots and I might be needed again as boom operator for dolly and handheld shots. I do doubt my capabilities in operating the boom for handheld shots and dolly shots will be a big maybe for me.
I talked with Felix (Sound) towards the end of filming this morning and he felt I wouldn't be needed for filming this afternoon because they will be filming a chase sequence and they have enough people to work with. I went away to continue editing my testimonial after lunch.
I talked with Lukas and he informed me that to get permission to film on campus (Tay Street), I will need to talk to someone at the Facilities building called Craig McKenzie, not email SIT Facilities
From looking at this frame, it has made realise that the importance of grading this testimonial because I now believe it would look better with the colours looking more vibrant and saturated, which would suit the environmental subject and the subject of the B-roll footage.
I managed to get a rough, draft cut done, which ended up being six and a half minutes long, now it's just a process of going through the edit and cutting out the questions and deciding on questions that are important enough to stay. I did cut one clip out because it was in fact a different take of a question that is answered in the cut and I forgot to edit out when I said 'cut' in one take, leading the duration to 5 minutes and 56 seconds. However, there still more trimming down to do.
I made extensive changes, especially getting of the rid of the questions and the least important answers, but it brings the testimonial to 3 minutes and 56 seconds. I even removed a part of an answer that cuts to later in the same clip, but only bought the duration down to 3 minutes and 35 minutes. I trimmed down all the answer, but only got it to 2 minutes and 50 seconds. I cannot trim down anymore than that (without the editing getting too choppy), despite the 2 minute requirement for the testimonial.
I talked with Felix (Sound) towards the end of filming this morning and he felt I wouldn't be needed for filming this afternoon because they will be filming a chase sequence and they have enough people to work with. I went away to continue editing my testimonial after lunch.
I talked with Lukas and he informed me that to get permission to film on campus (Tay Street), I will need to talk to someone at the Facilities building called Craig McKenzie, not email SIT Facilities
From looking at this frame, it has made realise that the importance of grading this testimonial because I now believe it would look better with the colours looking more vibrant and saturated, which would suit the environmental subject and the subject of the B-roll footage.
I managed to get a rough, draft cut done, which ended up being six and a half minutes long, now it's just a process of going through the edit and cutting out the questions and deciding on questions that are important enough to stay. I did cut one clip out because it was in fact a different take of a question that is answered in the cut and I forgot to edit out when I said 'cut' in one take, leading the duration to 5 minutes and 56 seconds. However, there still more trimming down to do.
I made extensive changes, especially getting of the rid of the questions and the least important answers, but it brings the testimonial to 3 minutes and 56 seconds. I even removed a part of an answer that cuts to later in the same clip, but only bought the duration down to 3 minutes and 35 minutes. I trimmed down all the answer, but only got it to 2 minutes and 50 seconds. I cannot trim down anymore than that (without the editing getting too choppy), despite the 2 minute requirement for the testimonial.
I had the testimonial keep cutting away to different angles to keep it interesting and to retain the audience's attention. This is how editing can make a difference between making a video dull and making a video engaging.
I also added the crop effect in order to add the type of letterbox I wanted for my showreel and did have this type of letterbox as a guide (on both Blackmagic cameras) for filming this testimonial - 1:85:1.
I edited the cutaways from the other angles added into the rest of the testimonial since I had only done so for the first couple of clips (introduction and the first question). I will find a way for the B-roll to adapt to my editing once filming the B-roll footage is completed.
I rendered what I managed to complete this weekend on Premiere and made the specs as it would be the full showreel as required in the course descriptor, despite this version being rendered is ungraded. In any case, it's good practice.
Questions in rough draft edit. These are guide for trimming down the testimonial and to allow me to decide which questions are more important than others.
After the render was complete, I decided to have a look on incompetech for background music in the testimonial, but then decided to not do much looking for now. I did listen some music clips on the site, but nothing stood out and it could take a long time to find the right music.
Looking at the current rendered edit, I think I will need less time shooting B-roll at the estuary than planned. I spent a productive two and a half hours on editing today and managed to get a draft of the video done. I sent a copy of the render to the interviewees to collect on their thoughts on the cut so far and to see if they are satisfied with the direction I'm heading.
James gave me advice for the future, which is not to sent rough cuts to your clients because it's the editor's job to make sure it's pretty for the clients.
I have also popped by Liz's office and spoke to Sue, who really like the current edit of my testimonial and has sent it to Liz's secretary in Wellington because Liz will up there for three weeks.
I mentioned to Kathryn about Sarah Thorne and Landsafe being interested in getting SIT film students to do some short videos for them next year for their conference. Kathryn told me to tell them to contact her closer to the time next year, and wait and see if any film students are interested then.
I just need to send an email to Parks and Reserves about filming B-roll at the local estuary, especially since I never heard back from Nathan Gill.
I was happy to see that Tyler did an Instagram post about the filming of my testimonial, which I allowed him to do.
I did think about talking with Craig McKenzie at SIT Facilities today about filming my chase sequence in the building next to them on Tay Street, on the morning of Sunday the 9th of June, but I didn't have the details clear in my head at the time after spending the day organising stuff for my exhibition and back at home.
I will still need to email Nathan Gill about filming on Doon Street for my genre sequence (afternoon on the 9th of June), but I'm uncertain whether I'm putting together the right words and I don't know what would be the right wording. Another thing is whether he will answer my email since he didn't last time.
I have sent an email to the City Council's Parks and Reserves to enquire about whether they are the people to get filming consent for the local estuary.
I also added the crop effect in order to add the type of letterbox I wanted for my showreel and did have this type of letterbox as a guide (on both Blackmagic cameras) for filming this testimonial - 1:85:1.
I edited the cutaways from the other angles added into the rest of the testimonial since I had only done so for the first couple of clips (introduction and the first question). I will find a way for the B-roll to adapt to my editing once filming the B-roll footage is completed.
I rendered what I managed to complete this weekend on Premiere and made the specs as it would be the full showreel as required in the course descriptor, despite this version being rendered is ungraded. In any case, it's good practice.
Questions in rough draft edit. These are guide for trimming down the testimonial and to allow me to decide which questions are more important than others.
- Why are we doing this work and what is so important about the New River estuary?
- What is causing the pollution in the estuary?
- What has the forum achieved so far and what is it hoping to achieve
- What is the importance of the estuary to the region and the country?
- What is an estuary and why is it important?
- How can Southlanders help with the estuary?
- How can you get involved with the forum?
In order of importance
- What is an estuary and why is it important?
- What is the importance of the estuary to the region and the country?
- Why are we doing this work and what is so important about the New River estuary?
- What is causing the pollution in the estuary?
- How can Southlanders help with the estuary?
- What has the forum achieved so far and what is it hoping to achieve
- How can you get involved with the forum?
Questions kept in the video
- Why are we doing this work and what is so important about the New River estuary?
- What is an estuary and why is it important?
- What is the importance of the estuary to the region and the country?
- What is causing the pollution in the estuary?
- How can Southlanders help with the estuary?
After the render was complete, I decided to have a look on incompetech for background music in the testimonial, but then decided to not do much looking for now. I did listen some music clips on the site, but nothing stood out and it could take a long time to find the right music.
Looking at the current rendered edit, I think I will need less time shooting B-roll at the estuary than planned. I spent a productive two and a half hours on editing today and managed to get a draft of the video done. I sent a copy of the render to the interviewees to collect on their thoughts on the cut so far and to see if they are satisfied with the direction I'm heading.
27/05/2019
I have been notified via email that both Sarah Thorne (one of the interviewees) and Sue has downloaded the rendered video sent to them through WeTransfer.James gave me advice for the future, which is not to sent rough cuts to your clients because it's the editor's job to make sure it's pretty for the clients.
28/05/2019
I have informed Ash that the filming went along well for my testimonial, which he was aware of because James from SIT Productions told him. Ash looks forward to catch up with me in class on Thursday.I have also popped by Liz's office and spoke to Sue, who really like the current edit of my testimonial and has sent it to Liz's secretary in Wellington because Liz will up there for three weeks.
I mentioned to Kathryn about Sarah Thorne and Landsafe being interested in getting SIT film students to do some short videos for them next year for their conference. Kathryn told me to tell them to contact her closer to the time next year, and wait and see if any film students are interested then.
I just need to send an email to Parks and Reserves about filming B-roll at the local estuary, especially since I never heard back from Nathan Gill.
I was happy to see that Tyler did an Instagram post about the filming of my testimonial, which I allowed him to do.
29/05/2019
Sarah Thorne, one of the interviewees in my testimonial got back to me and really liked the video. She has asked me if she can show the video to her communications manager, which I will allow as long as she understands that there is a bit more work that needs to be done like colour grading, titles (their names in the introduction), and B-roll footage.I did think about talking with Craig McKenzie at SIT Facilities today about filming my chase sequence in the building next to them on Tay Street, on the morning of Sunday the 9th of June, but I didn't have the details clear in my head at the time after spending the day organising stuff for my exhibition and back at home.
I will still need to email Nathan Gill about filming on Doon Street for my genre sequence (afternoon on the 9th of June), but I'm uncertain whether I'm putting together the right words and I don't know what would be the right wording. Another thing is whether he will answer my email since he didn't last time.
I have sent an email to the City Council's Parks and Reserves to enquire about whether they are the people to get filming consent for the local estuary.
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