Now that this In Depth Cine community is starting to grow, more of you are starting to ask questions
in the comments.
I’d really like this channel to become a platform for discussion about cinematography
and filmmaking in general, as there are so many people out there looking to learn, as
well as people with experience willing to share their knowledge.
Today I’ll try to answer a couple of questions that you’ve posted.
If anyone out there would like to provide their insights or would like to ask more questions
or comments to be addressed in a future video please post in the comment section below.
So let’s get started with the first question.
So the first question from Joaquin is: Have you ever made a short film or video using
nothing but an iPhone?
What gear or software would a team need to have to get some decent looking sequences
with a phone and on a budget?
No, I’ve never made a film on an iPhone or phone, although I have made many shorts
and even a feature, which I made a previous video about, using consumer DSLR cameras.
Personally I prefer using cheap DSLRs for low budget filmmaking over using phones because
it gives you access to using different lenses and manual control over your camera settings
and focus.
You can also find some DSLRs for less than what an iPhone costs so it’s definitely
something to consider.
One of my biggest takeaways though from shooting projects in this way is that rather than trying
to improve upon the medium and make the footage look like it was shot on a professional cinema
camera, I tend to go the other way and embrace the fact that it looks like an iPhone or a
cheap DSLR.
If you look at a South African feature shot on an iPhone, like High Fantasy, or Tangerine
for example, they’re never trying to hide the fact that they shot it on a phone.
They visually embrace the low dynamic range, exposure shifts and wide lenses of the iPhone.
If you want to find out about specific software or gear I’d suggest doing some research
on Tangerine, but more important than that I would focus on the basics.
What does elevate the so called ‘production value’ of those films is the sound and the
lighting.
So make sure you record the best sound you can, light the shots in a continuous style
throughout the film and embrace the look of phone video rather than trying to make it
look higher end than it actually is, because then you’ll just be fighting a losing battle.
Moving on, Ishani asks: How do you find out the technical details of each movie?
So it depends on the movie, but generally through a combination of online articles,
interviews and looking at behind the scenes footage or photos.
Some sites I regularly use are American Cinematographer, Kodak’s Motion Picture Blog, Cooke Optics
TV and Arri Youtube videos and British Cinematographer.
I always link the sources I use in the description so if you’re interested in finding out more
about the DOPs or films that’s a good starting point.
Then to break down specific scenes or shots I’ll try to find BTS photos of the gear
which I can identify based on my knowledge from working in the film industry.
Generally speaking this is easier to do with more modern movies as there are more resources
available online now than ever before.
Next, Laura asks: Are you going to expand this to other departments working on set?
Because the base of my knowledge is in cinematography and particularly the camera department that’s
usually most of what I focus on for now.
I do try and touch a little bit on other aspects of filmmaking and departments through the
lens of cinematography in my videos but going forward I’ll try to include more information
on other aspects of filmmaking.
Also if there’s anyone out there with knowledge about these movies from the perspective of
other departments I’d love to hear it in the comment section.
And finally: Can you share your knowledge on the relationship between light sources
and the colour/look they generate?
So this is quite an in depth topic which I’ll cover in more detail in a future video but
I’ll give a basic rundown of three common light fixtures.
I’m no expert on lighting so if there are any electricians out there that can provide
more info or correct me that’d be great.
Tungsten lights have a colour temperature of around 3200 Kelvin which means that they
appear warmer.
Usually tungsten lights are powerful and quite directional so are great as a hard light source
or can be softened by bouncing or diffusing them to achieve a higher output of soft light.
HMIs are also strong, direct light sources, but have a cooler, daylight colour temperature.
They’re often used to replicate the look of sunlight.
LEDs are lower power fixtures which can be singular colour (like daylight), bi-colour
(tungsten or daylight) or RGB (any colour you like).
They’re easily dimmable, tend to be a bit softer and have a lower output than tungsten
or HMI lights although now that LED technology is rapidly improving this isn’t necessarily
the case anymore.
Thanks everyone for your questions.
If you guys enjoy these more informal videos I’ll try to make them alongside my regular
content in the future.
As I mentioned before if you’d like a chance for your questions about filmmaking, cinematography
or the channel to be featured please comment below and I’ll try to get around to answering
them in an upcoming video.
As always, thanks for watching and goodbye.