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Found 5 results

  1. Hello, Here's the shot: beads are thrown or projected on a surface and come to form a word. There's no need to see someone's hand doing the throwing. So the beads could just fall. Part of the solution lies in showing this shot in reverse: we start the shot with the finished word and then, somehow, see the words "jump up" towards the camera. That would suppose that the camera is looking up at the beads as they call towards the lens. That's what I can't figure out: how to make the beads hold in the shape of the word and fall towards the lens at the same time. There's probably no solution to this, at least no easy solution. Another approach would be to shoot this as a stop motion sequence and go from the formed word to an empty canvas, after all the beads have been animated out of the frame. I would be happy to hear people's thoughts on this! Thanks. Alex
  2. Hi! First post here , I am shooting a music video in a couple days and i have small budget for this shot , like 100-300 Dollars. I have made a Pre vis of how i want it. I am shooting with a Red , but could go with a gh4 if smaller rig i needed. It's an outsíde nightshot where the camera goes from a closeup from the face and STRAIGHT UP to reveal all the cops. Thanks! /Markus
  3. Here’s another list! http://www.ilovefilmmaking.com/beautiful-movie-shots/ Sometimes they’re fun. :) I thought it might be interesting to post it here.
  4. Hi all, I've been struggling to shot list in the most logical and thorough way. I've been using Adobe Story CC and its shot list feature, but I'm struggling to make it as fool-proof as I want it to be. My problem lies in that often one shot (say a close up of a character) is used again and again throughout a scene. I'm unsure whether to keep marking it as a new shot every time I want to use it, or to assume that I'm filming the entire scene from that angle and every time I see that angle assume that it's already been covered. Obviously I wouldn't want every angle shot for the entire scene. Some shots would be the entire scene, others would be from when the character sits down until the end of a scene (for example), others would be only for specific action. I've found that things have a way of working out on set when you can see what you've actually got, but it seems a little like its leaving it to chance relying on figuring it out when you're shooting, when you're rushing to get through the scenes. I'm just interested in how DP's and Directors approach this problem. i.e. making the shotlist detailed, specific and fool-proof. (I know inspiration will inevitable strike on set, but I'm talking about the bare essentials.)
  5. Homemade Steady Shot System used in VideoClip. Actually shooting long-distance shots from the comfort of a chair! I my newest videoclip I was trying to find a way to create an equipment that will help me get rid of heavy steady camera systems that they actually destroyed my hand and muscles after a while. Also there was no way of achieving the results needed because the videoclip consised of long-walking shots. I wanted to shoot my newest video clip by sitting on a chair and mostly doing it without having to spend a fortune. It is almost as the buyed thing and most important, it was made by our hands. Feels better to work with your own made equipment. Reminds of your passion. I recently directed my second video clip using 100% homemade steady cam systems. I actually achieved shooting long distances without even touching the camera just by sitting on a chair. I want to be an inspiration for young film and art directors out there so this is how I did it. The videoclip can be found here: http://www.youtube.com/watch?v=0Ppj8DtLh14 For Tips and more information about how I did, I will post soon, but you also subscribe to my ever growing subscribers list in which I ofter update with advices and tips. For more information about skoumas please visit www.skoumas.net
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