DOP220: Making a Dramatic Difference
HDRips | MP4/AVC, ~3282 kb/s | 1280x720 | Duration: 06:11:15 | English: AAC, 128 kb/s (1 ch) | 7.07 GB
This course is designed to dramatically improve your next film by showing you the professional secrets in blocking out your action, shooting f coverage in the edit and finally improving the quality of your recded sound.
The reality of filming Indie films today is that it is possible to get great images with accessible cameras - especially given their dramatic ISO sensitivity and the great range of affdable lenses. Most online discussions and blogs focus on new gear and cool accessies and yet this is not what makes a production engaging and interesting. Today almost anyone can produce a single 'cool' shot - but what about actually making an interesting sty? How about making the narrative flow so the scenes are interesting, easy to follow and engaging?
The reality is that the gear is fun, but increasingly easy enough to solve - but how to express a narrative that is emotionally engaging and really holds the viewer is just either 'too hard' to discuss can't be explained in a 2 min sound bite demo. With this course we will show you the professional tricks and approaches in solving these harder but much me imptant issues.
While every script is different there are three big things you can do to make your film projects 100% stronger:
Improve the blocking and camera wk to help underline the dialogue. Often times a scene is not even really about what is being said but rather its sub-text. As a Direct and DOP you need to visually explain the meaning and amplify the emotional content. The actual wds being spoken seem like the focus but often times they are not, how you frame, how you place the acts relative to each other is critical but not given enough imptance in Indie films.
Coverage: It is said there is the film you shoot and the film you actually have in the edit. If you have ever been boxed in during an edit you will know that coverage is so imptant and a film with good material can come alive in the edit - if the edit has the right material to wk with. On set coverage seems almost like a luxury, in post it can be the difference between just making it wk and making the film sing ! Ben will show you how to plan and shoot f coverage and what a vast difference it can make.
Sound, as an audience we can love to have dark and mysterious imagery, but we lose patience in a flash if the sound it po hard to understand. Good audio on dialogue - recded and mixed crectly will make your productions 10x me professional and most imptantly engaging to your audience. You owe it to your production to get the audio right, and here Ben will be joined by experts from RODE audio who will help us understand the latest techniques and share some very cool tips on both location and studio audio recding
Class 1: Filming a single act. How to get coverage and interesting blocking when you have just one act. (part 1)
Class 2: Filming a single act. How to get coverage and interesting blocking when you have just one act. (part 2)
Class 3: Dialogue recding part 1. The mistakes and learning from the improv scene and audio challenges wking in the studio.
Class 4: Dialogue recding part 2. The mistakes and learning from the improv scene and audio challenges wking in the studio.
Class 5: The classy solution to filming dialogue. How the best of the Hollywood DOPs approach the problem and what we can learn from them.
Class 6: Starting the second half of term with scripted sequences, what can be me heavily scripted than a tightly controlled commercial spot using motion control?
Class 7: Shooting a piece of scripted dialogue between 3 acts, directed by Alicia Talbot. Part1 *Some coarse language.
Class 8: Shooting a piece of scripted dialogue between 3 acts, directed by Alicia Talbot. Part2 *Some coarse language.
Class 9: Mike and Ben discuss the edit and the grade of Just Say It.
Class 10: Lighting f different genres in front of a green screen.
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