As part of our aim to strengthen the connection between us and our readers, we decided to give our talented audience out there a stage to express themselves and share their success stories in our new weekly TALENT FEATURE. We hope that with time, these guest posts will become a source of inspiration to our colleagues wherever they are. If you are interested in participating, Please upload your video to our VIDEOLOG and follow the rest of the submission process by reading the information here. (Intro by Johnnie Behiri) Hisonni Johnson is a writer, director, actor, cinematographer and creator. He studied with acclaimed Chicago photographer David VanderVeen, amassing an impressive portfolio of commercials, along with an affinity for still photography, video, film and post production. He has worked professionally in nearly every crew position there is, in both television and film. As a result, his skills as a writer, director and cinematographer have quickly earned him numerous awards and accolades. Name: Hisonni Johnson Age: 33 years old Currently based in: Ontario, California U.S.A. Language Spoken: English How did you get started in our industry? I grew up in a successful photography studio, David VanderVeen Photography. From a very young age, I’ve known that its possible to be happy and make a living from the arts. Current assignments: I’m currently in pre-production for a short film and web series. I shoot weekly videos (3-6 videos a week) for Yelp, Groupon and Zillow. What types of productions do you mostly shoot? I shoot 60 – 90 second spots for businesses within a 70 mile radius. What is your dream assignment / job in our industry and what are you really passionate about? I’d love to produce and direct television shows. In the work that you are presenting to us, now that it is done, what would you have done differently? Not much. I’m really happy with the way things have turned out. Wait… I take that back. In hindsight, I believe that you can never put too much time into team chemistry. I could have spent more time with my crew. I believe that communication on set becomes this sort of short hand variation of normal communication due to the rush of shooting. More importantly, I’ve realized that not everyone is used to that short hand language and messages aren’t conveyed as clearly as they could’ve been. I’d like to fix that. What current camera, lenses and sound equipment do you use? I have a 5D mark II, Red Epic, Arri Alexa classic paired with Canon L series lenses, Zeiss super speeds and Schneider Xenon FF lenses. What is your favourite light equipment and why did you choose that kit over other solutions? I believe the best pieces of equipment I own are my Arri L7 C lights. The build quality is amazing and the flexibility of those lights is priceless. Do you use drones / gimbals in your productions? If yes, what is the most effect reason why you’ve found in deploying them? I’m in the process of grabbing a drone. I owned a gimbal but sent it back. It felt like the company rushed that gimbal out before it was ready. Owning a gimbal made me feel like I was spreading my self too thin, and if you know how many hats I juggle then you’d know how big of a statement that is (LOL). The gimbal required entirely too much time to set up and didn’t yield the results I hoped for. Ultimately, the experience made me focus on the basics (composition, lighting and colour) a bit more in my shots. What editing systems do you use? Love and use Adobe Premiere CC. How much of your work do you shoot in Log and what is your preferred way of colour correcting? It’s split evenly. 1/3 of my work is shot on a DSLR, 1/3 is shot raw on my RED and 1/3 is shot in ProRes 4444 12 bit on the Alexa. How frequently do you travel, and do you have any tips when it comes to packing your gear? I‘ve really cut down on the traveling. I found it to be super rough on my body. By staying local, I feel like I’m investing in my physical and mental well being. Im trying to have longevity as a filmmaker because I’m sure it’s going to take some time to reach all of my goals. If you want to learn more about Hisonni creative’s work, head over to his homepage. Participate in our initiative: share your talent and creative work by following these steps.Read more
As part of our aim to strengthen the connection between us and our readers, we decided to give our talented audience out there a stage to express themselves and share their success stories in our new weekly TALENT FEATURE. We hope that with time, these guest posts will become a source of inspiration to our colleagues wherever they are. If you are interested in participating, Please upload your video to our VIDEOLOG and follow the rest of the submission process by reading the information here. (Intro by Johnnie Behiri) Yuki Ogura is a Japanese freelance filmmaker who specializes in a one-man band shooting style. Taking advantage of current technology, specifically cheap and great quality cameras, he makes films as his own personal expression the way an artist paints pictures. Yuki is always working on projects believing that even a one-minute short film can change the way people see the world. He is sure to make a masterpiece someday and become an international filmmaker. Name: Yuki Ogura. Age: 30 years old. Currently based in: Tokyo, Japan. Language Spoken: Japanese/English. Occupation: Freelance filmmaker. I direct, shoot and edit. How did you get started in our industry? I studied filmmaking in LA and fortunately met some good clients right after I came back to Tokyo. I started filmmaking 9 years ago when I was a college student. There was a pretty girl and I asked her to be my girlfriend, but she rejected. After that, I decided to pursue what I really wanted to do. Current assignments: Music related videos, such as a music video and interviews with musicians. What types of productions do you mostly shoot? Very small productions. I mostly shoot in one-man-band style. What is your dream assignment / job in our industry and what are you really passionate about? Small projects in which I can express something very personal. I like to work on smaller projects, because I can enjoy the craft without unnecessary distractions, unlike in bigger projects. I can have an intimate relationship with subjects more often this way. Aside from commercial assignments, I make music videos for Japanese children’s songs as my own personal project. I’d be really happy if those videos caught the attention of the audience and bring new clients. By the way, I’m planning to move to Holland next year. In the work that you are presenting to us, now that it is done, what would you have done differently? Shooting is quite a tough activity. I don’t only need practical shooting skills, but also basic human abilities such as communication skills, persistence, resilience, a strong heart, etc. If possible, I want to re-do all of my previous projects with my current self that I hope is stronger than in the past. Every time I come back from shooting, I’m filled with disappointment from what I got, which is the beginning of editing. What current camera, lenses and sound equipment do you use? I own a Canon EOS 6D, Panasonic GH4, sigma 18-35 f1.8, sigma 24-105 f4 IS, Canon 50mm macro, Rode Video Mic Pro, and Tascam DR-05. I don’t want to spend a lot of energy just handling heavy equipment. Nowadays, cheap cameras capture amazing quality video, and I don’t think there is a significant difference between a $10,000 professional camera and $1,000 DSLR as long as we see it online. The only cinema camera I ever loved is the Canon EOS C100. Everything in the camera was simple. I thought the Sony FS5 would be like that, but it initially had many issues and is still expensive… What is your favourite lighting equipment, and why did you choose that kit over other solutions? The Sun. It’s always there and occasionally goes beyond our expectation. And any light kit as long as it’s easy to bring. Do you use drones / gimbals in your productions? If so, what is the biggest reason why you’ve deployed them? I don’t use gimbals. I just use a stabilizer: a Glidecam HD 2000. It doesn’t need electricity to work, which is awesome. I don’t like drones because these days everyone knows about them. I was unbelievably shocked when I watched a drone aerial shot for the first time, but it was simply because I didn’t know how the shot was captured. Now I just think “Okay, here comes a dynamic drone shot. Let’s skip it and go to the next video”. What editing systems do you use? Final Cut Pro X How much of your work do you shoot in Log and what is your preferred way of colour correcting? I was often shooting in Log if the camera had it, but recently I’ve started using normal picture profiles again. Colour-graded Log looks terrible sometimes. I’m using the Colour Finale plug-in that certainly expands FCPX’s ability. Currently, I’m pursuing how to make a sexy dark look with colour grading. How frequently do you travel, and do you have any tips when it comes to packing your gear? The “less-is-more” rule is gold. I want to be just a human being even if I have to rely on technology to make a film, so I pack as little equipment as possible. My criteria is I have to be able to enjoy a normal date with my girlfriend while carrying the equipment around. If you want to learn more about Yuki’s creative’s work, head over to his homepage. Participate in our initiative: share your talent and creative work by following these steps.Read more
As part of our aim to strengthen the connection between us and our readers, we decided to give our talented audience out there a stage to express themselves and share their success stories in our new weekly TALENT FEATURE. We hope that with time, these guest posts will become a source of inspiration to our colleagues wherever they are. If you are interested in participating, Please upload your video to our VIDEOLOG and follow the rest of the submission process by reading the information here. (Intro by Johnnie Behiri) Brian Charles Lehrer is a freelance director, cinematographer and photographer raised in New York, now living in Los Angeles. Since graduating film school, he has directed a Music Video Production Association Award nominated music video and a liquor commercial for El Silencio Mezcal. He has also acted as Director of Photography on numerous projects, including commercials for several start-up brands and Fatburger, as well as music videos and short films. He spent time as a creative director in a start-up production company, where he learned to pitch projects to clients and write copy like his life depended on it. Recently, he has been also been pursuing photography, focusing on travel and cultural images, with photos featured on National Geographic Travel, Sony Alpha’s official Instagram, and for a gallery in Santa Monica, CA. He edits and produces much of his own work, and colour-corrects as well – although he’d much rather let other experts handle that business when the budget allows! Name: Brian Charles Lehrer Age: 27 Currently based in: Los Angeles Language Spoken: English, and a pathetic smattering of words from the places I’ve traveled (Japan, France, etc.) Occupation: Freelance director, director of photography and photographer How did you get started in our industry? I’ve been playing with cameras since I was kid, trying to weave together little stories and skate videos with my friends on an old Hi8 camcorder (remember Hi8?!). In high school, I really focused on my craft, eventually attending the USC School of Cinematic Arts from 2007 – 2011. My first professional work was producing music videos – I gained valuable experience in putting a production together, while confirming that I don’t have the mental fortitude to be a full-time producer. Pivoting my career, I worked as a colourist on several commercials and music videos while I gradually transitioned back to my passions in this industry, which have always been cinematography and directing. Current assignments: I am currently in post-production on a fashion film for a new menswear line, called ARCADY. It’s a myth-inspired epic little piece that I directed and edited with a friend. It’s one of the few projects that I haven’t shot myself, as we were lucky to work with an awesome agency-repped cinematographer. What types of productions do you mostly shoot? It really runs a wide gamut, but typically I work on small-scale commercials and branded content, as well as the occasional music video and short film. Recently, I’ve also begun dabbling in photography as well, both personally and professionally. What is your dream assignment / job in our industry and what are you really passionate about? Obviously, I’d love to direct or shoot a great TV show or film. But for the foreseeable future, I really hope to work on some potent commercials or music videos that embrace epic visuals, yet resonate intimately on an emotional level. I am happy to pursue those kinds of projects as either a director or director of photography working with other directors. I would also drool for a chance to travel the world, shooting for a respected publication like National Geographic. In the work that you are presenting to us, now that it is done, what would you have done differently? Hindsight is always 20/20, right? I had never shot this kind of travel video before in earnest, and I didn’t quite know what I was getting into. Broadly, I wish I had taken more time to make sure I got the shots I wanted without any operator error, and I really wish I had been a bit braver about diving into situations and getting closer to strangers. As my trip neared its end, I got more confident in this respect, but next time I would definitely be more outgoing from the get go, so as to form more personal connections with locals and translate that to the footage. Technically, although I was trying to wear as little gear as possible, I really wish I had brought a one-handed gimbal like a Came-TV Single. I love tracking, steadicam-type shots… And there I was trying to replicate that with only a measly camera strap for stabilization. I did use Adobe’s Warp Stabilizer effect to smooth out some wrinkles, but that can also introduce nasty artifacts and wobble so it wasn’t a magic solution for every shot. Lastly – I’m sure I could have edited down the final cut to a shorter runtime, but I had paying work on the horizon and at a certain point just had to call it a day! What current camera, lenses and sound equipment do you use? On bigger jobs, I try to secure an Arri Alexa (or Mini), Sony F55, or sometimes Red Epic from the production. I generally prefer the Alexa whenever budget allows: it just works, and the image it produces is refined without introducing any colour-science quirks. On smaller projects, I often use my personal Sony A7R II and other cameras like Sony F5/7S, etc. Everyone uses the A7S, but if you look really closely at tests like those you conducted, the R II has some benefits over the S II, like better rolling shutter in full-frame, and a more useful base ISO. Meanwhile, it gets the same image quality as the S in most situations, and allows for the insane quality in stills. The only real downsides are a little less low-light sensitivity and lower-quality 120fps slow-mo. My choice in lenses really varies depending on the project. For larger productions, I’ve like Zeiss Superspeeds or Standards, old Cooke S2/3 Panchros, Kowa Anamorphics, and Fuji Cabrio zooms. For personal or smaller work, I own a pair of Canon L-series zooms, and some Sony / Zeiss primes, including a lovely 35mm F2 Zeiss Loxia all-manual lens. As “A MOMENT IN MYANMAR” was a personal project made while on vacation, I was trying to keep as low a profile as possible (and not bother my girlfriend too much!). So, I used my Sony A7R II and mainly the Sony Zeiss FE 24-70 F4 lens. It’s not the best piece of glass out there, but it’s flexible and, most importantly, small. I also carried the Zeiss 35mm F2 Loxia and Sony FE F1.8 55mm, using those occasionally for their more interesting characteristics, or when I needed more sturdy manual focus. When not on the go, I try to use my L-series zooms with my Sony A7R II with a Metabones SpeedBooster – in the A7R II’s excellent quality APS-C crop mode, this gives you an equivalent F2.0 24-70mm zoom which is pretty stellar. I rarely do my own sound recording, but I do have a Zoom H4n recorder (I don’t recommend it) and a Sennheiser 416 shotgun mic (which I highly recommend), plus a little Rode Video Mic Pro to throw on my Sony A7R II when required. What is your favorite light equipment and why did you choose that kit over other solutions? It really depends on the job – for “A MOMENT IN MYANMAR”, obviously I used entirely available light, hopping from temple to temple, etc. On sizable productions, I use a wide assortment of tools – but I often employ Joker or similar HMIs, usually punched through large grid cloth or bounced against muslin or Ultrabounce. The Joker-Bug 800w and 1600w are flexible and remarkably powerful lights that can serve several purposes, while running on a normal circuit. They have a ton of punch, but they are also easy to set up with a softbox and create beautiful gentle light sources that imitate open windows, etc. I also use a lot of Kino Flo Divas or 4x4s, as they’re a classic multi-purpose soft light that’s easy to use wherever. Though recently, I’ve been trying to incorporate more LEDs as replacements. I’ve really been itching to use LiteGear’s LiteMats, but haven’t had an opportunity yet. I’ve heard great things from fellow DPs and their low-profile design is great for attaching to ceilings or against walls. Do you use drones / gimbals in your productions? If yes, what is the most effect reason why you’ve found in deploying them? I’ve only had one project with a drone, and a qualified owner/operator was the man doing the piloting, but they are amazing tools to grab aerials or chase cars around. In this case, it was a commercial for a car cleaning product company, and we had some pretty epic shots chasing a truck and several drift cars through the open desert. As for gimbals: they are really incredible pieces of tech, and I used a Movi recently on a music video I DP’d. However, when budget, crew and time allows, I really like to employ a steadicam and operator instead, as I find they have a somewhat more polished look to the movement. Now, you can outfit a gimbal with all sorts of accessories (like a Serene Arm and EasyRig as I did on the music video), but it ends up kinda ungainly, and not much more convenient than using a steadicam rig. That being said – I am not trained to operate a Steadicam myself, so I would love to own a small gimbal like a Ronin M or even a one-handed Came-TV model for gigs that don’t have much or any crew. What editing systems do you use? I edit on Adobe Premiere Pro, and have been a loyal user for years, despite a brief affair with Final Cut Pro 7. I use my maxed-out Retina Macbook Pro (with plenty of external Thunderbolt RAIDs), but to be honest my laptop is almost kaput. It’s extremely frustrating – the puny graphics card is constantly overheating and failing, so I’m trying to wait out any updates from Apple and maybe upgrade to an iMac or Mac Pro for editing purposes. How much of your work do you shoot in Log and what is your preferred way of colour correcting? I almost exclusively shoot in Log or Raw. Since I have trained and worked as a colourist, it’s imperative to me to have the best digital “negative” possible for colour-correction. On projects with no budget for a colourist, I just do the job myself (which is very often!) It takes a day or so, but I don’t typically work on projects requiring immediate delivery of content. My methods of colour-correcting vary: I use DaVinci Resolve (the free version) often, as well as Adobe’s new built-in Lumetri system for smaller projects. I often use a base LUT to colour-grade around and underneath, especially with the trickier Sony camera colour, but I rarely use a LUT with a heavy “look” to it. Typically, I go with standard Log to Rec709 or P3 LUTs to get the footage in the right region, and then go from there. On “A MOMENT IN MYANMAR”, I used a very subtle Sony-provided S-Log2 to Log709 Color LUT that still preserves the S-Log low contrast, only affecting the color values. I then graded from there to taste. However, I am increasingly experimenting with film emulation LUTs like those from Koji and VisionColor – where I apply a subtle Kodak or Fuji emulation LUT and grade further from there. I own a Flanders Scientific 17” colour-accurate calibrated monitor (which I also bring to set), and a single Tangent Element trackball panel I use when grading. How frequently are you traveling and do you have any tips when it comes to packing your gear? I have been traveling a lot recently! Often with my girlfriend who travels a lot for work, and I take photos. Since November, we’ve been to Thailand, Myanmar, Japan, Mexico, the Philippines, and soon Italy! It’s been wild and I feel incredibly lucky. My thoughts on packing gear: bring as much as possible (hopefully all of it) onboard with you. You can keep an eye on it, and it’s way less likely to be lost or damaged. I always wrap lenses and other fragile components carefully in soft pouches, and try to keep them away from any liquids with plastic bags. For my A7R II, I not only bring a battery charger or two, but also a big USB phone battery. If you run out of batteries, you can plug it right into the camera and use that in a pinch for power. For run and gun work like “A MOMENT IN MYANMAR” I try to take as little gear with me as possible when leaving the hotel. The less you carry, the more flexible, agile and adventurous you can be. Too much gear can steal away the magic, and reduce spontaneity. This is the very reason I traded in my Canon 5D for the A7R II, not because of it’s better specs, but mainly because it was smaller and lighter! If you want to learn more about Brian creative’s work, head over to his homepage. Participate in our initiative: share your talent and creative work by following these steps.Read more
As part of our aim to strengthen the connection between us and our readers, we decided to try something new and give the many passionate talented people out there a stage to express themselves and share their success stories in our new weekly TALENT FEATURE. In this new initiative, we will feature a guest post written by you every week. We hope that with time, these guest posts will become a source of inspiration and point of information to our colleagues wherever they are. (Intro by Johnnie Behiri). This Sunday, we are featuring Arnaud Blin Arnaud is a freelance filmmaker based in the French alps who specialises in shooting sports, outdoor and tourism events. He works as a shoot & edit cameraman for his own productions, as well as with other production companies in projects such as sports events (mountain bike, trail running, ski) and sports TV shows like “Carbon Zero” on Eurosport France. He is also no stranger to shooting commercial clips for the web and TV, mostly for brands, ski resorts or customers who would like to feature their outdoor activities. From Arnaud: “I started a part-time job as a cameraman around 4 or 5 years ago, but only decided to try my luck as a full-time freelancer a year ago. My “workhorses” are the Panasonic GH4 and DJI Ronin-M, with a complete set of Panasonic/Leica lenses. I love working with this kit because it allows me to be lightweight, get anywhere quickly and get great footage. Since I am relatively new in the business, it is not so easy for me to find enough assignments to make a good living, so I try harder! I am just in the beginning of trying to make a name for myself, and the video above is featuring my latest work. Name: Arnaud Blin. Age: 30 years old. Based in: France, located in the Alps. Language spoken: French, English. Occupation: Freelance filmmaker, camera operator, editor, director of photography. How did you get started: I bought my first camera to film downhill freebording with my friends and make videos for the web in order help grow the community of freeborders in France. As a representative for those guys in France, making videos was only part of my job. You can see a sample of my work by clicking here. That video was shot handheld with a Canon 550D with battery grip while riding my board with the guys. We call this a ‘followcam’….. In the winter of 2012 I started to work as a part time cameraman for an action sports show on French cable TV for Gomera Production. Parallel to this job, I also started making videos for brands or events, as well as selling sports goods and being a snowpark shaper in the winter. When the DJI Ronin came out, a producer let me try it out and it was a revelation! “Now I can do smooth traveling like on my freebord, but anywhere!” Current assignments: Since mid-2015 I do full-time freelance filmmaker work. My latest assignment was a 2-minute commercial for an area hosting the Tour de France, and will be aired on TV and web. Usual types of production: Most work I do is for sports events (MTB, ski, trail…) and tourism films where the client wants to showcase outdoor sports. Dream assignment/job: Anything that involves traveling and filming outdoor sports in beautiful locations. That’s what I am passionate about! What is done differently in work you’re presenting?: What I’m currently presenting is a compilation of my latest work, but I should have probably shown a wider variety of shots, more portraits, more classic/crane style shots. Current equipment: I shoot with my Lumix GH4 ever since it came out a couple of years ago. I only use m4/3 native lenses. For me, gear weight is essential, because I sometimes have to run with all my gear for a while, and also because gimbals work better with a lighter load. My Panasonic Lumix Zoom lenses are: 7-14mm; 12-35mm f2.8, PZ 45-175mm f/4.0-f5.6; 100-300mm f/4.0-f5.6. Leica prime lenses 25mm f1.4, and 42,5mm f1.2. For audio, I use a Shure VP83F. It is similar to the popular Rode but it also has integrated recording on a microSD. It is a very convenient tool. I also own a Rode lavalier with a Zoom H1 for “sit-down” interviews. Favorite lighting equipment: I only shoot with natural light because I never have time to set up lights during sports events. Drones or gimbals?: Gimbals are essential to me. It makes it so easy to simulate a crane or travelling shot. Also, it makes it possible to be in the heart of the action when I follow a mountain-biker or a runner on the trails. I run pretty fast, so thanks to the gimbals I can create shots that were pretty much impossible before. I balance my DJI Ronin or Ronin-M gimbal just by squatting and holding the top with my legs. That way I don’t have to carry the stand and can balance anywhere quickly. The most important thing to get great results are settings and training, not balancing for hours ;-) I love flying drones too, it offers a very interesting perspective, but I only fly drones on projects where I work alone. Editing: Final Cut Pro X. It’s very fast, very reliable and I never felt limited by it. Since my old MacBook Pro died on me, I edit on a desktop Hackintosh I built from second hand parts. I maxed it out and overclocked it (i7 email@example.com, 32GB ram, r9 280x, internal SSDs and HDDs, thunderbolt SSD, and a high end Corsair power supply). It is perfectly stable, reliable and very fast. It is a grey area if Hackintoshes are really legal or not, since I own the licenses for all the software I use, including the operating system from my dead MacBook Pro. An original Mac Pro is too expensive for me right now. Colour Correction and Log: I never shoot Log, always shoot Natural. We often need to make a raw video for TV news only minutes after the competition has ended. When I edit the recap videos, I send them the next day after the event, so I do basic grading on FCPX and sometimes apply a little bit of LUT to make it look nicer. Travel/Packing Tips: I travel a few times a year. Here is my advice: Always be a tourist, especially to customs. Don’t start saying you’re a professional photographer, filmmaker or journalist. It will keep you away from some trouble. Take all your expensive and essential stuff with you on the plane. Always take two chargers! Take one with you and one in your checked-in bag. I mostly use microSD instead of SD cards because if/when the plastic connector starts to fail you just replace the adapter and you can avoid a lot of stress. If you want to learn more about Arnaud’s Creative’s work, head over to his homepage. Participate in our initiative: share your talent and creative work by following these steps.Read more
As part of our aim to strengthen the connection between us and our readers, we decided to try something new and give the many passionate talented people out there a stage to express themselves and share their success stories in our new weekly TALENT FEATURE. In this new initiative, we will feature a guest post written by you every week. We hope that with time, these guest posts will become a source of inspiration and point of information to our colleagues wherever they are. (Intro by Johnnie Behiri). The first talented filmmakers to be featured are Forrest and Zaynah Pando. Forrest is one half of Pando Creative Co., along with his wife Zaynah. They’ve been lucky enough to find a niche in Charlottesville, Virginia, producing art-house wedding films under their parent company Citrus Ceremonies. The success they have found has allowed them to fill their remaining time with the promotional work and creative narrative projects that they’re passionate about, such as the most recent music video they co-directed, and which they are showcasing here. They’re working towards producing their first short film based off the aesthetics that they have been cultivating through their music videos, as well as drawing inspiration from Danish filmmakers. Name: Forrest & Zaynah Pando (Husband and Wife Filmmakers) Age: 26 Based in: Charlottesville, Virginia. Language spoken: English. Occupation: Filmmakers. How did you get started: I went to film school in college after having my interest super piqued in High School. Zaynah basically went to film school through osmosis and after college, we began working together. She worked five jobs (waiter, hostess, dishwasher, screen printer, and our company) in order to support us while we got off the ground. Our bread winner now is Wedding Film, which allows us to be paid pretty well and do less high paying creative jobs with little risk of not being able to support ourselves. Current assignments: Virginia Wine Summit recap video, Weddings!, and a series of shorts for a program pairing craftspeople with apprentices. Usual types of production: Weddings. Promotional videos. Dream assignment/job: We both want to direct feature films, telling the stories that we’re passionate about. What is done differently in work you’re presenting?: Directing is all about communication at the end of the day. Throw two people in as directors and it becomes twice as important. We’re always learning how to communicate better with each other and although I think we’ve reached a point where it is pretty easy, it could always be better. Current equipment: Sony a7SII, Canon 5d MK III, Canon 24-105, Tamron 70-200, Zoom H6n, Zoom Wireless mics. We shot the music video above on a rented Ursa Mini 4.6K and absolutely loved working with it. Favorite lighting equipment: We don’t have a favorite brand. We prefer working with soft lights and bounces. For weddings we are pretty much all natural light. For music videos, we choose lights based on the aesthetics we want. For the music video before this one (https://vimeo.com/134756399), it was black and white and we were using “Ida” as influence. We hung two Octagon soft boxes with Bright HFL bulbs above the table where everything took place. For the most recent one, we had a bounce we used in several shots to fill out features. Drones or gimbals?: Yes, this is a tech-driven blog, and yes, I love learning and researching new tech like the rest, but we held off purchasing either of these for a long time. I feel that a drone can be useful in some projects, and a gimbal can be useful in some projects. The problem for me was that I used to put emphasis on the tech first, and let the idea for a project fall to the wayside. It was so much easier to say, “this drone footage is going to make my video amazing” than it was to say “how am I going to make the story and content compelling?”. You’ll be happy to know we have purchased a drone recently (DJI Phantom 4) and used the gimbal for the black and white music video for Post Sixty-Five. I am also still blown away by how equipment that used to be only for the big productions is now becoming increasingly affordable and making it possible for you to match your ideas and stories with the proper tools. That truly excites me. Editing: Premiere Pro CC Colour Correction and Log: Just recently started using Log on the a7sII and colour correction using DaVinci Resolve. Holy smokes, Resolve is amazing. Travel/Packing Tips: My tip for packing would be less about how to pack and more about what to pack. What is the bare minimum you need to tell the story you’re going off to create? What might be a distraction? For weddings, we each carry one backpack from Mountainsmith that holds all our gear, so that we can truly be run and gun. This means we aren’t running around with gimbals and whatnot. But for us, it’s more about being as unobtrusive as possible. If you want to learn more about Pando Creative’s work, head over to their homepage. Participate in our initiative: Share your talent and creative work by following these steps.Read more
We only send updates about our most relevant articles. No spam, guaranteed! And if you don't like our newsletter, you can unsubscribe with a single click. Read our full opt-out policy here.