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Archive 2015 · Caroline+Francis (E-session + Behind the Scene Video)

FrancisK7
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p.1 #1 · p.1 #1 · Caroline+Francis (E-session + Behind the Scene Video)

Jess is transitioning to video because we want to offer both services and we have a lot of demand for it. She had prior experience with shooting fixed interview-style videos and producing video capsules for her university and professional order, but nothing like this. She invested in a D750 and a stabilizer (the Blackbird, if anyone cares... took weeks of research and review hogging) and went out for the first time with it last Saturday.

So this Summer and the next probably we'll be offering free video services and include a small Behind The Scene Video (BTSV) like this with most of our e-sessions and of course on their wedding day. That way Jess will be building up experience and a portfolio, so that for 2017 weddings we can start charging for it. Baby steps.

I'm specifically looking for feedback on the video. Yes it's jumpy. She'll get better. I mean storytelling wise.

BTSV:

As for the photography, this is only our second e-session so far this season because Spring only really arrived two weeks ago in Montreal. We froze from December until late April this year.

May 25, 2015 at 09:05 AM

FrancisK7
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p.1 #2 · p.1 #2 · Caroline+Francis (E-session + Behind the Scene Video)

I should probably warn you about the nipples in the video? NFSW or something.

May 25, 2015 at 09:10 AM

BSPhotog
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p.1 #3 · p.1 #3 · Caroline+Francis (E-session + Behind the Scene Video)

Ha, I was going to mention the bronze penis that the video glances down at for a second near the end, but I guess there was a nipple too.

The video, from a story telling stand point seems to follow the shoot pretty well. I have no confusion about what is going on and the pace seems consistent throughout.

**DISCLAIMER: I'm not a videographer. Anything and everything that I know about the gear and process is what I've heard from others who work in video.

That said, the focus jumps frequently and the instability from the operator walking felt really distracting. Since it appears that she is using AF, I'd really recommend that she closes down the aperture or keeps her subject to camera distance more consistent when she is moving in a scene. This would hopefully keep the AF from jumping as much. Is she using an external recorder or any kind of larger display...or just the rear LCD? I only ask because a larger screen might be easier and more effective to use, especially in bright sun. An external display might make it easier to see where the AF point is. It sounds like she's probably getting used to the stabilizer, but the promo video on B&H is substantially smoother. Practice I am sure will lead to some improvement. The promo video also mentioned some adjustable friction on the gimble, perhaps that adjustment could help as well.

Length seems on the long side, but that really depends on who this video is intended for. I have seen entire wedding days cut into a similar length.

As a huge plus, if she's shooting all of this BTS stuff, you're going to have a whole bunch of great footage to cut together for a promo reel for your business. Just add some client interviews here and there, wither their audio over the BTS footage of them looking happy.

May 25, 2015 at 09:41 AM

FrancisK7
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p.1 #4 · p.1 #4 · Caroline+Francis (E-session + Behind the Scene Video)

Fantastic feedback, Ben. Thanks!

You nailed every difficulties she experienced.

-LCD. She was relying on the D750 screen only and in plain sunlight, told me halfway through she couldn't see squat most of the time. We did another session in the morning (I will share later, client hasn't seen it yet) which was better on that front because she was in the shade more. An external LCD is definitely on the list, but then there comes the problem of weight. At first she considered the ReadyRig vest, but after a lot of research opted for the Blackbird and a video monopod+head. There is a blackbird vest add-on she will probably have to invest into at some point. For weddings I think an external monitor will be a necessity, and I don't see her handling this entire gear set without a vest. She is very petite.

-The focus is the biggest difficulty. She shot this with a 35 1.4G. I expect the AF issues would have lessened with a 1.8G. I'll tell her to try a smaller aperture as well. Ultimately she used the AF issues as transitions between scenes.

As for length, I agree it's long. We give it to clients for free who we hope will share and show it to their friends and family, so with an emotional connection to the subjects, I expect it's an acceptable length. We don't intend to produce 2-hour long documentaries ever, we wouldn't even want that for our own wedding, I don't even know I could watch the whole thing even if it were my day.

Next on the list are wireless mics and external audio recorder, so we can get clean audio of vows and speeches so we can cut them in over BTS footage. Another grand to plop there.

May 25, 2015 at 09:53 AM

leethecam
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p.1 #5 · p.1 #5 · Caroline+Francis (E-session + Behind the Scene Video)

I speak as a pro DoP working in the broadcast field, so take from this what you will...

Large format cameras and shallow DoF are a huge challenge to pro crews with talented focus puller teams and the best of viewfinders / kit, so even F1.8 on a D750 is going to be an almost impossible task on tracking shots. (Remember, feature film guys use a smaller sensor than on the D750, so you're shooting on the eqwuiv of about a 60mm motion film camera - not for the timid...!)

If you're after the extreme shallow DoF effect then it's best to maintain an equal distance from the subject on moves, (ie don't track towards or away). This also means moving in an arc when tracking left to right.

Remember, most feature films don't have the extreme shallow DoF that many videographers have a fetish for - backgrounds tell the story as much as the subject, so you may want to try for F5.6 or F8 (which is the equiv of F2 or F4 for motion picture 35mm and these are the most commonly used F stops).

Or perhaps if you're wanting to have moves, consider smaller, modest ones. Perhaps on a small slider for ease of use. They'll get you stability and focusability.

Less shots that are more considered will bring the production higher values. The mini "steadicam" type rig you are using is a popular choice but I feel they are often over used.

The only way of seeing what you are truly doing in sunlight is to have a dedicated monocular viewfinder. Alas this often requires a small rig. However, I started my 5D2 shots with a simple Zacuto optical viewfinder attachment to the back of the LCD and I made a simple rig from a Magic Arm and a little bracket. Looked daft but it worked a charm. (Is useless for "Steadicam" type shots though).

Sometimes it's as well to look at dedicated camcorders by the time you've bought all the attachments. Alas you're on Nikon lenses, otherwise I'd suggest a secondhand C300 as they're cheap as chips nowadays.

All the current large format offerings have big limitations that the film boys don't mind because they have the time, crews and experience. Don't write off the smaller format camcorders. (I've shot some of my finest documentaries on 2/3" cameras which are the equiv of about 16mm motion film).

In all things though - NEVER use auto focus. It's never going to work properly.

With practice comes skill. You should have seen my first video 20 years ago...!

May 25, 2015 at 12:49 PM

FrancisK7
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p.1 #6 · p.1 #6 · Caroline+Francis (E-session + Behind the Scene Video)

Hey Lee, thanks for taking the time to write detailed feedback. Much appreciated. Always nice to hear from pros in the field. Jess studied cinema for one term before changing to the humanities (career counseling) and her heart has always been in producing so I wouldn't be surprised if she upgraded to a full dedicated camcorder in a few years.

Right now we're just too small to justify that sort of expense. In two years if we reach our goal of 40 weddings a year, I definitely see it as a possibility.

As you said, the pros have teams of people doing this. My cousin is a camera man who works on popular TV shows (like Lost) and he tells me that on movie sets there is a 3-man team per camera: one person's entire job is to focus! I don't think she shot this at 1.8, she was at around F4 or f5.6 because, as you so eloquently said, we have a fetish for nice OOF bokehs. We have two e-sessions a week going all the way to September so there will be plenty of time to practice

Since you're a pro in the video field, is there a camcorder you feel would be a good stepping stone? I feel it's very difficult to evaluate what would work best without a lot of experience.

May 25, 2015 at 01:10 PM

mikethevilla
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p.1 #7 · p.1 #7 · Caroline+Francis (E-session + Behind the Scene Video)

Quick note about DSLR video: Not one single professional in the industry uses autofocus while recording. Everyone uses manual focus for better reliability and smoothness.

I agree with the comments on needing more depth of field and less movement.

Get lots of practice, watch LOTS of wedding films, and good luck!

May 25, 2015 at 01:22 PM

brianclary
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p.1 #8 · p.1 #8 · Caroline+Francis (E-session + Behind the Scene Video)

Edited to add: This feedback is based on the idea that this video is a short, FUN, high energy engagement shoot, not a dramatic, rich, romantic wedding video.

One thing I learned from a Hailey Bartholomew video was that you want to leave the viewer constantly wanting more...so that being said,
1) I would shorten the clips (yes, actually shorten them further) - quick 2-4 second bursts. Just give HINTS.
2) Don't be afraid to go in REALLY tight and vary the perspectives. So much of this is from the same focal length, or height, or general same perspective
3) Focus on the lyrics more - for example, the 'love love in your hands should mesh up with them holding hands, holding ice cream cones in their hands, his hand going through her hair, etc. Another example, the lyric: 'Look at your life, and just rewind' - perfect chance to either build lots of visual opportunities there. Have the images queue in beat with the music if possible. You could even add a lot of energy, by doing a quick 1-2-3-4 clip during one measure of the song (where the clips are each just one 'beat' of the music), maybe leading up to a chorus, etc.
4) For this music, I'd include more clips of them laughing and smiling, but again, VERY quick bursts
5) Less clips of them talking, your style may be NOT to direct them, but for a showcase video like this, I would 100% direct them on how to move, when to move, etc.
6) I'd aim for a shorter video to be honest. Imagine breaking this up into tinier segments, and making a 2:00 vid instead of 3:22. Leave people wanting more. Make them REWATCH. Don't give all of a scene to them in a long 5 second clip.
7) I'd cut out that first intro music - it's too soothing and doesn't 'grab' you. I'd trim it to right when the lyrics start.
8) Overall, I'd bring a more energetic, active vibe to it. They seem very calm, friendly, thoughtful. But for a video like this, I'd want to walk away thinking OMG THAT LOOKS LIKE FUN! I might even switch to a slightly faster tempo song.
9) TONS OF OPPORTUNITIES for quick 1 second shots - expressions of the goat, ice cream moments, etc.

From a technical perspective, yeah, focus issues, jerkiness, but overall a better start than most, I'd say. Might try a narrower depth of field, too.

One thing you did a good job of was movement - you made sure that either (a) the camera was moving, or (b) they were moving. I just think the content (what they are doing) and music selection could be more fun/upbeat. For example, maybe direct him to spin her around, have them dance, have her dip him, make them laugh a LOT.

May 25, 2015 at 02:26 PM

leethecam
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p.1 #9 · p.1 #9 · Caroline+Francis (E-session + Behind the Scene Video)

Now that there is the new C300 Mk2, the Mk1 is going very cheaply in the second hand market - but you're going to need EF or PL mount lenses, so extra expense. In the UK a S/H C300 is about £2750 + VAT

The above would suit if you want the large format style camera (although it won't get you the extreme DoF that the D750 offers - although not a bad thing...

Smaller format cameras which admittedly offer a larger DoF include the Canon XF105 and I'm betting a S/H version would be quite cheap. Don't expect very shallow DoF with these cameras, but you have greater flexibility in focal lengths and speed of working. It's a different way of working. (Easier to focus with though...!)

The problem we often forget with DSLR cameras is that to have them work correctly, they require so many add-ons, that they often don't make a cheap option.

It is highly possible to shoot amazing videos with DSLRs... (I won a couple of industry awards with a production I shot almost entirely on a 5D3). But you need to understand the limitations and benefits of their use and shoot accordingly. Do that and you can have a great combo.

May 25, 2015 at 03:28 PM

FrancisK7
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p.1 #10 · p.1 #10 · Caroline+Francis (E-session + Behind the Scene Video)

Jess is still a secondary photo shooter in many conditions so going with a D750 was a natural choice. I know nothing or little about video. I know she never intended to use AF for more than a few sessions, so she could concentrate on handling the rig the first few times. Though my understanding is that she is not allowed to interact with the camera directly to focus since that would transmit into the video. I expect they sell gizmos that allow to focus without touching the camera?

I will forward all the feedback to her, should help a lot.

May 25, 2015 at 04:12 PM

Ziffl3
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p.1 #11 · p.1 #11 · Caroline+Francis (E-session + Behind the Scene Video)

For the video....
It is a good start. Sort of. It looks like you were just happy to get some shots.
Did you plan any shots?
You need to shoot with purpose just like stills.

I would search for all of the stillmotion videos and watch ... tare down the videos... mean study the how and why of each shot. Then watch again.
There are training section also, as in how to move with a camera when following clients.

The AF has been mentioned.

I agree with what brianclary has provided.

What leethecam has provided is good but way out of touch here. sorry.
DSLR either cropper or full frame is fine to get started.

Editing: your overall editing ... color/exposure is good.

The film editing is actually better than the stills.
In the still, the WB jumps ... plus no consistency in processing style.
The still have better angles and compositions.

I found this pretty quickly....
need to go back 4-5 years ago.

Here is the gold standard.
Granted much has changed as in hardware for steady cams.
But the editing, focus, DOF and understanding your working distance, manual focus, the compositions...
Take it in and go for it.

I would highly suggest at least a 1 day (or more) workshop on premier pro.
Put yourself in front of people who know how and why you edit.

Editing makes or breaks video.... period. A good editor can take crappy video and make it work.
A poor editor can screw up great video.

-Mark

Edited on May 25, 2015 at 09:05 PM · View previous versions

May 25, 2015 at 04:24 PM

leethecam
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p.1 #12 · p.1 #12 · Caroline+Francis (E-session + Behind the Scene Video)

If you want to see the gold standards of Steadicam, I've been amazed by this chap...

Of course good storytelling and video shooting is much more than moving cameras and shallow DoF.

Just in case there is any misunderstanding, I've clearly stated that you can get great results with DSLRs. (I mentioned that I shoot on a 5D3 for some productions). Not everyone has access to a £40K camera... But DSLRs have their limitations and the mistake rookies often make is to try and shoot the same way they might with a smaller format camera with a dedicated video style lens. (Focal length / lens flexibility / iris control and ergonomics need to be considered). The built in codec of many DSLRs is not quite so great, but with care you can grade the images successfully enough for many productions.

Your style of shooting should dictate the type of camera choice you make, not the other way around. I've just been shooting a documentary which would never have worked with a large format camera (unless we'd coupled it with a heavy and very expensive true-video zoom lens), and I've shot music videos which just didn't work with a smaller format camera. For each of these projects the style of shooting was decided beforehand and the camera format was chosen. (Remembering the camera is only a small part of the equation).

Whilst DSLRs can offer an economical option, it's also important to weigh up the total costs if their limitations are to be overcome. (Optical or EVF viewfinders to overcome issues of seeing the image in bright sun and focusing / rigs to overcome the ergonomics of operation in some circumstances / audio add-ons to get decent audio / lens options if you want a range of focal lengths and expensive lenses if you want to zoom through a shot...) The advantage to DSLRs is that if these limitations can be lived with, then the entry cost is quite small. It costs more to overcome the limitations. (My 5D3 rig costs about £4K but does work quite nicely - but not essential for everyone).

If you're buying add-ons for your DSLR, ignore the focus assist bolt-ons. These are intended for focus pullers but seem to have been adopted by many video people. I've been turning my lens focus by simply grabbing the focus ring on my lenses for 20 years now. Many of the cheaper units just reduce precision and add weight. Save your money and spend it on other things. (Put it towards a slider perhaps...?)

Depending on the style of shooting a brand new XF105 can be had for a mere £1800 and when the OP is considering splashing quite a bit for add-on audio and had issues with seeing the LCD without an extra viewfinder option of some sort, it's certainly worth considering whether this type of camera suits. (Not the creamy DoF of a DSLR, but greater/more usable range of focal lengths, easier audio options and a better in-built codec).

S/H C300's offer a good option, particularly with the OP considering overcoming audio and viewing issues - but would the expense of buying Canon lenses be an issue. (Although the cheap primes from Samyang with manual iris are tempting...)

There are differences in how cameras handle highlights. This may or not be an issue for some. I've just done a 2 camera shoot where my 5D3 gave up entirely on the extreme brightness of some parts of the image, where my other camera (A different model), quite happily sucked it up and rendered colours and detail very happily.

The OP mentions shooting weddings in the future. These events often require flexibility in iris control which usually means manual iris - only truly found on primes - but this limits focal length flexibility. Not an issue so much if it's a creative "highlights" video of beauty shots, but more of an issue if the wedding is to be shot in a more literal documentary style. Again, style of shooting dictates choice of camera - hence the choice.

Good pictures make editing much easier. Less fixing and more creating...! Good editing comes through experience and an in-built sense of pace & storytelling. If you have that knack it will come with practice. If not, then there are lovely editors out there. I've been editing for over 10 years and I'm still finding new things. I've found that simple often trounces complex if it's done elegantly. Less is more and a long edit gains few friends if it is too long. Be self critical with your edits. Then be more critical. Remember there will always be more than one way to cut something. Only break the rules of editing when you have fully mastered what the rules are - one step at a time whilst you're learning...

There you go... now you know everything I've picked up over the last couple of decades... (well I've kept a few gems for myself. Can't tell you everything...

)

Lots of options. Your style, intended market and bank balance dictate the rest...

May 25, 2015 at 05:55 PM

FrancisK7
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p.1 #13 · p.1 #13 · Caroline+Francis (E-session + Behind the Scene Video)

Mark: is a stabilizer with vest THE standard? Jess wondered what the standard was if there as one, between stabilizer, vest, monopod, etc... but she could never find any convincing stats.

About WB jumping, you mean like 4 and 15 being warmer and 14 colder than the rest? Thing is I processed these in a batch in LR and even graycarded them at first, so every photo have same WB and curve settings. Sun was in and out of thick clouds at times, making the overall feel going from warm to cold instantaneously at times. You prefer if they all look the same regardless of weather patterns at the time the shot was taken?

Both videos you guys showed had a vest attachment involved in the process, so I am going to guess that it more of a necessity than a luxury.

May 25, 2015 at 08:36 PM

Ziffl3
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p.1 #14 · p.1 #14 · Caroline+Francis (E-session + Behind the Scene Video)

What has changed is for DSLR you don't need the big vest. There is still a place for them... as Lee mentions: commercial shoots requiring bigger cameras (commercials/TV/Movies/Promo-demo films) or as seen in Professional sports broadcasting.

But for DSLR and weddings... the vest-less stabilizers will be perfect.
Shooting in manual is your key. Understanding what is important for exposure will drive your settings.

Jess needs to get out there and see what is happening on Vimeo and teaching studios like Stillmotion or Ray Raymond (sp).
I know multi-$K handheld gimble assemblies are replacing vest.

In the video I linked to, there is a small curved glide cam. you can start with this style and go from there.

I did not see any dolly work. Do you have one?

As for stills; Constancy wins over perfect WB in wedding work. I did not say processing style. Choose your style and be consistent with the skin tone though-out the day.

Constancy helps you create your style. Even if you don't know what it is or it is every evolving.

-mark

Edited on May 25, 2015 at 09:11 PM · View previous versions

May 25, 2015 at 09:03 PM

FrancisK7
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p.1 #15 · p.1 #15 · Caroline+Francis (E-session + Behind the Scene Video)

The thing that worries me the most is the weight. Without it attached to the body somehow, she is supporting everything with her arm. She's not exactly in gladiator shape, and is petite to boot, and after a single hour she was already tired, so I can't imagine she will enjoy hauling the stabilizer for 12 hours during a wedding.

May 25, 2015 at 09:10 PM

Ziffl3
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p.1 #16 · p.1 #16 · Caroline+Francis (E-session + Behind the Scene Video)

Really, you do fly arounds only a few times of the day. The rest is on a monopod, slider ....

I ask ... where do you want to take the video side of your company?
This will help decide where you need to go.

If you look at stillmotions.com work and it gets you excited .... there you go. It is a mixture of all techniques used throughout the day.

Also... Wedding work either as a still shooter or video roller has a physical side to it.
Working out/getting in shape will actually let you be more creative.

-Mark

May 25, 2015 at 09:19 PM

FrancisK7
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p.1 #17 · p.1 #17 · Caroline+Francis (E-session + Behind the Scene Video)

We definitely need to check out workshop or more teaching material. We don't know which direction we want to take yet. This summer will give us a clue as we experiment.

We do not have have roller or dolly. We don't mind investing in good equipment from the get go, we just don't want to plop a couple K on something we will regret getting.

Is a dolly considered an essential part of the kit?

May 25, 2015 at 09:58 PM

jprezant
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p.1 #18 · p.1 #18 · Caroline+Francis (E-session + Behind the Scene Video)

Another (mostly) ex-wedding photographer turned DP here.

You've got tons of good advice here. But my biggest piece of advice would be to find your own style. You don't
have to shoot everything as smoothly as possible. It's feasible that your style ends up being a shoulder mount
run and gun style. A much more active camrea with more personality when compared to a steadicam. I've
opperated steadicams, and i'll tell you, they're kind of a b*tch and in my opinion probably not necessary at
a wedding. I know that everybody loves rocking them for the first dance, and thats one thing, but for most of
the day, they're really not a vital tool imo. You can easily shoot a wedding with a small slider, a monopod, and
a shoulder rig. I would personally be on a shoulder rig for nearly the entire day.

But the camera is just one part of the puzzle. You also have to approach light differently, as well as adding in a totally new element- sound. Sound as got to be the most overlooked part of wedding "videography". If you're planning on offering a full videography service, make sure you do your homework and get the right equipment. I would at bare minimum have a couple lav kits, a stereo mic, and something like a zoom (cheap and they can just be stuck someone, or you can plug them into sound boards in the church or the DJ's line for the reception). Good sound can make or break a film.

You asked if a dolly is an essential part of the kit. No. A slider, in my opinion yes. The difference being that the operator generally rides on a dolly, and a slider just carries a camera.

Make sure you learn the basics of operating a DSLR for shooting video. This means knowing the appropriate shutter speeds, making sure you're paying major attention to WB as it's not as easy to change in post (unless you're using a camera that shoots raw DNG files), and also watching audio levels. Also keep in mind the subtle weaknesses of DSLRs such as a rolling shutter (if you whip the camera left or right, any vertical lines in frame will appear to become diagonal (its a progressive sensor that scans top to bottom) and you get a weird jello type effect. Unavoidable other than not whipping to quickly.

Happy to answer any questions. Good luck!

May 25, 2015 at 10:24 PM

david1234
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p.1 #19 · p.1 #19 · Caroline+Francis (E-session + Behind the Scene Video)

All great advise

I started shooting wedding films a year ago. But had a lot of experience with dslr video and sound. The hardest part by far has been stabilization for moving shots. I have gone from 2 different steadicams to a homemade movi gimbal to now a new ronin M gimbal. Steadicams are great in that they require no power. However they are heavy without a vest, and most of the time no one wants to wear a vest for wedding films or certain projects. Secondly they are incredibly hard to use without hundreds of hours of practice IMO. what I mean by this is, side to side movement is so incredibly hard to avoid and can take me out of a story faster than anything. The Ronin M so far is amazing with the correct tuning. Its easy to hold for long periods of time if needed. Practically anyone can learn how to use them and will get much better results than a steadicam off the bat.

AF on Dslrs is garbage and shouldn't be used as stated above! Only camera i would trust with AF is the new c100 MKII. Of course this is all expensive and most people wont see the need for it. In your case, next time maybe just stick the lens at f8 with no AF and have her focus before each shot.

May 26, 2015 at 03:24 AM

Bartlett Pair
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p.1 #20 · p.1 #20 · Caroline+Francis (E-session + Behind the Scene Video)

I don't know much about this area, but all of the above advice looks great. I think it's great that you're moving into video and practicing, but I find myself wondering why you are in a lot of the video? It's great from a promo video standpoint, but I'm curious if you're thinking the clients would prefer you in the video - or just themselves?

May 26, 2015 at 05:17 AM

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