A Family Video

I wasn’t going to share this public at first, but just watched it recently and thought I would for an interesting reason.

I follow a lot of video groups on FB and Linked in.

One thing that comes up a lot–and I do understand it–is requests for what is the best stabiliser. Frankly, there are some new fantastic ones out there, and one day I might even buy one. But it’s low on my list and may never happen.

The most recent request asked if the expensive ones were better. My reply was along the lines…”yes”.

That said, back in my day of using a Steadicam, they cost something around $30,000. Maybe they still do. A cheaper alternative at the time (the 90s) was the Glidecam. I used that too. The Steadicam was way better.

So even though prices are down, you get what you pay for.

But do you really need one?

Depends what you do, of course, but my view is that technology isn’t there to correct bad camerawork. And that seems to be the inspiration behind some of these posts. “What’s the best stabiliser?” “What’s the best post stabilisation program that’s free?”

Nothing beats good camera work to begin with. That takes time and practice. In this age of technology, some people seem to think it’s there to solve their inadequacies. I beg to differ.

Anyway, if you’ve read my book Run ‘n Gun Videography–The Loner Shooter’s Survival Guide, you’ll know that I follow the ‘less is more’ philosophy when it comes to equipment.

I have 3 small cameras. All Sony. The NX30, X70 and RX10ii.

In this video I had the NX30 along, the oldest of the three.

I bought it because of it’s stabilisation technology. I didn’t want another bag with more kit requiring more time to set up. I wanted a camera that was a wingman for run and gun work. Something that would let me keep my attention on the job, not on the equipment.

I never use tripods, except for sit down interview. Never. And for the same reason.

So, it follows, everything in this video is hand-held.

Would anyone notice?

Beyond that, it may have no interest for most viewers. It’s a family video that only means something to those involved. My wife is French (she’s the one trying to get the others to dance at the end of the video), and what you are seeing here is the beginning of the move from the last family home in Saint Saens, France. All the others are long gone. This is the last one, and this is the last walk through the garden by father and daughter, a father who inherited the house decades past and spent all those years carrying on the stewardship of a house that was in the family for 300 years.

I only started shooting clips over the last two days there, so had little to choose from. The song was played on our last evening there (in the scene where they are all drinking calvados), so copyright issues aside, that was obviously the one to use. Made for an easy edit too.

Most of the shots were candid, except where they obviously knew I was there.

Yea, one shot is through a dirty window, but what I captured there was priceless.

The girls cried and cried. Watched it several more times and cried even more. (That’s a good thing).

Moral of the story: Quit worrying about your equipment and get your attention out there capturing things that matter to people and clients.

(as a note, the one weakness of the NX30 is lack of ND filters, and thus some difficulty in rendering details in bright exteriors)

 

 

Free Book Offer: Run ‘n Gun Videography–The Lone Shooter’s Survival Guide

Run 'n Gun Videography

I’ve decided to enrol in KDP Select which gives me some promotional options including making the book available for FREE for 5 days.

So that’s what I’m going to do.

I’m doing it for two reasons.

  1. I’m locked into KDP select for 90 days during which period the book can only be available on Kindle. So that gives me a sort of deadline for making the book available in soft cover and putting it on other platforms. I can’t promise it, but it’s a good target for me because I’m going to be pretty busy before then anyway. Plan is to update it and make it available in hardcover next fall.
  2. Though the book has sold a few hundreds copies, it’s only gotten about a little over 30 reviews between the UK and US markets. They’re all good reviews, but I’d like to see a lot more reviews.

The Free Download Offer is NOW LIVE on Amazon and runs through Sunday.

I hope that most of my subscribers here who don’t have it yet will take the opportunity to download it.

In exchange I have a humble request: Please review it on the Amazon page once you’ve read it.

US Amazon Link

UK Amazon Link

Available world wide.

Making a Murderer–A Compelling Netflix Documentary

Making a Murderer

Making a Murder is a Netflix documentary that was filmed over 10 years following the case of a wrongly accused man who spent 18 years in prison, and who shortly after his release (when DNA tests exonerated him), was arrested for murder–apparently framed by the police.

This is the most compelling documentary I have ever seen. I watched most of series 1 in one sitting because I simply couldn’t stop watching it (but finally had to stop because I could no longer stay awake).

Way better than ‘reality tv’. Way better than professionally produced crime dramas. The twists and turns never stop–and yet this is real life, real people, real court proceedings.

It chronicles a corrupt justice system and police department in addition to the influence of media. At least that’s how it rolls off so far. I don’t now how many times my jaw dropped watching this. It appears to be a frame job, but despite all evidence submitted in that regard up to the point I’ve watched it, I’m guessing he’ll be convicted again regardless.

Now what’s all this to do with this blog?

In the book Run and Gun Videography–The Lone Shooter’s Survival Guide, I talked a lot about message being the overriding fundamental in any artistic production, film and video included. I also talked about the subject of technical perfection being junior in importance to getting the message across. So much so that in deciding as an editor if a flawed shot should be used or not, the answer to the question is whether or not it will detract from the message and throw the audience out of the story.

Early on in this series I noticed how rocky some of the hand-held camerawork was. This was not any kind of deliberate ‘technique’. It’s just that these cameramen were shooting everything hand-held with big Sony Betacam cameras, even from inside cars bouncing around on dirt roads. There was some pretty rough stuff.  BUT, the story was so compelling that it didn’t matter one bit. Furthermore, it was so well put together in terms of editing and the message was so loud and clear (and compelling), that there wasn’t any technical flaw that was going to throw me out of that story.

Some of the close-ups of people were simply jaw-dropping in terms of raw emotion. These weren’t actors. These were real people caught up in a horrible situation–guilty and not guilty alike.

Highly recommended as a study of run and gun camerawork–because that’s exactly what it was.

 

Run ‘n Gun Music Video?

Abi Moore

 

(from the Run and Gun Videography Blog)

Well, normally one wouldn’t promote this sort of thing. After all, it takes quite some time and planning to do a music video…

But, as Abi Moore remarked, ‘if you want something done fast, ask a busy person”.

I’m not always this busy, but in the week before a trip planned to the US, I found myself with 3 scheduled shoots and one edit that absolutely had to be done before I left.

Then Abi messaged me urgently.

She needed a music video by the end of the month (when I would be gone).

She had sent me the song. A very nice song, though a sad Christmas song as it were.

I asked for the lyrics, got them, glanced it over and said, ” Come on over tomorrow. We’ll shoot you singing the whole song whilst driving a few times and then some more at our neighbor’s Steinway piano, a few additional shots in town, throw something together and see if we need anything else to polish it off.

So we did just that one evening.

For the night scenes I used the Sony HXR NX30. All hand-held, of course, though I utilised a bean bag on the car’s dash for most of the car shots.

For the piano scenes I used the NX30 and the X70; X70 on a tripod and the NX30 handheld.

And, for the first time ever, I found it necessary to add stars to a shot using an FCPX generator and FCPX color controls and shape masks to take down the white sky to a darker gray.

Also, for the first time ever, I added snow to a shot, using the Pixelfilmstudios plug-in. Two layers of snow–the foreground layer to which I added yellow as if lit by the foreground yellow light from the doorway. That was surprisingly easy.

Who says you can’t produce a music video in a couple of days cheap as chips?

You’ll be the first to see it as I’m only publishing it here.

(Best to watch in full HD, as it’s a rather sad–and therefore somewhat dark Christmas story.)

Lie Back and Think of England

 

The campaign to create a life-size statue commemorating the 300th anniversary of Lancelot ‘Capability’ Brown’s 300th birthday is now officially live!  Capability Brown Statue Crowd Funding PageCapability Brown Statue Campaign

This is my first crowd funding video.

Its purpose is to raise the funds necessary to create a life-size bronze statue of Lancelot ‘Capability’ Brown, England’s most famous landscape architect. It has been said that English landscape architecture is one of England’s greatest contributions to world culture and it is, indeed, Capability Brown who is behind the meaning of that sentiment. Yet, unlike his French counterpart Andre Le Notre who has statues, busts, paintings and engravings all over France, Capability Brown is without similar recognition in the UK. No busts. No statues. Only two paintings, one of which is in a private collection.

The video tells the story, but since this is the Video Whisperer blog, I thought I’d fill you in on some details behind the making of this video.

My wife Laury Dizengremel is a sculptor and is also the artist-in-residence at Belvoir Castle. Two years ago the last known plans of Capability Brown were discovered in the Castle archives which were supposed to have been his crowning achievement. They were started, but never completed due to the financial problems of the 4th Duke of Rutland. So the current (11th) Duchess of Rutland decided to have a go at completing those plans as part of her legacy.

She called in Alan Titchmarsh, England’s pre-eminent gardening expert, TV personality and author to help her and both embarked on a two-year program to execute the first phase of planning resulting in a 3 part national TV program which recently aired in the UK.

Laury found herself immersed in all of this and asked the foremost expert on Capability Brown, historian John Phibbs  (who was also part of the process) if there were any statues of Capability Brown. “No”, was the answer.

Some weeks after the dust settled from all the filming activities and airing of the program –and after we ourselves found a break in our own activities, Laury decided that she was going to take it into her own hands and get the funds raised to finance a life-size bronze statue of Capability Brown to gift to the nation.

For that she wanted a crowd funding video. And she wanted it that afternoon.

I said, ‘whoa Nelly–I’m pretty good, but not THAT good”.

And I explained the sorts of things that are necessary to pull off such a thing. Such as “who are we going to get to be the presenter for it THIS AFTERNOON?” and other small details like that.

I only knew of one person–one of her daughters, who sounds as English as they come, but she wasn’t available. And I wasn’t willing to find and hire a presenter. So I thought about it for a couple of hours during which I came up with a rough draft of how I might want it to go.

The more I got into it, the more I thought, “well, hell, I’ll just do it.”

So the next morning I got up early, walked off into the English fog and shot the whole video.

I had the job of explaining who Capability Brown was, why he deserved a statue in this, the 300th year of his birth, why an American was giving the pitch, and why a French sculptor with an American accent was going to create the statue for the people of England. That’s a tall order, isn’t it?

Here’s the crowd funding page with the video.

http://www.crowdfunder.co.uk/capability-brown-sculpture?tk=6bcf1b28fded861304ae3c52399f092b038cc06c

For £100 your name will be added to the plaque at the base of the statue–which will be the first ever statue of England’s of the man who came to define the natural landscaping that has been one of England’s greatest contributions to world culture. Pledges from £25 upward to £15,000 are available, each with a perk listed on the website.

I hope some of my faithful Video Whisperer Blog subscribers will help us make this possible with a pledge of £25 or more.

Please donate.

Thank you,

The Video Whisperer

A Good Corporate Video Sample

corporate video

(from the Run and Gun Videography Blog)

The Lone Shooter: One day shoot, 2 day edit

I think this is a great example of a corporate video combining many of the chapters of Run ‘n Gun Videography–The Lone Shooter’s Survival Guide including:

  1. Message
  2. Using local talent
  3. Interviews
  4. B roll
  5. Music

The Message

The message is clear by the content of the narrative (which was distilled from about 40 minutes of interview), but also by choice of B roll. Yes, the use of relevant B roll shots is standard in editing this type of interview, but additionally there are shots in there one might not realise are important–unless you are in this business and know what you are looking for. And for those potential business clients, they will have seen what they are looking for: the top tier German machines in use at the plant. That’s why you see their names prominently in some of the shots.

Local Talent

As to local talent, in this case we used the co-managing directors who are brothers.

To my surprise, it was the younger brother (who appears first) who was the most put off by the camera. In fact, in looking at the footage I noticed his head appeared to be physically straining away from the camera as if to get as far away from it as possible. Correspondingly, there was a lot more to edit in his interview (pauses, ums, ahs, stumbles, etc.), all of which is hidden under the B roll. The end message of the video, however is carried entirely by him. And there’s a reason for that: He was asked the magic interview question at the end. I pointed out that they had a very successful and growing business in a niche market and that they had been at it for a very long time, growing all along the way. “So”, I asked him, “What makes you get up in the morning? What is your passion for this business?” (or words to that effect). His response is entirely uncut. I let it roll even despite a few long pauses because it was so obvious that he was completely sincere. And his message was in perfect alignment with the message of the video in its whole.  Who wouldn’t then want to do business with this guy?

B roll

It might appear, in some cases, that the B roll was shot after the interview to fit so nicely with a few bits that were being said, but no. It was all shot first. But I shot so much that I was able to fit shots very nicely to what was being said as if I had shot it afterwards or to a script.

Music

I must have spend an hour and 1/2 looking for a suitable piece of music for this video. Thanks to the search parameters of Audio Jungle (and now Audio Blocks) which allowed me to search for a pretty exact length, I was able to preview dozens of potential fits. Then I found this one. To my absolute amazement, I laid it down and didn’t have to do a thing to it. No editing. No adjusting. It’s entirely uncut. It fits the beginning and end titles, and, if you listen carefully, it even does several things along the way that would convince you that it was scored specifically for this video.

I liked this music so much that when I was editing a promo video for my sculptor wife I had it in the back of my head to see if it would work. Turns out the same thing happened. It just dropped right in as if it was written for that video too. That’s one magical piece of music.

Other Notes

It was a one day shoot and two day edit.

For those interested, it was shot on the Sony PXW X70 in AVCHD mode.

The interview lighting was done with 2 LED Flexlites which I reviewed in this blog. The ‘kick’ you see on the side of their faces would appear to be from the background windows, but was actually created by one of the Flexlites dialed way down. The frontal fill was another Flexlite opposite the backlight. Fill was simply ambient light in the room with the intensity of the key light being set to achieve a 2 1/2:1 contrast ratio with the ambient fill.

Edited on FCPX. Color balanced with Color Finale.

Oh, and did anyone notice I added the sky, clouds and sunbeams to the opening shot? (it was a lousy day in Leicester that day)

The following video was directed and produced by Leapfrog Marketing (Alan Myers – 0116 278 7788) in association with The Video Whisperer.

And just for a bit of fun, here’s the video I did for my wife with the same music:

Slow Brew Compilation Edit

Laury Dizengremel

(from the Run and Gun Videography Blog)

Not exactly a key-word-rich title, but I kind of like it. Just came to mind as I sat down.

My wife is a sculptor who has worked on many prestigious projects and hobnobbed with some important people and celebrities over the years.

Occasionally I’ve been around and was able to get an interview or two on tape to add to a growing list of B roll shots I had been accumulating in the past few years.

Finally, with 3 interviews and some recent interesting footage with the Duchess of Rutland and Alan Titchmarch, I thought it was time to throw something together that didn’t require interviewing Laury. I’d just let these other people do the talking this time.

As I usually do, I edited the interviews to provide the narrative that would drive the video, then added appropriate B roll, titles and music. Pretty standard fare. For those interested, it was all done on the Sony HXR NX30–except a few rocky shots that were shot in China by someone else.

Something interesting happened though–of no great importance, but interesting just the same.

I had recently completed a corporate video. I spent quite some time searching for the right piece of music for it on Audio Jungle (my favorite music site) and finally found a piece that was not only perfect for the video, it was the perfect length. Double perfect. It was the only time I ever added music that I didn’t also have to edit to fit. It just fit perfect and, unbelievably, did all the right things in all the right places–just as if it were written for my video.

I really liked that piece of music and, in the back of my mind as I was editing Laury’s video I hoped I might be able to use the same piece of music–something I don’t normally do.

As I got the final length established (by the narrative along with beginning and end titles) I glanced down at the total length. Amazingly, it was the same length as that last corporate video I did, and amazingly that same piece of music dropped in on this video without any need of editing.

Quadruple perfect.

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