Noel R.
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Yes the download is sent after you have attended the event.
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Vincent Laforet Directing Motion Classes and DVD
- Thread starter Jarred Land
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Yes the download is sent after you have attended the event.
Billy Jim
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Thank you Noel.
Rome Will
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So I'm here in Atlanta...loving it so far...but, no Red camera to be found. Seems like Canon is sponsoring so I understand...but kind of wanted to see Vincent putting an Epic to work during his examples =( ...guess I just wanted to see the Epic shine!
Lots of great notes!
Lots of great notes!
Ryan Sauve
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I saw a lot of guys taking notes but I just listened to Vincent. If you take the full day/night workshop, you'll get the day DVD workshop HD download (which is pretty much the exact same thing). You might want to take notes for the night portion though. I would just bring a pen and notepad. And yes, there's a break for lunch and dinner.
Rome Will
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To echo what Ryan said, yes they have a break for lunch. I'll have more commentary about the event after...we're currently in the middle of our third shoot for the day (great real world experience)...as for me, I'm taking extensive notes...I'm a note taker. Even though we're getting the digital download later on, I think the notes would very helpful and complimentary to what's being discussed (especially since you'll review the download over a week later and having the notes to follow along with, I believe, would be ideal).
More after.
More after.
Rome Will
Well-known member
So, out of respect for Vincent, I'm not going to post all of my notes...I don't want anyone to skip the class that thought about attending.
But, for my Redusers that want a glimpse of what went on for the first part of the morning session, here are my notes (this is the first portion of the morning session...there was a second part to the morning session and an afternoon session)...please, excuse all typos...the class ended at eight, I had some dinner, and then got to typed these up. Here they go:
ATL Directing Motion Class 6/29/2014
- Many of the best films establish the characters within the first scene telling the story 1[SUP]st[/SUP], movement 2[SUP]nd[/SUP]
- When watching a movie, don’t get sucked into a scene…always analyze the motion (listen to directors commentary if you can)
a) Ex. Scene in Color Purple, when sisters are holding on to each other and the different shots Spielberg took depending on what he was trying to highlight
b) Kids in Color Purple running in the background and helping to move the camera
c) A lot of depth in the frame…and even a little Hitchcock w/ the largest character in the frame being the most important as the sister was kicked off the farm
- When a narrative changes in a story, you can do things like “push” in the camera
a) Cont. example of Color Purple is a good example of height and frame…showing someone who is “better than someone so they’re taller then the other character in the frame”
- Vincent makes a note that attention span is limited in todays world, and movies for 2 hours and 20 mins is a stretch
- Moving the camera…Band of Brothers movie uses the background actros to move the camera and spread the scene out…continuing the example where the guy was playing the violin at the beginning…Spielberg is the master of one-shot wonders at <2 mins
- “Dead Spots’ are when the camera fells “unmotivated” to move somewhere
- Eight pieces of motion to consider when filming
a) Locked Off- When the camera doesn’t move…ex. Would be Fargo scene…when the camera moves you expect it to progress to something or somewhere…but not in a locked off shot
b) Pan- to Rotate; come left or right along a central axis…aka “look left or look right”…it’s more acceptable to pan “left-to-right” b/c that’s how people read…but when you want to upset the equilibrium, pan right-to-left
c) Slide- To move the camera left or right, laterally within a three dimensional space…If you look at large blockbuster films, you see a lot of “Vertical” lines (tree poles, people standing up in background)…these vertical lines help w/ adding depth making you feel as if you’re “in” the scene….a way to do “3D” without doing 3D (some Chris Nolan would appreciate)
d) Tilt Up/Down- When you slowly tilt camera up/down…aka “jib up”…typically signifies an elevation or moving up…like a person’s status changes from being a Janitor to a CEO as the camera jib’s up
e) Zoom- to increase or decrease the focal length in or out gradually…when you “push in” you can use a device…which is something that helps the story to symbolize something different/needs audience attention…in Psycho, the director did a push & zoom…but he did it against a white wall, which makes it hard to tell…doing so makes the “eye-candy” a waste
f) Pull- to move the camera away, out, through space…aka “back up”…when extras cross the camera in the background, the “energize the scene...when you cut, from one shot to the next, always look to move the camera 30% in or 30% out to create a better “jump” look…ex. Was show with Blade Runner (which was added that you watch “Dangerous Days” which talks about Hollywood Life and Producers)…filming is about Efficiency…Every shot should have a reason
g) Push- A very slow push is known as a “creep”…aka a Mickey Rooney
h) Roll- To rotate the camera clockwise or counterclockwise along a central axis…”roll your heart”
- Rule of Thirds…having a majority of the subject in the frame
- Directors aren’t hired for technical knowledge…they just have to know what they want and know how to communicate it
Part 2 of Directing Motion
- You always ask yourself before a shot “Does this movement, move the story?”…if no, then the shot doesn’t need movement (and might not need to be in there)
- Leading & Following with the camera….
a) Leading with the camera is when you are in front of the camera and the lens is facing the subject as the subject walks toward the camera (but the distance between the lens and subject stays the same)
b) Following with the camera is when the lens is behind the subject and follows them as they walk…the camera follows the subject
- Distance to subject is critical
- Blocking is critical
- Shared cinematic language
a) You can’t own a camera move (so feel free to pay “homage” with camera angles you like…but make sure to say thanks)
b) Lead & Follow, Arc/Pivot, Parallax, Zolly (a Dolly Zoom)
- Stop saying “How did they do that shot” and ask “Why did they take that shot”
- Most important part of filmmaking is to build tension and release it…but at the right time! Directors “blow” air into a scene, and release it at certain times…often just a little at a time…with a major release at the climax/end of movie
- Arc vs. Pivot w/camera…ex. was scene with news reporter and policeman moving through the reporters…shows the importance of the policeman and the reporters, and their relationship in the scene
- Learn by shooting on a iPhone if you really want to learn about sequencing/blocking…
- Dolly/Zoom
a) To key in on something, Spielberg uses a set of house keys throughout ET as a “Device” to help with the story
- Lost art of filmmaking is blocking…which can also be using the actors to set the scene up and move the audience (camera stands in a fixed location)…if you want to up your production value…improve you skillset of “blocking”…let the actors come into the frame, leave the frame, and keep the scene alive…let them “do the work for you” vs. moving your camera around so much.
But, for my Redusers that want a glimpse of what went on for the first part of the morning session, here are my notes (this is the first portion of the morning session...there was a second part to the morning session and an afternoon session)...please, excuse all typos...the class ended at eight, I had some dinner, and then got to typed these up. Here they go:
ATL Directing Motion Class 6/29/2014
- Many of the best films establish the characters within the first scene telling the story 1[SUP]st[/SUP], movement 2[SUP]nd[/SUP]
- When watching a movie, don’t get sucked into a scene…always analyze the motion (listen to directors commentary if you can)
a) Ex. Scene in Color Purple, when sisters are holding on to each other and the different shots Spielberg took depending on what he was trying to highlight
b) Kids in Color Purple running in the background and helping to move the camera
c) A lot of depth in the frame…and even a little Hitchcock w/ the largest character in the frame being the most important as the sister was kicked off the farm
- When a narrative changes in a story, you can do things like “push” in the camera
a) Cont. example of Color Purple is a good example of height and frame…showing someone who is “better than someone so they’re taller then the other character in the frame”
- Vincent makes a note that attention span is limited in todays world, and movies for 2 hours and 20 mins is a stretch
- Moving the camera…Band of Brothers movie uses the background actros to move the camera and spread the scene out…continuing the example where the guy was playing the violin at the beginning…Spielberg is the master of one-shot wonders at <2 mins
- “Dead Spots’ are when the camera fells “unmotivated” to move somewhere
- Eight pieces of motion to consider when filming
a) Locked Off- When the camera doesn’t move…ex. Would be Fargo scene…when the camera moves you expect it to progress to something or somewhere…but not in a locked off shot
b) Pan- to Rotate; come left or right along a central axis…aka “look left or look right”…it’s more acceptable to pan “left-to-right” b/c that’s how people read…but when you want to upset the equilibrium, pan right-to-left
c) Slide- To move the camera left or right, laterally within a three dimensional space…If you look at large blockbuster films, you see a lot of “Vertical” lines (tree poles, people standing up in background)…these vertical lines help w/ adding depth making you feel as if you’re “in” the scene….a way to do “3D” without doing 3D (some Chris Nolan would appreciate)
d) Tilt Up/Down- When you slowly tilt camera up/down…aka “jib up”…typically signifies an elevation or moving up…like a person’s status changes from being a Janitor to a CEO as the camera jib’s up
e) Zoom- to increase or decrease the focal length in or out gradually…when you “push in” you can use a device…which is something that helps the story to symbolize something different/needs audience attention…in Psycho, the director did a push & zoom…but he did it against a white wall, which makes it hard to tell…doing so makes the “eye-candy” a waste
f) Pull- to move the camera away, out, through space…aka “back up”…when extras cross the camera in the background, the “energize the scene...when you cut, from one shot to the next, always look to move the camera 30% in or 30% out to create a better “jump” look…ex. Was show with Blade Runner (which was added that you watch “Dangerous Days” which talks about Hollywood Life and Producers)…filming is about Efficiency…Every shot should have a reason
g) Push- A very slow push is known as a “creep”…aka a Mickey Rooney
h) Roll- To rotate the camera clockwise or counterclockwise along a central axis…”roll your heart”
- Rule of Thirds…having a majority of the subject in the frame
- Directors aren’t hired for technical knowledge…they just have to know what they want and know how to communicate it
Part 2 of Directing Motion
- You always ask yourself before a shot “Does this movement, move the story?”…if no, then the shot doesn’t need movement (and might not need to be in there)
- Leading & Following with the camera….
a) Leading with the camera is when you are in front of the camera and the lens is facing the subject as the subject walks toward the camera (but the distance between the lens and subject stays the same)
b) Following with the camera is when the lens is behind the subject and follows them as they walk…the camera follows the subject
- Distance to subject is critical
- Blocking is critical
- Shared cinematic language
a) You can’t own a camera move (so feel free to pay “homage” with camera angles you like…but make sure to say thanks)
b) Lead & Follow, Arc/Pivot, Parallax, Zolly (a Dolly Zoom)
- Stop saying “How did they do that shot” and ask “Why did they take that shot”
- Most important part of filmmaking is to build tension and release it…but at the right time! Directors “blow” air into a scene, and release it at certain times…often just a little at a time…with a major release at the climax/end of movie
- Arc vs. Pivot w/camera…ex. was scene with news reporter and policeman moving through the reporters…shows the importance of the policeman and the reporters, and their relationship in the scene
- Learn by shooting on a iPhone if you really want to learn about sequencing/blocking…
- Dolly/Zoom
a) To key in on something, Spielberg uses a set of house keys throughout ET as a “Device” to help with the story
- Lost art of filmmaking is blocking…which can also be using the actors to set the scene up and move the audience (camera stands in a fixed location)…if you want to up your production value…improve you skillset of “blocking”…let the actors come into the frame, leave the frame, and keep the scene alive…let them “do the work for you” vs. moving your camera around so much.
Rome Will
Well-known member
As for the class, it was really good. I learned a lot. Quick points:
1) I wish there was a way to have Red sponsor so I can see an Epic in the mix =)...I mean, this is Reduser!
2) Given the time, a quick lunch should be included...this isn't a knock on Vincent...he's just an instructor. This is more so for MZed...the company behind the tour. Breaks are for one hour...and we get two...but by the time you get into the car, find a place to eat (for those that are out of town and don't know where to get something to eat, its a wrap) you have to turn around and come right back. I don't know the spread, but for the price, if they don't have enough already included in what we've paid, I wouldn't mind paying $10-$15 more to have a catered lunch included...sandwiches and maybe some snacks during the afternoon session...just a thought
3) Vincent did a good job of not getting technical...but understand that some people were wanting to go a little more in-depth...they've read and studied just like him, and rarely have the opportunity to meet someone with his experience in person...especially in Atlanta (some people came up from MS and one guy from Kenya)...so leaving a little more time for Q&A would be much appreciated
4) Some people want handouts...others want help...there's a fine line between the two (which is why when I have a chance to give back and help others- hopefully these notes and my feedback helps- I try)...the instructor doesn't have a wand to make things happen for you, but acknowledging that there are high barriers to entry in this industry is somewhat of a wakeup call...just wish there was a way to make better use of this instructional event as a networking event too (there's just so much info and so little time that its hard to make contacts and still learn- which is a great thing b/c that's what you pay for...but there's a lot of people who might have synergies if they could just connect).
Got to hit the main J.O.B tomorrow, so that's all for me for tonight. Good luck to those in Florida for the next class...bring your notepad and be ready to learn!
1) I wish there was a way to have Red sponsor so I can see an Epic in the mix =)...I mean, this is Reduser!
2) Given the time, a quick lunch should be included...this isn't a knock on Vincent...he's just an instructor. This is more so for MZed...the company behind the tour. Breaks are for one hour...and we get two...but by the time you get into the car, find a place to eat (for those that are out of town and don't know where to get something to eat, its a wrap) you have to turn around and come right back. I don't know the spread, but for the price, if they don't have enough already included in what we've paid, I wouldn't mind paying $10-$15 more to have a catered lunch included...sandwiches and maybe some snacks during the afternoon session...just a thought
3) Vincent did a good job of not getting technical...but understand that some people were wanting to go a little more in-depth...they've read and studied just like him, and rarely have the opportunity to meet someone with his experience in person...especially in Atlanta (some people came up from MS and one guy from Kenya)...so leaving a little more time for Q&A would be much appreciated
4) Some people want handouts...others want help...there's a fine line between the two (which is why when I have a chance to give back and help others- hopefully these notes and my feedback helps- I try)...the instructor doesn't have a wand to make things happen for you, but acknowledging that there are high barriers to entry in this industry is somewhat of a wakeup call...just wish there was a way to make better use of this instructional event as a networking event too (there's just so much info and so little time that its hard to make contacts and still learn- which is a great thing b/c that's what you pay for...but there's a lot of people who might have synergies if they could just connect).
Got to hit the main J.O.B tomorrow, so that's all for me for tonight. Good luck to those in Florida for the next class...bring your notepad and be ready to learn!
Marcos Montenegro
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Anyone going to the DC workshop tomorrow? If so, look me up!
Tom Van
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I have to admit this was one of the most insightful workshops I've ever attended. There were a lot of a-Ha moments for me and now it's completely changed the way I look at cinema. Highly recommended, if not the workshops the actually DVD downloads... they're exactly the same.
Eugene Lehnert
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I have a pass to Sunday's class in Manhattan. I don't think I will be able to go. If anyone wants it I'd love to sell it.
Thanks,
Thanks,
Rogelio Salinas
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Eugene. You should be able to request a refund if you are unable to attend. Reply to the emails that they have been sending to you and explain to them your situation, and hopefully they can issue you a refund. I purchased the entire day, but had to leave in the afternoon so I was unable to attend the evening session. I spoke with Jeremy and he said that I could request a refund for the evening session. Good luck.
Eugene Lehnert
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I tried. They said it has to be done 15 days before.
Bob Gundu
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Who's going to the Washington DC session tomorrow?
Rogelio Salinas
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Sorry Eugene. You may want to find out if the workshop is sold out. If so, you may have a better chance selling the ticket. Try a local film or video group on Facebook as well. If you offer a small discount, I'm sure someone will be happy to purchase your spot.
Louis Maddalena
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Anybody going to the Manhattan session tomorrow?
Dr. Sassi
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I just checked the download site again, as they promised that the evening class will be available in July.
I did not got an e-mail, so I was surprised to see that part 7 and 8 will expire in 13 days (my personal downlaod).
Perhaps you might check this as well...
I did not got an e-mail, so I was surprised to see that part 7 and 8 will expire in 13 days (my personal downlaod).
Perhaps you might check this as well...
Nick Morrison
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I was at the Brooklyn class on Sunday. Learned a lot! Glad I went...
Bob Gundu
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Vincent did a great job on this.
Nick Morrison
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Yeah I learned a lot. Some things I knew already, but still great to get a refresher, but a lot of other small details I wasn't conscious of. The subtleties of background action, and how a camera can "lead" or "follow" action (almost seamlessly), the amount of work that goes into making movement "work". I loved the three approaches to filming the SHOOT OUT. Overall, a great, great class. Walked out feeling much more confident about the small things I need to fold into my work going forward.
12hrs well spent!
And we got to watch part of the World Cup!