The Titan feature for the Convergent Design Odyssey 7Q+ – 3 angles from a single 4K source Each product presented needs to be shot with a combination of wide and close-ups, which would ordinarily require multiple camera setups with two or more operators, increasing the cost. In all cases, on-screen text needs to be generated on the fly for each product. The presentations need shooting for live projection around the conference room and, in addition, the recordings need to be uploaded to the client’s corporate intranet quickly after each presentation. However, as content creators it’s important that we provide exceptional value for money so our clients remain happy and are more likely to keep commissioning work from us! That’s why I’m always looking at ways to streamline the workflow, or wring out as much productivity from the equipment I use as I can.įor example, one of my clients requires me to record business presentations that involve demonstrations of thousands of products over the course of a few days. Perhaps for this reason, some corporate clients have acquired a tendency to further tighten the purse strings. In all spheres of business, the competitive landscape generates significant pressure for companies to remain profitable, or even stay afloat. In this guest post, UK-based filmmaker Jonathan Warner runs us through the benefits of using this workflow. Selecting a region changes the language and/or content on Design recently released the Titan update for their Odyssey 7Q and Apollo lines that allows you to extract different HD angles from a single 4K live source. If the scene contains dialogue, your sound mixer has to be prepared to capture it. It’s easy to get confused if your film contains hundreds of shots, so a short scene description can help you stay organized. Is the camera fixed or panning? Tilting or zooming? Moving on a dolly, pedestal, crane? Do you need a Steadicam or drone operator? Everyone needs to know ahead of time, especially if you’re shooting outdoors. Planning the camera angle in advance lets the crew know how and where to position the camera, as well as the people and things the camera will capture.
Make sure the director of photography, gaffer, set decorator, and prop master (or friends you’ve enlisted as crew members) know what they’ll need to set up the shot. Knowing every shot you need at any given place ensures you get what you need before moving on to the next location. Numbering your shots and scenes is essential to planning your shoot, organizing your footage, and staying on schedule. Don’t plan for more than four or five shots per scene.ĭon’t forget to take notes on your shot list while you’re on set to help you in the editing room. In that case, your shot list should be a simple blueprint. “If you have too much on your shot list, it stops being useful.” If you’re making a short film without the time or money to rehearse the blocking, you have to make on-set adjustments. “A common mistake - and one I’ve made plenty of times - is to over-detail it,” writer and director David Andrew Stoler says. Like a cheat sheet, your list of shots needs to be scannable. You’ll know that you got the wide shot, medium shot, close-ups, over-the-shoulder shots, and whatever other shots you need to tell your story. It will save you time later when you’re editing, because you won’t have to hunt for your coverage. Think of the shot list as your cheat sheet.