I remember seeing a bit of "raised eyebrow" rhetoric over those choice to use this camera - but all I can say to the naysayers is, go and watch the film. A masterful cinematographer doesn't worry about brand or clout or ego, and what was achieved in this film is a testament to that. The insider info on the forest scene is simply mind-blowing. Respect to Garland, Hardy and crew for not leaning into VFX for cost and efficiency reasons, the effort pays off, I could look at those frames all day ❤
Great interview, Josh, and it was lovely seeing you again. I am surprised you called me a vocal 4D critic, though. I've been very positive in all three videos about it, especially the 8K camera one. My main issue is that it's too heavy for me with my back injury, and I wish they would let us use the ProRes Raw standard on all frame rates of the 6K and under 30p on the 8K. The files are too big, and the difference between the two codecs is imperceptible. I think the Ronin 4D is amazing!
I thought we made a wonderful duo, couldn't have don't it without you. And yes! I hope we get to do this again for another DP or Director. Regarding VO, I was being a little sarcastic - I don't think anyone including DJI thinks you don't like the camera or see its potential use case. I've seen all your videos my friend. I though that bit of VO, was just the thing to balance out the video so audience wouldn't think this was some glorified puff piece for the R4D, but rather a discussion amongst professionals about the uses in the field. Albiet the VO was a bit cheeky.
okay, so this is by far the best interview i have seen in quite a while. doesn't even feel like an interview, it's like an actual film scene, undercut with actual BTS footage from a few blockbusters, laced with explanatory voice over and accentuated music. doooooooode.
Everything about this is insane. The fact that they used the Ronin 4D. The fact that they used the A7SIII. The fact they shot the freaking forest scene with real sparks, that's just a cinematographers dream man. The fact that he was like: Oh yeah, focussing with the transmission worked great, nobody complained about the delay making it unusable. Also, today I learned it would be cheaper to fly out to LA, rent a room for a week, and rent your Ronin for that week, instead of renting it in Germany. Incredible.
Torben, if you make it out to LA, I will rent it to you for half that price listed..... I have special price for you guys. I want to see you succeed. That price is what its normally listed at. Hit me up, we will make it work.
I’m a photojournalist myself at a television news station. Over the years I’ve been in several life or death situations, and there is a weird zen you experience where you feel removed from the situation while you’re looking through the lens trying to get the shot. This movie really struck a chord with me, because I thought it perfectly captured that feeling- while reminding us that despite the bit of bravery a lens might add, journalists are in no way invincible, and our luck can or will run out just the same as everyone else’s in the end. While obviously the experiences I’ve had don’t come close to what the characters go through in this movie- it did leave me with a deepened appreciation and different perspective on the work we do. All that just to say- as a long time fan of yours Josh, and a cinematography nerd, this was an unexpected but incredibly exciting video to see pop up on my feed! Super insightful stuff- and you do a damn good interview. I’d love to see more sit downs like this in the future.
It's tough to relate this to people. I used to work in TV news as well. Once the work begins, getting the shots to tell the story is the focus, and everything else becomes background information to serve that purpose. Situational awareness is key to staying relatively safe, but it is also needed to help anticipate where to frame the next shot. I spent the first decade of the millennium covering parts of some the biggest national stories of that time, from serial killers to Hurricane Katrina and the aftermath, along with national championships and a visit to the White House. Now I create promotional video for educational institution, and it's at least as satisfying, because my employer changes lives. I keep searching for new tools and techniques to add to my repertoire, which is why I'm here right now. Thanks for this content Josh, and thanks for still doing the work @Mitchg-tv.
@@bullettin It's always inspirational to hear from a tv news photog veteran. It sounds like you had an interesting and eventful career! I can relate deeply on the hurricane front- I work in South Florida and I'm one of our go-tos for hurricane coverage. Sometimes they'll even send me out of our viewing area to get in the path of a hurricane and document the strike. I've still yet to check serial killer or White House visit off the list though! You're very right about situational awareness- I feel like we do end up getting a sixth sense for predicting movement in the pursuit of getting ahead of and properly framing the action. Anyway, thank you for saying so! Maybe someday I'll get out of this industry as well into another sector of video- sometimes the prospects of this job and its grueling nature feel a little bleak. But no matter what, I know I'll never regret the time I've spent doing it- because I feel like the unique peek we get behind the scenes, or on the frontlines, of all these crazy events leaves us with a collection of experiences that I can't imagine anyone but a journalist could live through in one life! Seeing everything I have in my time has definitely shifted my perspective on life, as I'm sure covering everything you have also did for you!
@Mitchg-tv If you haven't found him yet, look up a guy named Lenslinger. He's got a unique perspective on the photog life, and he's been doing it for a long time. I can tell you that the stories I get to tell now are so much more rewarding, but I couldn't executed them at the level I do without the skills honed over those years of the daily news grind. Keep your eyes and ears open, follow the sound, and take care of your back. You only get one of those.
I watched the film in IMAX and it was breath taking, heart stopping. All the superlatives. Getting a first hand BTS run down from the DP himself was such a treat, thank you for making this interview happen. Getting Phillip Bloom in to film it for you is a bit of a coup.
Civil War looked absolutely gorgeous. I'm still a sucker for shallow depth of field and this one got the right amount to make me super happy. Of course the locations, framing, lighting and color grading was wonderful as well.
This was a "film" and not a "camera" centric consideration. They used everything that was needed to get the image and made no efforts to worry about how the individual hardware was needed to get it. This is the way a real film is made. Congratulations on the fantastic interview.
Brilliant interview. I loved Civil War and videos like this diving into the minutia of how sequences were made, the choices involved and the outcome is just what the community needs. Thank you!
What an inspiring video! I loved this. Thank you for bringing this to us. Bold choices choosing this cam for such a big film, and big payoffs too. I love how the function of the workflow informs the form! Great job, Rob and thank you Josh.
Wow. This is such an incredible insight into the mind of an established and experienced artist. Thanks for bringing us into the room Josh. Super inspired and can imagine that you are even more so!
Great content, and nice shoutout to the guys at Cinegear Pro - one of my go to kit houses, I recently tested the Athena and Dulens Micro prime sets there on my R4D
UA-cam is now days one of the greatest film school that no matter your level of filmmaking you will learn something. Thank you Make art Now for this episode.
Actually, it is one of the worst since no one knows how a MOVIE is made. We make movies, not films. There are no "film Schools" anymore. :-) Film, filming, and filmmaking are the industry's (and education) most misused and MIMICKED words. 🙂 There was a time when the words, movies and film, went hand in hand because you couldn't have one without the other. This is no longer the case and hasn't been for some time. 🙂 Digital video and film require different skill sets. Having DIFFERENT HISTORICAL and TECHNOLOGICAL timelines spanning 150 years. Have PRIDE and appreciate the gear we now use, including the words describing what we do. Many AMAZING electrical engineers worked hard (over 100 years) to develop the technology that eventually surpassed film in every aspect. Our tools are Digital Video, Non-linear, and CGI. 🙂 We are moviemakers, not filmmakers. We do what filmmaking wished it could, and movie-making still does. Not only that, but we are creative types such as Videographers, Directors, and Cinematographers. Using the word film lacks originality, creativity, and expresses a limited understanding of what got us here and the tools (technology) we use. Also, since the individuals teaching this craft in the 21st century have as little knowledge as the students, much is getting lost in translation. If a school calls itself a "film" school or defines you are filming. Find another school. Learn to appreciate the tools of the craft and the art will follow. 🙂 We video or are videoing, we do not film. Don't like it? Apply some of that creative originality instead of mimicking. 🙂 We learn from, but differentiate from, the RARE professionals who know how to use film stock (like, KODAK COLOR NEGATIVE 35millimeter 500T or Kodak VISION 70millimeter 2383) and film cameras, like the ARRIFLEX 435 or the Panavision R-200 and let's not forget Steenbeck flatbed film editors. If you know the difference you will better understand the craft, standing out in an industry polluted with point-and-shoot "pros". This is just my POV in the Film and Video Production Industry for 40 years. Respect to you. ✌♥ This is film. ua-cam.com/users/shortsbXZOaDa2ZGQ?si=FqX_xMa-PuWHWkIn And this... ua-cam.com/video/bYuKhMltKxs/v-deo.htmlsi=xa9j_K8q_jZd0Y1l
WOW this was so cool! I saw it in theaters and was blown away by the cinematography. The embers scene stuck with me as one of the most visually stunning scenes I’ve ever seen. I was completely gobsmacked and to now to see how it was shot is an absolute joy and pleasure. This whole video just motivated me to get on a film set even it’s just as a PA or extra. Thank you for making this! It was an real treat
This isn’t just a great interview, Josh, you made this come to life the pacing was perfect style on point and all the information is what we as viewers and craters wanted to hear. great job man, great fuckin job
4D first time a refreshing chicken stew was happily consumed Tnx make art great to see tnx Philip u are real inspiration for us decades 4d is the kind of camera that produces that spark in me that always returns from the eye to the heart
Ive been bottle necked with personal issues, family health stuff, and not having time with edits.....got a new editor to help out, so you will be seeing more and more....im back and hungry to grow the channel.
The main thing with the 4D is the insane learning curve. I have used it to film everything from commercials to events to red carpet and travel content and I still feel like I am learning so much on how to use it more efficient. They way you can track with the gimbal and combine tracking autofocus and manual focus and control everything from the grips is insane. When I got it I wasn't to sure about the focusing but realised its just a skill issue and now that I know how to use it I wouldn't trade it for any other camera.
@@ryanpallotta5 its not harder to use then any other gimbal but you have much more options like with sport mode, the focus wheel, all the buttons on the grips so there is more to learn if that makes sense
More of these kind of interviews/behind the scenes, please. It’s like some of those cool cinematographer podcasts but made with a geeky-in-a-nice-way fun youtuber that knows his s&@t. Gracias!
09:20 with the old summilux-m and djis M mount (on the 4D) you dont need the counterweight. I put gears on mine. Works great. Adapter for the i3 seems awesome!!
Awesome video as always! Thanks for traveling to London. I hope there are coming some more videos together with the legend Philip Bloom. ;) One question: What are the lavaliers you used for the interview? They sound really nice.
Holy lord Yeo ! Your passion, talent and knowledge unlocked insight and context in a way no other storyteller could achieve. I know it was challenging to sit down across from him and hit record … the pressure was on and in every frame you managed to remain engaged, authentic and cool as a f*cking cucumber. I’m so impressed with your interview skills , plus … storytelling, writing and voice over. there are very few people who could do what you did here with this level of polish, context and focus. Period. 🙌🏼 Yeo -Ronin 4D- Civil War 🙌🏼 you’re my f##ing hero bro Well done
Fascinating to hear how they shot this - I especially liked the use of the RED at 300fps to get the b&w still images - a great solution. Of course having the budget to control the Ronin with wheels makes a huge difference too. I also wouldn’t mind having 3 whole days to shoot that Jesse Plemons scene and a whole night to shoot a drive through a forest fire - the joys of high-budget filmmaking! The whole thing looked great, though the one of the scenes that just flopped for me what that scene by the lake - it was so static. The other dud was meeting journalists at the military base after the Plemons scene, but that was more just bad acting. I would love to have that cam for videography work…
Civil War is the best film I've seen in a really long time. It's Incredibly visceral and well executed. I know this is a video on the Imagery, but the editing and sound design of the film is what really stood out.
@@handfuloflight In my case , deliberately so. I didn't want to spoil it for the OP. He obviously wanted to watch it. My biggest gripe is the sheer lack of context provided by the screenplay. Who are these opposed forces? How did the civil come about? What's the "beef"? We are not obliged. The characters are "plunged" into a situation for which there is no explanation. What plot there is seems to be based around that of a road movie. We a presented with a "pastiche" rather than a plot. Death and destruction abound, but without a context, it is somehow not viscerally conveyed to the audience. What do the main characters stand for, politically, in the scheme of the civil war? Fucked if I know - they are journos contriving a sense of neutrality and non-involvement. Hey, I enjoyed it, but it is not going to be a classic.
This is good stuff. I get jealous, sometimes, but this is really great information and context that wouldn't be available if people like you didn't do what you do... Thanks -
Great video. We only get these types of interviews from UA-camrs like yourself. Gene has done a couple. I really love these deep dives into the camera setups and how it was filmed. Thanks for sharing this.
glad to see cinematographers who actually understand the tech, hate to see those who just go for the top of the top feeling like they have a bigger D*k and would never be brave enough to mix cameras or censors. Im talking to you, dear friend. *jhonny shooting interior car shots with an alexa 65. I just shot a documentary on the Panasonic s5Mk2 and the producer who was used to DPs asking her for super expensive sets of venice 2 liked my work and asked me what camera did I use, I just answered , Panasonic... what she doesn't know is that I mixed so many cameras depending on the situation. s5Mk2X, GH5, S5 mk 1, insta 360, and even iPhone 15 footage. now I feel like the guy Rob hardy just at a much much smaller scale lol Lots of things impressed me from this explained bts, first did not know the wireless transmission from dji was that good and what a great job from the editing team to go though all that footage when shooting multicam. where I live the industry is quite behind. its all about speed and delivering the project fast so they can take the next job.
It breaks my heart to know that Garland decided to go in an undetermined hiatus after this gorgeous movie. Love him or hate him, this man has vision and the ability to turn it into such compelling movies is quite magical.
The camera list also should include "Jessie's" old Nikon, because they put film in the camera for some scenes and some of that character's stills were actual photos the actress took with that camera.
First, this was a fantastic interview; great rapport and chemistry. I don't think people understand the skill involved in not just asking the right questions but also listening in earnest to get the most out of the subject. Next, what a compelling body of work from a compelling guy! I could watch ten hours of Rob discussing his process. ...and for the hat trick, Philip killing it from behind the camera! I'd love more content from you in this format.
@@MAKEARTNOWCHANNEL Greig Fraser would be the obvious choice, if you could if you nab him, but I think James Laxton (Moonlight, Mufasa) would be an interesting choice... And I'd love to hear more from Andrew Wehde (The Bear).
Thanks for this. I love the film and the approach. Interesting to see the slate naming the film 'Road Trip' with a US flag backdrop. I feel like they they were being careful not to advertise the film's more confronting aspects.
Wonderful film and great interview. As a war cameraman who got too old and fat for the battlefield and now plays with new cemera tech, I love your work :)
I remember seeing a bit of "raised eyebrow" rhetoric over those choice to use this camera - but all I can say to the naysayers is, go and watch the film.
A masterful cinematographer doesn't worry about brand or clout or ego, and what was achieved in this film is a testament to that.
The insider info on the forest scene is simply mind-blowing. Respect to Garland, Hardy and crew for not leaning into VFX for cost and efficiency reasons, the effort pays off, I could look at those frames all day ❤
BTW, if you liked this edit give this dude a shout out. He did the entire edit, i just gave notes....( A first for me working with a new editor)
Look at you Adam, pinned comment by one of my fave UA-camrs. You made it to the big leagues 😂
@alanlavery Did you see the video description Alan? 👀
@@KROMAprd Oh shit! you edited it? Damn man. Btw we're over due a call, I'll message you in a sec. Lots to update on.
hell yeah man the look of this film deserves no hate. Watched it at AMC dolby and it was beautiful!
bro just casually dropped a video with legends
Great interview, Josh, and it was lovely seeing you again. I am surprised you called me a vocal 4D critic, though. I've been very positive in all three videos about it, especially the 8K camera one. My main issue is that it's too heavy for me with my back injury, and I wish they would let us use the ProRes Raw standard on all frame rates of the 6K and under 30p on the 8K. The files are too big, and the difference between the two codecs is imperceptible. I think the Ronin 4D is amazing!
I thought we made a wonderful duo, couldn't have don't it without you. And yes! I hope we get to do this again for another DP or Director.
Regarding VO, I was being a little sarcastic - I don't think anyone including DJI thinks you don't like the camera or see its potential use case. I've seen all your videos my friend. I though that bit of VO, was just the thing to balance out the video so audience wouldn't think this was some glorified puff piece for the R4D, but rather a discussion amongst professionals about the uses in the field.
Albiet the VO was a bit cheeky.
@@MAKEARTNOWCHANNEL Its an awful pity that the three of ye (Philip, Make and Rob) just had a normal conversation instead of this American shite 😭
@@PaulCoreyah yes the uniquely american experience of writing comments online.
Phillip Bloom, thanks man!
@@PaulCorey wtf are you smoking. Put it down. Delete your dumb comment.
As a R4D Owner/Operator, I NEED MORE CONTENT LIKE THIS!! Awesome Work bro!
Thanks! Will do!
okay, so this is by far the best interview i have seen in quite a while. doesn't even feel like an interview, it's like an actual film scene, undercut with actual BTS footage from a few blockbusters, laced with explanatory voice over and accentuated music. doooooooode.
Special thanks to new editor @Kroma for this banger job......more content coming soon now that im not soo bottle necked with edits!
Everything about this is insane. The fact that they used the Ronin 4D. The fact that they used the A7SIII. The fact they shot the freaking forest scene with real sparks, that's just a cinematographers dream man. The fact that he was like: Oh yeah, focussing with the transmission worked great, nobody complained about the delay making it unusable.
Also, today I learned it would be cheaper to fly out to LA, rent a room for a week, and rent your Ronin for that week, instead of renting it in Germany. Incredible.
Torben, if you make it out to LA, I will rent it to you for half that price listed..... I have special price for you guys. I want to see you succeed. That price is what its normally listed at. Hit me up, we will make it work.
@@MAKEARTNOWCHANNEL what a guy
Rarely commenting but this is what we want more from UA-cam and people, this was so informative and refreshing love you man
I’m a photojournalist myself at a television news station. Over the years I’ve been in several life or death situations, and there is a weird zen you experience where you feel removed from the situation while you’re looking through the lens trying to get the shot. This movie really struck a chord with me, because I thought it perfectly captured that feeling- while reminding us that despite the bit of bravery a lens might add, journalists are in no way invincible, and our luck can or will run out just the same as everyone else’s in the end. While obviously the experiences I’ve had don’t come close to what the characters go through in this movie- it did leave me with a deepened appreciation and different perspective on the work we do.
All that just to say- as a long time fan of yours Josh, and a cinematography nerd, this was an unexpected but incredibly exciting video to see pop up on my feed! Super insightful stuff- and you do a damn good interview. I’d love to see more sit downs like this in the future.
It's tough to relate this to people. I used to work in TV news as well. Once the work begins, getting the shots to tell the story is the focus, and everything else becomes background information to serve that purpose. Situational awareness is key to staying relatively safe, but it is also needed to help anticipate where to frame the next shot.
I spent the first decade of the millennium covering parts of some the biggest national stories of that time, from serial killers to Hurricane Katrina and the aftermath, along with national championships and a visit to the White House. Now I create promotional video for educational institution, and it's at least as satisfying, because my employer changes lives. I keep searching for new tools and techniques to add to my repertoire, which is why I'm here right now.
Thanks for this content Josh, and thanks for still doing the work @Mitchg-tv.
@@bullettin It's always inspirational to hear from a tv news photog veteran. It sounds like you had an interesting and eventful career! I can relate deeply on the hurricane front- I work in South Florida and I'm one of our go-tos for hurricane coverage. Sometimes they'll even send me out of our viewing area to get in the path of a hurricane and document the strike. I've still yet to check serial killer or White House visit off the list though! You're very right about situational awareness- I feel like we do end up getting a sixth sense for predicting movement in the pursuit of getting ahead of and properly framing the action.
Anyway, thank you for saying so! Maybe someday I'll get out of this industry as well into another sector of video- sometimes the prospects of this job and its grueling nature feel a little bleak. But no matter what, I know I'll never regret the time I've spent doing it- because I feel like the unique peek we get behind the scenes, or on the frontlines, of all these crazy events leaves us with a collection of experiences that I can't imagine anyone but a journalist could live through in one life! Seeing everything I have in my time has definitely shifted my perspective on life, as I'm sure covering everything you have also did for you!
@Mitchg-tv If you haven't found him yet, look up a guy named Lenslinger. He's got a unique perspective on the photog life, and he's been doing it for a long time.
I can tell you that the stories I get to tell now are so much more rewarding, but I couldn't executed them at the level I do without the skills honed over those years of the daily news grind. Keep your eyes and ears open, follow the sound, and take care of your back. You only get one of those.
I watched the film in IMAX and it was breath taking, heart stopping. All the superlatives. Getting a first hand BTS run down from the DP himself was such a treat, thank you for making this interview happen. Getting Phillip Bloom in to film it for you is a bit of a coup.
Civil War looked absolutely gorgeous. I'm still a sucker for shallow depth of field and this one got the right amount to make me super happy. Of course the locations, framing, lighting and color grading was wonderful as well.
This was a "film" and not a "camera" centric consideration. They used everything that was needed to get the image and made no efforts to worry about how the individual hardware was needed to get it. This is the way a real film is made. Congratulations on the fantastic interview.
This was a MOVIE and not a camera centric consideration. We make movies, not films. :-)
Brilliant interview. I loved Civil War and videos like this diving into the minutia of how sequences were made, the choices involved and the outcome is just what the community needs. Thank you!
What an inspiring video! I loved this. Thank you for bringing this to us. Bold choices choosing this cam for such a big film, and big payoffs too. I love how the function of the workflow informs the form! Great job, Rob and thank you Josh.
The breakdown of the forest fire driving scene was wild. So glad they got bts from so many different angles. Great interview, Josh!
Nicely done, love to see more of this kind of interviews.
Great episode Josh! Loved watching the insight behind such an incredible film
Wow. This is such an incredible insight into the mind of an established and experienced artist. Thanks for bringing us into the room Josh. Super inspired and can imagine that you are even more so!
He's still alive! Good seeing you upload, yo!
I'm a 4D operator out of Denver Colorado and I feel like people still don't know the potential of this camera yet.
Also you were a big reason for my purchase of the 4D with all the rad videos thanks and keep it up I love the inspiration!
1st AC outta Denver! Love working with the 4D!
I always wondered what the use case was but I have been sold to the concept..... Wow
The weight limit for lenses is the biggest offputting feature. Basically rules out so many options.
@TheSafebruv i've gotten up 135 mm Lens on there.
Wow. This is perhaps the most beautiful advertisement that can be done for Rob, the Ronin 4D and this movie 😮 That was truly inspiring!
That’s AMAZING the embers were all real 🤯 looks absolutely stunning 🔥
Great content, and nice shoutout to the guys at Cinegear Pro - one of my go to kit houses, I recently tested the Athena and Dulens Micro prime sets there on my R4D
This was honestly so great! Thank you for making this
Thank you for doing this job Josh, it was so interesting.
UA-cam is now days one of the greatest film school that no matter your level of filmmaking you will learn something. Thank you Make art Now for this episode.
Actually, it is one of the worst since no one knows how a MOVIE is made. We make movies, not films. There are no "film Schools" anymore. :-) Film, filming, and filmmaking are the industry's (and education) most misused and MIMICKED words. 🙂 There was a time when the words, movies and film, went hand in hand because you couldn't have one without the other. This is no longer the case and hasn't been for some time. 🙂 Digital video and film require different skill sets. Having DIFFERENT HISTORICAL and TECHNOLOGICAL timelines spanning 150 years. Have PRIDE and appreciate the gear we now use, including the words describing what we do. Many AMAZING electrical engineers worked hard (over 100 years) to develop the technology that eventually surpassed film in every aspect.
Our tools are Digital Video, Non-linear, and CGI. 🙂 We are moviemakers, not filmmakers. We do what filmmaking wished it could, and movie-making still does. Not only that, but we are creative types such as Videographers, Directors, and Cinematographers. Using the word film lacks originality, creativity, and expresses a limited understanding of what got us here and the tools (technology) we use. Also, since the individuals teaching this craft in the 21st century have as little knowledge as the students, much is getting lost in translation. If a school calls itself a "film" school or defines you are filming. Find another school. Learn to appreciate the tools of the craft and the art will follow. 🙂
We video or are videoing, we do not film. Don't like it? Apply some of that creative originality instead of mimicking. 🙂 We learn from, but differentiate from, the RARE professionals who know how to use film stock (like, KODAK COLOR NEGATIVE 35millimeter 500T or Kodak VISION 70millimeter 2383) and film cameras, like the ARRIFLEX 435 or the Panavision R-200 and let's not forget Steenbeck flatbed film editors. If you know the difference you will better understand the craft, standing out in an industry polluted with point-and-shoot "pros". This is just my POV in the Film and Video Production Industry for 40 years. Respect to you. ✌♥
This is film. ua-cam.com/users/shortsbXZOaDa2ZGQ?si=FqX_xMa-PuWHWkIn
And this... ua-cam.com/video/bYuKhMltKxs/v-deo.htmlsi=xa9j_K8q_jZd0Y1l
Really great piece here! You told an incredible story, kept it engaging, funny & informative. Love your work man
WOW this was so cool! I saw it in theaters and was blown away by the cinematography. The embers scene stuck with me as one of the most visually stunning scenes I’ve ever seen. I was completely gobsmacked and to now to see how it was shot is an absolute joy and pleasure. This whole video just motivated me to get on a film set even it’s just as a PA or extra. Thank you for making this! It was an real treat
What an amazing interview!! Such an awesome video and movie!!🤘🏼
Fantastic video - you’re the perfect dude to talk shop and explain the details at the same time. Great work!
So good! as an OG sub from like 2018 I am LOVING this evolution on the channel
legit. do MORE of this! you are awesome at this. love it.
Long time since i watched a video without skipping a single time… thank you!
I love how every character in the movie has a camera that matches his personality. Subtle development
Great and insightful interview. Thanks for bringing this to us.
This isn’t just a great interview, Josh, you made this come to life the pacing was perfect style on point and all the information is what we as viewers and craters wanted to hear. great job man, great fuckin job
4D first time a refreshing chicken stew was happily consumed
Tnx make art great to see
tnx Philip u are real inspiration for us
decades
4d is the kind of camera that produces that spark in me that always returns from the eye to the heart
My fav camera channel!! Wish you posted more tho bro
Ive been bottle necked with personal issues, family health stuff, and not having time with edits.....got a new editor to help out, so you will be seeing more and more....im back and hungry to grow the channel.
I saw this in theaters and it has stuck in my mind, it was extremely raw
Fantastic interview and video Josh. Now I need to see this movie.
Love our 4D so glad it's getting the love it deserves to motivate DJI to continue supporting the line.
Please do this 1000 more times!!! That was great!!!
I dearly appreciate this video and their work
Subscriber and small time film maker from NIGERIA!!!!
Great interview, you asked all the right questions. Keep it up
Doing it for real..............love it.
Incredibly inspiring. Thank you!
I was working on the show 1923 last week in Austin and saw a crew member using a ronin for all the behind the scenes footage.
I much preferred the 2x Black Nikon FE2's that Cailee Spaeny was rockin' with... oh and a great soundtrack too. Absolutely loved the film...
The main thing with the 4D is the insane learning curve. I have used it to film everything from commercials to events to red carpet and travel content and I still feel like I am learning so much on how to use it more efficient. They way you can track with the gimbal and combine tracking autofocus and manual focus and control everything from the grips is insane. When I got it I wasn't to sure about the focusing but realised its just a skill issue and now that I know how to use it I wouldn't trade it for any other camera.
That’s what I’m concerned about for docs if it’s not used properly how hard it is to manage the gimbal
@@ryanpallotta5 its not harder to use then any other gimbal but you have much more options like with sport mode, the focus wheel, all the buttons on the grips so there is more to learn if that makes sense
Tremendous video, Josh. What an absolute pleasure.
More of these kind of interviews/behind the scenes, please. It’s like some of those cool cinematographer podcasts but made with a geeky-in-a-nice-way fun youtuber that knows his s&@t. Gracias!
I didn't think I could like "Civil War" any more than I already did. Excellent interview. Legendary film.
Fantastic work on this video!
Great Interview Josh. Well done.
Incredible video and super insightful, thank you for making this!
Interview aside, amazing job on the editing and transitions of this video! Such great quality my man
09:20 with the old summilux-m and djis M mount (on the 4D) you dont need the counterweight. I put gears on mine. Works great. Adapter for the i3 seems awesome!!
Counter weight was for i3, not R4D. Check the link in the video at 9:13
@@MAKEARTNOWCHANNEL I got that but I don't think you would need it for the i3 for 35 an 50mm atleast
Wish i could get more content like this on youtube. from the actual content to the edit, this is top notch .
Every episode is gold!!🙌🏼🙌🏼🙌🏼
He’s right. You’re doing a great job.
That was a great interview and very inspiring! Thanks for sharing
Fuxk yeah
Awesome video as always! Thanks for traveling to London. I hope there are coming some more videos together with the legend Philip Bloom. ;) One question: What are the lavaliers you used for the interview? They sound really nice.
I’m impressed by your reach and it’s great to see another video from you!
Great interview. This type of content serves you well. Nice work.
Holy lord Yeo ! Your passion, talent and knowledge unlocked insight and context in a way no other storyteller could achieve. I know it was challenging to sit down across from him and hit record … the pressure was on and in every frame you managed to remain engaged, authentic and cool as a f*cking cucumber. I’m so impressed with your interview skills , plus … storytelling, writing and voice over. there are very few people who could do what you did here with this level of polish, context and focus. Period.
🙌🏼 Yeo -Ronin 4D- Civil War 🙌🏼
you’re my f##ing hero bro
Well done
What a fabulous video, thank you.
I had that question, who is behind the amazing cinematography, you bring the answer. Thank you.
Fascinating to hear how they shot this - I especially liked the use of the RED at 300fps to get the b&w still images - a great solution. Of course having the budget to control the Ronin with wheels makes a huge difference too. I also wouldn’t mind having 3 whole days to shoot that Jesse Plemons scene and a whole night to shoot a drive through a forest fire - the joys of high-budget filmmaking! The whole thing looked great, though the one of the scenes that just flopped for me what that scene by the lake - it was so static. The other dud was meeting journalists at the military base after the Plemons scene, but that was more just bad acting. I would love to have that cam for videography work…
This is amazing thanks for this
Civil War is the best film I've seen in a really long time. It's Incredibly visceral and well executed. I know this is a video on the Imagery, but the editing and sound design of the film is what really stood out.
This was superb. Definitely worth the trip to rainy London. Thanks so much...
This may be the most effective movie advertisement I've ever seen. I really need to watch this film!
Well , watch it. It isn’t a particularly profound or even memorable movie, though.
@@emotown1 I totally disagree. It's one of my favorites of this year, because it relies on nothing but an interestingly told story.
@@faderhead Sounds conveniently vague.
@@emotown1 your own "critique" was conveniently vague
@@handfuloflight In my case , deliberately so. I didn't want to spoil it for the OP. He obviously wanted to watch it. My biggest gripe is the sheer lack of context provided by the screenplay. Who are these opposed forces? How did the civil come about? What's the "beef"? We are not obliged. The characters are "plunged" into a situation for which there is no explanation. What plot there is seems to be based around that of a road movie. We a presented with a "pastiche" rather than a plot. Death and destruction abound, but without a context, it is somehow not viscerally conveyed to the audience. What do the main characters stand for, politically, in the scheme of the civil war? Fucked if I know - they are journos contriving a sense of neutrality and non-involvement.
Hey, I enjoyed it, but it is not going to be a classic.
This is good stuff. I get jealous, sometimes, but this is really great information and context that wouldn't be available if people like you didn't do what you do... Thanks -
Incredible, thank you for sharing !
Was not expecting to see Mr Bloom what a great surprise
Great video. We only get these types of interviews from UA-camrs like yourself. Gene has done a couple. I really love these deep dives into the camera setups and how it was filmed. Thanks for sharing this.
Yeah I def want to do more. It was a lot of fun
loving this video so far..
What a great interview and so well produced as well.
This was awesome, thanks!
glad to see cinematographers who actually understand the tech, hate to see those who just go for the top of the top feeling like they have a bigger D*k and would never be brave enough to mix cameras or censors.
Im talking to you, dear friend. *jhonny shooting interior car shots with an alexa 65.
I just shot a documentary on the Panasonic s5Mk2 and the producer who was used to DPs asking her for super expensive sets of venice 2 liked my work and asked me what camera did I use, I just answered , Panasonic... what she doesn't know is that I mixed so many cameras depending on the situation. s5Mk2X, GH5, S5 mk 1, insta 360, and even iPhone 15 footage.
now I feel like the guy Rob hardy just at a much much smaller scale lol
Lots of things impressed me from this explained bts, first did not know the wireless transmission from dji was that good and what a great job from the editing team to go though all that footage when shooting multicam. where I live the industry is quite behind. its all about speed and delivering the project fast so they can take the next job.
Loved the interview. The movie was awesome. Saw it a few weeks ago.
Amazing interesting and educational video! Thank you so much
Great interview and incredible film. Thanks.
Subscriber from the Philippines. 👌👌👌👌🇵🇭🇵🇭🇵🇭
It breaks my heart to know that Garland decided to go in an undetermined hiatus after this gorgeous movie. Love him or hate him, this man has vision and the ability to turn it into such compelling movies is quite magical.
The camera list also should include "Jessie's" old Nikon, because they put film in the camera for some scenes and some of that character's stills were actual photos the actress took with that camera.
Came back to watch this again to be inspired and informed - was not disappointed :)
Aspiring filmmakers should be creaming seeing all this. This is epic.
So glad this video exists, I still think this movie is highly underrated and it's easily one of my favorites of 2024.
Great insprin vid! I've put the movie on my watchlist.
Btw awesome work by Bloom, assuming he shot and lit the entire interview
He did! He killed it as usual! Only the best for MAKE ART NOW. BAHAHHAHA
Wasn’t planning on watching this movie but now I’m adding it to my list!
Thanks, simply thanks
Great interview great job man
Great video and interview, can listen to Rob all day. Also check out 'Devs' amazing series with Rob and Alex again :)
the fire scene is so damn unbelievable. damn wow! hahaha
1:25 Nice Blood Sport reference! 😎
First, this was a fantastic interview; great rapport and chemistry.
I don't think people understand the skill involved in not just asking the right questions but also listening in earnest to get the most out of the subject.
Next, what a compelling body of work from a compelling guy! I could watch ten hours of Rob discussing his process.
...and for the hat trick, Philip killing it from behind the camera!
I'd love more content from you in this format.
PB for the win! Agree!.......give me some suggestions....i want to interview more DPs. and directors....lets go team
@@MAKEARTNOWCHANNEL Greig Fraser would be the obvious choice, if you could if you nab him, but I think James Laxton (Moonlight, Mufasa) would be an interesting choice... And I'd love to hear more from Andrew Wehde (The Bear).
Thanks for this. I love the film and the approach. Interesting to see the slate naming the film 'Road Trip' with a US flag backdrop. I feel like they they were being careful not to advertise the film's more confronting aspects.
Awesome interview thank you! He didn’t mention the most important part, the Ford excursion! What a rig
Wonderful film and great interview. As a war cameraman who got too old and fat for the battlefield and now plays with new cemera tech, I love your work :)