Hey mark i never got the link to download the material ive been waiting a long while now just bringing it to your attention in case the link is giving a problem
Same! In the last project we found ourselves using an accidental part of the interview when the subject was interrupted by some car alarm and smiled nicely. If I had such small, additional details shot in 60fps, it would work even better :)
Once again thank you for helping us understand "The, Hows" of making documentary interviews. Looking forward to the finish product. Be lucky stay safe.
Yeah wow the set looks incredible! Appreciate the time you took to explain everything, including motivation for framing & lighting. Definitely giving me some ideas for pushing the interviews to the next level. Cheers
IDK how this will sound but the double diffuser thing is magic I feel so dumb to not realize sooner. And adding patterns through outside lights is pure art as well.And Thanks Mark, you have been a blessing
Double diffusion in itself wont make your light softer , that will only happen if your second diffusion is larger than your first , thats just science and not up for debate. Otherwise all its doing is knocking down the out put , which may appear softer but actually isn't . Only way to make a light softer is making it bigger in relation to the subject . In this case it's only a bit larger , the same " softness" could be achieved by just moving the original source in closer to subject up to where the second frame is. ie making it bigger or as big as the secondary diff in relation to subject , but without the hassle of the extra gear / time.
@@robinprobyn1971 its also bouncing on the wall cus of the 4x4 and that wouldnt be the case with the dome alone. The dome alone looks way more sourcy.
@@kingmuhu Yeah but I wouldn't be relying on whats actually spill ( a mistake ) , mostly you would be wanting to flag that off, to make my key light source larger . Im just explaining the science, its not a personal preference , the only way to make a light source softer in relation to any object , is to make it larger .adding diffusion that doesn't make the source bigger isnt doing that , plus you have to light that second diff evenly to get any real effect , even if it is larger . I wouldn't be replying on spill onto a wall to achieve it , where else is that light going too. If you move the whole unit as close, to the subject , as the diff frame , in this shot , it's going to be the same "softness" .
Thanks a lot for this breakdown, and also for all the new videos for the course! ❤❤❤ Indeed, watching these breakdowns help me a lot - and rewatching them became a part of my pre-shoot routine! It does boost confidence on set and always provides some preliminary vision :)
Good stuff! I have a thought about seating. Whenever I have a nice room to shoot in, I prefer high chairs or stools. It seems like I can show the space much better and don't have to deal with lines around the head when the chair is lower.
I'd love to hear more about how a doc/interview project like this would be priced for a client! I shoot this style often, but nowhere near at the level of equipment this is showing.
Do you always use a Lavelier mic when you're using a boom mic? Mark, Just want to clarify - did you mean shooting 60 frames of your subject so 60fps can be used as slo mo in post ?
I disagree with your explanation of the camera C positioning wanting a more cramped feel for usage. You could use other angels like a zooming in on his face and eyes to get the movement of his expressions and close shot of his facial expressions from the side below and center positioned cameras. The way you have done this shows this guy falling off the screen and with so much space behind him it takes attentions away from the character and puts it on elements behind him that have no relevancy in this interview, making him unimportant in this shot. And observing the shot having him on the edge of the frame did not give me the feeling of someone crammed with uncertainty rather being out of place.
My attention remained on what was in focus, which was him. I think it is beautiful framing. I would have done it just a tad differently, but I am a fan of this type of framing. I filmed an interview of an athlete (during his rehabilitation) that survived an accident most people wouldn’t, and when he was speaking about how dark, depressing and difficult it is, this framing is complementary to that kind of energy in my opinion.
Agree with @Pissarrio. This stifled framing is way over used, and has become a strange fad. It’s more distracting than emotive, so I see it as violating the purpose of selective framing. I’d rather have people feel the tension (as Pissarrio described) rather than think “what the..” when looking at a strange framing choice. This might have felt a little more effective if you had pivoted the camera a bit to get more of the face, rather than the side of the head.
When I shoot through windows it lays looks overexposed and I have to turn up the key light so high to compensate for ND filter. What is your technique for situations like this? Good video;
A lot of pretty awkward framing here but tbh the color mismatch is distracting. The Alexa looks nice and natural (framing aside) but the extra warmth on the other 3 really accentuates the “lit” feeling. Getting them a bit cooler, greener, and/or less saturated might help a lot. Honest Christopher Williamsons podcast does what this video is trying to do fantastically. Great framing, great eyelines, great lighting, and they manage to do it for two subjects every time. Would love to hear from that crew about their process.
Don't you just hate it when you discover there is a typo on the title text of your thumbnail ;) Sorry to be the one to break it to ya, but at least the thumbnail is easily changed :)
Thank for for these video. I have one question. I always tried to cover all windows so that I have control over the light. Without covering the windows I´ved get some struggle with the weather. If a cloud covers the sun my exposure change dramaticly. How you handle this?.
When you don’t enough budget to rent 4 Alexa’s for a documentary: Yeah… it’s ok to mix and match different cameras and lenses! It gives a different feel” 😂
You know, I watch your videos, and something that stands out to me is age. Have you ever thought about it? Ever production you have is someone in your age category. Where are the older people in this field? One day, you will be older, too. Have you ever asked yourself where the 50 or 60-year-olds are in this industry? Why so much age discrimination. Face it, all of you will get grey hair, too.
oh hi, do you want a free lighting guide we made? K cool, here it is: tiny.cc/owiczz
Bless you and AOD for this 🙌
Hey mark i never got the link to download the material ive been waiting a long while now just bringing it to your attention in case the link is giving a problem
I love AOD and Modern Wisdom, so seeing you guys filming with Chris makes me all kinds of happy
Amazing tips man. Thanks for the shoutout. Had a blast working with y’all
Our pleasure Ian!
I greatly appreciate the suggestion of doing 60 fps of the subject! Definately plan to use it.
Same! In the last project we found ourselves using an accidental part of the interview when the subject was interrupted by some car alarm and smiled nicely. If I had such small, additional details shot in 60fps, it would work even better :)
I also love that y’all are working with. Been watching his work for a long time now and it’s fun watching these two worlds collide!
Once again thank you for helping us understand "The, Hows" of making documentary interviews.
Looking forward to the finish product.
Be lucky stay safe.
thank you!
Thank you so much for everything! I am shooting my first doc, and honestly I couldn't have done it without your help. Keep up the great work Mark!
So glad this channel could help!
This is the one I've been waiting for! Thanks, from another Canadian!
Great video man still remaining the goat on UA-cam. I love that bottom up shot! Really looking forward to your interview question structure video.
Yeah wow the set looks incredible!
Appreciate the time you took to explain everything, including motivation for framing & lighting. Definitely giving me some ideas for pushing the interviews to the next level.
Cheers
IDK how this will sound but the double diffuser thing is magic I feel so dumb to not realize sooner. And adding patterns through outside lights is pure art as well.And Thanks Mark, you have been a blessing
you're most welcome :)
Double diffusion in itself wont make your light softer , that will only happen if your second diffusion is larger than your first , thats just science and not up for debate. Otherwise all its doing is knocking down the out put , which may appear softer but actually isn't . Only way to make a light softer is making it bigger in relation to the subject . In this case it's only a bit larger , the same " softness" could be achieved by just moving the original source in closer to subject up to where the second frame is. ie making it bigger or as big as the secondary diff in relation to subject , but without the hassle of the extra gear / time.
@@robinprobyn1971@robinprobyn1971, any recommendation for a budget light setup from Godox/Amara? that's actually good too?
Edited: for the key light
@@robinprobyn1971 its also bouncing on the wall cus of the 4x4 and that wouldnt be the case with the dome alone. The dome alone looks way more sourcy.
@@kingmuhu Yeah but I wouldn't be relying on whats actually spill ( a mistake ) , mostly you would be wanting to flag that off, to make my key light source larger . Im just explaining the science, its not a personal preference , the only way to make a light source softer in relation to any object , is to make it larger .adding diffusion that doesn't make the source bigger isnt doing that , plus you have to light that second diff evenly to get any real effect , even if it is larger . I wouldn't be replying on spill onto a wall to achieve it , where else is that light going too. If you move the whole unit as close, to the subject , as the diff frame , in this shot , it's going to be the same "softness" .
Very Cool Love the BTS on this project. I have learned so much more then I ever could have imagined in AOD. totally worth every penny.
Interviewing this weekend. PERFECT timing
Thanks a lot for this breakdown, and also for all the new videos for the course! ❤❤❤
Indeed, watching these breakdowns help me a lot - and rewatching them became a part of my pre-shoot routine! It does boost confidence on set and always provides some preliminary vision :)
KUDOS to Nick, Nic and/or Nic on the music choices... CRISPY!
I kinda hate the "C" angle, but as you explain where it might be used, it makes sense
This is great. Thanks for making this video. Looking forward to the follow up video on how to ask interview questions.
Good stuff! I have a thought about seating. Whenever I have a nice room to shoot in, I prefer high chairs or stools. It seems like I can show the space much better and don't have to deal with lines around the head when the chair is lower.
I have had this turn off for years, but never said it out loud.
I'd love to hear more about how a doc/interview project like this would be priced for a client! I shoot this style often, but nowhere near at the level of equipment this is showing.
“Why are you mixing platforms?” Well, for one, it is probably hard enough to have one ARRI, let alone 4…. 😂
😂
Thank you for this Mark, hope to join your course soon 🥰
Can’t wait to have you a part of the community!
Chris is awesome to work with. That helium is a beauty!!!!
I'm looking forward to seeing the video breaking down the director/interviewer role while shooting an interview and how to ask questions
Do you always use a Lavelier mic when you're using a boom mic? Mark, Just want to clarify - did you mean shooting 60 frames of your subject so 60fps can be used as slo mo in post ?
I disagree with your explanation of the camera C positioning wanting a more cramped feel for usage. You could use other angels like a zooming in on his face and eyes to get the movement of his expressions and close shot of his facial expressions from the side below and center positioned cameras. The way you have done this shows this guy falling off the screen and with so much space behind him it takes attentions away from the character and puts it on elements behind him that have no relevancy in this interview, making him unimportant in this shot. And observing the shot having him on the edge of the frame did not give me the feeling of someone crammed with uncertainty rather being out of place.
My attention remained on what was in focus, which was him. I think it is beautiful framing. I would have done it just a tad differently, but I am a fan of this type of framing. I filmed an interview of an athlete (during his rehabilitation) that survived an accident most people wouldn’t, and when he was speaking about how dark, depressing and difficult it is, this framing is complementary to that kind of energy in my opinion.
Agree mate, I have same opinion
Agree with @Pissarrio. This stifled framing is way over used, and has become a strange fad. It’s more distracting than emotive, so I see it as violating the purpose of selective framing. I’d rather have people feel the tension (as Pissarrio described) rather than think “what the..” when looking at a strange framing choice.
This might have felt a little more effective if you had pivoted the camera a bit to get more of the face, rather than the side of the head.
Sick! Mark Bone x Modern Wisdom sign me up twice
My first time being first to a video. 30 seconds ago? Haha love your stuff Mark.
Got some oil blotch pads on Amazon. Like $10. Super helpful
Cool video Mark 🎉
Anyone know the name of the strap the sound guy used for Chris? Can’t seem to find mic strap on Amazon 😂
Great breakdown! But where Can I get the graphics/illustration you using for the breakdown. Is that avail for download ?
Question: In your process, are you syncing audio and video using waveform or Timecode? I can’t tell by looking at your setup.
Noted with the 60fps BRoll!
When I shoot through windows it lays looks overexposed and I have to turn up the key light so high to compensate for ND filter. What is your technique for situations like this? Good video;
めっちゃかっこいい
awesome︎︎👍
Do people mostly spray 60 for their slow mo? When would we want to do 120 or even 240?
A lot of pretty awkward framing here but tbh the color mismatch is distracting. The Alexa looks nice and natural (framing aside) but the extra warmth on the other 3 really accentuates the “lit” feeling. Getting them a bit cooler, greener, and/or less saturated might help a lot. Honest Christopher Williamsons podcast does what this video is trying to do fantastically. Great framing, great eyelines, great lighting, and they manage to do it for two subjects every time. Would love to hear from that crew about their process.
I dont see any high-end here, absolutely none! Very awkward frames like said above and those flares so Disgusting
What is that strap Nick used for Chris' mic?
Don't you just hate it when you discover there is a typo on the title text of your thumbnail ;) Sorry to be the one to break it to ya, but at least the thumbnail is easily changed :)
Lololol
thank you good sir. it has been fixed. good catch
@@markbone My super power is discovering *other* people’s typos …
Saving this one!
🫡
thanks for this video! did the sun moving around affect your background at any point?
Why did you decide to go for a handheld camera in the 4-camera interview? Wouldnt cutting to that be kind of jarring?
Easy rig makes it a lot more stabilized and cuts easier
Thank for for these video. I have one question. I always tried to cover all windows so that I have control over the light. Without covering the windows I´ved get some struggle with the weather. If a cloud covers the sun my exposure change dramaticly. How you handle this?.
Great video thank you
When you don’t enough budget to rent 4 Alexa’s for a documentary: Yeah… it’s ok to mix and match different cameras and lenses! It gives a different feel” 😂
Hi Mark! Thank you for sharing! The link in your pinned post doesn't seem to work for me=( It's the tiny url.
What external monitor are you using? I own an FX3 and I can't decide what to get
DANG and I thought my fx30 was amazing for a cam, which it is. Made a similar video about it on my channel.
Yeah, you need a tight handheld and that 35 wide. The other two angles are useless. Lighting is brilliant though
I need a breakdown on where you get your shirts from haha
You know, I watch your videos, and something that stands out to me is age. Have you ever thought about it? Ever production you have is someone in your age category. Where are the older people in this field? One day, you will be older, too. Have you ever asked yourself where the 50 or 60-year-olds are in this industry? Why so much age discrimination. Face it, all of you will get grey hair, too.
Would love to collab with you, Mark!
Will there be a One Day Doc comp in September?
Yes
i would've use 4 th camera for extreme close ups of his face hands and mouth for more tension and intimacy
see 4:50
Holland as in The Netherlands!?
alexa.. 600 d,1200 , two other cameras , expensive tripod.. this was a very expensive interview.
;)
Do we need to be a member of he AOD to submit our documentary for inclusion to be featured in your site?
Yes
Is it just me or are all these angles a bit whack? Not doing justice to the whole effort
So ads on every two mins are a trend here. See ya derpe