Popcorn Sunday #05

If you want us to watch your short film simply leave it in the comments with a quick line about the film. We can't put them all in the videos but we comment on every single one with some constructive feedback!

Links to the short film can be found below - 

I am trying to remember by JuanTheBone: https://youtu.be/tNPkhgD2jYg

Exodus by Iridescent Productions: https://youtu.be/wcZxBOWTytM


DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Preparing for a client shoot | Episode 3: Video Production Guide

In the last few videos we have spoke about how to set up your video production company, get a video job, and work out what to charge.

In this video we are going to talk about preparing for the shoot. Welcome to The Film Look and episode 3 of the Video Production Guide.

Video Production - Pre-Production.jpg

Preparing for the shoot is just as important as the shoot itself. The more you prepare, the easier your shoot will be.

After you get the job there are a lot of questions you should ask your client before the shoot, such as:

When are you available to shoot the video?

Where is the location?

How many people will be interviewed?

What questions need to be asked?

What time does the event finish?

When do you need the final video delivered?

What do you want the video to achieve?

Video Production - Question to ask.jpg

Some of these questions might seem very simple, but if your client needs the video turned around within a couple of days you need to know that before you shoot.

Ask as many questions as you can and it will reassure your client that you know what you are doing, even if you’re just making up as you go along.

If your client is struggling to express what they want, ask them to send over some examples of other videos they have seen that they like. Taking inspiration from others is perfectly fine, you’re not trying to remake radius of the lost ark.

Next you want to write up an agreement contract. This is basically an outline, or some bullet points, of everything you are going to do to make the video, and everything the client will do in order to help you deliver it.

No matter the scope of the project, a written contract is there protect you from any legal outcomes if they should arise, such as a client refusing to pay. It’s uncommon, but it does happen from time to time.

In the description below we have provided a simple contract we use.

Now you have outlined the idea with your client, use this to make a shot list for the shoot. Forgetting to shoot something on the shooting day and having to go back doesn’t look very professional and it is technically reducing your hourly rate. This is your mistake, and you can’t charge extra for something like this.

Client videos that consist of sit down interviews, b-roll, or event footage won’t require a script or storyboards.

The jobs that do are generally the most fun as there is a clear vision put in place and you can treat it like a short film.

We needed storyboards and a script for a shoot with an actor who was interacting with a prop in a particular order. Having a script allowed the actor to know what was required from them and it allowed us to clearly know what we needed to shoot before we got there.

Kit

Video Production - KIT.jpg

 

Now you have all of the paper work out the way, prepare your kit the day before the shoot. Everyone will have a different camera equipment setup,

and you don’t need a lot of expensive camera equipment, a DSLR, Lens, tripod, and microphone is a good starting point to shoot most things.

What ever equipment you have, make sure all of your batteries are fully charged, and remember to bring a few extra spares. If you are going to use lights that need mains power, take a 10 meter extension lead; you never know how far the nearest socket will be.

Before you leave, make sure you have all of the production documents and kit. Dress smart/casual; you want to be comfortable whilst working, but don’t want to look like a slob. And remember, don’t be late!


The Video Production Guide is a step by step series teaching you the basics of shooting videos for clients.

Episodes released Weekly:

Want to make videos for a client: https://youtu.be/bBkQpobfAjU

How to get the job: https://youtu.be/A1-09ESSZew

How much to charge: https://youtu.be/3Djuh-xTL6Y

Preparing for a client shoot: https://youtu.be/sDbbKaaPjc4

How to shoot an interview: https://youtu.be/8TRdmj0Ao4k

Shooting b-roll: https://youtu.be/RYc2y_dsexI

Editing and Feedback: https://youtu.be/ipMmMp-241o

The Client Video: https://youtu.be/X9VZTuxvT9w


This video was Sponsored By

http://bit.ly/track-winner-takes-it-all - Thanks to PremiumBeat for providing the music for this week's episode. Check out Premiumbeat.com to discover a huge range of exclusive royalty free music!


Equipment Links

🎥 This episode's kit/gear/equipment:

US links

Rode Video Microphone - http://amzn.to/2zDp4mS

Rode NGT 2 - http://amzn.to/2yK4dkR

Rode Link Clip Mic - http://amzn.to/2zBSK3G

Aputure LED HR672C - http://amzn.to/2y2U9Uv

UK links

Rode Video Microphone - http://amzn.to/2lcKOmU

Rode NGT 2 - http://amzn.to/2i3xOeN

Rode Link Clip Mic - http://amzn.to/2yKjUso

Aputure LED HR672C - http://amzn.to/2i35qt7

 

Preparing for a client shoot - Video Production Guide
Video-Production-Proposal

DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

The Client Video | Video Production Guide

For the video production guide we created a client video for Pamplemousse Recording Studio. We did this to show the types of videos you can create for small business.

The Video Production Guide is a step by step series teaching you the basics of shooting videos for clients.

Episodes released Weekly:

Want to make videos for a client: https://youtu.be/bBkQpobfAjU

How to get the job: https://youtu.be/A1-09ESSZew

How much to charge: https://youtu.be/3Djuh-xTL6Y

Preparing for a client shoot: https://youtu.be/sDbbKaaPjc4

How to shoot an interview: https://youtu.be/8TRdmj0Ao4k

Shooting b-roll: https://youtu.be/RYc2y_dsexI

Editing and Feedback: https://youtu.be/ipMmMp-241o

The Client Video: https://youtu.be/X9VZTuxvT9w


This video was Sponsored By

http://bit.ly/track-march-of-desire & http://bit.ly/track-fulton-and-grand - Click here to download this episode's track. Check out Premiumbeat.com to discover a huge range of exclusive royalty free music!


The Client Video - Video Production Guide

DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

How much to charge | Episode 2: Video Production Guide

If someone comes along and asks you to make a video for them, knowing what to charge can be tricky to work out.

In this video we are going to give you some tips on how to work this out.

Welcome to The Film Look and Episode 2 of the Video Production Guide.

Video Production - How Much to charge.jpg

First I want to talk about working for free. This is something we all have to do to gain experience, and get footage for our showreels.

We have a video where we talk all about working for no pay on our channel if you want check it out.

If the first videos you make for someone are for free, it’s a great time to learn the process and work out how long it takes to make a video for someone.

Even if you are getting paid for the work this is a good practice as you’ll start to work out what to charge for different jobs, as some will take longer to shoot or edit then others.

Video Production - Days Worked.jpg

When you price for the job, tell your client how many days you are charging for pre production, production and post production. It’s good to do this is because your client might look at the price and assume it’s simply for the shooting day. Your client may only see you for the time when you are shooting, but remember this is not just the only time you have worked. You might have spent 1 day planning the shoot, and it’s going to take you 2 days to edit the video.

If you’re struggling to work out what price to charge, don’t be afraid to ask what their budget is as it might be a lot more than you were expecting.

It also might be a lot less than what you were going to offer; yes your hourly rate will be low but you're still getting paid for making videos, and at the start any pay is good pay. [Timelapse of the shoot]

Now you have this information, what is your time worth? That’s what this video is all about after all. I can’t tell you what you should charge as there are many different factors to consider.

First there is your level of experience, the more experience you have the bigger and better jobs you can get which you can charge more.

Who is your client? With some clients you can charge more for your services. Don’t expect every client to be able to pay you the same hourly/daily rate.

Video-Production-How-much-to-charge

A locally run coffee shop does not have the same marketing budget as starbucks.

Your location is important as well. In some city’s like London or New York you can charge more simply because everything has inflated pricing, but if you live in a small city or town there will be a price cap for video production.

Video Production - Location.jpg

Finally, every project will be different in terms of how long it will take to plan, shoot and edit. 

A little piece of advice; in the film industry there is no such thing as a half days pay, so if the shoot is only 2 or 3 hours, you need to charge for a full day as you can’t really do anything else during that day when you are waiting to go to the shoot.

Video Production - Shooting Hours.jpg

Whatever you charge make sure you are always delivering the highest quality of video and service you can. It doesn’t matter if they are offering pennies, give them a video you think is worth hundreds if not thousands. You never know when they may need more work in the future, or when someone asks them if they know any good video people.


The Video Production Guide is a step by step series teaching you the basics of shooting videos for clients.

Episodes released Weekly:

Want to make videos for a client: https://youtu.be/bBkQpobfAjU

How to get the job: https://youtu.be/A1-09ESSZew

How much to charge: https://youtu.be/3Djuh-xTL6Y

Preparing for a client shoot: https://youtu.be/sDbbKaaPjc4

How to shoot an interview: https://youtu.be/8TRdmj0Ao4k

Shooting b-roll: https://youtu.be/RYc2y_dsexI

Editing and Feedback: https://youtu.be/ipMmMp-241o

The Client Video: https://youtu.be/X9VZTuxvT9w


This video was Sponsored By

http://bit.ly/synergy-pack - Get professional assets for your video from RocketStock.com. Their "Synergy" video pack is perfect for video editors and animators looking for versatile elements for any type of project.

http://bit.ly/track-the-funk - Click here to download this episode's track. Check out Premiumbeat.com to discover a huge range of exclusive royalty free music!


How much to charge - Video Production Guide

DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Popcorn Sunday #04

If you want us to watch your short film simply leave it in the comments with a quick line about the film. We can't put them all in the videos but we comment on every single one with some constructive feedback!

Links to the short film can be found below - 

Collect by Elvis D’Silva: https://vimeo.com/90834634

I Did by James Watts: https://vimeo.com/188674032

 


DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

How to get the job | Episode 1: Video Production Guide

Living in the digital age; a multitude of businesses, companies, and individuals are looking for videos for a range of different needs. They are also willing to pay for them!

That’s where a filmmaker comes in. But, how do you find the work, and how do you secure a video production job?

Welcome to The Film Look and episode 1 of the Video Production Guide.

Video Production - How to get the job.jpg

So you’re an aspiring filmmaker, you have a DSLR, a microphone, some lights, and you want to earn some cash by using your skills and equipment to make videos for clients. How do you start?

At first you may have to work for free to gain experience before people will pay you. We had to do this at the start and we would advise to treat this time as a testing ground to see if making videos for other people is a career path you want to go down.

Everyone needs videos making, so contact local museums, artists, events, people getting married, vets, dentists, hairdressers, even make a video about your Gran’s sewing group if you have to!

Showreel

Video Production - Showreel.jpg

Once you have a few projects under your belt you can create a showreel to showcase your work. Trea t your showreel the same way you would a CV or resume; show the best shots and don’t make it longer than 1 minute. You want it to be entertaining and it’s better to have a snappy 1 minute video than a boring 3 minute one.

Your Business

I’m not going to go into the specifics of setting up a business, that's a whole guide in itself. Instead we are going to talk about some of the specifics of setting up a production company.

First you need to pick a name that you will trade under. Our production company is called RGR Film Productions.

Choose a title which is self explanatory. RGR Film Productions is pretty clear that we produce films, RGR Visual Design could be any sort of creative design business; it’s a bit wishy-washy and vague, so pick something with video or film in the title so a client will know exactly what you do.

And spend some time choosing your name too - it’s going to be with you for a long time.

Once you have a name chosen, you should create a Facebook page for the business and eventually a website. This will help people find you and it’s a place to showcase your work. Get Instagram and twitter aswell, but only if you are going to use them.

Seeing dormant twitter feeds that have not been used in 6 months is a lot worse than not having one.

There are lots of inexpensive ways to build your website so don’t stress about it. Wordpress and Squarespace will allow you to create something visual really easy, which is what you should be aiming for. And some advice don’t have a lot of text on your website - your work is visual so show it off.

We are not sponsored by Squarespace, but there are loads of other channels that are and they offer discount codes for the site.

Keep your branding consistent on your website, social media pages and even your business cards. If you have no experience in graphic design there are lots of people out there that can help, some just starting out like you. Trade services if you can.

Business cards are a dime a dozen.  A great way to stand out is to have something that’s different from the norm. These were my first set of business cards and they worked, but after a few years I changed them to these. They are a lot more visual and they give a good first impression of what you do.

Video Production - Business Cards 1.jpg
Video Production - Business Cards 2.jpg

How to approach businesses

Whilst you are setting up your business you need to be out there finding work, as no one will come to you especially at the start.

Emailing people can work, but you need to make sure you are emailing the right person. Don’t use the first email address that you find on a company's website, info@company.com, you need to be speaking to someone who works in the marketing or advertising departments, these are the people who deal with the people just like you. An easy search on Google like this - Company.com Marketing department will give you the names of the people who work in that department. Karen@company.com

This is a little different for people and businesses who are just one or two man teams. A great way to contact them directly is by messaging them via their Facebook business pages - write this message in the same professional manner you would an email.

Don’t be disheartened if you send 100 emails and only get 10 back, 10 is good. But if you only get 1 email back of someone who is interested, the next step is to meet with them and see how you can work with each other.

Even if this is an unpaid job treat this as a job interview; go  smart, be prepared, and listen to what they want.

And most of all, be honest! Don’t pretend to know something you don’t, nobody becomes David Fincher overnight, and you shouldn’t pretend to be.

Other than that, it is all up to you to turn that into a sale.

The more people you speak to, the more work you will get, so get to know people! Referrals are how you are going to get 50% if not more of your work. This means networking, and telling people them what you do.

I hate networking, but it’s necessary. The trick is to really listen to people; who they are and what they do. Don’t try to sell your business yet as they might not need your services, but they might know someone that does.

Last piece of advice will depend on where you live; if there are a lot of art groups, community meeting and talks, go to them and introduce yourself. You will meet people who are very like minded, creative, and someone there will be organising some form of event or workshop...and this is when you can offer to film it for them...it’s a start!

Who needs videos making?

So who needs videos making? Well the short answer is everyone. For this guide we have made two different types of client videos to use as examples.

One was for Sian Jordan Designs, a watercolour artist, and we made a video that explains who she is and what her business does. We call these type of videos ‘Business Stories’.

The second video we made was for Pamplemousse Recording Studio that advertised the services they sell. This is a classic promotional video.

The two videos were created for Pamplemousse Recording Studios. The first one was a 20 second advertisement about the services they offer. The second video was 2 minutes long, and goes into more detail about Jordan the owner of Pamplemousse Recording Studios, we call this type of videos Business Stories.

Recording Studios are just one example of the type of companies you could contact, but there are loads more so let’s talk about them.

These are just two examples of the type of companies you could contact who need videos. There are loads of others so let's talk about them.

Museums

Video Production - Museums.jpg

Our first client job was working for a museum filming artists creating art out of glass then interviewing them about their work. These jobs taught us how to work with a client, finding out what they need, how to shoot interviews with many different types of people, and turn videos around quickly.

Corporate Videos

Video Production - Corporate Videos.jpg

Corporate videos come in many different shapes and sizes. We have already spoken about Business Stories and service based promotional videos, but you also have fundraising videos, factory tours, and high concept videos which have a short film structure and tone to them.

Music Videos

Video Production - Music Videos.jpg

From my experience if you want to make music videos, just advertise that you only make music videos. It’s easier for local bands to find you as they don't have to look through all of the other work you have created. Music videos are a great way to just concentrate on the visual story as the sound has already been recorded for you.

Events

Event videos come under many different categories like locally organised events, music festivals, night clubs videos, and corporate conference events that are not the most interesting but can be turned around quickly.

Weddings

Video Production - Weddings.jpg

Filming weddings can pay well and it’s a good way to get used working fast and thinking on your feet (which will hurt as the shooting days will be long and the editing days will be even longer). Just music videos, if you’re going to shoot weddings it might be best to separate your main production company from the wedding side. A bride doesn't need to see how well you can shoot a corporate video, they need to see how well you can capture their special day.

Proposals and Pitching

Video-production---How-to-get-a-job.jpg

If a business comes along and says ‘yes they would like a video making’ even if it is for free, or you find out there is an opportunity to apply for a video contract, you will have to write something called a proposal.

A proposal is a formal document that outlines the approach of how you will make the video for them. In the document you will outline about the concept, visual style of the video, the schedule, and cost of the project. In the description below you can find a word template we use to write our proposals, with some examples of what might be written in each section.

After you have spent about a day writing the video production proposal, they may short list you and ask you to go in and pitch the idea. Pitching is like a job interview (which no one likes doing), but my advice is learn your pitch back to front, and be passionate about why you want to use your skills to make them a video.

You will win some jobs and you will lose some, and it sounds daft to say but if you don’t get the job don’t worry about it. Failing to get a job is a learning experience, so send them an email and just be honest about getting feedback to help you learn. They might give you some advice which helps you get the next job.

If you did get the job... congratulations! In the next video we are going to talk about how to prepare for the shoot. 

The last piece of advice I would like to give you is this: most people get into making client videos to help fund their short films. There are a lot of people who lose sight of their original goal and turn more into business people than filmmakers. The money can be good, but never lose sight of why you picked up a camera in the first place, and tell the stories you want to tell with the money you have made telling other people's.

The Video Production Guide is a step by step series teaching you the basics of shooting videos for clients.

Episodes released Weekly:

Want to make videos for a client: https://youtu.be/bBkQpobfAjU

How to get the job: https://youtu.be/A1-09ESSZew

How much to charge: https://youtu.be/3Djuh-xTL6Y

Preparing for a client shoot: https://youtu.be/sDbbKaaPjc4

How to shoot an interview: https://youtu.be/8TRdmj0Ao4k

Shooting b-roll: https://youtu.be/RYc2y_dsexI

Editing and Feedback: https://youtu.be/ipMmMp-241o

The Client Video: https://youtu.be/X9VZTuxvT9w


This video was Sponsored By

http://bit.ly/stanza-pack - If you're looking for stylish transitions for your video, then check out "Stanza" by RocketStock. You’ll be cutting from scene to scene like a pro with this bold pack of 200 plus video transitions.

http://bit.ly/track-phenomenal - Click here to download this episode's track. Check out Premiumbeat.com to discover a huge range of exclusive royalty free music!


How to get the job - Video Production Guide

DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Want to make videos for a client? | Episode 0: Video Production Guide

A great way for you to fund your short films is to make client, corporate, and promotional videos for others. If you have a camera, tripod, microphone and some lights, you have the basic equipment you need to make these videos.

We have been doing this for about 5 years now, but making a video for a client is something they don’t teach you in film school and there is a lot that goes into making them than just  shooting good looking video.

Yes a lot of filmmaking techniques are transferable when making these videos, but how do you get a video production job in the first place? How much do you charge? And what are the main steps to deliver a video to your client?

To help you work all of this out we have create two different types of client videos one for a watercolor artist and the other for a recording studio.

To help work all of this out we have create two different types of videos for Pamplemousse Recording Studios.

Then we have broken the process down into a 7 part video guide that talks about how to get a job making a video for a client to delivering that video.

We’ll start of by talking about how working for free will help you gain experience, and help you turn unpaid work into paid work by creating a showreel with the footage you have filmed.

Once you have a showreel you need a place to put it so people can find you, but you also need to be approaching business to offer your services.

We are going to talk about the types of people you can contact who need videos making. Spoiler Alert, it’s everyone.

A difficult question to answer is “how much do you charge a client for a video”? We have broken this down to help you work that out.

Once you have agreed on the price and the type of video your client needs, you need to prepare for the shoot with a script, shot list, and getting your kit ready.

Shooting interviews is a big part of making client videos. There is a lot to learn, and that doesn’t just mean shooting them, but conducting the interview as well.

Once you have shot everything you will need to edit the videos and deliver them to the client. We are going to talk about our editing workflow that we use to help turn videos around faster.

We have spent the last 5 years making videos for others, and we want to help guide you through the process.

Welcome to the Video Production Guide

The Video Production Guide is a step by step series teaching you the basics of shooting videos for clients.

Episodes released Weekly:

Want to make videos for a client: https://youtu.be/bBkQpobfAjU

How to get the job: https://youtu.be/A1-09ESSZew

How much to charge: https://youtu.be/3Djuh-xTL6Y

Preparing for a client shoot: https://youtu.be/sDbbKaaPjc4

How to shoot an interview: https://youtu.be/8TRdmj0Ao4k

Shooting b-roll: https://youtu.be/RYc2y_dsexI

Editing and Feedback: https://youtu.be/ipMmMp-241o

The Client Video: https://youtu.be/X9VZTuxvT9w


This video was Sponsored By

http://bit.ly/track-fulton-and-grand - Click here to download this episode's track. Check out Premiumbeat.com to discover a huge range of exclusive royalty free music!


Want to make videos for a client - Video Production Guide
Video Production Guide

DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Story in a Can #9 | "Vape Nation"

In each can there are 20 locations, 20 objects, 20 characters, and 20 scenarios. We pick one from each of the cans and try to come up with a film idea on the spot. Sometimes they are bad, but sometimes we turn the idea into a film.

In Story In a Can #9 Rich and Adam have to make a story about a Character who is a soldier, a location of a Dive Bar, an object of whipped cream, and a scenario of Cinema is closed! What Now?

Watch the video to see what story was made.


DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Diffusion in a can!

We have a few different DIY methods to diffuse sunlight from a window. Most of the time we use a frosted shower curtain. It’s easy to pin up and does a solid job.

If the window is in shot we sometimes cut out sheets of greaseproof paper and place them inside the frame. This is handy for exposure correction, diffusion, or if you want to disguise the view from outside.

But what if the window has 17 visible panes? What if you want to diffuse the light and disguise the view outside and simply don’t have time to cut out every single sheet for every single pane?

Let me introduce YOU to Diffusion in a Can.

We went shopping for gold spray paint the other day and noticed this, Frosted Glass Spray Paint. Primarily used to give your windows a snowy Christmas feel, we wondered if it could work to diffuse a window from harsh sunlight.

Let’s put it to the test!

To give it a fair test; we blocked out the light in the studio, rigged up a pane of glass, shone an LED light panel through it and recorded a bunch of tests.

We’re going to get a little science-y now with f stops and exposure values. I put a link down below explaining it all if you want to learn more.

NO DIFFUSION is our reference test, and this gives us a light metre reading of f4, 1/48, ISO 200, 24fps, which is essentially same as our settings, so the shot is correctly exposed.

Different Types of Diffusion 1.jpg

Next we added the frosted shower curtain. You see here that it does a good job of diffusing the harsh light. The light metre gives us a change in value from f4 to f2.8 which means that it has halved the amount of light hitting Rob’s face. This is why our shot is a lot darker - we are not changing the camera settings for purpose of the test.

Different Types of Diffusion 2.jpg

Then we swapped the frosted shower curtain for the greaseproof paper. Again, this does a good job of diffusing the light and creating softer shadows. The light metre gives us a reading of f2, reducing the light twice as much as the shower curtain. We currently have a quarter of the light coming in compared to our first shot.

Different Types of Diffusion 3.jpg

The light metre is telling us that in order to expose the image correctly like our very first test shot, we need to add more light; either by changing the settings on the camera, or by adding a brighter light source.

Anyway, let’s see how the frosted glass paint did!

We sprayed several even coats of paint onto the glass and waited around 30 minutes to let it dry.

As you can see, the paint did very little to diffuse this light source. The only difference I can spot is the added roundness of Rob’s shadow. Evidently, the light metre read f4, so it did in fact retain most of the light coming in for our test.

No Diffusion in a Can.jpg
Diffusion in a Can.jpg

But this doesn’t mean it isn’t diffusing the light. So we tested it on a much bigger source!

For our second test, we put the greaseproof paper and the frosted glass paint head to head to see which can seamlessly diffuse the window faster.

Rob uses the roll of greaseproof paper, scissors, and some sticky tack.

And I used the frosted glass paint and some masking tape to protect the paint work.

The greaseproof paper method took 30 minutes and 41 seconds to complete 6 panes.

The paint and masking tape method took 16 minutes and 24 seconds to complete 6 panes - almost half the amount of time.

Rob admitted that to get a completely seamless effect with the paper, he would have been working on the panes for at least another half hour.

Diffusion-in-a-can1

The paint is definitely the quicker option with a more seamless finish. To cap it off, here are some examples of the painted window panes diffusing the direct sunlight. The paint does diffuse pretty well given a large enough surface and a harsh enough light.

Window with No Diffusion.jpg
Window with diffusion in a can.jpg

At this point you might be wondering if frosted glass paint will do harm to your window. Let me show you just how easy it is to remove using a glass scraper and some window cleaner.

Simply spray the pane with a good amount of window cleaner and leave it to soak in for a few minutes. Then take your glass scraper, and with a little pressure, remove the layer of paint. If it’s wet, it should come off like a layer of cellophane. Grab a towel and wipe any residue off - it’s as simple as that.

Diffusion In a can Scrap.jpg

So if YOU need a quick, easy, and fairly cheap way to diffuse and hide the view of a window which is in shot, grab yourself some diffusion in a can.

You can find links to the frosted paint and the glass scraper we used in the description below.


This video was Sponsored By

http://bit.ly/corruption-pack - With glitchy overlays, distorted logo reveals and more, RocketStock’s "Corruption" is an ideal way to give your project a dramatic edge.

http://bit.ly/track-blue-blood - Thanks to PremiumBeat for providing the music for this week's episode. Check out Premiumbeat.com to discover a huge range of exclusive royalty free music!


Equipment Links

🎥 This episode's kit/gear/equipment:

US links:

Frosted Glass Paint: http://amzn.to/2gigxl5

Glass Scraper: http://amzn.to/2z7Kb0e

Masking Tape: http://amzn.to/2xFI1DJ

 

UK links:

Frosted Glass Paint: http://amzn.to/2yjbNTq

Glass Scraper: http://amzn.to/2xGPUOr

Make Tape: http://amzn.to/2xFCz8Z

diffusion-in-a-can

DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Popcorn Sunday #03

If you want us to watch your short film simply leave it in the comments with a quick line about the film. We can't put them all in the videos but we comment on every single one with some constructive feedback!

Links to the short film can be found below - 

Empty City by CineCam Media: https://youtu.be/RVn-I0Oe6RY

Wake up by Anthony Bassolino: https://youtu.be/ZWwqiuHBAU4

 

 


DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Light up your Camera Bag for less than $16 (or £16)

Today I’m going to show YOU a really cheap and simple way to add LED strip lighting to your camera bag without glue, tape, or nasty adhesives.

Instead we are going old school - we are going to grab a needle, some thread, and hand sew the lighting strip into place!

Finding equipment in your camera bag at night or in a dark environment can be difficult - especially considering everything is pretty much painted black. We’ve toyed with spray painting things bright colours in the past, such as our infamous orange lens caps.

But when you’re on a night shoot, something even as bright as this can get lost in your bag. So what can we do? It’s time to customise.

Lights-for-your-camera-bag-With-LED-lights.jpg

You can pick up a battery powered LED strip light on amazon for £7 (or $7.89 for our american cousins watching). And grab yourself a hand sewing kit while you are at it for 8 quid (or 8 bucks for the yanks). You can find links to the items we used in the description below.

This is all you’ll need to start, now just pick the bag you want to light up!

I’m going to be converting this Porta Brace camera bag as it’s always the bag which seems to create a dark void of oblivion.

First of all, work out where you want to attach the LED strip.

Choose somewhere in your bag where it doesn’t puncture the outer surface, such as an inner ridge or seam where a sewing line is already visible, like this spot here. This will avoid spoiling the outer protective surface of the bag, especially if it is waterproof.

Lights-for-your-camera-bag

I found that sewing 10 loops around the strip at a time, then moving an inch along and repeating the process worked pretty well. It was secure whilst not blocking the light from the LEDs. Find a pocket or sleeve for the battery pack to sit and you are all done!

By sewing the strip in rather than gluing it in place or using something like velcro, it just means you won’t get a horrible residue in your bag. It also means you can simply cut off the thread if you want to remove it.

Now you won’t have to hunt for your torch or use your phone as a light. Simply flick the switch to see inside your bag at night. And if you really want to, you can always activate disco mode.

Lights-for-your-camera-bag-With-LED-lights1.jpg

This video was Sponsored By

http://bit.ly/track-funk-fever - Thanks to PremiumBeat for providing the music for this week's episode. Check out Premiumbeat.com to discover a huge range of exclusive royalty free music!


Equipment Links

🎥 This episode's kit/gear/equipment:

US links:

LED strip: http://amzn.to/2fQ67ZF

Sewing kit: http://amzn.to/2yo1Rbz

 

UK links:

LED strip: http://amzn.to/2xRGHSq

Sewing kit: http://amzn.to/2fPUlP7

 

Light up your camera bag

DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

The Next Short Film | Vlog #38

Another week of the video where we how behind the scenes of our video production guide, we spray paints costume items for our next short film Backstage, and we talk about the process of making a Film Look epsoide 

Links to all do the videos mentioned in the Vlog can be found below.


DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

8 Filmmaking Lenses from $50-$500

We’ve built up a small collection of camera lenses over the years. Some are great, some are rubbish, some are cheap, and others more expensive. And they all do something a bit different.

Today we’re going to talk about our camera lenses. 

We have 8 different camera lenses that we use for film projects. Some we use a lot - and some are for very special occasions. We’ve had other lenses in the past, but we sell any lens that we simply don’t use - they can be expensive paper weights after all.

We’ve been purchasing lenses over the past 5 years or so, and the majority of our lenses are 2nd hand. Let's start off with the lens we use the most.

The Canon L series 24-105 @ f4.

[New: £649.99 - Used: £350]

This is the lens we have on the camera the majority of the time. Because of its wide focal range, it’s perfect for run and gun set ups because of it’s ability to go from a wide shot to a close up in a split second.

This lens also includes image stabilization, which means you can use this lens in hand held situations and not suffer from micro jitters. This is a great work horse lens for commercial and promotional video shoots and a quick turnaround film.

You get a very clean sterile look from this lens. It comes with a lens hood to prevent flaring, but if you want to get some sexy lens flares you can always take it off and embrace the flaws.

This lens does only stop down to f4. If you are looking for a low light lens or super shallow depth of field, this isn’t going to cut it. But it does bring me to the next lens in the line up!

The Canon 50mm @ f1.8.

Canon-50mm-F1.8

[New: £100 - Used: £50]

Also referred to as the nifty fifty, this is a great 2nd lens to have in your kit bag. It’s a prime lens, which means it can’t zoom in or out, but has incredible low light capabilities. This lens can stop down to f1.8 meaning it can let in a lot more light than other lenses. This feature also gives you an incredibly shallow depth of field which is ideal if you want to shoot something very arty and atmospheric.

At 50mm this lens is very pleasing to the eye. 50 millimetres is considered very close to the perspective of the human eye which helps retain natural sizes and shapes on a subject, especially on the human face. You don’t get a squashed or squirrel face like wide and telephoto focal lengths.

The bad thing about this version in particular is it’s lack of image stabilization. Put this in your hands and it will suffer from micro jitters. So get this locked onto a tripod if you want to avoid shaky footage.

It is also very fragile. The plastic body will mean it won’t last many drops or knocks. The focus ring on this model is also not silky smooth like more premium lenses, so pulling focus on this will be a bit more tricky.

This lens isn’t for every situation. But for it’s cheap price, it’s a great secret weapon if you want to give your shot a bit more style and if you need to shoot in a low light situation. This is also the lens are we using right now!

Next on the list is another Canon.

This time it’s the 60mm Macro @ f2.8.

Canon-60mm-Macro-F2.8.jpg

[New: £450 - Used: £250]

This lens isn’t a workhorse -  it’s definitely for particular situations. Because of it’s incredible macro capabilities, this lens can get super duper close to a subject and stay in focus. You’ll find with most lenses that you will need to keep a significant distance in order to stay in focus, but with this lens you can focus onto the end of a pin, great for shooting phone screens, words on a page, or extreme macro close ups.

This lens also stops down to f2.8 which means it can give you razor thin depth of field and is more than capable of performing well in low light situations.

This version of the lens doesn’t have image stabilization. So, like the nifty fifty, get this on a tripod and lock it down to avoid any micro jitters.

This lens is also made for APS-C sensors, which means it will vignette if you put it on a full frame camera. We combat this by changing the setting of our A7s to APS-C and cropping the image in.

Next is our wide angle lens - the Tokina 11-16mm @ f2.8.

Tokina-11-16mm-@-f2.8.jpg

[New: £280 - Used: £200]

This is technically an APS-C grade lens which means if you put it on a full frame camera like our Sony A7S and zoom it out to 11mm, you will see some major vignetting. The good thing is that if you zoom it into 16mm this will disappear, so just treat it like a prime lens!

We don’t shoot on this lens a lot, but it’s there in case we ever need to get a super wide angle. We have used this in the past on our vlogs so we can get the whole studio in shot, and we love to use this lens when shoot time lapses.

The Tokina also stops down to f2.8 so it lets in a lot of light.

Just be careful when shooting with this lens. We used it to film a segment of our Podcast and because of the perspective, we ended up turning Rob into a Hobbit.

Next we have the first of our vintage lenses. The Takumar 35mm @ f3.5.

Takumar-35mm-@-f3.5.jpg

[Used only: £60]

You might be wondering why you’d go for a vintage lens rather than a new lens. We have a video all about vintages lenses here that goes into detail, but basically vintage lenses tend to be sharper, built better, and they usually come with some unique visual flaws which add some real style to your shot.

The Takumar is a fiercely sharp vintage prime. It’s focal length gives a nice wide angle without distortion, and it gives your shot a really nice faded vignette. Vintage lenses tend to offer something a bit more in terms style - they are far from sterile.

Next we have our vintage telephoto prime. The Jupiter Nine 85mm @ f2.

Jupiter-Nine-85mm-@-f2.jpg

[Used only: £120]

With this lens, you’ll either hate it or love it. It’s a vintage lens, which means it’s built really well, the glass is superb, and it’s nice and sharp. It also stops down to f2 so it’s great in a low light situation and gives you really soft shallow depth of field.

But it comes with some flaws which you either have to tackle or embrace. The Jupiter Nine has some serious lens flares, and at lower f stops it does add a slight vignette. If you’re looking for a smooth, dreamy look, this is the lens for you. If you need something that shoots a super clean image, you will have to spend some time learning how to tame this beast.

We purchased a lens hood that reduces most of the major lens flares, but for the best results you will have to place some flags just out of frame like we do in this video here about our “no lights” lighting setup.

This is my favourite lens. It’s got some serious character.

So, we have a wide vintage prime, a telephoto vintage prime, and now we have a mid-range vintage prime. The Helios 44m 58mm @ f2.

Helios-44m-58mm-@-f2.jpg

[Used only: £25]

Like the other vintage lenses we have, you can see straight away that this lens is built a heck of a lot better than something in the similar focal range like nifty fifty but at a fraction of the price. The unique flaw in this lens is it’s famous swirly bokeh. The bokeh balls seem to wrap around a subject when shooting at a low f stop, giving it a very unique look.

Last on the list is our most telephoto lens in the collection. The Canon 75-300mm @ f4-5.6.

Canon-75-300mm-@-f4-5.6.jpg

[Used only: £80]

I’ll talk about the downsides to this lens to begin with, just to get it out of the way. First of all, it’s got a shoddy plastic construction. The zoom and focus ring are a bit loose, and the picture you get out of this is a little bit milky compared to something a bit more expensive.

It features a massive macro distance of 1.5 metres to get in focus, and it doesn’t feature image stabilization so you NEED to lock this lens down onto a tripod. It also features a variable f stop, which means that it will change from f4 when you shoot at 75mm to f5.6 when you shoot at 300mm. This may seem like it isn’t a big deal but it’s definitely something to be aware of.

The one good thing about this lens is simply it’s focal length. At the maximum focal distance of 300mm, the shot you get out of this looks like no other. It’s great for simulating binoculars and giving the shot an “espionage” feel.

All of the lenses have their own character and language. Just remember to choose the right tool for the right job.


This video is sponsored By 

http://bit.ly/pack-emulsion - Make your video look like it was tailor-made for the silver screen with RocketStock’s film grain overlay pack, Emulsion!

http://bit.ly/track-losinggames - Click here to download this episode's track. Check out Premiumbeat.com to discover a huge range of exclusive royalty free music!


Equipment Links

🎥 This episode's kit/gear/equipment:

US links:

Canon 24-105mm: http://amzn.to/2fWen7v

Canon 50mm f/1.8: http://amzn.to/2fVVzoQ

Canon 60mm Macro: http://amzn.to/2ycaGFg

Tokina 11-16mm: http://amzn.to/2fW0aHu

Takumar 35mm: http://amzn.to/2yLjPBU

Jupiter Nine 85mm: http://amzn.to/2xKRDQR

Helios 44m 58mm: http://amzn.to/2x1GKf2

Canon 75-300mm: http://amzn.to/2yMis5R

 

UK links:

Canon 24-105mm: http://amzn.to/2woCL7F

Canon 50mm f/1.8: http://amzn.to/2wnWK6y

Canon 60mm Macro: http://amzn.to/2xBOxj4

Tokina 11-16mm: http://amzn.to/2fFwt0p

Takumar 35mm: http://amzn.to/2wojkfc

Jupiter Nine 85mm: http://amzn.to/2wokiYS

Helios 44m 58mm: http://amzn.to/2ywzPXm

Canon 75-300mm: http://amzn.to/2woqj89

 

8 Filmmaking Lenses from $50-$500

DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Popcorn Sunday #02

If you want us to watch your short film simply leave it in the comments with a quick line about the film. We can't put them all in the videos but we comment on every single one with some constructive feedback!

Links to the short film can be found below - 

Dragonciego - Paloma by Matías Quiroga: https://vimeo.com/212278550

Memory Drive by Karl Bohn: https://youtu.be/Y87dDA42dpU

 


DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

What to Buy after your Camera

Your camera is the single most important piece of equipment you need to make your film, but what do you need next.

So you’ve just bought your first camera, but that’s not the only piece of camera you need to make your film.

At the start there are so many pieces of camera equipment to look at it can be a little overwhelming. So we have put a list together of the top 5 things you should buy after your camera.

[Top down of camera equipment going on table white board]

50mm Lens

Canon 50mm F1.8

50mm is a really good looking focal length to shoot at, and most 50mm lenses will allow you to stop down to f1.8 if not lower.

This will allow you to achieve a shallow depth of field which always just looks good.

Try not to shoot eve  rything at F1.8 though, it can be difficult to keep everything is focus especially if your subject is moving.

I’d rather see your subject in focus then a completely shallow background, and F2.8 or F4 still can look good when using a 50mm lens.

Tripod

What to Buy after your Camera - Tripod.jpg

It sounds daft saying this but get a tripod, and try and get something that is going to last you a long time.

I bought this tripod about 5 years ago for about £150.

When I had a little spare money I upgraded the tripod fluid head to something that could take more weight and then added a leveling base to make using the tripod easier.

You can find tripods that cost £30, but you want something with a little weight and strength to it even if you are just using a DSLR side camera.

Get a good pair of legs which are going to last and you can always upgrade your head in  the future.

Slider

What to Buy after your Camera - Slider.jpg

A tripod will allow you to lock your camera down and help you think about the composition of your shots.

You can add movement with pans and tilts but if you want to add dynamic movement the next piece of camera equipment you could by is a slider.

Sliders will allow you to achieve shots like this: Slide from left to right revealing your subject. Slide from left to right whilst panning to keep your subject in the middle of the frame. You can push in. Push out. We have a video all about camera sliders if you want to learn more about them.

Mic

What to Buy after your Camera - Microphone.jpg

Video is nothing without sound and your cameras on board microphone just won't cut it, so get something like a Rode video microphone to start with as it will definitely improve your audio.

But to really improve your audio get the mic off your camera and as close to your subject as possible, if you get a Rode videomic get a 5 meter 3.5mm jack extension cable so you can still plug the mic into your camera.

Reflector

What to Buy after your Camera - Reflector.jpg

You can pick up a 5 in 1 reflector for less than £20 depending on the size you want.

We have a 110cm one and it is great to add a little more bounced light onto your subject with the white, silver or gold side.

The black side creates a negative fill so light will not bounce off it onto your subject. The middle section of the reflector will help you diffuse your light also.

Lights

Yes this is the six item on the list, but “top 6 things to buy after your camera” does not sounds as good.

Your camera's sensor needs light, at first start with just using daylight then move on to using lights and bulbs you have around in the house.

We recommend not to buy cheap work lights, the colour you get from them is not great and if you are planning on shooting videos for other people they don’t look very professional. 

You can get light fixtures like these which use household blubs, you can upgrade them in the future by add a can light attachment to help shape your light, then get different types of bulbs.  The edge/backlight on me right now is that light.

What to Buy after your Camera - Lights.jpg

When you need more light you can pick up a set of 3 800w lights that are dimmable, have light stands and come with a bag for £112.  We have had this set of lights for about 3 years and they work great.

You can also start with these £30 160 LED. The colour is not great from them but they work well as an edge light.

There are lots of over things you can buy to help shape or change the colour of the light, but buy them when you can.

This all might seem a lot but you don’t have to buy the model of equipment we have suggested, and you don’t even have to buy it brand new.

Filmmakers are constantly upgrading their kit and selling on there old kit which they have properly kept good care off.

So see if you can buy second hand and it will definitely save a little bit of money. 

This is the basic kit you need to shoot most things, so now you have it go out there shoot with it and tell stories until you feel you need more equipment to tell better stories.


This video was Sponsored By

http://bit.ly/illuminate-pack - RocketStock’s light leak pack, "Illuminate", is sure to impress your viewers. Shot using digital cinema cameras in 4K, it’s an unbeatable way to lift your video to new, cinematic heights.

https://bit.ly/track-easy-roller - Click here to download this episode's track. Check out Premiumbeat.com to discover a huge range of exclusive royalty free music!


Equipment Links

🎥 This episode's kit/gear/equipment:

US links:

Canon 50mm Lens: http://amzn.to/2wxSohj

Tripod Legs: http://amzn.to/2wGNHgz

Tripod Head: http://amzn.to/2wGXRh8

160 LED: http://amzn.to/2yqxEWg

800W Lights: http://amzn.to/2fjlJF3

Blub Holder: http://amzn.to/2yrdwTZ

Reflector: http://amzn.to/2jN6SUO

Rode Video Mic: http://amzn.to/2jMmtnh

3.5mm Extension Cable: http://amzn.to/2fiWMcv

 

UK links:

Canon 50mm Lens: http://amzn.to/2hh9F7E

Tripod Legs: http://amzn.to/2jN3zgm

Tripod Head: http://amzn.to/2jLiKX1

160 LED: http://amzn.to/2jLjyev

800W Lights: http://amzn.to/2w6Y3Xt

Blub Holder: http://amzn.to/2xhfKFd

Reflector: http://amzn.to/2hfMNFx

Rode Video Mic: http://amzn.to/2fBfTvy

3.5mm Extension Cable: http://amzn.to/2xwDO99

 

What to Buy after your Camera

DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Story in a Can #8 | "The Thieves Audition"

In each can there are 20 locations, 20 objects, 20 characters, and 20 scenarios. We pick one from each of the cans and try to come up with a film idea on the spot. Sometimes they are bad, but sometimes we turn the idea into a film.

In Story In a Can #9 Rob and Rich have to make a story about a Character who is a Bank Manager, a location of a Creepy Village, an object of someone else's wallet, and a scenario of Auddition?

Watch the video to see what story was made.


DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

5 Tips for a better Script

Over the past 5 years or so I have dedicated some serious time into trying to write more interesting stories. So I thought I’d share with YOU my top 5 tips for a better screenplay.

Torture your characters

Torture-Your-Characters.jpg

One way you can push your script to the next level to “torture your characters”. We tend to write likeable characters in our films, which is great. But because of this, we might end up lacking commitment when giving them obstacles and struggles to overcome.

So don’t hold back! If you think you can push the action or drama even further, go for it. It’s all about going big or going home! You want to give them a situation they simply can’t avoid.

What would you rather watch:

  • Someone misplaces their car keys and has to walk home

  • Someone drops their car keys down the side of a cliff which they have to attempt to climb down using their pants belt because they are 200 miles from civilisation

Exposition

Exposition.jpg

Exposition, or the mass delivery of plot information, is usually unavoidable when writing a complex film. The trick to better exposition is having a character deliver information to an uninformed character rather than telling them something they already know.

It’s all about informing and educating instead of forcefully recapping on things they already have knowledge on.

CSI is a prime example of bad exposition. They’ll all be crowding around a crime scene and one dude will explain the situation to a team of professional detectives who will clearly know what’s going on.

A better example is Back to the Future. Doc Brown explains how time travel in the delorean works to Marty who, as a layman, currently has zero knowledge on this.

Show, don’t tell

Show-Dont-Tell.jpg

When you can, show - don’t tell. Dialogue should always be the icing on the cake! A scene should demonstrate what is happening, rather than a character’s dialogue telling us. Next time you are editing your script, try turning that line of dialogue into action instead.

For example: You could have the line “Jimmy’s got a big crush on Ashleigh but he’s too shy to ask her out”

Or instead, Jimmy could bump into Ashleigh at a party and simply can’t get a word out.

The output of information to the audience is the same, but one is a lot more visually entertaining.

Dream Fulfillment

Dream-Fulfilment.jpg

Dream Fulfillment. The characters in your film should be doing things you wish you could do. We all daydream about situations we know will never happen, but if you put pen to paper, your characters CAN act them out.

An audience will engage with a story if they are witnessing their dream being fulfilled on screen, so think about some of the quirky things you wish you could do, and write it into your film!

You have things like beating up the bully, spinning webs through new york city, and winning the race of a lifetime. But they don’t have to be good - you can write more sinister situations like graffiti the boss’s car, robbing a casino, or overthrowing the leader of a criminal organisation.

You can’t edit a blank page

You-Cant-edit-a-blank-Page.jpg

You can’t edit a blank page. Stop worrying if your first draft is total garbage! Stop hitting the delete key. Your first crack at a story is bound to be not so great. This is where the second draft comes in.

Get your words on the page and don’t look back until you’ve reached the end, then you can go back and clean it up. That’s why they call it a vomit draft.


This video was Sponsored By

http://bit.ly/interface-pack - "Interface", RocketStock's HUD element pack, offers you more than 400 futuristic elements compatible with Premiere Pro, FCPX, and AE. Discover it now!

https://bit.ly/track-blue-lounge - Click here to download this episode's track. Check out Premiumbeat.com to discover a huge range of exclusive royalty free music!


DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Our Podcast is LIVE!

We started a Podcast! It's called The Film Look (good name?) and can found on iTunes and many other Podcasting apps including your favourite Android apps. Go check it out!


Podcast: http://thefilmlook.co.uk/004-the-incredibles-reboots-remakes-sequels-and-prequels/


DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Filmmaker's Utility Pouch

This is Adam Opie: Filmmaker, Camera Operator, & Glidecam Extraordinaire. He’s put together a filmmaker’s accessory kit which we think even Batman would be jealous of: This is the Filmmaker’s Utility Pouch

First off, you have the pouch itself: £13.98. 

  • This one is by OneTigris. It’s got pockets in pockets, outside buckles, and molle-style straps perfect for attaching to your belt.

 

Inside the front pouch you have filmmaking stationary:

  • A  cloth for cleaning monitors and screens

  • A lens pen, also for cleaning camera lenses

  • AA batteries for emergencies (these are labelled non-rechargeable at 100%)

  • And a lens cloth for cleaning lenses

Filmmaker's-Pouch2.jpg

Then you have the back pouch. Inside here we have:

  • A multitool used for tightening tripod plates, cutting things open, and emergencies such as removing over threaded screws.

  • A allen key tool for all of your allen key needs

  • A torch. This one zooms in. You can use this in dark situations and double checking the location after a wrapped shoot.

  • Business cards, because you never know when you need to take off your filmmaker hat and put on your business hat.

  • Velcro straps for cable management and emergency attachments.

Filmmaker's-Utility-Pouch1.jpg

On the outside we have:

  • Fingerless gloves: If you are doing a lot of outside shooting, especially in the winter, it’s always a good idea to protect your hands from the elements. These gloves by Dirty Rigger are fingerless for retained dexterity, and will assist your grip during camera operation and lifting equipment. They also have a hold at the wrist for clipping to the pouch.

  • Ear protection. Perfect for a loud shooting location such as a concert or gig. These ones by EarPeace even come in a handy canister

  • Radios, because you never know when you need to get in contact with someone beyond earshot. The antenna even fits in this pouch really tidy.

  • Some pens, because at some point someone will always ask “Any got a pen?”.

  • To attach everything to the outside of the pouch are some handy miniature screw gate carabiners.

  • And to finish it off, some spring clamps.

Filmmaker's-Pouch

Everything in and on this pouch, including the pouch itself, comes in at a total of £.

You might not need everything in this pouch so just get what you need when you need it.

In addition to the pouch, Adam has started putting together a 2nd AC’s utility belt including:

  • Miniature T marks made from t brackets and bright coloured tape. Great for outdoor use.

  • A slate, a dry wipe pen, and a microfiber for cleaning the slate.

  • An absolute shed load of assorted tape, held together with a rigging strap.

  • Heat resistant gloves for handling hot lights.

  • The belt also has a MOLLE strap system, which is a universal webbing system employed by thousands of container harnesses and belts. It also means that you can attach the utility pouch to the belt.

So if you want to be a walking swiss army knife, check out the shopping list Adam has put together in the description below. And if YOU have any suggestions for Adam and what he can add to his utility belt, leave us a comment or talk to him directly, I’ve put his social media links in the description too.


This video was Sponsored By

http://bit.ly/track-brooklyn-drive - Thanks to PremiumBeat for providing the music for this week's episode! Check out Premiumbeat.com to discover a huge range of exclusive royalty free music.


Equipment Links

🎥 This episode's kit/gear/equipment:

US links:

Pouch: http://amzn.to/2vwGOSZ

Fingerless Gloves: http://amzn.to/2xCur5r

Ear Protection: http://amzn.to/2vPDIor

Sharpies: http://amzn.to/2goF4ky

Ball Point Pens: http://amzn.to/2wsOXFe

Clamps: Carabiners: http://amzn.to/2euH3H0

Radios: http://amzn.to/2wozhVd

Lens Cleaning Kit: http://amzn.to/2xCCP4P

Rechargeable Batteries: http://amzn.to/2vPUunn Microfibre

Cloths: http://amzn.to/2goqv06

Multi-tool: http://amzn.to/2xCNyMI

Torch: http://amzn.to/2vQiKWI

Hey/Allen Key Tool: http://amzn.to/2wswk4B

Velcro Straps: http://amzn.to/2euCTPr

Belt: http://amzn.to/2wt5IAm

Heat Resistant Gloves: http://amzn.to/2euKopC

Rigging Strap: Unavailable in US? Weird! T Marks (just add tape!): http://amzn.to/2xD2Wc6

 

UK links:

Pouch: http://amzn.to/2goyqe6

Fingerless Gloves: http://amzn.to/2iL4tJD

Ear Protection: http://amzn.to/2xCyO0v

Sharpies: http://amzn.to/2eKfIgU

Ball Point Pens: http://amzn.to/2xCWdyS

Clamps: http://amzn.to/2gozCOC

Carabiners: http://amzn.to/2gocgJ0

Radios: http://amzn.to/2iNlAuo

Lens Cleaning Kit: http://amzn.to/2goECmn

Rechargeable Batteries: http://amzn.to/2gowrpW

Microfibre Cloths: http://amzn.to/2iNfCd3

Multi-tool: http://bit.ly/2wodgpq

Torch: http://amzn.to/2wsa9eU

Hey/Allen Key Tool: http://amzn.to/2gomIjp

Velcro Straps: http://amzn.to/2goyHO5

Belt: http://amzn.to/2goAsuE

Heat Resistant Gloves: http://amzn.to/2goeoAh

Rigging Strap: http://amzn.to/2iOyEzN

T Marks (just add tape!): http://amzn.to/2iMvMDp

 

Filmmaker's Utility Pouch

DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!

Popcorn Sunday #01

If you want us to watch your short film simply leave it in the comments with a quick line about the film. We can't put them all in the videos but we comment on every single one with some constructive feedback!

Links to the short film can be found below - 

Hindsight: https://youtu.be/6l7PSvxM2QQ

Ghastly Glasses: https://youtu.be/vt2lro7nKVQ

Regular people: https://youtu.be/h12i_zQkbDM

 

 


DISCLAIMERS:

Some of these links are affiliate links, if you purchase gear via these links The Film Look will receive a small commission, but there will be no additional cost to you. Thank you!