From what I've come to understand a camera capable of HD film recording, shooting in "ultra-widescreen" --having the video appear in the middle of the screen, with a more narrow appearance--, and having a shallow depth of field are basic elements to making a video look filmic. In addition to that, much improvement can be made upon the footage through editing software during the post-production process. Color grading is the most common way to modify a work to look substantially filmic, as opposed to the way it was beforehand. Are the things I've mentioned true? The most common ways to getting a more filmic look? Least? The only ways? Can you name what I've missed if anything?
What are the best ways to make a video look filmic?
- Thread starter AmateurFilmmaker
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Agreed on the color palette, bud. Basically, if you have any control over where/what you're filming, take the time to put thought into it, and know that every aspect of filmmaking is important enough to warrant your attention. and like anything, practice. keep at it. see what works and what doesn't. and ask yourself why it works or doesn't.
Light it properly. Plan your shots. Block and rehearse with the actors, get GOOD SOUND.. there's a hell of a lot more to making something "filmic" than a camera setting, framerate, or some magic button you push in post.
All of the above and much much more....a decent idea for a film. Zero takes on other movies you have seen. If it's kind of like this film or that film, then it's kind of like crap. So unique and interesting story from the get go is in my opinion a must. And don't try story types that every film student and his dog have done before.
Decent actors as mentioned, a few shorts under your cap so you have some idea what you are actually doing, this is regardless of whether you went to film school or not.
It should probably be mandatory to read at least a few of the blogs on here as they are written by people that can save you a lot of headaches.
Budget. Don't plan on making an epic space saga on $10,000...to do a film like that you need a LOT more to even get close to doing it well. So make a story that suits your budget rather then trying to stretch your budget to fit the film you want to do.
Lastly, and possibly the most important, read every single post and thread on Indie Talk...twice...taking notes as you do so...because the amount of knowledge on here is staggering and it's all free surprisingly...I say surprisingly because it is a few years worth of combined experience and knowledge from beginners to pros all put in one handy little forum and all you need to do is click through and read it.
Welcome to the Indie Film Business....be prepared to do a lot of learning for a good many years, and don't worry, it's generally the most fun (and pain) you will ever have had
Decent actors as mentioned, a few shorts under your cap so you have some idea what you are actually doing, this is regardless of whether you went to film school or not.
It should probably be mandatory to read at least a few of the blogs on here as they are written by people that can save you a lot of headaches.
Budget. Don't plan on making an epic space saga on $10,000...to do a film like that you need a LOT more to even get close to doing it well. So make a story that suits your budget rather then trying to stretch your budget to fit the film you want to do.
Lastly, and possibly the most important, read every single post and thread on Indie Talk...twice...taking notes as you do so...because the amount of knowledge on here is staggering and it's all free surprisingly...I say surprisingly because it is a few years worth of combined experience and knowledge from beginners to pros all put in one handy little forum and all you need to do is click through and read it.
Welcome to the Indie Film Business....be prepared to do a lot of learning for a good many years, and don't worry, it's generally the most fun (and pain) you will ever have had
I'm working with a colorist this week on my new feature ("Detours"). As we go through it frame by frame I have a renewed appreciation not just for the DP but also for the set designer, who I think is often overlooked in low budget movies but can bring a lot to your project.
Set designer is great but it's total waste of effort if your script and acting isn't on par. That's why it's so often overlooked in low budget films, it's for good reason.
If you have everything else yes set design will elevate it even more but whats the point of all that effort when you have a bad actor in front of the camera ? I learned that after I did my very first short
So much set design effort but it goes unnoticed and unwatched because I was still learning the rest of the craft.
If you have everything else yes set design will elevate it even more but whats the point of all that effort when you have a bad actor in front of the camera ? I learned that after I did my very first short
So much set design effort but it goes unnoticed and unwatched because I was still learning the rest of the craft.
As far as filmic look is concerned, things required would be a better lighting setup, a good kit consisting of prime and wide lenses, better set design, and a good equipment setup like dolly, cranes, sound recorders as per shot requirements. And on post production end, you need a better color colorist.
The initial lighting on the set is something you cannot repair in later stages of post production. Prime and wide lens kit will allow you to take better CU's and wide shots respectively. Dolly and cranes can be used to get stabilized shots rather than amatuer hand-held shots, unless you to intend to get such shots.
The initial lighting on the set is something you cannot repair in later stages of post production. Prime and wide lens kit will allow you to take better CU's and wide shots respectively. Dolly and cranes can be used to get stabilized shots rather than amatuer hand-held shots, unless you to intend to get such shots.
Sfoster, can you give me a little more info on color palette? On how and what basis should I select a color palette.
Absolutely. The color palette is designed to invoke a feeling - like in a painting. The artist will choose certain colors and it gives us a mood.
There is also a science behind it - for example you'll often see blue and orange sharing the frame in movies. Because they contrast very well and are on opposite ends of the color wheel. (complimentary)
I recommend using this tool to help pick out your color palette
https://color.adobe.com/create/colo...0,1,0.28301886792451114&swatchOrder=0,1,2,3,4
You can choose how many colors you're looking to use and give it a starting point. It uses math to pick other colors for you that would be an aesthetic compliment to your starting point.
Make the project SOUND great.
Your project will only look as good as it sounds, because
"Sound is half of the experience"
If your film looks terrible but has great sound, people might just think it's your aesthetic.
If your film looks great and has bad sound, people will think you're an amateur.
Sound is the first indicator to the industry that you know what you're doing.
No matter what else you do, GET THE SOUND RIGHT!!!
Your project will only look as good as it sounds, because
"Sound is half of the experience"
If your film looks terrible but has great sound, people might just think it's your aesthetic.
If your film looks great and has bad sound, people will think you're an amateur.
Sound is the first indicator to the industry that you know what you're doing.
No matter what else you do, GET THE SOUND RIGHT!!!
The difference of using a color palette is that the shot doesn't look like a mess of things that justed happened to be there by accident: it looks designed and (un)balanced, just the way you intended.
Color is also communication.
Just say no to cranes unless somebody else is forking up big money for this, even then, maybe. Time wasted on set setting cranes up will cost you dearly when you find you didn't get enough coverage in post.
There is something to be said for a well placed crane shot.
Take shawshank for example
What would you have done... a tripod, because the crane isn't worth the time on set?
I would have planned a different shot, just as cool and costs nothing. The audience will never know that I denied them a crane shot.
