My projects scare the shit out of me. And I’m guessing that, if we’re being honest, your projects scare the shit out of you too.
Not all the time, obviously.
There’s stuff that doesn’t scare me one bit – technical bits and pieces, for starters. Need to get a 3D model from one obscure incompatible format written in 1998 to another totally proprietory one written by a stoned UNIX coder and a drunken monkey? Pass me Google and let’s get going.
Online marketing doesn’t scare me. I love web design. And I love above all else working with actors, directing, workshopping, and working on story, playing around with beats, going for walks, coming up with an arc.
You’re probably in the same boat. Maybe you’re 100% OK with editing, or could happily colour-correct until the perfectly-shaded cows came home.
But then there’s all the other stuff.
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Apologies for the delayed post this week, guys – I’ve been working on what I hope will be the final draft of the animatic for Death Knight Love Story. Just some rough foley work to do now, but it’s been eating my brains all week.
Anyway. I asked in various places for suggestions on things you’d like to know about, and Armanus, on the Moviestorm forums, mentioned that he’d really like some camerawork advice.
Now, historically, I’ve always been very twitchy about my camerawork. I didn’t come at filmmaking from a visual arts background – I still can’t draw anything except stick figures (although those seem to go down pretty well, to be fair). I’m a writer. And my first attempts at camerawork, way back in 1997 with the first Eschaton episode, Darkening Twilight (which sadly doesn’t appear to exist on the Web any more), sucked more balls than a Roomba loose in a marble factory. (No, seriously. At one point the camera actually wanders off and inspects a bookshelf whilst the dialogue continues uninterrupted. )
As such, I’ve always been on the lookout for tips to improve my camerawork. And frankly, most of the ones I’ve found suck. They’re either far too specific and situational (“This camera dolly is awesome if you’ve got exactly 15 men and one dog in your scene”) or they’re very general and wishy-washy (“Make sure to think about colour theory”).
But over the years I’ve found a few things that are simple, possible to follow whilst you’re actually making stuff at some speed, and if you follow them will invariably make your camerawork better.
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