Latest / Bulletproof Screenwriting™ Podcast / BPS 403: Cinematic Masterclass with Philip Bloom

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BPS 403: Cinematic Masterclass with Philip Bloom · Bulletproof Screenwriting™ Podcast

• 0:03
  Speaker 1: You are listening to the IFAH podcast Network. For more
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  Speaker 1: amazing filmmaking and screenwriting podcasts, just go to ifagpodcastnetwork dot com.
• 0:12
  Speaker 2: Welcome to the Bulletproof Screenwriting Podcast, Episode number four zero three.
• 0:17
  Speaker 2: If you can talk brilliantly about a problem, it can
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  Speaker 2: create a consoling illusion that it has been mastered. Stanley
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  Speaker 2: Kuber broadcasting from a dark, windowless.
• 0:25
  Speaker 1: Room in Hollywood when we really should be working on
• 0:28
  Speaker 1: that next draft. It's the Bulletproof Screenwriting Podcast, showing you
• 0:32
  Speaker 1: the craft and business of screenwriting while teaching you how
• 0:35
  Speaker 1: to make your screenplay bulletproof. And here's your host, Alex Ferrari.
• 0:41
  Speaker 2: Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast.
• 0:44
  Speaker 2: I am your humble host, Alex Ferrari. Now, today's show
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  Speaker 2: is sponsored by Bulletproof script Coverage.
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  Speaker 3: Now.
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  Speaker 2: Unlike other script coverage services, Bulletproof Script Coverage actually focuses
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• 1:35
  Speaker 2: Today we have a insanely cool episode. I am talking
• 1:40
  Speaker 2: to one of the ogs, the original gangsters of the
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  Speaker 2: filmmaking blogger sphere, Philip Bloom. Now, if you guys don't
• 1:50
  Speaker 2: know who Philip Bloom is, google him because he has
• 1:53
  Speaker 2: been around since the early two thousands. He's one of
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  Speaker 2: the first filmmaking bloggers out there. He has a massive
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  Speaker 2: online empire, if you will. He's worked with George Lucas
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  Speaker 2: shot shot the movie Red Tales with him on a
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  Speaker 2: Canon five D when it first came out. He also
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  Speaker 2: travels the world as an award winning cinematographer. And over
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  Speaker 2: the years I've learned a ton from his YouTube channel,
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  Speaker 2: his blog, and all the cool stuff that he puts
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  Speaker 2: out there for the filmmaking community. And I am honored
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  Speaker 2: and humbled that he would come on the podcast to
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  Speaker 2: share his experience and knowledge with the tribe, and they'll
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  Speaker 2: be a little surprised for you at the end of
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  Speaker 2: this episode. Phillip's got this brand new insane course that
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  Speaker 2: he's got called Philip Bloom's Cinematic master Class, and I
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  Speaker 2: will have a link at the end of this episode
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  Speaker 2: where you guys can go and check it out. It
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  Speaker 2: is almost ten hours long. It is definitely a masterclass.
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  Speaker 2: I have taken a bunch of it already and I've
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  Speaker 2: learned a few things along the way as well, So
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  Speaker 2: definitely check that out. But without any further ado, please
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  Speaker 2: enjoy my conversation with Philip Bloom. I'd like to welcome
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  Speaker 2: to the show Philip Bloom. Thank you, sir so much
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  Speaker 2: for taking the time out to share your knowledge with
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  Speaker 2: the tribe.
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  Speaker 3: All right, Alex, thanks for having me.
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  Speaker 2: So how did you get into this crazy business?
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  Speaker 3: A path which probably doesn't exist anymore. It goes back
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  Speaker 3: to I think most times when you're growing up, you
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  Speaker 3: don't know what to do. And I didn't know what
• 3:30
  Speaker 3: I wanted to do. And I'm watching a TV show
• 3:38
  Speaker 3: and it was about a was a guy who tried
• 3:40
  Speaker 3: out different careers, and one episode was where he tried
• 3:44
  Speaker 3: to be a news photographer. And I watched that. This
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  Speaker 3: was like in the sort of like mid eighties, and
• 3:52
  Speaker 3: I thought, that looks really cool. So a friend of
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  Speaker 3: my dad's knew a press strographer, and so I had
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  Speaker 3: a conversation with him about it, and I took photos.
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  Speaker 3: I was a hobbyist, nothing particularly serious, but I took photos.
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  Speaker 3: But I thought that looks like a really interesting job,
• 4:09
  Speaker 3: because I didn't really know what I wanted to do.
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  Speaker 3: And then he said to me, I would not bother
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  Speaker 3: doing this because photography's on the way out because digital
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  Speaker 3: is coming in and that's going to change everything. That's
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  Speaker 3: going to cheapen the industry. You should get into TV news.
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  Speaker 3: That's where the future is. So I when, yeah, why not?
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  Speaker 3: So I then sort of like made inquiries and contacts
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  Speaker 3: and tried to get in touch with somebody, and eventually
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  Speaker 3: found somebody who knew somebody, and I managed to go
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  Speaker 3: out with a news crew. I was must have been
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  Speaker 3: about sixteen or seventeen, did that for the day and
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  Speaker 3: it was the best thing I'd ever done. It was
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  Speaker 3: so much fun. And this was back in the golden
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  Speaker 3: age of TV news in a way, because where you
• 4:49
  Speaker 3: were really looked after. I think they did a I
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  Speaker 3: went out with them like three man crew went out
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  Speaker 3: to the press conference for a boxer, and then we
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  Speaker 3: had a three hour lunch and Chinese restaurant. I really
• 5:01
  Speaker 3: expected Chinese restaurant. All on the company and I was like, Wow,
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  Speaker 3: this is amazing, this is the life. And then I
• 5:06
  Speaker 3: think then they said we may do something later, but
• 5:09
  Speaker 3: probably not. That'd be it for the day. I'm like,
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  Speaker 3: this is a job. Wow, and by you know, eventually,
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  Speaker 3: I by the time I left Score, I then got
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  Speaker 3: managed to get my foot into door into Sky Television
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  Speaker 3: and to try and become a news cameraman. So that's
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  Speaker 3: kind of how I got in. Never wanted to be
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  Speaker 3: a use that were filmmaker. I never wanted to be
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  Speaker 3: a filmmaker and slightest wanted to do something. Wanted to
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  Speaker 3: find a job that could pay me to do something
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  Speaker 3: that was interesting because I really had no idea what
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  Speaker 3: I want to do growing up, and that was basically
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  Speaker 3: I just sort of fell into it. Just found that
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  Speaker 3: I really enjoyed filming and really enjoyed the excitement of
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  Speaker 3: and boredom as well of news and I kind of
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  Speaker 3: that's kind of where it was really and I did
• 5:58
  Speaker 3: that for seventeen years. Oh wow, it was for staff
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  Speaker 3: and it was the best training anybody I think you
• 6:05
  Speaker 3: could have when if you want to become a storyteller,
• 6:08
  Speaker 3: because you get I got to I learned how to
• 6:12
  Speaker 3: use it, not particularly technically because it was much simpler.
• 6:16
  Speaker 3: Times it was on camera one lens, like a try
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  Speaker 3: that's it. It was like, yeah, there's no settings and
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  Speaker 3: camera it's turned it on and no, you had a
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  Speaker 3: game switch there you go.
• 6:27
  Speaker 2: In the way balance so yeah, yeah, white balance.
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  Speaker 3: And of course it was black and white view find it.
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  Speaker 3: So you had to get it right. You knew you
• 6:34
  Speaker 3: got it right because you didn't get a phone call
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  Speaker 3: later to tell you that you got it wrong. So
• 6:39
  Speaker 3: and of the way things works back then. But it
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  Speaker 3: was brilliant. It was great training. I got to learn
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  Speaker 3: how to tell stories really quickly. I learned how to
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  Speaker 3: shoot efficiently, how to walk into a room and see
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  Speaker 3: the positions where I need to be, and you had
• 6:51
  Speaker 3: to learn how to figure out how what shots I
• 6:54
  Speaker 3: needed to get really quickly. And then they also then
• 6:58
  Speaker 3: gave me a chance to do long form stuff, and
• 7:00
  Speaker 3: I was always traveling around the world and they taught
• 7:02
  Speaker 3: me how to edit. It was just a really brilliant experience,
• 7:05
  Speaker 3: and I guess it's one of those things that when
• 7:07
  Speaker 3: you get to I got really comfortable with it, and
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  Speaker 3: I could easily still be doing it now, but I
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  Speaker 3: realized that I had to leave to push myself further.
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  Speaker 3: And that was eleven years ago, and.
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  Speaker 2: Then you got into more filmmaking, more documentary after that.
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  Speaker 3: Yeah, I mean documentaries is kind of what I was
• 7:27
  Speaker 3: doing for the last few years of my staff job anyway,
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  Speaker 3: because I was one of the few caraman. There was
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  Speaker 3: like twenty five caraman that worked at the company on
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  Speaker 3: the news roster, and I was one of the few
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  Speaker 3: who edited, and so I got sent to do the
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  Speaker 3: interesting stories, and then they gave me the more creative stuff.
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  Speaker 3: And I showed a flair for doing creative stuff, and
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  Speaker 3: so they pushed me to more and more and do that.
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  Speaker 3: And then so I was doing the longer form stuff
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  Speaker 3: sort of like what I guess what you create is
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  Speaker 3: like sixty minutes types that you have, and that was brilliant.
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  Speaker 3: So that really gave me the taste for longer stuff
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  Speaker 3: of doing that, So that's when I went into freelancing.
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  Speaker 3: That's why I really wanted to still push forward with
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  Speaker 3: documentaries as my main thing. It is still my main thing,
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  Speaker 3: but also try the other things which which interested me,
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  Speaker 3: you know. And I've certainly found that trying all these
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  Speaker 3: different things and still doing that different types of work
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  Speaker 3: really helps in every aspect. If you're filming narrative fiction,
• 8:32
  Speaker 3: coming from a news documentary background is incredibly useful because
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  Speaker 3: you know, you have that speed of thought. But also
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  Speaker 3: if you've what you can take from that fiction though,
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  Speaker 3: is the aspect of planning and working with others for
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  Speaker 3: in a much more controlled way and bring that into
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  Speaker 3: your documentary work can have a really interesting effect. So
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  Speaker 3: I love the way that everything that I've done in
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  Speaker 3: these past eleven years is really sort of old and
• 9:00
  Speaker 3: work together to make everything hopefully better.
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  Speaker 2: Now you were at what point in your career did
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  Speaker 2: you decide, Hey, I'm going to start blogging, I'm going
• 9:09
  Speaker 2: to open up a YouTube show your YouTube channel. I mean,
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  Speaker 2: you're one of the first guys in the in the industry,
• 9:15
  Speaker 2: in the film industry at all. That was kind of
• 9:18
  Speaker 2: figuring that out. How did you start this blog and
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  Speaker 2: what made you want to start one.
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  Speaker 3: So I think the website started initially this is in
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  Speaker 3: two thousand and six, just as a place for my
• 9:33
  Speaker 3: show real because nobody prior to this, people would just
• 9:38
  Speaker 3: and still what at this time we're sending out DVDs
• 9:40
  Speaker 3: sure or vhs or vhs is and nobody the effort
• 9:45
  Speaker 3: it takes for somebody to open it up and put
• 9:49
  Speaker 3: it in a machine and play it. It means they're
• 9:51
  Speaker 3: not going to watch it. And I just thought, if
• 9:53
  Speaker 3: I could just send them a link over this thing
• 9:55
  Speaker 3: called email that mbod seems to start having these days.
• 10:00
  Speaker 2: We'll be right back after a word from our sponsor
• 10:06
  Speaker 2: and now back to the show.
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  Speaker 3: And that's basically it was just in the most obvious
• 10:13
  Speaker 3: way of doing things, and that's basically where it started us.
• 10:16
  Speaker 3: And then about a year later I started up the blog,
• 10:22
  Speaker 3: and the blog was really it was just a simple
• 10:25
  Speaker 3: way of me sharing my experiences using something called thirty
• 10:29
  Speaker 3: five milimeters adaptors, which is what we used before ds lars.
• 10:33
  Speaker 3: It was a way of tricking these smaller sense of
• 10:36
  Speaker 3: cameras into having essentially thirty five millimeter field a view
• 10:40
  Speaker 3: and aesthetic and everything, and it was a really clunky
• 10:44
  Speaker 3: c system, I remember, and the only way you could
• 10:47
  Speaker 3: find out information about these really was by going through
• 10:50
  Speaker 3: all of these forums, the DVX users and the dv
• 10:54
  Speaker 3: infos and stuff like that, and it was going through
• 10:57
  Speaker 3: countless threats, and I thought, yeah, I'm just going to
• 10:59
  Speaker 3: just have a place where I can just share my
• 11:02
  Speaker 3: experience with a bit and see, I can hopefully help
• 11:05
  Speaker 3: people out if they're thinking of going down this path,
• 11:08
  Speaker 3: and they can see me trying out all these gears,
• 11:12
  Speaker 3: all these different adaptors that I'm buying, trying to get
• 11:15
  Speaker 3: the most filmic look, and it was simply it sounds
• 11:18
  Speaker 3: a bit try, but it is true. I did actually
• 11:20
  Speaker 3: just want to give a little bit back because I
• 11:23
  Speaker 3: was trained by such brilliant cameramen back in my news days,
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  Speaker 3: and I just wanted to just have you know, I
• 11:32
  Speaker 3: was taught, I was educated on the job and stuff
• 11:35
  Speaker 3: like that, and I could already see the way things
• 11:37
  Speaker 3: were going that that wasn't happening anymore. People were sort
• 11:40
  Speaker 3: of floundering. So I just wanted to share my experiences
• 11:43
  Speaker 3: and so hopefully people could learn a little bit from
• 11:45
  Speaker 3: what I was doing. And that's kind of really basically
• 11:48
  Speaker 3: what it started. Out is just simply just me giving
• 11:50
  Speaker 3: a little bit back, and then.
• 11:52
  Speaker 2: It grew and grew and grew till it's the juggernaut
• 11:55
  Speaker 2: that it is today. And your YouTube and when did
• 11:58
  Speaker 2: you start your YouTube channel?
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  Speaker 3: YouTube? To funny that, I mean it started at a
• 12:04
  Speaker 3: long time ago. I can't even remember how long ago,
• 12:06
  Speaker 3: but I mean it must be about nine.
• 12:09
  Speaker 2: At least eight something like that.
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  Speaker 3: Oh well yeah before then, yeah, so I didn't really
• 12:15
  Speaker 3: do much with it. It was just a place of
• 12:17
  Speaker 3: putting up some stuff. And really, I have to say,
• 12:20
  Speaker 3: I mean, Vimeo was kind of my main place. It
• 12:24
  Speaker 3: was exposure room, and then Vimeo exposure Room disappeared and
• 12:27
  Speaker 3: Vimeo and I used to use that as a place
• 12:29
  Speaker 3: to put my work up to be seen because nice
• 12:32
  Speaker 3: a clean platform. YouTube always struck me as a very
• 12:35
  Speaker 3: noisy environment. Yep. And and I've actually grown to love
• 12:42
  Speaker 3: YouTube for what is. I've embraced it for what it is.
• 12:44
  Speaker 3: And it took me quite a few years to understand
• 12:47
  Speaker 3: what needs to be done with that. And I've never
• 12:49
  Speaker 3: really embraced it in the full way that many had
• 12:52
  Speaker 3: because I think to truly do that, it's a full
• 12:56
  Speaker 3: time job, you know that, Hensy with YouTuber for me,
• 13:00
  Speaker 3: so it's just I put up stuff every now and then.
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  Speaker 3: But it's and I'm not I'm not a snob at
• 13:06
  Speaker 3: all about these things. And you see this online when
• 13:08
  Speaker 3: you talk about these things people and I say, oh no,
• 13:10
  Speaker 3: I don't put my stuff on YouTube. The quality of
• 13:12
  Speaker 3: people who watch it, we're near as good as quality
• 13:14
  Speaker 3: of people who watch it on Vimeo. I'm like, right,
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  Speaker 3: So you want to pick and choose your audience where
• 13:20
  Speaker 3: you're in the wrong business. You want anything to watch it,
• 13:23
  Speaker 3: Surely there's as many people to watch it as possible.
• 13:26
  Speaker 3: So and and YouTube for me is now grown bigger
• 13:31
  Speaker 3: for me than Vimeo. I still use Vimeo initially put
• 13:39
  Speaker 3: my stuff up and then when I'm happy with it,
• 13:41
  Speaker 3: I would then put it up onto YouTube because as
• 13:43
  Speaker 3: you know, you can't change the video on YouTube. You
• 13:46
  Speaker 3: have to let it go. And it's not like I
• 13:48
  Speaker 3: do daily vlogs or anything. It's when I put stuff
• 13:50
  Speaker 3: up on YouTube, it's generally quite a crafted piece that
• 13:54
  Speaker 3: I put up there, so it takes me a while
• 13:56
  Speaker 3: to make it.
• 13:57
  Speaker 2: So when you approach a film, more a series, how
• 14:01
  Speaker 2: do you approach how do you kind of like creatively
• 14:04
  Speaker 2: go after a new jobs.
• 14:10
  Speaker 3: That's a tricky one because it really depends on the
• 14:13
  Speaker 3: type of worker do is so varied and did generally
• 14:19
  Speaker 3: the way it works. I'm lucky enough to be in
• 14:21
  Speaker 3: a position now where I don't have to actually knock
• 14:24
  Speaker 3: on doors as such to find work. I still make
• 14:27
  Speaker 3: new contacts and do things like that just the normal way,
• 14:31
  Speaker 3: but I don't send my my I don't try and
• 14:35
  Speaker 3: contact people looking for well. I get people contacted me
• 14:38
  Speaker 3: with job offers and ideas, and if it's something that
• 14:40
  Speaker 3: interests me, then I will then I'll go and work
• 14:44
  Speaker 3: with it. And it really depends on what the job is.
• 14:47
  Speaker 3: It can be. It's such a different process for you know,
• 14:50
  Speaker 3: whether it's whether it's working on a documentary series or
• 14:53
  Speaker 3: doing a corporate or branded content for example. I mean,
• 14:57
  Speaker 3: all of these things have such different processes. Obviously there's
• 15:01
  Speaker 3: some parts of it which are a similar which is
• 15:04
  Speaker 3: I think the common ground on all of it would
• 15:06
  Speaker 3: be filming, because on everything that I do, I'll always
• 15:10
  Speaker 3: be filming something, But on other stuff it may not
• 15:12
  Speaker 3: be editing, I may not be doing any pre production.
• 15:16
  Speaker 3: It really depends on type of things that I do.
• 15:19
  Speaker 2: Now, you shoot a lot on location. Do you have
• 15:22
  Speaker 2: any tips on lighting with natural light?
• 15:26
  Speaker 3: Yeah? Yeah, lighting natural lighting is a wonderful thing. It's
• 15:35
  Speaker 3: an unpredictable, uncontrollable thing frequently, and so whilst working with
• 15:42
  Speaker 3: what there is is a nice quick way of doing things.
• 15:45
  Speaker 3: You can't use it for everything. It's the best thing
• 15:49
  Speaker 3: I can suggest when you are working with available I mean,
• 15:52
  Speaker 3: I would always suggest having your own light as well.
• 15:55
  Speaker 3: If you're going to try and do talking heads and
• 15:57
  Speaker 3: interviews in a room, trying to do that on just
• 16:00
  Speaker 3: available light or natural light unless you've got continuous gray
• 16:07
  Speaker 3: cloud outside or anything like that, it's just going to
• 16:09
  Speaker 3: be a nightmare. But it is a case of working
• 16:12
  Speaker 3: with what's there, don't fight it, embrace the lights. Work
• 16:15
  Speaker 3: finds a location or room with a background that works
• 16:19
  Speaker 3: with the windows and what there is. When you walk
• 16:23
  Speaker 3: into a room that has lights on, turn them off
• 16:25
  Speaker 3: and then see what the light's like, and then turn
• 16:27
  Speaker 3: the back on again if you want. So it's a
• 16:30
  Speaker 3: case of just don't don't turn the camera on until
• 16:35
  Speaker 3: you've figured out where the light is and how can
• 16:38
  Speaker 3: harness it. And I think to many people don't look
• 16:42
  Speaker 3: at where the light is before they choose their background first,
• 16:47
  Speaker 3: and then they go, oh, what about the light. The
• 16:50
  Speaker 3: two should be hand in hand, especially if you're going
• 16:53
  Speaker 3: to be working with natural light, you need to make
• 16:56
  Speaker 3: it work together very well.
• 16:58
  Speaker 2: It's that it's, in other words, kind of roll with
• 17:00
  Speaker 2: the punches when it comes to natural light as opposed
• 17:02
  Speaker 2: to trying to control it or manipulate it too much.
• 17:05
  Speaker 2: I mean, you can't control and manipulate it to a
• 17:06
  Speaker 2: certain extent, but it's ever changing. So it's kind of
• 17:09
  Speaker 2: like you know, wrestling a wet cat.
• 17:12
  Speaker 3: Yeah, it just it depends on what it is you're
• 17:13
  Speaker 3: trying to film. If you're just trying to grab some
• 17:16
  Speaker 3: shots here and there, it's you know, you can work
• 17:18
  Speaker 3: with it, and you know lighting is not turning up
• 17:22
  Speaker 3: the ISO on your camera, as you know, is a
• 17:24
  Speaker 3: completely different thing. Horrendous to think that some people actually
• 17:27
  Speaker 3: do think that is what lighting is. No, we still
• 17:30
  Speaker 3: need to lighting also, you know, it creates the movie,
• 17:33
  Speaker 3: it creates everything. And I love natural light. But when
• 17:39
  Speaker 3: the natural light doesn't work for me, which is can
• 17:41
  Speaker 3: easily be you know, seventy five percent of the time,
• 17:45
  Speaker 3: that's when you start adding lights to yourself, but in
• 17:48
  Speaker 3: the most naturalistic way possible. For me, it's all about
• 17:51
  Speaker 3: finding the position where your lights can be that can
• 17:55
  Speaker 3: looks like it's a motivated light source, like it could
• 17:58
  Speaker 3: be the window, and that's what I could be doing.
• 18:00
  Speaker 3: I could literally just be putting up a light to
• 18:04
  Speaker 3: add to the window light, to take it over, to
• 18:07
  Speaker 3: add a little bit more to it, to give it a
• 18:09
  Speaker 3: bit more sparkle case changes. So I think that's kind
• 18:12
  Speaker 3: of what you need to do with it. And there's
• 18:16
  Speaker 3: lots of apps and things out there which you can
• 18:17
  Speaker 3: use to see, you know, if you want to scout
• 18:19
  Speaker 3: locations beforehand to see where the sun will be, the
• 18:21
  Speaker 3: light will be, and how that will affect things. But
• 18:24
  Speaker 3: most of the time, if you're just doing things quickly,
• 18:26
  Speaker 3: you just have to work with it and just be
• 18:29
  Speaker 3: quick is my best advice. If you are going to
• 18:31
  Speaker 3: work with natural light, don't faff around and start being
• 18:35
  Speaker 3: undecided about what you're going to do. You just have
• 18:37
  Speaker 3: to just go with it. Now.
• 18:39
  Speaker 2: I know because I actually watched your your Skywalker ranch
• 18:44
  Speaker 2: video that you did years ago, which was stunning and
• 18:48
  Speaker 2: for any Star Wars fan that is mecca. So I
• 18:51
  Speaker 2: watched it. I found it online. I was like wow,
• 18:53
  Speaker 2: and then you were shooting it with a DSLR if
• 18:55
  Speaker 2: I'm not mistaken.
• 18:56
  Speaker 3: Right, Yeah, yeah, So that was that was an interesting time.
• 19:00
  Speaker 3: So that was back in oh, two thousand and nine,
• 19:04
  Speaker 3: and they contacted me and it's it's a fun it's
• 19:09
  Speaker 3: a nice story because I'm a huge Star Wars fan,
• 19:13
  Speaker 3: have been since I saw the first Star Wars back
• 19:16
  Speaker 3: in seventy seven. And they emailed me and I didn't reply.
• 19:25
  Speaker 3: So Lucasfilm emailed me and I didn't reply because I'm
• 19:29
  Speaker 3: terrible with emails. And you know, I have a PA
• 19:33
  Speaker 3: now and it makes things better, but in there she
• 19:35
  Speaker 3: does my work emails. She doesn't do my personal emails,
• 19:37
  Speaker 3: and I'm still rubbish with my personal emails. But it
• 19:40
  Speaker 3: was still bad then and I missed it, and then
• 19:45
  Speaker 3: they called me and I didn't. I'm rubbish with voicemails,
• 19:47
  Speaker 3: terrible with voicemails. I'll they be like, you know, you
• 19:51
  Speaker 3: have sixty new voicemails it I mean. But I actually
• 19:57
  Speaker 3: they did play it back pla maid one back about
• 20:01
  Speaker 3: a day after it was left.
• 20:04
  Speaker 2: We'll be right back after a word from our sponsor
• 20:10
  Speaker 2: and now back to the show.
• 20:13
  Speaker 3: And it was Producer Rick McCallum has said, dropped you
• 20:17
  Speaker 3: an email last week and tried to call you, and
• 20:20
  Speaker 3: it's strange that we've not heard back from you. I think, basically,
• 20:24
  Speaker 3: I don't think anybody never nobody ignores and I wasn't ignoring.
• 20:27
  Speaker 3: I'm just rubbish.
• 20:28
  Speaker 2: No one ever ignores an email.
• 20:30
  Speaker 3: George Lucas. I immediately called them back and apologized, and
• 20:34
  Speaker 3: they just said that they want to know what this
• 20:37
  Speaker 3: can five D Mark, Who's about if it's any good?
• 20:40
  Speaker 3: They have Second World War movie but they're currently shooting
• 20:44
  Speaker 3: called Redtails, and they've got some other plans for other
• 20:48
  Speaker 3: stuff that they just want to I just don't know
• 20:50
  Speaker 3: what the quality is. Like they've got one, they've messed
• 20:53
  Speaker 3: around with it, but they're not They don't really know
• 20:55
  Speaker 3: much about it. So could I come over to Skywalker
• 20:57
  Speaker 3: Rage for maybe a few days and give them some advice?
• 21:03
  Speaker 3: And I was like, yeah, sure we Actually I was
• 21:06
  Speaker 3: actually I was booked on a job. Oh yeah, I
• 21:09
  Speaker 3: was booked on a job a short notice. It was
• 21:12
  Speaker 3: like can you come out next week? And I was
• 21:14
  Speaker 3: booked for like three weeks, And so I phoned up
• 21:17
  Speaker 3: the production manager of the job I was on and
• 21:21
  Speaker 3: gave the sob story of like, you know how important
• 21:24
  Speaker 3: Star Wars was to my life, And then eventually got
• 21:27
  Speaker 3: to the bit that I said, and they've asked me
• 21:30
  Speaker 3: to come over there next week to work with them,
• 21:33
  Speaker 3: And she said to me, why don't you tell me
• 21:34
  Speaker 3: about the beginning ten minutes ago. Yeah, that's fine, I understand, totally,
• 21:39
  Speaker 3: not problem. I'll let you, I'll let you off the job.
• 21:42
  Speaker 3: And yeah. So I went out there and I shot
• 21:44
  Speaker 3: with it around the ranch, which I didn't have long
• 21:51
  Speaker 3: to do it at all, and they just wanted to
• 21:53
  Speaker 3: see it. Didn't want me to shoot a need test
• 21:55
  Speaker 3: charts or anything like that. They weren't interested in that.
• 21:57
  Speaker 3: They wanted to see what it looked like projected. So
• 21:59
  Speaker 3: I just got some stuff around the ranch and I
• 22:02
  Speaker 3: went into there, into the main house, into the screening room.
• 22:08
  Speaker 3: And it was a hell of experience because it was
• 22:11
  Speaker 3: so it was Ritt McCallum there, and George Lucas and
• 22:16
  Speaker 3: his visiting director friend Quentin Tarantino, and legendary sound designer
• 22:22
  Speaker 3: and editor Ben Bert. So they're go into this and
• 22:28
  Speaker 3: Dennis there was he was he wasn't there. And I
• 22:32
  Speaker 3: cut the stuff on my laptop in the room and
• 22:35
  Speaker 3: went looks all right, a bit noisy, a bit of
• 22:38
  Speaker 3: alien sitting there bit maray, oh it's all right, Oh god.
• 22:42
  Speaker 3: And I didn't know they were going to screen it
• 22:44
  Speaker 3: on the big screen, so when I took it in
• 22:46
  Speaker 3: there and I had it's one of the things I
• 22:48
  Speaker 3: would like to have seen it on the big screen
• 22:50
  Speaker 3: before anybody else saw it, just to check it. So
• 22:53
  Speaker 3: the first time I ever saw Callum five Mark two
• 22:56
  Speaker 3: stuff projected was at that point, and it looked beautiful.
• 23:00
  Speaker 3: It looked so much better than did it on the
• 23:01
  Speaker 3: computer through their magical I don't know what amazing projector
• 23:07
  Speaker 3: they had. It just looked fantastic and they loved it.
• 23:10
  Speaker 3: So it was a hell of an experience.
• 23:12
  Speaker 2: And then didn't you get to work a little bit
• 23:14
  Speaker 2: on Red Tails?
• 23:15
  Speaker 3: Yeah, so I did some shoots. I did some stuff
• 23:17
  Speaker 3: for them up in Sonoma for a couple of weeks,
• 23:21
  Speaker 3: and then in Prague a few months later as well.
• 23:24
  Speaker 3: So I did about three weeks work on the on
• 23:28
  Speaker 3: the movie. And it was that was It was crazy
• 23:30
  Speaker 3: because there was me with my little fady Mark two,
• 23:32
  Speaker 3: and I also had a one D Mark four as well.
• 23:36
  Speaker 3: I'd have a seventy as well, maybe a seven day
• 23:38
  Speaker 3: camp member. I think I did had a seventy modified
• 23:41
  Speaker 3: a peel as well, so I did three cameras to
• 23:44
  Speaker 3: switch between. And they were shooting on Sony F thirty five,
• 23:52
  Speaker 3: so big beasts and you know, the proper set of
• 23:56
  Speaker 3: my crew and looks like it's just a monster. So
• 24:00
  Speaker 3: you know that I would be there to get an
• 24:03
  Speaker 3: angle they hadn't thought of because I was so nimble
• 24:06
  Speaker 3: and able to just slott in and find things with
• 24:09
  Speaker 3: my eye what I did, and I was able to
• 24:11
  Speaker 3: be sat up and ready within like two minutes, and
• 24:14
  Speaker 3: these guys were like forty five minutes to an hour
• 24:17
  Speaker 3: just to repo each position, of course, So it was,
• 24:20
  Speaker 3: it was, it was fun. It was. It's a fun
• 24:23
  Speaker 3: drinking game watching a movie. Boy, I can't do it
• 24:27
  Speaker 3: because I would kill myself because there's one hundred and
• 24:29
  Speaker 3: fifty shots of my film. Yeah, that's insane. I know
• 24:35
  Speaker 3: every single one of the shots when it comes on,
• 24:37
  Speaker 3: and of course they've braided it beautiful and you couldn't tell,
• 24:40
  Speaker 3: but it's not. It's not for what people initially thought of, Oh,
• 24:43
  Speaker 3: you must be using it for like cockpit cameras and
• 24:46
  Speaker 3: stuff like that, like, oh, because they're not really the cockpits,
• 24:49
  Speaker 3: they're obviously it's a stage and they're on they're one
• 24:55
  Speaker 3: involved and there's a techno crane and sure, yeah, so
• 24:58
  Speaker 3: my camera was not forgetting those like small space type stuff.
• 25:01
  Speaker 3: It was really just I was the small camera to
• 25:04
  Speaker 3: find small spaces and get angles that they couldn't or
• 25:07
  Speaker 3: hadn't thought of beforehand.
• 25:10
  Speaker 2: Now you would you agree that they found you? Basically?
• 25:13
  Speaker 2: Did they find you because of your blog and because
• 25:16
  Speaker 2: you work at the one kind of talking about DSLRs
• 25:18
  Speaker 2: a lot?
• 25:19
  Speaker 3: Yeah? I think, I mean, without question, it was when
• 25:23
  Speaker 3: the five D came along, I didn't embrace it straight away.
• 25:27
  Speaker 3: Vincent the Fray did reverie, of course in November two
• 25:30
  Speaker 3: thousand and eight, and I had played with it. I
• 25:34
  Speaker 3: bought the nick On D ninety a month before that
• 25:36
  Speaker 3: hated it. I was so excited by the concept of
• 25:39
  Speaker 3: DSLRs having a large sensor to be a shoot video.
• 25:42
  Speaker 3: But the quality of the nick Ond ninety was so bad.
• 25:44
  Speaker 3: And then I saw the five D mark too, and
• 25:46
  Speaker 3: when that looks cool, but I have no can glass
• 25:50
  Speaker 3: and it only shoots thirty P and I need to
• 25:52
  Speaker 3: shoot twenty five P and twenty four P. So this
• 25:56
  Speaker 3: is that good to me? But I did get to
• 25:59
  Speaker 3: try it for the first time in May and then
• 26:01
  Speaker 3: realized you could, you can get past the lens limitations
• 26:04
  Speaker 3: and also the fact that there was no manual control
• 26:07
  Speaker 3: by using old nick on glass with an adapt and
• 26:11
  Speaker 3: and also found a way of conversing the thirty P
• 26:13
  Speaker 3: twenty five P to make it look okay. And so yeah,
• 26:17
  Speaker 3: so I was you know, once I did, once I
• 26:20
  Speaker 3: figure that out, I really just loved it. And I
• 26:24
  Speaker 3: think that's kind of you know, a lot of people
• 26:26
  Speaker 3: saw my staff and saw what I was doing and
• 26:28
  Speaker 3: picked up from there.
• 26:29
  Speaker 2: Now can you? Because I have I have a love
• 26:31
  Speaker 2: hate relationship with DSLRs because I've graded I've graded probably
• 26:35
  Speaker 2: about five features that were shot under DSLRs, and they've
• 26:38
  Speaker 2: never shot properly. If you shoot the DSLR properly like
• 26:41
  Speaker 2: you did on Redtails, I'm sure it looks And now
• 26:44
  Speaker 2: I saw the movie, it looks great. But most people
• 26:49
  Speaker 2: don't know how to shoot DSLRs properly. Gets too grainy.
• 26:52
  Speaker 2: Like one movie I had was like in the movie
• 26:54
  Speaker 2: in the woods at night with no light and they're like, hey,
• 26:58
  Speaker 2: why is there so much grain? I'm like, eyes, you know,
• 27:01
  Speaker 2: it's you know we have it's not it's it just
• 27:04
  Speaker 2: couldn't work. So what tips do you have with shooting DSLRs?
• 27:09
  Speaker 3: Now?
• 27:09
  Speaker 2: The DSLR is also that you shot redtails with are
• 27:11
  Speaker 2: much different than they are now with the a CPS
• 27:14
  Speaker 2: two that can literally look into into the darkness of
• 27:19
  Speaker 2: hell and stick stay clean. But what what kind of
• 27:22
  Speaker 2: tips do you have when shooting DSLRs for filmmakers who
• 27:26
  Speaker 2: want to shoot a feature or short and try to
• 27:28
  Speaker 2: get the most out of that camera.
• 27:31
  Speaker 3: It's funny and it has been quite a few years
• 27:33
  Speaker 3: now since they first came out and the yeat the
• 27:35
  Speaker 3: image quality has come on enormously. But the key core
• 27:42
  Speaker 3: is principles that we need to stick to. Are they
• 27:44
  Speaker 3: much the same. You need to if you're going to
• 27:48
  Speaker 3: use a handheld, you need to have it on some
• 27:52
  Speaker 3: some sort of rig just to stabilize a little bit,
• 27:54
  Speaker 3: because unless you have one, you know, one of these
• 27:56
  Speaker 3: five acts is stableized senses, then that's going to help
• 27:59
  Speaker 3: you as well. But that's one of the first things
• 28:03
  Speaker 3: is just to make sure if you are going to
• 28:04
  Speaker 3: shoot handheld, just be aware of the terrible issues. We
• 28:08
  Speaker 3: can have a rolling shutter, which is a huge giveaway
• 28:10
  Speaker 3: for DSLRs is that horrible micro vibrations that we can
• 28:14
  Speaker 3: really see, not just jello, not just like rolling shutter.
• 28:17
  Speaker 3: He said that you know, you know which it really
• 28:19
  Speaker 3: looks like, oh my god, like somebody pretty much caffeine
• 28:21
  Speaker 3: sure while they hold it in the camera. So be
• 28:24
  Speaker 3: careful that, you know, use an is lens, mistabilized lens
• 28:27
  Speaker 3: if you haven't got that. But it's know what your
• 28:31
  Speaker 3: camera performs best at with its ISOs. And yes, many
• 28:35
  Speaker 3: of the cameras, you know, the A seven S two,
• 28:39
  Speaker 3: you can push your camera much higher, but you still
• 28:41
  Speaker 3: need to expose correctly. So that's one of the things
• 28:43
  Speaker 3: that people aren't doing right. And I do not recommend
• 28:47
  Speaker 3: shooting log format on any of the dslars with a
• 28:51
  Speaker 3: bit codex, which is pretty much all of them except
• 28:54
  Speaker 3: the GH five, and even then it's it's still a
• 28:56
  Speaker 3: little bit challenging. It's a hell of a codec GH
• 29:00
  Speaker 3: five logs. It's really hard to grade. So I would
• 29:04
  Speaker 3: I would suggest no, you know, know how far you
• 29:09
  Speaker 3: can push your io and then only use it for
• 29:12
  Speaker 3: extreme purposes. It's not a replacement for lighting. It's a
• 29:16
  Speaker 3: way of hopefully being able to film in environments that
• 29:19
  Speaker 3: you couldn't normally film in. That's basically what DSLRs exciting
• 29:24
  Speaker 3: to me about was, apart from the size and the optics,
• 29:27
  Speaker 3: was just I think it was the ability to push
• 29:32
  Speaker 3: that low light up a little bit like that. And
• 29:33
  Speaker 3: I think when the A seven s two came out
• 29:35
  Speaker 3: or the A seven s came out, initially it wasn't
• 29:38
  Speaker 3: the fact that I could film in moonlight. It was
• 29:42
  Speaker 3: the fact that I could film in street light but
• 29:44
  Speaker 3: not wide open, which is what too many people are
• 29:48
  Speaker 3: still doing when choosing on DSLRs. That's the other tip
• 29:51
  Speaker 3: is just because you've got a left one point four
• 29:54
  Speaker 3: lens doesn't mean you shoot at left one point four
• 29:57
  Speaker 3: for every single shot. It's incredibly hard to keep focus.
• 30:02
  Speaker 2: We'll be right back after a word from our sponsor,
• 30:08
  Speaker 2: and now back to the show.
• 30:12
  Speaker 3: We do have some cameras coming out now with pretty
• 30:14
  Speaker 3: decent autofocus, but it's still not necessarily the way to go.
• 30:21
  Speaker 3: It's a different thing, and I would use that for
• 30:22
  Speaker 3: certain things like interviews and stuff like that. Other than that,
• 30:25
  Speaker 3: it's being sensible with it being sensible, so I would
• 30:29
  Speaker 3: say the key things are going to be don't be
• 30:31
  Speaker 3: shooting wide open, keep your camera stable if you can
• 30:35
  Speaker 3: as much as possible, don't push ISO too far, and
• 30:39
  Speaker 3: don't fall into temptation of shooting log unless you absolutely
• 30:42
  Speaker 3: have to. Proper video cameras with ten bit codecs to
• 30:46
  Speaker 3: shoot log fantastic, but eight bit compressed codex, whether it's
• 30:52
  Speaker 3: a drone ORLR, it's a nightmare. And you spend so
• 30:56
  Speaker 3: much time in post just trying to hide all the problems,
• 31:00
  Speaker 3: which if you hadn't done that in the first place,
• 31:02
  Speaker 3: you wouldn't be doing now.
• 31:04
  Speaker 2: One thing I really do like about your work is
• 31:08
  Speaker 2: that you are It's least it seems from your blogIn
• 31:11
  Speaker 2: from your your YouTube channel that you are not married
• 31:15
  Speaker 2: to any one camera. You're not like, I'm only the
• 31:18
  Speaker 2: canon guy, I'm only a black magic I'm only an
• 31:20
  Speaker 2: icon guy. I'm only an airy guy. You you use
• 31:23
  Speaker 2: multiple cameras depending on your job. You can you suggest
• 31:28
  Speaker 2: or show people how or advice on how you could
• 31:32
  Speaker 2: pick the right camera for the right job, which I
• 31:35
  Speaker 2: think is so so important because I think sometimes they're
• 31:38
  Speaker 2: just trying to use a hammer to screw in a
• 31:40
  Speaker 2: light bulb. It's like it just because you love that hammer.
• 31:44
  Speaker 2: There are other tools.
• 31:46
  Speaker 3: Yeah, I mean, that's yeah. Back in the Cannon days,
• 31:51
  Speaker 3: I was approached to be one of our ambassadors and
• 31:53
  Speaker 3: I said no because I wanted to I didn't want
• 31:56
  Speaker 3: to be tied to any format. I had an independent voice.
• 32:00
  Speaker 3: I didn't want to lose that. And also I didn't
• 32:03
  Speaker 3: want to lose out on the fact that, you know,
• 32:05
  Speaker 3: other people are going to make cool cameras and they're fun.
• 32:07
  Speaker 3: I don't want to be like, oh, no, I can't
• 32:09
  Speaker 3: use this because I'm sign signed up with these guys.
• 32:12
  Speaker 3: And so yeah, I'm and I'm always going to be
• 32:15
  Speaker 3: like this because I I'm very fickle, and I will
• 32:19
  Speaker 3: fall in love with a camera and then something else
• 32:21
  Speaker 3: will come along and turn my head and go, oh,
• 32:24
  Speaker 3: I'm going to use this now, and so yeah, I mean,
• 32:27
  Speaker 3: when it comes to like photography, my main cameras are
• 32:31
  Speaker 3: Pentax and Fuji cameras and so but when it comes
• 32:36
  Speaker 3: to video, my main video cameras are Sony. But I
• 32:39
  Speaker 3: also have Cannon ones as well, and I have lots
• 32:43
  Speaker 3: of different types of them. And I guess I am
• 32:47
  Speaker 3: lucky that I can be in that position of saying
• 32:50
  Speaker 3: the right tool for the right job. And obviously if
• 32:52
  Speaker 3: you you've only got one camera, then you are going
• 32:55
  Speaker 3: to be a little bit stuck and kind of that's
• 32:57
  Speaker 3: your your camera for the job. But if it's if
• 33:00
  Speaker 3: it's important, then I would certainly try, you know, and
• 33:02
  Speaker 3: rent it or find somebody who's got something that would
• 33:06
  Speaker 3: be more appropriate for your job, because you're right, it's
• 33:10
  Speaker 3: you see people using totally the wrong cameras when it
• 33:13
  Speaker 3: could be something as simple as you can have a
• 33:16
  Speaker 3: chuckle about it. But Soody trying to use a black
• 33:18
  Speaker 3: magic some mini for wedding videos. I'm like, you're crazy,
• 33:24
  Speaker 3: what are you trying to do? Yeah, well, I'm shooting.
• 33:25
  Speaker 3: I can shoot raw, I can shoot raw. Like why
• 33:27
  Speaker 3: are you shooting raw in the first place for a
• 33:29
  Speaker 3: wedding video? And the camera that you can't put over
• 33:32
  Speaker 3: eight hundred IO and a wedding video with no control
• 33:36
  Speaker 3: of your lighting and probably no lights. Sure crazy, get
• 33:39
  Speaker 3: yourself at a seven s two, right, you know. And
• 33:43
  Speaker 3: so somebody who's, oh, I want to do you know,
• 33:45
  Speaker 3: some visual effects and it's all going to be green
• 33:48
  Speaker 3: screen and stuff like that, I'm shooting on an A
• 33:50
  Speaker 3: seven s And I'd be like, well, why that's the
• 33:52
  Speaker 3: wrong camera for you for in this. You should get
• 33:55
  Speaker 3: yourself Black Magic some mini because that shoots, and that
• 34:00
  Speaker 3: shoots ten bit progress, and that's going to be much
• 34:02
  Speaker 3: better for you. And it's still pretty cheap. And you're
• 34:04
  Speaker 3: it's already in it's lip, it's already lit because it
• 34:06
  Speaker 3: has to be because in the studio and green screen,
• 34:09
  Speaker 3: so you have to worry about the fact that you
• 34:10
  Speaker 3: don't you can't push your eye so right, So, I mean,
• 34:13
  Speaker 3: you know, that's that's the best thing about like the
• 34:16
  Speaker 3: Black Magics is working in lit controlled locations. They do
• 34:22
  Speaker 3: really well with that, as long as you have to
• 34:23
  Speaker 3: push it too far. Because they're the cheapest cameras I
• 34:26
  Speaker 3: know of that have a terrific in built codec progress
• 34:31
  Speaker 3: and have raw if you need it. You know, having
• 34:33
  Speaker 3: to deal with all of these nasty compressed B frame
• 34:36
  Speaker 3: codecs all the time eight bit ones. When you get
• 34:40
  Speaker 3: camera that just shoots straight progress, it's like, oh no transcoding,
• 34:43
  Speaker 3: Oh mate, this system works with it and I can
• 34:45
  Speaker 3: grade it. It doesn't fall apart. Wow, fantastic. So that's
• 34:49
  Speaker 3: kind of what you need to look at, is what
• 34:52
  Speaker 3: But if you know, if you say, if you don't
• 34:53
  Speaker 3: have the camera, then it's a bit harder. I mean,
• 34:56
  Speaker 3: I interestingly, I read on reading Facebook today and the
• 35:00
  Speaker 3: guy I know, and he was asking about time lapse.
• 35:04
  Speaker 3: It's got a red epic w and he's complaining about
• 35:08
  Speaker 3: the fact that the time lapse ability of the camera
• 35:11
  Speaker 3: is basically lacking in that you can't do more than
• 35:13
  Speaker 3: one frame a second, and so you can't do long exposures. Right,
• 35:17
  Speaker 3: it's all for the right job. This is a seventy thousand,
• 35:19
  Speaker 3: whatever it is dollar camera, right, Just get a two
• 35:22
  Speaker 3: thousand dollar DSLR and that's going to shoot raw, shoot
• 35:27
  Speaker 3: long exposures, shoot for everything you wanted to. Totally the
• 35:29
  Speaker 3: right job and doesn't tie up your seventy one thousand
• 35:32
  Speaker 3: dollar camera doing the time lapse.
• 35:35
  Speaker 2: So yeah, I think that's yeah. I think a lot
• 35:38
  Speaker 2: of times filmmakers dps, they spend seventy grand on a
• 35:42
  Speaker 2: camera and they wanted to do everything and be perfect
• 35:44
  Speaker 2: for everything, and a lot of times you're right, you
• 35:47
  Speaker 2: have that ability in your work has shown it that
• 35:49
  Speaker 2: you could just like you know what, yes, I have
• 35:51
  Speaker 2: a seventy thousand dollars camera, but you know it's like
• 35:53
  Speaker 2: I have a porch, but I'm not going to drive
• 35:55
  Speaker 2: to the supermarket with the porch where I could easily
• 35:57
  Speaker 2: either just walk or or drive my prius. You know,
• 36:01
  Speaker 2: it's just the right tool for the right job kind
• 36:04
  Speaker 2: of thing.
• 36:04
  Speaker 3: Yeah, yeah, I mean, I suppose if you have spent
• 36:08
  Speaker 3: seventy thousand, you're kind of insistent on the fact that,
• 36:10
  Speaker 3: my god, I'm going to get every single last penny's
• 36:13
  Speaker 3: worth out of this camera, right. But you know, I
• 36:16
  Speaker 3: said this in many times, and I've also got this
• 36:22
  Speaker 3: policy now of not wanting to I'm never going to
• 36:24
  Speaker 3: buy camera over ten thousand dollars again, and I've done
• 36:28
  Speaker 3: that like three times now before that appen. And now
• 36:30
  Speaker 3: it's just there's loads of great cameras sub ten thousand.
• 36:34
  Speaker 3: Gods would do so much and if you need anything
• 36:37
  Speaker 3: more than just rent it because it's just not worth
• 36:39
  Speaker 3: it because they they get superseded so quickly these days,
• 36:44
  Speaker 3: and it's just not really worth spending all that money,
• 36:47
  Speaker 3: especially in a system that you could end up changing.
• 36:50
  Speaker 3: You know, reds require so many bits and pieces and
• 36:53
  Speaker 3: maybe then you'll switch to Aria, who knows. But I
• 36:55
  Speaker 3: just think there's so many great cameras out there for
• 36:58
  Speaker 3: the sub that and just stick with that, really, unless
• 37:02
  Speaker 3: you're you're super rich because I bought the fifty five
• 37:07
  Speaker 3: and that was the last time I bought a really
• 37:08
  Speaker 3: expensive camera and I loved it. It was amazing. And
• 37:13
  Speaker 3: then the FS seven came out and it did everything
• 37:16
  Speaker 3: I needed it to do for documentaries without me worrying
• 37:19
  Speaker 3: about my hugely expensive camera being potentially damaged and stuff
• 37:23
  Speaker 3: like that. So I found that it was sitting on
• 37:25
  Speaker 3: the shelf right for like six months, hadn't really been touched,
• 37:29
  Speaker 3: and the F seven was being used all the time,
• 37:31
  Speaker 3: and so I sold it. And that was what I decided,
• 37:34
  Speaker 3: this is silly, I should you know, I'm not going
• 37:36
  Speaker 3: to buy the expensive camera again. So because the F
• 37:39
  Speaker 3: seven did everything I needed to do, it didn't shoot
• 37:42
  Speaker 3: raw easily, but it didn't matter because I didn't need
• 37:45
  Speaker 3: to shoot raw. Right.
• 37:49
  Speaker 2: Yeah, and I'm a huge fan of the black Magic.
• 37:51
  Speaker 2: I shut my feature on the two point five K
• 37:54
  Speaker 2: Cinema and the Pocket is arguably some of the most
• 37:58
  Speaker 2: beautiful images come out of that little camera. You know, again,
• 38:01
  Speaker 2: right tool for the right job. You know, if I'm
• 38:02
  Speaker 2: going to go shoot an imax, this is not the
• 38:05
  Speaker 2: tool for you. But if you're creating this kind of
• 38:07
  Speaker 2: almost super sixteen style film look out of the box,
• 38:13
  Speaker 2: that that little pocket camera is amazing, and the Earths
• 38:15
  Speaker 2: of Many is one of the most underrated I think
• 38:19
  Speaker 2: cameras out there because it's not as sexy as the
• 38:22
  Speaker 2: Red or the Alexa, but man, it has a bite.
• 38:25
  Speaker 2: Would you agree?
• 38:26
  Speaker 3: Yeah? I haven't shot anything properly myself with the four
• 38:31
  Speaker 3: point sixth, so Mini I really liked what I got
• 38:34
  Speaker 3: with it, though I had definitely had issues with as
• 38:37
  Speaker 3: from a documentary background, with the fact that I in
• 38:42
  Speaker 3: available lights. I knew it was going to come a cropper,
• 38:45
  Speaker 3: and there were some quirks here and there which slowed
• 38:47
  Speaker 3: me down. But I thought for the money, the image
• 38:52
  Speaker 3: was fantastic, and I've always found it disappointing that they
• 38:55
  Speaker 3: well they went with originally with the Earth, which was
• 38:58
  Speaker 3: the craziest camera. The first one was Yeah, that was funny.
• 39:02
  Speaker 3: I mean I went to trade shows, yes, and I
• 39:06
  Speaker 3: remember the first time I picked it up, I just,
• 39:11
  Speaker 3: you know, in front of them. They let me pick
• 39:13
  Speaker 3: it up and I went the holy crap, and it went, yeah,
• 39:17
  Speaker 3: we don't really consider this a handheld camera.
• 39:20
  Speaker 2: I'm like, what what kind of world do you live in?
• 39:22
  Speaker 3: What is that? It was every camera should be anything
• 39:26
  Speaker 3: you shouldn't we considered this a tripod camera. I'm like,
• 39:29
  Speaker 3: blind me, sure, studio camera is a tripod camera, but
• 39:32
  Speaker 3: this is crazy. But I just wish that developed the
• 39:37
  Speaker 3: pocket camera further. I wish version of that because that
• 39:43
  Speaker 3: really is I think it's my favorite camera that they
• 39:46
  Speaker 3: I bought from them. Yes, in size and form, but
• 39:49
  Speaker 3: I had lots of issues as well. But what it
• 39:51
  Speaker 3: gave you was astonishing in the package.
• 39:54
  Speaker 2: I wish they would do four K. Like, if they
• 39:55
  Speaker 2: could do four K in that little camera with raw
• 39:58
  Speaker 2: and proras and handle the they have battery issue, We'll
• 40:03
  Speaker 2: be right back after a word from our sponsor and
• 40:09
  Speaker 2: now back to the show. Just do something better with
• 40:14
  Speaker 2: the battery. You have to plug in the juice box
• 40:17
  Speaker 2: or something like that. Now with the juice box it
• 40:19
  Speaker 2: will run six seven hours. But still it's like a
• 40:21
  Speaker 2: little bit more bulky. But God, that little camera is good.
• 40:24
  Speaker 2: The micropour thirds opens you up to so much glass,
• 40:28
  Speaker 2: especially vintage glass that I'm a big vintage glass guy,
• 40:32
  Speaker 2: and it's gorgeous. It really is gorgeous. It is a
• 40:34
  Speaker 2: wonderful camera.
• 40:37
  Speaker 3: Yeah, this is a shame that they didn't really I know,
• 40:39
  Speaker 3: they just seem to just forgot it's forgotten about it.
• 40:41
  Speaker 3: And they have their micro camera whatever they call it.
• 40:43
  Speaker 3: It's just not the same. It's not the same thing.
• 40:46
  Speaker 3: So I don't know if they'll ever go back to
• 40:49
  Speaker 3: that mini Pro looks. I have never played with it.
• 40:52
  Speaker 3: It looks like it sold as many of the operational
• 40:54
  Speaker 3: issues they had with the previous one.
• 40:56
  Speaker 2: So they have solved that. I shot. I shot a
• 40:58
  Speaker 2: series with it, and I shot with the new one
• 41:01
  Speaker 2: and the old one, uh both and they both worked
• 41:04
  Speaker 2: like champs. But the brand new one that they just
• 41:06
  Speaker 2: released with time code on the on the side and everything,
• 41:09
  Speaker 2: it's solved. It's a tank now. It really is a tank.
• 41:12
  Speaker 2: And it's like, you're right if you push it a
• 41:14
  Speaker 2: little too, it's not I always I did a test
• 41:17
  Speaker 2: between the Airy Alexa and the and they are so
• 41:20
  Speaker 2: mini and I shot them down the middle, and when
• 41:22
  Speaker 2: you shoot them down the middle, man, yeah, it's pretty
• 41:26
  Speaker 2: damn close. It's definitely not. You can tell it's not
• 41:30
  Speaker 2: worth spending eighty grand or whatever the Alexa costs now
• 41:33
  Speaker 2: comparatively down the middle. You just start seeing where the
• 41:37
  Speaker 2: Alexa is worth it when you start pushing her, when
• 41:40
  Speaker 2: you start pushing on the darks and the highlights get
• 41:44
  Speaker 2: clipped a little bit. So if you go a little
• 41:45
  Speaker 2: bit up or down is where you start getting. But
• 41:47
  Speaker 2: if you should have down the middle, oh.
• 41:50
  Speaker 3: For your buck. Let me ask you though, if you
• 41:53
  Speaker 3: were given somebody said I'm gonna swap out your ursas
• 41:58
  Speaker 3: for Arietlexes HM for free, you'd go, Yeah, right, of
• 42:03
  Speaker 3: course you would, real would, because they're amazing. But I
• 42:06
  Speaker 3: get you're right, it's unless the only people I know
• 42:10
  Speaker 3: who who own Alexas who are smart bought Alexas are
• 42:15
  Speaker 3: dps who rent them to the productions. Sure, so that's
• 42:19
  Speaker 3: those the people who should be buying Alexas. The rest
• 42:21
  Speaker 3: of us should be renting them in and when we
• 42:24
  Speaker 3: need them.
• 42:25
  Speaker 2: Absolutely. Now, do you have any advice on how you
• 42:28
  Speaker 2: test a new camera? Which I know a lot of
• 42:30
  Speaker 2: filmmakers get their cameras and they really don't know how
• 42:32
  Speaker 2: to push it or test it or you know, put
• 42:34
  Speaker 2: it through the through the ring or a little bit
• 42:36
  Speaker 2: to see if it's even worth it.
• 42:38
  Speaker 3: Yeah. So for me, it's totally it's totally real world.
• 42:43
  Speaker 3: It's it's taking out of don't I don't. I don't
• 42:47
  Speaker 3: work in the studios as such. I do work indoors
• 42:49
  Speaker 3: and things like that, but I don't work in the studios,
• 42:51
  Speaker 3: So I want to see how it works with unpredictable lighting.
• 42:55
  Speaker 3: I want to see how it operates as a camera
• 42:58
  Speaker 3: is how slow is to figure out? I think the
• 43:02
  Speaker 3: last camera I tested was the Canon C two hundred
• 43:06
  Speaker 3: and I kind of I actually really like it. It's
• 43:09
  Speaker 3: a bit of a strange quirky camera in that it
• 43:11
  Speaker 3: has a terrific in ability to record twelve bit raw internally,
• 43:16
  Speaker 3: and yet the if you can't do raw, then you
• 43:20
  Speaker 3: have to do an eight bit right for coda, which
• 43:23
  Speaker 3: is so bizarre to have no middle ground. But I mean,
• 43:26
  Speaker 3: we all know it's a Canon protecting its other cameras issue, right,
• 43:30
  Speaker 3: But other than that, it's actually really nice image and
• 43:33
  Speaker 3: a really nice camera. And for me, I just wanted
• 43:37
  Speaker 3: to see the things which that it was a selling
• 43:40
  Speaker 3: point really, which was the raw, the auto focus, and
• 43:45
  Speaker 3: just what the eight bit codec was like. So those
• 43:47
  Speaker 3: are the kind of the headline features I was looking
• 43:49
  Speaker 3: at to see what they're like, and it's like when
• 43:52
  Speaker 3: I'm getting their hands on the EVA one from Panasonic,
• 43:57
  Speaker 3: what I want to see is what this dual ico
• 44:02
  Speaker 3: is going to like what sort of noise levels am
• 44:04
  Speaker 3: I getting get? Because the setting point is that you
• 44:06
  Speaker 3: can shoot in low light conditions by switching to different
• 44:10
  Speaker 3: the higher native setting to want to see what that's like.
• 44:13
  Speaker 3: So it's kind of I look at the headline features
• 44:15
  Speaker 3: of the camera and go okay, I need to see
• 44:18
  Speaker 3: what this actually is like, and then as well do
• 44:21
  Speaker 3: the every day sort of bread and better type stuff
• 44:24
  Speaker 3: to see how it actually works for real use, because
• 44:26
  Speaker 3: obviously you need to if that it may well have
• 44:29
  Speaker 3: a really cool feature, but if it doesn't operate as
• 44:31
  Speaker 3: a camera well just generally, then it's a bit pointless.
• 44:35
  Speaker 3: And it takes me back to when I saw the
• 44:38
  Speaker 3: when the SNFs came out and it was going all
• 44:41
  Speaker 3: about all about how amazing the low light was, and
• 44:46
  Speaker 3: they release a video and it was I watched it
• 44:50
  Speaker 3: and I was like, Okay, that looks nice. It's nicely
• 44:52
  Speaker 3: shot and it was like fishermen in Scotland or something,
• 44:56
  Speaker 3: and it was all shot high ico and it showed
• 44:59
  Speaker 3: you come exactly what it was.
• 45:02
  Speaker 2: Something like that.
• 45:03
  Speaker 3: It didn't look like nighttime. It looked like daytime or something,
• 45:07
  Speaker 3: which was fine, but because it was like that all
• 45:10
  Speaker 3: the way through I had no sense of any of
• 45:14
  Speaker 3: what it was doing. And so I got the camera
• 45:17
  Speaker 3: on loan from them just before it was released and went,
• 45:20
  Speaker 3: all right, I'm going to take this down down to
• 45:23
  Speaker 3: Bryson in in south of England and then just really
• 45:27
  Speaker 3: just see what this is like. And so I did
• 45:29
  Speaker 3: a video and I shot it where I did. I
• 45:32
  Speaker 3: this is what it looks like to the eye, which
• 45:34
  Speaker 3: is like eight hundred IESO, and then I shot it
• 45:37
  Speaker 3: at twenty five thousand, six hundred IESO, which did turn
• 45:40
  Speaker 3: it into like daylight. Having this to having this ability
• 45:44
  Speaker 3: to do this transition show this is what I see
• 45:46
  Speaker 3: and this is what this shows. And that's I mean,
• 45:50
  Speaker 3: that's kind of a way to sell the cameras be Ablus,
• 45:52
  Speaker 3: because you saw straight away that was like ah, and
• 45:55
  Speaker 3: now I get it. I get it how amazing this
• 45:57
  Speaker 3: is because I didn't get it before because everything just
• 46:00
  Speaker 3: everything just looked okay, look fine. So it's that's kind
• 46:05
  Speaker 3: of what I when I'm looking at cameras, that's kind
• 46:07
  Speaker 3: of I just want to see what makes it special?
• 46:12
  Speaker 2: Now, what are three of your go to lenses if
• 46:15
  Speaker 2: you're on a desert island? I know, it's like picking
• 46:20
  Speaker 2: your children.
• 46:21
  Speaker 3: It's no, it's that question. You know, at least you
• 46:23
  Speaker 3: didn't say one actually, one's easier, one's easier, and always
• 46:26
  Speaker 3: you didn't tell me which size, censor, which sense we're
• 46:28
  Speaker 3: talking here.
• 46:30
  Speaker 2: Let's say let's say full frame, okay.
• 46:33
  Speaker 3: All right, then that's easier. So I would say a
• 46:36
  Speaker 3: fifty millimeter is my first lens with that question, because
• 46:41
  Speaker 3: it's the relative field of view of what we see
• 46:45
  Speaker 3: with our eyes. So I do love that standard field
• 46:48
  Speaker 3: of view, and I can shoot pretty much everything on that.
• 46:52
  Speaker 3: And then it gets really tricky because my favorite walkaround
• 46:56
  Speaker 3: lens is a thirty five.
• 46:57
  Speaker 2: Meal Which would brand of that? Which brand?
• 47:02
  Speaker 3: And you know, I don't really have any you talk
• 47:06
  Speaker 3: my focal lens or brands.
• 47:07
  Speaker 2: Brands, brand brand, like like the canon nikore.
• 47:13
  Speaker 3: This is getting really hard then, So if you you know,
• 47:21
  Speaker 3: if you want really beautiful sharp images, then the Sigma
• 47:24
  Speaker 3: Art lenses are fantastic. If you want they are incredibly
• 47:28
  Speaker 3: But if you want some you know a little bit
• 47:30
  Speaker 3: more character than sure, some of the older Nichols are
• 47:34
  Speaker 3: always good for that sort of thing. Nice and cheap.
• 47:39
  Speaker 2: Do you use a lot of do you use a
• 47:41
  Speaker 2: lot of vintage class or do you ever play with
• 47:43
  Speaker 2: it occasionally?
• 47:45
  Speaker 3: Not as much as I used to. I used to.
• 47:48
  Speaker 3: These days I tend to use a lot more more
• 47:51
  Speaker 3: detailed sharper lenses, but I still I still do you know,
• 47:58
  Speaker 3: when I'm doing any lens waking free lensing, are using
• 48:00
  Speaker 3: my old glass and a lot more for stills. I
• 48:03
  Speaker 3: do for stills as well, but for video probably less so.
• 48:08
  Speaker 3: But I don't really know. It's a horrible question to
• 48:10
  Speaker 3: ask because I just love really I love long telephotos
• 48:15
  Speaker 3: as well.
• 48:16
  Speaker 2: Sure, yeah, it's the right tool for the right job.
• 48:18
  Speaker 2: I know, it's like it's a tough it's a tough question.
• 48:20
  Speaker 2: Someone asked me. I have a couple of ones is
• 48:23
  Speaker 2: that I go to all the time, But and there's
• 48:25
  Speaker 2: a couple of fun ones that I play with, like
• 48:29
  Speaker 2: I have Actually.
• 48:30
  Speaker 3: Huh, Canon got a great one that I recently bought
• 48:35
  Speaker 3: seventy to three hundred. Yes, it's not a contentt aperture.
• 48:38
  Speaker 3: It's not their white one. It's their their non l
• 48:42
  Speaker 3: series one. But it's new ish like last year, and
• 48:45
  Speaker 3: it's not that expensive. It's got crazy fast, all the
• 48:48
  Speaker 3: focus for doing stills and build quality is great. It's
• 48:52
  Speaker 3: light and the optics are great. It gives you a
• 48:54
  Speaker 3: huge range.
• 48:55
  Speaker 2: So what's the how fast is it?
• 49:00
  Speaker 3: It's three five to five six.
• 49:02
  Speaker 2: I think, okay, so it's outdoors.
• 49:06
  Speaker 3: Yeah, it's an outdoor lens. But you know, if you
• 49:07
  Speaker 3: want a lens which is you know, you're gonna limit
• 49:10
  Speaker 3: me to three and cheap with a long, big, long
• 49:13
  Speaker 3: zoom that's going to cover a big range. They still
• 49:16
  Speaker 3: have a fast fifty mil for my primes and then
• 49:19
  Speaker 3: wide angles. I love my big white angles as well,
• 49:21
  Speaker 3: but you know, I think my biggest wide angle I've
• 49:24
  Speaker 3: got that is not for shy is ten meal, which
• 49:26
  Speaker 3: is ridiculous. And that's a void lander. So you have
• 49:29
  Speaker 3: one avoid I don't know it's it's it's boy lend
• 49:33
  Speaker 3: and make amazing glassy. But that ten mel is like
• 49:38
  Speaker 3: I bring it with and I put it on and
• 49:39
  Speaker 3: I take a couple of shots with it. I think
• 49:42
  Speaker 3: I've shot video with it twice, maybe briefly because it's
• 49:45
  Speaker 3: too wide. Well, it's just ridiculous. It's it's it's it's
• 49:49
  Speaker 3: an effect lens. So my favorite actual white, my favorite
• 49:53
  Speaker 3: focal lengths for doing white is actually around twenty four
• 49:56
  Speaker 3: twenty twenty four mil.
• 49:58
  Speaker 2: Around we'll be right back after a word from our
• 50:02
  Speaker 2: sponsor and now back to the show.
• 50:10
  Speaker 3: Yeah, I do like wide with that, but it's you know,
• 50:12
  Speaker 3: it's it can just find myself a little bit too
• 50:16
  Speaker 3: It can be a little bit too wide. So twenty
• 50:19
  Speaker 3: four is a is a good sort of middle ground.
• 50:22
  Speaker 3: Let's Sigma make a great twenty four mil point four.
• 50:25
  Speaker 3: They make a twenty mil as well.
• 50:27
  Speaker 2: Their eighteen or thirty five is amazing their art lens.
• 50:30
  Speaker 3: Yeah, if you've got for crop sensors, that actually eighteen
• 50:32
  Speaker 3: thirty five is fantastic. Yeah, so I and I give
• 50:36
  Speaker 3: you a twenty that gives you a twenty four to
• 50:39
  Speaker 3: twenty four to seventy four favorite equivalent. So it's a
• 50:42
  Speaker 3: great lens.
• 50:42
  Speaker 2: Now, if you want to talk about why, my favorite
• 50:45
  Speaker 2: wide I have is the Knoptic five point seven micro
• 50:51
  Speaker 2: four thirds. But it doesn't fish. It doesn't fish eye.
• 50:56
  Speaker 3: That's impressive.
• 50:57
  Speaker 2: It's the it's the Kubri glens. It's what he shows.
• 51:01
  Speaker 2: The big brother of that is the nine point eight,
• 51:04
  Speaker 2: which is for thirty five. That one is for sixteen.
• 51:06
  Speaker 2: So I use it with the pocket and with the pocket.
• 51:08
  Speaker 2: It's just it's amazing, but it doesn't fish eye. So
• 51:12
  Speaker 2: if you remember the sines from the shining in the yeah,
• 51:16
  Speaker 2: that's all shot with the Kinnoptic, as well as the
• 51:20
  Speaker 2: right before the rape scene and clockwork orange that was
• 51:22
  Speaker 2: shot with the Kinnoptic. It's one of his it was
• 51:25
  Speaker 2: one of his go to lenses in his in the series.
• 51:28
  Speaker 2: But it's gorgeous. It's such a gorgeous lens. Sorry, we're
• 51:31
  Speaker 2: geeking out.
• 51:33
  Speaker 3: That's oh no, I mean I do love my white
• 51:35
  Speaker 3: angles and say no I bought the ten and stuff
• 51:38
  Speaker 3: like that. But yeah, it's sort of like a sixteen
• 51:40
  Speaker 3: thirty five zoom is always a good as a good yes,
• 51:43
  Speaker 3: you know, it's one of these things if people ask
• 51:45
  Speaker 3: for advice and they say, what three lenses should I buy?
• 51:49
  Speaker 3: My advice tends to be. Of course, first question is
• 51:51
  Speaker 3: how much money you got. There's no point given them
• 51:53
  Speaker 3: any advice because it's such a you know, it's an
• 51:56
  Speaker 3: impossible question to answer. Let's talk about it.
• 51:58
  Speaker 2: There's and lenses and what kind of what camera you're
• 52:00
  Speaker 2: going to be using it on or what a you're
• 52:01
  Speaker 2: going to do it shooting film or video, I mean,
• 52:03
  Speaker 2: or photo or motion. It's yeah, it's it's a very
• 52:07
  Speaker 2: big question has many multiple answers. Now, do you have
• 52:10
  Speaker 2: any tips?
• 52:11
  Speaker 3: Wet good, Yeah, I just I mean just with the
• 52:13
  Speaker 3: five D, it just it's it hasn't really changed. It's
• 52:16
  Speaker 3: in five D. It's simply you have the three three zooms.
• 52:19
  Speaker 3: You're sixteen thirty five or twenty four to seventy seventy
• 52:21
  Speaker 3: two hundred. That covers everything, and then you have a
• 52:24
  Speaker 3: fast prime for everything else. You're fifty one point four
• 52:27
  Speaker 3: and that's kind of what you need to go. But
• 52:29
  Speaker 3: that's thousands, you know, it's you if you're shooting documentaries,
• 52:33
  Speaker 3: you kind of want that flexibility. If you're shooting features
• 52:36
  Speaker 3: and narrative type stuff, then you can shoot on primes
• 52:40
  Speaker 3: and not because the joy of a zoom is the
• 52:43
  Speaker 3: speed which you need when you're shooting documentary, you don't
• 52:46
  Speaker 3: have to worry about that. Then you can you can
• 52:49
  Speaker 3: go with cheaper, more vintage primes. So it's a massive question.
• 52:54
  Speaker 2: Yes, that's a whole podcast in itself. Now, let's talk
• 52:58
  Speaker 2: a little bit about your masterclass. You knew the new
• 53:00
  Speaker 2: course that you put together for m Z.
• 53:02
  Speaker 3: Yeah.
• 53:02
  Speaker 2: Can you talk about what the course is about and
• 53:05
  Speaker 2: what students can expect in the class.
• 53:08
  Speaker 3: Yeah, it's I would say, it's pretty much my twenty
• 53:12
  Speaker 3: seven years of experience and knowledge as much as possible,
• 53:17
  Speaker 3: just distilled into effective what it's like nine episodes, one, three, one,
• 53:21
  Speaker 3: and eight main episodes, it like runs to like nine
• 53:24
  Speaker 3: and a half hours or so, and it's I just
• 53:28
  Speaker 3: want to Initially m Z asked me to do something
• 53:30
  Speaker 3: about drones, and I went, yeah, cool, but I don't
• 53:34
  Speaker 3: think that's going to be There's no way I can
• 53:36
  Speaker 3: possibly feel much more than you know, a couple of
• 53:39
  Speaker 3: hours just on that, And I said, then I made
• 53:43
  Speaker 3: the mistake suggesting what if I did it about everything,
• 53:46
  Speaker 3: everything that I do, every type of filming style that
• 53:49
  Speaker 3: I do, And it went yeah cool. And so then
• 53:52
  Speaker 3: I realized just what I was letting myself in for
• 53:54
  Speaker 3: because I started breaking it down before. I should have
• 53:57
  Speaker 3: done that before I suggested it to them. Initially it
• 54:00
  Speaker 3: was going to be a six hour course, and by
• 54:03
  Speaker 3: the time I started editing, I was like, guys, it's
• 54:05
  Speaker 3: going to be a lot longer than six hours, because
• 54:08
  Speaker 3: I knew that when I was filming it that it
• 54:10
  Speaker 3: was going to get bigger and bigger and bigger, because
• 54:12
  Speaker 3: once you start talking about a subject, you realize you
• 54:14
  Speaker 3: need to go down a path. So when I was
• 54:18
  Speaker 3: breaking it down in pre production, is what we needed
• 54:20
  Speaker 3: to do and figure out which episodes, what topics we
• 54:24
  Speaker 3: should cover. That was kind of you know where I realized,
• 54:28
  Speaker 3: you know, it was a very good thing to actually
• 54:31
  Speaker 3: make discipline wise, because it did require a lot of
• 54:33
  Speaker 3: pre production. Otherwise it just was not going to be
• 54:37
  Speaker 3: a practical thing to shoot because it's big enough as
• 54:39
  Speaker 3: it was. And so I went through the topic that
• 54:42
  Speaker 3: I really wanted to cover. The first one is that
• 54:45
  Speaker 3: the first episode is quite dull in respect because it's
• 54:49
  Speaker 3: just me and my kitchen, but it's me explaining all
• 54:51
  Speaker 3: of the stuff you actually do need to understand before
• 54:55
  Speaker 3: you go out and shoot, which is all the technical stuff,
• 54:58
  Speaker 3: a little bit of history, is why we're using these cameras,
• 55:02
  Speaker 3: and some of the flaw the problems we can have
• 55:05
  Speaker 3: with them. So it's going through everything you needed to know.
• 55:08
  Speaker 3: It squeezed into an hour and twenty minutes, and then
• 55:11
  Speaker 3: I went out and then I realized that the next
• 55:13
  Speaker 3: episode was okay, and I've got all that stuff out
• 55:15
  Speaker 3: of the way, I can just focus on being creative.
• 55:17
  Speaker 3: And then it was I've never really competition is one
• 55:21
  Speaker 3: of these things that's been very natural to me, and
• 55:25
  Speaker 3: I've always been asked how can I improve my composition,
• 55:29
  Speaker 3: And I'm always like, well, you can always read books
• 55:31
  Speaker 3: and to understand how what you're looking for a competition,
• 55:34
  Speaker 3: But then you need to then you need to experiment,
• 55:36
  Speaker 3: and then you need to watch movies and TVs shows
• 55:39
  Speaker 3: and see how they do things and see what you like.
• 55:41
  Speaker 3: And so that's kind of why the first episode. So
• 55:46
  Speaker 3: the second episode was all about showing what different lenses do,
• 55:50
  Speaker 3: and showing how cool a long tele photo can be
• 55:54
  Speaker 3: on a subject and bringing a background closer to a
• 55:58
  Speaker 3: person and the effect it can have compared to say
• 56:01
  Speaker 3: a standard lens and a wide angle lens, and then
• 56:04
  Speaker 3: showing people how to move the camera, when not to
• 56:06
  Speaker 3: move the camera, showing all these toys that can distract
• 56:09
  Speaker 3: you when to use them. I mean, it was just
• 56:12
  Speaker 3: so much in this course, and I think it's one
• 56:19
  Speaker 3: of these things that if you look at the list
• 56:22
  Speaker 3: of the topics that only really explains half of what
• 56:26
  Speaker 3: you're learning, or not even that from just what it is.
• 56:29
  Speaker 3: So like people will say, oh, there's no episode on lighting.
• 56:32
  Speaker 3: I'm like, well no, because lighting is in every single
• 56:34
  Speaker 3: every episode, same with sound sounded in every episode. I
• 56:38
  Speaker 3: didn't want to do one because it's all filmed on
• 56:40
  Speaker 3: location to tackle things real world, much like I've always
• 56:45
  Speaker 3: I always want to do my reviews, and it was
• 56:46
  Speaker 3: like an extension of that I wanted to show. Okay,
• 56:49
  Speaker 3: so I'm going to did this episode is about interviews,
• 56:51
  Speaker 3: So this is how you deal with going to location
• 56:54
  Speaker 3: and you know you don't have the right room. You've
• 56:57
  Speaker 3: got to work with the light. What are the issues
• 56:58
  Speaker 3: with the lights, what's the problems with the sound we
• 57:00
  Speaker 3: have here? What could our background be? And it was
• 57:03
  Speaker 3: really trying to take things as realistically as possible and
• 57:07
  Speaker 3: and literally having real problems that I had to solve
• 57:11
  Speaker 3: during the actual shoots and showing them how I would
• 57:14
  Speaker 3: deal with it. So that was kind of what I
• 57:16
  Speaker 3: was trying to get with it.
• 57:18
  Speaker 2: Well, I'm excited to watch it myself, and I'll definitely
• 57:21
  Speaker 2: put all the information in the show notes for this
• 57:24
  Speaker 2: episode for everyone to.
• 57:25
  Speaker 3: Take a look at.
• 57:26
  Speaker 2: Now, I have a few more questions. If you have
• 57:28
  Speaker 2: some time, sure, yeah, sure, you've traveled pretty much all
• 57:33
  Speaker 2: over the planet at this point in your career. Do
• 57:36
  Speaker 2: you have any travel hacks for filmmakers in what respect,
• 57:43
  Speaker 2: in the words of traveling, packing, getting things through, I mean, like,
• 57:49
  Speaker 2: you know, getting cheaper deals, or even just even be
• 57:51
  Speaker 2: able to pack all your gear, what gear to bring with,
• 57:53
  Speaker 2: don't overpack everything like there's a bunch of stuff. Any
• 57:56
  Speaker 2: tips at all, because I know in today's world travel
• 58:00
  Speaker 2: traveling with a bunch of gear and keeping it safe,
• 58:03
  Speaker 2: and you're walking around with twenty thousand bucks on your backpack,
• 58:06
  Speaker 2: you know, it's like.
• 58:08
  Speaker 3: It's pretty It's the worst thing about my job by
• 58:11
  Speaker 3: far is the traveling. It's not that it's not it's
• 58:18
  Speaker 3: the traveling bit itself. It's not being in other places
• 58:20
  Speaker 3: that's the coolest bit. Sure, it's the getting there is
• 58:23
  Speaker 3: the worst bit. And it's the most stressful thing is
• 58:26
  Speaker 3: packing and figuring out what you need your weight allouantism.
• 58:31
  Speaker 3: Whenever I'm booked on jobs, you know, I need to
• 58:34
  Speaker 3: look at flights routes and see who flies there, because
• 58:38
  Speaker 3: I know which airlines have the better baggage policies. Your
• 58:41
  Speaker 3: new lucky. You live in the States and you think
• 58:44
  Speaker 3: you have bad baggage policies there, you do not. Yours
• 58:48
  Speaker 3: are great. Even your worst baggage allowance. Positive policy with
• 58:52
  Speaker 3: an airline is amazingly compared to what we have to
• 58:55
  Speaker 3: do with here. There's like two airlines that fly out
• 58:59
  Speaker 3: that out of the UK airlines, British Airways and Virgin Atlantic,
• 59:05
  Speaker 3: who charge you per bag. Everybody else charges you per
• 59:09
  Speaker 3: kilo ah, so that is where things start getting crazy expensive.
• 59:16
  Speaker 3: So I think the most I've ever spent on excess
• 59:19
  Speaker 3: baggage probably about three and a half thousand pounds each way.
• 59:26
  Speaker 2: Three and a half thousand pounds.
• 59:29
  Speaker 3: Yeah, and that was it was a job in Japan
• 59:32
  Speaker 3: and the client had insisted on flying via Amsterdam with
• 59:36
  Speaker 3: KLM kalem charge per kilo and I told them this
• 59:41
  Speaker 3: is expensive, and they didn't listen to me, and then
• 59:43
  Speaker 3: they had to pay it. And so you choose the
• 59:47
  Speaker 3: airlines for a reason. It's it's worth if you're flying
• 59:52
  Speaker 3: internally in the US. So if so, if I fly
• 59:54
  Speaker 3: to the US, you get like two bags as a
• 59:58
  Speaker 3: minium allowance.
• 1:00:00
  Speaker 2: We'll be right back after a word from our sponsor
• 1:00:06
  Speaker 2: and now back to the show.
• 1:00:09
  Speaker 3: But if you fly anywhere else from from London, you'd
• 1:00:13
  Speaker 3: get one bag. So I guess you guys are just
• 1:00:15
  Speaker 3: managed negotiate a better thing.
• 1:00:18
  Speaker 2: And we think it's horrible. It's absolutely true.
• 1:00:21
  Speaker 3: Yeah, yeah, it's worth if you can get some media
• 1:00:26
  Speaker 3: creditation because there's a number of airlines which give you
• 1:00:29
  Speaker 3: better deals. Southwestern, Delta, United, a couple of others. There's
• 1:00:37
  Speaker 3: a few of them out there, which you know, if
• 1:00:38
  Speaker 3: you've got proper media creditation, can save you a lot.
• 1:00:43
  Speaker 3: I mean Delta will also, you know, are quite good
• 1:00:45
  Speaker 3: in that they will let you. I think it's like
• 1:00:47
  Speaker 3: fifty bucks. It will probably change like fifty bucks per
• 1:00:49
  Speaker 3: bag up to one hundred pounds, which is crazy. But
• 1:00:53
  Speaker 3: just remember that the important stuff always has to be
• 1:00:56
  Speaker 3: carried with you and were supposed to carry out o
• 1:01:01
  Speaker 3: lithium ion batteries carry on luggage. So know your rights
• 1:01:07
  Speaker 3: with the airlines, because I guarantee you they don't know
• 1:01:12
  Speaker 3: your rights, so you will. They will tell you something
• 1:01:16
  Speaker 3: and like actually know if you look at the policy
• 1:01:18
  Speaker 3: on your website, this shows you what you're allowed and
• 1:01:21
  Speaker 3: they go, let me check on my then they go
• 1:01:25
  Speaker 3: and then they'll confer with somebody else. So this happens
• 1:01:27
  Speaker 3: all the time. So you need to understand what you
• 1:01:30
  Speaker 3: are allowed and what you can't do. If you know,
• 1:01:32
  Speaker 3: it comes to batteries. You've got to be careful about
• 1:01:36
  Speaker 3: the what hours you have on some of the drone batteries,
• 1:01:38
  Speaker 3: some of the larger camera batteries you can you can
• 1:01:41
  Speaker 3: take like two per person, so make sure you fly
• 1:01:44
  Speaker 3: with somebody else who can help you out with that.
• 1:01:47
  Speaker 3: I do check a lot of expensive stuff. You have
• 1:01:52
  Speaker 3: to because of you know, you carry on limits what
• 1:01:57
  Speaker 3: you can take sure. And I don't don't use Pelly
• 1:02:01
  Speaker 3: cases of Pelican cases. The simple reason being is yes,
• 1:02:07
  Speaker 3: they offer great protection, but they look expensive yep and
• 1:02:12
  Speaker 3: stealable yep. And so my luggage looks really unfilmed gear
• 1:02:19
  Speaker 3: like it's still really protected inside, it just doesn't look
• 1:02:23
  Speaker 3: like it looks like average luggage. And if you know,
• 1:02:26
  Speaker 3: if you can get the pinkest, most colorful, garage looking
• 1:02:30
  Speaker 3: luggage with Hello Kitty stickers on, do it, do it
• 1:02:34
  Speaker 3: because it doesn't look valuable and nobody's going to steal it.
• 1:02:39
  Speaker 2: That's great advice. Actually, that's awesome advice.
• 1:02:42
  Speaker 3: I really think Pelly should Pelicans should make a series
• 1:02:46
  Speaker 3: of Yeah, you know, when I have had to fly
• 1:02:51
  Speaker 3: with with the hard cases, whether it be like for
• 1:02:54
  Speaker 3: Moby or a drone in an Inspire, then I of
• 1:03:00
  Speaker 3: them with stickers like superheroes and stuff like that. Really
• 1:03:03
  Speaker 3: do those hard cases got Superman stickers on everything? It
• 1:03:06
  Speaker 3: just doesn't look like professional film go anymore. Trying to
• 1:03:09
  Speaker 3: disguise it as much as possible, got it. It's there's
• 1:03:13
  Speaker 3: it's a big old topic and it's a difficult one
• 1:03:15
  Speaker 3: and it's and then you get because certain countries will
• 1:03:18
  Speaker 3: need you if you're taking professional film gear in to
• 1:03:21
  Speaker 3: be to have a proper document a karne, which costs
• 1:03:25
  Speaker 3: a lot of money, and you need to have everything
• 1:03:27
  Speaker 3: itemized and listed. But some countries won't accept that, and
• 1:03:32
  Speaker 3: you have to negotiate with them beforehand or find out
• 1:03:34
  Speaker 3: what you needed to have there. And this is why
• 1:03:37
  Speaker 3: sometimes it's it's really nice just to go with a
• 1:03:39
  Speaker 3: small d S last style camera and just try and
• 1:03:42
  Speaker 3: not be obvious. If if it's difficult, it's going to
• 1:03:46
  Speaker 3: be all too expensive to have that, then it's try
• 1:03:50
  Speaker 3: and go in. But you are always going to have
• 1:03:52
  Speaker 3: a risk if you are doing a paid job and
• 1:03:54
  Speaker 3: you're trying to trying to cut corners and not get
• 1:03:56
  Speaker 3: a karne and go as a tourist and not get
• 1:04:00
  Speaker 3: the correct visa and you your gear gets stopped and
• 1:04:02
  Speaker 3: doesn't get brought in that's your fault. And it's just
• 1:04:06
  Speaker 3: one of these things. If you're doing it for a client,
• 1:04:08
  Speaker 3: you have to pass on these costs to them, explain
• 1:04:10
  Speaker 3: to them, Okay, well we're going here and we need this,
• 1:04:14
  Speaker 3: and it's just one of the things. Flying is just
• 1:04:17
  Speaker 3: absolutely horrendous, and you know, there's I'm really got every day.
• 1:04:21
  Speaker 3: You know, there's always a new story about how the
• 1:04:24
  Speaker 3: FAA or where it is are going to change what
• 1:04:26
  Speaker 3: we can check, you know, the saying anything with any
• 1:04:31
  Speaker 3: lifting mind battery cannot be checked. Uh and then you
• 1:04:34
  Speaker 3: and then no camera can be checked, and it's kind
• 1:04:36
  Speaker 3: of like no professional electronic gear can be checked. And
• 1:04:39
  Speaker 3: like at some point soon if this goes down this road,
• 1:04:42
  Speaker 3: I don't think we'll ever be able to fly abroad
• 1:04:45
  Speaker 3: without gear anymore. We'll just have the era of the
• 1:04:47
  Speaker 3: rental company is going to be there because everybody, they're
• 1:04:51
  Speaker 3: gonna have to have a major rental outlet every single city,
• 1:04:53
  Speaker 3: in every single place because we can't fly with anything,
• 1:04:56
  Speaker 3: which terrible if that ever happens. But yeah, it's I
• 1:05:01
  Speaker 3: hate it. I hate it so much. I always bring
• 1:05:03
  Speaker 3: too much, always brings too much, So make it. The
• 1:05:07
  Speaker 3: best advice I'd say is just make a list beforehand
• 1:05:11
  Speaker 3: and just bring what you need, maybe you know, a
• 1:05:18
  Speaker 3: couple of backup things as much as possible, like a issue.
• 1:05:21
  Speaker 3: I always have a second camera just in case. But
• 1:05:24
  Speaker 3: the kind of the obvious stuff really.
• 1:05:26
  Speaker 2: Okay, batteries always bring bad extra batteries. Oh god, chah, batteries,
• 1:05:31
  Speaker 2: betteries batteries. Now what advice would you give a filmmaker
• 1:05:34
  Speaker 2: wanting to break into the business today?
• 1:05:38
  Speaker 3: Uh, I guess the first question is why do you
• 1:05:41
  Speaker 3: want to as long as you doing it for the
• 1:05:45
  Speaker 3: right reasons, and that's great. It's not you know, you
• 1:05:48
  Speaker 3: know very well, it's not a business to get rich
• 1:05:49
  Speaker 3: into it.
• 1:05:50
  Speaker 2: I was gonna says, it's not rich and famous. That's
• 1:05:52
  Speaker 2: not the reason why to get in.
• 1:05:54
  Speaker 3: No go and become a banker or something. I don't know.
• 1:05:59
  Speaker 3: You if you just want to do something creative and
• 1:06:02
  Speaker 3: you because you get into it because you want to
• 1:06:05
  Speaker 3: be creative. So that's my best advice to start with.
• 1:06:12
  Speaker 3: And it's a tricky thing. It's one of these things
• 1:06:14
  Speaker 3: that and I think this is kind of partly why
• 1:06:18
  Speaker 3: it's so good to have this course that I've done
• 1:06:20
  Speaker 3: with m z is. It's whilst it's not a film
• 1:06:23
  Speaker 3: score replacement, it condenses all of my knowledge into this
• 1:06:27
  Speaker 3: one thing. So people watch it then they can get
• 1:06:32
  Speaker 3: You're not going to become a filmmaker from watching this,
• 1:06:34
  Speaker 3: but you're going to get a lot of knowledge from it,
• 1:06:36
  Speaker 3: and hopefully use that knowledge to find your own style
• 1:06:39
  Speaker 3: and voice and know how to do things a bit better,
• 1:06:41
  Speaker 3: because that's what you're going to need to do. You're
• 1:06:43
  Speaker 3: going to need to be patient, which a lot of
• 1:06:47
  Speaker 3: people aren't these days. There's too much like wanting stuff
• 1:06:50
  Speaker 3: to happen overnight. I think my best example of this
• 1:06:56
  Speaker 3: was a guy did so I do this, I do
• 1:06:58
  Speaker 3: some private tuition with people. I remember this guy emailed
• 1:07:03
  Speaker 3: me saying he wanted to get to make a short
• 1:07:05
  Speaker 3: film to be entered into next year's can Film Festival,
• 1:07:10
  Speaker 3: and he wants some training for that. I'm like interesting,
• 1:07:13
  Speaker 3: so I asked him to tell me. It's a really
• 1:07:15
  Speaker 3: strange way of actually wording things anyone else. I want
• 1:07:19
  Speaker 3: to make sure.
• 1:07:20
  Speaker 2: I'm a similar to the askers. It's similar to the askers.
• 1:07:22
  Speaker 3: Yeah, I like to win an Oscar, so I'd like
• 1:07:24
  Speaker 3: to do some training with you, like I have not
• 1:07:27
  Speaker 3: won an oscar. So I'm the wrong person, so don't
• 1:07:30
  Speaker 3: come to me. But I said to him, so what
• 1:07:33
  Speaker 3: do you want to do? What do you want to
• 1:07:34
  Speaker 3: learn from? So? I want to get a grounding of, like,
• 1:07:37
  Speaker 3: you know, things which can help me make be able
• 1:07:39
  Speaker 3: to make this film. So what experience do you have? None,
• 1:07:45
  Speaker 3: I've never used a camera, I've never made a film.
• 1:07:48
  Speaker 3: Oh good, but I've seen lots of films. So I
• 1:07:53
  Speaker 3: then said to him, well, I don't know how long
• 1:07:56
  Speaker 3: you're expecting training wise from me, but.
• 1:08:00
  Speaker 2: You got ten years past.
• 1:08:01
  Speaker 3: What sort of how long do you expect? What do
• 1:08:04
  Speaker 3: you want from me exactly? And he said maybe how
• 1:08:09
  Speaker 3: much would it cost for two hours of training?
• 1:08:16
  Speaker 2: Oh my god, you gotta be kidding, I replied.
• 1:08:18
  Speaker 3: To him, And when you know that's not going to
• 1:08:20
  Speaker 3: be enough? And then he replied saying all about four.
• 1:08:23
  Speaker 3: And that's where the conversation. I felt it felt like
• 1:08:25
  Speaker 3: a practical joke, but it wasn't. It was been deadly serious.
• 1:08:30
  Speaker 3: And it's one of the things you've got to be
• 1:08:31
  Speaker 3: so patient with And you've got to work your ass
• 1:08:35
  Speaker 3: off for years, two for years, for years, yeah, absolutely
• 1:08:38
  Speaker 3: years before you're you know, I when I left Sky,
• 1:08:42
  Speaker 3: I was senior cameraman, and you know, I couldn't go
• 1:08:46
  Speaker 3: any further at the company without going to management and
• 1:08:49
  Speaker 3: leaving the camera behind. And then when I left, I
• 1:08:53
  Speaker 3: didn't want to do news anymore. So I had to
• 1:08:56
  Speaker 3: start completely again from the bottom. And it took me
• 1:08:59
  Speaker 3: four years to start getting the work that I really
• 1:09:01
  Speaker 3: wanted to.
• 1:09:02
  Speaker 2: Do, even after being seventeen years and another aspect of
• 1:09:06
  Speaker 2: the business exactly.
• 1:09:08
  Speaker 3: So it's and now there's a huge amount of more
• 1:09:13
  Speaker 3: competition than there was even eleven years ago. So you've
• 1:09:17
  Speaker 3: got to be really patient and you've you've got to
• 1:09:20
  Speaker 3: be obviously, you've got to have talent. You've got to
• 1:09:23
  Speaker 3: have the ability to sell yourself as well. And it's
• 1:09:28
  Speaker 3: not something to be embarrassed about and talk about, not
• 1:09:32
  Speaker 3: talk about. You know, it's a business, after all, Any job,
• 1:09:35
  Speaker 3: any job where you are selling yourself and your skills,
• 1:09:38
  Speaker 3: it's a business, and you have to be able to
• 1:09:40
  Speaker 3: sell yourself. I remember I work with this guy who
• 1:09:42
  Speaker 3: was such a talented director and filmmaker, but wasn't doing
• 1:09:47
  Speaker 3: anywhere near the work he should be because he just
• 1:09:49
  Speaker 3: was a terrible salesman. So you've got to have that
• 1:09:54
  Speaker 3: skill as well, find good people to work with. Try
• 1:09:57
  Speaker 3: and network as much as you can with people.
• 1:10:01
  Speaker 2: We'll be right back after a word from our sponsor,
• 1:10:07
  Speaker 2: and now back to the show.
• 1:10:12
  Speaker 3: I'm not sure you know a Facebook group is not
• 1:10:14
  Speaker 3: the same as proper networking. Whilst it can be useful,
• 1:10:18
  Speaker 3: it's just there's so much noise on there. Everything it
• 1:10:23
  Speaker 3: has become so diluted. It's much much much harder to
• 1:10:27
  Speaker 3: find clear voices. Yep, listen to. But at the end
• 1:10:33
  Speaker 3: of the day, if you can make it in this
• 1:10:35
  Speaker 3: as a business then as a career, then fantastic, because
• 1:10:40
  Speaker 3: it is for me. It's the greatest thing in the
• 1:10:42
  Speaker 3: world to be able to be able to do what
• 1:10:44
  Speaker 3: I would do if you weren't paying me, and pay
• 1:10:47
  Speaker 3: me for stuff as well, that's great, but you've got
• 1:10:50
  Speaker 3: to understand that most of the time that you get paid,
• 1:10:55
  Speaker 3: you won't like what you're doing. You won't like the
• 1:10:58
  Speaker 3: work that you're producing. Yes and that, and let it
• 1:11:03
  Speaker 3: go and then do stuff for yourself to have that
• 1:11:07
  Speaker 3: creative fulfillment. Because when you're doing a corporate for some guy,
• 1:11:11
  Speaker 3: you're gonna you know, you're gonna look at it, oh God,
• 1:11:14
  Speaker 3: and they're going to tell and you're working for them.
• 1:11:16
  Speaker 3: You're not. You're not. They're not hiring you to make
• 1:11:20
  Speaker 3: a Philip Bloom film. They're hiring you to make a film.
• 1:11:24
  Speaker 3: They're they're the client. You make it for them, and yeah,
• 1:11:27
  Speaker 3: you've got to make it as good as you possibly can.
• 1:11:29
  Speaker 3: They probably come to you because they've seen something that
• 1:11:31
  Speaker 3: you've done right. But at the end of the day,
• 1:11:34
  Speaker 3: you are going to find that you are not going
• 1:11:38
  Speaker 3: to love what's been done with your what you may
• 1:11:40
  Speaker 3: necessarily or what's been done with your work again, and
• 1:11:42
  Speaker 3: you just have to accept that and move on now.
• 1:11:46
  Speaker 3: And you always still give everything to it, just because
• 1:11:49
  Speaker 3: it is not just so crappy thing. Still give everything
• 1:11:52
  Speaker 3: to it, because you can still be you can still
• 1:11:55
  Speaker 3: be created, you can still get so much out of
• 1:11:58
  Speaker 3: it yourself. And when you get home, you don't feel like,
• 1:12:01
  Speaker 3: oh my god, what a terrible day. I had to
• 1:12:04
  Speaker 3: film this worst call center ever. It was awful lighting
• 1:12:07
  Speaker 3: and blah blah blah blah blah blah blah blah blah.
• 1:12:10
  Speaker 3: That's fine. But if you've made an effort and made
• 1:12:12
  Speaker 3: it look good, then you can come home and go
• 1:12:14
  Speaker 3: and you put yourself in a drink and go, I
• 1:12:16
  Speaker 3: deserve this because I made that look good and you're happy.
• 1:12:20
  Speaker 3: You want to come home and feel bitter?
• 1:12:22
  Speaker 2: Ever, oh god, yes, And there are a lot of
• 1:12:24
  Speaker 2: bitter filmmakers out there with our question because they've fallen
• 1:12:26
  Speaker 2: into that trap. And when I spoke to I worked
• 1:12:29
  Speaker 2: with Robert Forrester, and he gave a great piece of advice,
• 1:12:33
  Speaker 2: which is like, no matter how small the job, give yourself,
• 1:12:37
  Speaker 2: give it one hundred and ten percent because you never
• 1:12:39
  Speaker 2: know who's watching. You never know who's on set or
• 1:12:43
  Speaker 2: who will see that work and maybe hire you for
• 1:12:45
  Speaker 2: another job somewhere else.
• 1:12:47
  Speaker 3: Even then, even that client, they may give you this
• 1:12:49
  Speaker 3: really terrible job. Yep, and then they see, oh my god,
• 1:12:52
  Speaker 3: this was really bad, and I can't believe how good
• 1:12:55
  Speaker 3: you made this. You're perfect for this job that we
• 1:12:59
  Speaker 3: have for six months in the schells right, oh right?
• 1:13:03
  Speaker 3: Great in that you never know, you never know, Yeah,
• 1:13:05
  Speaker 3: you never know what you're gonna get.
• 1:13:07
  Speaker 2: Now, what's the lesson that took you the longest to learn,
• 1:13:09
  Speaker 2: whether in the film business or in life.
• 1:13:15
  Speaker 3: Oh, don't kill yourself with work. Take set yourself time.
• 1:13:25
  Speaker 3: Where you stop now my edit suite is I have
• 1:13:29
  Speaker 3: a home edit Suite, which is financially convenient and obviously
• 1:13:34
  Speaker 3: nice and handy. There's no commute for me when I'm editing.
• 1:13:37
  Speaker 3: But that divide between work and life is really it's difficult.
• 1:13:44
  Speaker 3: And so when I am editing, apart from I mean
• 1:13:48
  Speaker 3: when I was cutting the MZ series, mind you, I
• 1:13:50
  Speaker 3: had to break this most times because I was working
• 1:13:52
  Speaker 3: stupid long hours editing. But for most jobs I kind
• 1:13:56
  Speaker 3: of set myself. You know, if it's a six stay
• 1:14:00
  Speaker 3: at seven pm, I'm like, okay, then we'll work after
• 1:14:02
  Speaker 3: seven and be disciplined about it. Discipline that your start time,
• 1:14:05
  Speaker 3: disiplinned about your finished time, and make sure you give
• 1:14:09
  Speaker 3: yourself time to see your your girlfriend, your wife, boyfriend,
• 1:14:14
  Speaker 3: your husband, your friends, your children, make sure you have
• 1:14:18
  Speaker 3: a life. I very rarely work weekends now unless the
• 1:14:23
  Speaker 3: shoot demands it or you know, I have to go somewhere,
• 1:14:26
  Speaker 3: so I will down tools that weekend. Yeah, you still
• 1:14:28
  Speaker 3: find me with a camera, You're still find me flying
• 1:14:31
  Speaker 3: a drone or taking photos somewhere. But that's me. That's
• 1:14:33
  Speaker 3: my own time. And if you can find yourself a
• 1:14:40
  Speaker 3: girlfriend who likes doing it with you, that is good.
• 1:14:46
  Speaker 3: And Sarah Loves Loves shooting and she loves all that
• 1:14:50
  Speaker 3: stuff as well, So that really does help. But I
• 1:14:52
  Speaker 3: think it's really important to get your work life balance right.
• 1:14:57
  Speaker 3: And it took me probably a twenty years or so
• 1:15:01
  Speaker 3: to start realizing how off it was. Yes, and now
• 1:15:06
  Speaker 3: I work way less than I used to, Right, I
• 1:15:09
  Speaker 3: probably work I probably worked half as much as I
• 1:15:12
  Speaker 3: used to two years ago. So yeah, I earn a
• 1:15:15
  Speaker 3: lot less, but I'm a lot happier, and that's really
• 1:15:19
  Speaker 3: that's it is priceless. It also makes my work better
• 1:15:24
  Speaker 3: because I'm happier.
• 1:15:25
  Speaker 2: Yes, very illescent.
• 1:15:28
  Speaker 3: Yeah, I think that's probably the best thing I've learned.
• 1:15:30
  Speaker 3: It took me a long time to learn it. I'm
• 1:15:32
  Speaker 3: very stubborn, but eventually figured it out.
• 1:15:36
  Speaker 2: I feel you one hundred percent. I try to I
• 1:15:38
  Speaker 2: do exactly all those things. I don't work weekends, and
• 1:15:41
  Speaker 2: I have a specific time I come in and a
• 1:15:43
  Speaker 2: specific time I come out every day. Because everyone always asks,
• 1:15:46
  Speaker 2: how do you create so much content?
• 1:15:47
  Speaker 3: How do you? You know?
• 1:15:48
  Speaker 2: Run this this, you know this big blog and do
• 1:15:51
  Speaker 2: all the stuff you do and have twins and have
• 1:15:54
  Speaker 2: a family and all this, Like you got to you
• 1:15:56
  Speaker 2: got to do exactly what you said, got to be
• 1:15:58
  Speaker 2: very strict with yourself, and I repressed.
• 1:16:00
  Speaker 3: I mean you've got kids. I mean I haven't got
• 1:16:02
  Speaker 3: kids yet, and I don't even know how I'll cope
• 1:16:05
  Speaker 3: with having kids as well, apart from my probably just
• 1:16:08
  Speaker 3: filmed them a lot.
• 1:16:09
  Speaker 2: Yes, they were probably the most documented children in history.
• 1:16:11
  Speaker 3: With our question, I think they probably will. Yeah.
• 1:16:14
  Speaker 2: And last question, what are three of your favorite films
• 1:16:17
  Speaker 2: of all time?
• 1:16:18
  Speaker 3: Oh? I think that's an impossible question just today today?
• 1:16:22
  Speaker 2: What do you feel like today?
• 1:16:24
  Speaker 3: Oh? I still want to go with Empare Strikes Back
• 1:16:30
  Speaker 3: is always in my top three.
• 1:16:32
  Speaker 2: Absolutely it was.
• 1:16:36
  Speaker 3: That was one of the first films I ever saw
• 1:16:38
  Speaker 3: as a kid where I still remember the emotional reaction
• 1:16:41
  Speaker 3: I had coming out of that, and it's still watch
• 1:16:44
  Speaker 3: it today and I still feel, Wow, this is incredible.
• 1:16:49
  Speaker 3: I'm also a huge Alfred Hitchcock fan, yes, and find
• 1:16:54
  Speaker 3: it difficult to pick a favorite, but again, I think
• 1:16:58
  Speaker 3: for the emotional impact and maybe I'm it's another film
• 1:17:00
  Speaker 3: with a downer ending that's Vertigo, but it's just such
• 1:17:05
  Speaker 3: an incredible film in every way. I think I'm just
• 1:17:10
  Speaker 3: thinking of all my favorites, all such downer endings. I
• 1:17:12
  Speaker 3: don't know why I actually like happy endings of films.
• 1:17:15
  Speaker 3: I like things that I want to I don't want
• 1:17:17
  Speaker 3: to feel like like I felt at the end of
• 1:17:19
  Speaker 3: seven Every time I see a film just like, I mean,
• 1:17:26
  Speaker 3: that's finisher for Gone Girl, I'm like, totally crap. You know,
• 1:17:32
  Speaker 3: the worst date film of all time.
• 1:17:34
  Speaker 2: Yes, it's actually the worst film.
• 1:17:38
  Speaker 3: It really is.
• 1:17:39
  Speaker 2: Attraction and your break up Attractions.
• 1:17:43
  Speaker 3: Break up Now, Yeah, that's not a good one as well.
• 1:17:46
  Speaker 3: And I guess, oh, I don't know. I think maybe
• 1:17:48
  Speaker 3: something more recent. I don't know. But of the films
• 1:17:55
  Speaker 3: I've seen recently, another one that had a really good
• 1:17:57
  Speaker 3: emotional impact on me was Then You Be on Those
• 1:18:00
  Speaker 3: Arrival last year.
• 1:18:01
  Speaker 2: Yeah, that was actually really interesting. That's such an interesting
• 1:18:04
  Speaker 2: film to watch.
• 1:18:05
  Speaker 3: It's not my favorite film, but was my favorite film
• 1:18:08
  Speaker 3: of the year. And you know, I saw Blade one
• 1:18:11
  Speaker 3: of twenty forty nine last week, and that's again incredible.
• 1:18:16
  Speaker 3: He's an amazing filmmaker. But I always tend to go
• 1:18:22
  Speaker 3: back to the same films I ended up watching again
• 1:18:24
  Speaker 3: and again and again, whether it's the original Planet of
• 1:18:26
  Speaker 3: the Apes, Sure, I love my sci fi very much,
• 1:18:30
  Speaker 3: and then Raiders Raiders Lost Dark of course, can't get
• 1:18:33
  Speaker 3: more perfect film than Raiders.
• 1:18:34
  Speaker 2: Raiders is It's perfect.
• 1:18:37
  Speaker 3: It is a perfect film.
• 1:18:39
  Speaker 2: And since you're a Hitchcock fan, have you seen the
• 1:18:41
  Speaker 2: new documentary seventy eight to fifty two?
• 1:18:44
  Speaker 3: No, I have not.
• 1:18:45
  Speaker 2: Have you heard of it?
• 1:18:47
  Speaker 3: No, I have not. I just found out.
• 1:18:49
  Speaker 2: I just found out about it the other day. It's
• 1:18:51
  Speaker 2: on iTunes. I watched it yesterday, and it is an
• 1:18:55
  Speaker 2: entire documentary about the shower scene in Psycho.
• 1:18:58
  Speaker 3: Wow.
• 1:18:59
  Speaker 2: And they go through every shot and they talk to
• 1:19:02
  Speaker 2: everything and the impact of Psycho. But they literally break
• 1:19:05
  Speaker 2: down everything about that shower scene, which is arguably the
• 1:19:09
  Speaker 2: you know, ninety seconds, the most important ninety seconds in
• 1:19:12
  Speaker 2: film history, honestly some of them. Yeah, I mean what
• 1:19:15
  Speaker 2: he was able to do in that shower sequence. But
• 1:19:18
  Speaker 2: someone put together arguably a really good documentary shot in
• 1:19:22
  Speaker 2: black and white. By the way, it's gorgeous. It's on iTunes.
• 1:19:25
  Speaker 2: You definitely should watch if any film gig definitely Hitchcock fan.
• 1:19:28
  Speaker 3: We'll love it. Yeah, anybody who has not seen Psycho,
• 1:19:33
  Speaker 3: what the hell are you doing?
• 1:19:34
  Speaker 2: Why are you listening to us? Wat psychoer?
• 1:19:36
  Speaker 3: You have to watch this film. That is, if you
• 1:19:38
  Speaker 3: if you take the sections which obviously date the film,
• 1:19:42
  Speaker 3: which is the beginning the anything that take anything outside
• 1:19:45
  Speaker 3: of just at the motel. Hm, it is it stands
• 1:19:49
  Speaker 3: up completely today. It could have been made. It's just
• 1:19:53
  Speaker 3: so incredible and I just some of the it's the
• 1:19:56
  Speaker 3: most innovative filmmaking you'll ever see. And you know we're talking.
• 1:20:01
  Speaker 2: We'll be right back after a word from our sponsor.
• 1:20:10
  Speaker 2: And now back to the show nineteen sixty it's we
• 1:20:16
  Speaker 2: could we could do a whole episode just on Psycho
• 1:20:18
  Speaker 2: with that question.
• 1:20:20
  Speaker 3: Yeah, I think I'll watch it tonight.
• 1:20:23
  Speaker 2: Now can Where can people find you and your work?
• 1:20:27
  Speaker 3: So my website is Philip Bloom dot net. So it's
• 1:20:35
  Speaker 3: p h I l I p b l M and
• 1:20:39
  Speaker 3: my blog is there and that is the same Philip
• 1:20:42
  Speaker 3: Bloom is what I have for all of my social media,
• 1:20:44
  Speaker 3: whether it's Instagram, Facebook, Twitter, it's.
• 1:20:48
  Speaker 2: Just my space, my space GeoCities.
• 1:20:51
  Speaker 3: Sorry, you know it probably is still there.
• 1:20:53
  Speaker 2: Yeah, minds is too roughly.
• 1:20:55
  Speaker 3: I didn't. I think I haven't really used it as
• 1:20:58
  Speaker 3: such the things I do have, but yeah, so it's
• 1:21:01
  Speaker 3: it's pretty simple to find me, and I'm quite active.
• 1:21:04
  Speaker 3: I'm pretty active on them. And it is a real
• 1:21:06
  Speaker 3: mixture of photography filmmaking and personal stuff. I put some
• 1:21:12
  Speaker 3: I do put personal stuff on social media, and that's
• 1:21:14
  Speaker 3: kind of another it's a whole podcast is about, you know,
• 1:21:18
  Speaker 3: your whole dividing line between this sort I think, and
• 1:21:21
  Speaker 3: I think it's important to be to be to be
• 1:21:25
  Speaker 3: you on social media, and that's why I always say
• 1:21:29
  Speaker 3: in my bio silly grumpy. So depending on how I'm feeling,
• 1:21:33
  Speaker 3: I will be like that and I put some personal
• 1:21:35
  Speaker 3: stuff up there, and I put some everything I try
• 1:21:39
  Speaker 3: to make as nice as possible. I have a nice mix,
• 1:21:41
  Speaker 3: and I just try and make it feel as as
• 1:21:45
  Speaker 3: as me as it is, you know, like the MZ course,
• 1:21:48
  Speaker 3: it's me. What you see is a very very different
• 1:21:52
  Speaker 3: to anything else you'll ever see training wise, because it's
• 1:21:54
  Speaker 3: it's very personal. And I kind of think that's this
• 1:21:59
  Speaker 3: just kind of sums me up ready and how i'd
• 1:22:00
  Speaker 3: like to share things.
• 1:22:01
  Speaker 2: Philip Man, thank you so much for taking the time out.
• 1:22:04
  Speaker 2: It's been an absolute joy speaking to you man.
• 1:22:06
  Speaker 3: Thank you so much, Thank you very much for having me.
• 1:22:08
  Speaker 3: Thank you.
• 1:22:09
  Speaker 2: I can't tell you what an absolute thrill and pleasure
• 1:22:12
  Speaker 2: was to talk to Philip and you know, after reading
• 1:22:14
  Speaker 2: his blog for so long and listening to him on YouTube,
• 1:22:19
  Speaker 2: and I mean, if you need to know about camera
• 1:22:21
  Speaker 2: gear and reviews about camera gear and things like that, man,
• 1:22:26
  Speaker 2: I definitely check his website out. I'm going to leave
• 1:22:28
  Speaker 2: all his links in the show notes at Bulletproof Screenwriting
• 1:22:31
  Speaker 2: dot tv, Forward slash four zero three. Thank you so
• 1:22:35
  Speaker 2: much for listening, guys, as always, keep on writing no
• 1:22:38
  Speaker 2: matter what. I'll talk to you soon.
• 1:22:40
  Speaker 1: Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproof
• 1:22:44
  Speaker 1: Screenwriting dot tv.