Channel: Fame Focus

Category: Film & Animation

Tags: long takeiphone filmmakingchildren of menfimmakinglearn filmmakingfilmmaking tipsvfxhow to make moviesfilmmakinghow to master filmmaking without film schoolmobile filmmakinghow to make a short filmhow to make a filmmarvellous mrs. maiselhow to learn filmmakinghow to master filmmakingone shotfilmmaking tutorialone shottercontinuous takevfx breakdownhow to filmmakingfilmmaking 101filmmaking for beginners

Description: The first 1,000 people to use this link will get a 1 month free trial of Skillshare: skl.sh/famefocus02221 Like the music in this video? I made it! Support me by getting it on any of these sites :P Get it on iTunes: ► apple.co/2ENGfu9 ◄ Listen on Spotify: ► spoti.fi/3boTfCl ◄ Buy it on Amazon: ► amzn.to/2QVJZfk ◄ "One-Shotters" are scenes or sequences, or sometimes even entire movies that have been filmed as one continuous shot, or edited to appear as though they were. In previous videos, we've talked about how VFX helped to achieve this one-shot feel in the film 1917 and some of the dangers they underwent in order to achieve it in the 2020 film Extraction, but we've never dived deeper than that. In this video, we're going to take an in-depth look at the tremendous amount of planning involved in making a "One-Shotter", the problems that occur and have to be overcome, and the techniques they use to overcome them. In the case of the 2020 film Extraction, the room he runs into is actually here is actually in a completely different building 10 blocks away. Or as is the case of the 2015 film Spectre, the Parade that James Bond walks through is in Mexico but the hotel room he ends up in is actually a set in London, England. In order to achieve this effect seamlessly, ironically, they actually have to put in "A Seam". Stitching is a technique used where the filmmakers basically find, or create a common area or image in both shots and use this as a "Seam" or "Stitching Point" for both shots. For example, in Extraction the stitching point was the frame of the door he uses to enter the room, in Spectre it's the doorway into the hotel, and in the 2017 film Atomic Blonde, they actually built a fake elevator they could use as a stitching point in order to get the protagonist up to the top of the stairs quickly. Following a timeline. In general, when shooting one long continuous take, it has to be shot in chronological order, for example, in a fight scene the characters will start the scene relatively unharmed, as the scene progresses they incur more and more damage, this means that the actors make-up has to be changed and their clothing has to be ripped or damaged or stained with blood. Changes to the set and props. Just as changes have to be made to the characters as they progress through the timeline of a scene, the set must also have changes made all while the camera is rolling. In episode 3 of the 2018 series Kidding, the director wanted to do a one-shot timelapse scene to show the transformation of the protagonist. Making space for the camera. Whereas in the "Kidding" scene, the set, the props, and indeed the entire scene had to be planned around the areas where the camera wasn't going to be, In One-Shotters you also have to plan for where the camera is going to be. Something we tend to forget when we see a film or video is that there is actually someone behind the shot, holding a camera and filming it, this camera operator needs to know exactly where they have to go and have the space required to get there. In Atomic Blonde, for the continuous 10-minute long fight scene, the camera was operated by the Captain America stunt double Sam Hargrave, when the film's protagonist was thrown down the stairs, they planned for Sam to actually fall down the stairs too whilst holding the camera in order to capture the shot they wanted. Using Stunt Doubles. In films like Atomic Blonde and Extraction, most of the physical fighting scenes are done by the actors themselves, however, some stunts are too complicated or dangerous for the actors to execute and so Stunt doubles are used. Camera handoffs. When shooting long continuous takes, the camera needs to be able to follow the action closely, this generates multiple problems that the filmmakers need to be aware of and overcome. Firstly there's the issue that the camera and camera operator, or the dolly or crane it's mounted on, may not fit into the place they need to put it in order to get the shot they want. In Episode 1 of Season 2 of The Marvellous Mrs. Maisel, the camera goes through a department store, into a mail slot, and then into the small switchboard room where she works. Lighting. Yes, I know, lighting has to be planned out for every movie n matter how it's being filmed, but in a One-Shotter it is a much bigger task, firstly, you don't just have to plan and set up the lighting for the one set, or one the camera angle in the shot you're about to film, because, in a One-Shotter, there are no cuts between the shots in a scene or indeed cuts between the scenes within a sequence, you have to set the lighting up for every set and every camera angle that is going to happen within the entire sequence. This video was sponsored by Skillshare.