(slow piano music) - Yo, Darious Britt here. We're gonna do something
a little different. I shot a short film and
recorded the whole thing from start to finish. If you want a peek into
another filmmaker's process, then maybe you'll find this useful. A little backstory: I got
an email from the guys over at Aperture, they wanted
me to shoot a short film as a sample video for
their film competition. The rules: I shoot a short
film that takes place in one location, and
by one location I mean if you're shooting in a house, it must be one room in that house. Make a floor plan for your lighting scheme and make a BTS video. Okay, only one problem:
I have 11 days to do it. If I'm gonna pull this off, this story's gotta be something simple. I had like a half-cooked
idea about somebody making a peanut butter jelly
sandwich for somebody else. Gonna go with that for now. I was developing another
short film project with Kate and Gabby, and I figured, why not just cast them for now? Because I really don't have
time to go looking for actors. I need to be shooting like yesterday. Location, I don't have
time to look for location, so we're just gonna film at Kate's place. I'll make it work. ♪ Oh, la la la la la la la ♪ ♪ Oh, la la la la la la la ♪ - [Darious] So what we could do instead is pre-light and rehearse it and just be all on the same page. Could you sit right there? Maybe we'll move the couch. - [Kate] Yeah. - Howdy.
- [Darious] What's up, Gabs? You got the right place.
- Yay, I found it. (Darious sighs) - [Darious] Maybe if we just do this and we never see the whole room. Yeah, this looks way better. Yeah, I wasn't really
digging the side lighting, so I move the furniture around. And I want both of my
actors backlit by the sun. (funky music) I bounced an aperture LS1 LED panel off the ceiling for the first setup. I like the quality of the
light but not the direction. It just didn't look natural. See, here the light hits
our actors from above, but this isn't mimicking how
sunlight would behave naturally if it were actually coming
through that sliding glass door. Basically, it looks
lit; I don't want that. So I dropped the light
sources to the ground and wouldn't you know,
it looks so much better. Story: when I'm shooting micro films, I like to pull my actors into
the story development process. I do this for three
reasons; one, it's faster. You can brainstorm ideas together and like weed through the bad
ideas right there on the spot. Two, saves time on set. You don't have to explain as
much when you're shooting, the actors already know
what the deal is, right, 'cause they were there,
they're part of the process. Three, sometimes you get some dope ideas that you never would have
thought of by yourself. I guess story would be over at that point, like there's no more story. It's like here make it yourself
and then you just walk off. - [Kate] Maybe it's more of a, okay, show me how you want it. - [Darious] I'm thinking
it doesn't need to have a twist ending, but it would be nice to have some kind of button. We threw some ideas around. I'm gonna pick the ones
that make the most sense and then I'm gonna write the script later. (funky music) ♪ Woo ♪ ♪ Woo ♪ ♪ Woo ♪ ♪ Everybody get up ♪ ♪ Woo ♪ - Even if you don't have like
a slider or dolly on hand, you can still mimic the movement. This way, when you're planning out shots you can still give yourself like an idea of what the shot might look like. Whenever we get to the peanut
butter and jelly handoff, I get problems. No matter what angle I shoot it from, visually it just feels kind of awkward, and I'm not really sure what it is. I adjusted the block and covered it from several different
angles and I still wasn't really finding what I was looking for. I'm gonna have to just think about it this might seem really silly or trivial but it's actually little things
like this that trip you up. So we're done for the day and
we'll be back on Thursday. Today's Tuesday so we're leaving all the gear there and we'll be back. (funky music) So I knew one thing going into this. I want to start the short with music and I want to start out
with dynamic moving shots I want that energy. Then as the film progresses
we'll lose the slider shots I'm not going to use the
regular alphanumeric version of the shot list where
you'd have scene one shot A and then the additional takes. Instead I'm just gonna keep it
all numeric this time around in case I'm having my
actors slate something so it'll be shot one take
one or scene one shot one and then whatever take. So I'm actually just writing
the script in my email. It's such a short like
little short story deal I'm not using any software for this I'm not using Final Draft
I'm not using Celtx's, probably print off a couple of copies I'll go through with a highlighter and highlight all the
dialogue that they have and we're gonna keep it
easy-peasy mac and cheesy. The short is probably only gonna be about two or three minutes but I spent most of a day planning out the shots. In total I have about 39 shots planned. I've also included
reminders for wild sounds I need to record on set. I still haven't figured
out what I want to do about the sandwich handoff business yet, just gonna go with my best guess right now but I'll figure it out on set tomorrow (peaceful synth music) so I'm gonna give you
guys some gear highlights. I will leave links to all the stuff that I'm talking about in
the description section. We're just keeping it
minimal, Amazon Basics bag, I did a review on this bad
boy I think almost a year ago. I still dig it, I still use it. We're gonna be using the Canon 60D I shot my feature-length
film Unsound on it. Most of my YouTube videos
I shot with this bad boy. Probably gonna be using this
50 mil for 90% of the shoot I want to move fast, I want to move light, this guy's really sharp. A Canon 20 millimeter 2.8,
I will probably be breaking this bad boy out at
some point in the shoot when I need to get a little wider. Sigma 70-300, I mainly use this guy for the macro function to be honest with you. We've got the road video mic pro. I'm only using this for reference sound Sound, I'm using the H1 zooms and just throw this in your actors pocket and you're pretty much GTG. Full disclosure, Side
By Side sent me this, this power pack I think it's called. Ever since I cracked this
bad boy open, I kid you not, I have been using it religiously. If you can pack this
thing full to the brim, the elastic material, it's
like that's ridiculous Just look it. That's ridiculous, that is ridiculous. IRig this is a lav mic, this is compatible with cell phones, laptops,
most smart devices. The second mic we're using
tomorrow is the Boya, this guy runs about 20 bucks on Amazon. Same thing, only thing
I don't like about it is like this is a
ridiculous amount of cable. Now we've got the newer
16-inch carbon fiber slider. I have not used it on a short film yet so this is gonna be the
native run for short film. And then we got the three pod tripod highly reviewed, a few of
my friends have had it, I was looking for
another tripod for travel and for like light run and
gun shoots like this one. So far I've been happy with it. If you can get this guy for
80 bucks it is a banging deal. And that is the gear highlights. (funky music) I always get nervous before a shoot, you know, am I gonna get
all the shots I need, is this gonna work out, is this going to look like complete garbage. The usual jitters I've only got two days to
get everything I need to get including ADR because after
that I lose Kate for two weeks, she's taking like a
family trip to Ireland. If I don't get everything
in these couple of days I'm gonna miss the deadline. (dreamy upbeat music) A couple things: one I'm shooting with an in-camera picture profile, in this case I've got the camera set to faithful. Not doing any fancy color
grades, no orange, no teal. Honestly, you guys you don't have to do that with every film. I want what's coming out of the camera to be as close to the
final image as possible with minimal tweaking in post. And then two, we're shooting
everything out of order. Doing your thing here we'll
get a couple shots of that. I'm just giving you some blocking
notes now before I forget. (mellow piano music) So maybe you'll probably
be on your knees there Lighting! I did pre lights but we
still got some tweaking to do before we actually get started. (mellow piano music) One-twenty D outside to kind of mimic what the sun was doing earlier, spilling over Gabs' shoulders. So we got one side light, other side light, and then boom, key from the back or if you want to say one fill, this is more like a key here, yeah that's kind of like a key light, and then this is like a big hot rim light simulating the sun. We will to fight in the sun. Makes a huge difference, and
you can turn them all off and you got darkness,
darkness, everyone darkness That's three-point lighting for you. Without these lights it
would look a fright in here (mellow piano music) I think for you the ideal placement either between the cleave or like up here. Yeah, okay, okay, I'm
gonna say roll sound. For you that will mean to press record, and when you see that red
light on, its recording, and I'll ask, do you see the red. Tuck it away in your pocket If I'm working with a new actor and they're not as
familiar with this process I like to pull them aside
and give them a brief so they know kind of what to expect. Basically you're my
actor but you're kind of my sound guy too so we're
gonna be working together on the audio thing. And let me see what this sounds like. There we go. - [Kate] E-F-G-H-I-J-K-L-M-N-O-P - [Darious] Q-R-S-T-U-V-W-X-Y-Z First one we're gonna do is handing the initial sandwich to Gabby. Roll sound on your audio recorder. And when you set the sandwiches
down you'll set it here. Actually you can probably
scooch over a hair this way so to make it easier on Kate. When you slate this
for me you're gonna say shot one seven take one and then clap right in front of your face. Cameras rolling, and slate. - [Kate] Shot one, scene seven, take one. (clap) - Oh did you see solid
red on your recorder. Remember how I said I was
having a lot of trouble trying to figure out, like, the whole sandwich hand-off business I figured out a solution, she just doesn't hand the sandwich back. Sandwich stays on the
table, way easier to shoot, all I got to do is just, like,
tilt up to her face, simple. (knocking) - Can you toast this? - One quick note, head straight, right, right there 'cause
I'm tilting right up to you. - Okay, like, I was like this. - [Darious] Yeah. For those of you that don't
know I'm shooting a series which means that you shoot
multiple takes at a time. When I call action we're
gonna run through it multiple times before I call cut, it's gonna save a lot of time. - Can you toast this? - When you're taking the
headphones off I'm so tight on you that it's like your head dips out of frame - Ah, thank you, yeah. - Action Kate. - Can you toast this? - Love it, we're going to
do one more for safety. - [Darious] Action on the hands. - Too much jelly. - [Darious] Action on the hands. - Too much jelly. - [Darious] You're projecting
your voice a little bit, bring your voice back - Too much jelly. - [Darious] Sweet. What feels better, when you look at her or when you're looking at the sandwich? For you.
- I like looking at her. - [Darious] You like looking at her? - [Gabby] Yeah.
- [Darious] Okay. - [Gabby] But I don't have to. - [Darious] No, I'm trying to
figure whatever works for you. - [Gabby] Oh, okay. Too much jelly. - [Darious] That was good but I messed up on camera for that. (mellow piano music) They're doing construction
literally right outside the door. So we're getting nothing but trucks. I may have to ADR the
entire thing possibly, I don't know we'll see, hopefully not. Hashtag, what's a good hashtag, real life? Because what I was
thinking is you set it down and it's like you're
getting ready to leave and do your own thing, and
she's like, can you toast this? - [Kate] I mean, I could do
it as a, like, a fake exist, and then, can you toast this, come back. - [Darious] when I say
action you're turning and as she's turning
just catch her with the, can you toast this. - [Gabby] Can you toast this? Can you toast this? - [Kate] Scene one, shot six. (clap) Take one. - [Darious] I guess you don't
even need to kneel down, just look at her. All we really need here
is a simple reaction, doesn't have to be anything big. I realized I didn't need
all this extra blocking. Actually just look at her for a second. Yeah, literally just look at her. Gabby, don't even say anything. Just study Gabby, look at her shoulders, look at her laptop, look at her hair, adjust your hair. Boom, got it. (upbeat piano music) The reaction to this, we'll just find it, I'll just record and we'll see what happens. Actually, just talk to
her but monologue to her, tell her a story or something, and then you just listen to her. and I think we can find a reaction in that that's super honest - [Gabby] You just don't
know how to make a sandwich. - [Darious] same thing here all we need is like a little micro expression so I'm throwing a variety of things at Kate here, some of the things are related to the script some of them aren't. I'm just looking for options. (funky music) Do it again, I'm just
gonna rehearse it for me. Okay look at the sandwich. So I don't like all the panning action I got going on with this shot. I really kind of want to
simplify the camera movement here so I adjusted Gabby's blocking. She slides you the sandwich, I'm gonna get that in another shot,
you take the sandwich, take a peek at the sandwich
right there in your lap. Like, set it down, take a peek at it, I pan up to you, yeah,
so that's easier on me and that looks natural on you. Three, two, take one. (clap) (mellow electronic music) I don't know if you can, like,
turn the sandwich around with one finger or something,
I'm just trying to think of something different,
something just fun to look at Rotating it with one hand. - Or it's like, it's uneven. - [Darious] Yeah, dude,
that looks fun right there. And Gabs again, just tell her a story. - [Gabby] Once again you've
come to me and you have failed. - [Darious] Say something
to make her laugh. - [Gabby] I'm paying the
check, there we go, okay. - [Darious] Now Kate, just
eye Gabby, like size her up. Roll your eyes. We got it, it's in there. (mellow piano music) I want to open this film
with like a super tight shot on Gabby for a couple of reasons. One, we're introducing a
character for the first time in this case it's Gabby's
character I want to do that nice and tight and intimate. Two, I want to open the
film with music so showing the headphones in the shot, I want to make that parallel that she's
listening to music. In the original shot I
rack focused all the way until Gabby's completely in focus, but in the final version of the film I never achieved full focus. a particular company that the
logo on the headphones was was like a direct competitor of Aperture and I don't know how that got by me so I left it out. Crap, now it's too high. We're trying to prop her laptop up. Yeah, that might be enough there We're skimming right over
the top of the laptop or propping it up with, what is this, like a bread tray or something? So that way we get this shot right here where we're just skimming right
over the top of the laptop. Thing about this slider, you
got to make sure this, like, tightening knob down here
is all the way loose or else you're gonna get, like, bumps right in the middle of the track. One thing to be aware
of, other than that GTG. (funky music) The next few shots I'm going to use this Sigma 70-300 millimeter macro lens. I knew it was coming out So I can't get back far enough to achieve the minimum focusing distance on this lens so we're just gonna scooch the desk. I'm using the macro function on this lens to get super close to those little details like the writing and the typing. You can't get this close
without a macro lens. Got the notebook, now toughie's
gonna be the wide shot here. We'll break it up into pieces
and we'll get through it. (funky music) And we are on the fifty about, one, two, fourteen or fifteen feet
away from the actresses. Wide shots take time to set up. Giving myself about 20
minutes to tweak the lighting, set up the shot, and then after that I'm gonna rehearse with the actors. A good thing, once you knock
out the wide, the rest of the coverage usually doesn't take as long. The circled pillow there, can you put that between you two? Yeah. Lean forward, I'm just trying to see if I can see my light stand back there, and if I even care. You can't even see enough of
it to make out what it is. Dimmable lights that you
can control via remote? Game changer. Saves so much time. I'm working by myself so if I had to, like, manually go up to each light and make adjustments, it would take, like, three times as long. I have not used all the
lighting solutions out there but the good thing about
Aperture's lighting is you can, like, connect
multiple lights to one remote. We're gonna take this in pieces literally. Here's the deal, the actors
are seeing the script for the first time today. Usually when you shoot
a wide shot of a scene you run through the whole
scene from beginning to end in each take but I'm gonna do
something a little different, I'm breaking the wide shot
up into little pieces. You see all these little orange circles? Those are the chunks that I'm gonna shoot. Now this will take
longer but this allows me to focus on getting better performances because the actors only have to remember a few lines at a time. to pull this off you really need to plan when you're gonna cut out of
the wide shot ahead of time. An example, I know I'm gonna get Kate taking a bite of the
sandwich in a close-up. So in the last chunk of the wide shot. we start from right
after she takes a bite. She never actually bites
the bread in the shot she just holds it up to her mouth. I walk the actors through the entire scene first we made a few blocking adjustments, then we started shooting the wide shot. - Why don't you show me how you want it. - Making a PB&J. - [Darious] How about
doing something with your instrument when you, with that line, you know, like you sit down
and maybe you're just like why don't you like show
me, you know use your body. Action. - Why don't you show me how you want it. - [Darious] That looks way
better, reads way better. - Just, yeah, especially in a wide. - [Darious] What do we have here? We have a dump, no, that's
not a dump truck, is it? I don't even know, is that a backhoe? We got a backhoe! Not moving now so I guess we
can sneak a shot in there. We'll just cut. Holding for backhoe. - God, Kate, like. - [Darious] There we go. - Take cover! - [Darious] He's frigging
laughing at us right now. - We're making a movie right there. - [Darious] He's, he's,
telling the other guy to come over here and watch. - You have, like, GoPros
strapped all over you. Like, what the hell? - [Darious] Builders, wait, stand by. Oh yeah, I forgot to kill
the fridge 'cause, you know, kind of doing 20 jobs. This has no wheels on it. Uh, there we go, yay. Next we're moving for the close-ups, hard part's are done things
tend to move a lot quicker when you're shooting coverage. (upbeat music) The wide took longer than I planned and then I still got
a bunch of shots left. I'm gonna need another day of shooting. Shutting it down for today
we're gonna pick it up on Saturday, same thing
gonna leave all the lights and everything here, lock it up. (dramatic piano music) Of the six hours that we were there today we were actually only
shooting for about four hours. The other two hours was like
setup time between shots, rehearsing with actors,
miking actors et cetera. So tonight I will probably start editing and then well, you know,
we'll see what we got. (sad piano music) Disclaimer, there's gonna
be a lot of handling noise with the GoPro audio today,
I had some technical issues. So I cut about 10 shots off the shot list, based on the edit I'm
finding that the film kind of wants to be something else and I like this new direction. Originally I planned to get two over the shoulder shots
of the entire last scene on the couch, and more close-ups of the sandwich business, didn't need it. The wide shots are actually
compelling enough to carry most of the last half of the film. So I think we can work around it We've only got eleven shots, the other day we did like 25 or 26. We don't have the sunny day we did before so the name of the game is
just avoid showing the windows. It's a good thing most of
our shots are tight today. Eleven shots, if we average
about 10 minutes a shot we'll be done in, 10 minutes a shot, 11 shots, yeah 110, 111. I'm so mad, it's too early. (laughs) (dramatic music) Cutting, hop right back down, I'm gonna take a picture,
couple of pictures. We're gonna need some thumbnails. I cannot tell you how many
times I've forgotten to take pictures on set for thumbnails. It's crucial. You need high-res photos
for YouTube thumbnails, you need high-res photos for any festival promotional
materials, just in general, it's good to have high-res photos. If you don't have a set photographer, you're gonna need to sneak in some steel somewhere when you can. - Eight, one. (clap) - [Darious] Stand by. - I feel like I should be on my knees. - [Darious] On your knees? - Yeah, do you want my
eyes here, like that? - [Darious] Yeah while you're closing it, I'm trying to think of what you could say. - Just like God's plan. - [Darious] Yeah
something like that, yeah, as you're going, all right,
easy, oh, God's Plan. Okay, touch them when you're ready. Sometimes you find the best
ideas while you're shooting. You can't be afraid to
deviate from your script. A little context, the day
before we were rocking out to a Drake song, God's
Plan, and like any good song it got stuck in everybody's heads and we figured it might be fun to work that into the short somewhere as like our little inside joke. Trail off, where you're like God's plan, God's plan, God's plan - God's plan, God's plan,
God's plan, God's plan. God's plan. (laughs) We just did wild audio while
she puts the sandwich together and I will add it late as funny. Shot's a little too tight so we're gonna swap lenses and do a 20. (funky music) Little tape for the lens flare. Go ahead. - Nine. (clap) - [Darious] Action when you're ready. - [Gabby] Country, Swiss cut. - [Darious] Keep going. We'll probably need another sandwich. - One's toasted and one's not. Should I go ahead and toast this guy? - [Gabby] I don't know if
you're going to like this. - [Darious] Is that God's plan? Like a bowl, crap. We have another loaf of bread, but we've got wheat all over it and that doesn't match the original bread. We're gonna try scraping the wheat off. So healthy! (funky music) This is filmmaking right now. So we got to make another sandwich. - [Gabby] I'm sorry guys. - It's all good. That's the Illuminati
cut, that's what that is. I can probably cut away to
you, yeah, your reactions. We'll do one more since we have the time but I have a fail-safe in my brain now so we can cut around, we can
cut around the Illuminati cut. It's ready? - It's ready. - [Darious] It's ready. - [Kate] It's not peanut
butter and Jelly though. - [Gabby] I'm so sorry. - [Darious] This bread
is noticeably lighter. - [Kate] What are you trying
to say about this bread? - [Darious] As we're
talking about the cut, we cut to this bread which
is, like, two shades darker. Worst-case scenario, if we mess
it up we can cut out of it. We'll be Aaight. Alright, let's do it. Cut number three didn't work out, so we got we got the
Kanye West cut happening. One side's bigger than the other side so, we're gonna make some magic
happen in the editing room We'll knock the close-ups
of setting the peanut butter and jelly down first since that's easy. and then the cutting board,
we'll cut, we'll knock those out then we'll do the close-up of your hands applying peanut butter on the
bread, Kate, and then, uh. - Should I toast some more bread? - Crap, yeah. The Yeezy cut, I should have
called it the Yeezy cut. (funky music} Sound is rolling, speeding,
so we'll just say shot three, three, snap, action. Action. Action. One more for safety, action. Hashtag Booya. Cutting and cutting. Rolling. (funky music) Insert shots are done. Closeup, this done, this
done, additional boom boom. This tripod is dope, this slider here, it's about 50 bucks, this
is not their longest, I think this probably their
shortest, but for film stuff it's a pretty good, pretty good length. Now this is a Joby head
off a little gorillapod, little mini tripod legs that I have . In order to articulate my camera here I need some kind of head for that, otherwise you're just sticking
a camera on the slider and there's no way to, there's no way to move the camera around, yeah. I just mostly leave the
slider on the camera and if I ever decide to do a sliding shot it's already there, and it's so small that it doesn't really get
in the way of anything. Cameras rolling. Six. (clap) And action. (funky music) I'm gonna get wild sounds of you getting up off the couch. I'm just getting all
those all those sounds. Oh it's so quiet now. Wild sounds, Gabby shifting
to and fro on the couch. I'll just kind of guide you through it. Wild sound, Gabby cutting bread. That's the cut we needed right there. Wow look at that, that's beautiful. - Redemption. - Take two, Gabby cutting bread, action. We're all done with this
setup, now we're going to light back there, set up for that shot, and we'll be done. (funky music) I can see you in the back, Kate. I can rack focus between Gabby and you, it's gonna be super sick. So we're on the 50 millimeter lens, obviously the back kitchen
is, it's a distance. This gives you an idea
of how far away I was to get to shot you guys saw. Scooch this way, a little more. I'm gonna get three shots of you just kind of moving back
here going in the fridge, you're just kind of doing your thing. So we got the 120D bouncing off the wall, giving us a nice wide wash of light across the front of the kitchen here. The last few slider shots
I wasn't happy with. I think the camera plate wasn't
tightened all the way down so I got, like, a lot of slop in the shot, but I'm losing Gabby in three minutes, so I didn't really have
time to tighten it. I only need like a small
piece of it anyway. also I completely forgot to
turn the hallway light off here I'm getting mixed color temperatures the shot would have looked a lot better had I turned that sucker off. It's just in time, Gabs had to leave, but we got all the shots,
how long were we shooting, how long, like two hours? Must have been close to two hours. - [Kate] We started closer to eight - Closer to eight. - [Kate] We got here at seven though. - About two hours, it's
about 45 minutes set up, two hours of shooting, ten shots, it's about what I calculated,
10 minutes per shot equates to 110 minutes
which is almost two hours, but we got it, may leave
my gear here one more night so I can finish editing and then I'm gonna look everything
over and make sure we don't need any pickup shots so if we do have to get something I don't have to lug all of
this stuff back out here. It's locked, it's safe and secure. These are all the
puppies we used as props. Man, this guy here didn't make it. We went through, what, three sandwiches? Two, Two-ish, three-ish, oh
there's a bunch over here too? So we probably went through,
today, six sandwiches which is like twelve pieces of bread. This was a full loaf of
bread when we started. (funky music) This just in, and I'm also
releasing Unsound today. I's 11:23, probably gonna
drop it at like 1:00, by the time you see this Unsound will have already been released. Hey, Kate killed it
today handling business, she's starting a YouTube channel, y'all, so you got to look out for that. - [Kate] Stay tuned. This video is more
about this shooting part but I'll give you some highlights. I had to get some ADR from Gabby, small stuff, all lines said off camera. So we'll add the line one to one ratio, jelly to peanut butter. - One to one ration,
jelly to peanut butter. - [Darious] Hold your breath
when you when you do it, and we'll just see if that
does anything different. - Okay. - [Darious] We got them, that's it. I want back to location and got some room tone and ambience. ♪ Fly away fly away fly away with me ♪ ♪ it's time to fly away fly away ♪ - Good to see you. - Good luck on your trip. - Thank you, yeah. - When I'm doing these run and gun shoots where it's just me, I need portable gear. Everything I've got
either fits in my trunk or fits in my backseat. I have a 120D here, I've
got another 120D down here, and I've got two of the light
storm panels inside here. All four of these lights fit in my trunk. That's pretty amazing. Leave a light footprint,
move light, move fast. I did some foley of biting bread. Oh, hopefully you'll be nice and quiet. Gonna be nice and quiet, huh, so I can record this foley, huh. Speeding. Getting, like, five or six
takes, one of them will line up. I think we got it, done. That's actually me. Here are some shots that
didn't make it in the final cut I cut Kate's reaction shots
in the first two scenes, didn't really need them. I cut a sandwich sliding
shot, it slowed down the pace. I cut insert shots of the ingredients and cutting board before the last scene, they just felt unnecessary. I shaved a few lines here and there, either for performance or pacing. Mistakes, I shot most of
this at a 3.2 aperture so the depth of field, kind of small. You combine that with a small monitor and no focus assist
features yeah, you're gonna, you're gonna miss the mark a few times. Not the end of the world. I had to sharpen a few
shots in post by like 15%. I couldn't, I couldn't save all of them. I underestimated how much time it would take to work with the actors and although I'm happy
with the performances I got I ended up having to kind
of like rush things along a little bit to stay on
schedule, and the end result, you make mistakes. I will leave a link
below to a gear profile, you'll find all the gear
that I used in this short and all the gear that I mentioned there. I hope you guys found this useful, and if you did, you know,
maybe I'll do another one. Let me know in the comments. I do believe that's
all that I got for you. D. Britt out.
