Shooting Documentary Workflow | Hey.film podcast ep46

hey indie filmmakers I'm Griffin Hammond I'm Nick bodemer and on this week's episode we go step by step through the documentary filmmaking process plus your questions about interviewing subjects focal lengths for crop sensors and how to trick your Atomos recorder today we have a bunch of questions about a similar topic so I thought we could devote an episode to this a whole episode to documentary filmmaking do we know anyone that's a documentary filmmaker Griffin that is how I make my money that is my full-time job so yeah a lot of the questions we have today are just about some of the projects I've done and kind of the workflow how you shoot documentary beginning to end yeah well I don't know if we can cover all of it in one episode but it's gonna be like an eight-hour episode it's gonna be really good really deep well this was funny I do have a seven hour class on the topic so I suppose if you really did want to go from beginning to end it takes about seven hours there you go so we're not gonna get quite that deep today but we've got a lot of good questions should we jump in yeah let's to it so the first question we have is an email that I got from Bob and he says he's really interested in the process for documentaries what's the workflow like from concept to delivery okay so he does want the full seven out so secret and Hammonds class on creativeLIVE dot-com Bob know let's go high level let's talk through the steps so like I'm in the middle of several shoots right now I actually have three different clients at the moment where I'm shooting documentary stuff for all of them and I guess the common thread is I need people like that's the big thing I need interview audio it's really the reason I shoot interviews it's mostly so I have audio that I can build a story out of okay so that's always what I'm like planning first so for example I have a project right now that it'll require several point of views and so I know there's probably gonna be four interviews that I need to shoot so I actually just shot one in New York this week and sat down with this person for took about 25 minutes to get all my questions answered even though this is only gonna be a two minute or three minute documentary piece I know that I have to ask a lot of questions so that I understand their story well enough that I can cut it way down and it'll be appropriate but I shot that interview and I shot it with two different camera angles thinking maybe I all need coverage sure - to cut it up but then I know I don't want to linger on these interview shots very long so I also tried to shoot as much b-roll as I could during the process so I I got some insert shots during the interview things I could cut - like hands he talked about a tattoo he had he talked about a space that he was in and he showed me like what the space how big it was but then I also just got this guy walking around the city so I could get shots of him in his environment so you said something interesting there you said you wanted multiple point of views which is a little different than just you know trying to get somebody's story can you talk a little bit about that are you trying to to get different angles on the same idea so you can craft a narrative I mean anything I shoot even if it is a one person documentary I'm always looking for variety whether it's visual variety I mean sometimes I will interview someone multiple times in different locations just so it feels like I was spent a lot of time with them I mean sometimes I do is in one afternoon but I wanted to feel like we're telling the whole story so if you have the opportunity to talk to multiple people I want to get different voices and different faces and I can even just switch up the direction of the interviews I'm shooting one where they looking to the left one where they looking to the right I think it's just a simple way to make the Edit easier it's gonna be more compelling to watch a variety of voices I think okay very good and from like a journalistic perspective it feels more responsible if you're telling a story especially if it's a story that affects a lot of people hope you want to have a lot of people you know if we told the sriracha documentary and it was only David Tran telling his story that could be interesting but if we're not hearing what other people think about him what people think about his product it adds more validity and yes to it the story right yeah I agree well I imagine we could keep talking forever about Bob's question but I think some of the other questions that we got well we'll continue to answer Bob's question okay do you want to read this question from Daniel from Austria I saw on Panasonic's YouTube channel that you shot some photographer portraits can you talk about Ben grit oh boy there no Grunow shoot he says he's interested in everything but especially how much time did you have to shoot an edit how did you get such good quotes from him did you script it and how did you ask your questions any secrets so Ben grew nose video that's the one where I went to Switzerland it was one of four videos I shot for Panasonic about photographers who used the Lumix G H 5 that one was a lot of fun just because the environment was amazing and I learned a lot from him he's an interesting landscape photographer so let's say time to shoot I actually probably had more time than I needed with Ben and that's actually what I'm finding out a lot of my projects recently is that I'll budget two days with someone and then realize oh I might be able to do this whole thing in three hours but I think with Ben we were in Switzerland together for three days and I think ultimately the best stuff I got probably happened in two different afternoons so it gave me a chance to kind of try some stuff over and over until I felt like oh this is the part this is the part of the mountain where the stuff I was shooting I already shot the stuff before but it looks really great now I think this light and you know maybe it takes time to get your subject used to you so I mean Ben and I were literally hiking together the mountains for days and so we we got to know each other well and that was a that was good for the project interesting you know you have that video where you show how you were kind of in the frame during that interview and you might cut yourself out but I think getting yourself close to him getting him talking to you and not talking to the camera probably helped open him up to don't you think oh yeah I mean I I want to control his eye line which is part of the reason I'm in the shot because I want him to almost be looking at the camera I don't want him looking way off camera but yeah I could have done that and stood way behind the camera part of that would have been so I couldn't hold the microphone in the right place but also if I was way behind the camera he just wouldn't feel very connected to me exactly you were right there he was basically just having a conversation with you which i think is why I feel so natural although in some environments this was actually when I interviewed him on the top of this mountain it was actually a perfect place to interview him because for some reason we weren't getting much wind up there and it was just perfectly quiet like there's no there's no City around us there's no noise anywhere so that was a situation a rare situation during an interview where I wasn't too concerned about the signal-to-noise ratio that I knew that he would sound pretty good on the microphone but I could see situations where if I had been able to place the microphone close to him lock it down on a chair or something and walk away there have been interviews where I do want to get myself a little bit farther away from the subject because most subjects who aren't comfortable yet being interviewed they have a tendency to be pretty quiet also by backing up they're gonna naturally increase their volume to talk to you and yeah yeah because if they know I'm across the room they have to speak up to talk to me so sometimes I tell people like imagine I'm farther away like I need you to speak like like you're trying to reach me because I think sometimes people are just see I think it's caring how you frame that as how they are communicating with you not oh my microphone needs you to be louder because it's a lot out here and that's gonna get in their head and it's all kinds of stuff they're not used to but if you just tell them hey imagine I'm far away and you need to be loud so I can hear you that's something that they can connect with right away yeah yeah and if people are curious about that I usually just tell them that we all sound more interesting we sound more confident we something more fun like especially I think anytime I'm trying to like do tutorial video and appear happy you just seem happier when you're louder you're saying I need to talk louder too so I mean it it's it's probably it's always easier to get someone to speak up more than to like get the microphone closer but even as close as you can get a microphone and if they're whispering it's still gonna sound like they're not very engaged so did you script any of his answers or were those all totally off-the-cuff I like to keep it completely real I mean I guess in the editing I'll kind of construct things if I feel like I'm I'm being true to what they meant to say you know they they said something great but it took two minutes to say it I'll cut it down to 20 seconds and try to maintain the truth of what they meant but usually in the moment I don't feel like I need to tell them what to say sometimes those rephrase questions if they're not quite answering fully but I I don't ever like to say here's what you need to say to me because I know that just won't sound realistic and I I guess I kind of approach it from a journalistic point of view even when I'm making a corporate video I still find that the truthful answers are the better ones rather than feeding them lines so his final question was about how I asked questions I mean the the simple thing that people always tell you is to not ask yes or no questions which I still do sometimes and better interview subjects will know that even if you're asking them a yes/no question they should speak on that for a little bit I think my general strategy in an interview is just knowing that a lot of times at the beginning of an interview the question the answer is I'm gonna get won't be very comfortable yet they may not be good at answering at the beginning yep so I usually ask some throwaway questions just to get my talking and get them comfortable yeah like you know if I'm interviewing someone about being at a political rally I'll just say like you know where are you from how long did it take you to get here was it interesting going through Secret Service and it's like those kind of questions may or may or may not use them but what I really want to know is what do you think about this candidate but I know if I start with like tell me about your political opinions that's just arriving place to start yeah so I just try to get them talking get them used to me and I'm not afraid to come back to a question at the end of the interview yeah I might become a better interviewer over the course of an interview they may become a better subject and it's okay to revisit some questions do you reward them or are you comfortable just asking the same exact question again and just seeing what you get I usually do reword it a little bit and you know you have to be willing to ask follow-up questions so when you ask your perfectly crafted question and they answer it terribly then you need to try a different way approach it from a different angle and see if it sparks use any of these tricks on me here at the podcast are you like warming me up before you ask me the tough questions no I do I think you're the better interviewer on this podcast I think sometimes I get lost in my thoughts and you're the one that that knows what follow-up question to ask speaking of follow-up we've got an email from mark do you want to read it to his goodness sure so mark wants to know how to handle releases and payments for people that he interviews and features in documentary how do I approach this he points out that his budgets can be very small for indie documentaries and wondering if you should compensate people that participate in your film like as interview subjects he's asking like yeah I guess I an interesting guy never considered that I never even thought about paying someone who appeared in an interview right and I've never paid anyone - to be in a documentary I have paid people that have collaborated with me on the document page for music I've paid for you know renting a space but I've never paid a subject of a documentary it almost feels journalistically inappropriate as if you are compromising their answers if they could somehow receive compensation down the line does that make any sense yeah I mean I guess I suppose it's not inherently wrong to pay a subject especially if you are taking up a lot of their time but I suppose you do want to try to do it in a way that's avoiding a conflict of interest you want to make sure that there's not a perception that you are getting the answers you want because you paid them and I suppose if you're telling like a political film that's where you really could get into trouble if if you're wading into controversial topics you don't want to seem like you force someone to say something controversial by paying them I guess you know I could see paying someone if kind of like in a courtroom or at an expert witness would come in and they might get paid for their time to just talk about something that they are considered an expert on perhaps yeah that's a situation where someone would expect to be compensated to appear but I think if you're looking for opinion I don't I don't think there's any expectation that people should be compensated in a documentary I mean it depends on if you really are asking a lot of them but I think that's always kind of the question you're faced with when you're making documentary is you do have to ask of people's time and effort and I'm always trying to 1 limit I don't want to impose too much so I tell them look I'll come in and set up for half an hour the interview will only take 20 minutes we'll shoot maybe 20 minutes or 30 minutes of b-roll afterward but they don't get out of your hair and in every case when I'm making a documentary piece usually that subject is an ally of mine because they want their story told or it's about a subject that they're passionate about so hopefully you're finding some common ground where this person believes in your project and they want to participate and yeah if it's if it's a tough sell maybe that's where money does have to exchange hands do you ever have experience interviewing someone who is not considered an ally who might be somewhat confrontational and during the interview I mean I've interviewed when I when I worked for Bloomberg News and interviewed politicians we're certainly very confrontational luckily the politicians themselves generally feel like they need to go on camera mm-hmm and defend themselves or at least you have those opportunities to shout questions at them or catch them at a press conference and I suppose there probably were times when I interviewed people that and I think almost everyone we interviewed during the campaign wanted to go on camera to tell their story and they know it might be difficult to talk to a journalist but they also feel confident enough they can get there their point of view across have you encountered that at all in any of your non-political work where you know someone has a kind of an adversarial viewpoint to what you might be trying to show not so much I mean I'm it's funny because I admire those kind of documentaries from I mean I especially love watching political documentaries but I could never be like a Michael Moore type don't think I can make that kind of film where I'm constantly confronting people over things that's just not my personality style so I realized yeah most of the things I've made of these very like happy films where everyone is excited to be in them that's just your style right yeah yeah that's what I tend to make how about releases we didn't touch on that yes it is good to get releases I have a standard release that I have people sign when they're in in a film sometimes I have clients who give me their own releases their company might have a release that they want to make sure people sign and I'm always struck by these things the releases are always so broad which scares me a little bit the release will be like we have the right to use your face on any advertising forever all over the planet for the right but not Mars luckily most people are not you know they've seen releases like that before and they're not too worried about it but and also I usually am able to explain how it will actually be used yeah that's just it's good to have some sort of paper trail but I always tell people even if you don't have a release just having an email that someone said yeah I'll be in your film like that's still proof maybe it's not as airtight as a legal document but it's evidence that they said yes and they knew what they were getting into also I kind of think like even if you just ran up to on the street if you have a camera out and someone is standing in front of your camera talking to you for several minutes there's an unfeeling very hard scent there yeah I feel like it'd be hard to make the make the argument oh I didn't know I was being filmed I didn't want to be in something well I think if you want anymore documentary lessons you're gonna have to go to the class master and not master class creativeLIVE right yeah well we're just listen to this podcast every week over and over just the whole back catalogue on the loop yeah well we have even more questions coming up so in just a moment we're gonna answer questions about focal lengths for crop sensors and a trick that I learned with my Atomos recorder handy filmmakers is brought to you by tunngle the creative network where anyone anywhere has the opportunity to make content for brands and get paid so we're getting really close to the end of the year there are still 11 days left to submit to this thing called the YouTube pilot portal on toggle tunngle has a bunch of projects but one of the ones that they are doing to benefit their own YouTube channel is they are looking for you to pitch your ideas for content that would appeal to filmmakers like a TV show for filmmakers so you can pitch that idea on Tongo right now and if they like that idea they can pay you to make a series that'll air on the tunngle youtube channel get all the details by visiting tangled comm slash projects that's t o n g al comm slash projects thank you toggle alright so we have a few more questions today one of them is a youtube comment from key c3l he writes man i love listening to these podcasts while I'm editing I was wondering have you ever said no to a client because you were not interested in a particular project if so how do you go about turning down these projects so one I want to know how do you listen to a podcast while you're editing you know a lot of people say that but I think that's a very common use case for this podcast is people listen to it while editing I agree I can't do that the way that my brain works when I'm editing I have to be totally maybe if you're doing some like really large at its where it's just like a lot of camera like if I could see editing like a wedding ceremony where I'm just cutting cameras and things like that where I don't really care about the audio for the moment I guess I could see doing that but I think that's kind of cool yeah and and a lot of editing is just playing it and making sure there's no mistakes visually yeah so you may just be going through a really long video I know our friend Adam he likes to watch movies while he edits and I never understood that I wish but I yes I used to edit on the train so I would have a lot of distractions but I have headphones in and I try and ignore people but yeah I can I can barely I can barely read and listen to music at the same time like I need to focus on I want to do that yeah I don't want to use it while I'm reading for sure maybe some nice classical in the background I don't know anyway if you ever said no to a client I'm gonna guess the answer is yes I have been saying no to clients a lot lately since I'm basically not doing weddings anymore but people still ask me yeah so how do you turn down your projects well I thank people for their interest because it is you know I remember how hard it was to get clients and now I feel it's like oh well now I just saying no because I don't and that don't have the time for it anymore but I I thank them for their interest I let them know that I'm not taking on new clients at this time and then I like to point them to someone else and get a referral in there for somebody who who I think has done good work and has helped me in the past so that's that's kind of the way I take it I say hey you know it's it's not it's not you it's me and and here's somewhere else you can go to for your project yeah I when I turn people down I usually try to send them to someone else that I know locally cuz that always seems to be the follow-up question when I say no is like oh well do you know anyone yeah so I tried to at least be nice and do that but I you know every project you can turn down because of your calendar I mean I'm always turning down things because they just don't fit into my schedule and then I can also just use that as an excuse to turn down projects that I really am NOT interested in there may be projects that are a perfect use of my talent and I just think like that's not something I want to do and you can always say I'm not available makes it I mean I don't need to go into the to the details of why I don't want to work on a project but usually talk about your failures as a client and why I don't read it but also I turned on projects that I think are are not appropriate for my cost like sometimes people will ask me if I can like film a recital and they don't need any editing they just want a two-hour uncut single camera shot and I just think like you don't want to pay me $200 an hour to just put a camera on a tripod and click record like there are other people that can do that and that's also just feel like I would kind of feel wasted like I would feel weird showing up to that hitting record and then walking away and being like that's not what I do though I'm not really a you need a business camera my friend that's free money it's also like not something I need you know I guess I want these I want the pay that goes along with the editing time and I want something that I can show off and be proud of so yeah there are some projects I just know aren't the right fit for me next week on handy filmmakers will be reviewing Griffin's recital video Griffin I like how you didn't move the camera at all or make any cuts I thought it was a bold choice and that's not to say that I haven't done those kinds of videos I mean you you should take those kinds of videos when you're when you need them but at a certain point if you don't need that kind of work anymore then you don't have to take it all right we have an email from Matthew I've been listening to the podcast since the beginning my wife and I just uploaded our first short doc what would you guys have some suggestions on how to get people excited about our short a good documentary question today that's always a hard question for any film is how do you get people interested in it but at least I feel like I feel like documentary at least has the benefit of it's a true story and there's already people involved in the story like the people that you are interviewing are probably excited that this thing exists mm-hmm going back to like how you convince them to be part of it in the first place without necessarily paying them these all the people in your film are the people that want their friends to see this I mean I even noticed this with sriracha in fact it's the reason the film got popular at all was the first person I interviewed was Randy Clements and he was excited to be in the film and he posted it on Facebook and then all of his reporter friends started talking about it and soon it was in the huffington post and Los Angeles Times and all that so but it's like what I'm hearing you say is look for an advocate for the content of your film and that's probably somebody you talked to during its creation and leverage their network to help grow the audience right like I noticed that that Matthews film is about an art community it's a film about creating art in fact it's very specific kind of art it's like painting rocks I can't remember what what city this was in but there's a lot of people in his film all those people are part of this community that want you know are excited about what they're doing you would hope that you could mobilize that group and say hey look we made a film about you you need to share this broadly and I mean those are the people that want to show up to a screening and I think you can kind of build from there yeah so I don't know how you make people watch a fiction film oh I watched a fiction film recently you may have heard of it it's called Star Wars oh well we'll we'll save your thoughts for the end because someone was asking about that all right well I'll talk about that yet don't worry our next two comments these are pretty quick they're just in response to a question that we got last week we had a question from Ciara she was wondering what focal lengths to shoot with on a canon camera a Canon 60d in New York and I mentioned that the that you pretty much double the focal length to go from from Panasonic Micro Four Thirds to a full-frame can and so like my 12 millimeter lens that I'm shooting with right now that'd be 24 millimeters on a on a Canon full-frame but a couple people pointed out we kind of forgot one aspect of this we got YouTube comment from Aaron Walter Scheib who pointed out that the 60d is a 1.6 crop so even though it uses the lenses that go on a full friend Canon it is tighter mmm so he points out that actually a 50 millimeter on a canon would be more like a 40 millimeter a 50 millimeter on a canon crop like a 1.6 crop like the 60d would be more like a 40 millimeter on the GH 5 I wonder if I even said that right yeah so he suggests that if you want a 50 millimeter equivalent on a 60d you would want something like a thirty two millimeter and it looks like John who sent me an email also had similar advice saying that he seems to think that I really good walking around lens would be a 35-millimeter prime on a 60d beautiful oh he also sent us a picture he really likes the Lumix 25 millimeter f17 long cast g85 yep thank you of that lens don't you are you the 20 I don't think I have which lens did you say the 20 what this is a 25 f17 I know yeah you don't have that one you have the pancake lens the 20 millimeter 20 millimeter f1 might be enough 1/7 but it's they asked that pancake hits my 5 millimeters a little bit bigger but he sent me a photo of him and his wife as they were hiking through the Andes in Peru with this camera nice alright we've got an email from Al from Australia doing some roller hockey streaming content and wanted to use my at most ninja blade as a media player for the adverts I made in Final Cut is there a reason why the ninja won't play the media I import onto the SSD I match the codec and all the stuff on a file that are recorded originally on the ninja directly any thoughts mate he searched high and low for an answer so do you know that I actually have a Natomas now I did not I actually I just met with Atomos last week and I've started using a new Inferno okay is which is very similar to the ninja blade that al is talking about I think the ninja inferno can handle 4k 60 and the ninja blade can handle 4k 30 all right so let's stop why would you want to use an external recorder how does that help your workflow well generally I felt like I haven't needed one as I like to be very lightweight and I like that the gh 5 can do a lot of this stuff internally now but one reason you might want it is that a monitor not only are you able to record like ProRes and DNxHD you can you can record these higher quality codecs easier to edit codecs you can also have all these features on the monitor like false-color and focus peaking and zooming in to check focus and there's I mean I already have focus peaking on the camera but like also just seeing it on a bigger screen so I did find myself using it on a documentary project this week just for an interview I figured figured for an interview I don't need to I don't mind having extra weight on the cam so the the recorder has a screen on it yes yes so it's really just a it's a monitor that also takes an SSD a hard drive can plug into the back that handles battery-powered okay I didn't know as they were kind of combos there yeah that's what Atomos does and Atomos is actually an australian company so owls even closer to them than I am but I sent his question directly to one of my friends over at Atomos because I was curious as well and they told me that it should work you just need to put one of the two codecs of the Atomos writes so if you encode your video as a pro res video or a DNX video it needs to be a pro res MOV or I imagine used to be a DMX MXF file if you just throw that back on the hard drive it should play and I even tried it myself I just took something I edited in Final Cut I exported it as a pro res file it's a 4k 24p video I didn't even have to give it a special name or anything I just threw it on the hard drive and it was it works cool so maybe just this praia mole problem in the way he exported it and just needs to triple check that yeah I know that final cuts native rendering format is pro res and if you just go out maybe not even don't even use one of the one of the export presets just use the master file export from Final Cut and it should export as Perez I mean you can even check it when you go to export master file you can check the settings and make sure it's doing pro res 42 and if you do that it should work I've even found you don't it doesn't even seem to matter if it's like uppercase MOV or lowercase MOV I think it's actually just running Linux on this little Atomos it's kind of cool how big of a SSD does it have I got a a 512 gigabyte Samsung 850 Pro I hold I have one of those in my new desktop I built yeah it was one of the you know there's a there's a few hard drives that are recommended for this kind of device I guess you need something that writes quickly not even as consistently enough and I'm glad I got I was kind of between getting a 256 or 512 I didn't really know which size I would need and I think the 512 would have given me eighty minutes of recording I was recording my interview at 4k 30 in pro res I think it was also a 10-bit color but I remember doing the interview and it took a little bit longer than I thought it would like I thought all I need is 20 minutes or something and I think maybe we recorded for 30 or 40 and I thought like oh yeah I would have been hitting up against you know we could have run into our limits if I had gotten a 256 sorry I think this is interesting so I'm gonna ask you more questions um then I'm just trying to stay on the workflow so now you've got all your video it's already in progress it's not in h.264 which is nice how do you get it on your computer do you have like a dock for the SSD or does it just plug in over USB three or how does that work yes so Adam O's has a little I don't know what they call it but they just have a little USB reader for the for the hard drive and is is the hard drive just like a bear 2.5 inch drive that you just pop out and pop into a reader is it in like a caddy or something it's an academy but the caddy is so low profile it's practically the same size as the hard drive the hard drive is maybe two-thirds the height of this caddy and the caddy really just gives it you just screw it on to the hard drive that just really gives it something to snap into the recorder that's cool I like that so yeah it speed up the editing process that you already have the footage and ProRes ready to go yeah it's easier for the computer play it also is a quicker transfer getting an often SSD than getting it off SD card sure yeah that SSD is way faster but I also recorded to both the SD cards and the hard drive because this is my first time shooting with it I just want you know I didn't know if I could trust it yet it seems like a good back yeah why not or two to both yeah but this was actually my first time shooting an interview and v-log I thought you know one of the reasons to shoot on a monitor with hard drive onto a onto ProRes just to get the best quality you can and I might as well get the most dynamic range I can so let's shoot it in v-log you can even load a lot onto the monitor so I threw a lot on there that displayed it so it wasn't flat mm-hmm so I could kind of tell what I was getting the the thing I noticed shooting via log is I have to be careful that it's a lot harder to tell if I'm not white balanced oh interesting such a flat image that it's a little bit harder to see if you're exposed properly and if you're if your white bounced properly so first of all I kept the camera in natural while I was exposing and setting up the shot and setting white balance and then see all that so very clearly yeah then I switched it to V log and then I'm looking through the monitor and I can use the monitors tools like false-color to make sure I'm exposed properly I had my zebra stripes set on the monitor so I have some other tools available to me but also the fact that the monitor is showing it not in the flat color profile helps me know that I'm getting a good shot that's cool but then when I take it on the computer I have a super flat pro res version that maybe gives me a little bit more latitude to color grade and I just discovered something in final cut didn't know is there if you bring in a log file into your into your Event Viewer you can select a clip go to the info tab in the inspector and you can change how it interprets the video you can there's a drop-down called log processing it may only be in the advanced inspector details but if you go to log processing you can change it to like Canon log or Sony log or Panasonic v log and instead of showing it as a super flat thing in the timeline it actually looks more normal well that was because I was dive on the add the most ninja cool he did have one final part of a question by the way the last Jedi yay or nay I say yay I also say yeah I enjoyed it a me actually saw it before me and when she went on the opening night I saw it the next day they gave her a little little tiny bb-8 oh that's cool like trading cards I don't mind I mean I don't want to talk about spoilers because I'm sure there's still people who haven't seen it but how much did you like it where would you place it in the hierarchy of of Star Wars but I really want to see it again before I give it its final opinion but I liked it a lot I think I liked it better than force awakens me too I would put it in my top third of Star Wars films probably I really liked it I was tempted to say that I mean I still love Empire the most I was tempted to say that I liked the last Jedi more than rogue one but then I went back in a watch broke one the other day and it just just such a solid film I think the only edge that last Jedi has is that it has the major characters sure has all but they're both such nostalgic films I think last Jedi is occasionally a little bit silly but it's a lot of fun and it's also really visually interesting I love these kind of iconic moments that they created yeah I'm really excited to go see it again I think I think I'll have a much clearer picture once I see it a second time but right now I probably ranked it third or fourth I price a Empire return yeah you'd like return each other I am as a kid I just loved that one so that one's always up high for me and then probably this one maybe in maybe a new hope but was still before it maybe the entire original trilogy still still locks up for me but ah yeah I liked I liked it quite a bit I'm a little surprised at the reaction online to be honest what negative reaction yeah I think that might be a vocal minority I'm not sure yeah that's just filmmaking in general it's like you you can't you can't please everyone it's it's all an expectations game everyone goes into a film thinking they know what it's gonna be and it's definitely not gonna be that thing can we talk about one thing though that not spoilers don't worry but I feel like trailers these days are giving away way too much like I I think for the next Star Wars I'm going to avoid watching any trailers yeah well you always say that and then you watch him cry no why I don't think I've said that before have I no I mean people generally oh no I'm gonna go into this one fresh few moments that I was like man I kind of wish I had not seen that in the trailer I think it would have been more impactful sitting here so that yeah I'm gonna give that a world next time trying to be totally spoiler free for the Nashville we'll see how it goes well before we go I have one final question this is actually a question that I have that I can't find the answer to Oh wonder if one of our listeners might know so I've been using Adobe Lightroom yeah or I mean I've used in the past but recently I've been using it a lot this year to edit photos and they just they upgraded it to now they have like an Adobe Lightroom classic and now they have a really loud Creative Cloud and actually I noticed maybe they always called it this but it looks like they're calling it Adobe Photoshop Lightroom was that always the case I think it might have been that way for a while I'm not sure yeah so it's I think it's technically called Adobe Photoshop Lightroom cc is the new one and it's kind of a simplified version of Lightroom that maybe focus is a little bit more on the library aspect of organizing your photos in fact it even uses like neural networks where at least I think that's what they're using where Lightroom in the cloud has learned what a mountain photo looks like oh yeah so if you search Mountain in your own library it tries to pull up all the photos that it thinks are mountains which is interesting to see what it what it thinks probably cuz now human learning on the back end right yeah it's not like someone's are actually tagging your photos it's just going I've seen Mountain photos and they look generally like this so it actually you know I picked some things that aren't mountains but it they're they're close so I I generally like the new software it seems to do what they need to do except for my infrared photos there was kind of a workaround in the old polite room where infrared photos are so red the white balance is so wrong that even the slider for white balance doesn't go far enough to fix it so what I had to do is I do this thing I think I used a piece of software called Adobe DNG editor mm-hmm you essentially bring in one of your really red infrared photos you can use like a eyedropper tool or something I came over exactly I did but you can mess around some sliders and get it to look normal and then you save that camera profile and you could load that camera profile into Lightroom so for future photos you could say treat it like this and then that would kind of reset all the sliders so now they're all starting at zero but the kit but the picture looks normal and now you can actually make your adjustments problem is I don't see how to load those into the new Lightroom so it seems like some of my infrared photos it's treating correctly because it's like I don't know it's treating it like it came out of camera but then other photos are just turning pink and red and I can't seem to turn to change that so we're looking for the audience to help us here is that what you're telling me because I have absolutely yeah has anyone else used infrared photos in the new Lightroom and how are you dealing with that cuz I can't seem to get them to interpret correctly and the person who helps you gets a fabulous prize my undying love and appreciation yeah the thanks of a grateful documentary filmmaker I do like the idea of the new Adobe Lightroom that the reason I migrated over to it is because it puts all my photos in the cloud and now Lightroom is accessible from my iPhone it's accessible on my iPad I can go to any computer and I guess it's gonna pull them all at least it's gonna pull smart previews down from the cloud so I can I can view all my images I think I can even edit them remotely on my mobile devices and or on a different computer and then how much saving that may be how much do you pay a month to that well it's included in the the total Adobe I think I'm paying 55 a month or 50 months for Adobe Creative Cloud okay for all the apps cool and I use enough that it's worth it like I use Photoshop regularly I use it audition I use media encoder I use After Effects sometimes I don't use Premiere but I have access to it what about encore they still have that in there no they don't I think encore is is out date although I think there is a way to download it but there's not like a Creative Cloud version of encore they stopped so Lenny's making DVDs anymore yeah that's the DVD blu-ray software well this was a fun episode we got into all kinds yeah didn't we yeah we did well next week you'll have to join us again as usual on Wednesdays because we're talking about audio libraries movies are the one that I prefer most and how I find music beautiful yeah so we'll see you next week bye everybody hi [Music] do you care if I'm in focus I do yeah if you could you could be in focus that'd be wonderful I've just for you Mr Hammond [Music]

Channel: Griffin Hammond

Views: 36,657

Keywords: griffin hammond, indy news, indy mogul, film, filmmaker, indie, independent, filmmaking, behind-the-scenes, DIY, video, how to, techniques, Hey.film, hey film podcast, podcast, hey indie filmmakers, nick bodmer, documentary, doc, short, edit, workflow, editing, shooting, interviews, interviewing

Id: b_vHeXuWPuk

Length: 45min 38sec (2738 seconds)

Published: Wed Dec 20 2017