Vincent laforet directing motion free download

Stream this, and our entire library as an MZed Pro. Module Description Course Description. Skill: Intermediate. Vincent Laforet's Directing Motion Description One of the most important skills modern directors and DPs are required to master is moving the camera in a dynamic and engaging fashion. Close Delete. Kicking it off with a little Film School , Vincent began by revisiting the basics of camera motion and control.

Are we causing unnecessary frustration among our crew because of poor communication as directors? Specifically, Vincent described how the camera and actors move across the picture and defined when and why to use motion. He discussed terms in critical detail, theories and even the psychological aspects of the precise cinematic language of motion and how this information applies to video or film projects.

He had a full working crew with him including actors and sets which were used in hands-on workshops. He reviewed a variety of well-known films bringing fresh insight and perspective to the motion involved. The importance of the reverse shot was also discussed to provide depth of coverage to a scene. Live Shoot 3 — this shoot rammed home just how conductor-like the role of the director is. We watched live as a scene from a cop thriller was acted out in front of us on a 2 camera set up.

At the end of the night we watched the edited version of this scene back and it was incredible how much it looked like a scene that could have come out of an action movie or high budget TV production.

Sure the gear helped but it was the way the camera moved and danced with the actors and how this had been cut together in the edit that was so impactful. This led to the evening session, which culminated in a look at some of the best one shot scenes in the history of cinema. Vincent has pulled out all the stops and engaged his industry connections to get some incredible behind the scenes, limited access footage that shows how the scenes were being shot and the mistakes that happened.

The evening ended as it should have - with a bang. It was astounding to listen to the background to this job, for instance, just how much work goes into trying to win the bid, the intensity of working for a client like that and the amount of work and planning that went into the actual shoot itself.

A workshop is only as good as whoever is delivering it. Vincent is probably one of only a couple of people in the industry who could pull this off. He knows everyone in the room is doing something a little different and that not all of us are shooting Nike commercials; how he applies the universal principles consistently is what reinforces the learning here, and keeping us laughing and intrigued throughout helped remind us one of the most important aspects of these workshops so often lost - learning, and having fun while doing so, is critical.

It is basically a one day, action packed trip down the rabbit hole of camera motion and directing technique. There is an inherent rhythm to the craft, and getting a feel for, and understanding that rhythm is really important.

There is a clear psychology behind the craft of camera motion work, and understanding this to provide you with a more finely honed cinematic vocabulary is one of the cornerstones of what the workshop delivers. A full list of locations and dates can be found here. Let me know what you thought of the workshop if you attended, or drop me a line if you have any questions on it and I'll do my best to answer any queries you may have.

David is a full time photographer, videographer and video editor based in New York City. Fashion, portraiture and street photography are his areas of focus. He enjoys stills and motion work in equal measure, with a firm belief that a strong photographic eye will continue to help inform and drive the world of motion work. Check out the Fstoppers Store for in-depth tutorials from some of the best instructors in the business.

Yep, came off sounding like an ad. I did go to the workshop day session because I had evening plans and thought Vincent was a great teacher easily better than he was on CreativeLive way back.

I attended this exact workshop. If you are going to attend this, get the crew seat premium package as things got packed at our NJ location. I could not have been so far from the truth. Vincent and his team effectively and efficiently go through the core workings and structure of motion by showing numerous examples employed in classic as well as modern films.

Most importantly they also so show why the reasonings behind using these movements for both aesthetic and budgetary purposes. You really see how much experiences and trial and error he has gone through from the early wild west days of DSLR shooting to now shooting far larger projects. Vincent also went spoke about his recent endeavors in the commercial world and gives you a extremely in depth look at a project from preproduction to final delivery.

This information was very important to me since it can be a easily overlooked but critical make or break aspect to a project. As for the format of the presentation it was well paced and the actual room setup was perfect. As shown above, monitors were placed at each table to show what the cameras were shooting as well as what was being presented for the rest of the keynote. The use of a movie set within the presentation was a great tool for showcasing the principles being touched upon.

At the end of the day this was by far the best workshop I have attended and easily eclipsed ones from other season professionals at a fraction of the cost. I attended this past weekend and it was excellent, very informative, even to someone with some experience. Vincent's right to emphasize prep.

It definitely does always make a massive difference. It's also really important to be not quite prepared enough. To leave a little gap where you don't have all the answers because that allows you to be open to new ideas you find on set, new ideas that others suggest and to adapt rapidly to when stuff goes wrong. I also think it's important to stress how important post production is, especially in narrative and documentary work.

Comparatively you spend so very little time actually shooting, preprod and post are really where all the work happens. If you're not adept at post you're probably going to struggle to get too far. I went the Alex Buono Cinematography Workshop last year in Austin the think the company who handled the marketing for that workshop is doing the same thing with the Directing Motion workshop [mzed. They showcased products I will probably never use, but still very fun to play with.

Vincent LaForet was there promoting the MOVI before it was available on the market and that was a treat to meet him and the rig. In my opinion - yes.

Even though I knew a lot about what was being taught, I still walked away with even more knowledge about filmmaking and got network with other filmmakers from around the area and some from outside of Texas. Another good thing was they gave us a book the Visual Story by Bruce Block and they sent a DVD of the workshop show just in case you missed something you could go back and watch it again.

Now did everyone walk away with the same appreciation I had for the workshop? A guy I met said it was a waste of time and money and that he should've just spent the money on equipment. To each his own I guess. I will be attending the Directing Motion workshop in Austin and even though I tend to do a lot of locked down shots, I still want to learn more about the rules of moving the camera to further my knowledge in my profession.

A production designer knows way more about what raw materials, fabrics, location designs etc are going to translate on screen A make up artist know which brands work better under different lighting scenarios and even how they respond to different sensors A music composer understands theory, composition and arrangement at a deeper level A gaffer understands all things lighting and electric, a grip rigging and know all the little tricks you'd never think of that save productions times I can go on but hopefully you get the point.

Some directors have backgrounds in VFX, others in camera, others in acting, some start off straight away, but nobody is an expert on the seemingly endless aspects that go into a production. First time directors usually rely on experienced crew to get them up to speed to on set language and work, think Gregg Toland and the rest of that crew being a huge reason why Orson Welles' Citizen Kane is such a powerful defining work in cinematic history.

If anything part of a directors job is to make sure the right people get hired that will elevate their work to the desired level and have the expertise they like, and for that you better hope you have good producers ;. It takes maturity to come to realize you can't do it all, and you will never be an expert at everything.

Filmmaking is a collaborative process, that's why the most successful directors always seem to work with a core team through the years. True, but there is a fine line to be drawn. Most great directors are and should be proficient at the majority core film-making skills and other areas of visual arts. Gareth Edwards, Robert Rodriguez, Christopher Nolan, Zach Snyder, have all done pretty much every job at some point and are generally all-around artists good illustrators, good photographers, ect.

If given enough time, I'm sure their work in almost any area on set would be equal if not very close to the department heads on their films. It's more about delegating and saving time than the directors actual inability to perform the tasks.

If the director never has to do anything other than "hire good people" or "make sure people work well together" then the requirements for being a director are really nothing more than basic management skills and having the right connections or enough money. Selecting from the work that other professionals are doing is not a real skill and is definitely not deserving of the title of "director".

Which is after all, credited with the authorship of the film. OK, it's not about the "tools" Still the old time dolly tracks and cranes?

Or are there more popular new toys like MoVi style stabilizers, lighter jibs, cable cams, etc? It doesn't really matter what you use if it accomplishes your goal. A great line from the tour that Laforet mentions is "The audience doesn't care how the sausage is made, just that it tastes good.

Johnnie Behiri just shot a GH4 video using the octocopter indoors in an old Austrian church. Some shots really reminded me of Kalatozov's Urusevsky's funeral scene from "Soy Cuba". Forget cables. Forget dollies.