Slingshot Creations’ Post

You have to grab people in the first 5 seconds, or lose them forever. This is true for your videos, your LinkedIn posts, your website, your bus stop ad, any kind of marketing you're doing. People are tough and immune to advertising. You have to MAKE them pay attention. In this new commercial for Bella Del Sol, our 'grab' was to start with a bossy woke Gen-Z daughter rattling off her many dietary restrictions to her dad, who's kind of rolling his eyes. It's current, it gestures to the culture wars and to generational divides in families, and it's got some conflict. (The music and camera movement contribute as well.) Most importantly, it's not random. We didn't start this ad with a gorilla fighting a lion just because it would grab your attention. That has nothing to do with sunflower oil. The 'grab' has to make sense for the story. Bella Del Sol is ORGANIC, so it aligns with the daughter's values. There's a funny problem, and a logical solution. Did it work? Did we grab you? I guess if we didn't, you'd already be long gone by now, scrolling into the ether...but if you're still here, let me know!

What I tell people my job is: - Videographer / Photographer What my CV says: - Director - Cinematographer - Stills Photographer - Editor - Colourist - Location and dialogue sound recordist - Audio mixer - Graphic Designer - Motion Graphic Designer - Key Grip - Gaffer Being a one-man-band can be interesting, rewarding work. It doesn't make the gear any lighter though 😂 #videography #videoproduction #setup

This insightful post by Nasreen Eldawi نسرين الضوي offers valuable insights into the role of the Director of Photography (DoP) in film production. Learn how DoPs collaborate with directors, create the visual style, and ensure a cohesive look throughout the film. This post is a must-read  #videography #creators #productiontips

Want to know who’s really in charge of what during a production shoot? To the uninitiated, the roles can seem a little mystifying. This is partly because the job titles often sound the same. Director of this, Producer of that... What do these people actually do? Is their job important? Who's the boss of who? I thought it might be handy to explain all in a series of posts, starting with one of the most commonly confused roles: the Director of Photography. The Director of Photography (DoP, or sometimes simply DP) is responsible for the overall visual look of the film. They work with the Director on lighting, framing, and camera movement, overseeing both the creative and technical aspects of cinematography. Sometimes, the DoP will operate the camera themselves. But often, especially on shoots with multiple cameras, they focus on crafting the overall look and managing the department rather than operating a camera. This allows them to ensure a consistent visual style across all shots. Their role differs from that of the Camera Operator, who focuses on physically operating the camera and executing the DoP or Director’s vision for each shot. It's also worth distinguishing this role from Videographers, who tend to handle smaller projects and are responsible for both shooting and editing. Choosing between a DoP, Camera Operator, or Videographer depends on the project. High-end productions typically require a DoP for a polished, cinematic look, while smaller shoots may benefit from the versatility of a Videographer or the precision of a Camera Operator. 208 Films has some amazing DoPs on our team (as well as Camera Operators and Videographers), so if you need a visually stunning video for your business, get in touch! #VideoProduction #FilmMaking #DirectorOfPhotography #ProductionCrew #BehindTheScenes #208Films

"It's not just about the product; it's about the emotions it brings to life." At Adt Production, every project begins with understanding our client’s goals. The essence of their brand. For the Vivo X80 campaign, our mission was to connect Vivo with the local audience and the photography community. Here's a glimpse into our process: Understanding the Audience: We aimed to resonate with the local audience by choosing Rishikesh, a city rich in beauty and culture, as our primary location. Collaborative Ideation: Our team suggested featuring a talented photographer from Uttarakhand to connect with the local photography community and highlight the phone's photographic capabilities. Story-Driven Approach: Instead of focusing solely on the Vivo X80’s features, we crafted a narrative showcasing the photographer’s journey through Rishikesh, capturing its beauty with the device. This approach emphasized the phone's utility in real-life, artistic scenarios. Execution: Every step, from pre-production planning to the final shoot, was handled meticulously. Our team worked closely with the photographer, ensuring every shot captured the essence of both Rishikesh and the Vivo X80. Emotional Resonance: The final film was not just an ad but a story that resonated emotionally with the audience, highlighting the seamless integration of technology and art. Brand: VIVO Agency: A Dream Team Studio Directed by: Ashutosh Joshi Cinematography: Amandeep Pundeer Project Management: Dheeraj Joshi Art: Abhishek Yadav #VivoX80 #Rishikesh #Storytelling #DigitalMarketing #Throwback #adagency #adfilm #marketingagency

Hey connections 🖐️, Certainly! Cinematography is the art and technique of visual storytelling through the use of moving images. Key elements include: 1. **Camera Movement:** The way the camera moves can greatly impact the viewer's experience. Techniques like panning, tilting, tracking, and zooming are used for different effects. 2. **Composition:** Just like in photography, how elements are framed within the shot is crucial. Consideration of the rule of thirds, leading lines, and symmetry is common. 3. **Lighting:** Lighting plays a pivotal role in setting the mood and tone of a scene. Cinematographers use various lighting setups, such as key lights, fill lights, and backlights, to achieve the desired effect. 4. **Color Palette:** The choice of colors in a film can evoke specific emotions. Cinematographers work with color grading to enhance or alter the color scheme. 5. **Aspect Ratio:** The ratio of the width to the height of the film frame influences the visual experience. Different aspect ratios can convey different feelings and aesthetics. 6. **Depth of Field:** Controlling what's in focus and what's blurred in the background can draw attention to specific elements and create a sense of depth. 7. **Frames per Second (FPS):** The frame rate affects how motion is perceived. Higher frame rates can create smoother motion, while lower frame rates may impart a more cinematic or stylized feel. 8. **Shot Types:** Different shot types, such as close-ups, wide shots, and aerial shots, serve various storytelling purposes and contribute to the overall visual narrative. ParanidaranArunasalam ❤️

How much does it cost to do a photo / video shoot? I get this question all the time and it all comes back to these 3 components: - Scope / Deliverables - Production Quality - Resources We can do shoots on a budget for $5-10K and at the same time, we do projects that are $100k+ (and beyond). Here are the key factors that make a difference in the budget: - Pre Production Timing: This is all dependent on the level of production and the budget to product the shoot. - Deliverables: What are the clearly defined deliverables for the shoot? Is it 5 variations of a 90-second commercial? Are you shooting 50 different products for Ecomm Shots that need 7 selects each? Always Start with the deliverables that are needed. - Production Talent (Photographers, DP, Videographer, Art Director, Creative Director, Producer, Hair/Makeup, Grips, Production Coordinator, Production Crew, Lighting techs, Audio Tech, Camera Tech, Production Assistant). - On-camera Talent: How many talent will you be shooting? What's their pay structure? (Day rate or base + usages royalties) - Location: This can be as simple as a studio rental to full homes/specialty locations (like beaches). - Props: This can be as simple as a few hundred dollar budgets for simple props to as complex as bringing in cars, specialty wardrobes, boats, custom sets, etc.... - Production Equipment: What type of cameras are you shooting with? It can be as simple as 1 camera with a videographer to a full camera crew with grip trucks. - Permits: if you plan to have a full crew, you are most likely going to have to pull permits - Insurance: Any shoot will need an insurance cert pulled to cover the production. This will be required by venues/equipment rentals/vendors.

Right Lens for Filming an Interview While an interview may appear very simple to the viewer, there’s still so much that goes into filming an interview, and it can be pretty overwhelming Wide Angle Lenses. Wide-angle lenses are great for establishing shots to give the viewer context of the scene. Typically, these lenses are 35mm Medium Lenses Medium lenses, such as a 50mm lens, are closer to how the human eye sees images naturally. Every lens kit should include a 50mm lens. The great news is that most camera brands have a very affordable 50mm option Videographer/ Cameraman / Video Edtor #videoproduction #videography #cameralens #lighting #Cameraman #Videographer #Photographer #Videoediting #Videoshoots

Principal Photography : Principal Photography is the crucial production phase where the bulk of the footage for a film or video project is shot. It follows pre-production planning and precedes the post production editing process. The main uses of the Principal Photography are: 1. Capturing scenes, performances, and visuals planned during pre-production. 2. Executing the director's vision and bringing the script to life. 3. Collaborating with cast and crew to ensure the smooth execution of filming schedules and logistics. The Pros of Principal Photography are: 1. It brings creativity and vision into reality. 2. It fosters collaboration and teamwork among cast and crew. 3. It sets the foundation for the final product's visual and narrative elements. The Cons of Principal Photography are: 1. It requires detailed planning and co-ordination to stay on schedule and budget. 2. It may get in trouble to unforeseen challenges such as weather, technical issues or last-minute script changes. 3. It can be physically and mentally demanding for cast and crew, with long hours and tight deadlines. Principal Photography is often conducted on locations or in studios, depending upon project's requirements. It involves various departments, cinematography, directing, acting and production management. The success of Principal Photography sets the stage for seamless post-production, editing and enhancement. So if you are interested to learn the heart of filmmaking, do search for photography and videography courses, which can help you in many ways for your detailed education and knowledge! #PrincipalPhotography #filmmaking #productionhouse #creativeprocess #linkedin #linkedindaily #linkedinforcreators #education #filmindustry #knowledge #knowledgesharing #shortblog #neelwrites

I learned a vital lesson my first time as DP (Director of Photography/Cinematographer) on my very first feature film. Before I tell you what it was, I’ll share how I learned it. As a DP, you’re in charge of 3 departments: 1. Camera - Camera Op - 1st Assistant Camera - 2nd Assistant Camera 2. Electric - Gaffer - Best Boy Electric - Electricians or Juicers 3. Grip - Key Grip - Best Boy Grip - Grips - Dolly Grip Given that the movie was considered low-budget, my team was less than half the size as usual. A team of 4. Including me as the DP and Camera Operator, then 5. The reason I laid that out is when you’re working with such few people on a low-budget film, it can become so tempting to want to rush in and do things yourself. If the dolly needed to be moved, I’d grab the nearest person and ask them to help rather than have my Key Grip and Grip do it even if it wasn’t their department (that’s a big no-no). My Key Grip, Darryl, is a Union Grip. Meaning, he’s the real deal. Darryl has tons of experience, and we quickly became good friends on set. He saw me moving the dolly, raising and lowering it without him. After I was finished, he calmly and politely said, “Preston, you’re the DP. DP’s don’t do that. If you need something moved, holler at me, and I’ll do it. That’s my job.” I realized right then and there that I needed to take a step back and concentrate on my job, directing the film's photography. I don’t need to always be so hands-on. If I know my vision, I can use my expertise to execute that vision through effective communication with my team. When I do that, I can stand back and let them do their jobs. By stepping on people’s toes and just doing it myself, it defeats the purpose of having a team in the first place. Everyone on set has a job. Stay in your lane. And make the movie. Below is a video of Darryl scaling a building to rig a light (he’s 60 years old).