Speaker 1: I just wrapped my second experience shooting BTS for a film with Anne Hathaway. Shut up. I beg your pardon. This was such a great experience. One, Anne Hathaway, I love her. All the Princess Diaries, Devil Wears Prada, like that is my girl. And to be able to experience her in person, it was such a great experience. Today I want to talk to you all about that experience. And I'm super geeked to talk to you all about five tips that I learned on this particular film, shooting behind the scenes, that I feel like it will help you all as you get into this new found part of filmmaking, which is shooting behind the scenes. So first and foremost, before we get into all the tips, I want to talk about the equipment that I used. Your girl dived all the way in to Sony for this one. No Blackmagic whatsoever, all Sony. I really wanted to use Sony to get a real feel of what I thought about the camera. Like me being able to teeter-totter between Blackmagic and Sony didn't really allow me to really play with it and see what I thought about it. And so for this one, I asked Sony if they could send me another camera with some lenses just so I could have an A and B cam for this whole project to see what I truly thought about the camera and just using Sony and Sony's ecosystem. So they sent me a 16-35mm f2.8 and a 24-70mm f2.8. I ended up renting a 70-200mm. They ended up renting one for me. So there were certain times where I did use a Sony 70-200mm, which was great. Now, when it comes to the tips, the first and foremost thing that I want to talk about, which also is important when it comes to equipment, is a monopod will be your best friend. So with The Wimmy King, it was all handheld. I didn't necessarily have a monopod or a tripod or anything like that. I wasn't doing EPKs. I was strictly only doing main BTS during the film. But however, for this film, completely different genre, completely different aspect, I was actually doing stand-ups, which pretty much what a stand-up is, it's not an EPK, but it's pretty much a quick interview on the fly, on set. So it's like a five-minute interview where you're asking somebody from the cast, what are we doing here today? Talk about your character. Things like that to where it's not too put together like a standard EPK where you have all this lighting and all of that. And so because I was doing that, I needed a tripod and I needed a monopod and different things like that. The monopod also came in handy being on set where you might need to extend it to get the certain shot. If you don't want to be shaking a lot, you might want to have a monopod. And at first I didn't bring it and I was just doing everything handheld. But when I brought that monopod, I was like, yo, yo, this is legit. Like, I don't know why I didn't bring this, but I really enjoy using a monopod. And I was actually going to get rid of mine because I don't usually use it. But it was actually a great addition to my kit. And I had like the legs as well. So it really helps you kind of stand firm. And I did all my stand-ups with it and then also getting certain shots that I wouldn't be able to get because I would be in the way. I also brought my Ronin-S because there were certain times where we would shoot outside and I can get movement. Sometimes when we were in the house, you can't move as much because it's too small. So really trying to get creative shots still, but shots that fit what they are needing. The second tip that I do want to get into because it relates to that as well as the equipment is make sure that you have some kind of sound system. So I talked in my previous video with the Women King, I really just used my Sony mic, which is a shotgun mic on the camera. However, with this particular one, because they knew that they were going to be using a lot of my footage for EPKs, I had to have an actual full set up sound system where I really just used my Sennheiser Live's professional E&G kind. And I was able to plug it into their sound mixer's equipment to where I was feeding the actual audio that they were recording into my camera. So sometimes if you're using just a shotgun mic, you're not going to actually be able to hear if you're far away, which you kind of have to be for certain scenes. You can't be all up on them. And so you miss the dialogue that's happening and you're only getting the action. A lot of wedding videographers do this. They plug it into the soundboard at the wedding to get that audio. Well, it's essentially the same thing. So I had to use one of my Live's, my transmitter to pretty much plug it into their soundboard. And then I put the receiver and connected it to my audio and or to my audio handle. And I was able to get the dialogue that they were recording for the actual film as I was shooting the BTS in case they wanted to have a standoff where they can use just that. So that was something that I actually didn't know because I've never been a wedding videographer. And it was amazing. Like their sound was crisp and clean. I could go wherever I wanted to go. I could be super far away and I'm getting their sound. So making sure that you have your sound ready. I also had headphones. I was able to hear what was going on. So, you know, if audio is recording or if it's feeding and how it sounds. Tip number three, learn how to be discreet. That's the biggest thing. So for me, I try to wear all black all the time. The great thing about me is I'm very petite. So I can hide in some of the most small places that other people can't hide in. And so, you know, wearing all black, you kind of blend in with the background so that you're not a distraction. Like they're still shooting for actual film and time is of the essence. So you have to make sure you're discreet. You want to be in the shadows. You don't want to be wearing all these colors where you're trying to get great BTS, but you're a distraction to the cast. Tip number four goes with tip number three. Do not stay in the cast's eyeline. So I learned what eyeline was with the Women King. It's basically when there are certain ways that the cast has to look, whether it's past camera, especially if they're supposed to look at somebody when they're getting a certain shot and you don't want to be in their eyeline. You don't want to be too close to the camera. So if they have to look that way or whichever way they're looking when they turn to look that way, they're looking at you. It's a huge distraction. So make sure you learn what eyeline, what their eyeline is when you're on set. You know, ask the cam ops, get really cool with the camera operators because you're going to need to. You're going to need to get cool with the first and second ACs because they're going to help you get in the spot that you need to get in. You want to get cool with the cam ops because essentially you've got to invade their area to get your shot. And so asking them where's the eyeline so you can make sure that you don't stand in their eyeline. Also, the AD assistant director will say, make sure that her eyeline is clear. So you want to make sure that you're not that person that's in the way. There could be a time where the actress might stop you and be like, hey, somebody moved in my eyeline because it takes them out of this room and out of their world that they're trying to portray. The last and most important thing, of course, would be to get cool with every single person on set. I don't care if it's the COVID people or if it's the director. Every single person is important. My first day, I felt like I was a new kid at a new school because I was eating in the cafeteria by myself at the table. Like you want to get cool because it makes your job better. So the minute that people got used to me and this happened on The Women King, it happens on every film because they don't know you and you're technically kind of separate from their world. Like, yes, you are shooting BTS, but you're not in the camera department, technically. So they all know each other. You kind of got to come into their life and like be cool as much as you can, as fast as you can within the time that you have. I only had a month. I literally started playing chess with the director. Like we got cool to the point where I would play chess with him. And even with the DP, they started, you know, making sure that I was in there or like if I was in a way they weren't mean and be like, you need to get out the way. It's like, hey, can you put the light where Brit is? Sorry, Brit. You know, like just being respectful of everybody. We are here together to accomplish one big goal. And so, you know, even with the first AC, sometimes I'll come in. You want to stay out the way, but I'll come in when they set everything up like, hey, is it a good place? Where can I be? Oh, you can be right here next to me or you can be here. So I'll go to the camera. Hey, is it OK if I'm right here next to you? Oh, no. Yeah, it's fine. You'll be good. So you want to make sure that you're getting cool with the crew because essentially you kind of need to to do your job. Even the cast, like, you know, over time they get cool with you. So they start doing stuff to camera more. They start relaxing and you're able to get that really fun stuff that people don't see in a film, but they'll be able to see for the behind the scenes. One of the cool things that I said in the last video about the women king for this one is the executive producer for the women king brought me onto this new project. And when I met up with her, she said, I just saw how you was with the women king. You were literally you would pop up and be right in your spot. She was like, you were just going, going, going. You're so small that, you know, the fact that you're able to just maneuver in the way that you do. I knew that you would be able to do this film. That trust and that respect for my craft. It was it made me feel good. And so she brought me onto this project with Anne Hathaway. And, you know, I was, you know, going where I needed to go like a little mouse. And I was getting my shots. My last day, the director had everybody sing a song for me, a farewell song. And Anne told me that I'm good at my job. And she gave me a hug and she gave me a candle. And it felt great. I felt great. I really enjoyed myself. So you never know who's going to vouch for you, what people are saying to who. So you just want to make sure that you get cool and you build a relationship with everybody on set. Sony, I love the low light. It was really, really good. The one thing I will say that really turned me off, and I ain't going to lie to y'all, was this HDMI turn off thing completely messed me up. So I was shooting the main character for something. And we connected it through HDMI into a monitor. And it did not record. It was recording, but it did not record anything. Because you have to have the option to record HDMI on. I didn't even know it was off. So things like that I feel like don't necessarily need to be in the menu. Like, we could do without that. Like, just record whether it's in or not. Like, we always want it to be rolling when we hit record. So that bothered me that Sony has all of these things in the menu settings that don't necessarily need to be in there. And that was one of the reasons why I do like my Blackmagic, because it has the important things and that's it. All this other stuff I don't necessarily need. I don't use on a regular basis. So another thing was I was shooting, and the DP asked me to shoot something. And the whole day everything was great. The minute they come in and we get ready to shoot, all my settings locked up. And I didn't know what was going on. I'm like, yo, I'm going on YouTube, trying to hurry up and figure it out. I'm texting people quickly, trying to figure out why are my settings locked. I go on YouTube, I do what it tells me to do, and it doesn't change. So I have to shoot on auto, and the minute they leave, it unlocks. That kind of stuff, I don't like. I want a camera that's simple, that just gives me the important things that I need, and that's it. So those really did bother me. I would tell Sony to take that option for the HDMI out. Like, I get the lock feature because you don't want your settings changing while you're shooting sometimes. But that whole HDMI thing, take that out, cut that out, I don't like it. The last thing that was bothering me was one of the times we were shooting the gallery shoot, and the camera just kept cutting off. The battery wasn't hot, the camera wasn't hot, but it just kept cutting off. So these things slow me down when shooting. And you want a camera that's going to allow you to just do your job and do it well with no mishaps. Now, again, in my last video, there was a mishap with the Blackmagic because it broke. Things happen, but three things happened really bad with the Sony. So I'm still getting used to it. I'm still playing with it. As far as the image goes, I still like the Blackmagic image. However, Sony is really great when you have the necessary tools. So for this particular project, it was different. That project is action-filled. It requires something different. This is more documentary to me personally, and so being able to have autofocus and low light and just different things like that allowed it to go smooth as well. There was times where if I have it on a monopod and I can't access it because I'm holding the monopod up where I have to crouch down, that autofocus allows it to get what it needs to get as it's tracking. I wouldn't be able to do that with my Blackmagic. So I like the Sony. I'm excited to see how they use the footage. I'm excited to see how I use the footage. So I really do like the FX3. It's a really good camera. I didn't necessarily need to have a cage or anything like that. I really just docked the audio up, had the lavs on there as well as my shotgun, had the ND filter on the lenses, and I was pretty much ready to go and had everything else. And so I really like that part about it, like the rigging. It was so easy for me. So shout out to Sony again. Thank y'all. I might be getting the FX6. I might be getting the FX6. Who knows? I really enjoyed the FX3, but I do love the aspect of already having XLR and cam, already having NDs in the camera, and having something that doesn't give you all of these menu settings and things like that. And I think we use the FX9s a lot on the set, and I feel like the FX6 would be perfect. So I haven't fully converted to the Sony ecosystem. However, my Blackmagic still is broke, so the Sony is what I'll be using until I decide on what I want to do next. But those are the five tips, and hopefully it helped y'all become better shooters, shooting behind the scenes. I'm excited for 2023. My goal is to get into the union shooting behind the scenes for feature films. So hopefully I might get on a Marvel set or, you know, whatever. I'm super excited. Let me know if you guys have any questions. Leave it in the comments below. Like this video. Share it with your friends, and make sure that you are subscribed to my YouTube channel. Thank you all, and I'll see you guys in the next video. Bye.