Always love your detail and transparency mate, especially as an aspiring commercial director myself. Question - given the vast and experienced crew + team you were able to work with - are there certain individuals from this gig that you specifically learned a lot from + helped you level up as a director? Asking somewhat selfishly for myself as well :-) Thanks!!
Can totally relate to the "we're not going to win it" but "we better f*king win it" 😂 Finding these SUPER helpful. Really appreciate your transparency and thoroughness with these videos. Would appreciate some guidance on how to start adding motion directing into my commercial stills portfolio. I've got no (video-specific) gear, nor much idea either... any tips would be really appreciated! thanks
Damn, this channel is the cure for humanity's current short attention span. Anyone could watch this for hours and never get bored! Ty for the amazing content as always!
I really wanna learn how to make treatments. Anyone willing to teach me? Also, @Scott Peters, which the treatment template used for this commercial was available for purchase on your store.
Have you watched this video Samm it’s super helpful on writing treatments: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LVupJH4AjJw.html - the template I started with from my store is called ‘Laugh Out Loud’
Mine too! People are way more fun to film then solo food. I can’t remember where I said “bin it” so not sure of the context, but it most likely meant “to get rid of”.
Exceptionally well documented, yet again! Really hoping you get tonnes more work, not only to go on surf trips, but so we can see more of this!!! (the bts, not the surfing - although, food for thought on a second channel)
Amazing storytelling about your gig as always, Scott! As a commercial DP being a frequent witness to all this never ending back-and-forth between a director and an agency in pre, post and production, I have little to no desire to ever try commercial directing :D
Once again, awesome video and great work! I love the breakdown and how it shows the amount of work that goes into a 30-second TV commercial. You can see how many people and costs are involved. Brilliantly done. How is it with photographers in the UK? Here in Austria, we often have photographers on set between takes to save costs.
It’s very common to piggy back stills around motion or the other way around here too. The more costs get cut the more it happens but it ALWAYS results in worse results for both parties as there’s always comprises being made to allow for it.
@@ScottPetersFilms Definitely. I love the 10-15 minutes between takes and the ISO 1600 photos because there's no time to use flash. Thanks for the insights (:
Glad to hear clients are the same the world over... at least the final product looked to be very close to your original storyboard and vision. I've been involved in two TVCs when the small agency I was in wanted to branch out into bigger jobs. One only got across the line after HUGE cuts and changes instigated by the client which basically used about 10% of the shots and a completely different final direction. The other one was canned AFTER final delivery - a 10-day multi-location shoot, crew, cast, a seemingly infinite number of revisions, to then just nothing - thankfully the client still paid!
Tom the amount of jobs that get canned after so much time, effort and money is spent on them is INSANE! I’m working on a little series from a large job atm that got canned before the first edit reviews even arrived. It’s madness.
Really appreciate your work with all these videos.... Both in the transparency you provide in your work, but also the amount of time and effort you put into the video itself. Your storytelling narrative is awesome. It's really reassuring to know that someone else is going through similar experiences, I'm not going insane (But that I could improve my tolerance levels) even through I'm working on smaller productions. Thanks, look forward to the next installment
Fantastic breakdown! I'm a commercial NYC photographer / director and watching this with all of the timeline, feedback, revisions, emails, etc made me feel like I was looking in the mirror. Glad I'm not the only one! Cheers!
@@ScottPetersFilms thaught about getting it, but the 420 options, compared to gh6's 422 options make me overthink it too much. At the same time silver screen ads are back in demand and the s1h got better resolution. (For context: I do product videos and commercials as well.) Help😂🙏🏽
If you want to get into narrative yes the same applies, you need to prove you can do it. So make the best short films you can within your department and start entering short film competitions and get your work in front of as many execs / people connected to execs at commissioning studios as you can.
Buy nice or buy twice. Latency aside, until you can go to a rental house and add more TX/RX units to your system for specific job needs these won't compete with Teradek in the professional market. I'm sure these are great for certain applications but I suspect most users will quickly outgrow them and be disappointed with resale value on the used market.
Heard, but for me personally when I’m on the type of jobs that require more units on the system there would be a dedicated monitors person in charge of wireless and playback who would come with all their own kit so it would no longer be my department to deal with.
Exactly Tomas with the editing days, 8 hours and the other on set roles are normally 11 hours or less, not including travel time, which here in London often adds anywhere from 1-4 hours on to the day 😬
Can I use this Pyro S with my Canon C500ii to send a true 4k HDMI signal to my Small HD Cine 4k via HDMI? I bought the Pyro H but had to return due to the fact that the H doesn't support fractional frame rates (23.98) according to a Hollyland rep. Anyone have experience with this? Thanks!
The title of this video shows how little understanding this RU-vidr has on the subject. Teradek are not going anywhere. Zero latency and uncompressed image quality are extremely important for Pro shooters.
Did you catch the “?” at the end of the title Antone? I didn’t say Teradek was going anywhere, but I was implying Hollyland are on the rise from what I’ve seen of the tech and the competitive pricing. Whilst this isn’t a match for the high-end Teradek sets yet, its value for its use case I think is really great, and particularly the dual sdi/hdmi option is amazing for straddling lower end and higher end equipment between different types of jobs. I know tone of voice is hard to gauge on the internet, so know that I ask this with no sass, just genuine curiosity as a “pro” shooter of some 14 years myself now the level of compression on these is more than adequate on any set I’ve worked on, but the latency thing, unless we’re shooting something that requires a cue from someone on set that has to be looking at a monitor and not at the action in reality for some reason, why would the latency matter? I know it bugs some 1st ACs, I can recall one of mine complaining about latency on a Teradek set a few years ago on a shoot, but I never understood why.
