I remember seeing a bit of "raised eyebrow" rhetoric over those choice to use this camera - but all I can say to the naysayers is, go and watch the film. A masterful cinematographer doesn't worry about brand or clout or ego, and what was achieved in this film is a testament to that. The insider info on the forest scene is simply mind-blowing. Respect to Garland, Hardy and crew for not leaning into VFX for cost and efficiency reasons, the effort pays off, I could look at those frames all day ❤
Great interview, Josh, and it was lovely seeing you again. I am surprised you called me a vocal 4D critic, though. I've been very positive in all three videos about it, especially the 8K camera one. My main issue is that it's too heavy for me with my back injury, and I wish they would let us use the ProRes Raw standard on all frame rates of the 6K and under 30p on the 8K. The files are too big, and the difference between the two codecs is imperceptible. I think the Ronin 4D is amazing!
I thought we made a wonderful duo, couldn't have don't it without you. And yes! I hope we get to do this again for another DP or Director. Regarding VO, I was being a little sarcastic - I don't think anyone including DJI thinks you don't like the camera or see its potential use case. I've seen all your videos my friend. I though that bit of VO, was just the thing to balance out the video so audience wouldn't think this was some glorified puff piece for the R4D, but rather a discussion amongst professionals about the uses in the field. Albiet the VO was a bit cheeky.
Everything about this is insane. The fact that they used the Ronin 4D. The fact that they used the A7SIII. The fact they shot the freaking forest scene with real sparks, that's just a cinematographers dream man. The fact that he was like: Oh yeah, focussing with the transmission worked great, nobody complained about the delay making it unusable. Also, today I learned it would be cheaper to fly out to LA, rent a room for a week, and rent your Ronin for that week, instead of renting it in Germany. Incredible.
Torben, if you make it out to LA, I will rent it to you for half that price listed..... I have special price for you guys. I want to see you succeed. That price is what its normally listed at. Hit me up, we will make it work.
Civil War looked absolutely gorgeous. I'm still a sucker for shallow depth of field and this one got the right amount to make me super happy. Of course the locations, framing, lighting and color grading was wonderful as well.
okay, so this is by far the best interview i have seen in quite a while. doesn't even feel like an interview, it's like an actual film scene, undercut with actual BTS footage from a few blockbusters, laced with explanatory voice over and accentuated music. doooooooode.
I watched the film in IMAX and it was breath taking, heart stopping. All the superlatives. Getting a first hand BTS run down from the DP himself was such a treat, thank you for making this interview happen. Getting Phillip Bloom in to film it for you is a bit of a coup.
This was a "film" and not a "camera" centric consideration. They used everything that was needed to get the image and made no efforts to worry about how the individual hardware was needed to get it. This is the way a real film is made. Congratulations on the fantastic interview.
I’m a photojournalist myself at a television news station. Over the years I’ve been in several life or death situations, and there is a weird zen you experience where you feel removed from the situation while you’re looking through the lens trying to get the shot. This movie really struck a chord with me, because I thought it perfectly captured that feeling- while reminding us that despite the bit of bravery a lens might add, journalists are in no way invincible, and our luck can or will run out just the same as everyone else’s in the end. While obviously the experiences I’ve had don’t come close to what the characters go through in this movie- it did leave me with a deepened appreciation and different perspective on the work we do. All that just to say- as a long time fan of yours Josh, and a cinematography nerd, this was an unexpected but incredibly exciting video to see pop up on my feed! Super insightful stuff- and you do a damn good interview. I’d love to see more sit downs like this in the future.
It's tough to relate this to people. I used to work in TV news as well. Once the work begins, getting the shots to tell the story is the focus, and everything else becomes background information to serve that purpose. Situational awareness is key to staying relatively safe, but it is also needed to help anticipate where to frame the next shot. I spent the first decade of the millennium covering parts of some the biggest national stories of that time, from serial killers to Hurricane Katrina and the aftermath, along with national championships and a visit to the White House. Now I create promotional video for educational institution, and it's at least as satisfying, because my employer changes lives. I keep searching for new tools and techniques to add to my repertoire, which is why I'm here right now. Thanks for this content Josh, and thanks for still doing the work @Mitchg-tv.
@@bullettin It's always inspirational to hear from a tv news photog veteran. It sounds like you had an interesting and eventful career! I can relate deeply on the hurricane front- I work in South Florida and I'm one of our go-tos for hurricane coverage. Sometimes they'll even send me out of our viewing area to get in the path of a hurricane and document the strike. I've still yet to check serial killer or White House visit off the list though! You're very right about situational awareness- I feel like we do end up getting a sixth sense for predicting movement in the pursuit of getting ahead of and properly framing the action. Anyway, thank you for saying so! Maybe someday I'll get out of this industry as well into another sector of video- sometimes the prospects of this job and its grueling nature feel a little bleak. But no matter what, I know I'll never regret the time I've spent doing it- because I feel like the unique peek we get behind the scenes, or on the frontlines, of all these crazy events leaves us with a collection of experiences that I can't imagine anyone but a journalist could live through in one life! Seeing everything I have in my time has definitely shifted my perspective on life, as I'm sure covering everything you have also did for you!
@Mitchg-tv If you haven't found him yet, look up a guy named Lenslinger. He's got a unique perspective on the photog life, and he's been doing it for a long time. I can tell you that the stories I get to tell now are so much more rewarding, but I couldn't executed them at the level I do without the skills honed over those years of the daily news grind. Keep your eyes and ears open, follow the sound, and take care of your back. You only get one of those.
RU-vid is now days one of the greatest film school that no matter your level of filmmaking you will learn something. Thank you Make art Now for this episode.
Brilliant interview. I loved Civil War and videos like this diving into the minutia of how sequences were made, the choices involved and the outcome is just what the community needs. Thank you!
Wow. This is such an incredible insight into the mind of an established and experienced artist. Thanks for bringing us into the room Josh. Super inspired and can imagine that you are even more so!
glad to see cinematographers who actually understand the tech, hate to see those who just go for the top of the top feeling like they have a bigger D*k and would never be brave enough to mix cameras or censors. Im talking to you, dear friend. *jhonny shooting interior car shots with an alexa 65. I just shot a documentary on the Panasonic s5Mk2 and the producer who was used to DPs asking her for super expensive sets of venice 2 liked my work and asked me what camera did I use, I just answered , Panasonic... what she doesn't know is that I mixed so many cameras depending on the situation. s5Mk2X, GH5, S5 mk 1, insta 360, and even iPhone 15 footage. now I feel like the guy Rob hardy just at a much much smaller scale lol Lots of things impressed me from this explained bts, first did not know the wireless transmission from dji was that good and what a great job from the editing team to go though all that footage when shooting multicam. where I live the industry is quite behind. its all about speed and delivering the project fast so they can take the next job.
The main thing with the 4D is the insane learning curve. I have used it to film everything from commercials to events to red carpet and travel content and I still feel like I am learning so much on how to use it more efficient. They way you can track with the gimbal and combine tracking autofocus and manual focus and control everything from the grips is insane. When I got it I wasn't to sure about the focusing but realised its just a skill issue and now that I know how to use it I wouldn't trade it for any other camera.
@@ryanpallotta5 its not harder to use then any other gimbal but you have much more options like with sport mode, the focus wheel, all the buttons on the grips so there is more to learn if that makes sense
This isn’t just a great interview, Josh, you made this come to life the pacing was perfect style on point and all the information is what we as viewers and craters wanted to hear. great job man, great fuckin job
Fascinating to hear how they shot this - I especially liked the use of the RED at 300fps to get the b&w still images - a great solution. Of course having the budget to control the Ronin with wheels makes a huge difference too. I also wouldn’t mind having 3 whole days to shoot that Jesse Plemons scene and a whole night to shoot a drive through a forest fire - the joys of high-budget filmmaking! The whole thing looked great, though the one of the scenes that just flopped for me what that scene by the lake - it was so static. The other dud was meeting journalists at the military base after the Plemons scene, but that was more just bad acting. I would love to have that cam for videography work…
WOW this was so cool! I saw it in theaters and was blown away by the cinematography. The embers scene stuck with me as one of the most visually stunning scenes I’ve ever seen. I was completely gobsmacked and to now to see how it was shot is an absolute joy and pleasure. This whole video just motivated me to get on a film set even it’s just as a PA or extra. Thank you for making this! It was an real treat
What an inspiring video! I loved this. Thank you for bringing this to us. Bold choices choosing this cam for such a big film, and big payoffs too. I love how the function of the workflow informs the form! Great job, Rob and thank you Josh.
Holy lord Yeo ! Your passion, talent and knowledge unlocked insight and context in a way no other storyteller could achieve. I know it was challenging to sit down across from him and hit record … the pressure was on and in every frame you managed to remain engaged, authentic and cool as a f*cking cucumber. I’m so impressed with your interview skills , plus … storytelling, writing and voice over. there are very few people who could do what you did here with this level of polish, context and focus. Period. 🙌🏼 Yeo -Ronin 4D- Civil War 🙌🏼 you’re my f##ing hero bro Well done
First, this was a fantastic interview; great rapport and chemistry. I don't think people understand the skill involved in not just asking the right questions but also listening in earnest to get the most out of the subject. Next, what a compelling body of work from a compelling guy! I could watch ten hours of Rob discussing his process. ...and for the hat trick, Philip killing it from behind the camera! I'd love more content from you in this format.
@@MAKEARTNOWCHANNEL Greig Fraser would be the obvious choice, if you could if you nab him, but I think James Laxton (Moonlight, Mufasa) would be an interesting choice... And I'd love to hear more from Andrew Wehde (The Bear).
Great content, and nice shoutout to the guys at Cinegear Pro - one of my go to kit houses, I recently tested the Athena and Dulens Micro prime sets there on my R4D
The way Rob Hardy describes their approach to the "gravel pit' scene, is how I think about key dramatic moments in any story. Floating cameras in dramatic scenes, completely takes me out of the movie. It just reminds me I'm "watching" a movie. I'm no longer immersed in the story. Keeping the camera still or with very little movement allows the emotions of the actors' performances come through. It's no surprise to me that that scene was one of the most tense scenes in the movie. Yes, "Civil War" was a beautifully shot film. Looking forward to seeing the 8K Ronin 4D in Rob's next movie.
It breaks my heart to know that Garland decided to go in an undetermined hiatus after this gorgeous movie. Love him or hate him, this man has vision and the ability to turn it into such compelling movies is quite magical.
The camera list also should include "Jessie's" old Nikon, because they put film in the camera for some scenes and some of that character's stills were actual photos the actress took with that camera.
Ive been bottle necked with personal issues, family health stuff, and not having time with edits.....got a new editor to help out, so you will be seeing more and more....im back and hungry to grow the channel.
Awesome video as always! Thanks for traveling to London. I hope there are coming some more videos together with the legend Philip Bloom. ;) One question: What are the lavaliers you used for the interview? They sound really nice.
Great video. We only get these types of interviews from RU-vidrs like yourself. Gene has done a couple. I really love these deep dives into the camera setups and how it was filmed. Thanks for sharing this.
Awesome insight..thanks for this!...This proves that you don't have to use the most expensive cinema cameras out there..like even in the movie the Creator they used an FX3....but.....like you mentioned 50 million dollars sure does help!..haha Have not seen the movie yet..but now seeing this BTS insight gets me hyped to see it now..
I’m 100% convinced if the current 4d was out a few years ago it would have been used on The Creator. I prefer smaller Sony’s for the hybrid capabilities, but if I was all video I’d own one of these too.
Thanks for this. I love the film and the approach. Interesting to see the slate naming the film 'Road Trip' with a US flag backdrop. I feel like they they were being careful not to advertise the film's more confronting aspects.
09:20 with the old summilux-m and djis M mount (on the 4D) you dont need the counterweight. I put gears on mine. Works great. Adapter for the i3 seems awesome!!
