One of the most important skills modern directors and DPs are required to master is moving the camera in a dynamic and engaging fashion. Commercial Director and Pulitzer-Prize winning Photographer Vincent Laforet teaches filmmakers of all levels the precise cinematic language of motion, and how to move not only the camera itself, but also the components in your scene in order to bring a richer viewing experience while enhancing the story. This course will give you a solid foundation in camera movement, blocking, lensing, and sequencing, and show you how to direct any crew precisely and effectively to execute your vision.
At the beginning of the course Vincent provides an introduction to Directing Motion, and gives a brief history of the evolution of cinematic motion. He instructs you to move from a passive consumer of film to an active student, outlining the tools you need to understand how to energise the frame and further immerse your audience, starting with the language of camera motion and how to describe basic and complex camera moves in both 2D and 3D space.
In this module Vincent takes us through multiple live demos, showing how camera motion can be executed to add depth to your film. From simple moves like a slide to reveal to complex coordinated movements like a zoom-dolly or "Zolly", Vincent shows how to execute these moves perfectly on both Hollywood level production equipment as well as a more accessible alternative.
We continue our study of camera motion as Vincent guides us through more complex moves, again using classic examples from Hollywood's greatest films. We look at using camera motion to satisfy coverage principles, touch on actor blocking and movement within the frame, and discuss motivated versus unmotivated movement and when it is acceptable and appropriate to use the latter.
In the second live shoot of the course Vincent takes us through a pair of scenes from Spielberg's masterpiece, Shindler's List. We start by looking at the principles of coverage, and how to shoot a scene to make it more engaging before looking at a clear definition of roles on a film set. Vincent not only clearly demonstrates how to recreate the shots in the film, but also gives an intimate lesson on how to approach directing actors in both pre-production and on set.
In this module we continue to examine complex and combined camera movements, with the emphasis on sequencing to create an effective and engaging scene. Using examples from a range of classic films such as "The Shawshank Redemption" and "Goodfellas", Vincent gives his keys to providing a rich frame, as well as his coverage principles. We look at the concept of a moving master shot, and when to not move the camera, before finishing with a director's script breakdown.
For the final live shoot of the course Vincent guides us through a sample episodic-style multi-camera shoot firstly using a Steadicam stabilizer, then to shoulder-mounted before ending with a gimbal-mounted shot.
One Shot "Wonders" are the bravest of scenes in filmmaking. In this module Vincent takes us through some of Hollywood's greatest and most memorable one-shot sequences where multiple scenes are linked in a single take, using intricately choreographed cinematography and camera motion. He deconstructs them and explains exactly how camera and actors are used to make every frame dynamic and energised, to heighten the audience's enjoyment of the piece.
In this short module, the Directing Motion post-production specialist takes us through the editing of the three live shoots from the course, including quick shortcuts for creating a multi-camera sequence in Adobe Premiere Pro.
In the final module of the course Vincent takes us through his process for a high-end corporate commercial based on his work on the Nike Flyknit TVC. He explains his steps from conception through the proposal and bid, budgeting, storyboarding and all the way through execution, sharing his tips for success and hard-won lessons.
Vincent Laforet is among the most influential pioneers working in film and contemporary photography today. His work includes iconic and inventive commercials for brands including Apple and Nike, as well as photography for magazines such as National Geographic, Vanity Fair, and Sports Illustrated.
“You don't need film school, just someone showing you where to look, and how to look. This course will do that. ”
“Lots of good, practical stuff, and Alex is genuine, down-to-earth, and engaging throughout.”
“Adam is a wealth of knowledge!”
“Life Changing. This is going to take me to the next step in my career as a DP.”
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