Kids see a drone for the first time.

This was taken a few years ago when drones just hit the market and I was working on a documentary in a small village named Anuk Lang. There is no electricity, no TV, no internet, and no real connection to the modern world there, so when I brought out this little drone the kids went absolutely bonkers. They never had seen a cell phone let alone a flying quad copter. The look on their faces are priceless, and reflect the pure beauty this extraordinary country offers.

This is by far my most popular drone film, the (longer) original version
Vimeo https://vimeo.com/82292117 – but we wanted to share this rare view of Cambodia’s lush back country with you today, which we find absolutely stunning. You can read more about it on this Huffington Post article

https://www.huffpost.com/entry/drone-documentary-cambodia_n_4957251

If you want some tips on best settings and color correcting drone footage check this out:

https://cineclast.com/2015/01/04/best-settings-for-perfect-drone-footage-me-thinks/

And if you dig this film please like and Subscribe … we’ll be bringing you NEW CONTENT EACH DAY so count on us;)

Much love,

TC

JOIN THE CLAST!
YouTube: https://www.youtube.com/c/travelclast
Instagram: @TravelClast
Twitter: @ClastTravel
Facebook: http://www.facebook.com/TravelClast
Blog: http://www.cineclast.com

GEAR:
Drone: DJI Mavic https://goo.gl/jLa257
Camera: Sony A7rIII https://goo.gl/ijE1vZ
B Cam: Sony a6300 https://goo.gl/cs7AJm
Art Lens: 25mm CCTV f1.4 https://goo.gl/EgZShq
360 Camera: Samsung Gear 360 https://goo.gl/1jsfn8
Mic: Zoom H6 https://goo.gl/Gani8E
Lavs: Sony UWPD16 https://goo.gl/LXpHyg
Tripod: Manfrotto 390 https://goo.gl/6PzxBv

Shoot’s DGA 2017 New Director’s Showcase & Me.

My short film about love, and loosing love, Unattended Baggage, was selected to be in the 2017 New Director’s Showcase presented by Shoot Magazine and the DGA. I was quite honored. Here is the film:

They gave me a questionnaire. I answered those questions about being a filmmaker. Those answers are here:

https://nds.shootonline.com/nds/profiles/roberto-serrini

Im very serious about my work. I’m very not serious about questionnaires. I enjoy living this dichotomy.

Anyway, if you care to find out what my favorite word is (protean, or, perhaps, quince) then by all means, give an eye.

It was an honor to have this film screen… also a bit strange, given how personal it was. In the end, just nice to have an audience and have your work acknowledged.

How To Get a Vimeo Staff Pick.

 

So clickbait, amirite?

This essay isn’t really about how to get a Vimeo Staff Pick. I am fortunate to have a couple of my films to have been showcased on Vimeo’s Parthenon of special Staff Picks, but I couldn’t tell you a recipe on how secure your acceptance. Besides, other people have offered their advice on the subject, so why add to the noise.

What I do want to discuss is why some of my films become Staff Picks, and other’s perhaps not.

I have upward of 600 films on Vimeo. Each unique pieces of work, a mixture of client driven and personal projects. Somewhere along the way I left the ranks of an office worker and dedicated my full-time to being a filmmaker. I say filmmaker because I direct, shoot, and edit. It’s totally consuming, and even when I’m not “working” I’m still working. Like they say however, if you do what you love, you never work a day in your life. That is true.

Even though I have some compelling work with famous athletes or well-known actors or insane SFX, there are a few films that really resonated with the Vimeo staff. What I find interesting is that they are all projects I did on my own dime, with my own crew, and were totally self-produced. I think this is an important point for any filmmaker.

This last film, “Heretic” is a short documentary about Douglas Little. Douglas is an amazing guy; he’s one of the creative visual geniuses behind sleep no more, an award-winning designer, but what put him on my radar was actually my girlfriend. She forwarded me an article about this guy who makes personalized perfume in his baroque upper west side apartment. He sounded absolutely mad, and I really wanted to meet him.

So I wrote him an email.

I basically said I was a filmmaker, and make short docs about people I find interesting. I asked if he would be interested in shooting a short doc in his apartment. He said yes.

I’ll pause here for a second to explain why these short docs are so important to me. I love narrative work, both commercially and otherwise. Docs though hold a special place in my heart. Living in a city like New York you are literally surrounded by people whose stories are always as or more interesting than most narratives. These are real people, who are your neighbors, your office mates, your friends even. Their stories are already written and all you need to do is record them. For me the short doc is an easy day at the filmmaking gym; just bring your gear and work it out.

For Douglas, along for others I’ve done, I like to keep the crew real small. Just 3 or 4 people. Maybe two lights if any. Good sound. It makes it fast and easy to move around, and easy on the subject too. I’m sure Douglas was open to having 5 people in his living room instead of a crew of a dozen.

I also move fast and cover everything. I have a set list of questions, but really just want to have a conversation with my subject. I find out what’s interesting about them on the spot. What’s fantastic is there is no consequence; there is no client, no one paying you, so it really doesn’t matter if you get something or not, you’re there to experience someone and no more. It’s the going commando of filmmaking and it’s amazing.

Finally you must have fun with it. The crew I roll with is all other filmmakers and shooters. Since there is no client it become professional playtime, meaning we get to use all the toys we never do on paid sets because we’re not exactly sure what they will do. Russian anamorphic glass you bought on-line, a weird 360 camera you want to cut your teeth on, even an old 8mm film camera you found at your grandparents. We get weird, really weird with it, and it makes for some very interesting footage. Weird angles, strange lighting, you name it, the weirder the better. Leave it to the editor to figure out.

That’s me also. I love and hate editing like most editors do. When it’s tedious, it’s life sucking, but when its good, it’s mind-blowing. When I do a personal project like this because there is no consequence to anything we’re doing, it becomes extremely enjoyable. I make some editorial decisions that are frankly horrible and I love it.

In the end what happens is a few things. You get to meet someone who is very interesting. You get to learn and invent new techniques and gear, and you get to try something new in post that may or may not make sense. It’s basically the Jackson Pollock style of filmmaking; throw it against the canvas and see what sticks.

Now I’m sure some people will say that a planned line of attack is a much better use of a filmmakers time, and yes, there is a time and place for that. However if you consider that it takes half a day to shoot, and maybe a week to edit one of these films, it really isn’t that much of a risk.

The result has always been rewarding, not just from accolades, but from the experience of meeting new people and working with my core crew. One film we did together about master mechanic Peter Boggia went on to win a few great festivals and even brought Peter and I over to Italy for a month-long, once-in-a-lifetime motorcycle trip. This latest film about Douglas has spurred a bunch of new work from new clients, which I wouldn’t have even know how to approach otherwise. What I’m saying is that while paid work is great, it’s usually the personal projects that stand out, and often get the new work knocking at your door. What’s more it doesn’t really cost anything to produce, other than some lunch for your friends.

So how do you get a Vimeo Staff Pick? No idea, but if you know please tell me. In the meantime just email someone interesting, grab a camera and a friend, and go make a short doc, you won’t be disappointed.

Rs

Roberto Serrini is a professional Filmmaker who records his adventures in word, photography and film. He is a staff writer for Get Lost Magazine, a senior contributor to Trip Advisor, as well as a commercial film director and drone pilot. His work can be seen at www.robertoserrini.com where he can be contacted as well.

How To Make A Good Drone Film.

Drones. We all got drones. Everybody is doing the drone thing, amarite? I mean there is even a Drone Film Festival in NYC (which I’m a judge of;) so lemme tell ya when I say drone vids are a dime a dozen, they are.

So, how do you make a good one? How do you make one that stands out? One that people actually watch, and dare I say it, share?

Well, here are a few tips I use when making my vids, and things I look for in other flyer’s vids. Just some armchair advice, and you can’t beat the price.

  1. Shoot it right. 

This should be a no brainer but like cooking or construction if you use crap material, you get a crap product. So what do I mean “shoot it right”? Here’s a few things to think about while flying:

  • Fly steady. Do long sweeping moves. Try to ease in and out of panning shots. This is where the skill is in flying.
  • Know what you’re shooting at. Flying into the sun can be cool, but it usually isn’t. Be aware of propeller shadow hitting your lens (e.g. don’t fly 45 degrees to the sun)
  • Use a ND filter. This will slow down your shutter, and keep your footage more cinematic. Don’t have a ND filter? You can tape a piece of exposed 35mm film over the front of your lens. That one’s for free.
  • Be interesting. Sure you can go high, but the best drone footage has movement. If you are ballsy enough fly through something (safely people) or easier, set up a shot where you fly sideways across something, e.g. a wall, coastline or even a fence, you’ll get a cool shot.
  • Set your camera up right. Many of you have seen my post on the “best” settings for drone footage. Don’t be afraid to experiment. Also, I always opt for more resolution over frame rate. It will give you more latitude in post bringing me to my second point:

2. Dress up your footage. 

Sure, you can upload your entire clip to YouTube and let it rot there with the millions of others, or, you can do some dress up in post. Don’t be afraid of post, frankly it’s more fun then flying sometimes, and will make the difference between amateur footage and pro footage. Here’s some tips:

  • Cut it down. Then cut it down some more. Then cut it down, once again. Drone videos don’t need to be over 2 minutes ever. 30 seconds is actually totally appropriate. Short and sweet is the best rule of thumb here, choose your best moments, and get out.
  • Think story. I know you’re just shooting a field, or the ocean, or a strip mall, but build a story. Could be anything; start low and go high. Maybe try alternating closer shots with wider shots. Build a story, like you are leading a viewer on a ride. I alway re-order my clips (that’s editing;) so that they tell a story, abstract as it may seem.
  • Think backwards. Don’t be afraid to reverse your footage. 80% of the time I will have my shots playback in reverse, reason being is because with most drones, especially Phantoms, you can fly backwards faster and without the props getting in the shot. Reverse this and you look like Ice Man from Top Gun. Just make sure there are no people, or waves in the shots, or it might look a little weird.
  • Get weird with it. I know I just said be careful not to get weird with it, but I definitely want you to get weird. 99% of all drone films are just beautiful footage from the sky. Thats cool. Sometimes it’s real refreshing to see something new, weird, and edgy. Mix in B roll, stuff on the ground, handheld. Turn the image upside-down, that will make your head spin. Stand out footage will make you stand out.
  • Color Correct and Optical Correct always. Your footage isn’t really done when it comes out of the camera, it’s half done. If you can, shoot “flat” or “protune” to have latitude in post to color correct. Massage your contrast, grade your film, and give it a look. I guarantee you will make it 100 times better. Another great thing to do is optically correct the footage. Most footage coming out of the camera will have a pretty noticeable fish-eye on it. It will look like you shot it through a hotel door. Most programs, like After Effects, have a “optical correct” plugin that you can slap on your footage. Here’s a good tutorial that I every time without fail. Pro Tip: click the “optimal Pixel” checkbox. It will “bow” the top and bottom of your footage. Then just change your frame/canvas size to crop the image. This will give you the most resolution and a nice letterbox.

3) Music

I can’t stress this one enough. Good music makes good footage. Music is so important to film in general, but it goes triple for drone footage. A sweeping orchestral piece will elevate and give your film gravitas. Something electronic and modern will give it an edgy feel. Depending on what you want your film to be, music is the vehicle to get you there. You can use a famous song, but beware, some sites may not let you post it. Or you can go to a site like pond5 to get some cheap tracks that can be used anywhere. Even finding something at freesound.org can get you on the right track, so to speak.

Here is a little side by side of ungraded and graded footage:

And here is the final film with music:

that’s it really, three solid rules to follow when thinking about drone films. This is a special genre of film and relatively still new, so there is lots of room to bend and break these “rules” but I guarantee if you are at least thinking about them, you’re going to have a better end result. If you don’t I’ll be happy to refund your money.

Happy flying!

Rs

Roberto Serrini is a NYC based commercial director, editor, and avid drone operator. His work can be seen at www.robertoserrini.com

I’m up for a major award…

So Awardeo, the lovely folk that claw through Vimeo films and create contests around them, have nominated my film about Cambodia for this week’s showdown. I’m very honored it got seen, and it’s in the running, although I dont know how it can compete against a CG rabbit and a film about staring out a window.

http://www.awardeo.tv/video/82292117/541fc7bb521e69e606b5089f?utm_source=vote_facebook

Regardless I hope I fucking win.

Rs