As one of the biggest digital influencers of our time, filmmaker and YouTube superstar Freddie Wong has used the Sachtler Ace L throughout his rise in the industry and while filming comedy shorts for his acclaimed production company RocketJump.
RocketJump has over 7 million subscribers and 1. We tend to go for a guerilla aesthetic and the Ace L in particular fits right in by combining excellent build quality with a light weight so you can easily pick up your whole camera package and flee quickly from non-permitted locations when the fuzz comes to shut you down!
Available in a limited supply, this system can handle camera packages up to The 75 mm bowl tripod offers operators the most durable option providing the ease of use and quick set up vital for all applications.
We are thrilled to partner with Freddie and reach the next generation of creators. We hope this special configuration will help inspire them. With this new tripod, our customers get trouble-free shooting in every environment with improved features that will provide all the control and flexibility required to deliver a best-in-class Sachtler performance.
It also incorporates premium Sachtler features such as easy, accessible controls and fast adjustments to deliver the ultimate professional performance for shooters on the go.
And it worked perfectly. Below: Pond5 clips featured in the video. Business Team Office Frozen in Time by multifocus. Another big undertaking for RocketJump was the creation of the RocketJump Film School , a free online curriculum that is regularly updated with engaging tutorials on Directing, Visual Effects, Screenwriting, Producing, and more.
But at the same time, the explosion of content online in the years since Wong got his start may also make starting out now seem more daunting than ever. Then that excitement is what drives their ability to create.
We were lucky to have done a lot of time on YouTube. By and large, there is nothing holding back from doing what previously required some sort of a permission. Freddie: Yeah. I think that the real rule is not really about the number of seconds. People lose interest after a certain point. Depending on the type of content, most of the time, the videos are too long.
At the end of the day, your competition is not how long their attention span is. Your competition is all the other videos. Your product needs to stand out; but to keep [the audience] there, you have to be good to begin with. Rather than blaming their attention span, I put the blame on the creators.
I really enjoyed Westworld. To me, that holds my attention less than Veep. Which is why we like focusing on that long-form feature length storytelling: We get to be free from this almost consumer-centric world of short video and shift it more toward what we, artists, want to say. You are busy doing so many damn things. Freddie: Speaking of RocketJump , we wanted to be able to pay people and we wanted to share what we were doing. So we needed a company structure.
What it came down to was: What I want to do is not tied to my name. Originally, it was and it was a bit self-serving. And also good luck finding someone to collaborate with! There are examples of well-oiled YouTube machines. These are places that are putting out a lot of content on a consistent basis. On the other hand, you have traditional production companies that expand or contract depending on the project. And us, in the middle: We have an online presence and social media and all that, but we want to be show runners and directors and producers.
As you were making a decision to assemble the company, was there any oh-shit moments along the way? Freddie: Yeah, I think so! There is definitely a transition. One of the reasons is that there is a new groups of buyers that are playing by tech company rules. There is a bit of a transition happening: The traditional Hollywood is trying to figure out how to work with these new players, looking for content for their platforms.
And the timelines that the tech world is used to are a little different than the creatives are used to working with. There is always that navigation of the landscape. There is a bit more freedom for the up-and-comers. Tech world is a lot more analytical. From friends who are pitching to these platforms, I hear that the tech companies change their focus really fast.
The timeline is mismatched. More than anything, good content always has a place somewhere. Everyone is trying to figure out what that looks like and what the value of it is. The truth is somewhere in the middle.
Freddie: I think that Video Game High School is absolutely among the top challenging ones just because we had no idea what we were doing. From a season-to-season basis, we were learning. We try to figure out how to do it without ridiculous expensive CG work.
Freddie: Oh, absolutely! Every frame of a commercial movie is getting some kind of work on it: be it background or digital make-up.
And what we found was that knowledge was helpful and it was helping us save money. There are points on set when you say that:. There are other moments when you do need to spend that time. Spend 10 more seconds to fix something here or put enough tracking markers, or what have you. That goes into the calculus of what we do:. It helps you tremendously to understand how CG works. It can be a huge time saver and it can enhance how your final product looks.
Not knowing that, you do that at your own peril. Having some VFX savviness is a huge asset on set because you have all these tools at your disposal.
There are so many things that go into visual effects. How quickly this stuff can go wrong is a big part of it! A lot depends on the director, as well.
You make production decisions as a director, you find ways to save on production costs. Or do you want to do things carefully but better — and then we have the extra time to pay attention where it needs to be paid.
Freddie: You have to pick and choose your battles. The best projects come out of some sort of a constraint. As a director, you have to be able to speak to it. Night Shyamalan. You take away his budget — and his films are phenomenal.
Freddie: Say what you want about Michael Bay, I really look at him as someone who knows how to use visual effects. You may not like the Transformers movies, but I challenge you look at any single frame of those films — and compare to other movies that ILM does.
He is getting the best possible work out of ILM because he knows where to use real stuff. At the end of the day, if it were that easy — everyone would do it!
Or, Larry Fong. How many times people tried to top ? Again, I look at filmmaking as a craft and there are different aspects you can focus on. He demands a lot from everyone. Even talking with Digital Domain — when he was working on Transformers 2 — they were basically redoing all the backgrounds, recreating, repainting everything.
They were planning ahead. What makes for a good synergy? Freddie: You know, I think that the people and the personalities that you find in the entertainment industry are very much at odds with the work.
That disconnect is present in everything. When you create something, there are always these situations. You look for their history. John Lennon was not the most upstanding individual but there is always that tension of push and pull. We try to be nice guys because. I went to this really tough high school where everyone was changing the world upon graduation: surgeons, life-saving individuals. I get some surgeon screaming at someone.
So we try to be nice people. There are situations when you need to decide what the most important shot is and do that, instead of 20 extra shots. The average number of revisions we do is 3 or 4, on some hardcore visual effects. Very rarely do we touch double digits. We are very fortunate to have shorthand [in communication]. Sometimes I think about: People are so afraid of going too far.
With color correcting, [for example], go far — break it! To me, there are two ways to get to it:. We need to be able to push those limits. From VFX side of things, we insist our guys show us the super blocky, crappy, viewport render. Hell, even take a video with your iPhone and send it to me.
That way I can catch things earlier. If you go too big, at least you have a cap. Freddie: Or, the bigger thing is: Noodle the ones that need to be noodled.
You have to pick your battles to some extent.
0コメント