Comments on: How I Shot the Two Stop-Mo Spots http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/ An Ongoing Case Study in Art & Commerce Fri, 05 Dec 2008 16:23:04 +0000 http://wordpress.org/?v=2.6.5 By: links for 2008-03-21 http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-167022 links for 2008-03-21 Fri, 21 Mar 2008 08:21:22 +0000 http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-167022 [...] Josh Oakhurst - galaxy defender Excellent Q&A of a stop-motion animator and his interesting setup (Nikon D80, no storyboards, etc) short but has a couple clips. intereting read (tags: awesome cool filmmaking interesting photography tutorials video stopmotion animation) [...] [...] Josh Oakhurst - galaxy defender Excellent Q&A of a stop-motion animator and his interesting setup (Nikon D80, no storyboards, etc) short but has a couple clips. intereting read (tags: awesome cool filmmaking interesting photography tutorials video stopmotion animation) [...]

]]> By: Dale http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-55026 Dale Wed, 15 Aug 2007 16:08:58 +0000 http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-55026 I agree with comment number 2 on storyboards. When working with inanimate objects they may not be so important, but they can still be very useful for making sure your shots will cut together well. Where they are absolutely essential is where you have actors and will need the angles and lines to work together. I agree with comment number 2 on storyboards. When working with inanimate objects they may not be so important, but they can still be very useful for making sure your shots will cut together well. Where they are absolutely essential is where you have actors and will need the angles and lines to work together.

]]> By: jim http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-54711 jim Tue, 14 Aug 2007 16:10:34 +0000 http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-54711 ha finally you leak the info jk nice work ha finally you leak the info jk

nice work

]]> By: Stop Motion Commercial Production Notes at FreshDV http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-54592 Stop Motion Commercial Production Notes at FreshDV Tue, 14 Aug 2007 08:05:33 +0000 http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-54592 [...] Filmmaker Josh Oakhurst created a few stop-motion commercials recently using a Nikon D80 DSLR still camera to capture his 1080/24p images. They are quite nicely done, in my opinion. He’s been getting a lot of questions and comments on the compelling spots (myself included), so he took some time to answer production questions publicly in a blog post. [...] [...] Filmmaker Josh Oakhurst created a few stop-motion commercials recently using a Nikon D80 DSLR still camera to capture his 1080/24p images. They are quite nicely done, in my opinion. He’s been getting a lot of questions and comments on the compelling spots (myself included), so he took some time to answer production questions publicly in a blog post. [...]

]]> By: gietoupr http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-49423 gietoupr Sat, 04 Aug 2007 02:02:40 +0000 http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-49423 The 'Fences' spot looks great. I disagree with your opinion regarding storyboarding. If the shooting schedule permits, take advantage of the unique opportunities that the location provides to 'direct on the fly'. But only after you have coverage. Then, if your inspiration doesn’t pan out, you have a solid foundation to fall back on. Having your boarded shots means fewer surprises at edit. And your editor will thank you when they don’t have to dig through cut-aways - assuming you remembered to grab a few - when the ‘something better’ you saw on set won’t cut. The ‘Fences’ spot looks great.

I disagree with your opinion regarding storyboarding. If the shooting schedule permits, take advantage of the unique opportunities that the location provides to ‘direct on the fly’. But only after you have coverage. Then, if your inspiration doesn’t pan out, you have a solid foundation to fall back on. Having your boarded shots means fewer surprises at edit. And your editor will thank you when they don’t have to dig through cut-aways - assuming you remembered to grab a few - when the ‘something better’ you saw on set won’t cut.

]]> By: glenneroo http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-42079 glenneroo Sat, 21 Jul 2007 14:42:12 +0000 http://www.joshoakhurst.com/2007/07/19/how-i-shot-the-two-stop-mo-spots/#comment-42079 As always nice to get some good insight behind the scenes :) As always nice to get some good insight behind the scenes :)

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