This video is made possible by Zhiyun. That over there, guys, is the Cinecom studio and we’ve made some changes recently so that’s why we’re gonna do another studio tour. Follow me, guys. This right here is the basketball hoop which we never use because we don’t basketball but this here is the entrance to the studio which we do use a lot so follow me guys. So this here is the cozy entrance and nothing more than that. And here are all of your comments which we printed out onto our wall. Really awesome. And here’s Yannick who is sleeping. Yannick, wake up dude. Alright, follow me. Come on, Gilles. Watch out, Gilles. So this right here is the workshop where we build stuff. And this right here is Lorenzo who’s always making a mess. Yannick, seriously watch out, man. Are you slipping at the stairs again? Alright, so this here is that real studio where we have these pretty cool lights up in the ceiling. Look at that, guys. So, in the studio, we shoot all of our episodes for CopyCat and Creative Tuesday, and, of course, the Cinebattles. And for that, we also use these lights right here. And we got some tripods and, of course, Justine with the mustache, really cool. We got batteries over here. We’ve got gimbals, lenses, cameras, the smoke machine somewhere. Follow me, guys, because this is really cool. We got our own shower. Why is the shower on? Why is there water? Seriously, man. And then, of course, toilets. Seriously, Lorenzo? Are you for real? He’s always making a mess right here, always making a mess. And who has to clean it up? I have to clean it up. Always the same. Alright, let’s go upstairs. Yannick! Your backpack. You see? I always have to clean up stuff. Yannick, catch! Alright, now let’s go upstairs. So let’s check it out upstairs. It’s really cool right here. Come on, Gilles, come on. I want to show you this. So right here, we’ve got four computers where we edit with a bunch of screens and Yannick is doing again nothing. He’s sleeping. Yannick, come on, do something useful around here. What are you doing, Lorenzo? No, please don’t. Please, please, Lorenzo. [Y’all hear something?] He’s always making a mess around here. This here is the secret idea board– Don’t film this, Gilles! We don’t want to show this, come on, follow me. Oh man, these are some dangerous stairs right here. Come on, follow me, guys. Gilles, watch out, these are dangerous stairs. Talking about stairs, let’s go upstairs, and it was pretty funny because we don’t have a stair yet to go up there. Gilles, come on, come on, get into the elevator. We need this to go upstairs, I know, ironically. Normally, we use this elevator right here to change the filters, to rehang the lights and everything, but now we’re using it to go upstairs to the brand new studio. We’re still kind of working in that studio so it’s also a little bit of a mess right there. But, you know, let’s just have a look at it. So this right here is the new studio and this right here is the new guy. This is Gilles; he’s a weird guy. And then this here is the brand-new studio and we’re still working here. We still need to, like, put up stuff to the wall and everything and.. Yannick. Seriously, go work on CopyCat or something. Come on, man. He’s always sleeping. He does nothing around here. Nothing. Come on, let me present this Creative Tuesday thing. Hey, guys. Come on, give me that gimbal right here. A one-taker is where you shoot an entire scene or even an entire film in one take. You don’t cut or at least you make sure that your cut is not visible. This right here is the Zhiyun Weebill S, a brand new gimbal with tons of features, which I’m going to go through throughout this video. But, of course, you don’t need this gimbal in specific to follow along. Tip #1: Preparation and practice and here’s how it goes: You come up with a path that you’re gonna walk and the first time you simply just walk that path which you can even do without a camera and just to get a sense of the scene. And what you do is write out a choreography where do your actor stand, know which actions are being taken, and which objects need to be filmed. Timing is really important when things follow up, like, we moved out of the shot when the camera panned away to move to a new position. All of that has to be written down and practiced. At the same time, you’re gonna create checkpoints. You never just walk with the camera. You have to move from point A to point B to Point C, etc. These are checkpoints and help to create fluid movements between them. And this allows you to play with movements in between those checkpoints, you know, you can turn around an object, create and reveal, whatever you’d like. Tip #2 or simply the second step you should do is take your camera. If you’re gonna use a gimbal, put your camera in that gimbal and stabilize it which is pretty obvious. Now a few things about the Weebill S. They have these lock systems right here which helps to balance your camera more easily and faster. And, once it’s balanced, you can auto-calibrate the motors through the menu of the gimbal or through the app. But, basically, it’s then going to figure out how much power each motor needs to keep the camera as stable as possible. And then this right here is really cool. They have created this HDMI transmitter. It’s wireless and it connects through the app, which allows you to control the gimbal, the camera, but also use it as a monitor as you can see right here. And this here just my phone clipped through the phone bracket, which also connects to the gimbal itself, so you get a very nice and compact package with tons of features. Or what’s really cool as well is that you have someone else walk with the monitor, which is just your phone, and then see what the camera guy is doing while operating the gimbal. So lots of possibilities there. So then you practice your movements with the camera and with all the cues. The important is that you also record this and then have a look at the results on the big screen so that you can see what works and what doesn’t work. Tip #3: Lighting. Super important. Either you’re going to work with the available light or you’re going to add new lights. Either way, they might not cast shadows of the camera operator. So, as you rehearse your movements, you pay attention to that. If you do get shadows, then try to flag the lights off in that direction. You can use simple flags which attach to a C stand, hang up a black sheet or just use cinefoil, also called black wrap. Then the second thing with lighting is the color. If you have different color temperature lights, then add filters to them to match them to the entire scene. Also, there are ND filters for lights so if you have fixtures from which you’re gonna change the brightness from, then simply put these ND filters over them. In Premiere Pro, I would also animate the exposure and color temperature sliders when changing rooms. If you do it gradually, it’s absolutely not noticeable and it retains the same look. Tip #4: Focus. There are three things that you can do while making a one-shot. The first one is simply auto-focus. You know, some cameras are better at this than others. There’s not much to say about it. We shot the intro on auto-focus using the face tracking which turned out pretty good. Then the second way is to use manual focus but set your lens at one fixed focus distance and this is gonna be important for your choreography as you always need your subject at the same distance. And then the third way is obviously with a wireless follow focus. And I think the Zhiyun has their own wireless follow focus because they have this knob right here which you can turn. Either way, you can also use a third party follow focus. There are lots of things out there. And this brings us to the last step: create cuts in your one-taker. I know; it doesn’t make it a one-taker anymore. However, it does make things easier. The most simple trick is to just move your camera into something black and then, in your second shot, start from that something black again. Not the greatest transition, but it works. Another idea is the white. As you move your camera through a drawer, for example, you can cut there and start again with a movements going in the same direction. In Premiere Pro or whatever editing software that you use, you draw a mask on the door and it now seems that your two shots are one. And we had several of these transitions so that we could also change the camera settings in between, for example, where we went from outside to the studio. And also it creates checkpoints so that if something does go wrong, you don’t have to run the entire scene again. And that was it for today, guys. Thank you so much for watching. Thank you Zhiyun for the support. Make sure to click that first link in the description below to check out all of the information about this gimbal and it’s accessory, it’s really cool. But most importantly, stay creative.