what you can't see in this beautiful
cinematic shot is that the spotlight in
the back is made from a roll of paper
and the camera is being pushed on a
skateboard with one hand while the other
hand is dimming up a light you're fading
it in on your phone oh my God that's the
Creator gaau and his videos are like
watching a freaking magic trick he
captures these rich Dynamic cinematic
shots that look like they would only be
achievable on a Hollywood set to film
that I used a SE stand to get a top down
shot and then I used two skateboards to
move it so I put theist on the
skateboards no and that's my dad's hand
because the marker can't support the
weight of the camera I like to have
small details that I know not everyone
is going to notice but the people who
pay lot of attention in the video are
going to say oh that's cool I'm sitting
down with gax and breaking down the
first minute of one of his videos to see
if I can get to the bottom of the detail
orientation and craftsmanship that make
his work so
[Music]
extraordinary
Gus we're going to watch your video I
finished a Sketchbook in 24 hours and I
think the thing that is so incredible
about your work is the amount of detail
and energy that you pack into every
second of your videos every second is
meticulously crafted and designed to be
exactly what you want yeah and I think
it's a it's a level of craftsmanship and
creativity that we we rarely see not on
YouTube we rarely see in the world we
rarely see people care this much about
every little detail and I think that's
just what really stands about your work
so what I want to do in this episode is
really dive in to all the details that
make you who you are as an artist thank
you thank you very much I'm I'm excited
to do this and this is a great peek of a
video okay I'm stopping right there how
did you do this so so you're you're
obviously motion tracking the title we
think it's a still title and then as
soon as the video comes and it matches
the how did you do that are you using
like after effects or something yeah for
that I used After Effects first I uh
wrote the title in the video in the clip
uhuh and then I brought that to After
Effects tracked uh the title the
sequence with the like the living room
right and then I did a steel frame for
the black section for the steel section
and that's why it's not moving in the
black section yeah that's why it's not
moving you yeah I want to have a little
bit of surprise at the start like like
and I did that you know what's funny
about it is like a lot of a lot of um
videos on the internet do like a cold
open you know where there's like the the
first minute is really exciting but what
you're doing is you're sending
us I mean maybe I'm misinterpreting this
but it seems like a signal that you put
a [ __ ] ton of hours and energy into the
smallest details in the first three
seconds of the video we know that like
you're going to give us a bunch of
really exciting detail and we need to
watch closely it's kind of what that
feels like yeah maybe I I don't know if
that I did that on purpose but yeah I
like to have small details that I know
not everyone is going to notice but the
people who like who pay lot of attention
the video are going to say oh that's
that's cool that's interesting yeah how
do that I have to ask you how long how
many hours does it take to like do all
that motion tracking on this shot and
add that title like this where now we
Zoom past it like you have to create
layers and depth spaces and things and
after effect how long does that take
that's well I just used the tracking
tool and then I played with h Goan blur
and a little bit of motion blur as well
to make it smooth it takes
around 14 minutes an hour for the
title is that you that's my brother yeah
that's my brother and my dad opened the
door and I filmed the shot I was going
to ask how you're able to so where's oh
your dad's behind the door yeah he's
behind the
door he opened it yep we did that a
bunch of times because it was difficult
yep and my brother was standing there
with the Sketchbook okay right there so
and you're filming it and you did this
kind of swooping shot to go in the door
and then come out yes it looks like
there's light beams coming through the
window do you have a fog machine or
something are you hazing before you
shoot yeah that's a fog machine yeah
it's a fog machine with the I I'm lucky
because my window has very good lighting
the light comes in the afternoon it
comes right inside and I have some trees
so it gives this really cool effect oh
my God okay and then this light what is
this that's ah when I turned I think 17
my my dad's got me some lights for me to
start making videos and these are some
uh Amazon light some newer Amazon light
now I got it's funny because this video
I started uh filming it in 2022 yeah so
you can see the lights in some shots and
I finished it in 2023 where I got new
lights H which and C St and then I said
okay now I have this good lights I don't
want them to be in the shots for to make
it a little bit more professional so you
can see this difference in this video
got it okay so these are the old lights
that you lights yeah okay and this is
your actual room where you do all your
work yeah yeah yeah and where I sleep as
well okay yeah and so wait so you said
your dad helped you open the door that's
your brother yeah but obviously the
conceit is that this is you yeah he
looks just like me and we can't really
tell because he's he's hazed in back lit
so you can't see it anyway um and then
you instructed him to just like have his
back turned and hold up the Sketchbook
like this yeah to yeah first have the
hand here and then move it up it's
good and then are you pulling Focus or
is this autofocus that this is autofocus
it's autofocus okay this is the most
important Sketchbook I have ever had was
this your idea for the opening shot of
the film to do this door push in and
that was so you wanted this to be the
opening shot yeah I had I I don't do
storyboarding I I kind of have it
everything on my mind and the only thing
well the main thing I had for the video
was this shot like I want this shot to
be the first shot and then go from there
and how did you how did you come up with
this idea for the shop because this is a
very striking thing to see on YouTube
you don't usually see something that
looks like this this looks like
something from a jean Pier Jan film you
know it looks like
[Music]
amaly yeah yeah well I think it's it's I
get my ideas from movies I like I watch
a bunch of movies and
then like not not on purpose but some
some of that sticks with me and then I
mix everything and I come up with this
ideas for what what movies you like what
what what directors I like well I like
everything I like dramas I like that
dramas I like there's an Iranian
director his name is AAS kirami a
Mexican inyu kubri oh kubri is a huge
inspiration yeah for this video as well
yeah I watch a bunch of kubri films
before filming this so you can see hints
amazing okay and and do you when you map
out a video like this
do you have the whole idea for the video
in your head do you have like an outline
for the video start to finish before you
start shooting or are you just kind of
shooting things that look cool and then
you come up with a story as you're going
uh well I I kind of have an outline but
well I know I want to well I know the
theme of the video I kind of know how I
want to do it but first I film this shot
and then I say oh how can I follow up
and I filmed the next thing really okay
so you're actually you're like in
production getting cool shots that you
think are awesome maybe even before you
know where the story is going yeah okay
so it's it's very um it's very like
emergent the way you tell stories yeah
because I draw so I don't I don't really
know what's going to happen next in my
drawing I don't know what I'm going to
draw so yeah I can I go from there and
if I need to fix something or maybe to
film something more I I go back and
forward with editing filming editing
filming yeah yeah amazing okay let's
let's look at this lettering
here this is the most important
Sketchbook I have ever had okay so is
this um D Vinci resolve do you edit in D
Vinci resolve or no I edit on Premiere
oh you do yeah okay got it so you you do
color correction in Da Vinci resolve
yeah okay so so then how do you how do
you do that do you take the clips into
Da Vinci and then color correct and
bring them back into into Premiere hey
well first I edit everything on Premiere
then I export a progress file yeah uh no
compression progress file and I export
the Tim line to have the Cuts then I
move that to Da Vinci it's a mess I move
that to Da Vinci at at the progress file
then at the Timeline copy the
cut color correct then I export it in
progress again bring it back to Premiere
and do titles and finishing details and
then I export post on YouTube okay
that's a ton of workflow is that just
because you like Da Vinci's color
correction Suite better than Premier
yeah I love it are you reading a lot
about color correction kind no no okay I
watch YouTube videos where I see oh this
color is great how how did they do it
and I try new things which YouTube
channels or videos do you like for like
color correction because I've been
watching a lot of color correction
videos too which are the ones you like
well my favorite is h a YouTuber called
SAR he's great he's from La his colors
are absolutely incredible wow okay cool
and so you watch like his tutorials and
stuff yeah yeah okay cool wow awesome
okay let's keep going why you may ask
well let me explain okay one more
question about voiceover in your videos
so voiceover is a common theme in your
videos and then it looks like sometimes
you film after you've recorded your
voice and you're mouthing to match your
voiceover yeah well I'm glad you asked
because a lot has changed since I last
answered this question two years ago for
instance how do you do voiceover do you
have a nice mic or something that you
use where do you record I use I use
Adobe Audition for my voiceovers and I
got a mic like 5 years ago a Blue Yeti
mic oh yeah those are great yeah and I
IED that one maybe it's not the most
professional but it gets the it's a
great mic yeah and it it sits on your
desk or something yeah it sits on my
desk and when I need it I just bring it
yep record my voice hand yeah and that's
the Blue Yeti you said the blue yeti
okay okay come on like tracking shots
and stuff like what so what do you have
like rails above your desk and the
camera's tilted down how do you do this
to that's later the first shot is 2022
this is 2023 okay uh well in the video
It's supposed to be 2019 because I built
like a crazy story with this yeah but to
film that I used a cand yeah for to get
a top down shot and then I used two
skateboards to move it so I put the SE
stand on the skateboards no you have
your SE stand on skateboards yeah yeah
and you're moving the skateboards with
the SE standand hanging over the desk
yeah and that's my dad's hand that's not
mine what's your dad's hand the just
started high school and that's my dad's
that's your dad's hand yeah so you're
doing the camera and you got your dad's
hand yeah he's supposed to be you can't
tell because he's yeah he's older than
me but and and do you say like okay open
the computer now like how are you doing
it how yeah yeah I say first draw and
then open the computer we try uh some
shots but I give them I say now open so
you're like calling out instruction yeah
yeah yeah kind of directing so let's
watch this beautiful shot thank you by
the way guys this is so fun man like
this is this is [ __ ] beautiful work
it's so fun to dive into and hear how
you think about this and how you do this
I think what's so exciting to me is like
you know see like hearing that it's your
dad and that you got an Amazon like like
like you're you're you're able somehow
to achieve um output that looks on par
with like the best movies in the world
thank you very much and and you're doing
it with like skateboards and it's just
incredible so okay let's watch how
beautiful the show I got this one about
4 years ago I had just started High okay
is that the light from the actual
monitor yeah that's the light from the
monitor it has some hze machine to to
get like a little bit beam it gets you
can see the light yeah that's a light
and I have a light over here filming the
whole thing okay and is that like a soft
light with like a some kind of a um
diffusion over it or something yeah
that's a soft light with uh this grd you
put yeah yeah yeah do you happen to know
what kind of light it is yeah it's an
amaran 60x amaran amaran 60x okay all
right cool this is I mean the the glow
of the monitor on the laptop and on your
hand looks so nice I went to get that so
I opened a this tab which is just white
it has nothing on it to get the light
okay got it so you actually preloaded a
tab that was white on the computer and
then did you turn up the the brightness
so that you got this lovely glow coming
in God it's so beautiful okay I have a
question for you about Haze and fog so
one of the things that you do really
well is you create these hazy
memory sort of nostalgic Feelings by
using the fog and the way light moves
through fog um how do you how do you do
that and make sure that you get really
deep rich blacks and like dark colors as
well like how do you color correct those
super hazy milky shots to make them look
full well uh first I don't try to put
way too much [ __ ] if I put way too much
[ __ ] I open the windows that's a little
bit go out and then I film and on the be
when I chlorr I I just move the blacks
down a little bit more of contrast until
I think the image looks good and yeah
and then you go yeah I don't really use
the histograms oh you don't okay you
don't use metering or or tools like that
no I I get confused with that and it
gets slower so I I go with the flow and
if I export it and the blacks look too
black then I go back and fix them okay
got it so so you're really just using
your eye looking at the looking at the
screen without looking at like meters or
tools measur yeah okay cool schol and I
needed a new Sketchbook since my
previous day okay now the camera is
tracking backwards so what is that now
see skateboards again yeah skateboards
and a tripod and that's me and my dad is
filming okay so your dad's pulling the
camera back now okay got it we're
already filled out after receiving it
they started carrying it around okay so
I love this about your videos there's
this conceit that like there's a
doorbell in the package outside your
bedroom yeah that's good like that's
kind of I mean obviously that's the joke
but like where where is that where is
the inspiration for that idea coming
from uh well since I started I every
time I get a package it's outside my
bedroom yeah so I I don't know why I did
that I didn't want to show the the front
door of my house so I just my bedroom
yeah and it's stayed now every time I
get a package it's in the outside my
bedroom it's so good is is this um like
when you're when you're setting up a
shot like this is this blown out like
are you getting zebras here do you film
with zebras h no I don't but I use I use
the what's the the camera says if you're
Overexposed it's plus two right yeah and
it blinks oh okay so for that one I was
a little bit Overexposed but it was the
look I went to get I went to like this
light behind me yeah so so sorry what's
this plus two thing you've got you set
oh yeah it's what is exposure
compensation okay and is that on the A7
S3 is that what you use fx3 oh the FX 3
oh did you just get that I got it in
2021 okay okay got it so you shoot all
of your videos on the FX now everything
yeah and then obviously your room again
is super haste right now like ton of
Hast yeah okay all right Co with me
everywhere I went I used to draw on it
almost every day okay I like even the
way you pick up the package there is so
deliberate and funny like it's almost
like cartoony or something yeah yeah
like cartoony I I did you watch a lot of
cartoons I used to SpongeBob my fa was
SpongeBob but this is I think this is
more Wes Anderson
[Music]
style yes oh it definitely is Wes
Anderson oh that's a good call out yeah
it's like robotic you walk out yes yeah
oh so cool everywhere I went I used to
draw on it almost every day now the
camera's tracking backwards there right
yeah so who's shooting that my dad or my
brother one of my dad or my brother on a
skateboard again on a skateboard yeah
and those are difficult to good because
uh the skateboard moves a little bit and
it doesn't go still like like at
Dollywood yeah and so for that one it
went a little bit like this and then I
just fixed that in post oh you do so you
like you you track in post using after
effect or something to make it smoother
yeah for that one I used Premiere so I
put a like a ruler a line a guide and I
just I just place it here oh you just
like key framed it frame by frame really
like for like that looks like it's a 3
or 4 second shot so that's like 150
frames or something yeah 150 key frames
tracking
backwards my God it gets crazy sometimes
yeah so okay I I don't even know how to
frame this question it's just like why
do you care so much about all those
little details there's so many videos on
YouTube where the camera moves a bit and
people don't spend six hours doing 180
key frames to make it perfect why why do
you care so much about that uh well I
really like uh to make this type of
video I have a lot of fun and I I think
I get a little bit OBS obsessive with
the little details sometimes there's one
shot where I feel it's a little bit off
and I just obsess over it I don't know
if that's healthy but I just want to be
perfect and since I don't post that
often it's like a three two months
between video like I want to be really
good yeah yeah so okay so then your the
trade-off in your mind is like look I'm
not coming out with videos every week
yeah so I'm just going to make really
great videos and if they come out every
two months or three months fine yeah
okay got it so you live right now with
your who who who you live at home or
where do you live yeah I live at home
with my mom my dad and my brother mom
dad and brother and it seems like
everybody like helps you with your
videos yeah yeah they sometimes they
don't want to
but I I as no help me a little bit do
they um argue with you about shots and
stuff or are you calling the shots no
not really sometimes they well sometimes
they suggest maybe we should do it this
way
but mainly I tell them and we we go from
there sometimes it doesn't work what
what I had in my head yeah so we try
different things are they filmmakers too
is your brother a filmmaker no my
brother is in high school he's he likes
music production okay and my dad my
parents are musician
oh they're musicians so they're they're
in the Arts yeah they they're in the
Arts how cool are they professional
musicians yeah they play uh my dad plays
in the philarmonic orchestra oh my gosh
and my mom used to and now she has a
string quartet okay so they're like
super they must be really supportive and
excited that you're okay how cool wow
and they also helped me well my dad
helped me with the now I use a lot of
classical music so he helps me with the
music SE selection sometimes I edit and
I show him what do you think of this
music yeah okay so where where are you
getting that music uh from the music
licensing platforms mainly music bit and
art list yeah you those it's so
different again than everything else on
YouTube it feels way more cinematic to
use class it feels very kubric actually
to use class yeah yeah okay all right
let's keep watching without prior notice
I stopped those shots M it seems like
there's some rotation like what's
happening there uh that's uh so I went
to show this passing of time and working
on different uh drawings that's why I
have different lighting for each drawing
I see and I filmed that with a slider a
motorized slider yeah okay got it and is
it a curved slider or how oh or is the
camera just on a yeah you can uh so it's
a slider and you have two like one pole
here which you can move and if you move
it like this the camera moves I see
right so so the camera's literally going
like this as it go on the sler yeah like
this okay so so you just got a little
motorized slider and so that's your hand
your drawing and you've got an automated
uh camera motion going and is it just
going back and forth is that what's
happening yeah it's going back and
forward and I changed uh the drawings
with each movement and then I I did this
matched Cuts So I placed the clips and
tried to match them to do the cuts okay
so you're finding the exact point in the
camera motion yeah where you can cut
that the camera's in the same place the
book is in the same place place your
hand is in the same place but it's a
different drawing yeah let's watch this
day until without PRI right there yeah
noce right there yeah God that's
beautiful thank you what is this
cinematic vocabulary or whatever that
makes us feel like this is time passing
is it the lighting change yeah I think
it's the lighting because it's like
different scenarios so you kind uh feel
like different days of me working that
yeah it feels like yeah it feels like a
long time has passed when see that
motion tracking different lighting
different uh different drawings until
without prior notice I stopped and then
the camera slider ended clearly here and
stopped yeah and then you closed the
book and I Clos the book yeah and did
you know did you write the script first
because the story and the video matches
the script perfectly I think for this
one I went a lot back and forward
between the edit the writing and the
editing and the filming so I think I
filmed the first shot then I filmed the
next ones then I brought that to
Premiere and checked if it was
working and then I I well without a
script and the script usually goes at at
the end of the video but just the rhythm
I went to get the Rhythm right in those
two months M are you kind of starting to
edit and then shooting a little bit more
and then putting that stuff in and then
editing a little more and then okay so
you're like mixing editing production
post-production it's all happening at
the same time yeah it's a bit of a mess
but that's how how it look yeah I I
think that is such a great way it feels
like that because because you you can
yeah you get a level of detail and and
um I don't know you get you end up with
shots like this that you may not have
gotten if you just tried to write it all
first yeah yeah and I also like to do
everything
chronologically so that's why I yeah
okay so you're actually so you're not
like going to the end of the video and
then editing a scene here you're
literally just going second by second
until you build the story you want to
tell yeah oh so cool um I've talked to
different creators and editors and
filmmakers about this some people really
love chronology and some people don't
work chronologically at all and it just
seems like it's whatever type of maybe
the the people who don't work
chronologically they're more organized
or they they have their BL really well
done because I saw the Casey episode he
edits chronologically yeah I have sort
of two rules when it comes to editing
one is that I can only edit
chronologically I start with the first
frame and when I get for the last frame
the movie is done sometimes I
do like I storyboard complex shots uh I
think I might have done it for the for
the floating Sketchbook I have my
notebook here if you want to see it h
but it helps me a lot that I edit and
film so I go back and
forward so in case I need a a shot to to
fit the rhythm of the music or to fit
the story I can film that and then bring
it back to Premiere and continue with my
edit when I was trying to make because I
made a video that was like a deer Casey
neistat video where I tried to kind of
use his style and when I made that video
I had to make it
[Music]
chronologically
I couldn't like script it out too much
first it I couldn't match his style if I
did it that way so okay here we go and
now that I look through it okay come on
so um by the way we're like 37 seconds
into the video at this point and the
amount of detail and Beauty in these
shots is like incredible they're just so
packed with fun little pieces of eye
candy and like it's no wonder that
millions of people watch your videos
let's talk about this wonderful
transition over the letters here how did
you do that I did a mask not not an
exact mask like a really rough mask
around myself to transition the so so
you you basically just like outlined a
mask here yeah like right here so I
didn't have to like to outline the whole
thing just the part that touch touches
the and and you're you're using premiere
for The Mask yeah Premiere okay it's not
perfect but you need it to be perfect
the effect is so impactful and meaning I
mean it works really well thank you um
so do are you filming at 24p or how you
yeah 20 2
2397 okay cuz you like that cinematic
cinematic look yeah yeah me too okay can
we talk about the lighting here so is
this your room or a different room in
the house my room this is your room
still okay and so how so this is all
yellow but but is it White Walls and you
have a yellow light what's going on here
yeah well the light is supposed to be
motivated by this lamp but it's a little
bit exaggerated so it's this lamp and I
have a big lamp over here you use the
term the light is supposed to be
motivated by this lamp in other words
what you're saying is the conceit is
that the light is coming from here yeah
well part of the light maybe you don't
see the rest of the room so you could
imagine that there are other lamps like
practical lamps over here mhm but yeah
it's basically supposed to be motivated
by this little right here yep okay
that's great I mean even the fact that
you use the term motivated clearly
you're watching a lot of YouTube videos
and stuff on lighting and okay all right
all right what what are your favorite
YouTube videos on lighting what should
we watch to make Style videos there's a
an Australian cinematographer Lou buts
uhhuh he's great he did a really awesome
video lighting and also Danny Gabbert y
he's great as well okay cool through it
I real who's shooting this how are they
getting that push in that's my dad I
think that's my dad yeah okay and
skateboard again skateboard yeah we
filmed everything the intro sequence on
the same day like in one hour we filmed
everything got it and did you ask him to
push in really fast really fast yeah why
did you want to fast push in there
because the music gets a little bit more
energetic and the story like build is
building up so I went faster movement
than before got it that there are only
two pages left to go so that's like uh
this is like like a 24 lens or something
or like a 16 even this looks really wide
yeah this is yeah I think it's a 16 6 mm
do you shoot on primes or do you use
zoom lenses how are you do how are you
getting like a super wide shot like that
I use I use a lot of lenses like a lot
of different lenses but for this video
uh the white shot is a zoom is at 17 to
28 okay and do you know what lens it is
do you know what makes it's a Tamron Tam
okay okay a 17 to 28 Tamron 17 to 28 and
for the rest of the video I used a 30
1.4 okay from Sigma which is apsc so it
doesn't cover the full frame sensor of
my camera but it doesn't really matter
okay so the fx3 is a full frame yeah
okay so that so this is like an actual
17 is what we're getting there yeah this
is an actual 17 okay wow that's cool it
looks again it looks so cartoony and
wide and the distortion on your face the
lens Distortion is so nice yeah I like
it I like white
yeah me too yeah okay I love them well
two and a half since one Dr just needs
some
color okay I so this is a famous gawk
style shot yeah yeah I've seen people
trying to discuss how okay tell us about
the rig what do you got here it's uh my
uh fx3 with a small rig magic arm which
you mount on the camera on that cage and
then h i mount it to the the marker so
you get the locked in perspective so
you're not actually holding the marker
no you're just Mo oh so it's not locked
onto your wrist it's locked onto the
marker onto the marker yeah back here
yeah and that's my dad's hand because I
the the marker can't support the weight
of the of the camera so I had to hold
the
camera and he's doing the marker
movement okay so so let me see if I can
get this right yeah so there's a marker
yeah it's like your holding marker here
like this yeah and and there's a magic
arm here yeah connected to the fx3 here
which is here yeah and you're doing the
movement and I'm following you okay so
I'm going like this and you're following
okay but the but the the magic arm is
attached to the marker so I'm just
trying to make sure that I move my hand
at the right pace for the marker [ __ ]
that is so beautiful it's so beautiful
where did you get the idea for that shot
I don't know I used to do before I had a
magic arm I used to do that uh
since some of my first videos and I used
to use tape so I taped the the pen to my
camera and I don't know where I got that
maybe music videos music videos are big
source of inspiration as well yeah and
you do this sometimes with like Forks as
well when you're oh yeah yeah and this
video I did with forks you're eating
Mango and stuff yeah
okay that's 20122 so that's before
that's one year before so this is a time
lapse from 2022 yeah from 2022 because
this video wasn't supposed to I wasn't
going to finish it but I was checking my
hard drives and I found found some
sequences and then oh let's let's finish
this so then is this on the rails that
you had or yeah okay so this is a
motorized slider but in time-lapse mode
in timelapse mode and are you shooting
one frame like every 5 seconds or
something like that how do you no I just
film and the files get huge but I just
film it's oh so you're just filming 24
frames a second and then speeding it up
so you're moving the slider really
slowly yeah it moves like you can
program it so from here to here in 30
minutes got it okay all right what kind
of slider is this it's a a newer slider
it's the same brand of my old lights
it's a budget slider a budget slider
like on Amazon or something I have one
of those too and it's comes with a
little USB plug and you can kind of
program it and do stuff they great
they're great it was um I think mine was
something like 250 bucks 300 yeah M mine
as well it's now it's dying it's in its
final stages but it still
works awesome okay let's let's keep
looking here oh we see this kind of shot
a lot where you have these massive
backgrounds and this beautiful Spotlight
what is where is this how did you get
this uh that's in my room too h i used
uh for that I used the lamp without the
soft box and I don't have like a
spotlight so I used some paper to create
the spotlight effect so I have this big
lamp or behind the
Sketchbook uh the Sketchbook uh here
then I'm going in with uh the the
skateboards and I have another lamp
right here which now
will H turn on Okay to rebuild and do
you just you hook it up to a switch or
something so you can move it in and then
hit the switch you can control it with
your phone are you fading it in or did
you like program a fade in no I'm fading
in it you're fading it in on your phone
yeah like
move lighting the light up on your phone
oh my god let's look at this sorry
needed some color okay and you got some
lovely like film grain here how are are
you adding that film grain in or yeah
I'm adding that in D in D so you could
so as part of your color correction you
can add film grain yeah you can do you
add it on every shot or do you add film
Grain on the whole timeline no I add it
on every shot it's the same grain effect
sometimes I do little changes uh-huh but
yeah and I grade every clip separately
okay got it so maybe a little different
grain depending on the shot
okay um so today I'm going to finish a
Sketchbook in 24 hours that's the one
minute Mark yeah um so you have this
rotating Sketchbook in the air what how
did you get this these are two different
shots so it's the background and the
Sketchbook shot uh I tied the Sketchbook
to a string then I filmed film it
rotating behind I don't have a green
screen so I used a green
towel uh I filmed that then I removed
the background which I I don't use green
screens very often so that's a whole
process I so I had now the Sketchbook
rotating in transparent background and
then I added the background shot of me
going in so I just mixed them and col
corrected and so did you have to like
zoom in on the Sketchbook I zoomed in on
the Sketchbook and the background is
just a a do in yeah I'm going to finish
a Sketchbook in 24
hours and then you you key you motion
key going
down let's do
it okay this music choice here is so hot
that like coming in right with act one
that's just and it's so different than
the classical music we've been feeling
to this moment so um uh yeah how do you
like how do you how do you find the
right music for the moment in a film
that you're making uh I I think it's
intuitive but uh I just try a bunch of
options and if I find something that
feels right I edit a little bit and then
decide if I want to keep it or not I
have another question for you here you
you sort of say things like I'm
finishing a Sketchbook in 24 hours so
then we think like oh we're going to
watch you do this in 24 hours but the
all these shots take like days to do
yeah so you're not are you actually
filming yourself doing it in 24 hours at
first I just filmed the time lapses of
me drawing and all these shots because
it I can't do that and then I filmed
this later so I film me drawing the
Sketchbook like just time lapses and
some simple shots and then I build the
rest of the story later I see okay so
you actually do finish a Sketchbook in
24 hours but in this in this video I I
well it's spoilers if you haven't seen
it I don't manage to find to finish it
in right right okay got it but then you
okay so you tell the rest of the story
over the next month and a half when yeah
okay wow so you're scrapping together
skateboards and Premiere and masks and
like all these tools that literally now
most people in the world have access to
like you kind of don't have anything
thing that like I mean the fx3 is a nice
camera it's a very nice camera but but
then you started shooting on your iPhone
and you're saying it looks just as good
so like why does your [ __ ] look so good
compared to everybody else's oh well I
think it's the experience because
sometimes I well sometimes I try
something new and it looks horrible so I
don't use it but it's it's the yeah like
you have to try experiment with the
shots maybe it will look bad at the
start but if you try something different
it might look better H lighting is a
great aspect of it because the lighting
can't turn like a very boring scene into
something interesting so yeah spending
time on your lighting spending time
framing the shots uh is is the like the
main thing I just spend time trying it
for it to look good and if it doesn't
well maybe it will look better in the
future when you are have more knowledge
this is kind of
mindblowing um yeah I I forgive the
question but how old are you I'm 20 yeah
but when you think about like your 20s
and your 30s um like do you have goals
about being a filmmaker like do you want
to do what what sort of things do you
want to do I well I want to be a film
director I went to make movies well I
have to start with short films which I
also went to make but the end goal is to
make make films like future films right
I mean you're on your
[Music]
way