Creating a Missoula Wedding Video

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In early July of 2016 Bonafide Film House was lucky enough to be invited to film Lyle Wiemokly’s beautiful wedding at the gorgeous Stone Tower Estate near Missoula Montana. Lyla found us through Twitter earlier that year. She had spent some time communicating with us, making sure we were the right choice to film her Missoula wedding. She expressed that she wanted a Missoula wedding videographer that would create a cinematic wedding video for her but also document the day with unobtrusive professional coverage. After speaking with her fiancé and also speaking with a few other Missoula Brides she decided we were the right choice for her wedding.

She expressed that she wanted a Missoula wedding videographer that would create a cinematic wedding video for her but also document the day with unobtrusive professional coverage.

One the wedding day arrived, Bonafide Film House got to Missoula very early to catch Lyla getting her hair done at a local hairdresser. After spending a bit of time there and catching the hairdressers doing their magic and the bride with her bridesmaids enjoy some champagne, our crew of Missoula wedding videographers headed to the venue: Stone Tower Estate.
Once we arrived, we started capturing time-lapses and aerial videography from the gorgeous venue. These shots are essential to keep the Missoula wedding video interesting. Once the time-lapses were established the crew started choreographing the ceremony, we got together with the wonderful photographers and planned how we would shoot the ceremony and not get in each others shots while we did it. Once this was all organized, the Missoula wedding videographers set up the audio equipment, put the lapel mic on the groom and got ready for the ceremony.
From here on out the rest of the day was a breeze. The beautiful ceremony was quite a fun one to film, there were tears and laughter in the same sentence, a gorgeous Montana breeze and more emotion than the guests were prepared for. At the end there were even fireworks, that one hasn’t happened since.

there were tears and laughter in the same sentence, a gorgeous Montana breeze and more emotion than the guests were prepared for

The team of Missoula videographers covered the rest of the day flawlessly, creating a very beautiful video in the end, that the bride and all of her friends absolutely loved.

If you are interested in hiring a Missoula wedding videographer for your special day, please check out our Montana Wedding page and get in contact with us.


Vendors

By Justin Kietzman

Justin Kietzman Headshot

Director and Editor at Bonafide Film House

Creating A Trade Show Video For A Local Bozeman Business

In early November, Bonafide Film House a Bozeman Video Production Company was contacted by the head of marketing for the Belgrade location of Service Partners Supply. They were interested in having a Bozeman video production company produce them a 3-5 minute long video showcasing the complete construction of one of their spray foam insulation trucks. This location specializes in the manufacturing of highly specialized commercial spray foam insulation trucks. Operating now for close to ten years and producing at least one truck a week, their products are some of the best in the country and in extremely high demand. Located near the Yellowstone International Airport in Belgrade Montana with a gorgeous view of the Bridger Mountains, the Bonafide Film House crew knew they were in for a fun project.

AS A SMALL BUSINESS VIDEO PRODUCTION COMPANY WE KNEW THAT WE NEEDED A LITTLE MORE INFORMATION

During our initial consultation with them, Justin Kietzman and Anthony Cohen spoke with the owner and head of marketing for a couple of hours, getting a very solid handle on what the companies vision was for their video. It was to be playing on a very large television mounted to the side of one of their demo trailers at the Palm Springs SPFA (Spray Polyurethane Foam Alliance) yearly trade show. They had a laundry list of what they knew what they wanted included in the trade show video, but as a small business video production company, we knew that we needed a little more information; Information that can be a bit harder to put into words if you are not in the creative video production industry. After a bit more discussion, watching some examples on the iPad and discussing some previous work we had done for some other Bozeman small businesses, we knew exactly what kind of trade show video we would create for them. Shooting was planned to begin the following Monday.

 

 

The next step for Bonafide Film House was simple: Pre Visualization.

If there is one constant in this universe, it is that planning is everything. A lot of people have the misconception that in order to do business video production you just show up with a camera and record everything you see, but unfortunately this is not the case. Even the most natural feeling videos you see are planned ahead of time. Nothing ever happens how you want it to, this is true in every day life and it’s extra true in video production. The only way to combat the entropy of the universe in film and video production is simple: Pre Visualization. Justin Kietzman and Anthony Cohen sat down with notebooks and inspiration material; the Pre-Vis began. Discussing exactly what they wanted to shoot, the main shots were written down. Once the list of all of the important shots were collected, a general storyboard was developed. We started to develop a general order for how we wanted the video to flow. We made sure that our storyboard included all of the main processes involved in making a truck and also showed off all of the very very cool stuff involved in building a custom rig. At this point, we had a pretty good idea for the direction of this Montana corporate video. Experience as a Bozeman video production company told us that just having a storyboard wasn’t enough to create a corporate video of this size.

A LOT OF PEOPLE HAVE THE MISCONCEPTION THAT IN ORDER TO DO BUSINESS VIDEO PRODUCTION YOU JUST SHOW UP WITH A CAMERA AND RECORD EVERYTHING YOU SEE, BUT UNFORTUNATELY THIS IS NOT THE CASE

Next we created a script. We knew what story Service Partners Supply was trying to tell with this business video, so we created a multi page set of questions we would use, to have the head manager answer during a sit down style interview. In essence we created an anti-script. We formed the questions so his answers would seem like statements, making the video flow very naturally and make the viewer easily understand the message of this corporate business video. Even the most competent business owner, that knows everything about his field, can have a hard time sitting down in front of a camera and quoting lines, so making your making your script in the form of questions can save everyone a lot of time and create a much more competent business video.  Once we had all of this prepared, we sent the questions to the business owner so he could become more comfortable with the questions and prepare his answers. At this point we were ready to begin filming on Monday.

 

Anthony Cohen setting up a Camera on a Dolly

 
Early Monday morning rolled around and the Bonafide Film House crew was ready to rock and roll. Upon arrival the first thing we did was check the two GoPro time-lapse cameras we had set up early the night before to capture the removal and installation of the framing and interior insulation. They were still running on track for their five day long time-lapse of the build of the entire truck. At this point, we pulled the production van up to the warehouse and began to unload all of our equipment.
Lighting is the most important aspect of filmmaking, commercial or not. So one of the first things Justin Kietzman does when he shows up on a new location is he gets out his Sekonic Lightmeter in order to figure out the lighting conditions and decide what lights the crew will decide to use for each individual room. Interviews typically call for soft boxes on multi-bulb interview lights, very close to the subject. Slow motion shots calls for extremely bright single point spot lights on a single static subject, in order to provide enough light for the extremely high shutter speed. All of this comes into play on a professional commercial film set and it arguable the most important aspect of any filmmaking project.
Justin decided for this particular project we would need our 2000 watt interview light set which we commonly used for Bozeman Video Production projects and Commercial video production jobs and our ten 200 watt LED can lights. All of these lights were originally various color temperatures, so Justin Kietzman gelled them all to 4000 Kelvin, the same temperature as the overhead lights inside of the building. Making sure none of the lit subjects looked blue or yellow, a very common in lower budget video production products.

Over the next couple of days, filming moved forward at a steady pace. Justin Kietzman and Anthony Cohen would show up at set times for a few hours each day, covering major points of the build  and ensuring that the three time lapse cameras were running and not missing a moment. This arrangement saved the client quite a bit of money in the end, everything was still covered fulling but with many less hours of filming involved.
The final day of this Bozeman Video Production project was the longest. Justin Kietzman and Anthony Cohen showed up at 6am as the shop opened and stayed until 8pm that evening. Filming the pre planned interview with the manager of Service Partners Supply as well as filming the walk and talk portions with him as well. For these shots we used a very simple dolly, that was perfectly capable for a smooth concrete floor like in the warehouse of this Montana Video Production shoot. This same day all of the slow motion was also filmed, these were highly staged shots with almost all of the lights being used, ensuring we had enough exposure, keeping the image free of noise. These sorts of shots are where the production value really shows up, making any commercial video production look like a extremely high budget commercial production.

After 8 days, the shooting was finished. The footage was taken back to Bonafide Film House headquarter and edited into the final product and delivered less than two weeks later, you can view it here:
If you are interested in having Justin Kietzman and Anthony Cohen at Bonafide Film House a Bozeman Video Production company create you a cinematic professional commercial video for your Montana business, please get in touch with us.

By Justin Kietzman

justincircleheadshot

Director and Editor at Bonafide Film House

 

Can a documentary be surrealistic?

Can a documentary be surrealistic?

I was recently asked this question by a student in film school. I thought it was a interesting concept so I figured I would share what I sent him.

Lets discuss what a documentary is first. Here is the definition via wikipedia from a solid source (oed.com) “A documentary film is a nonfictional motion picture intended to document some aspect of reality, primarily for the purposes of instruction, education, or maintaining a historical record.”

So on it’s face a documentary is supposed to be completely non-fiction and it’s main intent is supposed to be to inform it’s viewership of some aspect of real life. Most documentaries journey into a subject in a very flat manor and flush out the subject matter in a way that the director decides.

These films truly began to challenge the subject matter

Over the years this has mostly been true, but around the mid 1970s this was beginning to be challenged for the first time. A young filmmaker hailing from Germany named Werner Herzog (Director: Cave of Forgotten Dreams [2010], Grizzly Man [2005], The White Diamond [2004], Wheel of Time [2003]) started producing documentaries. These films truly began to challenge the subject matter and the subjects that were being interviewed in a way that had never been done before. Often operating the camera himself to attempt to reveal the true nature of the subject matter being revealed, be it holding the camera on the subject long after a statement has been made to show how uncomfortable they are on the subject or literally pushing up the camera into their face to intimidate the subject and causing them to break and reveal their true nature. It was a new style of documentary filmmaking that had never been done before.

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I personally believe that he was largely influenced by Orson Welles’ F for Fake (1974) a film that largely brought to the idea that documentaries and films should be questioned and challenged, it was a deep dive into the concepts of authorship and authenticity. This film was largely disliked, but if their was one concept that Herzog took from this film, it was that the only way to prove something is true, is by revealing the human nature that reveals the speaker is being truthful.

truly looking for something interesting, the directors reveal a much more grandiose story

Starting in the 2000’s this more modern kind of documentary started to become very popular. Playing off of the human element, and truly looking for something interesting, the directors reveal a much more grandiose story. A few examples of these are Exit Through the Gift Shop (2010), My Kid Could Paint That (2007) and Matthew Heinemans recent documentary Cartel Land (2015).

On their faces, these films do tell a simple story that is easy to follow. But all of them clearly aim to reveal a larger concept about society, or a distinct flaw in humanity. Be it the vain of Mr. Brainwash revealing how easy it is to “fake” your way into the street art world and how hungry modern society is to eat it up; Be it the greed of Marla’s parents and the idea that the patrons purchasing her art cared nothing about the art itself, but solely the story behind and the notoriety it was producing; or that the war on drugs in Mexico is not something that be solved, because it is a war based on cultural idealisms and power, not the product they are selling and trading.

exitthrough

So a documentary can be more than just a “nonfictional motion picture intended to document some aspect of reality, primarily for the purposes of instruction, education, or maintaining a historical record.” it can be a look directly into humanity and the concepts that surrounds us. It can show us exactly what makes us human, by connecting dots that a person can’t conceptualize, or simply choose not to.

It can show us exactly what makes us human

Surrealism in the art world aims to allow the unconscious to express itself. It often has surprising juxtaposition with an aim at explaining the philosophical.
If you view art in it’s simplest form, a method of expression. Then all of the documentaries I discussed are Surrealistic.

Use of juxtaposition, non sequiturs, and the element of surprise to help us understand a philosophical concepts are the core tools used by modern documentaries to help us understand what and why it is happening on screen. They are how we break down our concrete views on concepts and allow building of new ideas.

If art and film have one thing in common, it’s that they give their audiences the ability to challenge everything and that is quite powerful. That’s a good thing.

By Justin Kietzman

justincircleheadshot

Director and Editor at Bonafide Film House

Part 2: What I learned from starting a Youtube channel using nothing but GoPros. by Justin Kietzman

After work one day me and my previously mentioned co-worker decided to head out to the Lower Madison River near Bozeman Montana. Armed to the teeth with every piece of fishing equipment we owned and two Go-Pro Hero 2’s, with cut up cases so I could stick Panasonic Stereo mic’s in them; which completely removes the waterproofing (I don’t understand how I never destroyed one of those cameras).

We were amped and ready to catch fish.

We got to our fishing spot at Red Mountain campground, a location we had caught many fish at before, put on the Go-Pros and hit the water with our fly rods. Not-so-luckily for us, there was a screaming drunk person on a float going past every 2 minutes, spilling beer in the water and making as much noise as possible. So after about two hours of fishing and one complete set of Go-Pro batteries, we decided to hang up the graceful touch of the fly rods and move down river to faster water and break out the spinning rods.

Once there, I realized the battery situation was more dire than I had realized. The battery on the Go-Pro I was wearing was at 50% and I only had one spare for my co-worker. So the rest of the day was nothing more than me occasionally switching on my Go-Pro when I thought I was about to catch fish, then forgetting to switch it back off, draining my battery even more. Luckily my partner that day, caught a few fish while his was running, scoring us some decent very shaky footage.

Go-Pros are the most reliable cameras on the market.

If you treat them well and follow the rules, they will work. As long as you have a fast enough memory card, you will never get a file error, especially in Protune. They can record video for constantly for the life of the battery, they will not shut off on you like most DSLR’s. The batteries run for two hours only, the primary complaint I hear about Go-Pros is the battery, these are primarily from people with little camera experience. Besides one Canon camcorder I owned, the Go-Pro has the longest single battery life of any camera I own. If you need the camera to run longer, they sell battery backpacs, or you can use an external charger, upping your time to 4-6 hours.

Next week I will talk about my editing workflow with the Go-Pro footage.

 

Stay Tuned

 

-Justin Kietzman

Transitions: Film to Digital By: Anthony Cohen

TransitionsMy first real camera was a 1980 Canon AE-1, I was 18 and in my first semester of college when I entered my first dark room. After only a week I experienced the magic of an image materializing on the page for the first time. I never looked back. Nothing is better then blasting some music chilling out and processing film after work.

If you have ever made the transition from film to digital, you lose some of the magic. Digital media is amazing; a marvel of modern technology; you get to take photos lightning fast and review them instantly. These are major bonuses but the finality of clicking the shutter is gone and photography becomes less special.

That is when I received my second real camera a Sony a5100. To be honest I bought it for its amazing video, and have moved up through the line buying a Sony a6000 and a Sony a7s.  When I first got into video production I noticed some of the old magic coming back you have that one chance to capture a moment perfectly you can try an recreate it but its never exactly the same. You might argue that its the same way with digital photography, but I feel it more when I am filming something. From the calculated and controlled click of the record button to the hours it takes to edit and refine a video into a workable piece the similarities between shooting video or 35mm film are there.

When I started shooting live events the similarities became even more apparent just like using film you have timed shots you need to take your time and not miss anything but your camera can only be pointed in so many directions. There is a sort of adrenaline rush knowing you have one chance to get the perfect shot. Shooting video just like film just feels more personal.

 

I now mainly shoot on a Sony a7s and a a6000 but I do carry my old AE-1 around from time to time. I still get to use the dark room at the local university.

Cameras:

Sony A7s shooting in XAVC-S or externally

Sony a6000 to XAVC-S

Canon AE-1 loaded with Illford Delta 400 usually pushed to 1600

 

Programs:

Adobe Premier Pro CC 2016

Adobe After Effects CC 2016

Local dark room using Illford RC matte paper

By Anthony Cohen

Bozeman Winter Farmers Market – Behind the Scenes

 

On January 30, 2016 the Bonafide Crew woke up early, still exhausted from filming a concert for a documentary the night before. Luckily today was a easier, very pleasant job that didn’t involve carrying heavy gear through the snow.

Having prepped the Blackmagic Pocket Cinema the night before, it was rigged up with the 7 inch field monitor, Zoom H4 audio recorder, Rode Shotgun Microphone, 10,000 MaH external battery and the big memory card in the belly of the camera. It was mounted on the Manfrotto 60 inch tripod with the Manfrotto fluid head. Justin would be operating this camera today.

Anthony grabbed the Sony a6000 as the B cam, which he used for wides and zoomed cutaways. Due to the a6000 having a “Custom -3 -3 -3 mode” it can come close to the soft, desaturated image of the Blackmagic.

We spent about an hour at the event, starting by filming B-Roll of the hallways upstairs, while Anthony found out where the event is actually held (downstairs to anyone wondering). Once we made it to the farmers market, I started filming wides of the crowds while Anthony did some sniper shots on ceiling lights.

After a few minutes of that, we got a bearing on who was interested in talking to the camera. Luckily Justin noticed that there was something going on with the audio as the Blackmagic was showing no active levels, so we pulled the Zoom Recorder off of the rig and set it in front of people as they spoke. This caused a very high level of room noise, but was better than nothing.

After having some very pleasant conversations with quite a few of the vendors, we decided to head out.

Once home, both of the cards were dumped to our working drive. Since the Blackmagic records to ProRes HQ and the Sony records to XAVC S, no transcoding was needed.

A little over a week later Justin started editing in Premiere Pro CC. After cutting he chose a very warm soft color scheme, that matches the feeling of being at a farmers market. Very little After Effects CC work was needed, besides some warp stabilizing.

 

Cameras Used:

Blackmagic Pocket Cinema
Sony A6000 Shooting in XAVC S

Software Used:

Premiere Pro CC
After Effects CC

 

 

Five Rivers Lodge – Behind the Scenes

fiveriverslodgeOn January 17th, 2016 The Bonafide Film House crew set out in our production van to Dillon, Montana to film Five Rivers Lodge. Armed with our Black Magic Cinema, the Sony a6000 and a slew of GoPro 3’s to compliment our Aerial footage.

We arrived at the Lodge around 9:45 am and quickly unpacked our equipment and got the drone in the air. After capturing some stunning footage of the surrounding mountain ranges and breathtaking views we set the drone aside to set up our time lapse cameras (GoPro’s in this case). After pressing record on those we moved into the lodge breaking out the Black Magic, lights, sliders and manfrotto fluid head to capture the each rooms unique feel.

Once we completed the inside of the lodge we moved back outside with a freshly charged DJI Phantom 3 Professional and used the birds eye view to really show the vastness of the property and the beauty of its surroundings. Start to finish with the 3 hour drive time we where in the field for 6 hours.

Once we got home we started ingestion; dumping and rendering all the time lapses out into the cineform mezzanine codec. Justin took over from there, using Adobe After Effects CC 2016 and Adobe Premier Pro CC 2016 to edit, stylize and color correct all our the lodge to the best of his ability. In the end Bonafide Film House produced a quality piece to help promote the lodge.

Cameras used:

Programs used: