How Niklas Christl Filmed a Cinematic Short Film in One Day: A Behind-the-Scenes Guide

Summary:

Niklas Christl shares his process for shooting a cinematic short film in one day.

Pre-production planning includes a story overview, research, outline, script [0:02:09] [Image 52], shot list with specific details [0:02:44] [Image 53], and a film schedule to manage time and participants [0:03:08] [Image 54].
Using a gimbal at sunrise to capture smooth, wide shots and close-ups, demonstrated by dynamic filming and visual examples of shot types [0:04:54] [Image 10] [Image 61].
Covering a full scene from multiple angles and positions, including storyboarding, and understanding progressive versus regressive movement [0:10:49] [Image 2] [Image 108] [Image 112] [Image 441] [Image 442].
Lighting and crafting intro shots by setting up key and rim lights, managing room lighting, and adjusting camera ISO [0:23:44] [Image 206] [Image 208] [Image 197] [Image 325].
Capturing macro shots and designing seamless match cut transitions, demonstrated by filming an eye close-up and an example of a scene transition [0:40:02] [Image 13] [Image 465].
Mastering gimbal and handheld movement techniques for different shot needs [0:45:51] [Image 352] [Image 406] [Image 409].
Filming high-energy shots, including tracking from a car and utilizing B-roll for dynamic editing [0:56:56] [Image 18] [Image 20] [Image 486].
Creative lighting with a projector to evoke different moods and worlds within a scene [1:04:54] [Image 6] [Image 7] [Image 25] [Image 545].

Shooting a Cinematic Short Film in One Day [0:00]

Niklas Christl explains how he shot a short film from the beginning ideation to the editing [0:00] [Image 0].

Story and Research
- The video has a story about consumption versus creation, where the viewer sees two versions of one character experiencing two completely different days based on their first decision after waking up [0:02:09] [Image 52].
- Black and white outfit choices help the viewer differentiate the two characters.
Outline and Script
- An outline is created of the story events [0:02:22].
- Voiceovers are used to add context to the story [0:02:31].
Shot List
- Shot lists include specifics such as character, action, composition, gear, location, whether shots will be used for match cuts, and estimated duration [0:02:44] [Image 53]. Each event is color-coded, such as red for the consumer and green for the creator, to help the talent understand their role.
Film Schedule
- Film schedules detail the time, scene, character, location, and participants involved [0:03:08] [Image 54].

The setup involves a camera and a gimbal to achieve smooth shots [0:04:15] [Image 57].
Niklas demonstrates filming a dynamic shot with the gimbal at sunrise [0:04:54] [Image 10].
Checking the shot on the gimbal monitor [0:04:59] [Image 11].
Visualizing the connection between close, wide, and medium shots for smooth edits [0:05:37] [Image 61].

Filming a scene with the actor on a park bench from a low angle [0:10:49] [Image 2].
Storyboarding a sequence on an iPad to plan out shots and transitions [0:11:51] [Image 108].
An overview demonstrating the differences between full scene "coverage" shots and a "montage" of various shots [0:12:18] [Image 112].
In progressive scenes, characters often move toward the right of the screen [0:13:37] [Image 441].
In regressive scenes, characters typically move toward the left of the screen [0:13:42] [Image 442].

Setting up a light source to illuminate the scene [0:20:56] [Image 192].
Placing a light inside a wardrobe to create a specific lighting effect [0:21:40] [Image 194].
Understanding the Sony A7SIII's native ISO settings for optimal image quality [0:22:20] [Image 197].
Setting up a key light to provide overall brightness on the subject's face [0:23:44] [Image 206].
Adding a rim light to separate the subject from the background and create depth [0:24:06] [Image 208].
Adjusting natural light by closing curtains or blinds to regulate exposure in the room [0:30:26] [Image 325].

Setting up a macro shot to capture fine details, such as an eye [0:40:02] [Image 13].
Reviewing the detailed eye macro shot on the monitor [0:40:09] [Image 338].
Visualizing a match cut transition between two entirely different scenes to create a seamless narrative flow [0:52:00] [Image 465].

Shooting with the gimbal upside down for easy low-angle shots with even weight distribution [0:45:51] [Image 352].
Capturing a low-angle shot in the grass to add visual interest [0:49:09] [Image 406].
The filmmaker capturing B-roll by focusing on details like tree leaves, emphasizing the importance of diverse shots [0:49:25] [Image 409].

Filming dynamic tracking shots from a moving car to create a cinematic feel [0:56:56] [Image 18].
Capturing subjects riding bikes with a sense of motion and excitement [0:57:08] [Image 20].
Using additional B-roll footage and editing it with voiceovers to blend shots seamlessly, as seen on the editing timeline [1:02:12] [Image 486].

Introducing the projector as a versatile tool for creative lighting in a scene [1:04:36] [Image 536].
Projecting social media feeds onto a wall to symbolize consumption within the story [1:04:54] [Image 6].
Filming the subject while they are immersed in projected light and content [1:07:11] [Image 7].
Niklas demonstrating various projected light patterns and colors to enhance the mood and atmosphere of the scene [1:05:54] [Image 23].
The actor's face illuminated by colorful projector lights, showcasing the dramatic impact of creative lighting [1:06:21] [Image 25].
Projecting dynamic and colorful light patterns from behind the monitor to create an immersive environment [1:07:05] [Image 545].