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Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
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A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
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ACTING DISRUPTIVE takes viewers inside the businesses and passion projects of Hollywood’s top celebrities.
Male1:What I’m actually gonna do is taking the direction of this light with the soft parts, which looks great with this rope and saddle lever right over there, it’s coming and add some contrasts. Right, right, you’re in pretty close. Male2: He wants to see what it is. Male3: Okay. Male2: Let him see what it is. Yeah, that’s alright. I got it. Male3: Okay, thanks. Male1: Hey buddy. Male2: I got him, I got him. Male3: Maybe up a little higher. Male2: Well, he’s not being the best right now. He’s always a prey animal, you know, if something coming in on top of his head, you know. Male1: It’s just a main draft. There you go, great, right there. The camera’s right here. Male3: Right there? Okay. Male1: I'm gonna get a profile, both Dusty and Bill. Male3: Okay. Male1: I just go here. I’ll set up the camera on the other side. Male2: Just Ken, it’s just Ken. There he is. It’s just Ken. Male1: The thing is the background. There are so many things shooting in the other direction here. And Bill, if you could be looking right maybe a bit. Male2: Okay. Male1: Just move back a little bit more, there you go. Male2: There you go. Male1: That’s good. Perfect. Male2: Okay. Male1: Just walk here, round the left a little bit. I need to see how this looking. Male2: Okay. Male1: Okay, it’s perfect. That’s great. Male2: You’re okay. Male1: The main light is what’s Ken is holding, that’s like a portrait studio. Portrait main light. Smile in there Bill. Move back, right that one. Now come in a little bit. So I could change the aperture. Can you keep it right there Bill and smile. Hang on let me check that one. Male2: Woh buddy. [ People muttering ] Male4: Understand the similarity, so everybody can get this high, coz you know it’s all about height, his this tall, make sure you get it in, and he’s gonna come right through here, and right up to here, okay. And so, everybody’s good with height gonna wider turn right. You wanna zoom in so you probably, I mean I would do, again this is part of the artistic decision you gonna make yourself. You probably don’t wanna include this guy. Male1: Right. And I wanna recommend coz it’s basically a horizontal action, you wanna had, you wanna had your camera frame horizontally and… and work similar around 60 millimeter both of them. But I don’t got a full frame which means that for sure as he runs by, the horse’s legs will be moving and maybe Bill, the rider, will be moving a little bit. But basically the horse and the rider is gonna be, the body of the horse, the head, and Bill are gonna be functioning as a one similar object. You should be expected to get some blur from the legs and maybe some blur on the horse’s body. But after we do of Ken, we can do as he go across, you wanna get him, probably at about the center of your frame. So then you’re not trusting your autofocus to make a mistake. What I would do is manually focus on those flowers right here. I will autofocus on one of this and then switch your autofocus back to manual. This is about the distance that he’s gonna come. If you’re position over there, you're gonna be getting a different perspective. He’s gonna be coming more at you than he is across. You’re not gonna be getting that same sweeping action. Female1: Should we move over there? Male1: Nothing wrong with that, it’s just different. Female1: I wanna sleep. Male1: You’re gonna zoom to that background. Probably the best spot is straight down along in here. So you can pan a little with the action going right in front of you. Yeah, on this one you wanna be panning with the horse so that you keep him positioned at about the same frame. So once you got the horse pick up as he runs by, when he’s kind of in the middle of your frame, you wanna keep him right there, and then keep firing, keep your camera moving with him as he goes by. And then you’ll be amaze, wow, look at our pictures and see, now we should’ve use a faster shutter speed. Or maybe you need a slower shutter. But using something like this, somewhere around a 30th or a 60th is gonna be about what you want. It’s really like rolling the dice, because one of the frames, everything might be perfect, but the rider might flick his head a little bit too much and it will be a blur. So you wanna be able to shoot series of camera shoot.