Okay, THIS I LOVE. Like, the original collaborative sharing of information the internet was created for, across boundaries of geography, THIS is that spirit!! I would say my only thing -- I only point out because I'm a professional editor in real life, can give same tips this footage provides a good example of -- It's important to make sure the footage in question is optimally recorded in the first place, otherwise it could have a hard time integrating well into edits.
For example, this video appears to be 60 fps, definitely looks like its shutter speed is one that induces "low motion-blur" (for lack of a better term), definitely doesn't look white balanced. The effect of that is that it probably would be hard to correct it to fit with most edits, because some aspects of footage are baked in if you record them that way in the first place (non-white balanced/wrong shutter speed being one of them).
Make no mistake, I'm all for doing this. I'm actually planning to do something LIKE this (creating original footage, so to speak) for my upcoming restoration of the rough cut of "Star Wars" -- the films used as placeholders for the TIE fighter/Death star battles were recorded on early 1970s VCR by George Lucas when they aired on TV, and they used these VCR tapes to edit the scenes. So I'm going to project them onto a white wall, record that in 480 with a camera (the way it was done in the old TV-airing days) then print this onto VHS or VCR and digitize that as the "low-res source" footage -- I just think it would be good to have guidelines for doing something like this, the way we have with other aspects of fan-editing, to ensure the best results.
Again, speaking as a professional editor in real life, this is what I'd recommend to people intending to do this:
- If you can, record in 4K (even if your edit will only be 1080)
- This will allow to make framing/crop adjustments if needed, because you'll have more pixels of information than 1080 (meaning you won't lose resolution when you crop/zoom, like you would if you record in a lower resolution)
- Record in 24 fps, shutter speed of 1/48 or 1/50, 180° if your camera does degrees
- If you record outside, try to use an ND filter so that you can expose the shot without the brights clipping
- Try to record with your picture profile set to "standard" or "neutral" (gives editors the most color grading wiggle room)
- White balance your footage, either manually or going with a "normal" preset, or else colors are baked in (can't be changed/corrected)
- Try to record any wide or establishing shots with an 18mm lens, and closeups/inserts of objects with a 50mm lens
- If you can't break out two different lenses, I'd recommend using a zoom lens
- Specifically, if you use a zoom lens, you can go 18mm for wides and zoom in to 50mm for inserts/CUs
- Try not to film on your phone, using a somewhat decent camera like a Nikon D3300, but if you use a phone...
- Don't use your camera roll, where you can't adjust any of the settings I mentioned above, try to use third-party apps
- A good third party app to recommend would be FiLMIC Pro, which has all of these settings
- Get a moment 50mm lens, which you can put on for 50mm shots and take off for 18mm shots
- (moment also makes anamorphic phone lenses, see below for what that means)
- For a tripod, get the Zhiyun smooth, take off the bottom, and screw it (when turned off) onto whatever tripod you want (would recommend some kind of tape, to keep the phone from rotating lopsided/dutch wise)
- For "tracking" shots that are stable, would recommend a gimbal of some sort (Moza Mini P should be good for most)
- Try to record in a full frame 16x9 ratio, allows the most wiggle room for different edits
- If you want the "cinemascope" aspect ratio built in for any reason, get an anamorphic lens because it'll look nicer
For a more detailed breakdown/explanation on why you should record footage this way, here's
one of the best cinematography cheat sheets on the entire internet, and here's a
breakdown of what anamorphic lenses do.
