Editors and Post Production
Andrew Scrivani
Lessons
Class Introduction
05:06 2How To Get Work As A Food Photographer
02:54 3Understanding Your Skill Level and Your Market
03:20 4How To Grow Your Business
01:28 5Opportunities In Commercial Food Photography
08:17 6How Do You Market Yourself
08:23 7The Importance of Attitude and Communication
03:30 8Understanding Insurance Responsibilities and Liability
05:38Understanding Taxes and Accounting
03:11 10The Importance of Representation and How To Get It
09:59 11File Management and Protection
02:40 12Understanding Stock Photography as a Business
04:59 13Contracts: The Law and Your Rights
03:18 14Negotiating with Clients: 10 Questions you Need to Ask–Part 1
06:57 15Negotiating with Clients: 10 Questions you Need to Ask–Part 2
05:16 16Negotiating and Talking Money with Clients
02:31 17Who are the Players in Commercial Food Photography
09:43 18How to Manage Client Expectations
02:38 19How to Assemble a Team
04:11 20The Production Team
04:48 21On Set Support
04:51 22Editors and Post Production
02:47 23What Expenses are Associated with a Shoot
04:01 24What is Usage?
05:35 25How to Anticipate Expenses
02:56 26Calculating Price Based on Rates, Usage and Expenses
03:35 27Where do You Go Next?
03:17 28Continuing Education and Research
06:28 29How to Get your Work Out There and Get Noticed
02:47 30Treatments and Final Wrap-Up
06:23Lesson Info
Editors and Post Production
finally, for your team is this person. Now this person may be you. You should certainly be editing your own work to a certain degree. Um, but the difference between editing and retouching is, you know, apples and oranges Editing is figuring out which picture and frame you want. Retouching is the art of taking a digital file and making that a final. And there was in the early days of photo shop. It was, like sort of a dirty word, right, because it was sort of not People didn't view it as being honest in and how this is being done. And but the reality is, is retouching and goes back as long as photography has existed and just it's just in a different mode now. It's like the difference between the printing press and a PC. It's just a progression. So, um, the way you shoot your files originally influences how you can retouch them at the end. Now I only shoot digital files. And, sure, most of you on issue digital five digital files, raw files. I I only shoot raw files now and and and that h...
as been the case since raw files even became available in digital cameras, and I intentionally shoot my raw file a little flatter, um, and a little under exposed so that I have a richness to that when I pull it out in post. And that is my style. And I want whoever's retouching my pictures to understand that and look at my style. So I've only really had maybe three people in the in my entire career retouch any of my editorial pictures, and two of them still work with me. I I mean, as far as that's concerned, once you've kind of gotten your whole team kind of assembled now and all these people in places and these people, what they get paid is usually by. If you're paying on outside retouch er, you have to negotiate per image so they usually have a They usually have, ah, scale like we do based on the project and the volume of the project and how often you use them and all of that stuff, and they will give you a per image price, and that ranges wildly. There is not as much consistency in that market as there is in hours because they do so many different things, so If you're asking the really heavy, like heavy, heavy retouching, that's gonna cost more. And if they were just talking about basic color correction and, you know, spot reductions and all these other things, that's probably a little bit less so. That's, Ah, more of a negotiation that you would have with a re toucher that would educate you as to what they do. So we have to be willing to learn the same way that other people have to learn about what our pay scales are.
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