Lesson Info
4. Concepts
Lessons
Class Introduction
10:34 2How Photography Skills Translate to Film & Video
16:46 3Terminology
07:58 4Concepts
06:43 5Opportunities Within Video & Film
24:33 6Crew Roles
14:34 7Interview - writer & Producer, Julio Vincent Gambuto
29:13 8Phases of Video - Pre Production
14:37Phases of Video - Story Color & Design
16:36 10Production
05:57 11Post Production
08:01 12Camera Rigs & Gear
10:05 13Camera Movement
21:18 14Camera Placement: Interview Set Up
15:46 15Communicating Your Vision & Expectations
11:36 16Production Protocol
25:57 17What Gear Do I Need to Get Started?
27:12 18Photo Lighting Techniques that Translate to Video
08:58 19Shots You Need for Coverage
26:20 20Planning Your Shots
05:09 21Moving into Post Production
08:41 22Available Tools & Assets
12:01 23Understanding Continuity Basics
11:08 24Editing and Media Considerations
07:32 25Video Examples with Final Post Production
06:59 26Opportunities to Start Incorporating Film & Video
09:53 27Lone Wolf vs. Collaborative Approach
05:23Lesson Info
Concepts
so the concepts in general terms of filmmaking or we obviously used the frame, and this is something that, as photographers were very comfortable with, is composition. And that's really what we're talking about, right? We're composing. Our shots were where then using light and color to craft that composition and were then creating texture. And a lot of textures we talk about in terms of visuals is like a lot of what we do in postproduction, right? We adding tones or were changing our contrast levels. You know, we're adding texture to give the viewer ah, better understanding of what we're trying to say right. It's not texture like something physical but its visual texture. And it's about that the aspect of storytelling that goes in and through what we do visually. And then, of course, the lens selection and what that does for you in terms of I want my close ups to be this way, or I want to use a really wide lens and and make it look really weird or we're gonna we're gonna use, um, your ...
lens selection. In general, I'm going to use a macro lens here or whatever. These are all part of that tool bag that you bring with you as a photographer. Then, of course, the last three things on here are where films photography meets filmmaking, where all of a sudden we had movement to the equation, and it's just one little word on that screen right there. But boy, oh boy, does that aspect off. The 1st 4 things take on an entirely different complexion, and that's that's really breaking it down like that is the 1st 4 things I'm there. Photography perfect. Then all of a sudden we get the movement and your head explodes because it is super complex. The idea of moving the camera with your composition and you're an adding texture and lighting color and all of the things. So what I want you to understand is that they're seven things on there, four of them you already bring with you. That's why it shouldn't be intimidating because they asked, The aspect of movement is really you know, that's the thing you have to learn. And then we're gonna go over a lot of that in terms off what they are, why we do it and how it places in the continuum of what I'm trying to do as a filmmaker establishing now establishing is referring to the idea that when I'm telling a story, I can't just jump into it in the middle. I have to figure out that my audience needs to know where I am. Who is there? What's what's my in any given visual presentation in film, I need to introduce what it is that I want to talk about now. Obviously, that could be abstract, but the idea is you have to establish the idea that is, that is different because in photography you're establishing is built in a lot of times, right, because I might always telling a story with multiple images. A lot of times I'm just telling a story with one image so that that is my master. That's it. But in filmmaking, you have to think about Okay, I want to get to this shot. This is my This is my key shot. But in order to get there, I need to get into it. So what I need I need some background. I need to understand where I am. I in a time of day. You need to know whatever it might be. But there needs to be some kind of establishment off the idea. That's a really big part of it. And then the last part of this, in terms of concept, is point of view. Who is watching it and telling the story as to who's perspective it's coming from? Is it very big difference from photography? Because the idea and photography is pretty much it's always the perspective of the photographer, right? That is your your telling your story from behind the lens. But in filmmaking, you might want to tell the story from the point of view of a particular character or Amish innately as the viewer. But the reality is that the point of view that you're trying to convey may very well change to throughout the film throughout the story. So these are things that the last three parts of this are the learned. This is the learning curve. The learning curve is the last three parts and how to incorporate the 1st 4 things now differently through the lens of the other three. So these seven components are the essentials of how we're gonna build out a story in video format for the most part. So through How we doing? Good. Yeah. Yeah. Okay. I think it's really encouraging to just know that for people moving from photography into this that there's like, some of that will migrate over. And that's Yeah, yeah, yeah, I think so. I think. And if anything, hopefully what you learned today You take some off this all of this with you, But the thing you take with you the most is the confidence to know they already bringing a lot to the table. Andi, I think that when you educate yourself in terms of the things that make you feel, I think secure when you step into something new, that is the key to growing as an artist, as a person, whatever it might be. And there are a lot of things that you will hopefully incorporate into the work going backwards, meaning I'm moving forward into these other things. But I still go to my studio three days a week and shoot pictures of food. Um, but when I deal with my crew, or when I'm building out my narrative of what I want to tell, I think I bring new tools back to photography from film, and that's also really encouraging in that I could become a better photographer by being a by being a film producer. So you are better producer to, you know, when I'm dealing with an advertising company or I am ah, you know, on tryingto navigate my way through the social media managers.
Ratings and Reviews
Nev Steer
A very well explained class on starting in film production from the viewpoint of a person with a successful photography background. Thanks Andrew.
Nutmeg
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