Lesson Info
24. Editing and Media Considerations
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
Editing and Media Considerations
some of the considerations we want to talk about in terms of when we're getting set up to shoot raw is what we're familiar with as photographers, which is the equivalent of what we call log in video. So depending on your camera system, canniness see log, Sony is s log. These are this is ah, stripped out version video with the anticipation that you're going to shoot, do you? You're going to color this after the fact while you're shooting. If you have a client on set, you might put something called a lot over it, which is basically an artificial coloring kind of filter, which gets makes it look a little bit more like what is natural. But it's not necessarily because reality is like what I said yesterday. You look at the wave form more than you look at the monitor because if you shooting log, it's going to be weird. Especially if you have a client in the house looking at the video going. It's not gonna look like that, right? So that's something. You should take that into consideration and...
familiarize yourselves with different lots that you might be able to put on the one we shoot with was called Ah Rec 709 which is pretty common on it makes it look nice enough for the client to look at frame rates and the flexibility of the having shooting at different frame rates and knowing what you're going to get out of that. So, like a slower frame rate like 24 frames per second, is a little bit more cinematic. And it's what films are usually shot at. Ah, 30 frames per second is a little bit mawr broadcast e. So it's it's a little smoother it's not. It is not grainy and DP, whatever, you know, like it just doesn't have as much character. And as we get up higher into the frame rates, we started to think about slo mo and slowing things down. And then again, we have to take into consideration are lighting in that situation. If we're not outdoors, we have to make sure we're not getting flicker. We want always consider coverage, which we've talked about in depth over the last two days. We have a lot of discussion about coverage. I also want to talk more about sound coverage, so we didn't really go deep into what sound coverage looks like. But I think ultimately the discussion about 80 are makes it pretty clear. Ah, sometimes you will do what's called wild lines, which is You will record the lines off the actors in the scene without the cameras rolling. So that that way you have coverage on your audio as well. Because sometimes in complicated scenes with a lot of characters, it's very hard. Teoh get what everybody is saying. It gets kind of muddled. So a lot of times we would do wild lines to get a clearer, better version of that audio. Or, let's say, in the middle of a great take, a plane flew overhead. So we love the take, but we needed to fix some of the audio in it. Then we would might go back and record wild lines. So that's, um, that's something that about sound coverage that we really didn't talk about. But it just it makes sense in terms of what we've talked about overall, in that redundancy and being ableto have multiple options when you get to post production is really, really important. Ah, a little bit. We talked a little bit about green screen and how that is an effective tool if you think about wanting to create environments that are not there for you. And if you learn how to use green screen and learn, how are you? Have somebody who's edited in it before you notice how to shoot for it, It could be a tool that really expands your range of what you could do. So I think it's something that, if you're interested in creating much bigger environments or fantasy environments or things that are not existing or things you can't achieve, practically the green screen is a really great approach and, you know, used extensively and filmmaking. So something to become really aware off. And now. So we sort of talked a little bit about Daly's and how the use of dailies as it as a director, even on small projects, to be able to review what you've done on a given day on. If you have an editor who will cut your dailies to give you Ah, like a brief overview of the best takes of the day or the mark takes of the day, we didn't really go over a lot of directing technique in terms of ah, marking our best takes and all these other things. I think there's so much more to talk about. In terms of we could we could take any given section of what we've talked about here and create an entire day around it. But I think we wanted to cover a lot of different areas at once, give you a really great baseline to start from and then be able to jump off from there. But understanding that dailies are a great way to evaluate your own work, they evaluate the work that your actors are doing. They will evaluate your team and see what can be done better from day to day. There's no reason why on any given project that if you notice ah, a knish you that you can't fix it halfway through and make it better. So that's part of the reason we look at dallies. It also influences how the rest of the project will be interpreted because you may take some turns and twists in the story telling based on what you're looking at. So those are some additional, uh, considerations. Does this look as complicated as it did before? No, and I'm glad it doesn't look as complicated as it did before because we talked about what it means, right? We talked about this. Was like I said, I talked about this being one of the more complicated blocking maps that we used. But now you understand that what each of these things are, what they what they're intended for And that if you were, if you were going to look at this now, you can understand that we have on off a lot of coverage to get in this, but and why and why? We would map it out ahead of time and then write it all down. So if you if you want to just follow one piece of it, if you look at just the top introducing the guys So I know the shot that we're talking about, right? So we're introducing the guy. So this is from here. This is the no no character, and he's talking to Marco. No, I'm sorry, Mark Marco is here at this point, and he's talking and referring to the guys at the other end of the thing. So that is one set of coverage that's being captured from this angle, and then from this angle going the other way, so on the reverse. So it's one character at one end Daughter Bochy court, describing a whole bunch of guys on this side of the box you court and he's talking about them and in the camera reverses. And he's talking about the guys that are over here, and then the camera shoots over to this guy because he's the last one. So there's a pan from here on the last he says, This is this guy, this guy, this guy, this guy and this guy and this'll guy. So that's all of that is represented in there somewhere. So that's where it's until you actually would see the scene itself. You wouldn't. It would be hard to understand exactly like if you were ready. If you had read the script and then looked at this, you would completely understand how it all fits together. But just knowing what the pieces are, these are the actors thes air, the background actors. This is where the camera is positioned, and all of that
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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