Lesson Info
11. Post Production
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
Post Production
we talked a little bit about all these things with their different elements to off post production in terms of editing on. Then, on top of that, we're gonna layer. Now we're talking about those layers again, right? So music is a big part of this. So when we first start cutting the movie usually used temp music because you don't have score until you actually get a full product that you could send off to be scored to use temp music. You call it for half the time you fall in love with the temp music, and then when you you know it takes a while to get that out of your system. But music is a really powerful way to turn stories into deeper, more meaningful pieces. So even though what Julia was saying is that story drives everything but these kinds of things enhanced story, they bring the high points too high. They bring the low points down low and they bring the energy to it. And so music and sound design are also super important. So, like a fully artist or somebody who's bringing sound engi...
neering to the table, all of those things are super important because you don't realize how much you cannot capture on set and how much of it needs to be brought afterwards, Um, and how that influences everything that you're seeing on the screen. We do absorb film in many, many ways, and it's not just your your eyes. So you have to really pay attention to what people are listening to. And sound and sound design are super important in the storytelling process. Um, we talked a little bit, but about photographers in their eye for color, and you'll see that when you originally film, you're filming a lot of times in what's called, um, what was I gonna say? I just lost my train. Thought in log. Did you just say that you distant? Thank you. You're shooting in log right and log just looks like grayscale or just a just a touch above gray scale. And you can't really get a sense for the story points when it comes to color until afterwards. And you have to be able to communicate what it is that you like and how you want to see it on screen when the thing is being colored in the end and then your experiences as a photographer really do come in because even if you're not coloring it yourself, you're sitting there with the colorist saying, I need that to be a little crunchier. I need that to be a little bit more contrast. I need that pop on green to be a little bit of a shade this way. Color temperature of that light needs to be a little bit more blue. It needs to be a little bit more warm, you know. So you have those that skill set to communicate those things to your colorist, whoever's coloring it graphics and on c g I. These air sort of those big ticket items at the end of a film and whether or not you're shooting or using graphic elements, both graphic in terms of graphics themselves or motion graphics like we incorporated a video game that we sort of invented for this for this movie s. So we had to hire somebody who could do that, and then we had to hire somebody for, like, the the the end cards in the you know, the graphics that we're gonna go on the screen or any of that. So all of those skill sets in post production again. Add two story, add to the layering and complete the project On finally, something like 80 are now eight. Er is when you have to re record actors dialogue after the fact. So I have a picture here That's me and the magic postproduction. No, I'm just kidding. Um, this is an 80 our booth, so you could see it really clearly up at the top. We're it says 80 are and it says Sarah. So that's that. That is the character name. And then what are we gonna We're never going to get the I Bridge back, So that wasn't in the original script, and it wasn't captured on set, so we needed to add it later. So, like when you cut away from a character but you want to still hear them, Or even more complicated is when you have an actor who has toe lip sync his own dialogue, and it's really difficult to do. Some people are really good at it, and some people are terrible at it, and it's really hard for them. But the idea is that sometimes a plane flew overhead. Somebody tapped their microphone. The micro dead, Whatever. You flubbed the line, but the rest of the scene was great, whatever it might be. And then you go back after the fact, re record those pieces and then plug them in. So that's this. Part of that process is it's a little bit time consuming and difficult, but it does add something because it really helps you clean up those mistakes at the end of the super common that there are entire studios dedicated to it. So this was one in Atlanta because of Owen is from Atlanta and like all of these major productions air happening there like the walking dead and some of the others that they do 80 or sessions in here whole time. So it's a very and somebody who's good at it. The sound engineers with that are really good at it. That's it's amazing, like how they sink it up to make it look perfect. So what would you suggest as a good first test project? I'm gonna go through all the phases of production, but I'm currently a one man operation. Okay, I would think that to take a story that you want to help, for example, um, this story I'm going to share with you later about Ah, I did something about knife forgers. I was interested in it. And I took that as an opportunity to figure out how I could tell a story about this one particular person that I thought was interesting and his role in being a knife forger in the middle of a big city. So I took that idea and I ran with it, and I contacted the person I was interested in in telling the story about. I told him what I wanted to do, and then I planned out with him. Once he agreed to the project. As to what parts First, I would interview him and find out what's interesting about him. Does he have a family? You know what is what was his motivation, what are his goals and find out all the things that are important to him in order for me to tell his story, then I wouldn't share with him what I found interesting about him in his story, so that we understood that my goal was to tell the story this way. Once he's comfortable with that, then I would go forward to write out my shot list as to what I wanted to capture. So part of it is interview and I would write my questions as to how I wanted to interview him. Then I would take the action role of whatever he's going to be doing. Then I would do and then I would have. And then what I did was I had him narrate over his action role. Then I was should be role so that I would have to have something to cut through. Then I would figure out once I get a rough edit, then go through picking music and sound and then color it and then title it and put it out there on the Internet. I mean, that was pretty much the process. Um, and I think in terms of where you start, I'm gonna go. I'm gonna go back to Giulio again, find a story you want to tell, and I think that is clearly where all of these situations start. Find a good story. You want to tell something you're passionate about something you're interested in, and it doesn't matter if you're shooting it like with your phone, Like even something like an instagram story, right? If you do it well with video and stills, you can actually tell a pretty interesting little narrative in that format. So if you think about extrapolating that forward on making sure you're hitting all the marks and all the pieces, I want to add some sound designed to this. I want to add music to this. I want color this appropriately. I want to make sure I get good coverage all of those pieces, and again, you could do it by yourself. It's just gonna take you longer. It's probably gonna be a little harder and is probably be something you can do. But I'm sure you can an engineer it in a way that if you create a shot list that's excusable, you do a good job.
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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