Lesson Info
10. 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
Production
So in production effectually there's only two things. Do this this motion capture you sound capture. That's it. You're like, Whoa, that's that's that's all, huh? Well, the point of the I'm making in this is that there's there's something that, um, Giulio said to me and he said it almost self consciously when we were in the middle of our, um when we're in the middle of our postproduction situation, he was like, we got 90% of this stuff done in six months. It's gonna Well, not not six in three months. We got 90% of the film done in three months, and then it took the last 10% took twice as long. So that goes to show you that you know, the ideas that you have in the beginning and the execution at the end eats up most of the time. And then everything happens on set in. However many days you have, this was 26 day shoot. So 26 days of shooting and then months and months and months and months of pre production months and months and months of post production. So shooting and sound capture. So t...
his is Jack and He's one of our producers, and this is sort of what his entire day was every single day for months and months and months. And this is what production feels like when you're there. It's do everything at once, do everything at once, do everything now, do everything now and then stand around for a while because there is an awful lot of that, too, right, it's Hurry up, Hurry up, hurry up, hurry up! All right, stand there for an hour And that's what production is like on every level. Right? Whenever there's a reset, a reset, a reset. Whether it's a small production or a big production, you have to be prepared for that. You have to understand that production in and of itself, is grueling because not only are you trying to bring your whole creative self to the thing you're also it's also very physical. There's also a lot of downtime, and you have to figure out what to do with that downtime. Be productive and be communicative and take care of yourself. Even on photo sets, I have assistant who we call the hydration specialist, basically drink water, drink water, drink water all day because that you end up feeling like you got run over by a truck matter. What set you're on this set in particular was over 20 days, and we had over 90 degrees in 17 of the 20 seventies, and some of those days were over 100. And like I said earlier, everybody on the set was either under 14 or over 70 way Took it on, man. We took it on. It was distance, no question about it. And, you know, obviously capture could be small. So sound capture and the joke about our sound e. Who is such a nice man and such a good sound engineer was he dropped that boom mic into our shot so many times that I was horse by the end of the shoot. And then, of course, we had a good sense humor about it, and we took a picture together at the cast party and we drop them. We drop the mic in the picture. So But I mean, you know, when you're dealing with this level of complication, and then whether on top of it and all the other things, you know, all of the things that go into making these types of productions, you have to be super forgiving because everybody's trying their best. Nobody's everybody's bringing it every single day for a long time on little sleep and a lot of a lot of physical energy exerted. So things happen and it's it's, I bring it up Just because it's important have patients on. It's important not to lose as a leader in these situations is not to lose your composure or because then you're gonna lose your crew. And I've talked about that before. No matter what we do, when you're the leader in a situation, you need to bring your a game and you need to check your ego and you need to be a good leader, because otherwise you will lose your crew and on something this big. It gets the bigger gets, the worse it gets. And there I am in my one of my big, fat pictures from this, because the amount of stress eating I did on this was I. It's funny, right? The The irony of it all is I've worked for 17 years in food, and I wore the same pants size throughout all of them. I go on a movie for six weeks. I gained £20 I look I look 10 years older, so if you don't take care of yourself, this is what happens to you. So anyway, I lost the sunglasses to was very upset about that. But, you know, being on monitor every day, having different sets of eyes. So the guy in the back with a hat on is he's the gaffer, and he's also a director in his own right. And the young woman is, um, the first camera assistant who was aces and was our our focus puller. But, you know, we were all there to support her because it's super hard to pull focus on anamorphic lenses and, um, or fix our like the Panavision. And it was super bright outside. So seeing the monitor in the bright sun, trying to pull focus all of these things. So we kind of got a bunch of eyes, were all used to looking at monitors and looking for focus and understanding visuals. And that's another thing as a photographer, that if I was just a producer who didn't have that background, that might not have been an extra set of eyes that could be helpful to either. Look for frame, look for continuity, problems understanding. You know what I'm supposed to be looking at in terms of scene, and it also making sure that focuses being pulled appropriately. So like having extra eyes, whatever you bring to the table is going to be an asset and then having the finger to stay quiet.
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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