Preproduction - Working with Your Production Designer
Lesson 11 from: The Self-Sufficient FilmmakerFrancesca Gregorini
Preproduction - Working with Your Production Designer
Lesson 11 from: The Self-Sufficient FilmmakerFrancesca Gregorini
Lesson Info
11. Preproduction - Working with Your Production Designer
Lessons
Tanner Hall & Truth About Emmanual
19:32 2Screenwriting - Where to Find Your Inspiration
13:41 3How to Outline & Write Your Script
20:56 4Putting Together Your Creative Package
18:53 5How to Get Your Project Off the Ground
05:10 6Getting Your Foot in the Door
06:57 7What To Do When You're There
21:19 8Students Pitch Their Films
22:56Preproduction - Working with Your Cinematographer*
08:58 10Pre-production - 3 Scene Studies
26:04 11Preproduction - Working with Your Production Designer
04:05 12Preproduction - Other Department Heads
04:22 13Preproduction - Casting
22:15 14Working with Actors - Rehearsals & Blocking
14:34 15Beyond the Set - Festivals, Sales, & Premiers
14:28 16Working with Actors - Rehearsals & Blocking
20:05 17Beyond the Set - Festivals, Sales, & Premiers
15:41Lesson Info
Preproduction - Working with Your Production Designer
Production designer okay, so basically similar to, you know, working with the dp you do your own mood boards with your production designers, these do not live up in my living room, no offense to the production designer, but on basically, you know, I like to figure out a color palette for each of my characters, like what color hugh do they feel like look like and sort of, you know, make their rooms that color sort of influence production designer and the costume designer I like to I work with separately, but I like to then kind of marry them, so they both know kind of what we're doing with each character so they can kind of work intend them to sort of paint that color and that character and that world that lives around them, you know, the locations obviously super important with the production designer once I've scouted them and chosen them, they come and they basically, you know, set, decorate them to the core and, you know, we talk about like, with style is linda have with silas emanu...
el have, like, what's emmanuel's home look like a supposed emmanuel's bedroom because she's a team, you know, and it's like, just, you know, figuring out you know, the texture and feel of each space and each character and you know with my production designer I had this photograph of this lamb and it had this wallpaper behind it and I really wanted it to be the same kind of thing that I really wanted it to be the you know, the dining room of the manuals house and she found it from a photo she just search and search and search found where to buy this wallpaper and it made me really happy anyways but this is sort of like you know we just pulled different things from art and this is linda and you know how frail she is and she's just holding on and it's just fun to talk creatively about each character you know with each department and it's not just because they're doing you know production design that you just talk about pieces of furniture and whatever it's like you really want to get into discussions about who is this character and how and the more you can convey that effectively too you know you had the department the more that they'll you know understand who this person is and she's drowning and this is her house and you know this is what's left of her world after her you know baby dies and all this is you know it seems that the time you know just maybe you know b s but it's not it's really getting to the heart of the matter and you know and we may lose this color green. And so her room is green. And yeah, and this is the wallpaper that we found for her bedroom and it's, just like, you know, and the different paint colors and things for, you know, it's just all sort of you start building this book with them. That sort of is that world that these characters are going toe inhabit and move around in and this we can just sort of fly through. This is sort of the inspiration for all the underwater stuff that, you know, this is what we was our mood board for. What ended up being, um, the mad tank shoot with the drowning babies. And then this is more of sort of the typical, you know, ok, this is the bedroom of chloe. These air ideas for her, for her, what do you call it? Well, paper and, you know, these are the kind of stuffed animals she's going to have they're going to floating in the room and, you know, so forth and so on, andi, just make these books and just pull these images from the internet from catalogs from where it is, and you just make sure that you are, you know, on the same page and it's all, you know, pieces of building that world.
Ratings and Reviews
Mia
I think there were TONS of marvelous takeaways, here, in this course. The examples she presented about Scene Cards, the hardships, and the beauties-- all of it was very beneficial information for aspiring filmmakers. However, the verbal hesitance; "um", "you know", "uh", "you know what I mean", "or whatever"-- that started to get really distracting really quickly. But the course and the overall purpose of the lessons, that was great!
user-64e420
The good - Lots of helpful info about pre-production, things to consider, and working with actors. The not-so-good - Not exactly self-sufficient. If you were to cut out all the "...like...you know..." clutter, the course would probably be about 30 minutes shorter.