Lesson Info
27. Lone Wolf vs. Collaborative Approach
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
Lone Wolf vs. Collaborative Approach
I have spent an awful lot of time telling all of you that you can do this right, that I want you to do this and that. I know that at a certain point it's going to be, ah, lot easier for you to move out of the idea of the lone Wolf Photographer into the idea that I'm part of a collaborative team. But it's about understanding. One critical part of all of that is learning to let go, learning to let go of the control that you have is a photographer and that you have to trust that once you've communicated your vision to the people who you're going to be working with, that that communication just doesn't stop at the door and say, OK, here, the things I want you to do and then we go on set and we do it. No, that communication has to continue all throughout the entirety of the process. You have to constantly work on being able to effectively communicate how you feel, what you're seeing, what you're doing, what you want other people to do and come constantly come back to that. That idea of stor...
y, the the idea that when you are working alone or you are the sole visual sort of influence person on sec, you don't really have to answer to anybody else, and no one else is really responsible for your vision. In a way, I mean in food. It's somewhat the food styles in the prop stylist, but for the most part you still really deeply in control of those things. And if you are another type of a photographer where you're not relying on stylists or other people to build out your sets of your crew, um, you really are working alone. So the idea that you have to rely on all these other people, um, the fact that you have to rely on all these other people to do your job well means that you have to coach them appropriately and get them into a situation where they trust you and the vision that you're putting out and that you trust them and you know, and that's the bigger part that they're going to be able to do the job you are asking them to do. So that mindset is tough to break out off, and it was hard for me, too. It really Waas. But I learned that coming from that world where I have a lot of control, every over everything that I do in my in my studio and with my work, that it was a relief after a while to know that I didn't have to always be the soul driver off the off the whole project, that I can rely on other people to help me and that the collaborative process and dealing with other people is really great and really energetic. And it's been sort of Ah ah boost for me in my career going forward because, like in anything, you do something the same thing over and over again for years and years and years, and you get really good at it. But you know, it's the same thing over and over again. You know, pizza's great, but you don't repeats every day. Um, so this is a great picture I wanted to finish with in terms of what was going on in this sort of collaborative environment, And this is that old theater this the old Paramount Theater in Staten Island. It's little dilapidated and being renovated, but it is what's called a qualified stage and the qualified stage means that in New York state, if you shoot at least portion of your film in a qualified stage, you are Ah, you can apply for, ah, tax rebate, which is pretty consists significant, which is why a lot of people want to shoot in New York, and this is the only one on Staten Island. And we were dedicated to shooting the entirety of the film on Staten Island. So that was something like a little bit of Easter egg. That was, Yeah, it's an interesting one, too, because no other film has ever done that. We would have been. Were we found out we will be the first that the entirety of the film is filmed on Staten Island. There's no footage that was taken anywhere else, so we had to get on this stage, and it's an amazing space. But it's really old. There's no power, there's no bathrooms. There's nothing there. We were running power on generators out on the sidewalk and set up this whole scene that is supposed to look like the inside of a church. So it's that tight, tight scene that I showed you earlier in one of the pictures, but it's Here's the art department here. They're talking about what's happening over there to getting themselves set. This is the gaffer. This is the sound man wiring up the the actor. And this is me, the bald executive producer, checking out the Dalai rig and the director standing right behind me. And all of these people all have this that this is the actors that, um So, like, all these people are there, we're all communicating. We're all kind of invested in this one, seen with one person in it, you know? So everyone had to do their job really well to get to make this come off. So the idea that one person can pull off a big, complicated execution like this, you have to get that out of your head and you gotta You gotta embrace the idea that the team approach is the way to forward yourself in video and film
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.