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Guerilla Filmmaking

Lesson 32 of 41

Scene Transitions with Q&A

 

Guerilla Filmmaking

Lesson 32 of 41

Scene Transitions with Q&A

 

Lesson Info

Scene Transitions with Q&A

scene transitions for me. You hit a wall without seeing transitions. They don't have to be super in your face. They are. You're talking about Star Wars wipes. That's fine if you dig that sort of thing. But that's not gonna work. In most movies, we plan out your transitions in pre pro, and I do have adobe in the frog to show you guys were gonna watch the whole thing because it has a bunch of scene transitions, transitions in it that we thought up ahead of time. The main idea behind scene transitions is moving you from one to the other. And I'm not talking about the scene that we that we were discussing the other day we moved from a living room to a kitchen in its whole same team I'm talking about were, you know, at the hospital. And now we cut to the house. You have to have some kind of transition. Ah, you know, can you think of a time when your passion for someone was equally a bomb down as the distance and separated you? You're talking well. You available even to such madness by your ...

laws that you couldn't go on without instituting revolutionary change. Are you wanting me to answer these? Such was the guy's thes two very special people here was a man of strengths and pragmatism. Premiere pro Like the software? No. So you're not talking about adobes editing southward? I am not talking about software Boy, I am talking about love. Okay? As I was saying, hey was madly in love with Fidel named now you're definitely talking about so talking about love. Yeah, okay. He was monkeying about with a girl named Aftereffects was renowned, radiated beauty and magic. I'm here love town and she team when they were together magic but sooner or make as they had to return to separate lions which, as we all know, it's no good when missing their integration. You wait. That's a software with Sentelle. Let nails few to be slow on after base with sending. And that is when when you realized it was time to take this to the next level. Oh, is that it? Very decided to take their relationship to a whole new level of integration. Concerned that that means what I think it means on their one roof now showing their love in life's test which premier now isn't it now also possesses the ability to create masks with several points and feathering taken now, also track seem as to an object to affect only that area. For example, when growing apace, metaphor is pretty much entirely broken down now, in decoration is easy outs, NFL and A kiss is just a step away. And, as we all know, a kiss can kill even the most attention of curses. What? So you also noticed that were dancing all over the rule of thirds in that guy? So I'm pushing everything off before talk about transitions. I'm pushing everything off those points of interest to kind of create an awe feeling not in a super odd way, but in sort of a fantasy kind of way. Even in the shot of Josh, there's far too much headroom, a matching the headroom of frog. But I'm also trying to give him a little kid innocent vibe, so I'm making him a little smaller and frame, trying to make him a little cuter. That little moment, such a Q T. That little moment is kind of real world, but we're trying to get sort of a Pixar ish vibe out of this thing mixed with film riot irreverence. So we're dancing all over those sort of ideas, sliming things, center, taking that point of interest in moving just a touch. And those were all conscious decisions to try to get that sort of tone Number one. But the scene transitions throughout are pretty simple in this guy. There's one or two that were really thought out, but a lot of, um, even seems like we're just cutting. But if you notice you'll hear Josh talk first, then we come back to real world or the music has a switch up immediately toe have a some even it's It's so much as just a keynote that of, ah, piano that happens from one switch to another. It's gonna make it feel less odd and make everything feel a lot more fluid. You can also match cut on a move like we did in here. Actually, we pan over, then we're coming out and it moves us from one scene to another were actually moving time frame. So we convince all that real quickly just seen transition. If we were to just cut it would have worked quite as well using objects on frame wipes. We kind of did that idea with the wall but moving behind something. Then you mask around that to reveal behind it. But you're gonna have to move the slider. The exact same in both shots is that makes sense, or did I go over that one too quickly? Makes that's great. Sound is what I use the most on that that's just riddled with just sound transitions. But I have a better example. This will cut from this scene toe second and then 1/3. All just using music, which is one has sound. So hopefully that's on all just using music to push us through time. So we're just using music to transition are seen. So we're taking our character probably five minutes later just by using music. That's it. It's nothing about the cutting, but I knew I was going to do that ahead of time, so I knew I could just cut from one to the other. So you got a plan, Those transitions before time. Even if you're just doing with music or some kind of sound effect, hearing a character talk, then jumping to it, it's gonna make everything run a lot smoothly. Fix your credit for you, and we'll get some of getting this on that later about sound. And when you're editing as well, so always be thinking about seeing transitions. Homework Watch. Stay If you haven't seen states Marc Forster film, I think an excellent film, very psychological, psychologically driven, and it has just insane scene transitions. A lot of them are very in your face, but just watching them and thinking how he thought some of it you're like, What just happened? Have you seen it? You just Where am I? And then your transition to another scene you don't even know when it happened? It pretty fantastic. So definitely check that one out. The questions. So it's been quite a few questions about directing. In general. Question is, what are three things for getting cast and crew on board with you as a director and trust you particularly if they have never worked with you before? Uh, that's like what we're talking about on the first day. Have something to show for yourself. If you don't have anything yet, you're trying to make your first thing. If you have an IPhone, go shoot something look at the work of Philip Bloom. He's out there with a camera by himself, telling stories about life. But he's constructing these stories out of them, using music, using how he works the camera. If you could do something like that and show them that you can really drive a story and tone and get them excited in something and wanting to be a part of it, you're gonna get them on board a lot. Mawr or Thea? Other idea that I gave was the sizzle reels that directors will do to pitch to a studio. You take a bunch of other films that feel exactly like the one you're trying to make you create trailer out of it, using, you know, scores from other soundtracks and show that to them, get them excited. The point is, you have to have something that you can show them that you did to get them on board and excited with what you're trying to do. If you have nothing to show for yourself is gonna be really hard to convince people to jump on board unless they just love you and want help. All right. Cayenne wanted to know what did you use to do the fraud? Was that blender dark beer? Stark, I would say that was kind of like bubble gum in Popsicle sticks. To some extent, would she say it was kind of, Well, we we bought the model. It was pre rigged Turbo squid from turbo squid, which is like, You need models? Thousands? No, it was actually a three studio max file. We FB extra to Maya because our animator animates and Maya exported everything out the entire animation as an O. B J sequence. And it wasn't rendered that was all done in aftereffects with Element imported it and just rendered out the entire thing and like to fake the reflection. We just copied the model, and that's all it is. So it's actually two models, and then we just turn down the transparency, which is a great example of what we're talking about about making the compromises. When you have a deadline and a budget, you have to make compromises. The frog was one of the biggest compromises were made. We figured Stark figured out a way to kind of get it toe work in the time frame that we had because doing it the correct way would have been how long? Triple our timeline. So we had to find a way to bring it down. So the frog didn't quite hit the level we wanted. But it worked for the pieces. Very cartooning, which totally worked for the tone. So that saved us a lot. I thought it was awesome. I feel like he was just speaking French then because I did not. I'm not enough experts. So anyway, that was cool. Thanks for answering that Stark. So, Tommy, see, Wanted to know where to get your music S O. That was from a composer. That I work with their somebody composers out there now because of the software is making a lot easier to get into it and sort of learned same thing with what we dio. So there's a lot of people on there If you just go on like Soundcloud or start Googling it, you'll find people that are doing suffered video games on lower ends that are wanting to get into this sort of thing. The composer. I use most starts and it started video games still doing video games in the Triple A video game right now, but he really wanted to get into film. So he did my first for free, just cause he really wanted to. He was just doing video games, so that's a great place to look on. Then there's just royalty free that you could do online music. Bed is a really great place to get music. They curate music and really interesting way. That makes it simple. So even royalty free music has come down in price a lot. You're sexy. Song that I used was like two bucks, and I could use it however I want. So if you just Google royalty free music, you find tons of places and then just cross reference the prices question. I noticed you were side coaching her actors while the camera was rolling. Are the microphones so directional has to actually allow you to do that on set? No, that's where 30 seconds of sound comes in that we were talking about so you all we would have. We're shooting for real. We would have had everybody be quiet for about 30 seconds to a minute, and then we would have had that silence to replace my voice with the silence because it's not true silence that we talked about. If we quiet down, we'll hear the air conditioner, any kind of other noise that's in this room or outside. And then we could easily just replace my talking with it. I'm always talking to my actors when I direct. I mean, if you watch any behind the scenes, you see the director talking the actors the entire way, cuing them went to go often times. I'll tell them what the action is, and then I'll just qu because I want them to be off guard a little bit. All right, Jake Tapper wanted to know. How do you shoot for an edit when making a compilation movie or an after movie? How do you throw the footage together without it becoming rhythm? Lis? It's not like Tarantino style is you talking about. I don't shoot that way. So I you know, I feel a little, you know, unqualified to answer that. If I were to do that, I would probably write it out of sequence and then think of it in sequence and then shoot it that way. More than likely. All right. Great. How do you keep a uniform? Look, if you're using two different cameras with different sense sensors like the C 100 balance. I'm you see 105 the same time and put them together. We shot something like a C 500 the five D and stitched it together, and it totally worked. It's like we're talking about the first day. Know the limitations of work around that if you pump it a lot of light into it, you're gonna be able to balance a lot of things. We shot with the red epic and five D Red Africans in four K five D, and we were able to blend it. It's a matter of just testing. See where, seeing where the limits are, where the ceilings are for those devices and how to bring them together. All right, are there any cliche shots you would recommend to avoid? It's a really good question. Actually, Uh, what do you guys think? Cliche shots, Uh, starting your film with someone waking up, starting your film with someone waking up. That's actually really good when you know what the Michael based stand up wrap around That would be the one that I wish would go away forever. stark bullet time may die but that you thought like Sherlock Just use that really cool way, though. No mentioned before on the show, the whole like I'm definitely not going in the car. Nothing is going to get in the car, never going worse in the next shot and that it's not funny. We see it coming. That is the worst. I agree. That would be mine. That's my number one, then followed by the waking up shot. The aerial shot of the water to reveal the city at the opening of a romantic sitcom type is also a good one that drives me crazy. William, I especially don't like if I have to read a paragraph before and to, like, get you caught up right? And I'm wondering if they're going to do that with the new Star Wars, I'm gonna say probably, yeah, no Star Wars in general. One thing is one of my most hated things, which then we can, which I think is where you're going. One of my most hated things is when people start something which we don't talk about. So we just talked about here. When we start something and watch the most mundane crap for no reason. Person wakes up, person brushes their teeth. Version washes their face. A person eats breakfast. Person gets in their car. Person drives a car to their place to get out of their frickin car. They go into the and I'm like, What the hell are we even doing? And if you're doing it for a reason like Revolutionary Road showed the you know how mundane this guy's life was, it was four reason was to set something up. But most people are not doing it for a reason. I have to wait a minute to get into their three minutes short film because dudes brushing his teeth, Everyone, please stop doing that forever.

Class Description


Is there an idea for an incredible film banging on the walls of your brain and begging to come out? If so, join Film Riot founder Ryan Connolly for an immersion into envisioning, shooting, and producing films – with any gear on any budget.

In this course, you’ll explore the step-by-step process of making a film from start to finish. You’ll learn how to script, storyboard, location scout, and cast films. Ryan will offer insights on how to best work with your crew to make your sets fun, collaborative, and professional places to be. Ryan will demonstrate the process of getting the light you want for the shots you’ll need, whether you’re working with DIY lighting structures, available light, or gels and diffusion. Since lighting and sound are equally essential to professional-level work, you’ll also explore both production and post-production audio skills, including integrating music and sound effects. You’ll build a post-production workflow for editing, adding visual effects, and more to ensure you’re getting the pro look every time.

Whether you’re a first time filmmaker or a working professional ready to sharpen up your skills, this course will give you the tools you need to create superior quality films that reflect your unique vision as an artist.

Reviews

Samuel Befekadu
 

I bet this class will be awesome. the course is given by Ryan Connolly!! I have been watching this guy for more that 5 years. I just wasn't serous about film making then. but now since i love film making why not try to be one of them by learning form the best in the field like Rayn. he has been inspiration for a lot of film maker from his YouTube channel Film Riot. his way of teaching so funny and entertaining . I bought this course to learn Ryan Connolly's killer skill. Thanks creative live and Ryan Connolly!

Will Green
 

Great class! It starts at a very simplistic level and covers the full spectrum of filmmaking. I would not necessarily buy this course for advanced film students, however it is an amazing review for beginner students to intermediate students. I would love to see a BTS of a short film from start to finish. I've seen all of Ryan's BTS shorts and I would greatly enjoy a much more intricate play by play of the short. THAT"S SOMETHING I WOULD PAY A LOT TO SEE. An 18 hour compilation of prepro - post of a short would be awesome.

Jonathan Beresford
 

Love Ryan and everyone at Film Riot. Excellent course of the excellent quality I've come to expect from them. I just wIsh he'd act more. So funny.