Production and Post
erection and post on set. Be prepared. There's no excuse for not being prepared as a director. If you're not prepared, your entire crew looks that you're loses respect instantly because they know it's gonna be a something show. Okay, be a leader. Re leadership books. One of most interesting things you learned about leadership is they've started this in the military. Soldiers will always prefer a leader that makes a quick decision. Even if it's the false one, then someone that takes a very long time to make a decision. Think about it. You're being shot at by a cannon, and you tell your five soldiers All right, gentlemen, we're going all sent here and get killed or weaken. Rush that embankment over there and maybe one or two of us will survive. Ready? Yes, sir. Go. It's not much discussion, Not much debate. It's pretty clear that if you stay here, we're all dead. And if we rush, we might make it as opposed to 20% chance of doing this. And I don't know, but you want to follow that leader ...
Same with a director. Be prepared. Know what you want? Listen to your crew. They have phenomenal pieces of advice to give to you but always know what you're trying to execute. No one on set knows what the final piece is supposed to be like. Someone offers me an amazing looking shot. I don't judge it based on its value, I say, Will it cut within my Cromer shore? My vision and I'll say, Let's drop the other shot and do this or I love that shot. No disrespect. It just won't cut And you move on, okay, Have your ear eyes glued on the monitor. Don't look at what you're shooting. Look at what the monitor is seeing. It's what the audience will see. It's the biggest mistake that people make. If they look at what they're seeing with their own eyes, clue yourself the monitor and be able to give cute clues as to how to fix that. Right after I know how to communicate with people, it's critical, the director and how to delegate. You can't do everything you can give direction and let people help you and no one to move on. Don't if I know you want that perfect one shot wonder in your commercial the 15th time, more likely after the third time. It's not working at all. No, if it's worth working it out or moving on and simplifying, you will kill yourself by trying to get that one shot and make it after four hours and have nothing to show for it. No one to push your luck. Forces cutting her losses. Same thing. A good first a. D an assistant director. The first person that works with you is worth their weight in gold. They do the schedule there, the bad cop on set telling her one to move forward, and they make sure you make her day and they know all the problems. They see them coming for post production. You could be one person band and do it all yourself. Or you can work the post production company just going to say both work when it's a lot more work on you. Hopefully, if you have the budget, you can work with other people, get a post estimate from people on what it's gonna cost if you're doing post Uh, and in terms of choosing your editor, talk to friends. You'd be amazed how many editors people know that you work with and meet with them and music. Never get stuck or in love with a piece of music. You may not get the rights, but you can gently match a rhythm.
When you're a photographer, making the move to video can be overwhelming and confusing. Vincent Laforet, a Pulitzer-Prize winning photographer and international award winning director, is considered a pioneer in the field of HD capable DSLR cameras. In this class, Vincent will walk through the challenges and unknowns of entering the commercial video industry. He will share information and tips on how to handle contracts, budgets, castings, crew acquisitions and clients. He’ll also cover the similarities and differences to the photography industry and how your skills can translate to video production.