Build a Production Plan
producing a still shoot. As I say, up here is a lot of moving parts. Honestly, I think they're very straightforward when it compared to motion. Motion is is like, Ah, film director like, uh, almost like directing a train wreck. Very organized way. You have so many pieces, and a lot of them are going to go wrong, and it is very, very, very complicated to keep things moving, keep them on track. You know, it's it's There's just a lot of moving parts to a typical photography shoot. Include things like models, location permit, food, lodging, etcetera. You're probably looking at what dare to tops for a produced still shoot, maybe three. Never more 45 But what is a film gonna be? I mean, you're looking at months potentially. If you're doing a short film, you know, if you're doing a long one hour, you could be looking at a year for hour and 1/2 2 years, I had one project. It was a 44 minute television show, took me two years just to get into the field from the permit process. So it really does...
vary, but it doesn't have to be that dramatic either, but you're going to have a lot more pre planning. You need to go through the steps, and you need to go through all of these different processes and start to build a production plan. Questions you should answer right from the beginning is what is my genre? I figure if you're in the outdoor photography space, the 1st 1 is probably the most likely a lot of us who are interested in outdoor photography shifting from stills, emotional proclamation, documentaries. How was the story going to be told? This is very important because you can't just go into the field and start shooting. If you start shooting all willingly, you're going to come back with a bunch of footage like that and then have to figure out how does it all go together? How do I make a story out of it? That could work to some degree, but only if you've already planned everything out and you come back and you say, Okay, we're gonna film. All these penguins are gonna film penguins for a week or two and we have all kinds of different penguins. We're gonna look for a wayto maybe anthropomorphize their situation so Okay, Look at all these penguins there, couples. And they're always together. Baba Baba Baba. But that one penguin, it's always alone. Tell that penguin story right? You might think about that. That's something you can put together after the fact that you've already gone in with the idea that we're investing a lot of time and we're looking for that way to build a story. But if it's not being done that way, you need to know who is the voice. Is that voice coming through interviews, people on camera. Will you see them on camera? In the drone portion of this class, we see a film about Rob Krar, the Ultra Runner. You don't see him or his wife at all talking for the entire first and 80% of the film. That's intentional. You hear their voice, you see them on camera. We don't see them talking. You just see them sitting, walking, running, doing all the different things. But you hear them and then that reveal at the end. It's what it feels like is like a payoff. You see them sitting there and you feel like you're meeting these people that you've become familiar with that's a process to using interviews without having talking heads sitting there the entire time. That kind of stuff could be boring. So how do you move away from that? You can use. A narrator could have parts of it narrated, kept parts of it is talking heads. Maybe it's a mix of all three things. Is it gonna be scripted? You're doing a documentary? Probably not. You might have talking points. You might interview people with questions. You might even try to lead it in certain directions so that your theme is covered. But those are the things you figure out. And then, of course, location, dialogue, regular everyday thing. So if somebody's doing ah, you know, some sort of, ah, biology, biological working. They're having a conversation in the field, that kind of stuff. Does that carry the story along? It's certainly certainly can. Most television shows these days are based on that interactions between each other and conversations. This is probably the best way to do it if you can do it, but you have to have the right people in the right situation. That's where characters, character development, all those kinds of things, the things we call reality television. They really are coming out of location. Dialogue in many ways starts running into scripted dialogue. You'd be surprised. Stylistic considerations. Is it a period film? Do you wanna have a certain kind of look? Lens flares is their grain. We're gonna shoot on film if it's not digital. Probably not. I would recommend that to start as part of your transition. You want Take a look. Old lens flares. I've seen somebody used lens flares as a way to show character emotion. So every time, yeah, the guy gets little angry, you start to see red lens flare, sort of kind of creeping into the edge. You know, when they're happier, is a different color. You'd be surprised stylistically, what can be done? Think about, um, when a scene is very blue, feels like it's night. Or maybe in the past. Um, yeah, there's a movie I was watching recently where they wanted to make the business world look very austere and cold. And so all of the scenes were very, very blue and cold. A color, the color balance or white balance. All these things you would normally using your photos were trying to adjust now imagine entire scene. That's blue. Then when you get out to the countryside, this area they're trying to show appealing, it's all very, very warm evening. Why Very, very warm colors like the color balance is way on the other end of the spectrum and the Reds and most viewers probably don't know that. They don't even realize that they're being told to feel a certain way based on the use of color and the character development and ideas. But this all needs to be decided before anything else.