How to Create your Own Web Series - [and be the next big thing] | Otessa Marie Ghadar | Skillshare

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How to Create your Own Web Series - [and be the next big thing]

teacher avatar Otessa Marie Ghadar, Filmmaker, Digital Storyteller, & DIY Enthusiast

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (48m)
    • 1. Welcome to Class!

    • 2. Intro to Pre-Production [stuff you need to do before you start filming]

    • 3. Decide on Your Story

    • 4. Equipment

    • 5. Budget & Crowdfunding

    • 6. Hiring Cast & Crew

    • 7. Intro to Production [stuff you need to know about filming]

    • 8. Ready Set Shoot 1/2

    • 9. Ready Set Shoot 2/2

    • 10. Intro to Post Production [stuff you do after you finish filming]

    • 11. Editing & Music

    • 12. Marketing Promoting Your Web Series 1/2

    • 13. Marketing Promoting Your Web Series 2/2

    • 14. Course Conclusion

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About This Class

Waiting for someone to read your script? Take control instead. In this class you will learn to create, edit, shoot, and market your own web series.

Learn step by step how to come up with an idea for your series, write a script, hire cast and crew, direction, shoot your episode, edit your episode and add music. Finally, you will learn how to promote and distribute your series once it is completed. This course is based on Otessa Ghadar’s book The Wild West of Filmmaking and a Master’s Class on New Media & Web Series she taught at American University.



Meet Your Teacher

Teacher Profile Image

Otessa Marie Ghadar

Filmmaker, Digital Storyteller, & DIY Enthusiast


As one of the web series medium's earliest adopters, Otessa Ghadar is a true forerunner of digital media. Since 2007, she has been pioneering the web series format and establishing new ground in the wild west of the web, particularly through her globally viral show "Orange Juice in Bishop's Garden," know affectionately as "OJBG".

Otessa Ghadar started "Orange Juice in Bishop's Garden" as her MFA thesis at Columbia University's film school. Now in its 7th season, "OJBG" is the longest continually running show online. The show has an international following in 145+ countries and has been recognized by industry heavy hitters, such as the Telly Awards, the Webby Awards, LA Web Fest, among others. Diving into web series production when the idea was still in its infancy, Otessa had... See full profile

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1. Welcome to Class! : I'm attested Adar and the creator, director and producer of the longest running one Siris for young adults called Orangey Submissions Garden, also the president of my own company. 2020 Fractions have won numerous awards. I received praise in the press and been so I was an activist for creating a few mil center production featuring authentic coming of age lesbian storyline amongst unstoppable of diverse young actors. But I had to learn all of this myself. It wasn't taught to me in film school. In fact, I did go to film school, but my school was advising us to create $20,000 calling hard short film that would hopefully get us attention. Maybe an agent sounded really risky to me. Costly shouldn't really have a hint of a whisper over prayer, really handing out or getting the noticed or, you know, any sort of guarantee that I would actually get to direct my own work. At the time, my brother and sister were watching a lot of content online, and I knew I really wanted to go for younger people. Were, and not only that I had a sense that online was going to be what people just largely we're gonna be flocking down the line. I also knew that I wanted to tell a story that I was really passionate about. A story about friends and people I knew when I was growing up, people who were gay and straight, black, white and got into lots of trouble and part of it down, things that you know you don't necessarily see on network television and are kind of disinclined to ever get any kind of funding for. So we're really talking about more of an Indian by. I really wanted to create a show, something like my so Called Life for the Grassy shows that I remembered that my friends and I love growing up shows that taught us about life. And from that I really developed a central idea that I knew I had to pursue. And when my mother and friends and family came on board saying that they could help me, the momentum really grew in and solidified into something that was tangible. So as momentum grew, though, I found that I really had to unlearn a lot of the things that I have previously learned in film school. I really had to create a new language and conception for how to tell stories online. This is a class for people who are passionate about a story that they really want to share for people who also may be don't want to spend money. And for anyone who's interested in learning how to market and sell and find an audience for their work, and at the end of this course, if you will have created 6 to 7 minute episode of your very own, that will be your final project. 2. Intro to Pre-Production [stuff you need to do before you start filming]: in this portion of our costs are intro to pre production. We'll cover how to come up with an idea, a concept for your show. Remember that a simple script is definitely easier to execute. Will also cover budgeting, crowdfunding equipment and hiring casting group. 3. Decide on Your Story: So let's talk about deciding on your story. It should be something that you have an affinity for, something that you're passionate about or maybe interested in researching, but something sustainable because you're going need a minimum total of about six episodes qualify season. Once you've come up with the central core theme or idea behind your show, then you can present it and share with the rest of the class. When thinking about episode length, I really recommend thinking about the 6 to 7 minute mark as the sweet spot. Now you don't need to absolutely stick to that every single time. But the reason why I say 6 to 7 minutes is all about bandwidth, and a lot of your viewers are gonna be coming laptops but also can be coming from smartphones, and anything over seven minutes starts to be a little bit buggy for cell phone viewing. Another good thing about the short lane is that you're really going to be able to capitalize on a lot of reviewing whether it's students washing stuff during passing time between classes or people watching your shows during their daily commute. That ability to squeeze your time into the small moments of the day is really key, and it is that you can constantly be watched on the go. The destination viewing is is a great thing, but that's that's a different niche. So you're really gonna want to make sure that your light and flexible and short in, like, you know, also experiment, you know, have fun with it. A lot of my episodes were almost like day, dreamy and feel nontraditional kind of episodes somewhere like music videos. Anything like this could be right for show. So play around and see. You know, not every episode needs to be the exact same leg. Not every episode needs to be shot in the same style. You have a lot of latitude here, so make use of it. Some basic math. One page of standard script equals one minute of screen time, so if you have a six page long script, you have about six minutes long. One thing that I remember being taught in film school was to never think about budget or any sort of constraints. When you wrote your script into the kind of parrot down. Later, when reality started to come in, I honestly would urge you to do the complete opposite. I think it's unhealthy and slightly delusional to write in that way. I think about what you have and what is possible. Do you think about your budget? Do you think about the resource is in the assets that are already in your collection or in your wheelhouse? So, for example, in my show, WAAS set in the 19 so his recent period piece, you have to constantly make sure that you know you don't have modems or modern cellphones, or even, but stockpiling courted phones, all of those kinds of things and making sure that the wardrobe is in keeping with expectations. And you know that you can't have movie posters at a bus stop of movies that existed after 1995. So all of that made it a little bit more difficult, made the budget a little bit more of a concern. But we were able to save that in other ways, namely relying largely on exterior day shootings. We didn't need a lot of lights, but again, I think about, you know, kind of what you already have, what you can make use of what is possible for you. it doesn't necessarily need to be something magnificent. But for example, there are a lot of magnificent things that just already exist that you can kind of make use of. I'm thinking of, for example, the movie Metropolitan Right, which has all of these great expansive shots of very fancy Uptown New York. Now that's just free production design for the taking didn't cost them anything they wrote to make use of it. There are lots of gorgeous sets and locations that exists just out there for you to have, so there is a way to get a lot of money coming through the screen without spending it. So I'm not necessarily saying that you have toe, you know, Onley do into your kitchen day. But do you consider you know how you can get the most coming through the screen? So what does this mean for your exercise for the episode you were going into scripting and eventually shooting and editing setting to music, I would recommend, you know, ways to keep it simple, a two person seen as opposed to a 200 persons and it's a great way, you know, perhaps avoiding trained animals and small Children is also another way. But you know doesn't mean that you have to be completely budget. So, for example, if you have a two person relationships seeing or pre kissy and say you can set it in a physically beautiful location that exists, that's outside. So you get all that free production design. So what you're filming is still really lush and expensive, but it's not costing you a lot. It's not breaking the bank. So when you're writing, think about that. And also you could be doing inter office politics, right? Let's say that it's a comedy that you're tryingto hone in on. You don't necessarily need an entire office that you have tow rent out all day. It might just be enough to have a water cooler. That might be all that you need. That might be where the funniness happens. So when you're writing, you know, think, think about locations, think about realities. But I don't don't completely become disheartened because there are always so many wonderful ways around these. So tip number one, for the purposes of this class I room recommend keeping it simple. You could build your skill sets here and then, you know work on more complicated versions later on. But for right now, just focus on really building your fundamentals so that you can build confidence. So, for example, don't go all Cecil B. De Mille. You only really need to, actors, say, or, you know only using one location, preferably one where you have moderate toe high amount of control like your own house, and you don't necessarily need a lot of really fancy equipment or lighting. You could do it outside where the sun is free or, you know, think about just using your iPhone, which uses which will give you HD quality work. One other tip. Tip number two. Instead of trying to find the most grandiose moments like Star Wars or life on Mars, think about the everyday moments that can still be pretty grandiose and pretty dramatic. So find what makes waiting for the bus say, actually worth watching? Why would someone want to watch that fine find those moments, but on those and maybe focus on on internal conflicts and how you make the internal external but don't necessarily worry again about Mars or Star Wars 4. Equipment : So the subject of equipment is something that gets a lot of air time. And what I'm gonna tell you was probably gonna go against the grain of what you traditionally been told. What I'm gonna say is, don't worry about it too much. And yes, we are in the midst of the DSLR revolution, and it is a tremendous thing, and it is pretty empowering. So if you have a DSLR, that's great. But if you don't, I wouldn't even recommend borrowing one. And you just have to worry about potentially damaging or losing someone else's gear. And you know, you do rent one. You do borrow one, you're gonna have to figure out how to use it. And let's be honest at the end of the day, most of us are most accustomed to using our smartphones and smart phones. These days almost always shoot HD. So use use what you're used to use what you know. Well, use that. And instead of focusing on big lights, fancy gear and stuff, think about where are the moments? Where do you need to be? Make sure that you're just really focusing on your story. Everything else will follow. So you know, for example, if you get on iPhone and the iPhone six, for example, right, That's really trying to step in on the heels of the DSR Revolution like it has a large screen. So you'd be fine with an iPhone and a tripod, say, and if you shoot outside in daylight, so much natural light at your disposal. So those were just some things that I would really like to keep in mind. And you don't worry too much if you can't afford the rent camera, say so I realized that I just told you not to worry about equipment. It'll and I'm going to amend that slightly, but in a way that you might not have thought of. In particular, I think that one of the biggest deciding factors between what makes something a novice student work and a really good professional zone is the quality of the audio. It really comes down to the audio and sound versus noise is going to make such a big difference. So if you're going to really spend money or rent something, it's gotta be on your microphone and you can even get on, say Amazon. A zoo microphone for not that much money. It's really affordable. It's portable, and it will get you professional quality all you that you can then sink using a program like paralyzed with your iPhone footage, se or, you know, whatever camera when using. So tip number one is remembered. Teoh. Always hold your phone horizontally, not vertically and for tip number to try to take some photos in advance, try to think about the lighting. And also don't don't turn your nose up that you know the like that already exists. So whether we're talking about exteriors or shooting your windows or making use of what we call practical lighting, so that could be a lengthy you already have in your home. All of these things can add nice fill lights or, you know, actually be of use to you. So consider the resource is that you already have and then do a little bit of pre planning with them. 5. Budget & Crowdfunding: What type of budget do you think that you'll need to make your first episode In particular ? Remember to try to make this first episode as cheaply as possible without sacrificing your story. So if you do find that you would need something like additional funding, think about the crowdfunding resource is that you have at your disposal there things like seed and spark Kickstarter, Indiegogo, all of them have their sort of variance says. So familiarize yourself with him and figure out which one is right for you. Now, in terms of using crowdfunding, there's some things to keep in mind. In particular, you're gonna want to actually generally have a video or some sort of contact to share on your company home page. So that could be something like a trailer that you've created, or even just a plea. Why is what you're trying to do? Important? What does it mean to you? Videos are really helpful. Here's also that you talked about mood borns, additional content images, anything that you know the visual expression off what you are already thinking about to show that this isn't just some half baked idea, but this is something that people can get a sense of, and the more that they have a sense of it, the more that they see how enthusiastic and how completely not half baked it is, the more likely they are. I want to give you money, and in terms of perks, obviously the parks are important. People are gonna want the things that you're giving on. If they don't, then they're less likely to actually give you money. So do you consider that you know things like it's copies T shirts cool. Merge all these air? Great. But if they're outside of the realm of possibility, it's too much money. There are other amazing perks that you can also offer, like a walk on role visit to set the chance to name a favorite character or something like that. All of these things have value, even if it's not immediately in dollar sign, for it still has a lot of value that will translate. So tip number one don't spend money. You don't have try to make use of resources that you already have in your possession. Or, you know, consider your personal resource is, and also what you can beg, borrow or build upon The second tip I have is to be bold and be confident and persuasive. Consider the fact that high maintenance is now a show on video that people are paying to watch and also brought. City started humbly as a Web series, and now it's a show on television on Comedy Central, and Amy Poehler is the exact producer of it. So do you consider the fact that you know, have faith in what you're doing and really spring warded that there is a possibility for things to grow? 6. Hiring Cast & Crew: when it comes to hiring your cast and crew, your friends and family aren't necessarily always going to be. The best people to have is your actors and crew members. That said, don't necessarily count him out because friends and family members who are committed, talented and enthusiastic should certainly be included, especially, you know that you can count on them for more than one season. All about longevity here we're not just talking about one short film or a series of short films were talking about show something that will have to carry over time. So you're gonna want to know that the people that you're bringing on we'll be there, especially when it comes to your cast that they will be available time and time again. And also carrying over your crew can only help you as well, because people become familiar with your shooting style and just kind of what you're trying to do now when it comes to finding people, use every resource that you could possibly can. If you're in film school. Your fellow film film students are tremendous resource to you and are definitely committed and interested in the same things as you, so you know, don't don't count them out. And if you're not in film, school, your stuff, tons of things at your disposal, Whether it's posting on Mandy Craigslist or Breakdown Express, there are a lot of casting. Resource is out there, and also crew Resource is, and then don't forget about contacting local theater troupes, schools, universities that have strong drama departments. You can also do things that are as old school is posting flyers in, you know, cool coffee shops. What? Whatever it takes, really, all of these can be excellent ways to drum up a lot of interest. And you make sure that when you hold auditions that there will be tons of people there. You don't need to be a big name to have a ton of people at your auditions. You just need to be really strategic and do your due diligence when it comes to making sure that you sell your product in a way that's, you know, interesting, even from the from the casting stage. Well, from the crew stage now, when it comes to actually having your rehearsals, some tips and tricks and also just no good practices, so you're definitely gonna want to make sure that everyone who is either an actor or a crew member is going to sign a release form to make sure that you yes, you could film them. And yes, they're aware of what your policies are on set and so on. And also make sure that, especially when it comes to your actor auditions, you know, give them sides in advance. If you feel like that is worthwhile or, you know half sides available on site on the sides or just, you know, small snippets that they're reading from that you selected now, you can also take notes and take photos, even just with your iPhone while you have them in here so that you can jog your memory when it comes to bringing people back for round two, say anything that just make sure the you have a way to really tap into What is happening is after you have seen 100 people, it gets a little hard to remember each performance. Another thing that I would recommend and this comes to, you know, just another budget slash cast concern is if you don't have a lot of money for wardrobe, you can often ask your actors to dress themselves, and this is not only a way for you to kind of keep down costs, and then that's more money for, say, feeding your cast and crew. But also, it's a way for your actress to really get into get into the swing of their character, really start thinking, embodying and inhabiting what that world, what the world looks like, how that character not just dresses but also having moving their clothes. Something to keep in mind is that you're most likely not going to be working with just 100% completely professional actors. Some of them were gonna be novices or knew these people were trying to break in or develop their real site. So it's important to be gracious, don't make them nervous trying to make them as comfortable as possible because you're really gonna need that that good grace later on. Also, consider the fact that can be helpful during an audition to try to give an actor just a single note to see how they react to your encouragement or constructive criticism, just to make sure that you too, can work together successfully. My tip here is to not be afraid of your friends and family. Anyone who is talented and enthusiastic should by all means be included. And don't worry their fear that it makes you look unprofessional. It's just silly. You're gonna want your cheerleaders around you. It's gonna hope you feel centered and bold, and it'll also make sure that everything is coming through the screen the way that you need it. I want it to be. For example, Angelina Jolie's 13 year old son was a P A on her last film, and my mother did all the production in a costume design on my own show. I mean, these people are again their their gold nuggets. You need them. 7. Intro to Production [stuff you need to know about filming]: So you're now ready to call action and actually shoot your episode. So welcome to our intrude to onset and production in this section will discuss things like shots, angles, takes and cuts, as well as how to actually work with actors productively and successfully and some of the advantages that small screen actually has. 8. Ready Set Shoot 1/2: so I like to call this already set you and what I'm gonna outline here is the kind of the fundamentals of filmmaking, the shots, the angles, etcetera that you really are going to need to make your Web series both interesting, visually and also cohesive. I will also touch upon some of the fundamentals and of working with actors and how to really direct people. First things first, you're establishing shot. It's what sets the stage for your work. So it tells the viewer where you are, what world you're existing in on and, you know, things to think of, just sort of knee jerk examples would be the apartment in friends, say, or the diner at in Seinfeld. It's really you're just gonna wanna make sure that you're placing you were in time and location and making sure that you're not just kind of springing stuff on randomly. Individual repetition is not a problem. It's a really good way to ground your viewers in your story. But also another thing. And this is a very common mistake, with people were just starting out with their filmmaking. It's not getting your entrances and exits. Always make sure that you're getting, you know, people entering the scene and leaving the scene, even if you find that you don't need it. It's just a good practice and also helps your actors to kind of settle in to their role in place. Do if you takes for each scene, but don't go crazy. But also make sure that you have safety in terms of more than just one take. You're definitely gonna want more than just one, but also from different angles. And, you know, think about the fact that you can move the camera and make sure that the cameras always where you're gonna want to be, where there's some visual interest where they're some kind of threat to your story. But think about, you know, you can move the camera from side to side. Up down there, there's more than just having something locked on sticks. Say that was some basics. Close up is just a shot of a person's face, kind of like so and an extreme close up is a shot that's even closer to the face part of the face. Say you're focusing on the eyes. Let's talk about cuts a little bit. Consider a two person seen. They're talking back and forth. Are you gonna cut at the end of each dialogue? Sort of like a ping pong ball. You can. But other things to consider would be, say, letting the audio sort of bridge over, cut in between and show some of the listening, or even choose to focus on Lee on the listening on each side. Think about you know what? What's important for your story, who you really want to be seeing. Is it important? Say, to hear the speaker or to see the listener? The good way to learn about cutting techniques is to watch television, say, with sound completely turned off instead of, you know, kind of processing the audio that you're hearing thing about how the cameras presenting the action. It's a good exercise and, you know, probably really informative to you. I also think that it's important to not really don't get don't get too stressed out. Don't overthink it too much. With its establishing shot and some cuts and some sort of experimentation, you should be fine. You'll find your style along the way. Make sure that you get lots of B roll. That's one thing that I definitely recommend because the people will be your bread and butter and it will cover a multitude of sins. So you're beautiful. Could be, You know, things that you do on a break or after filming, even if we something that you go and you do on your own, say one day. But think of B roll as detailed shooting, right? It could be like, uh, a detail shop of someone's hand writing or an image of a road signs you come into town or cream being poured into coffee. Say any of these things were, you know, just a very subjective shot, someone putting their hair behind their ear. Any of these things count and they can cover back at it points taken at texture on and really just make make the project yours. So think of it as almost like you're your adjectives. Major sentence a little bit more flowery, but also your B roll will help you in terms of your social media in terms of it's things that you can share, say on Twitter like you're on set. Look at this. You know any any of this kind of content, it will continue to be helpful in a lot of different ways. I really want to talk about scale now. Scale is a big deal, and it's something they really have to reconfigure your mindset for when you're talking about the Web. And it's also it's something that I just never hear People talk about this, and I think it's one of the single most important pieces of take away information that you should have. So things that you might have learned say, in books, film, school, whatever just sort of common parlance and filmmaking is people tell you to really use your close ups in your extreme close up sparingly. Now that was all fine and well and good Say, when we were talking about work, Who's end game was gonna be a movie theater screen, right? I mean, there are theater screens that are almost as long as a city block. So yes, looking at someone's face, really close up on a massive massive screen in HD, you're just embassy all their pores, and it's gonna just be like attack of Godzilla kind of thing. They're just gonna be too large, just beyond human scale. But for what you and I are doing for the Web series kind of filmmakers and for online content producers think about the end game. What is the end user experience? It's gonna be a laptop or even a cell phone, right someone's face in an extreme close up on a cell phone. It's gonna be smaller than my face. Even so, the most chance I have a really connecting with someone of having that human to human sort of scale interaction that kind of hits you, like in the gut. It's just this very sort of primorje primordial thing. You're only going to get that with your close ups, right? So you can rely on your close ups a lot more in this medium. Now, don't get me wrong, you're establishing shots. Why shots all of this really beautiful. But you're gonna have to conceive of them differently. So Kubrick shots right long ones down the hallway that he always has gorgeous, beautiful, especially on a big screen. But something like that say on smartphone, you're not going to get the sense of the person in the place as much, right? So do you think about how people and places are reflected in this different size? Another thing that I would just kind of they're out there as an example. Think of Michelangelo's David Wright. He is superhuman plus sized. It makes him seem heroic and epic. But if we were to kind of relate this to the experience of, say, cell phones, imagine putting him in a Polly pocket like he's not gonna look heroic epic anymore. So that's the sort of mindset that I really want to get you to sort of wrap your head around. So the first tip that I have for you in the section actually relates to something that I learned the hard way myself. So we had on my show the need for a liquor store, and originally we had successfully secured a liquor store. But then, of course, it fell through because they found out that we wanted to have underage kids buy liquor from the store. So you're kind of left high and dry. Fortunately, my genius mom realized that a it was possible to create a liquor store on her own and that again remember the size of the screen, maybe phone, maybe a laptop. Something like that. Pretty small, so you only really need to dress a small amount. Um, so out of that, we were able Teoh convincingly build a liquor store. Just set dressing the frame. That's something that you can always remember for yourself. You could keep it small. It's more containable, more feasible. 9. Ready Set Shoot 2/2: so there's a lot of mystique around directing, and you know about what it actually means to be a director. But at its most simplest, it's really about working with people. And when it comes to actors trying Teoh, explain to them how to inhabit and move it. Speak through a scene, and obviously your rehearsals were going to be important to you. But it's more than just the rehearsal time. It's also about taking the time to get to know them human to human person, a person you know, whether it's over lunch or coffee. But just making sure that you have a connection, because you're gonna need to be vulnerable with one another to get a really good performance. So another directing tip that I have for you, as you're thinking about your onset experience is Teoh. Think about your characters and the color ways, textures, any sort of move that relates to them. Um, on set we created mood boards, things like this, which were really helpful in terms of remembering what was motivating a character, what the world was like. Also pre visualization, very key put together for yourself, maybe for your actors as well. Examples of what your sense looked like. And then think about the shots that you want to get and then also with the light. Looks like a various times a day. Actually, go there, get the photos, do that pre visualization. Make sure that you're ready. It'll save you time when you actually get to set. So here we have, you know, again, other images, other mood boards, things like that. All of this just sort of gets you in the swing of things. So a tip on directing and this has to do with energy and stamina. You're probably gonna be running through long days, you know, Probably 12 hours, six hour stretches, meals in between. That's what I would recommend. You don't want to do more than that, but in particular, you're going to need to focus and maintain that energy over time. Do not make the mistake of over reliance on energy drinks or coffee or any of the above. You're really gonna want to make sure that any caffeine is more towards the second half of the day or for breakfast, but not constant sort of intravenous experience. And certainly when it comes to energy drinks, Yes, that will give you a quick fix, and that will really give you a spike or a surge of energy. But the kind of focus and being in the moment, um, can be affected, especially for actors. So do consider the fact that it's a temporary fix. It's not a long term solution. 10. Intro to Post Production [stuff you do after you finish filming]: in her entered a post production. We will cover two Final two very important sections, of course. So from editing to finding legal music for your program. Also, you know, marketing, selling and the very strong importance of social media. 11. Editing & Music: all right, so let's talk about editing and also your music for post production. This is not specifically, of course, on learning how to add it. So if you're completely unfamiliar, I would definitely recommend that you even hire someone, say, fiber dot com or Craigslist. For Mandy, something like that. Just make sure that you give your editor all of your assets and that you clearly reiterate and describe and communicate your story. Now as to your assets, that's going to be your script with any sort of shot list breakdown, character descriptions, credits, music, any of the above. You know any of your additional media or content if you are interested in getting starter. If you do sort of have your foot in the water already, as they say, Do you keep in mind that you're if you have a Mac when it comes pre built with my movie and the final cut pro and adobe premiere are also excellent editing choices, and you can find more information on how to use editing software on skills come already. So the first thing that would really stress when it comes Teoh editing and post production is not to get too bogged down with making everything perfect. The main thing is just too important footage. Sort through and, you know, book through your notes from on set and just try to put everything together into a string out. You're not looking for perfection around one, and you know, whether you're using I movie or Adobe your final cut. Still, you're gonna want important sort through label. Categorize your footage, mark good takes from bad takes and so on and again, don't be afraid of a crappy first draft. You could always polish it up later or even hire someone to make it better. For sure. You would love to open your wrong, come with one of Katy Perry's various hits or maybe your true crime genre with the Rolling Stones. But if you do that, you're gonna get slapped so fast, wave some kind of complaint or cease and desist. So you will need music. It's gonna add the texture of the life. It's gonna breathe life into everything that it is that you've done. We're also gonna want to make sure that you're doing it legally without ripping anyone else . Like another struggling artist. We're not the struggling artist off. In particular, there are some resource is that you can use whether it's, you know, searching for royalty, free music or public domain music. You could get legal free music from sites like Free Music archive dot org's or Kevin McCoy , but also do some searching look for you know, other resource is of your own. Just make sure that everything is above board, whether it's a creative Commons license or whatnot, and also keep in mind that you can use the video store to access all kinds of music as well . And if you ever have any questions because there are multiple types of creative Commons license and things can be kind of confusing, don't hesitate to reach out to the artist directly. Try to get clarification if you lack it. And if you do need to have a music licensing agreement, then you know, take the take the time to actually sign it, seal it, deliver it. You can always, you know, use your social networks and not tweets. Contact. Any bands go to shows. There are a lot of sort of up and coming bands and labels that might be a perfect fit for your work it would be interested in partnering with you like this. It's definitely something that in house I've pursued and had lots of success with, so I do recommend it. I mean, you could build relationships that way. Additionally, you can always check out soundcloud and see if there are any, you know, new songs or works for things that you know might pop up. But again, circling back to that rights and licensing issued always get permission. Always make sure that you understand what the agreement ISS My tip here is. Don't panic. As online marketer Marie for Leo has written on her wall, everything is figure out a ball. This means that you have resource is and should make use of, um, send out a tweet. If you're looking for indie bands, se or search online Teoh YouTube or creative cow to find tutorials on how to edit. Not every aspect of filmmaking is going to be something that you know will excel up. It is inherently a collaborative effort filmmaking, so don't worry 12. Marketing Promoting Your Web Series 1/2: Okay, So since you don't have an agent, a manager or a studio backing you in your work, all of the work, in terms of marketing, it's gonna be up to you. That said, Social Media is going to be the biggest tool in your arsenal in terms of funding your audience, building your creative strategy and just getting the word out. Building momentum Now in terms of social media, there are a lot of platforms out there, a lot of different schools of thought. Now you don't need to be on every single platform, but you should be on the ones that are the best for your show and are the best for you. So if you're a photographer, you would probably gravitate towards Instagram. If your show has a lot of production and costume designers, maybe set in different period, Pinterest might be a good kind of jumping off point. But again, the strategic about your social media don't exhaust herself just kind of shooting darts out everywhere. Really think about what you need to stick and land and social media itself is one of these things that's constantly cannibalizing and reinventing itself, just at speed of light so there are a lot of courses and there are a lot of topics. And there's even a section in my book all about this. But here, we're gonna go over best practices. Do you keep in mind that, you know, these practices will change. So just think about the basics and build really think critically about your customer avatar . But that I mean, who is reviewer? Who is your consumer? What do they watch? Where do they go? What are their interests? What are their social media preferences? All of these things were gonna really help you to connect the show to the people who would love it. I'm it. Also, you can build your strategy for releasing around this. So, for example, if you're show is centred for let's say young it all right, then you're not gonna wanna have it releasing during the middle of the school day when no one is gonna be available to watch it. So think about winner kids most active online. What what their habits are. The next thing is to be really consistent about your released strategy. There's this sort of attention deficit element of being online where people forget things very quickly, even quicker than they do in real life. So you're gonna want to make sure that you're making it as easy for people to remember and find you. So releasing consistently on this day at this time weekly is a good way to make sure people aren't losing track of you. Try to organically include your social media into every stage of your show. For example, used Twitter to announce when an episode it's gone. Live and give a link. Teoh your video on your website. Or what have you also think about doing giveaways and contests Love free stuff so you could definitely use that to your advantage. Or you could make different pinch our sports to share your mood boards things that you might have already created for your show. These can do double duty as being part of yourself. Media campaign. Also think about the behind scene shots, even location work that you might have done all of these things air fodder. I also think about, um, film being a visual medium. So instagram and also Visco. These are all really good platforms for sharing photos and the kind of moons that go along with them. Images are also much more clickable than text. So you're going to get a lot more bang for your buck, shall we say, for your images, then you necessarily would for your blood post to your tweets. But the main thing that I would leave you with is to make sure that you're always giving proper credit where credit is due with these things. Make sure that you know that you don't have any sort of rights issues popping up later. So we've talked a lot about using Social Media to build yourself up. But let's also talk about networking, and what you're really gonna want to do is find the like minded influencers and creators in your network. So that means following similar Web series following similar writers, industry influencers, all of these people who are already sort of tied to what you're interested in what you're doing. You're gonna want to make sure that your that you're connecting and think about the song lyrics that might be of meaning to your show. Your want to tweet those and, you know, mentioned artist. All of these kind of content points are opportunities to bridge, So always be thinking about bridging to expand your network. You're definitely gonna need a really good website for your work as well. So really think about this is the home where everything resides. It's gonna have to be logically organized and tastefully decorated. You're gonna want to make it be a place that people enjoy visiting and want to come back. Teoh. And it should also reflect the mood and the aesthetics of the work that you've created. You know, people talk a lot about called actions or user experience, that kind of stuff, all of his ties in there, but definitely make sure that the branding is on point, that it's reflective of what you're trying to do. And you know that things are not overcrowded. You're gonna make want to make sure that people can access the material like the videos first and foremost. But they also provide them with a lot of fun, extras and goodies, things like character bios and behind the scenes images or giveaways that you might have going on. Definitely place those, but make sure that the key content is always front and center 13. Marketing Promoting Your Web Series 2/2: Now, if you need help with creating the visuals and images that are associated with your show, you're not completely adrift here. You can go on fiber dot com toe. Have a logo or character designs made, and you can also get a 30 day free trial photo shop, say or use canda dot com to build up a lot of your media and assets. And there's also the wall swag up on Instagram. So definitely think about creating quotes or pictures or related media that people can share, make it always eminently share a bowl. And there's also a great course on scale share about how to use Photoshopped. What many people consider to be the gold standard of what we do here is going to be your mailing list. You should always be thinking about gathering email addresses on your website or you know through any other means or platforms, so that you could build your audience. And your newsletter is going to be the best way in a very quantifiable and personal way to keep in touch with your fans so you can use a free newsletter program with male chimp to really make your newsletters have that branded and nice look to them that you could tell your audience about giveaways, new information, episodes, festivals, whatever kind of updates that would be of interest of them, that you want to make sure that you're keeping them kind of involved with you. So business models are constantly being disrupted. But one thing that I think is really salient and constant is that you're gonna want tohave the work that you've done multitask for you, right? So instead of reinventing the wheel and doing something five times, think about how something that you've done once can be packaged, marketed five different ways. For example, you created your show. You tell this work you put together your mood boards, your behind the scenes pictures, anything that you put upon, you know, Twitter instrument that had a lot of likes. All of these things come together and to say, a director's notebook, something that you can share with your past in crew as a memento, but also that can go to your fans. This is just another way, like you already did this, so why not compile it? Why not turn it into an additional thing and then you can use programs like Creates Place or Blur to make it really d i y in Indy, so you don't need to get very overwhelmed. And also, they consider the good read social networking platform for book lovers, where you could do giveaways and also build in additional audience outside of filmmaking community in the reader community. So we talked a lot about music and doing your due diligence with your music rights. So you probably have in your arsenal already a lot of music that you can source or use, whether as a playlist or CD, something that you can share on saying Spotify, soundcloud or iTunes. This is again like additional content that will be exciting to people and also will talk you into not just the filmmaking community but this sort of indie music community. Additionally, you may find that it's fruitful to build an app around show you developed or some sort of portal for community purposes. So with orange juice and the ship's garden, we created the APP tapestry so that our audience could find and connect and share stories online, and in particular was sharing stories about challenges growing up were coming out things like that. But it was very inherently linked to the show itself, certainly back to the idea of giveaways and also to things that you already have in your wheelhouse. Things like your props, your wardrobe, even your music, all of these things that you might not need at the end of your show other people might want . So you might want to sell your wardrobe on Etsy, sell your crops on. He may on. You know the music might be a great thing to sell on your website. So again, all of these things after the reduces that new to you, definitely not over everyone else. Obviously, you understand the need for business cards shortly, but also think about how you can brand that general idea so that it fits your show. Think about postcards. You can have 1000 printed up relatively cheaply through online flyer services and things like that, so you don't get a really beautiful still. Put all of your information on it. You can use those in lieu of business cards, and you know it'll. It's a beautiful image. Chances are it'll be kind of flinging its way through the Postal Service and, you know, introducing new people. Do what your work is along the way. And, of course, after your work is done, don't forget that you're gonna want to go the route of Web stories, festivals and contests. Anything like that is a great way to grab. Gather more laurels that you can put up on your website, but also, you know, bringing about praise and accolades. You have rightfully earned dessert tip years to think about the positioning and home for your show, just like we're currently experiencing. A golden age of television were also having a golden age for the Web. So there's more than just one platform that you can make use of for your show, just like you have Comedy Central or Showtime and HBO. And each one of them has its own unique branding. So, too, are the platforms for online. For example, video is positioned itself as more of a Notre filmmaker friendly, kind of high art bob, whereas YouTube is the equal opportunity platform that specializes in cats with cheeseburgers and pranks, but also a lot of other really good content and tutorials and D I y things. And don't forget also about Blip and you know, Look around for yourself to try to think about what's the best positioning? What's the best brand name and what's the best home? 14. Course Conclusion: I really hope that you've enjoyed this tutorial, this class, and I know that I, for one, am thrilled to be able to share the information I've been able to glean and learn through much failure over the years. And I hope that I was spared here from some of the trials and tribulations that I went through myself. I remember when I started with my mom, Siri's there were literally maybe a handful. This was back in, 0 2000 They're really not that many at all. Now, there thousands, which is so exciting and so gratifying to know that something that you really care about it's really taking off and that this is a medium for stories to be told that otherwise wouldn't necessarily see the light of day forever, you know, be granted the funding or the attention that they really do deserve. So for underrepresented stories under represented storytellers, this is this is our medium. This is our world, and I can't wait to see all of the works that you created and everything that you're adding to the larger cannons constantly growing off what is a Web series