Learn Indie Filmmaking By Making a Short Film | Olaf De Fleur | Skillshare

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Olaf De Fleur, Filmmaker & Creative Coach

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27 Lessons (1h 21m)
    • 1. Class Intro :: Learn Indie Filmmaking

      2:24
    • 2. Class Project :: Short Film

      3:31
    • 3. Your Idea

      2:05
    • 4. Idea Tool :: Fairy Tale

      0:31
    • 5. Breakdown and the 3 Acts

      1:46
    • 6. Theme :: The most Important tool

      2:31
    • 7. Genre :: Identify Your Genre

      1:09
    • 8. Outline

      4:13
    • 9. Outline Tool :: Change

      1:19
    • 10. Outline Tool :: Storyboard

      0:48
    • 11. Screenplay

      2:10
    • 12. Screenplay Format

      4:07
    • 13. Screenplay :: Physical Expression

      1:09
    • 14. Screenplay :: Writing Demo

      2:10
    • 15. Production

      2:12
    • 16. Cinematography :: Visual Style

      2:02
    • 17. Cinematography :: Angle Tool

      2:21
    • 18. Directing

      7:21
    • 19. Directing Tools : Failsafe and Blocking

      3:26
    • 20. Editing

      1:47
    • 21. Editing Process & First Impressions

      1:45
    • 22. Edit :: Final Cut Pro

      12:06
    • 23. Edit :: Davinci Resolve

      9:58
    • 24. Color

      3:44
    • 25. Export :: exporting your film and making backups

      1:09
    • 26. Lesson Recap

      1:30
    • 27. Thank You & Goodbye

      1:49
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About This Class

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My name is Olaf. I am a do-it-yourself filmmaker with a two-decade experience. In this class, I'll share all the tools that I've learned by completing twelve feature films. In this step-by-step guide to Indie Filmmaking, you'll teach yourself how to complete a short film independently through manageable action steps.

This class is for anyone who is starting or has done a couple of film projects; in either case, this class will deepen your understanding of creative filmmaking. Your Class Project is doing a 1-3 minute short film.

Every filmmaker is unique, and because of that, I'll share the fundamentals of what I've learned - for you to develop your optimal workflow. All you need for this class is a camera, something to write on, and a computer to edit your film. Here are some of the things you'll learn in this class:

  • Experience hands-on a complete production cycle of a film project
  • The fundamentals of filmmaking
  • Develop your personal style as a visual storyteller
  • Receive tips that can save you from unnecessary agony
  • Complete a film on a micro-budget

Everything starts with your Idea, and that's where we'll start. We'll dive into tools like Theme and Genre to extract it. We'll explore how to Outline before you start writing your Screenplay. We'll discuss Production, Cinematography, and Directing before hitting the post-production phase.

This course will not only demystify the filmmaking process, but it'll also illuminate your creative strengths and help you identify areas of improvement as an Indie Filmmaker.

This class comes with a certificate. When you've completed your film, you can send it to me for review and you'll receive a confirmation of completion.

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Testimonials 

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- "Olaf's experience and compassion is a unique resource for all who are open and ready" Giancarlo Esposito, actor, Breaking Bad

- "Olaf's coaching helped me realize I was ready to write my first film. What for many years seemed daunting, became possible because of his expertise and warrior spirit." Suilma Rodriguez, actress

- "Olaf's ability to see beyond the surface is like conjuring. I am forever grateful for his pragmatic, and expansive guidance." Jesse Megan Eidsness, CEO of Wild Love Apothecary

- "I mentored Olaf and I'm happy he's spreading his wisdom" Dr. Jeff Spencer, The Cornerman Coach

Transcripts

1. Class Intro :: Learn Indie Filmmaking: Our walkie talkie. Hello. My name is Olaf. I am filmmaker width over two decade experience. I've made feature films and documentaries that are written, directed, and produced. I've sold a ritual concepts to major studios, directed for Netflix and told remake rights to my films. And in this class I will share my tips, tricks, and secrets with you. The more films I do, the more experience I gather. I have nothing to do with all this experience. I want to give it away to you. My burning passion is for improved communication. When you get an idea that is a form of a message. Filmmaking is a way to decode that message. And in this class, we will be side-by-side as I guide you from lesson to lesson through the steps enabled me to complete over 12 feature films. I'm going to be teaching you, rather. You're going to be teaching yourself. How do you get familiar with all the phases of filmmaking through doing your own film independently. Regardless if you're a beginner or you've just make your own films, This course will help you deepen your skill as a visual storyteller. This course is a confidence maker. In today's society, visual storytelling is probably the biggest language we have. So it is vital to become better at speaking that language in order to improve your communication to the world, to yourself and others. Starting in this course will be really easy because we're just going to be starting with your idea. All you need for this class is a camera, some integrator, and a computer to edit your material will start with your idea. We move into outlining, into screenwriting, cinematography, producing, headed in coloring. I'm really excited to share all my experience with you. And I cannot wait to see what kind of films you wanna make. So colon, let's go. 2. Class Project :: Short Film: Thank you for joining this class. Let's list out the resources, go over some of the restrictions and what you need specifically to start doing your own independent film. So in this class you're going to be doing your own short film. The maximum length I recommend is three minutes, utmost. One minute at a minimum. The most important thing and the whole point of this class, It's to keep things manageable throughout, or keeping things manageable in order for you to become confident in your own ability to finish your own film independently. After this course, we're thinking about the future, the long run, that distance, the marathon, I can go on and on. Every film take our small is made with the same process we are going to be imitating and learning that process by doing exactly your own film independently. Who'll be doing kind of a DNA process of any project you will take on in the future. It doesn't matter if you're a beginner or you've done some film projects in the past. This course will deepen your understanding and knowledge of the process to prepare you for future endeavors. Let's get specific on what you need for this class. You need a camera, phone or anything you get your hands on. You need a microphone. It can be a part of the camera or again, anything you can get your hands on. That's kinda the key phrase of filmmaking. Something to write with their on. Then you need a computer and an editing software to edit your film. Let's talk a little bit about the restriction frame for this course. We are talking about one to three minutes short film. Keep it as simple as possible. Because the main point is to finish the course. So you can make the 123 minutes as big or small as you prefer. As long as you don't get stuck into overthinking. And you find ways to, to continue. The minimal requirements you can kind of get away with for this course is you hold an iPhone and recording a documentary about something that interests you. And you're going to edit it and finish it. Version two would be you having an iPhone or a camera that you borrow from a friend. And you do a little bit more elaborate version of your film, maybe a couple of actors and so on and so forth. And then maybe Version three, you would have a big camera that you were able to get somewhere. And if you want to shoot something of what you might consider as a big production, the most important thing is to not get stuck on the fence of overwhelm. That is, don't produce yourself into something that isn't manageable. One of the most important things in filmmaking is sharing your work. That is the end goal. Anyway. As we move through the course, share your progress as we go along. I will be hold your hand through each lesson, through each phase. So this class, until I eventually, Lego, sorry, will be starting with a very simple step, thinking about the idea you want to do for this class, your film. And we'll be talking about that in the next lesson. See you there. 3. Your Idea: So welcome to your first assignment. Your first assignment is fairly easy. I hesitated a little bit there. It is. Simply thinking about an idea for this class and write down everything you know about it. It is important here to kind of flesh it out a little bit. I'm not a great fan to, to start this class with something so abstract and irrational as an idea. But of course there is our foundation. So when you've done that, in the next chapters, we are going to use all kind of exciting tools to try to harvest this idea. Infrastructure. Brainstorm. Use a tool of your preference, UPENN, pad, computer, draw, or just close your eyes and use your imagination. Before you do that, let's talk about the concept of what an idea is. An idea is maybe a little bit like a rainbow. The process of making a film is based out of mathematics, gravity, the laws of nature on Earth. We can measure, we can even measure my rainbow. A rainbow arises in certainly meteorology conditions. We can analyze and calculate why the light appears like it does. We can scientifically explain a rainbow. But even though a rainbows made our numbers, it still has the ability to lift the heart, filmmaking and all the umbrella techniques of filmmaking, writing, editing, and so on. Are these meteorology cool tools for you to analyze? We don't have to be shy towards her ideas. They are the shy ones were the parents and we have to learn to say hi and get to know them. What are they trying to say? They always have a message, and that is the treasure. So stop here for a second and write down everything you know about your idea. 4. Idea Tool :: Fairy Tale: A great way to think about your story tested, develop it, is to think of it as a fairytale. Starts by using the phrase once upon a time and see where it takes. You have used this tool millions of times. If you can't explain your story to a child and you really take a second look at it. 5. Breakdown and the 3 Acts: In this chapter, we're going to break down the film process a little bit and over-simplistic terms and talk about a three-act structure. So let's break down a little bit. The filmmaking process, something takes place in a specific location. Somebody's there to recorded. That recording goes into editing software where you shot by shot. Form a scene and the collection of scenes is perceived as a film. This might seem obvious and maybe even a little bit naive, but we really need to break down all the sections of the filmmaking process to understand it. We all know that everything is made out of a beginning, middle, and end time is made out of a beginning, middle and end. Humans basically think in times a 1-2-3, beginning, middle, and end. You've thought about your idea, you may be written down a little bit. The next phase is to figure out clear beginning, a clear middle, and a clear end. Everything we do has three acts. For example, if you go to the store, you have to go out of the house. You go into the story, maybe say hi to the clerk, and then you get out of the store, beginning, middle, and end. Everything has three acts. And now it's time for you to place your idea within that structure. 6. Theme :: The most Important tool : In this chapter we will be talking about theme, which is probably the most underrated tool and also the most complicated tool that we use in our filmmaking team is an M less endeavor of exploring it, researching it, and trying to understand it and buy that thing becomes a fantastic tool. Theme always comes in a form of a question, why does this happen? Why does that happen? It ties into your beliefs and live your values in life. If you find a very personal theme or a personal question. And you're also securing that the film that you're doing. And it has meaning that it's not just another film sequence out there in the world. But it means something to you seem relates to purpose and meaning, where are here? So make sure that the theme that you discover is important to you. A theme is the undercurrent of a story, is the question or questions in the background that will follow it throughout. I sometimes think of a theme like it's a song or a wish from your heart. One example of a theme is, what are the consequences of isolation? What are your personal consequences? Being isolated? Then that can start to pour into other departments of your film, like cinematography. They start to shoot on either angles. The costumes, what represents isolation, and so on and so forth. Team is really like the fountain of everything that keeps giving you ideas, resources, and helps you figure out how to execute your film. So you're trying to decode yourself. What is your message? What is your story stand for that is valuable to you. If you don't think about your theme or contemplated quite a bit, then you can easily get stuck in what I call what happens mode. This happens, then this happens. Seeing will help you realize why do things happen in your story? What is the undercurrent of action in your story? One of the data's payoffs about thinking about your theme is that you do not always fully understand it. And by that, I never stop questioning it or thinking about it. What it could really be that will contribute greatly to your story's development. 7. Genre :: Identify Your Genre: In this chapter, you will learn about the value of genre. Genre is what helps the audience identify your story and it helps them leap into it more quickly. An example of a genre or drama, thriller, horror, Roman's even documentary genre. Social media story is a genre. A common response against genre is, why do I have to pick a genre? And my answer is, you don't have to, but you will always eventually end up in one or two genres, whether you like it or not. So it is better to decided beforehand shown there is also a tool that can help you with how you tell your story. Imagine a person walking from their home towards their car. How did they do that? If it's a comedy? Do you see the bright colors to see the smiles? What happens if you change it into a horror film? Certainly there's rain. 8. Outline : In this chapter, we'll talk about your outline and some of the challenges that come with writing and outlined, and also throw in several tools that you can use when working through it. So let's talk about the outline. It is definitely not my favorite thing in the world. However, I know how much it's going to cause me if I skip that phase or if I try to hurry through it. That is if I try to just to start to write the idea immediately, I know I'm going to run out of steam pretty quickly and this is crumbs from experienced. Just the very thought of thinking about doing a list in the vicinity of your idea can come across a little bit like an insult to that idea. How dare you define me? One of the joys of making a film, working with your idea is that we love to be surprised, especially about our own ideas. Because of this, we often fear and making an outline or listing out, fleshing out our idea because we're afraid that we demystify it. However, this is contradicted by works. The more detailed your list out your film and more profound level of your surprise will be, I sometimes think of an outline like I'm building a tunnel deep into the unknown. Making a form of a list in an outline is a way of writing down everything that you know about the idea. And when you do that, it kinda moves out of the way in order for new points to arrive. So when you write lists and you're thinking about the outline, doing outline, it is a form of relief for the idea that you're working on. There are several ways to keep in mind before you do your outline. The most important thing to keep in mind when doing it is to decide the level of depth in detail before you begin, it can be useful to start with an outline that only has chapter headings. Then he can move into bullet points and then into paragraphs. This is a great way to leave the detailed approach for later. It is of great importance and I don't use that word lightly. It is of great importance that you only use one method at a time because a common mistake is trying to do or use two methods at the same time. You do that, you annihilate your approach even though there is a certain value and being confused by recommend testing this out. This is often called the snowflake method, where you build from a headline to a bullet point to a paragraph. You cannot snowflake it out. So be aware of what muscles you're using before you use it. Even though we're talking about the outline in this chapter, there are certain extra ways you can go on about detailing your outline. Elements like synopsis, treatment, even logline. The outline is more in our case, in the indie filmmaking case, the outline is more of work tool. If you're doing an application for any kind of film fund or seeking support, then then it would be a good idea to do logline synopsis and treatment and do a little document on your whole thing. However, just now, we're just sticking with a rough form via outline until you are happy and until you feel that you're ready to start the screenplay. So I'll stop right here and do your outline. I know it's a lot to ask because they'll never gonna be perfect. But again, that's filmmaking. We're always dealing with imperfection. Comes with the job description. So stop here and do your outline before you continue. 9. Outline Tool :: Change: Changes is obviously what next story. Something is in a certain situation and beginning and then it changes. Changes, has a form of transformation. And so whenever you check off your script, think about it in terms of plus and minus. It is a little bit like electricity you have minus, you have a plus. So for example, if we have a character who is afraid to lose the affection of a loved one, there will be a minus. But in order to understand that minus, we would have to have seen the Plus. We would have seen the main character where he or she is receiving kindness from a loved one in order to be at risk losing it. So changes. And the more clarity you have in your changes introduces a form of sticks. So the more clear the minus and the plus, the setup and the payoff, the higher sticks. 10. Outline Tool :: Storyboard: So if you ever feel stranded with your idea, there are some methods of kind of loosening up a little bit. One of the methods is to do a form of storyboarded Fourier idea. That is, you can do some doodling that only you understand, which is fine. You can also take things and just place them on the floor and literally walk into your story. You can even go to some other locations you want to fill mat, or locations that are similar to that. Take photos and draw into the photons characters. 11. Screenplay : In this chapter, we're going to start to prepare for your screenplay. Let's break it down into several processes and analyze it a little bit before we start. Writing a screenplay is just like anything else. It is three or four, depending on high work processes that you eventually combine. So let's break everything down. These processes are You start with writing the headline like you've already done. After that, you can go to headline and add some bullet points. After you do the bullet points, you can do even more bullet points on through the bullet points. And from there you can start analyzing the structure of the scene, deciding in which order it occurs, how it begins, the middle of it, the end of it. And then you have to formulate it into a script. I format. A scene in a film has a reflective structure of the completed version that is seen as three acts, a beginning, middle, and end. You can choose if you arrive in the middle, in the beginning, or at the end. You can even decide on to show the beginning and the middle and leave before the scene ends, allowing the audience to draw their own conclusions. So what happened? I want to emphasize again how important it is to decide the beginning of your scene, the middle, if you're seeing the end division, regardless of where you actually start, even though this might seem very obvious and easy, that is precisely why it's tempting to ignore it. Usually we just want to jump in and write. But ignoring this exercise as you, I'm sure you'll find out, is a little bit like coming up with a game plan when a game is already started. 12. Screenplay Format: Regarding the screenplay format, whenever I write a scene for the first time, I write it cleanly. I don't tend to spelling errors or even think about form with just the right through it. When I've done that and then I move over to scream split mould. And when you're in screenplay mode, you are a little bit of an engineer because you've got a structure, interior, exterior characters with uppercase and so on and so forth. So you're using the mindset you're using when you write the script is more like an architect. And when you write the raw material of your idea, it needs to be away from the architect. When you write a scene, you start by telling the audience or the reader if it is inside or outside, interior, exterior. After that, you name the location, house and then the time of day. After that, it is really up to you how you continue. An example would be, we say, where we are, we give a description of something inside the house, for example. And then we start focusing on a person. It is just an example. One method that I often use when I write a screenplay is I think in terms of zoom in or zoom out. So when I start the scene, we could see light coming from a kitchen and then zooming in. We see who was in the kitchen and what are they doing. And we can do reverse. I can start in the kitchen, somebody's making coffee, and then I kind of go back and see how they are affecting the environment. Now going to show you a couple of clips from a web series that there was some friends. You're going to see the scene as it plays out. And then you're going to see how it was written. At the same time. Subject and flat, accurate intentionality. And you should be ready for the reception. Unit Code Search gene 22. Thanks. Can talk be 1571. Erase and confirm the batteries. And I'm the I see that. Margaret Moses, the program Brookline on Pacific Street, but I'll be the situation. So hurray. Thank you for giving me support and assignment. Let's start with the sarcasm escaped on either later flights. So I'd like you to stop here a little bit and make an attempt to write a version of a scene of a choice from a screenplay and start by writing it in kind of a flow mode. And then practice bringing that one, only one scene into the screamed, a former US interior, exterior characters, uppercase and so on and so forth. Have fun. 13. Screenplay :: Physical Expression: So as you already might know, or you probably suspect, Physical Expression is the biggest currency you have. In terms of screenwriting, when you want to convey information about your characters, a novel can reveal the inner most thoughts of a character. While in a screenplay you would go about hiding it in order for the audience to draw their own conclusions. So for example, in a novel, a character would say that they feel sad. In a screenplay, we will put it in, you guessed it. Physical Expression. The audience want to be a part of the metamorphoses of watching your film, of the layering it with you, because we all know how it feels when can I give it everything through exposition? Remember Physical Expression, portraying things visually in terms of how people stand, how they walk, that tone in their voice and so on. That is one of the biggest assets you have. 14. Screenplay :: Writing Demo: To show you a little bit higher than for you to practice that script, that format. I've thought about a film and one scene in the film. And the scene that we're about to go through is about a little girl who has a monster under a baton or parents do not believe her. So let's walk through it slowly. So before I write the scene, I'm gonna write some bullet points. First I would think was the theme, What is a monster under a bed? It is fair and what is fear is it's something we're afraid to phase. So coming from the theme, maybe there's a mirror in the room and the little girl is looking at herself in the mirror. And there is in the background. We see the bad and we see some darkness and maybe coming from the theme. Because we are talking about fear and not facing it. She can have her eyes closed, open, close, something like that. And maybe when she closes her eyes, her fear can magnify. So when I start the scene, I started with the location, the time of day or night, in this case, the main character and her age. And from this point, I'm just gonna go away, ignore spelling errors and kinda fly with it. So when I write the scene, I kinda on purpose. And this taken years of practice, you really have to focus to ignore spelling errors. It is a big one, is kind of thinking about spelling really can take you out of it. So it just kind of go with it. And after you've done it, I recommend waiting at the HER2, revisiting it and then polishing it. 15. Production: You have completed your script. Now it's time to break it down and prepare for production. One great analogy that I heard about production, it is a little bit like camping. You want to be able to foresee everything that can come up and make sure that you have everyone on board and all the items needed for happy family or solo. Capping. In baby language production is essentially about one thing, making lists and making calls related to those lists. Because we're doing a small project in this class. I'm not gonna list detailed worksheets or something like that because we're keeping it simple. We're only focusing on doing this small project, a manageable project from a to B and finishing it. At this stage, I recommend that you do your lists in reverse script and work backwards from that. If it's on the page, then you need to organize it and arrange for it. If there's a specific location, a specific actor, there's no magic formula on magic Kohler magic list. You can make your screenplay, nominate your list making, and the calls thereof. How many actors do you need? How many locations, how many items, wardrobe, and so on. What does your technical equipment when you prepare for your film or part of the training. And this course is to call random people firsthand and negotiate. When you do a film, this will become a vital skill to be able to communicate clearly to your team and negotiate with your environment. So take a break here, separate, stop right here. And look at the screenplay, each and every scene, and make a detailed list, an action list, or what you need to do. And I'm going to spare you these spans. 16. Cinematography :: Visual Style: And this has been, we'll go over some of the visual styles you can use for your film and discussed several ways on how you go about finding the right one for you and your film. It is important to make your cameras setups coherent throughout. This will help the audience get into the story and they'll start to trust you. That is, they'll start to trust the narrative style. So that needs to be a consistency in how you tell your story. If you break that consistency. And that needs to be a strong emotional and narrow the reason for that, the aim here is to keep the camera behind the story. So helpful analogy there could be, we all know when the music gets too loud in a scene, It's feels a little bit like that. So you want to keep the music low enough and you want to keep this cinematography consistent so it stays behind and support the story. I want you to think about a style for your film or visual style. Pick one style and stick with it. Just as an example, here is a clip from my film steady-state. Notice the consistency in the handheld style designed by the cinematographers. My advisors tell me there's a cultural convention in tau times its effect in business in a big way. And taken care of that. These gentlemen are showing a particular interest in your business. All of it. Despite their funny acts and adapt, they were joking. I'm not in the habit of buying goods that are personal sell-by date. So at this moment, I'd like you to write down or kind of a visual style you would like to have for your film. You can think about if it fits to your theme. You can think about a similar film that you'd like in the same genre and just research it a little bit. 17. Cinematography :: Angle Tool: In this chapter, we'll talk about how you set up your shots and give you some options. There are, you might be filming this film yourself, or you have a trusted ally that is on the camera for you. It doesn't matter if you're using your phone or if you use a camcorder. When it comes to cameras setups, we're going to focus on frames that are efficient when it comes to editing them. That means that you're always going to be shooting on an angle. This is the basics of filmmaking. For example, if you shoot directly towards an actor, your next set will be 90 degrees on the same action. It just have to keep your corners checked. This technique will help you immensely when it comes to editing the material and enables you to control the time of the scene. Do you wanna shorten the Sunni if you've lengthened that scene? Because when you shoot on an angle, it means that you can shorten pauses or you get lengthened passes in a scene, the dialogue or action. I always want to start with a disclaimer. Whatever I'm saying is the way I think. So for example, in terms of cinematography, if you wanna do, you're filming one shots or even just one shot. Fantastic. What I emphasize when I approach a film project is practicality. Practicality means control in time. Controlling time in edit is really important because you can control the time of the product, of the film, of the art that you're doing. The best way to control time is to shoot on an angle. So my Bible spoken to your uncle Yulen. Apparently able to be trusted because I've set up safe transportation for student. I'm aware of risks. Well, wellness isn't exactly the same as realising situation. My employer is fronting you a substantial amount of product. We may have an amicable relationship with your uncle, but that doesn't mean you won't find you'll hadn't ditch. Usual bullshit. We say these things. 18. Directing: You finished your script, you made a shortlist and now you're ready. Maybe not. Doesn't matter. You don't have to be to direct your film. So let's go over some directing tips. Do and don't send dues and finding your own method. There is a logic and say about directing, because the way it is executed very much depends the characteristics and personality of the individual holding that responsibility. Because of that, it is hard to define with precision are clear to do approach for directing on one end. If a film doesn't work, the director is chiefly responsible or matrix possible if we worked from that and that means that the rector is responsible for everything. Doesn't sound fair. Does it? Loud? Sorry. Steven. I need this on record. What the director so there isn't much work to be done here. Your job as a director is to make the world you're conveying as real as possible. From there, you can easily guess where your focus needs to be from. Actors, sets, costumes, makeup, light, and so on. Just like in production, will work in reverse. If we want something to appear on screen in a specific way, Our job is to find the effective methods to manifest that. Here is a short clip from a film I directed called malevolent. You can control your mind. You can control your attitude, how you handle a situation. Then you can begin to control the situation. Repeat your goal in your mind. Please utilize it. Make it happen. Be proactive. Take charge, and remember that you are amazing. Regarding directing. One of the tips I can give you is prepare, prepare, and prepare some third more. No director in the history of filmmaking has ever said a too much time to film this scene. So I want you to aim at becoming the first. You're not gonna make it, but you're going to make your life and others easier. Directing as one of these things that are unique to each individual that takes it on. There are several rules of thumb that you keep in mind when he direct, and I'm going to list them out here so you can hand pick the ones that apply to you. Working with actors. Listened to your actor, get to know them. The more you do, the more you'll be able to create rapport. And before you know it, they'll be ready to stand on our heads for you. So helpful reminder to whatever you want to call it when it comes to directing is do not lie in 3D. For the after getting the performance you want, you can not do that because acting is just like you do in your discovery process. However, asks she'll specifically for a line rate then you can do with otherwise not I was probably scolded him my first film pretty severely. Thank God, it was my first film. So whenever I direct the scene, each and every time, it's like you're doing something for the first time. Just before I filmed the scene, I have thought about it in my head quite a bit how I want to shoot it. But my fail-safe method is always what is the one-shot that will make this that will make this scene work. So in my head, I kinda worry about what if all the cameras break down in water? If we suddenly happens, we can't shoot more than one shot. And I always think of think about if I had to make this scene work in one shot, was shot with that B. That's what I think about. And I start by filming that chart. And I'll shoot that chart again and again and again until I'm happy with the performance. And if I held my fail-safe shot, when I edit the film, like if I only have this job than a single work, then I'm kind of free to experiment after that. And it comes to directing and organizing a shoot. Blocking is a big part of making it successful in terms of time and efficiency. So blocking in baby language is the travel that the cast does around the same. So you can decide beforehand different actors supposed to start there and there. If you do that, that is what we call blocking. You can decide it beforehand what they wanna do, but you can also just go into the location and decided on the spot. Like when you walk into a location, you can see how it's structured. And the third option has to have the casket into the occasion and hadn't after seeing out and they will find their way naturally. Throughout location. You've set up a camera with a cinematographer. There is an actor in front of the camera. The actors clear directions where he or she can move the Northern lines. And it's your job to say action and observe. After you do that, you adjust the camera, the light, and discuss the performance with the actor. A good way to approach directing is always thinking that if something isn't working, it is only because you have not communicated properly what you want. I'm not saying this that you as a directly will feel at fault. This is a practical advice. I'm saying this because we will have endless eclampsia, an accidental process, which is the essence of creativity. Your job is to parent that process to the best of your ability. And sometimes you just do mistakes or others do mistake. As a team leader, it's your job to keep the process on track and get it back on there. If it falls off. 19. Directing Tools : Failsafe and Blocking: So whenever I direct a scene, each and every time, it's like you're doing something for the first time. Just before I filmed the scene, I have thought about it in my head quite a bit how I want to shoot it. But my fail-safe method is always what is the one shot that will make this that will make this scene work. So in my head, I kinda worry about what if all the cameras breakdown and what if we something happens, we can't shoot more than one shot. And they always think of think about if I had to make this thing work in one shop was shot with that B. That's what I think about. And I start by filming that chalk and shoot that chart again and again and again until I'm happy with the performance. And if I have my fail-safe shot, when I added the if I only have this shot than the single work, then I'm kind of free to experiment after that. And it comes to directing and organizing a shoot. Blocking is a big part of making it successful in terms of time and efficiency. So blocking in baby language is the travel that the cast does around the same. So you can decide beforehand different actors. Suppose the start there and there. If you do that, that is what we call blocking. You can decide it beforehand what they wanna do, but you can also just go into the location and decided on the spot. Like when you walk into a location, you can see how it's structured. And the third option is to have the casket into the location and hadn't seen out and they might find their way naturally. Throughout location. You've set up a camera with a cinematographer. There is an actor in front of the camera. The actor is clear directions where he or she can move fielder lines. And it's your job to say action and observe. After you do that, you adjust the camera, the light, and discuss the performance with the actor. A good way to approach directing is always thinking that if something isn't working, it is only because you have not communicated properly what you want. I'm not saying this so that you as a director will feel at fault. This is a practical advice. I'm saying this because we'll have him as a clumsy and accidental process, which is the essence of creativity. Your job is to parent that process to the best of your ability. And sometimes you just do mistakes or others do mistake. As a team leader, it's your job to keep the process on track and getting back on there. If it falls off. 20. Editing: Even though all the processes and making a film are really important, how would place editing as more equal than others? Because editing can save your film, it can save a disaster shoot. It can save your creative soul, because editing can easily become overwhelming. I want you to think about it as Lego chips. Yeah, your material is made out of Lego chips and you're just going to build something out of it now, wanted to keep that image in mind because again, it can get easily overwhelming working in the editing phase. I'm also going to drop in the usual disclaimer here. Because editing, unlike all the other departments, is extremely subjected to taste. So the method that I'm going to be sharing with you here is just my method of how I organized the material after shoot in the editing phase. And as always, I encourage you to find your own recipe towards how you organize yourself. So here's a little peek into my reading process. So I organized my material. I look at my material and look for strong first impressions. And you chop the kinda moves me when I looked at it. So I locked my material and I create a bin for each scene. Then I decide on what scene I'd like to edit first. And that can vary quite a bit depending on the project. I tried to do something that I cannot look forward to and that I'm excited about when I found the scene that I want to start with. I call where we're kinda feel does that scene and how do I build it? Is it a slow scene instead of fasting? And what shots would best express that feeling. 21. Editing Process & First Impressions: Whenever I start editing a film, I always use two methods. The first method is looking at all the clips, analyzing all the clubs, listing them down, doing it in an organized manner. But I always combine it with another method which is what I call the somehow method. I just kinda go in there, I find my favorite scene that I looked forward to edit. And then I edit it and then I have a lot of fun editing kinda the things that I have to add it in order to make my favorite scene work. So it's nice to combine these two engineering method and then somehow my foot, regardless of what method works best for you, I always recommend going through the ordeal, working through all the material, locking it, marking it in the main method that I do here when I do the lock is finding first impressions. That is probably the biggest and the most important tool that you will ever have if a shock moves you when you look at it, even though you've done the script and you've seen it when you film it. If it still moves you, when you look at it on the screen, then place a little star next to it as you work through the material, these first impressions or fade. So it is really important further down the line in the editing process that you've marked them because they are going to be your guiding light throughout the edit. So whenever use powder grade performance or something just simply moves you and strong matter, mark it down as a first impression. 22. Edit :: Final Cut Pro : I'm just going up, skim through. Some of the techniques are used by combing through simple scene that are a lot of great editing classes and tutorials out there. And I'm just going to show you a little bit of high work in this same man my friend Darryl has on Assad's Bull and his darker stolen it from him and he's trying to get it back. So when we begin to see that dog already has the Maasai spawn, so I decide to arrive late into the scene. Then we're just gonna see a battle scene between a man and a dog fighting over a ball. Hello and welcome to a brief editing example. So right now I'm in Final Cut ten file. A cut is known for its magnetic timeline. But because I'm showing you a general example, I'm not going to use that kinetic timeline. I want to simulate how you would do this in any editing software, be it premier, DaVinci or even iMovie. So what I've done, I've just taken, let's see over here. Right here I have my editing window. This is the homo shallow sea of each shot. So I've only selected two shots. And these are too long shots. I'm gonna make a little scene out of it. So right now I have selected three clips here that I want to start with. So let's look at these three clips in a row and see what they're about. Giving them all, bringing it here. Bring me to bow. Bailey. Bailey, Ramya bow Bailey. Right? So all the three clips kinda have of the same message. They're always asking first ball. So I'm gonna take this cut here and just kind of play around with it. And it's going to overlap it like so. And noticed that the sound is going to overlap. See odd happens bringing it here. Bring me to bow. Bailey. Bailey. Ok, so let's play this a little bit. Give me the ball, bringing it here. Bring me to bring me the ball. And it will take the sound here. And I'm going to use the razor here, which you can select from here. This shortcut is b here, plus push be chopped the sound here. I'm gonna take this sound away here, and this sound is Briony Dow. Bring with the ball. Go again. Give me double, bringing it here. Bring it here. So I'm just gonna fade this. Notice that little dot that appears here. I'm gonna fade it out like so. Bring it here. And this one I'm going to fade a little bit like so I'm going to place it, await them. See Bailey daily. So CMC market push em and push em. Here's what he says it. This we need to see. So just take this one here and see what happens if you place it over here. Give me them all bringing it here. Just want to shorten this, cut all the over here and see how it hadn't. See, kinda looks at us. Maybe I don't want that and I'm going to skip ahead here. Select that and this gap and see what happens. And play it. Give me them all, bring it air. Bailey. Bailey is pretty good. So I'm happy with this cut bringing it air. Bailey, the sound, the immediacy of the sound coming directly to God helps the cut get air. Bailey. So right here I have my voice coming in, so I'm gonna delete that. So I always tell this to smoothen the sound. And here we had put the side, Bring me about bringing the ball. So maybe you can use that again, the same. Play it. Give me about bringing it here. Bailey up, maybe gets put out here. See what happens. Give me double bringing it here. Bailey. Bring me to bow. That's pretty good. That there's a little bit of a song Jump, and I'm always uncomfortable with that. So I'm going to smoothen the sound even more. Bring me to bow. That's playing with a ball. Bring me to bow. Now I'm going to check on them. Happy with these two cuts. Give me double bringing it here. Bailey. Bring me to bow. Ok. And now clip number three was what? Ramya bow. Bailey. Low repetition here, but we'll live with it. Flips up. Selecting these two. So when I select these two, just by the way, I click this one on the cliff, the option button or command. I hold that in and then I select both of them. I release it and boom. See how this works. Brian made about Ramy, about sound jump. Always goes on my little editing nerves when I hear some temps, Ramy to bow. Ramy to bow. Bring me even more that we have something here it about. Oh, he's still in English. I don't know what that word was, but let's see. What do we do re me about. That was kind of nice little accident that happened right there. Bring me to bow. Bailey. Ok, so I'm happy with these three curves here. So right now we're into act two of this major battle we already setup in the first section, act one, where we establish a dark. Dark has taken a ball and the so-called owners trying to get it back, and there is a stalemate right there. So in act two, we're going to bring in an engagement. There's gonna be a conflict. Here. I'm going to do kind of a mid point of the scene, which is false victory. A man. So we jump in time and a man and a man, Daryl, My friend, is now close to the dog and makes an attempt to get the ball, you meet a bot. Failed attempt. And right here we have a commit, a commit. Or daddy Needham Assad can dare to get a massage. So we place that right here. And just notice I'm just go on gut feeling or dyadic. Here's how it, it'll jump cuts. So I'm just gonna I have their little cut of the dog here. I'm just going to place it right here. So commit or dad in enum Assad can have a little bit of a pleading. So here we had the first section of our scene. I'm just going to move this one because I'm happy with it, right, wrong over here and check the next session. There will be this one here, which I've already edited. So look at that brain. Mirabeau. For Amy to bow. Give me the bow. I'ma get their bow. He made a bow. Okay, so notice in this section here, he tries again to get the ball, but this time around there's an escalation, there's a change. Bailey the dark snaps at its owner, snapping. So we have escalation. This is section three. And let's look at the final section which I've already added it with the same process that I've shown you. Come here. You let go, give me come here. Go give me. You got me for a more. Why do you say? Okay? So there are friends now and it's teasing or to get the ball. So let's place all these sections together. I already showed you in detail how edited this part. Then I went a little quicker here than I had already edited these ones here. And I'm just going to place them all together and see what happens. So right now we have seen here. So what I'm gonna do, I'm just going to place on atmospheric sound in the background. So I go up to my been enough, made it ready. Right here. It's not throw that clip right over here. Well, first Anscombe plate, and we go and then I just kind of place it right here. So now we have atmospheric. Give me the ball, bring it here, and thus go crazy and put some music into it. I've already made that right here and see music. Find some high notes on the music. So now we have seen of all bringing it here. Bailey. Bring me to bring me to bow. Bailey. Don't chew up the ball. Come on, bring it here. You meet a bow. Coming away. With daddy. Neither massage can dare to get a massage. Brain widow. For Amy to bow. Give me the bow. And would get their bow. Give me above. Come here. Good. Give me coming in that will give me the bow. You got this map and me for a moment. 23. Edit :: Davinci Resolve : Here's a little bonus editing demonstration that I made in that resolve with material that has shot in the rain here in Iceland. You can download all the material for this lesson on the class website. Have fun. Okay, here I have opened telling to resolve 16, which we can get for free. And we're just gonna do three quick demonstration of the sample material that comes with the class. Where you can practice a little bit of editing and a little bit of kind of thinking, let's import our material. So here we have the material that you're going to have for this course, opening up all material and thrown it in here. So here we have the material. And now I'm just going to grab it, all of it and put it in here. Nothing fancy. It's so let me say this the first shot. Play it. Slow motion. This is a mirror. Car mirror. Okay, I've got that here. So notice that I'm not gonna do anything fancy here. I'm not going to label anything. I'm just gonna go very, very clean at it. So here I have this shot and I'm thinking this is a mirror and you see Clay and that's just kind of count 123. Stop. Here we go. That's here. I'm going to just select this area here. Push the delete button, like so. Next shall we have what is that? What on earth is that a plausible rain? Okay. My input could be here. Who's the razor here? Like so. And nothing else in this shot. Delete. So this also rain, rain and the crown, this calmness. It's reversed. So we're going to have to flip it. Once. Could take, drag this here, like so starting in here, go 123, that was the second part of the shot. I'm not going to use that. It's quite a long shot here. Say Dr. wipers go 123, goes away. What is the sharp rise? 123. That's the shot. 123. It's kinda nice that we see the wipers there. Sir. Anything else in the shot that I want? Maybe the turn here made music. Not here. 1234 nights. Now I have edited down the shots here. We have the reverse one shot. This one here. That's reverse it. And then we go into Inspector. Then we flip it, I think is here. Like so. Okay, so let's make a story out of this, these clips here. And remember, we're always doing the three acts. So what could be OK, number one, once upon a time, there was rain. So this is my first act. Once upon a time bomb is going to act to that will be. And it was a car in the rain. So it turns out that there's not only rain, but that there's a car in the rain. The car makes a decision to drive in the rain. So we're missing one shot for that. So let me see. Where was that? We'll go right here. Skim through it. Car starts to move. She'd have to act now, once upon a time, there was rain. So let's go to Act three. This shot. Shot. So because we aren't fully established the car, we have rain, rain, car, car. Let's see the city from the eyes of the car right here. So this code here, it turned out there was a car in the rain and the car decided to take a ride in it. When the car decided to take a ride in the rain, it this is probably nothing that we need for a moment. When the car decided to take a ride in the rain, it's saw the city streets and buildings and more buildings. Streets like so. Boom, we've met a little short film. We've made a 24 second film. So now I'm going to add some sound effects. So I've got three reign effects and then I have windscreen wipers right here. Check this one. So whenever I click this one, double-click it, and then I push the space button. Click this one. Here we go. Here. We select the place and just push either the razor here or the letter B. Let's take this out and say that we're happy with this and I'm just going to lower this falling down here, like so. Okay. Say we happy with this? And let's check this rain effect. Let's see what happens. We put on this caught here. Colonize. Excuse like that. Let's just say that. So when you sweet sounds like that you are creating time. So for example, if we're here and this fate, this one out, like so. And use I think where we have the windscreen wipers right here, double-click play space button. So I'm just contract this clip right down here, and let's check it out. So it's a little bit too fast. We can keep it that fast if it wanted to keep the sound in real time. We can also right-click it and go into change tip speed. Just come up to 50 for fun and see what happens when I keep it like that, but very low. So here I'm just going to take stop it right here on this one here. So here I would like to have a new sound. So there is rain effect. We're not used, which is car interior to get too aggressive, but we don't care because we're making a creative short film. So notice how the sound is going to help the cuts quite a bit. Fade in the sound a little bit here. So here I would like to, I would like to change time, jump in time. So what I'm gonna do is here plus the letter B to edit it. And then I'm just going to go randomly somewhere in this song here and make it jump and make it a little bit lower as well. See what happens. And here I would like to change time again. Then it just squeeze this one, for example, up again. Like so. See what happens. So we made a little microfilm using the material. Now have fun doing your own version or preferably shooting some simple material yourself and putting it together. 24. Color: So in this section, we're going to color our scene here. So just wanna mark, and this is the usual disclaimer. I am no color specialist. But for the sake of this video and the whole do-it-yourself filmmaking, I'm just going to show you how I would, for example, do this one. Let's look at the first shot here. So we have two shots on the same camera and the scene. So give me them all. They can probably use a similar setting. Let me find first a reference shot. What is the shot I would like to use as a kind of center point of the whole color correction. Let's use this one. Okay? So you go up to here to this little nifty color thing here. And I'm not gonna do anything fantasy. I'm just going to go over some of the basics. So we have an exposure, saturation and color. So we'll start with the exposure. So in this light that very high strong highlights or not take them down quite a bit. Check taking down the midpoint towns and give it a little bit of faded look like So please check this Fadell. Kinda like this. They will take that data and knowledge like so. Bring up perhaps the blue a little bit. It's like so. So that is this one shot here. It's going to take this one and I copy it. Copy. And then I would go into this one here. And then I use the same setting and I paste the attributes. And then I can select it what I want to paste here, I don't want to mess with the position. I just want to color like so. So these two here. So I'm going to select all the shots except for these two here. And I'm going to paste the attributes, again, only the color ones. Like so. And I'm just gonna check it now. Give me the ball, bringing it here. Bailey. Bring me to bow. Ramya Bo. Bailey. Don't chew up the ball. Come on, bring it here. You need a bot. Ramya. Coming of a commit. Commit. Daddy, neither massage condemned to get a massage. For Amy to ball. Give me the bot will get their bow. Oh, good. You try to slap a me for a bow. 25. Export :: exporting your film and making backups: In this chapter we are going to discuss exporting your film backup strategies. So now hopefully if edited your film, you've put some color into it, and now you're going to export it. There are some great technical videos again, on how you export it specifically. And every editing software has an export function. What I would say is when you export it doesn't backups. That is, export your film like you want it to be, sound and color you want. But also export several other versions which is one worsen with no color. Just the sum is just the dialogue. If you have the music until it all separately. This way, in case you lose any of your raw material, you can always use these little chips to re-establish the film bore edited that you want to fix it. 26. Lesson Recap: So congratulations on completing this course. I bet you've learned a lot about the creative process, your strengths, your weaknesses. What I'm doing is simply giving you a form of my strategy or my method's gonna make films. What you're going to be doing is kinda cross fertilizing your own version of the creative process of making a film. And that is the whole point I'm making is not something stale. It is something, it's an art form that is meant to develop with each individual. What we had been doing is basically going through as neutral as possible some of the fundamentals for you then to create your own system for your next project. So what we have done, just a quick recap. We have started with an idea, something abstract genre, outlining the possibility of storyboarding. From there we went into screenwriting mode. We learned about writing in flow, bringing it over to the format of an actual screenplay. From there, we moved into cinematography and production, directing. After that, we moved into editing, coloring, and then we export it your film. And now you're here. 27. Thank You & Goodbye: I just want to say how important it is for me and how grateful I am that you've taken this course. It has value to me because the more films I do, the more I understand the value of sharing my experience and how important it is for me to share it. And they wouldn't be able to do it unless there was some hopefully interested. So I say it from the bottom of my heart. Thank you. When you've completed your film, share it here in the product category so I can check it out and others, you can check it out. Remember, we're doing films for others to see. Also, if you have any questions about the, the core sharable filmmaking, post them here and I'll do my very best to respond to them as quickly as possible. I'd really appreciate if you leave a review for this class, hopefully positive. So I encourage you to go out there and create your own system of filmmaking. Create your own stories. B1, take chances, be silly, the ridiculous. But after that structure it hopefully I didn't ruin it. Thank you so much. What inspired you to become a director? When I was funny, I broke up with that. Cover all sorts of things about yourself. Gretchen, express myself.