An Introduction to Filmmaking | David Ritchie | Skillshare

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An Introduction to Filmmaking

teacher avatar David Ritchie, Online Teacher

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

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

24 Lessons (1h 40m)
    • 1. Introduction

      2:06
    • 2. ACT I: Your Protagonist

      3:52
    • 3. ACT I: Story Structure

      3:21
    • 4. ACT I: Characterisation

      3:36
    • 5. ACT I: Themes

      3:02
    • 6. ACT I: Genre

      3:04
    • 7. ACT II: Writing your script

      4:09
    • 8. ACT II: Script Format

      4:28
    • 9. ACT II: Pages to stages

      5:10
    • 10. ACT II: Preparing your Cast and Crew

      4:26
    • 11. ACT II: Paperwork

      4:46
    • 12. ACT III: Equipment

      8:36
    • 13. ACT III: Mise-en-Scene - Set Design and Costume

      2:26
    • 14. ACT III: Mise-en-Scene - Light and Colour

      3:47
    • 15. ACT III: Mise-en-Scene - Frame Compostition

      7:29
    • 16. ACT III: Setiquette

      1:25
    • 17. ACT IV: Software, ingestion and categorisation

      4:46
    • 18. ACT IV: Six Rules of Editing and other techniques

      5:05
    • 19. ACT IV: Music and Sound Design

      3:59
    • 20. ACT IV: Colour Grading and Titles

      9:06
    • 21. ACT V: Marketing Pyramind

      3:51
    • 22. ACT V: Press Release Material

      3:12
    • 23. ACT V: Distribution

      3:02
    • 24. ACT V: What Next?

      1:44
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About This Class

In today's digital landscape, with the right story you have tremendous potential to create meaningful impact.

Whether it is a fictional idea that explores the deepest themes of being human; an innovative business solution you need to advertise or a documentary that illuminates the hidden truths, a captivating story in the form of a film can take your endeavours to new heights.

We'll cover the film making essentials in this course to take you from average Joe to James Cameron and your idea from zero to hero:

Act 1: The Story

  1. Protagonist
  2. Story Structure
  3. Character Development
  4. Themes
  5. Genre

Act 2: Pre-Production

  1. Writing your script
  2. Script format
  3. From pages to stages
  4. Cast and crew
  5. Paperwork

Act 3: Production

  1. Equipment
  2. Mise-en-Scene part I (Set Design, Costume, Make Up)
  3. Mise-en-Scene part II (Lighting and Colour)
  4. Mise-en-Scene part III (Composition - Shot size and Angles - Space and Acting)
  5. Setiquette

Act 4: Post-Productions

  1. Software, ingestion and categorisation
  2. The 6 rules of editing
  3. Music and sound tips
  4. Colour grading and titles

Act 5: Distribution

  1. Marketing pyramid
  2. Press release material
  3. Distribution options
  4. What next?

By the end of this course you will have gained the necessary knowledge and skills to finally produce that film you’ve been looking to communicate with the world! 

Meet Your Teacher

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David Ritchie

Online Teacher

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Transcripts

1. Introduction: Hello and welcome to this course and introduction to filmmaking. My name is David Richey And I have been writing, producing, directing, and editing short phones, adverts, music videos, and documentaries over the last five years. And along the way, I've been learning the craft from being in the field and also from other great filmmakers. Though to be useful, to share all the tips and tricks I've learned along the way, there is no better time in today's digital landscape for content creators and filmmakers to flourish. And it has become a highly valued skill to be able to showcase the world, the stories you and others care about. Whether it's fictional idea that explores the deepest themes of what it means to be human and innovative business solution you're looking to advertise or a gripping the documentary that exposes the hidden truth within our global society. Filmmaking has unprecedented power to evoke change and have meaningful impact in our, in this course, we will unpack the essence of great storytelling, understanding, characterization, to structure your protagonist's journey and the themes you're looking to explore within the genres that you're operating with. Then we will look at organizing your pre-production process, writing your script in the right format, organizing your cast and crew, and getting all the messy, gritty paperwork in order. Thereafter, it's all about setting the stage and making use of the right mise-en-scene to enhance the mood and tone of your story. As soon as you wrapped up that, we're going to look at the post-production process and turn it from a rough draft into a polished masterpiece by using the six rules of editing, effective score, and effective sound design. Finally, we're going to look at the marketing distribution and explored various methods on how to get your motion picture to the right audiences and leave your mark in the folding. So grab a seat in your den, grip a pen, and then without further ado, lights, camera, action. 2. ACT I: Your Protagonist: Once upon a time in a distant land, something extraordinary happened to somebody. This is the blueprint of the stories we tell. And embedded within them are encounters with the unknown. Lessons for us to interpret and an ability to shape cultural beliefs of how we relate with ourselves, how we make sense of the world around us, and how we connect with the people around us. But what gives a story that X factor? Well, it's not always about what happens, but rather who it happens to. The protagonist. This is the central character around which the story is built and the journey that we follow. Think Frodo from The Lord of the Rings, near from The Matrix symbol from the Lion King. Luke Skywalker from Star Wars, Harry Potter, from Harry Potter. And the list goes on. If a story is a sailboat, your characters other brother that steers the whole ship. We witnessed the world through a protagonists lens of perception. Along their journey, they gather knowledge in order to overcome a series obstacles laid before them by, you guessed it, the antagonist, the opposing force to request. Then right before we think they've got it, all hope is lost, but he or she manages to summon all their strength and snatch victory out of the jaws of defeat. If you can get your audience to sympathize where your characters desires, you've done tremendous groundwork. However, what enriches your narrative is giving them a floor that is hidden behind this song. And audience will subconsciously crave for them to acknowledge them to change in order to achieve the goal. It's not always about what they want, but what they need. On the surface level, we observe how your characters navigating the world around them. But their internal decision-making process adds a third dimension to the visual narrative and allows audiences to feel what is happening. So ask yourself, how is your character changing not only externally but internally? For example, in Breaking Bad, Walter White, a man dying from cancer, is worried that his teaching salary won't be able to support wife and disabled son upon his death. We follow his journey over five seasons as he metamorphism sizes from unassertive elementary science teacher to a ruthless met, drug dealing King penned changes key. Which of the character architect types does your character belong to? The lover, the hero, the magician, the outlaw, the Explorer, the sage, the innocent, the creator, the ruler, the caregiver, the every man. The gesture will look at characterization in depth in a moment. But for now, look for inspiration in your own experiences of either yourself, people, you know, people you've heard about. What is the story burning inside of you that you want to tell? What is the movie that you want to watch? What is it about? And why is this specific story important? Tell all stories and better, less than n needs to be lucky. And the realization that simplifies the complexity of life and the company that you want to emphasize and aha, moment in the bath when developing your protagonist story. Creating a character by or can help you with this tremendously. It gives reason to their behavior and makes them believable when audiences first meet them. But what happens in a story? And how do you structure it? 3. ACT I: Story Structure: Humanity has always served after structure to make order from the chaos that surrounds us. We went from living in trees to living in houses, riding horses, to driving in cars, having fluids, to inventing vaccines. There are always solutions. And filmmakers have been doing the same for decades. Aristotle's three-act structure defines each story to have a beginning, middle, and end. A thesis, antithesis, and synthesis, the exposition, conflict, and a conclusion. The five act structure is a further refinement of this. And just divide the second act into three parts. Separating these acts are the reversals or turning points, units of action bounded by a character's choices. In the first act, the exposition, the time and place is defined. What is normal is known, and the attention is brought to each term of conflict. A dramatic question is posed to the audience only for it to be answered in the last act. Will the villain get away with it? Well, he or she find love. The first turning point is the inciting incident. The choices presented at once chosen, there is no turning back a fork in the road. Choosing the red per, falling into the rabbit hole, jaws claiming their first bit. The second act, complications develop. Not so tied. Interests clash, tensions rise. The protagonist is faced with the first obstacle and is usually triumphant over it, propelling them into the third act. And this is where the midpoint occurs. The bang in the middle, Jeopardy's rise. Titanic hits iceberg and alien bursts out of an astronaut stomach. The forces of antagonism strengthen and protect his knowledge of the situation changes. A Truth is unveiled, and they would thus must adapt accordingly. The fourth act, another obstacle is faced and is often the crisis point of the story world. The protagonists revert and die, or change in nerve. The invitation is presented and here all is on the line. It is the showdown match, Final, hero meets villain. Boy realizes there's no one like we need to get out the building before it explodes. The fifth act introduces one final objective. To defeat the antagonist, to overcome the demons, to win the prize, to get home, or to get the grow. Our protagonist battles the antagonist using knowledge gained after the midpoint and overcomes them and becomes hole. They then return home, a transformed person. Now there are no strict rules when structuring a story. But this is a general guideline that will help you create a plot that keeps unraveling and keep your audience engaged. 4. ACT I: Characterisation: We are all the same, yet different. All potatoes in the serious game called life. How sense of self, who we are. Other reflections of our mom and dad are friends, the leaders that we live with. And all the stories that we've collectively share. As one grows older, the individual wishes to know and define oneself more clear. The conflict between how we wish to be perceived and what we really feel is the root of all character. Men and women live in constant conflict with the desires while trying to maintain socially acceptable behavior. We are constantly in a tug of war between our egos, sod of what we wish to present, and the inner workings of who one really is. When writing your script story, consider what is the, what it, what it is that your character needs rather than ones as he or she progresses along their journey. How did they acknowledge the floors? How did they reveal their inner vulnerabilities and lift their facades? What are the deepest fears and how do they overcome them? Here is a list of rows for you to consider and think of. Your midpoint should reverse these two forces where it becomes more obvious to the character what they need rather than what they want. How do they react to a series of challenges in the first act versus challenges in the fifth act. How have they changed internally? What are the ego's defense mechanisms to external change? Do they laugh and cry about it? Of your walkaway? Kill or forgive? Each question answered presents a deeper characterization and in more memorable character for your audience. Now your protagonist isn't the only character moving the story forward. It is also important to pay attention to other characters in the story, such as the antagonist. It doesn't have to be a person necessarily, but it can also be an external force or an internal struggle. The Deuteronomistic. This is the person that is secondary charge or is a cyclic, like Rob, your love interest, a mentor, a person that guides and points the protagonist in the right direction. The narrator, This is the person who is telling the story. It is often the protagonists themselves, the tutor agonist, or in most cases, a third person who we haven't met. And this is usually the director of the film, a secondary character. This is someone who joins your protagonists on the journey. Tertiary character, someone who doesn't join you protagonists on their journey but still provides crucial information. And then there's flag character, someone who is usually in one scene who doesn't add much to the story, but still helps the protagonist. You now know the building blocks of how the protagonist and the story. But what is it that you're actually trying to answer in your phone? What are you trying to communicate with audiences? Who are you trying to speak to? To answer this, we will need to look at the themes behind your flow in our next chapter. 5. ACT I: Themes: A film can be compared to an essay. There is a lingering question that needs to be answered. And do this, you'll need to dig into some research, find the evidence to support your message. The theme of a foam is the topic of discussion or subject in discussion. So which themes of the human condition are you attempting to explore? Is a change? Conflict, community, exploration, forces, relationships, or the patterns or power attached, or some more links for your reference where you can find themes of discussion to incorporate. You may end theme can branch off into other sub-themes and contest blunder number. But it is important to narrow it down, usually to one central idea. How your audience will feel after leaving the film is determined on how a writer writes the story. The tone is textual, how the author has written it. The choice of words. Mood, however, is the feeling which is evoked in the viewer as a result of seeing what the author has chosen to write or display. As a filmmaker, they are combinations of colors, lights, angle, sounds, scores, expressions, symbols, and juxtapositions you can incorporate to enhance particular mood for your scenes and characters. We'll get into that in a few chapters in our section, mise-en-scene. For now, take the time to research the particular themes that you're dissecting. Read about the science, the history, some articles, diaries or biographies behind similar stories, similar events, and other personalities. So how do you create theme? Well, you have to place your keratin conflict. This creates opportunity for actions, choices, and conversations to unfold. Reinforce your themes with motifs, recurring images or details that remind audiences of the central ideas to the phone. Through repetition. Through repetition represent your thoughts and ideas with symbols. These are characters, settings, or objects that alludes to something significant in the film. By making use of this process, it will enhance your script to be a lot more visceral and more authentic. So I hope you've asked yourself these important questions of what themes it is you're trying to tackle. As we move on to our next chapter, What is your phones genre? 6. ACT I: Genre: Comedies make us laugh. Thrillers make a scream. Hormones make a scream. Documentaries make us question. And sci-fi is make us ponder. And rom coms, get the feel-good merger flowing. Have you ever had that feeling when watching a film, you can almost predict what is going to happen deep down inside. You've seen the sequence before and have a hunch of some sort of the probable outcome. Well, that is because films often make use of tropes or motifs that audiences contain in the visual literacy Banks. Yes, a link below, exploring more genres. The film genre is a system of codes and conventions that categorize it into such sums. Genre examples are comedies, drama, action, horror, thriller, adventure, crime, historical, war, Westerns, sapphires, documentaries. And the list goes on and on. Now in order to maintain some familiarity in film, writers will often make use of tropes. This is a motif that is repeated enough to be recognized. Thrillers make use of jump scares. Crime investigations will have a grand plot, twist, me end. And Westerns have a standoff, and so on and so on. For more examples on tropes that are used in film, check out the links below. Genres create expectations and great filmmakers are able to subvert them, which gives a new face to the genre and the film. They can also be interwoven with one another into more than just one jump. For example, rush hour is an action comedy. Schindler's List is a ducky drama and gravity is a sci-fi thriller. So familiarize yourself with the genre you're operating with. So you know which literary devices will work well with them. There are no rules and audiences love it when the rules are bent, twisted, or broken. So get experimenting. Now then you've got the essence of your story. You've created a fleshed out protagonist and other characters. You've structured their journey into its acts. Understood the themes which are looking to explore, and the genre in which you're operating with. It's time to get that idea into a script and begin with you preproduction process. 7. ACT II: Writing your script: Most great ideas were born when a pen paper, they were probably terrible to begin with. But over time, they were refined until something magical emerged. Einstein didn't come up with his theory of relativity. And a day, nor did Shakespeare writes his plays in a night. So you script will take a number of drafts before you can present it to potential funders, actors, and other participants. Some scripts can reach ten drafts before they're even considered. So let your imagination go wild and fill in the blank spaces. Connect the dots, and start seeing the bigger picture emerge. The sooner you start, the better. Filling the foundations by building the world and rules that they follow. Then situate your protagonist within it and identify their objectives. Introduce additional characters, such as the antagonist, the mentor, the love interests, and other characters previously mentioned, and build scenes which propelled the journey forward with your turning points, all roads must lead to decline acts. Now, if you're producing a documentary, The process is slightly different. For this, you will need to make two columns describing your audio and your visuals that the audiences will see and hear. The narrative will unravel itself as you conduct your interviews and research and bear in mind how you formulate your questions in interviews also impact how the responses are given. So try and frame them in such a way as to evoke the narrative that you're after. Give the script some breathing room. A big brick wall called Writer's Block should arrive at your doorstep in no time. But don't see it as a barrier, but rather a signal to go take a walk, to speak to friends, family and colleagues. Pitch your idea to them and chances are they'll mention something relevant, such as an idea, thought, or feeling that you can imagine then that you can then adapt into your script. Scripts are both with what filmmakers call beats. A beat is the timing or movement of a film or play. It is an event decision or discovery that alters the way the protagonists pursues his goal. So starts sprinkling scenes with further actions, behavioral characteristics, and dialogue that will enrich it. Audiences also like to know where the journey is heading. So it's effective to make use of foreshadowing through phrases, symbols, or prompts that you choose. Everything needs to happen for a reason. Each scene needs to have a beginning, a middle, and an end. There's a well-known quote in the film industry and that is, arrive into the scene late and leave as early as possible. Screenplays are different to books or articles. The writer needs to know what occurs, rather than explicitly telling the audience. You should write in such a way as to describe what is happening on the surface and suggest what is evolving internally within your characters. A general rule of thumb is one page of script is one minute of screen time. Hence, a short film will be ten to 30 pages and feature phones 90 to a 130 pages. Now, as one creative to another, you will never reach that perfect draft. But by the third draft, it should be able to start thinking about the teams you'd like to approach. However, we need to make sure that it's looking presentable, which brings us to the next chapter. The script format. 8. ACT II: Script Format: Screenwriters on like the oil to the foam industry, they are the ones fueling the production. And just as engineering diagrams have a standardized way of measurements, variables and constants. So too do scripts. They provide a standardized format that can, that directors can easily scan the pages through and prepare their teams for production. The basic rules of script formatting are as follows. You should use the Korea fund in size 12, have a one-point five inch margin on the left of the page, a one inch margin on the right of the page, a one-inch margin on the top and bottom of the page. Each page should have approximately 55 nines. The dialogue block starts 2.5 inches from the left. Character names must be an uppercase letters and be positioned 3.7 inches from the left. Page numbers are positioned in the top right corner with a half inch margin from the top of the page. And the first page should not be numbered. And each number is followed by a full stop. The title page. This usually has the details regarding what the title of the film is and who the screenplay was written by. Scene heading. This is the location of where the scene takes place and it, and it's important to denotative whether it's indoors using int or outdoors using exterior or both. Interior, exterior if it's moving and what time of the day it is, whether it's day or night, sunrise or sunset subheading. Sometimes writers will show how each scene changes locations from outside to inside, or to describe another room that the characters have moved to within the scene. Transitions. These can be used to describe the manner in which your scenes transition from one to the other. It can be a ket, a fade, or a dissolve. Character introductions. When you introduce a character for the first time, use all capital letters and reference characteristics such as age, outfit, and other personnel. Personality traits or mannerisms of the character. Action. Describe the visual and audible actions that take place on screen. You need to write in third person and in present tense. If an element is important to the story, make sure to use all caps to highlighted dialogue. Dialogue is what you carrot to say. And it is probably the most trickiest part of script writing. You should write between the lines and never on the numbers. Characters should say one thing, but really mean another. This is known as subtext. The way your characters speak should be unique and reveal the personality traits, how they are feeling, and show how the relationships they have with other characters is evolving. One thing that helps is to read your dialogue out loud and to see what will work. Extensions. These occur when your character says something off-screen, known as non-diegetic dialogue. When we can't see the source of where the sound is coming from. Os denotative screen and V, D annotates a voiceover parenthetical in brackets during dialogue, the show small actions or events of change in mood without having to jump out of action. They have a direct, they'd help direct actors with nuances such as sarcasm. Camera shots. These describe the shot for the director to incorporate, but using, but try to use them sparingly when necessary. Now there is software that you can use for writing a script. And the most widely used is software called Celtics. I highly recommended for its functionality and worldwide adoption. 9. ACT II: Pages to stages: So you've successfully punished three or more drafts of your script by now, and you are now looking to get your story onto screen. This is where you need to be looking for somebody to be your producer. This is the person who usually has the pockets, networks, and logistical know-how on how to turn your script into a visual picture. There also in the business of making money frontal. So they're going to expect some pennies of return on investment. But if you're starting out as a filmmaker, most of the big three roles who fall onto your shoulders. These are the director, cinematographer, and editor. It's good practice to be experienced in all three of these roles. And we'll give you a large advantage in the film industry. However, be prepared as it is a long journey of negotiations, sleepless nights of editing and unforeseen issues that you will have to solve. But the end product of people laughing, screaming, or crying in the cinemas or in the comfort of their own home is certainly worth it. So grab a red pen and get a hard copy of your screen. Circle the following on your script. The characters, locations, props, costumes and possible effects and S, S FX. And try and tally these into tables. You will have to cast actors for these roles. Set aside a few days to get this done by sending out costs and caused agencies or drama schools and get them to read the script and audition for the various parts. Next, it's time to go locations garden, so speak to the relative authorities and take note of the lighting and background noises, acquire the necessary permits and have a location release form. On site. Source your props and costumes from stores. It's helpful to usually hire a dedicated person for this role, a production designer to run around whilst you're focusing on other elements of the film, such as rehearsals with your cost. It's also important to take note of the particular sounds that you need to be able to hear and edit that you will have to record and set. So make sure you make a note of that. Now that you've done all of this, you can begin to see how many locations, actors, and set elements you will need on production. So gathered quotations and timeframes for this. So you can begin estimating the budget and schedule for your script. Occasionally, certain scenes will have to be scrapped and you'll have to improvise a plan. But there is always a way directors treatment. The director's responsibility is to guide the crew on how to execute the production of the story. And it is important for them to explain why this story is important to the audience and be able to justify the unique choices of styles, such as acting methods, locations, cinematography, editing techniques, and sound techniques. This is all compiled in a document called a treatment describing how the production will be executed. Storyboarding. One of the most useful resources for the director of photography and the director is a storyboard. And in an Illustrator or graphical designer will come into pre-production and assist the director by sketching out the actions described in the script and help compose the imagery of the characters in their environments. The DOP will then use this as a reference of what is most important in the day and organize a shortlist accordingly. Film funding, it's hard to make films alone, never mind with the bank balance of 0. So finding new production to pay all of the staff, food, equipment, locations, costumes, and other items is rather crucial. Luckily, there are a couple of film grown options out there for you to apply to. But bear in mind that certain funds have certain criteria. As a filmmaker, you need to be the medium through which the message is communicated. So ask yourself, what sort of stories will trend in today's climate and you'll be more likely to be awarded these funds. So check out all of the fund options in the link below and have a brass. If you're not able to gather funds for your phone, it's not the end of the world. The people you have on board are the most important to the phone. So finalize that full first. Now that you've separated all the building blocks of foam, it's time to put together your 18 to bring your phone to life. 10. ACT II: Preparing your Cast and Crew: So you figured out the story. You'd like to town, but now it's all about convincing people why it needs to be told. You're going to need the following roles on your team to make that. The director, This is the captain of the ship. Everybody a board is working towards the vision that is set by the director. The best phones are best because of nobody but the director. Before in boards and marked and action is called a direct tool choreograph the camera, cast and crew to execute what is being described on the script. If something doesn't feel right, he or she can change it accordingly and it's time for another take. Producer. We just touched on this in the previous video. If you need to know more information, go back there. Director of photography, The Man with the plan and his cam. The more experienced they have, the better. If he or she has their own equipment, it'll end up being more cost effective than hiring equipment from a another rental house. So have a look at the show reels and see if their style of shooting will suit, suit the look and feel of your foam and get them in the pre-production process in the office as soon as you can. Grips and lighting. These are the people that will be doing the heavy lifting of cameras and Riggs and makes sure that the scenes are properly lit for the scene being shot. Production designer. This is someone who will design and build sets of your phone. They source and find the right locations for your scenes to take place. And all the props that are you are using. Art department. This primarily consists of the costumes and makeup. And they work closely with the production designer to ensure that all the actors on screen looked apart. If a zombie film, you've got blood and gore, if it's an action film, they've got the fake guns. Make sure you look for that right team on that. Sound man. Now this is probably the most underrated role in any production. A phone with a beautiful visual is great, but without clear sound. It is an absolute train wreck and screams nothing but amateur. So make sure you sound man knows what they're doing with that Boom Pole editor. This is the Edward scissor hands behind the spaceship. And it is usually a good idea to bring them aboard shortly before production so that they can add their input on how to shoot. We'll look more closely at their role in our post-production chapter. Special effects and visual effects team. Especially effects, are the people that usually bring the smoke machine, explosions and sometimes coordinate the students who have tremendous experience in such work. Visual effects or the people that bring the green screens, the pointers and the markers for whatever you're trying to achieve in the post-production talent. These are the stars of the show. Features are the names of the actors and actresses that are recognizable on screen, whilst extras or background talent on the people that populate the formic world you're attempting to build. Musical score. Composer working closely with the director, they will insure the right instrument sounds, musical keys and motifs will be utilized to evoke the right mood and tone that the production is often. Now then you know who you need to go and recruit. So start asking around or volume volunteering on other productions to network with those who might know somebody. Your phone will only be as good as the people who make it. And the captain who leads the ship. Everyone in east department needs to peek in their performance. At the same time. 11. ACT II: Paperwork: As a filmmaker, you have amazing abilities to resonate messages to audiences and potentially evoked powerful change. A lot of responsibility resides on your shoulders about the representations of people and their cultures and also how you are framing belief systems. It is therefore best to have your legal paperwork and water. It's not the most exhilarating part, but certainly essential. These are the following documents you will need to prepare a screenplay ownership declaration. This protects your idea from being plagiarized and protects that idea that you've been working so long and hard on. Usually this can be obtained through the Writers Guild in your country. Call sheets. This lead your crew and cost nowhere they need to be and also gives them an idea of how the day is going to look. It contains details such as the production overseers, contact details, weather forecasts, shooting schedule, costless cost crew, communication channels, and other department notes. So make sure that you send this art a couple of days and advance talent release forms. This is the legal agreement between the filmmaker and the actors, or background extras, confirming that their performances and the names can be used when marketing the phone and distributing the film. Crew contracts. This is the legal agreement between the filmmaker and the production crew, confirming their participation, role responsibilities, and their generation for working on the project. Crew contact list. One central document with all the names, numbers, emergency numbers, and email details of all the crew participating in the production. Music release form. This provides legal confirmation that the film has rights to using music or score heard in the film, whether it's composed or purchased online, it's essential to have location releases. Thus provides authority is that you have mission by the necessary decision-makers that you are able to conduct your shoot on their premise. Principal photography schedule. Now this will guide the team on which scene will be shot, when, and a basic outline of what to expect on the day shortlist. Now this is the GOP's holy document filled with all the necessary details that outline watch what each shot of action, conversation or B-roll is and how it will be composed, such as shot size, angle, movement, and description should be included in them. Production insurance, accidents do happen and there are a lot of moving parts within a production. So having an insurance broker provide a policy, provides security for any liabilities that could occur. And it is recommended for larger projects with bigger budgets. Health and safety policy. Living in a post covert era, this document is crucial and outlines how your production will be safely produced within the law phone. But now this is usually compiled in two sections above the line where stakeholders of the production that have larger created, influencing the decisions of the production is listed such as producers, screenwriters, directors, and actors. Below the line. These are the participants that don't have a large say in the decisions being made and can be seen as replaceable, such as extras, scripts, lighting, Art Department, transportations, prop handlers, et cetera. So break down your script into pages per day and budget around that, but prioritize the difficult scenes by giving them more time. What can be useful is slicing your budget into a pie chart and allocate each department with respective amount and estimate accordingly. Now, all of this might sound like a lot to get started with. But luckily for you cook and I've attached all of the mentioned material so you can get straight to it and waste no time scouring the internet for templates. You're welcome. 12. ACT III: Equipment: Your Equipment pool will not determine the quality of your phone, but rather the story that you're trying to illuminate. Great books weren't attained by the covers, but by the content. So with that being said, let's look at what you're going to need to paint your foam. And some key knowledge around it. Camera. This is your most important tool, the paintbrush of your phone. If you're starting out, as I began to look no further than smartphone in your pocket. Foams have premiered in cinemas shot on iPhone. So you can always make use of what you have. If you're looking to upgrade from there, we're heading into the DSLR range with cameras such as the Fuji X t3, which I'm shooting with here, or the Canon 70 d. A step-up. And we're looking at more advanced DSLRs, such as the Sony A7 range or a Canon 5D or Canon S3 100. And then we're heading into the world-class arena where the cameras have a hefty price tag. These are your red dragons and Aaron Alexis, which are used in Hollywood. Now, a couple of settings you should know on the camera or the following ISR. This is the cameras sensitivity to light. The higher the ISO, the more likely your image will develop what's called noise, making your picture appear grainy. So try and keep that as low as you possibly can. Fps, This is your frame rate per second. How many image slices are in 1 second and FPS of 24 will appear smoother than a 60 FPS because it has what's known as motion blur. If you record in a high FPS and played back at 24 frames per second, it will appear in slow motion, shutter speed. Shutter speed refers to the amount of time that each individual frame is exposed for lenses, this is the glass that will give your film class. Different lenses can create a different feel and look, which we will look at later. But for now, you need to know two main features within a lens. The focal length is how strongly the lens diverges light, and how, while the field of view that is able to capture the aperture is the opening of the lens that determines how much light is being passed through. A low aperture will give you a shallow depth of field, blurring out background. Whilst a high aperture will yield the opposite effect. Familiarize yourself with the 19 triangle. If you change one setting, you will usually have to adjust the other two settings. Now the different types of lenses you can get RA fish islands which haven't ultra wide field of view and ranges in its focal length from four millimeters to 14 millimeters. While lenses can usually capture more of the scene and it's great for landscape shots, 14 moles to 55 moles. Standard lenses range from 35 mil to 85 more, whilst telephoto or zoom lenses capture a narrow field of view and ranged from 85 to 400 million. Macro lenses are lenses that are able to capture the microscopic world. Whilst prime lenses have a fixed focal length, there are less mechanical parts in them and hence have a higher aperture, which usually produces higher-quality images. And remember, it is always better to underexpose your shots rather than over-exposed it. It's easier to correct in post-production camera rigs that tripod. This is a filmmaker's standard rig, useful for static shots or simple movements like a pan or tilt. But make sure to have the right camera head mounted on the tripod for recording smooth video motion. Shoulder Rick, this is a great go-to rig that all GOP's can sit in on their shoulders and is great for on the fly shooting slider. Mount a camera on this. And it can really give you shut that has an amazing look and feel as you move along your subjects. Gyms or Cranes. These are rigs that can swing a large, large radiuses, left, right, or up and down, stabilizes. Now these are very smart electronic devices which help avoid unwanted shaking and maintains a smooth motion with some clever control engineering and brushless motors. Sound equipment. Like I mentioned before, a great phone with terrible sound is ultimately a terrible film. So play, so pay special attention to this. A few tools of the trade include the following. A zoom recorded standard electronic device that is portable and dynamic, which can record all of your sound unsaid onto an SD card. A shotgun microphone. This is a mike that captures audio that is coming from one specific direction from your actors or actresses. In a boom pole is what the sound man uses to have a long reach to swivel amongst actors and capture the audio. A lapel microphone is a small microphone that can usually be attached to a subject who is speaking and transmits the signal to a wireless receiver, to the zoom recorder. Great for interviews, but remember to have some tape and fluff if you're looking to attach it and someone's chest underneath issued to avoid any ruffling some lighting. The most commonly used lights on sets are LEDs, and you can usually adjust the brightness on them to the desired level or brightness. Led strips or also a DIY solution and can offer a wide variety of creative options because of the array of colors you can use. And other effects such as a strobe effect. Scrums are the big boards that mountain on CSU Dan's onsets and come in two varieties. Blacks grooms which absorb the light and white screens which can bounce or add light. Reflectors are portable sheets in silver or gold that perform a similar role to scrimp and can come in 51 kids, which are always useful to have around. Make sure your white balance setting on your camera is adjusted to the right color temperature of the lighting so you can avoid any unnecessary colour corrections in your post-production calibrating. Other additional items on set include a clapper board. This is used for your editor to sink the sound to the footage and also helps with organizing how the shots of being categorized. And you need to take note of the scene, the shot and take numbers. Gaffers tape from taping down markers for actors to blocking light from nearby windows. A good role of gaffers tape in different colors is always useful to have onset hard drives. Your gonna need to store your footage somewhere. So purchase a hard drive or two that you can store all of the raw footage from your shoots. One. Now you have a rough idea of what you'll need to produce new motion picture, gets to know the equipment houses around your area and try and strike a good relationship with them. Because chances are you can negotiate good deals with them in any of your future endeavors and projects. 13. ACT III: Mise-en-Scene - Set Design and Costume: Mise-en-scene is a French term which translates to placing on stage and is used to describe how cinematic elements within the frame are designed. As a filmmaker, These are the crucial decisions you will be thinking long and hard about to effectively achieve the desired mood and tone that will evoke the themes of your picture. If you can create the right atmosphere on set, the phone will unfold in front of me. Set design. Now there are two options when deciding how to arrange your set. You can shoot on location that has been scouted already, is can be a friend's place or a public location, but make sure to have that location release form ready. Or you can also construct. He said, that will embody the atmosphere you're attempting to create. Your production designer and art department will have to handle all of this while you're busy rehearsing with your cost. Set needs to convey the right period in history, as well as the tone and mood of your project. Your choice of colours, lines, shapes, and prompts will all add up to this. And as now, now, set designers can sometimes go to extreme lengths to create what the director needs. For example, the set of the 1953 phone, Ben Hur, covered over 18 acres and took 1101000 men over a year to construct costume. Now, depending on what genre and time period you're operating with, costume plays a huge role in your phone. It can be over the top and flamboyance or modern, edgy. So get familiar with some costume rental houses in your area, hair and makeup. Their primary duties are to enhance the facial aesthetics by using make-up to create a custom look that a production needs in order to create the characters. Prosthetics can also be brought on board to help with any goblins, zombies, or other scarred creatures that you're looking to incorporate in the story. 14. ACT III: Mise-en-Scene - Light and Colour: The art of cinematography is being able to paint with light and color. So let's spend some time looking at that. Writing creates a visual mood, atmosphere and gives a sense of meaning to the audience. It helps guide the eye where it needs look in the frame to a specific actor, prop, or part of the scene. It can reflect the psychology of a character and can also enhance the genre of the flow. So before actors are positioned and camera begins rolling, the stage needs to be adequately lit. Place your main and strongest source of light, called a key light off to one side of the actor to create a slight shadow on the opposite side of the face at a second light called a fill light on the opposite side of the actor to soften any harsh shadows that is created by the key light plays a third light, a backlight behind the actor to help define and highlight any of their features or outlines. Now, high key lighting is a lighting aesthetic with few shadows and low brightness levels. You'll commonly see this in televisions, sitcoms, or a commercial. Whilst low-key lighting is a lighting aesthetic with a lot of shadows to create a sense of mystery or suspense. This is a lot more cinematic animals adopted heavily in the film genre. Film noir. Screams mountain with a clamp can then be used to block, bounce, and absorb any natural or artificial aligned. So adjust them accordingly. You can also use colored jobs over the lights to add any color if needed. Writing a scene requires trial and error. So take the time to experiment with a three-point lighting system. Soft lines, hard lights, low-key lighting, high key lighting to find the right balance of light and shadow, shadows for your shot. Color. Now, color has an amazing ability to evoke a certain mood that you're after. The theory and psychology behind it has been incorporated in plays and phones throughout history. So pause the video here and look for the right color that suits the emotions and mood that you are. After. We're going to take a closer look at color grading later. But for now, let's move to the most important element of mise-en-scene, how to compose your shots. 15. ACT III: Mise-en-Scene - Frame Compostition: Aspect ratio, the frame of your film is a canvas and can vary in its dimensions. Phones at the cinema will usually use a 2.39 to one ratio. On rare occasions, you can actually change the aspect ratio if it helps convey the right feeling to your phone, make sure to shoot in the highest possible resolution possible so you can crop it and adjust accordingly. Shot size. Extremely long shots. These are the wide shots which usually established the setting in which the scene is taking place. And it's a great way to open a scene. A longshot is a great way to introduce characters into the scene and into their environment. Whilst a medium shot is from the knees up and achieves a similar effect. Close ups are from the chest up and bring us closer to the character and allow us to start seeing their emotions. Whilst medium close ups are from the shoulders up. Big close-ups are close shots that show a subject's full facial expression and can highlight a specific emotion such as sadness or surprise. An extreme close-up can be used to emphasize a particular sense to the audience, such as sight, hearing, or smell. And insert is a close up of an object of prop that will play a significant role in the story. And it's important that the audience doesn't miss. A good rule of thumb is to start wide and loose and build up towards close-ups as the seen increases in its intensity. Shot angle I level angle. Now, this is a shot that emphasizes a neutral perspective and mimics how we see people in real life eye to eye. A low angle shot is below the subjects. I align and is a shot that creates a power dynamic, making the subject appear superior, creating a sense of fear or dread towards that subject. High angles. Now this achieves the opposite of the low angle, making the subject appear small, inferior, vulnerable, or powerless. Hip level. Angled shots are used to show some action happening, like drawing a pistol or reaching something out of their pocket. My level. Now, these shots can also emphasize a character superiority, just like a low angle shot. Whilst a ground-level shot is usually used to show your character walking and can create a sense of mystery. A shoulder shot is very similar to the eye level shot, and it's actually used a lot more often. And info Dutch angle or dutch tilt, is where the camera is slightly tilted, giving a sense of disorientation or tension. And a bird's eye view shot is held above the actors, 90 degrees above them and provides perspective, the perspective to the scene and can create a divine point of reference. Camera movement. Zoom. So this is where you change the focal length of your camera. A pan is where you move your camera has horizontally left to right, and it's great to establish a sense of location of a tilt is moving your camera vertically, up or down. And it's great way to introduce your characters or give an audience a sense of height. In a wide shot. A dolly is when you move the camera forwards or backwards. And this is my personal favorite as it can really emphasize that something is evolving internally with your characters or when dulling backwards places them in perspective with the world around them. A truck shot, also known as a sliding shot, is when you move your camera left to right, and a sliding rake. And pedestal ing is when you move your camera vertically up or down, and is a great way to reveal physical features of a subject. Iraq focus is when you shift the focus of one subject to another and is effective in navigating your audience's attention from one character to the other. Dominant and subsidiary contrast. So you need to ask yourself, what or who is the dominant subject in the frame? Where does the attention lie and what follows that, which is known as the subsidiary contrast density. Now this is how much visual information is contained within, within the image. It's a highly texts visit, highly textualized, moderate, or plain and simple. Is there a lot of negative spacing framing? Now, loose framing is where characters are more freely move around whilst tight framing is where characters are confined to one location. Composition in the two-dimensional Raul, what mood are the lines and shapes of your frame suggest? Are they horizontal, which evokes peacefulness? Are they diagonal, which can evoke tension and anxiety? Or are the vertical which can allude to strengthen support? Are the binary, which can sometimes suggest parallel, parallel, parallelism. Or triangular, which suggests an interplay amongst characters. Or even circular, which can give a sense of security. Positioning and proxemics, how are your characters placed in the frame in relation to one another? Are they near the top, which relates to power, authority and inspiration? Or at the bottom which suggests the opposite. Characters placed on the left and right usually suggest insignificance and how close or far away our characters placed in relation to one another to, Does this suggest something of an intimate, personal, or public relationship? Staging positions, how are your character stage in relation to the Camera? Is that a full front quarter term, a profile shot, a three quarter turn? Or do they have their back towards the camera? Rule of thirds? Now this is a great way to frame your shot when blocking or placing new talent, try and position the islands near one of the four intersections, as this is where audience's eyes will gravitate towards most. Now then that was quite some handful of information to start considering. So spend some time with the DOP to make sure that you pay some good attention to all of these mise-en-scene elements. 16. ACT III: Setiquette: Now in order for the production to run as smooth as possible, everyone a board needs to play the part and abide by a code of conduct on set. So here are a couple of rules that everybody should know and follow. Try and sharp as early as you possibly can. Try and put your cell phones off. The last thing you want is if an actor's performing a intimate scene where a tear gently trickles down the cheek and somebody gets a Watson from the mother. Don't unplug anything unless you ask the right person and don't touch or move something that you're not responsible for. Don't walk into the shot. And if you do a coup, try and avoid the When do you think we're wrapping question? Always be always less than and always be alert and know when the camera is rolling. And lastly, feed your costs and crew because a hungry Cu is the last thing you want. Now then you've successfully shocked your short-form music video commercial or many documentary. And it's time to head into the editing suite and begin snip, snip snap, post-production. 17. ACT IV: Software, ingestion and categorisation: So by now you should have all of your footage recorded and all of its sounds on more than one hard drive. Hopefully, it's time to download some software that you'll be using to edit your phone. Now, there are a couple of options out in the market, so let's have a look at them. The free options include light works, which is intuitive, simple, and has a lot of support around it and is considered the best free video editing software. Video pad is also another great software for beginners. And DaVinci Resolve is the best advance free video editor with an amazing color grading suite. Now, the pay versions include primarily Final Cut Pro and Premier Pro. For the next couple of videos, we're going to be using Adobe Premiere Pro. And you can get a seven day trial for free, or you can subscribe to the Adobe software for $24 per month per software, right? Once you've installed and open your video editor, navigate to your project folder of yeah, we're going to be dragging and dropping our footage, which I've done already. Then what you're going to have to do is to start renaming your footage. What I like to use is the subject, the angle, and shot size, and also the take. You'll have to do this for your sound as well, the subject, the scene, and take also another useful thing to do is to sift through all of your footage and figure out what you need and what you don't need. After that, you can delete it. This helps avoid any clutter and keeps things need and easier for you to work through, right? Once you've renamed all of your footage and sound files, it's time to create a new sequence. Make sure the frame size is adequate and that you time, you time-based is the right frames per second. Now what we're going to do is we're going to start sinking the sound. So simply drag and drop your footage to the timeline. Navigate to the right audio file and place it beneath the time beneath the original clip. Then select all of the clips, right-click. And synchronize, select audio channel, and wait for it to synchronize. After that's complete, Watch can do is trim it neatly. After it's been synchronized, lock the video file and delete the original audio so you have that crisp boom sound. Select both and merge into a synchronized file. Once this is done, it's useful to create a new folder and create a sync folder with all the footage. Drag and drop this into your sync folder. And now it's ready to be edited when you start editing the full project, it's also useful to start by also adding the sound files to your timeline so that you can begin editing in rhythm to the sound track. A couple of websites that I recommend, artless dot IO and epidemic sounds, right then, in terms of navigating the video editing software, in this case Premiere Pro. What's useful are these panels at the top here for different modes of editing. Right now we're in editing mode. But to start off, It's a good practice to begin with the assembly, movement, editing, starchy color, add effects, add the audio and the new graphics. Right, that's an introduction to the Premier Pro Suite. There's still lots to learn, like these nifty keys over here and shortcuts. So I suggest in your spare time doing a bit of practice behind that and also researching more features about Premiere Pro. It's powerful software and highly recommended. Right then, now we know how the basics of the workflow and Premier Pro, how do we know which footage to select? How do we know which cut make where to move from which shot to which shot? And that's where we're going to look our next chapter in the six rules of editing and editing techniques. 18. ACT IV: Six Rules of Editing and other techniques: Every frame of your story is a painting. Your audience's eyes will quiver over the frame, gathering new information as the story unfolds. But how does one know but shot to select for your next cut? For this, we're going to be examining Walter matches six rules of editing from his book in a blink of an eye, as well as exploring the different types of cuts. When deciding on which cut should follow, asked yourself if it achieves the following. Rule. Number one, emotion. Does the cut hold true to the emotion of the moment? Try and preserve this all costs. Rule number two, story. Does the cut advance and move the story forward in a compelling way? Rule number three, Ribbon. Does the cut make rhythmic sense? Does it go in line with music, the tempo or beat structure of the film? Rule number four, I trace. Where is your audience's focus of interest in the frame? And then where does it move to the next cut? Rule number five, two-dimensional plane. Does the cut respect the minority of where the film is located? Rule number 63, dimension space of action. Does the cut respect the three-dimensional continuity of the characters in relation to the location. The first three rules have high priority over the last three. If, if it holds true to the emotions, story, and rhythm, but lacks continuity in three-dimensional space, then by all means, use that cut. The cooler shop effect. In early 20th century Soviet filmmaker Lev cooler shove demonstrated that a viewer derives more meaning from two sequential shots rather than it's shot on its own. The sum of its parts creates a bigger hole. This is also known as juxtaposition when the contrast between two shots derives a third meaning, types of cuts. The jump cut. Now this cut jumps forward in time on the same shot, the owl cut. This is where the audience hears the audio of the previous shot, but sees the image of j cut. Now this is the opposite of the alcohol where you see the image of the next shot. Once hearing the audio of the same. These are cutting on action. This is where you cut from one shot to another based on the same action performed by characters. Cutaways. This helps show the audience something else. Hi, happening elsewhere in the scene. Cross-cut, also known as a parallel editing. It shows two events happening at the same time, but in different locations. Mass cuts where two shots have a similar subject shape or symbolic nature in different locations. What's also useful in Adobe Premier Pro or other editing software is you can also select the effects tab over here, or simply going shift F7. And then you have access to various effects that you can use in your cut. The video transitions, we can add crust dissolves between two clips and change the length of the dissolve. You can also dip to black to white. You can dissolve and you can add other great effects like iris. Iris fades, wipes or slides. And then also in the audio transitions, you can make sure that there's a smooth transition between audio file to audio file. Especially if you're using different noises and you'd like smooth transitions, you can adjust accordingly. Another great effect is warped stabilizer, drag this in Eclipse hubs to usually avoid any shaking motion in the image itself. So if your shot is a bit shaky and you'd like to smoothen up. But warped stabilizer usually does the trick. But the best way to know which cut or which transition work is to get experimenting. So throw all of the clips on your timeline into a story, edit according to your script, and then edit accordingly and mix-and-match and try and figure out what's shot works best with which transition. 19. ACT IV: Music and Sound Design: The right school or music can make or break you films. So take the time to think long and hard. But what will enhance your scenes? Some background knowledge around a musical keys and skills can also help in deciding what will work best. For example, SAT scores make use of minus scales, whilst a more cerebral and happy score makes use of major scales. Ask yourself which of the following moves you are off, okay? Okay. Motifs of melody can also be used to enhance a character or a particular theme and a story and add yet another third dimension to the experience. I recommend you insert your music files until editing timeline early on in the editing process. So you can then begin making your cuts to the rhythms of the piece. Look at your audio wave forms and take note of where to insert the cut. One trick I like to use is to play back the music on the timeline and place markers by pressing M on your keyboard. This is where you can feel and imagine the cut occurring and then you can adjust your footage accordingly. Sound effects consists of the samples that bring motions, actions, objects or animals to live in your phone. Like a light saber, footsteps or removing cow in the background that can be recorded on set, found in a sample database or be recreated in a sound studio through a process called folly sound design. Some mixing. It is important that the levels of your volumes of the different sound timelines don't interfere with one another. You don't want your dialogue being overbid by the score or music. So try and use these following guidelines to get that right. The maximum peak of your sounds should be two decibels, whilst the loud sound effects such as explosions and gunshots, should be three to two decimals. A louder sound track that is not competing with any of your dialog should be between 54 decibels. All stood. Dialogue should be around about 11.5 decibels to ten desk phones. And the ambient noises or background music can then be used around 18 to 16 desert belts. Now that you have a basic understanding of your music and sound design, it's time to start with the final touches on your phone with the color grading and adding titles. 20. ACT IV: Colour Grading and Titles: We're all familiar with filters on Instagram, which is a quick and easy colour grade for your content, they enrich the mood that researching for an ad that extra possess. So let's have a closer look at that. Fantastic. So once you've edited the story on your timeline and you've got your sound design sounding right, then it's time to add the calibrating. Alright, but before we do that, what we're going to do is start color correcting. And this is making sure that the levels of all the colors in your shot, the adequate settings and adjustments so that we can start apply the grading across all of the footage. So what we're gonna do is we're going to navigate to the color bar, color tab. Then we're gonna open the Mettrie scope. Make sure that you have your parade RGB, there are other ones. But for now we're just going to use the basic RGB parade nanometre scope. So what we are going to do is start off by going to basic corrections and adjusting the color temperature to making sure that the colors are more or less evenly balanced. Then we're going to make sure that the blacks are starting to clip here at the bottom. Then we're going to increase the exposure, but not too much around about there. We're going to add some contrast, bring down the shadows, bring down your whites, and add just a little bit of saturation. The mujer after is also going to determine these settings over here and what sort of feel and looking for. This is a dreamlike scene. So we're trying to make it look as colorful and as pretty as possible. So once you've done that, we're going to go to the creative settings over here and we're going to do some fine adjustments. So for this, I'd like the sky to be a bit more blue. So I'm gonna just adjust the highlights. Are going to add a little bit of vibrance. And slowly our picture is coming together. Right then you can also use what's known as your RGB curves to do some color grading. I suggest getting familiar with the scopes a bit more and creative and basic correction settings before moving to this. As this is quite a undertaking but very useful. So these are the colors of your image. And these, and this line is representative of the different levels of these colors. So for the red, dark red, and these are your light reds. For the blue, these are your light blues and dark blues. So what we're gonna do is we're going to select our markers and we're going to bring up the highlights of the blues. So I recommend you get experimenting and doing some research into more color grading capabilities that Premiere Pro offers. Davinci Resolve is also a fantastic software to calibrate your stories. So. Right, so once you have color corrected your image, what you could do is copy that color correction and you can paste it on your other shots. And already that's looking a lot better. This is before. And this is after, right? So once you have color corrected all of your shots, we can start adding a colour grade. So this is an overall look and feel to all of the shots. Right-click in your project folder and create a new adjustment layer. Drag and drop this into your footage and apply it across all of your shots. Then what we can do is we can go into our adjustment layers, color settings, go to creative and go to the last section. Now, a lot is a specific setting that filmmakers will drag or download into the shots and adjusted to give it a particular look and feel. So over here we have a bunch of different lots that we can apply. So, but what we can do is actually start cycling through it over here. Let's make this a bit bigger. Also, the footage is rather slow to work with. So one thing I recommend you looking at is creating proxy files. So once you've colour corrected, you shot and you're starting to cycle through all of your color grades. Ooh, that looks pretty good. So now this calibrated applied to u Adjustment Layer and will now apply to all of your shots. Like I said before, you're going to have to tweak it to get that real California or cold look that you're looking after, depending on what the mood and tone of your story is. And it should take some time to tweak all of the settings. But remember to start off with color correction first applied on all your shots. Make sure that they work on each shot by looking at the Dmitry scopes and then creating an Adjustment Layer and adding the colour grade to add titles to the end of your film. What you're gonna do is go file new legacy title. So once your credits opened, what you can always do is write what I like to do here is larger and that's smaller. And then having this centered and also in a better looking fund. So you can have two different options of your titles or credits appearing or apply both. What you could do is you can have a fade in and out. Or you can have what's known as rolling credits. To create rolling credits, simply add in your two columns and then make sure that you align it to the right and have it somewhat in the middle. Copy paste that, align it the other way and start adding in your names, right? Once you've added all of the roles, the names of the people that were involved, and the various departments. What you're gonna do is you're going to open the roll call options in the top left corner under the title. And you're going to select row, start off screen and off screen, press. Okay. Because that drag-and-drop the credits to your timeline. And this is where you can adjust the length and speed of the rolling credits. But now we want the credits to roll in the opposite direction. So how do we do that, right? Well, you're gonna have to right-click here, nested into its own sequence. And from here we're going to right-click select speed and duration, reverse the speed, so it goes in the opposite direction. Now to export your clip, what you need to do is select everything on your timeline that you incorporating within your finished product. Press i for n out. So you can mark it there. Then navigate to File Export Media. Over here. We're going to select H.264, which is the most commonly used format online. We're going to give it a high bit rate and it's as easy as going export. But before we do that, let's use the maximum render quality. And over here, the bitrate settings will also determine how high a quality or how much information is being passed through into the final export. Once you've done that, you need to make sure that you have your final video over here and go into the output name, select location, and press Export. Now it's gonna take some time for the files to render depending on how long and how high quality footage you using. But once it's done, it should be located in this folder. There you have it. You've successfully completed editing your form, but now it's time for the world to see it. So let's look at some methods on how you can mark it and distribute your phone. In our next chapter. 21. ACT V: Marketing Pyramind: Congratulations if you successfully completed your first form. And if you're still in development, stay focused and keep the Envision in mind despite having a foam. This does not necessarily mean that the work is over. In fact, it might only just the beginning and it's now time to get it to the eyes and ears of the right audiences around the world. No one is going to watch your phone if they don't know, it's out there. This is the purpose of marketing and distribution. You need to manifest a reason for people to take their precious time to watch it. For this, we are going to look at developing new marketing pyramid. This will help you whether you're still trying to gain funding and support for your screenplay or looking to attend film festivals. At the top of your pyramid is the title, the one word that fits all, usually alluding to either a character symbol or theme in your picture. Below that is your tagline. And this should be a Quirky catchphrase or a slogan that clarifies an idea or creates a dramatic effect. It can reference a plot, experience, or phrase in the film. Some great examples are Ghostbusters who you're going to call Jaws. You'll never go in the water again. Monster's Inc. we scared because we care. The matrix reality is a thing of the past. Below that is your logline. This is a brief summary of your concept genres, story, characters, and plot, all wrapped up into one or two sentences. A formula that can usually help is one, describe your protagonist with strong adjectives to give your protagonist a clear goal. Three, tried to increase the stakes and for trying to make use of irony where you can, some examples, the matrix, a young computer hacker to servers that our world is a virtual reality created by intelligent machines to enslave mankind. Now, he must join humanities, fight against the machines and except his new role as the leader of the resistance. Pretty simple, right? Lord of the Rings, a young Hobbit Frodo, who has found the one ring that belongs to Dark Lord Sauron, begins its journey with eight companions to mountain, The only place where it can be destroyed. C gets you hooked in right away. The best log lines take multiple drafts and a lot of experimenting. So make sure that you dedicate some allocated time to this. Now below this is your synopsis. The best way to describe a synopsis is it's a short story for your film. Focus on the core conflict. Use strong visuals, right in the present tense. Highlight the genre you using. Describe your characters, character, arc, and how they evolve. Try and break the story down into three to five paragraphs and don't be shy to include any spoilers. It should be a full rounded story for festival selectors and phone, phone, phone funders to peruse through. Now then you have your marketing pyramid to support your firm where it needs to go. If you've completed it, let's look at some press material that you can further include for your phone's release. 22. ACT V: Press Release Material: Press release material, poster. This isn't itself, should be a work of art that grabs attention and stirs curiosity. It should contain the title of your foam and images that showcased the central characters to the story. Alternatively, you can also incorporate other iconography that you use in the film and in the cost of your lead roles, your tagline, and a release date. If you have those at the bottom of your poster adding some other details of the main studio company's directors, producers, writers, Costas, costume designers, production designers and editors. I recommend using the following fun for this tall, dark and handsome, or SF movie poster. If you film has been premiered a Festivals and, or won any awards, you can also include these in little leafy brackets. Trailer, this should be a one to two minute video explaining the essence of your film. It should be a strong story alone. Feed your audience's appetite, lead with your best moments, such as intriguing dialogue and highlights of action, but don't give any spoilers that reveal your final acts. Identify what makes your phone special and highlight those moments. Rhythm is everything in the trade as so, make sure to keep a consistent pace as you move between the summarized acts of the full. The musical score you also make use of is last but not least, one of the most critical elements to your trailer. Heavy sound effects such as sentiment cinematically, IDS can also enhance the trailer and they can easily be found online. It's a great idea to also conduct a roundtable interview hosted by a journalist with your leading roles, producers, writers, and directors, make sure that thoughtful questions have been formulated. So an organic discussion can be evoked around the inspiration, acting and production methods and future hopes of the project behind the scenes. Big fans of your film project will also like to gauge a sense of the hard work and effort that went into the production. So make sure that now and again, somebody can be responsible for this, to record what's been happening on the set around the scene by interviewing people and capturing the making of it all. Reviews. One way to know if your film is as good as you'd hoped is to also ask bloggers, writers and other journalists for honest reviews, which you can then share. If they make the cut. Right then now you know, what do you need to build the buzz and to get people to hop on the Hype Train. It's time to get out there and examine which avenues of distribution you can take. 23. ACT V: Distribution: Once you've compiled your press material, you need to strategize campaign for your film. Creature foam like a business. Attract attention, create the interest and desire, and get people to take action by watching it. Release your poster and trailer well ahead of the release and release your interviews and reviews post-release. The best thing to start off with is to organize a premier at your local cinema and sell tickets to that. Invite your whole production team and ask them to invite as many people as they can. And it's also a great idea to send invites to other professionals in the industry near you. This forges stronger relationships with potential partners and creates opportunities for future projects and collaboration. Once you've gone local, It's time to go global. And one of the best routes is submitting your work to a website called film freeway.com. Over here you will be able to apply to over 9 thousand different festivals. I recommend creating a yearly calendar of all the festivals you'd like to aim having your picture shown at. And I've attached one here below. But note that dates may vary. Also, different festivals search for different themes of genres for their program. So make sure that your suits this. You can't have your action comedy shown at a nature conservation from Festival. Festivals are also fantastic to atten, you get to watch incredible forms out there that are seldom heard of. You'll also meet like-minded individuals that you can stay in touch with. You never know if you're going to be a lending a hand or their production or them lending hands in your production. From there, it'll be seen by thousands of eyes, most likely to be picked up by a phone distributor to host on their platforms. And this can be anyone from Netflix show, max Hulu, Amazon Prime in any others. Once you've opened the doors, future opportunities can follow. So make sure that you have an idea of what your next project could look like if all else fails and your project is not picked up by festival to distributors, that's okay. There's YouTube and Vimeo, or always options for you to consider and you can promote it there. You never know if it will go viral. And your first form is there for you to get acquainted with the entire process. And just by the way, I cringe when I see my first full. So always look forward to the future. Practice makes perfect. So shoot, edit, and watch as many films as you can. 24. ACT V: What Next?: Guys, this course has been an absolute pleasure to teach and I sincerely hope that you've learned a great deal about filmmaking and life in general. Hopefully, the information you've gained over the last hour and a bit, we'll give you an upper hand as you enter the phone world with new knowledge, techniques, and skills to apply, remember to always keep an open mind and look for new experiences that will inspire original and innovative work with a fresh message or new perspective that you've gained that you loved to communicate with the world. Never doubt the value of your artistic integrity and always persist with patients and passion. The money, the fame, the respect will follow after that. So this brings us to the end of the course and I'd love to hear more about your projects or even see them. So don't be shy to pop me a message on Instagram, david dot Rashidun, IG. I'm always here to lend an ear and in hand. What would also really help is if you leave a kind review below and recommend this course to any of your other film making friends. And he founded useful and helpful. Till next time. That's a wrap.