Filmmaking and Video Production Deluxe Edition Volume 1

1. Filmmaking and Video Production Deluxe Editon Course Volume I: Have you ever dreamed about bringing your ideas to the big screen? But you want to learn the secrets behind creating impactful audio. So projects. Welcome to this first volume of the new filmmaking and video production, the Luks edition course. My name is Aldliovez and I've been a film director, actor and singer for over 15 years. I graduated from the Best Film School in Spain and I'm here to share all my knowledge with you. I have crafted this course around two cinematic music videos, created a specifically part, this platform through which you will learn a step by step how to turn your ideas into real audio viso projects. From building an idea to directing fast production on your project. You can see on the screen the quality of the productions we will work with. By the end of this course, you will have the ability to tackle any Audiviso project from scratch, equipped with the necessary tools to direct and develop it alongside a professional production team, especially working with limited projects. This course is assigned for all those who truly want to become film directors and want to break the barrier of fear that prevents them from achieving it. Knowledge is the only way. Now let's delve into the contents of this first volume of the deluxe edition dedicated to film and video production. In this course, we will cover the entire preproduction and production stage. How an idea develops in a simple, real and natural way. You will learn how to select the right equipment for your projects In plan successful shoot days. You will learn to deal with unforeseen circumstances during filming and learn with screen examples how to direct proper cinematography in natural environments. We will debunk myths about project viability and myths related to the use of the camera lenses. And you will learn excellent directing strategies to take your videos to the next level in editing. And most importantly, knowing all of this, you will learn how to present your project to a financing program or distributor. Building your run page which will be part of your course project. Don't miss the chance to gain knowledge that isn't available to everyone. I have created this course so that you can have the chance to learn the real project using tools that someone like you would have at their disposal. You have always trained about making movies and want to become a true film director. This is the course for you. My name is a Video Pz and this is my new pay atelier in filmmaking and video production, the Lux edition course. I see you in the first lesson. 2. THe Idea: The clarity of an idea serves as a foundation for any audio visual project. It refers to the ability to express in a precise and understandable manner the premise or central concept driving the project. This underscores the importance of the tag line and high concept, as I emphasized in my course art of but achieving clarity of an idea is no easy task. It entails ensuring that idea is easy to understand and communicate, both for the production team and the audience. But how do you chip this? First, you need to define the objectives and understand where these objectives stem from. Let's use the music video we created the video, and Mucha temps an example. And how did it all begin? It all started by asking very simple questions. Where can I shoot a music video that is visually impactful? Where can I do it near my location? Since you know that you are supposed to search for places, keeping in mind that their location is part of the resources you will have. You choose the one that seems most attractive and accessible. In this search, the Delta de Lebro desert here in Catalonia, Spain where I live, emerged as a potential location. The idea initially revolve around the possibility of making a music video in Catalonia's only desert. However, this doesn't mean that it became the main idea. It was just the starting point, the seed. We already have the first step in finding the central idea. First, the video must be shot in that desert. From there, we move on to the next question. What possibilities does a desert give me to tell an important story? Several possibilities emerge from this question. Firstly, a simple love song or video that unfolds in the desert. Merely because the location is visually appealing, the place is genuinely stoning. In fact, there is a spectacular lighthouse in the midst of the dunes. And is a desert in contact with the sea is a truly beautiful place, as you can see on the screen. Another option was since the desert is a national park in Spain, we could perhaps showcase the beauty of the place in the video related to the beauty of natural landscapes in my home country, Venezuela. In fact, I wanted to create a romantic song that speaks about the nostalgia of remembering your homeland from the new place where you live as an immigrant. I mean, from the perspective of Venezuelan people, this theme was relevant because millions of Venezuelans around the world are experiencing the. So the idea was to make a video singing beside the lighthouse as if I were the lighthouse myself looking at my past in the distance. Actually, that idea was beautiful, romantic, but there was a problem. The last idea, which was the most attractive until that point, only stemmed from the possibility of being able to shoot in that desert with that lighthouse. However, the resources you may have are not just the desert. I mean, you may have all the resources that allow you to do more than just a love and nostalgia story. There is no more valuable resource that experience you may have so far. If I have had the opportunity to use visual effects in previous work, why not use them in this idea? On the other hand, another resource, another strategy I have used on the stories was including few characters and elaborating costumes. Why not use that same strategy in this desert? From there, our sensitivity changes and we start looking for more possibilities. What was that possibility? If you have done a previous work with few characters, creates fantastic costumes, and portrayed a 17th century story in a mountain, what prevents you from doing it again? Then I thought, well, I don't want to portray another word from the past because in fact, even if there are not many characters, I would need quite a few. Can I afford those characters? I cannot afford it and I cannot create a word from the past. What about a word from a distant future? Can I afford a future costume? How do I get other characters from the future for example? Those are the questions. I cannot get them, but I could not afford it at that time. What can I do then? How can I do a music video and a spectacular music video? It turns out that many online platforms sell videos with visual effects and even videos with the elements you need for your own production. But obviously, most of those videos incorporate current elements from our time. That possibility arose, maybe I cannot portray a distant future, or a past but the present era. Using the strategy of mixing the desert with few characters, good art direction, good cinematography, visual effects in those stock videos was great and fantastic. So the high concept begins to take shape from there. There are clearer ideas from its development, Acharacture in the desert in the present time. Visual effects and stock videos having those possibilities. You start to look more deeply around you and you can think about important messages for humankind. For example, you can talk about suffering caused by war. Or you could talk about a possible nuclear war. That is where the idea emerged. Can you portray a contemporary war, or a near future war with the elements I have? Yes, I can completely, and that is how it happened. So the High Concept was already created, a video of a soldier in a desert facing an army built with a stock video and visual effects. That is simple. This high concept allows me to visualize production objectives and where to direct resources, because I can afford to buy the copyright of those stock videos. And then I can focus on building the rest, which would be everything related to the soldier's perspective in the desert as well as the visual effects of the war. Since it's a single character. Visually it's straightforward. It's not that there are not other characters. But the antagonistic force of the videos story is the army he is facing. Then the tack line also emerges a rebel soldier in a desert about to experience a nuclear war. Here we already have an idea and a possible story that is relevant to the current context, to the current audience. With real possibilities of production. Everything I had experienced so far is contained within this idea. So a clear idea provides a solid foundation from setting objectives from the very beginning. I mean, the objectives of an audivisual project directly stem from the central idea of the story. This includes goals related to the message to be conveyed in the audience. To be reach. For example, who is the audience I want to reach anyone who likes music in Spanish and is concerned about war. Indeed, if you don't like the music just by watching the video, the message may be of the interest to you or anyone who can generate awareness about the dangers of a nuclear war. So the clarity of an idea allows the objectives to be set specifically and actively. This is crucial for the project planning and execution, as it provides a clear guide of what needs to be achieved. And in this project, everything was entirely clear from the very beginning. The constraints are also an essential part of an audio visual project planning. They can include back jet constraints, time limitations, relocation availability in technical resources, among others. A clear idea allows for the yearly identification of fundamental constraints that may affect the project realization. This is important for informed decision making and adjusting planning according to these constraints. Moreover, the clarity of an idea helps determine how to effectively address these constraints. For example, if the object is limited, the central idea can serve as a guide to priorize key elements of a project and ensure coherence. A robust idea not only guides the project's direction, but also facilitates decision making at every production stage. Fortunately, throughout this course, numerous extraordinary examples related to decision making, even during filming, will be provided. Another important part of the idea is that if we want the idea to grow and if it branches out to other stories, that is other videos, for example, DA must leave something called the door open. Which in screenwriting is the narrative possibility of growing to other stories. But don't worry, because all of these will be covered in the upcoming lessons until the next lesson. 3. The Story: The music video, Noi Mucha Tempo started with a tack line. Remember what I mentioned about the tack line in my art of Filmmaking course? The tack line is a phrase that summarizes what the audience is supposed to see on the screen. In this case, the tagline was a rebel soldier in a desert about to experience a nuclear war. But what could we convey in a three or four minute video that was consistent enough for the music videos duration? Additionally, this theme needed to leave a door open for storytelling. In the first four minute music video, there wasn't time to explain too much in, since creating more characters wasn't an option due to the back jet constraints. For example, the story had to be led by a single character, the rebel soldier. Generally in war stories, it's necessary to explain why the war exists, or at least why there is a conflict between the involved sides. As this was not possible due to the duration of the music video, the story had to be even simpler. The story of the rebel pilot was more suitable. As the Sun talks about a soldier with reds being a soldier not wanting to continue killing innocent people. The message is also about looking within ourselves to solve the things that leads us to war. Basically, the solder could be from any era. It's a universal theme since the song's lyrics are a crucial element to tell the story, we had to delve into the semiotic elements of the song. That is, go to the core of the song's message. I believe the most important message in this case is to show the viewer the capacity within ourselves to destroy each other. But what needs to happen with this rebel combat pilot? What has to happen in the video for the viewer to see themselves reflected in the story? The only way was for the soldier to do something unexpected, something that we wouldn't anticipate. This way we can emotionally engage the viewer and make them realize that they are the ones producing war with their actions, decisions, prejudice, and darkness within each of us. That is what this soldier represents by unleashing a nuclear war when nobody expects him to. This element is a way to create dramatic irony. A perfect example, I talk about this in my Art of Filmmaking course. Here we can understand it much better. Dramatic irony is a negative device that can be effectively used in a story to create surprise humor in unexpected twist. In visual storytelling, it involves a situation where the viewer or the character within the story has an opposite understanding of what is happening on the screen. Creating a gap between the viewer's knowledge and that of the character. On the other hand, it can be an effective tool for conveying a message, creating emotional impact, or simply keeping the viewer entertained during the music video. All of this is part of the information distribution and communication process inherent in audio visual production. An effective audiovisual story must incorporate several key elements to captivate the audience and convey its message coorently and powerfully. The most important elements that should be present in audio visual story are, first of all, a solid narrative. The story must have a clear narrative structure that includes elements such as introduction, development, and resolution. There should be a central conflict or plot that keeps the audience interested and engaged. In the music video Y mucha tempo, we didn't have much time. There is an introduction that provides context to the story. It's a near future where there is a poverty and a great war, Much like our current reality. This introduction also introduces the character presenting the combat pilot at the moment, it becomes rebellious and is shut down by his squadron. Then in the video, there is a development where we see the character struggling for survival in the desert until reaching a point where he is cornered. Throughout this, there is a conflict. The character regrets being a soldier. But there is also a hidden conflict suggesting that the character may be disappointed in humanity. Finally, there is a resolution when we see the character unleash the end of the world by launching the nuclear mile, nuclear bomb. However, this story doesn't end here in this first video. But was created to expand into a sequel similar to how a movie might have a second part or a TV series, a platform series. To achieve this, there must be current mechanism in one of these writing devices is the open door audience. The open door consists of scenes or moments in a film where there may be a gap or opportunity to grow another different story or an additional story. These moments can be created deliberately or simply selected from our story because they have the necessary nature to become an open door. For example, in the movie Terminator One, the final scene is entirely an open door because it's precisely the fact that the remains of the robot and the remains of the cipher are left in that computer factory. That becomes the reason for developing the cipher technology in Terminator two. Although there is a time paradox, it has complex narrative corns because one event leads to the other. In other words, the cipher ding company seen in Terminator two developed ciphers from the remains of the first terminator left in its factory in the first film years earlier, of course. But regarding the video we created by Mucho Tiempo to create the open door. The moment when the character is about to detonate the nuclear bomb was used, is a reflective moment where we see the character in the last seconds before detonating the bomb. In the first video, we show the character simply activating the missile and walking a few steps into the desert. But we don't know what's going through the character's mind at of course, having seen the video and hearing the sun, we can imagine there is a frustration and sadness in the smile, but we never see that on the screen. So it's always part of what the narratively feels the viewer as the scene suggests things. But right in this scene, the second music video begins showing us that the character was actually thinking precisely about the place where he would like to be after he dies. Remembering the person he loves, just like any of us might. It's the same scene but from a different point of view. The whole story tell from the moment on. That is the music video. Saldanhl You Falls is based on the desires and memories that the character is experiencing just before detonating the nuclear bomb. It's an entirely fictional world. A mix of memories and desires of travel in the character's mind because he is about to die. But stories require memorable characters. Well developed and charismatic characters are essential for the audience to identify and emotionally engage with the story. Characters should have goals, conflicts, and develop arcs. So this point must be understood. Well, it's not about whether the character is good, but whether the character does something significant in the story, regardless of whether it's good or bad. In the movie Honeivaljoker, for example, the characters are bad, are bad guys. But they do important things, impactful things that not everyone would dare to do. The story should also have meaningful dialogue. The dialogue in an audio visual story must be realistic and relevant. It should serve to develop characters advanced plot and convey important information. In the case of the music video, the dialogue is represented by both the soldier's voice and rating. Some things at the beginning, explaining in the context and the voices during the aerial battle when the character is shots at the plans. Much more importantly, the song's lyrics represent the dialogue. This latter element is the most crucial in a music video when it comes to dialogues. Now as shown, another important element is the environment and setting. The world in which the story takes place must be coherent and well defined. Details of the environment, time, and place contribute to the audience and immersion. What is more important than in desert, a place where thousands of words have erupted throughout human history? Another important element would be tone and visual style. The story. Tone must be in line with its content and message. Visual style, art direction in cinematography should complement the narrative and evoke the desired emotions. This is important. There must be certainty in the elements that portray the story and its relationship with the products tone. If my film is a comedy, for example, the elements I used to portray war may not have to be entirely faithful to reality. Or the actions that happens in the story do not have to be entirely courent and real. There are things allowed within certain genres. Comedy is very open in that sense. On the other hand, if our film has a serious emotional tone, for example, the challenge is more significant. And the elements we use must be able to portray reality as it is. And the things that happen in the story must have absolute coorance that is very important. And I can give an example in Glorious Asters, for example, that great Tarantino movie. Things happens inside the cinema at the moment where Hitler is inside the cinema that are implausible but work because the Genera allows it. Because the Genera tries to portray the senseless decisions that people sometimes make. Finally, our work must have emotional impact. A good audio visual story must be able to move and leave a lasting impression on the audience. The audience should remember the story and its characters long after seeing it. In this regard, the ending is essential. The way the video generates reflection on humanity's fate throughout the faces of the children is crucial to achieving the goal. All these elements work together to create an effective audio visual story. Of course, in this case, if you want to delve into how to write a screenplay directly straightforward, you can turn to my other course, part of filmmaking, which is also available for you. I see you in the next lesson. 4. Equipment Selection The Camera & Lenses: The importance of equipment selection in film and cinematic production. In this lesson, we will explore how the proper selection of equipment can significantly influence the quality and success of a cinematic production. From cameras, lights to sound. Each equipment choice has a profound impact on the final outcome of a film. It's important to note that I will use the example of music video project Noi Mucho Tiempo and also Salto Angel Angel Falls to illustrate why we choose the equipment for both shootings, where does the equipment selection process begin? There are three fundamental factors when choosing the most appropriate equipment. And what is the first one? The first one is knowing what type of project I want to create and what kind of holdings our project is targeting. From there, we need to determine how much image quality the project requires. If it's an advertising for a wine brand for example, you probably need a cinema camera in high quality lenses represent exclusivity of the brand. On the other hand, if you need to produce a video for social media where the focus is on portraying or documenting an influencer's journey, for example, a DSLR must be more than enough for that. Remember that the cinema cameras are specifically designed for cinematic recording. They offer higher image quality, greater customization options, and recording capabilities. In high resolution formats such as four K or even eight K, they are often used in high bucket productions in large scale films. On the other hand, most of SLR cameras allow video recording in high definition, and in some cases even in four K or six K. In the case of the video Noi Mucho tempo, we had a clear understanding of the audience and what type of product it was. It was a music video targeting Ajn and mature audience who had to be attracted by the seriousness of the video which portrays a war. From there, we knew that it had to be a good camera with good lenses. However, there were other important factors. Firstly, the budget was not extensive, so we couldn't afford the best cinema camera or the vest lenses. The other factor was the production logistics. If we knew we had to walk a distance of almost 4 kilometers from the drop off point to the shooting location, we couldn't choose the heaviest cinema camera or too many accessories and equipment. On the other hand, the fourth factor is the operability of equipment on set. I mean, there were only four or five people on set as it was a low buck check project. These people were the director of photography, the assistant director, the makeup artist, and the sky diving expert, and myself also no one else, the ones actually operating the recording equipment were two people, the director of photography and his assistant. We couldn't have too many pieces of equipment nor complex or difficult to use equipment. Let's review the equipment then let's start with the camera. As for the camera, we use cinema camera, not too expensive. The Sony X Six, which records up to four K and even has the ability to do a slow motion. There were other options like the Red Dragon and R, which are better in quality because their sensors are more advanced, thus having a higher dynamic range in recording. The problem was that those cameras require more accessories, so they were heavier. Here you can notice the difference easily on the left and are reset up from one of the most smaller versions, and on the right in the sonny X six. Additionally, those cameras were more expensive. Of course, we prefer to use the Sony FX six, which was good enough for what we needed and was affordable. It's important to mention that the FX six has internal ND filters which allows me to filter the light on the desert. This camera really meets all the minimal requirements to shoot the video, actually on my course, Art or Filmmaking, that is available on this platform. Also, I explained a little bit about this camera. But I think one of the most important features of this camera is its ability to work under dark conditions. The sonny Alpha cameras are designed to shoot at night. Here on the screen, you can notice an example. Once we finished the shooting, the director of photography kept the camera on while we are coming back to the van. Regardless how good or bad a camera may be, the Sony Alpha series are specialized to work under disc conditions on the lens side, which in terms of equipment, is what has the most impact on the image quality. Remember that there are two types of lenses photography or some lenses which are adapted to the conditions a photographer may encounter during their work. And you can change the focal length. Sometimes they have auto focus, all of that without changing the lens. On the other hand, there are cinema prime lenses that tend to be sharper and brighter compared to some lenses. For us, it was necessary to have good lenses. Cinema lenses. But it turns out that the renting a suitcase of completely professional high end cinema lenses is much more expensive than renting the camera itself with all its accessories as there was a match object. We made the decision to rent one only cinema lens, the high 45 milli cannon rehoused lens. It's a modified and improved cannon lens to capture light better. We had the challenge of achieving all the shots with just one lens. Something I wasn't entirely sure about it at first, but the direction of photography was he had that ability. Additionally, recording with just one lens means that we wouldn't have to change lenses. That would be wonderful because every time you change lenses on set, you lose quite a bit of time regarding sound. We didn't need to record dialogues or anything like that, just record reference. Sound of me singing in front of the camera to synchronize it with the song. That is something that the Sony FX six camera could do. It's important to note that many professional cinema camera models don't have this capability. Because it's assumed that you will shoot with many assistants and equipment. But in regards to the projects we're working on, in the case of the Saltan video, it had a small dialogue in the introduction. When it comes to a small dialogue of this nature, it's not necessary to worry about the large devices of the recording. If it's the case, like this video, you can use any level er, microphone to record content on smartphone. Like the microphone I use in this lesson, in the moments when I'm speaking to the camera. That microphone is more than enough to record the audio of an actor. When it comes to a work where the quality of the recording of the actor's voices is not required to be very high. So Baca, I'll, nor audience remember that if you want to know more about the sound design recording stage, you can go to my sound design course which is also available on this platform. But let's now move on to the case of the music video, El Saltan Angel Falls. Because here the conditions and rules change. Even though the video no mucha tempo can be considered louckjet. There is always the possibility of an even lower bucket. This time, there were no resources to rent the lens we used in the Nimuchatempo video. The strategy had to be different. Let's see the next graph in tail. The quality of the audiovisual product is closely related to these three elements. Let's assume that the quality level ranges 0-30 with 30 being the maximum quality. But this figure or value is composed of three variables. The quality of the equipment you are using, which is eight points. The direction of photography, which is another 14 points in what you are capturing with the camera, another eight points. What do I mean by this? That practically, if you have good direction of photography in what you are recording is genuinely attractive. The location, the scene, the actions. You have 22 points of 30. This means that under conditions where the camera is really poor quality, you have reached 22 points of 30 just by carrying the direction of photography and what you are capturing with the camera. This time we had the sister camera to the X six. We use the X three, which is a smaller camera that has exactly the same sensor. With a difference that it doesn't have built in ND filters inside the camera body. Of course, many fewer functions to facilitate work during recordings. But basically it's almost the same camera with a more practical size. But this camera, the X three, has a great advantage because not everything can be limitations in life. The FX stream is a camera especially made for documentaries. The camera has two features that allow recording under conditions in which a documentarian would be. First, it has a built and internal stabilizer, not even the black magic S K has these. This means that it's made so that even recording handheld you can have some stability in the shots, to layer, process them in the editing and make them perfect or at least quite decent. The other feature of this camera is its ability to record at night. It has an ISO that allows capturing good images in low light conditions. The black magic camera doesn't have this capability either. This doesn't mean that I am speaking badly about the black magic, but as far as I know, black magic in its pocket versions is for practical and low buck productions, low bock jet shootings. If we already know that in terms of equipment, the lens is the main aspect for the image quality. In my view, these Sony cameras from the X series are better because they are more practical, useful light, and easy to use. But going back to the shooting, the most notable difference was the lens, in this case we used a sonny D series sum lens with auto focus. This is a photography lens that, although the quality wasn't the same as the non them, let's say that it was a mid range lens, quite average. I would even dare to say that it was a mid low range. But it did the job of capturing what we wanted to record decently. But then what should we do? Take care of the rest of the points. What does this mean? That to work with this equipment, we had to take very good care of the direction of photography. On the other hand, what can be more incredible than shooting in Manhattan? New York. In an skyscraper in Manhattan? What I mean is that you could find an incredible place on your countries too, and make the most of it. Of course, you must evaluate all the variables that I mentioned before when choosing which equipment is the most appropriate for your production. That is the secret. Sometimes at least I have seen cases where money is invested in things that are not really important for the production. Limiting the possibility of achieving the project goals and the equipment selection should leads us to fulfill them until the next lesson. 5. Equipment Selection Steadycam & Follow Focus: Perfect. We continue reviewing the equipment we had used. Knowing this, I had a visual requirement. Firstly, I needed, as I mentioned, a good camera with good lenses, but I also needed a steadicam or something similar. I mean, we had to record scenes where the soldier would be in the desert moving in order to create that feeling of being present with the character, it was necessary to follow his movement. Aesthetic was more appropriate using fixed camera on a tripod. But what kind of aesthetic did we need? There are several types of aesthetic, but it all depends on the operability and the number of assistance the project has. As I told you, there are several types of aesthetic cam, the most common being the glide cam and Gimble. The glide cam is a bar on which the camera rest, but its operation is completely mechanical. It's generally used to achieve a stabilized result, but not necessarily perfect. Of course, since you have to carry the glide cam with your arms, you are a special vest that help you hold the camera while directing the shot. What are the advantages of this tool? First one person can operate it perfectly. You don't need to configure it because it's mechanical and it doesn't give you a completely perfect result, which can sometimes improve cinematic language, But we will see that later. But what is its disadvantage? Perhaps if you are using a DSLR, carrying the glide can won't be a significant problem, but if you are using a cinema camera, trust me that it will. You won't endure carrying a cinema camera with a professional lenses for a long time. If you have a long working day, the operator won't endure it unless there are multiple camera operators. But on the other hand, there is stay Kimball Static can. This device is exactly like the glide can, but also has a motorized axis that helps to stabilize the image even more. In other words, the camera is not directly connected to the bar but to an axis configured beforehand. There is actually another slightly more advanced version called running, which is a square or metal wheel that you can carry more comfortably, but has a motorized axis on which the camera rests. And what are the advantages of this? The first is that the image is much more stabilized since the motorized axis finishes stabilizing the camera. However, you have several disadvantages when it comes to a lock object project. First, that with the Glad Cam, the operator will get tired of holding the Kimball. It's too heavy for one person. Not to mention that running, which weighs even more. Both are excellent but heavy equipment. Unless you have a best that help you hold it, one person won't be able to operate it. Additionally, even with the best, it cannot be operated by one person. You need someone to calibrate the motorized system, if not everyone is capable of calibrating them. In my last historical shooting, there was a person exclusively dedicated to calibrating the running. The other important factor is that the Kimball almost completely stabilizes the image, which is not always necessary. Perhaps in advertising or certain movie scenes, it may be perfect still in cinema, this is not always the most appropriate. The camera's vibration is sometimes a cinematic sign that help us feel close to the character. Despite needing the image to be stabilized, a slight vibration may be required. The story of this music video is about war. The soldier is running in hostile conditions tied thirsty. So we needed a device that will help us convey that. So if you have seen great movies, you can notice that not all the images are completely stabilized. And I tell you this because most of the tutorials that you can find on Youtube or Internet, they are going to lead you to create a completely stabilized video. And that is not always the case, so you need to realize when the image needs to be completely stabilized or shaken as a cinematic signifier. So in this sense, there is another type of steadicam called sic. This device allows me to hang the camera from an extending lever connected to a vest. The camera is completely suspended in the air. When an operator uses this, the result will be as if it were a hand held shot, but with a movement subtle enough not to bother the viewer's eyes. The advantage of this device is that the easy rig itself is the best, so you don't have to look for an extra best. Additionally, you don't need to calibrate it. It's a straightforward to use for the director of photography who also was the main camera operator. It was the best option when we are using aesthetic cam and cinema lenses. It's important to remember that the cinema lenses don't have auto focus. Remember the difference between a cinema lens and a photography lens? Some photography lens has out focus to make the photography's job easier. These lenses are often used in video or cinema for practicality, especially for documentary cinema. On the other hand, in the cinema lens, the focus is manually controlled by a follow focus. The follow focus is the device that allows me to control the focus of the image manually by moving a wheel next to the lens. It's customary in a shooting that there is only one person dedicated to focus, but this is not always possible. Generally, in low bucjet shots, the same person operating the camera also handles the focus. But even if your project is a low bocject project, you might need a focus polar. And that was our case. I had mentioned to you that we needed to use good quality lenses, so we knew we had to use cinema lenses. So it was a requirement of the Director of Photography to ensure a good final image. If we needed to use a steady cam and also use cinema lenses, the focus poller was essential. Not only that, but the focus Poller had to have a wireless follow focus system. When the camera is fixed on a tripod. The system doesn't matter because the tripod keeps the camera completely steel. But if the camera is in motion, the follow focus system cannot be manual because it's necessary for the focus puller to touch the camera and that would be a complete disaster. As you can see on the screen, we used a wireless follow focus system so that the focus puller could work comfortably without touching the camera or the main operator. This device also requires an external monitor so that the focus poder can ensure the image has correct focus. Well being recorded. Perfect. So far so good. This where all the equipment we used in the projects take into account everything mentioned in these two lessons about the equipment and until the next lesson. 6. The Day of the Shooting d Planning, development & unexpected problems: Production deployment on a shoot tape can vary depending on the type of project, its scale, and the team involved. However, the following provides an overview of how production deployment should be on a film shot tape Before the shoot day photo, planning must be carried out, including shoot scheduling, location arrival times, planning actual arrival times at locations, and organizing the transportation of all personnel and equipment to the shooting set. This planning is crucial for success, especially given the limited time available or shoot involved. Capturing footage for four consecutive hours in the desert of the Avro Delta, approximately 2 hours from Barcelona, the place where I live. It was necessary to portray the passage of time as the soldier crosses the desert. Relying on the sunlight and the last 4 hours of the day would be necessary. Absolutely necessary. In regions with four seasons, summer sunset tend to be slower. Knowing the sunset at 9:00 P.M. we needed to be at de location by 4:00 P.M. It would take about 4 minutes to an hour to walk from the drop off point to the exact shooting location. From there, we had 4 hours to film everything planned until sunset. In order to meet all these objectives. The first step is to determine the day of the shoot. If you are filming in a studio, there may not be major issues. However. For other shoots, careful consideration is required. Producers need to analyze weather forecast and potential precipitation on the shoot day. Contingency plans for rain should also be established. If you are shooting in a rainy region, it's a significant risk unless rain is incorporated into the script, the necessary equipment for filming under the rain must be available. Alternatively, having the flexibility to shoot over two days, whether for one of them, is advisable. In our case, we could only shoot on a single day. Choosing the shoot day was crucial for success. Transportation was essential for this shoot. Even for a low object outdoor projects, having a vehicle is crucial. In my early projects, I used my own car. In film schools, students often had someone in the room providing their car. If this is not an option, consider paying a friend to be your runner. But what I mean is that if you had a bit more budget, renting a vehicle exclusively for this purpose could enhance the overall production appearance, which is a band for the shoot. It would transport us from a meeting point to the shooting location covering a distance of over 140 kilometers. The van serves not only for transportation, but also for moving rented equipment from the rental to the meeting point, for example. Additionally, offering comfort is crucial in leadership. When demanding hard work before departing, we had a substantial lunch at a nearby restaurant to be prepared for the shoot. Travel can be exhausted, so being in a van allows the production team to relax and feel fresh for an intense shoot. Investing in comtraable transportation, even for low back jet projects, can significantly improve the team's experience. Another important aspect is arriving at the shooting location. We had to resolve the initial scenes of the story. So, we began with the Parches scenes assisted by an experienced Parachtist. It's very important to have professionals for this type of actions, otherwise our ideas can be really expensive and dangerous. The pilot didn't actually need to parachute. We created a delusion with the stock footage and montage, but we had several unexpected challenges in this scene. We even had to take advantage of the route to the main location, which was next to that lighthouse that you already saw. Why? Because the person who was going to help us with the parachute issue didn't have to walk 40 minutes to that lighthouse. We decided to record the parachute scene at the beginning of the route, saving time and effort, and also adding an extra location to the production. But I'm going to emphasize something important that happened in this part of the shoot. I had told you about the limitations or unexpected problems that can arise during a shoot, constraints, et cetera. The plan for this ascend was to record the moment in which the pilot lands with the parachute. So to keep that, it was necessary to rise at least one mirror in the air and then fall with the parachute. The problem was that due to the time of the year, the season, the wind was too strong. And the consequence of rising into the air was that the paraglider that acted as a parachute actually would take me towards the sea, and that would be very dangerous and uncontrollable. That amount of wind was not expected or rather was not foreseen. And there you can realize the importance of choosing the right day for filming. So we had to improvise a strategy first, not to record the pilot floating in the air at any time. But only to record when he already makes contact with the ground. And on the other hand, taking advantage of the wind. If you can notice, there is a scene where the pilot fights against the wind to close the parachute. And that was not planned. It was simply taking advantage of this unexpected limitation and turning it into another material for the video that is very important. And it's a kind of intuition that we have to develop as film directors. The scenes were shot in a chronological order. The pilots parachute arrival, escape through the desert and reaching the sea where he becomes cornered and exhausted, ultimately deciding to activate the nuclear bomb. But this, there was no time for Il breaks. We brought hydration and protein chocolates to endure the continuous 4 hours. So we then moved onto the scenes of the pilot escaping from the planes and soldiers battling the harsh weather and running away from the starting point in order to save time or rather take advantage of time. In this part of the filming, what we did was leave the camera on and keep acting. Walking through the desert, interacting with the space, and with the characters situation. Then in the editing process, take the best part to add them to the final montage. It's a great strategy to get the best out of an acting performance. This is one of the reasons why the steady cam or easy rig was so necessary. As the characters custom accumulated sand or training the desirous, they become more effective on camera. And that is the reason why it's so important to maintain the correct order when recording the scenes, especially when we don't have several customs available. The singing scenes were shot in contrast to the desert scenes. The director of photography proposed used low angle shots to capture the characters challenging the planes showing the sky behind. Additionally, some singing scenes needed to be shot in slow motion. To achieve this, the song was played at Doval or Triple Speed during filming, with the camera set at 60 frames per second. In the editing process, the eclipse space was held synchronizing with the original sound, but giving the footage a floating slow motion appearance. On the other hand, it's important to highlight another unexpected problem that arose when we are going to record the singing scenes. And this is the reason why it's important to establish the objectives of the project and the story very clearly. It turns out that the plan was to record me, to register me singing next to the lighthouse because the place with the lighthouse standing out in the background seems very interesting to me, at least visually. But it turns out that when we arrived at the place, there were a large number of tourists in the place. I mean, even though we ask permission from the National Park to film there, tourists don't need a permit to go to that place. So filming next to the lighthouse was impossible. So at first glance, you might think that, whoa, the plan we had was destroyed. But then if you actually go back to the project objectives, to the hight concept and the tact lane, you realize that the lighthouse is not necessary, It does not contribute anything valuable to the story or video. So removing the lighthouse from the plant was not a problem. That way we decided to record not including the lighthouse in the background and absolutely nothing happened to the project. It didn't lose value or anything like that. On the other hand, the historic group to be involble throughout the shot. Actually, at first, I really didn't trust this device, but the director of photography convinced me. And that is why I want to tell you something important related to this. In my case, I am an actor and also a film director. And to be able to achieve this, trust is necessary. I mean that you trust your work, a team. I mean, if you are in film schools or you are trying to put together a team to develop projects. Trust is very important when it comes to filmmaking, so that each of you can focus on a part of the project. In my case, I needed a good director of photography who would make me forget about the camera when section was set. And that is important in all aspects of a shoot. The director of photography were the best for the entire 4 hours. Sustaining the camera without needing to change lenses. So after capturing everything in the sunset, we just pack it up and walk back to where a car awaited us. When planning a shoot, unforeseen circumstances must be considered. In this case, there was unexpected traffic on the return journey, thereby causing a delay. Fortunately, extra time had been factored into the transportation companies scandal. Such considerations are crucial, especially with a limited budget, as unexpected events are part of the planning process. So in summary, production deployment on a shoot day is a coordinated operation involving planning, preparation, shooting, and equipment, and personal breakdown. Efficiency and organization are key, making the most of the shooting time and achieving the desired results. One of my biggest recommendations is to plan thortuly to eliminate fear. Sometimes there is a apprehension about undertaking shots of this nature thinking. They are only affordable for a large production team. However, a director's courage lies in logically assessing a project's possibility, as was the case here until the next lesson. 7. Low quality lenses and Faces: Hello, people. In this lesson, we will explore how the use of low millimeter and low quality lenses can have a negative impact on the portrayal of an actor's face in a cinematic production. It's important to understand how the choice of film equipment can affect the visual representation of actors on the screen and how this can influence the audience perception. Low millimeter lenses tend to suffer more distortion at the edges of the frame compared to the higher milli meal lenses. This distortion can manifest as unwanted deformation of actors face, especially at the edges of the frame. For example, it can make straight lines appear curved, or facial features appear exaggerated. This distortion can be particularly noticeable in close ups, where any deformation of the actor's face can be more evident and detrimental to the audience's perception. Let's have a look at this example. In this scene here, the girl is filmed with a lens set at 17 millimeters, which was the best option because that quality lens responds better to the formation. You can see that she looks very good proportionate. And even knowing that the girl is not completely thin, that lens was the best fit for her face at that moment. But the same shot was also attempted in 24 millimeters. Look at the result. Terrible. The deformation is unprofessional. First of all, look at how the image distorted at the edges. And the girl's head looks much larger than her body, it looks awful. The problem is that certain filmmakers become obsessed with this millimeter. It turns out that not all lenses distort in the same way. Let's have a look at this example in the Danish girl movie. This is in look at this shot of the painter Guy Einar. Here they use a lens about 35 or 24 millimeters, intentionally summing on the face, representing the psychological dislemma of the moment. However, the distortion is completely artistic. In fact, the distortion at the edges is much more aesthetic than the shot of the girl in the music video salt. Obviously, this is an ultra prime lens, there is no comparison. But it's for you to realize what can happen during filming. But I'm not trying to say that you cannot use lenses of low millimeters. Notice that in the same way, the lens distorted the girl's face negatively. The previous example, look at this another example where she looks perfect. But it turns out that the lens from that point of view works even better even when configured at 35 or 24 millimeters. On the other hand, it's important to take into account that low quality lenses often lack sharpness in detail needed to accurately capture subtle facial expressions and skin texture of the actor. The lack of sharpness can result in a blury and undefined image, making it difficult for the viewer to fully appreciate actors emotions and interpretative nuances. Additionally, the lack of detail can make the image appear flat and liveness negatively affecting the viewer's immersion in the story and emotional connection with the characters. And that is very important, especially when the scene we are going to shoot has emotional importance that will be represented with the actor's esters. Tears are difficult to see with a low millimeter lens, especially if it's of a low quality. It's not only important the issue of lenses, but also how we move the camera with the respective lens. And not only that, but the position of the actor and actress in respect to the camera. Notice for example, in this sequence that never came out. Although I'm using a lens of 17 millimeters, it doesn't favor on because I'm completely facing her and very close to her face. So her face looks wider than normal. So it's important to have sensitivity to these details here. In this other shot, the same thing happens and her face doesn't look still aside. It is not her fault. We have to be able to portray the actors in the best way possible. Look at this another sequence, It looks much better because although I'm also facing her, the camera is not completely close to her face. It's at the perfect distance for her face to be seen up close without exaggerated deformation. On the other hand, the use of low quality lenses can have a significant impact on the viewer's physual experience and their ability to emotionally connect with the characters on the screen. A distorted, blurry, and undefined image can distract the viewer and diminish their immersion in the story negatively affecting the overall quality of the cinematic, in the audience's perception of the actor's performance. Additionally, as I told you before, a lack of sharpness in detail can make the image appear unprofessional and unattractive, which can affect the project's reputation and the audience's willingness to enjoy the film in its entirety. So in conclusion, it's crucial to consider the impact that film equipment can have on the visual representation of actors in its cinematic production. The use of low millimeter and low quality lenses can result in an unflattering and unrealistic image of actors face detrimentally affecting the overall quality and experience of the movie. It's important to carefully select the appropriate lenses for each filming situation and ensure that high quality equipment is used to achieve the best possible visual results in providing memorable and receive cinematic experience for the audience until the next lesson. 8. Cinematography Natural Light: Cinematography is an art that relies on manipulating light to tell visually compelling stories. One of the most powerful resources available to filmmakers is natural light, which can create unique atmospheres and emotional annuances in a film. In this lesson, we will delve deep into how to effectively use natural light in cinematography. Using a variety of movie examples to illustrate different techniques and approaches. Before delving into the use of natural light in cinematography, it's crucial to understand its characteristics and how it affects the screen image. Natural light can vary in intensity, direction, and color, temperature, depending on the time of day, weather, and geographical location. For example, sunlight during sunrise or sunset tends to be softer and warm, while midday sunlight can be harsher and cooler. Let me give you an example. In the movie Days of Heaven, directed by Terrence Malik, natural light is masterfully used to capture the broad beauty of nature and life in the countryside sense that song is in sunset, feature soft, golden light that imbues each frame with a sense of nostalgia and serenity. But this is not an easy task before filming With natural light, careful planning is essential. This includes selecting locations that make the most of available light, as well as a scheduling shots to coincide with times of the day that offer the desire lighting. Additionally, it's important to anticipate how natural light may change during filming and be prepared to adapt to these variations. For example, you know that if the sunset and sunrise last only a short time, then you must plan everything to be as efficient as possible during that time. Another important factor is the issue of references, But not preferences regarding the work in general, but pictorial references. I insist too much on this and even among my colleagues, the majority don't pay attention to this. I don't know why it happens. Maybe it is laziness, but the thing is that they find it boring to go to a museum and see painting exhibitions. But it turns out that those painters didn't live in the conditions that we live in with cell phones, with so many distractions. And those people spend hours and hours contemplating landscapes, contemplating the light. As a consequence, their way of portraying a light in paintings was very precise and artistic. Something that is lost even among the majority of filmmakers, because they are eager to discover which is the best camera model, the camera configuration, equipment nonsense, that doesn't result in a good image. And I can assure you that some of you are waiting for someone to tell you how to position the camera or put the camera or position the water fly. So it looks like Days of Heaven this movie. But in the end, the best exercise to make your shots look like those of that movie, Days of Heaven, is to have such good references in your mind that when you are trying to find the best camera angle and the exact moment of light to record, your mind remembers those paintings unconsciously. And then you say, this is the time, this is where the camera goes. Without anyone having taught you anything, it's important to take advantage of outdoor weather changes as a narrative resource in cinematography. I mean when the weather changes suddenly, such as when the sky clouds over or rain begins to fall, it can add an element of drama and tension to the story. Filmmakers can leverage these weather changes to add additional layers of meaning and emotion to the narrative. For example, a sudden brainstorm may symbolize an emotional change in the characters or add unexpected obstacles to their journey. Similarly, sudden traffic as an outdoor location can create conflicts in challenges for the characters driving the plot in an unexpected direction. The ability to adapt and modify the story based on the weather allows filmmakers to make the most of the natural environment and create memorable and exciting films. Man, would you like to come and ride with me on this fine evening? And that you're your mind. Oh, it's good. Scottish weather, madam. Rain is falling straight down slightly on the sideline. She can't go with No. Oh, no. The now. Anyway. No, the now. No, the now. We'll see you later. The weather's just fine. It's happy raining. You know here what I said we another example would be the Florida project. In the Florida project directed by Sean Baker and whose cinematographer was Alexis Seven. Meticulous planning of the scenes to take advantage of natural light is evident in every frame the movie unfolds during summer in Orlando, Florida. Sunlight is used to highlight the different colors and energy of the environment. While natural light can be beautiful and evocative, it can also be unpredictable and challenging to control. Filmmakers often employ techniques to control and modify natural light to shape the image according to their creative needs. This may include using reflectors, for example, diffusers and flax, to direct, soften and block natural light as needed. For example, here in this scene, we used a water flight to filter the direct light that was shining in this scene. Because in fact, we recorded it almost around noon. You can see that it looks like sunset. But I mean, right at that moment at dusk where the song no longer shines directly but is covered by clouds, et cetera. But I highly recommend you recording right at the time of the day when the light is how you need it. In the moving mode bound directed by Es, techniques for controlling natural light are used to highlight beauty brutality of the life in rural southern United States. The film features a variety of landscapes, from open fields to dark interiors in natural light adapted to capture the unique atmosphere in each setting. But I insist that one of the greatest challenges when filming with natural light is adapting to changing environmental conditions. This may include changes in light intensity due to clouds, shifts in light direction due to the sounds, movement, and changes in color temperature due to the time of the day. Filmmakers must be prepared to adjust their approach in response to these variations and make the most of the opportunities presented. For example, in the movie Best of the Southern Wild, directed by Ben Settling, the ability to adapt to the changing conditions of natural light is evident throughout the film. Shot in the Luan swamps, the movie captures the magic and harshness of the environment through a variety of light conditions, from bright sunrise to intense thunderstorms. But on the other hand, in cinematography, the color of costumes plays a crucial role in conveying emotions, defining characters, and setting the atmosphere of the film. I mean, it serves not only to complement the overall color palette of the movie, but also as a powerful tool to communicate underlying themes and concepts. An excellent example of an effective use of custom colors in cinematography can be found in the film Kirk. This film directed by Christopher Nollm, photographed by Halpanyema Dunkirk uses costume color to visually represent the conflict and chaos of World War Two. The color palette remains in shades of green, brown, and gray, reflecting the harshness and gravity of the military environment. I mean, military uniforms, predominantly in tone of green and brown are used to clearly identify soldiers and differentiate between various factions in the film, such as the British Army and the German soldiers. Moreover, costume colors is also used to highlight contrast between characters and their environments. For example, British soldiers are depicted in green and brown uniforms that blend with the natural landscape. Where the civilian characters that rescuers may wear a lighter cloth and brighter colors to underscore their humanity in bravery amidst the chaos. So in terms of narrative, the costume color in dangerd helped establish the sense of impending danger and a struggle for survival experienced by the characters. The dark and muted tones reflect the tension and uncertainty of the situation, while flashes of color can highlight moments of hope and is amid the conflict. In fact, this movie was my reference to develop the color of the music video. No mucha tempo. Although the color is not exactly the same, the green tones of the uniform, along with that of the vegetation, were taken into account to create a military atmosphere in the color. On the other hand, for this color issue, not only is the custome design important, but also the color correction in post production. For example, in this music video, much tempo. You can notice how the colors of the sky are altered so that they have a tone towards screen in the same way as was done in Dunkirk, with the color of the sky and the sea. In summary, costume color plays a crucial role in cinematography by setting the atmosphere, defining characters in communicating underlying themes. While Dunkirk provides a notable example, this principle applies to a wide range of films where the strategic use of costume color enhances special and emotional impact, enriching the storytelling experience for the audience. For example, in the Angels false music video at Salt, we choose the color of the custom to match the color of the New York architecture. The color of the buildings is a kind of brown color. And even the Bray in blue matches the color of the sky, creating an interesting visual contrast. In conclusion, natural light is an involuble resource in cinematography that can adapt texture and emotion to a film by understanding how defectively harness natural light. In using examples from movies to illustrate different techniques and approaches, filmmakers can create visually striking image that can captivate audiences and tell powerful and evocative stories until the next lesson. 9. Cinematography Breaking Myths About Handheld Shots & Equipment Selection: The optical quality of lenses plays a critical role in cinematography, especially in the context of handheld camera filming. High quality lenses offer precise color reproduction, exceptional sharpness, and enhanced contrast. These characteristics not only contribute to the overall visual aesthetics of the film, but also influence the emotional and psychological perception of the viewer. High quality lenses are capable of capturing a wider range of colors and tones, allowing for a more faithful representation of reality. This is particularly important in cinematic genres where atmosphere and color palette are crucial for conveying emotions and setting the tone of the film. For example, in the independent film Moonlight, directed by Barry Hankins and shot by James Laxton, the role of high quality lenses in the precise and evocative representation of colors is highlighted. The film follows the life of a young African American man named Sharon in three different stages of his life. Exploring themes of identity, masculinity, and love within the context of his community in Miami. James Laxton chose to use high quality lenses to capture the rich color palette of Miami and convey the unique atmosphere of each setting in the film. In the city's neighborhoods, the diferent colors of streets, murals, house facades in characters. Clothing are presented with an intensity and clarity that evoke the life and energy of the community. Actually, even in the most intimate and somber scenes, such as those set indoors or during the night, high quality lenses allow colors to remain faithful and expressive. The warm, soft tones of artificial lighting and moonlight are depicted with subtle yet striking beauty, adding emotional depth to the film's narrative. The examples demonstrate how high quality lenses can be an invaluable tool, even in independent productions with limited facts, By capturing the richness and diversity of colors on a screen in a precise and evocative manner. These lenses not only enhance the visual aesthetics of a film, but also enrich narrative by immersing the viewer in a visual and captivating and emotionally resonant world. So this would be the first myth you can achieve this quality of colors with low end lens? No, you cannot. If you could, high end lenses wouldn't exist. We can approach this with post production. I mean, editing the colors to try to get closer. Something we are going to see in the second volume of this course, but we are never going to match it. And they tell you this, not to discourage you, but so that you don't create false expectations. And you know, well what you're going to invest the production money in. Because I have seen cases in which people spend the production money feeding 20 people to shoot a short film that only needs six or seven people working. And that extra money could have been invested in renting a good lens. We're going to see examples of these with the videos No Mucho Tiempo and Salto Angel. But we are going to continue reviewing the methods first regarding sharpness and contrast. High quality lenses offer exceptional sharpness across the entire image, from the center to the edges of the frame. This ensures that fine details and textures are clearly visible in reaching the viewer's visual experience and creating a deeper sense of immersion. Additionally, high quality lenses often have enhanced contrast, contributing to creative separation between lights and shadows in a more dynamic and reference image. A notable example of the importance of sharpness and contrast in cinematography can be found in the movie Plate Runner 2049, directed by Dennis Llano, where cinematographer Roger Tckens used high quality lenses to create visually stunning and evocative imagery that complemented the film's rich science fiction narrative. In summary, the optical quality of lenses not only impact the visual aesthetic of a film, but also influences how the story is perceived and experienced by the viewer. By investing in high quality lenses, Filmmaker can elevate the standard of their productions. And create cinematic works that endure over time and leave a lasting impression on the audience. One of the most common mistakes among film students is opting for low cost, low millimeter lenses in an attempt to replicate the visual appearance of professional productions with a limited budget. These lenses often made with inferior materials and less precise optics can yield disappointing results and negatively impact the visual quality of productions. This is due to unrealistic expectations. It's common for students to underestimate the importance of lens quality and overestimate the ability of cheaper equipment to deliver results similar to those of high bucket productions. I think that this error may stem from the lack of experience and knowledge about significant differences between high and low quality lenses. As well as a mistaken belief that the image quality is solely dependent on the filmmakers skills. So the use of low quality lenses can result in blurry images, lack of sharpness, chromatic aberrations, and other optical defects that negatively affect the visual quality of the film production. But pay attention to this. These issues are especially noticeable in handheld camera shots, where the lack of stability can further accentuate the deficiencies of low quality lenses. To illustrate this point, we can analyze two specific cases. First, we could examine the music video, Nima Tempo, which uses handheld camera shots with a high quality lens. In this case, we can appreciate how the use of acute lens contributes to a sharp image rant, colors, and well defined contrast even in challenging filming conditions. For example here in the video, Noi mucho Tiempo, you can notice that it's a sequence practically with a camera in hand, obviously helped by the Syrik. But you can notice that the image looks great, it looks interesting, professional, like a movie, you realize that even adding contrast to the image, it doesn't lose dynamic range of colors. I mean, even though the blacks are as entwdd, degrading between the blacks and whites still exists, which is more difficult with a lower quality lens. You can even notice how the helmet deformation when it approaches the camera, looks interesting. So even though it's a handheld shot, the image looks so good that it doesn't matter. You forget that it's a handheld shot and you think it's on purpose. This doesn't happen when you see a low quality lens and look at the difference in these two cloud ups. See the amount of details that are seen with a high quality lens and see the other image of the girl with a lower quality lens that although it looks good, those details the high quality lens captures are not there. For example, the details of the dark area of the hair. The lens simply simplifies everything into a dark spot. On the other hand, the auto focus area of the background, which is not as rich in shapes and details and range of colors. Pay attention to this other example. These are scenes that belong to the Salt video, scenes that were not added to the final cut. They are scenes recorded hand held. They don't look bad, but they don't look like the scenes recorded in the other video. They don't look as professional because it's not the same quality of lens. So it doesn't look like a deliberate camera in hand, but rather it revealed the lack of resources in the production. So if I had created the same scene with the other lens, it would have looked incredible. So unless you had really beautiful natural lighting conditions, this handheld camera wasn't going to look completely professional. The problem is that students watch a movie like perineum and they think that if they have a low quality 50 millimeter lens and they do the same thing, it would look the same. It wouldn't happen like that. This happens because we see films on, for example, the platform filming, where we can find Polish films and Spanish films, fantastic films actually. But since the directors of these films also want to pretend to be geniuses, in fact, many of them are very talented, without a doubt. But they show themselves filming the films perhaps together to four people with a fairly limited budget, limited production. But what they don't tell you is that the lens that is installed in the camera is worth 50,000 euros and you're not able to know that. I mean, how can you know what kind of lens it is if what you see in the making of are four camera operators in a fairly limited production. That is where I want you guys to be careful and don't make mistakes. But on the other hand, in the case of the music video, Salt Gels Falls, the decision was made to limit the use of handheld shot to mitigate the effects of the low cost lenses on visual quality. Instead, focus was placed on direction, specifically designed to work with lenses of that quality. Meticulous attention was paid to lighting and composition of a static shots to compensate for the limitations of the lenses and ensure an astonding visual result. For example, the scenes in the skyscraper were carefully recorded down at the specific time when the sound was rising. But not only that, but the vest side of the apartment was chosen where the sun didn't hit directly, so that the image wouldn't be seen against the light, which would produce shadows on the character, for example. Instead, a place was used where the sun rise could be seen with its light reflected on the buildings. But even in the other scenes around the city, the balance was taken into account carefully. And it was necessary to preserve valence to ensure quality throughout the video. While the decision to use lower quality lenses was delivered, measures were taken to maximize visual quality within those technical constraints, demonstrating the importance of creatively adapting to the available resources in each production. These examples highlight the crucial importance of selecting high quality lenses in hand held cinematography. As they can make the difference between a visually stunning production and one that fails to fulfill its artistic and narrative potential due to technical limitations. In summary, it's crucial for film students to understand that lens quality is a fundamental aspect of cinematography and cannot be compensated with technical skills or post production. By investing in high quality lenses, that students can significantly improve the visual quality of their productions. And develop critical eye for selecting equipment that meet their creative and aesthetic needs until the next lesson. 10. Low Angle Shot Technique: Hello, people. This lesson was initially planned for the second volume of post production focusing on a stabilization of shots. However, I believe that it doesn't make sense to create a whole lesson to explain something as straightforward as using that premiere plug in wrap stabilizers, which are already covered in the film editing course on Adobe Premiere. Instead, let's delve into the importance of planning and anticipating scenarios to minimize the need for stabilization in St production. Let's review some shots and scenes from the music video at Saldanhl Angel Falls where handheld camera shots were used and later stabilized. The idea is to understand the appropriate strategies to maintain aesthetics and even under conditions where we lack the necessary commitments. So let's take a look. The first thing to consider is that to minimize the impact of destabilization, the cinematography needed improvement. That is the reason why it was decided to use low angle shots in those moments when the character is walking through the streets singing. The use of low angle shots in tracking shots plays a crucial role in cinematic narrative by offering a unique and powerful perspective. This camera angle, which captures the subject from below, grants a sense of dominance, authority, and vulnerability. Depending on the narvative context in a tracking shot where the action unfolds in real time without apparent cuts, the low angle shot can emphasize the imposing presence of a main character or establish a sense of emotional challenge between the characters. This becomes especially important in populated urban environments where the presence of tall buildings adds another layer of visual meaning. In this context, low angle shot allows us to appreciate the architectural grandeur of buildings, highlighting their heads and magistry from a unique perspective. This technique not only brings a sense of grandeur and verticality to the image, but also helps contextualize the urban environment and highlight the interaction between characters and their surroundings. Additionally, by capturing the city from bottom to top, the low angle shot emphasizes the monumental scale of buildings, underscoring the relative insignificance of individual within the urbane landscape. Overall, the low angle shot in tracking shots offer a powerful narrative in visual tooling that amplifies the emotional and thematic impact of the film, thereby enriching its artistic resonance and its ability to engage the audience. On the other hand, although there may not be a direct connection between this type of shot and stabilizing a shot, the porting decision help the framing look as best as possible throughout each shot, minimizing the impact of any unwanted movement. On the other hand, when using a camera like the sonny extreme, we need to focus on capturing good moments rather than trying to make the entire shot perfect. Remember that if you capture moments that last more than 5 seconds, for example, you will have enough material for your edit because you can blend one shot with another during the editing process. Shooting stable in fluid shots is essential for the visual and narrative quality of the film production. I mean, image stability not only provides a more enjoyable experience for the viewer by avoiding unnecessary distractions, but also contributes to greater immersion in story. Additionally, it minimizes the need for stabilization in bus production. Streamlining the rock flow and reducing cost. On the other hand, consistent in technical shooting demonstrates professionalism and skill by film and team ensuring a visually current and stylistically solid presentation on the screen until the next lesson. 11. The Communication Process & Attention: To create the story for an advertisement, music video or film, we must understand, measure from the very beginning, the amounts of information and the viewer will receive during the period the final cut lasts. Let's see how this goes in different types of audiovisual works. In music videos, for example, music videos usually have a limited amount of narrative information. Often the narrative is subordinated to the music. The story can be minimalist and mainly focused on the visual representation of the song. Most music videos center around visual aesthetics, the artists performance in creating an emotional atmosphere. The narrative can be simple and symbolic, designed to complement music. However, there are cases where there may be a story, but it needs to be simple enough for the viewer to understand in three or 4 minutes. On the other hand, in the case of short films, the amount of narrative information can vary widely. Some may take complex and detail stories, while others may opt for simpler narratives. The duration of the short film is often a limiting factor in terms of depth of the story. Short films are used to tell more concentrated and artistic stories, addressing deep themes and offering more character development than music videos. But in the case of advertisements, advertisements usually have a limited time to tell a story, restricting the depth of the narratives. They focus on conveying a message or idea effectively and memoriabally. Similar to music videos, advertisements often prioritize persuasion and the promotion of a product or service. The narrative serves as a means to achieve that goal, a specific commercial goal, adapting the story to fit a short format. But finally, in the case of movies, they can contain a large amount of narrative information, having more time to develop characters, subplots, and complex themes. Movies can offer a rich and detailed narrative simply because they are longer. They usually have a more elaborated narrative that engages the viewer in a more extensive experience exploring multiple subplots and characters. I'm going to explain this in more detail using this movie, Shashank Redemption. It's an excellent film in terms of storytelling, which is why I recommended, I have seen in film schools that the same problem always arises. Almost all students who want to be a film director want to tell a movie story within a 15 minute short film. And this is not possible. And I want to give you a quick example so that you don't waste time and effort. What you are watching on the screen is the inter of this film where we are introduced to the character and frame. He is in the trial from which he will be wrongly sentenced to life imprisonment. So this entire scene until the moment he is condemned lasts almost 7 minutes. That is practically half of the length of an Avart short film. Only 7 minutes to introduce the character and the problem he has. Why does it last 7 minutes? Because if there is something difficult to deal with, with people, it's attention. So when people are watching a movie or any audio visual product, even though they are concentrated, let's say, in the conditions of a movie theater, which would be the condition with the most attention from them. People don't have 100% concentration. Part of the mind is on the groceries, the popcorn, the soda, the whole temperature, whether the seat is comfortable or not or as simple as thinking about the Ron problems. Or maybe she's talking to the person next to her. That is why there are 7 minutes to present just that situation. So for example, if you miss 2 minutes of this scene, you still understand it because there are 7 minutes dedicated to that. That is to say that any silly problem you have at that moment will not prevent you from understanding the scene. So if you're going to make a short film, which to understand it, you had to pay 100% attention in the first 2 minutes, for example, to more or less tell something about the character. There will never be a natural understanding of the story. In the case of these 7 minutes, a scene is longer than the average length of the music video. Seven times of the length of an advertising, and half the length of a short film. It's important to be clear about this from the very beginning and not underestimated. May Mr. Dufran, it shows my blood, just to look at you, by the power vested in me by the State of Maine, I hereby order you to serve two life sentences back to back, one for each of your victims. In summary, amounts of narrative information and the focus on narrative vary significantly among different audiovisual formats. Music videos tend to be shorter in focus on musical aesthetics, while movies offer more extensive and rich narrative. Short films may fall somewhere in between. And advertisements prioritize narrative effectiveness and limited time with a specific commercial objective. 12. The viability: The viability of a film project is not always determined by the simplicity of the premise. Contrary to the initial intuition, more elaborate ideas can prove to be more cost effective to produce compared to those that seem simpler at first glance. When assessing the viability of a project in terms of production is essential to consider a variety of factors. Including the cost associated with locations, gas, special effects, and overall logistical aspects of filming. To understand this concept, let's consider two contrasting scenarios. Let's suppose that we option one story is to make a short film similar to that music video. No much tempo. Imagine a science fiction short film set in a desert where a war against giant robots is the central got. Now let's compare that idea, that option with another one another everyday story set in a city or a school. Firstly, let's analyze the science fiction story set in the desert. Although this idea involves elaborate visual effects to recreate the war against the giant robots, it may surprisingly be more economical to produce compared to that story set in an urban environment. In a desert scenario, production elements can be minimized. I mean by limiting the cast to a few main characters and eliminating the need for urban location and crowds. Production logistics are simplified, much like what happened in the music video Noi mucho Tempo. Additionally, visual effects, though complex, may be more cost effective to implement in a desert compared to urban environments, where extensive adjustments may be necessary to achieve the desired atmosphere. In contrast, a story set in a school or a city might require more elaborate logistics. This involves obtaining permits for filming in public locations, coordinating schedules with sporting actors, and managing a greater number of production elements, such as war drop props, and gathering for all involved actors. The more actors, the more make up team you need, et cetera. Although the story premise may seem simpler compared to the science fiction in the desert, production costs may be significantly higher due to the need to recreate an authentic urban environment in the presence of a larger and more diverse cast. Therefore, it's essential to take a holistic approach when addressing the viability of a film project. In terms of production is not just about the simplicity of the premise, but also about considering all aspects of production, from locations and cast to special effects and overall logistics. By doing so, filmmakers can identify opportunities to maximize efficiency and minimize cost regardless of the apparent complexity of the premise. Another very important element when assessing the viability of a project is your ability to tell a story through minimalist language. An example of this, but on a larger scale, is the film X Machina, directed by Alice German. This film highlights several key aspects of minimalist. First of all, cost reduction. The film focuses on three main characters, and Primly falls within isolated mention. By limiting the cast and the number of locations, X machine was able to minimize production expenses. Additionally, that project had flexibility and agility. Most of the action takes place within the mansion, allowing the production team to adapt quickly to changes in the script and filming needs. This flexibility contributed to a more efficient and effective filming process. But most importantly, within the same script, the filmmaker justifies the use of the mansion so as not to have to build a building with 1,000 cables and advanced equipment, et cetera. I mean to portray the technology. For example, there is a scene in the beginning where the character Nathan tells Caleb that the mansion is actually a research center and that all the centers cables are hidden within the walls. In this way, the script justifies in a completely cinematic way the use of the minimalist elements. I mean, the house on the mansion, they didn't have to build any set to complex, but simply rent a mansion for the days that the shoot lasted. Do you know what the Turing Test is? Yeah, I know what the turning test is. It's when a human interacts with a computer. And if the human doesn't know they're interacting with a computer, the test is passed. And what does it pass? Tell us that the computer has artificial intelligence. Are you building an AI? I've already built one. Another important element of that film is focusing on creativity and innovation. The premise of X making, involving the interaction between a human and a cyber, challenge the production team to find creative solutions for making the film. The advanced technology represented by the cyber portrayed by Alicia Candor is suggested more than shown, allowing the viewer to fill the gaps within their imagination. Despite its inimlisted approach, X making and manages to maximize both visual and narrative impact. The mention with its modern and minimlisted design, serves as a stunning backdrop for the story. But visual elements are effectively used to bring the cyber to life and create haunting, futuristic atmosphere. In summary, X Machina, it's an outstanding example of how minimalizing film production can result in a memorable and distinctive cinematic experience. By reducing cost, increasing flexibility and agility. Focusing on creativity and innovation. Also in maximizing visual narrative impact, the team behind the X Machina managed to create a masterpiece of modern cinema that continues to be admired by critics and alvinss alike. On the other hand, the music video, salt and engine falls could also serve as an example of minimalism. I mean, this could be a perfect moving of a short film. For example, in this story, two people are going to expand their last day in New York because an asteroid is going to hit Earth, but the asteroid is not big enough to be detected. The characters don't know, it will be their last day. You can shut your entire story in New York, which is a very permissive city when it comes to film making. On the other hand, you don't have to put Nasa or scare people running through the city because a nasty Audi is coming. The metaphor and the concept of the film could be how human value time, which is quite poetic. An example of a movie with this type of story would be before sunrise. This movie is an excellent example of minimalism in narrative in film production. I mean, this movie before sunrise mainly focuses on conversations between two characters as they walk through the streets of Vienna. This limitation of locations helps reduce production costs by minimizing the need to build multiple sets or reserve various locations. Additionally, with a reduced main cast talent hiring costs are also kept in check before sunrise unfolds in a real time over a single day, allowing greater flexibility and agility in filming. The movie focuses on inspontaneous interactions and conversations between two characters, providing the production team with the freedom to explore different aspects of their personalities and relationships in a natural and authentic way. Another important aspect of this movie is that despite the limitations imposed by its minimalist setting before sunrise manages to captivate the viewer through subtle and emotionally resonant storytelling. The film relies on the acting talents of Aden Hockey and Julia Tilt as well as the smart screenplay to convey the deep connection between the characters and explore universal themes such as love, identity, and destiny in an intimate and moving way. So in conclusion, Before Sun raises a notable example of how minimalism can be effectively used in film production. By limiting production enemas to the essential and focusing on human interactions, that movie creates an authentic and memorable cinematic experience that resonates with the viewer. As you can see, the viability of your film project in terms of production depends on a variety of factors. The simplicity of the premise does not always translate into lower cost. By carefully assessing all aspects of production, filmmakers can make informed decisions and maximize the creative and commercial potential of their work. It's important to take into account the story, minimalism, and the possibilities and tools. We have a rans to develop a project until the next lesson. 13. The References: In the vast world of audiovisual work, from cinematography to music, video production references play the fundamental role. They are Bacons that guide creators through the ocean of stylistic and narrative possibilities. Providing inspiration, direction, and a solid foundation for creative execution. In this esson, we will explore in depth the importance of having good references and how they can influence the success of an Audi visual project. References are like the North on a map. Points of reference that orient creatives in their request for perfect vision for their project. They can be iconic films, inspiring photographs, impactful artworks, or even snippets of music videos that resonate with the desired aesthetic or emotional tone. These references not only serve as a sources of inspiration, but also as a practical tools to communicate the creative vision to other team members and to maintain stylistic currents throughout the project. That is a reason why the quality of the selected references can make the difference between a mediocre project and an exceptional one. Here are some key reasons why good references are essential in audiovisual work. First of all, good preferences stimulate the imagination and awaken creativity by studying the work of other artists and filmmakers. Creatives can discover new approaches and innovative techniques and create solutions that can be applied to their own work. But let's see these in practice. We're going to use Del Salto Angel music video as an example. To create this video, we needed to know if it was possible to create a high quality video with the resources we had. So we had to look for a similar work made with similar resources in which cinematography techniques had been used that resulted in good work. So among many examples, we found that 30 seconds to march Music video Kings and Queens. This is a music video made with a loud bucject, excellent cinematography, and most of the shots are done in a tripod. Additionally, if you notice the shots where Jada Letog is singing are taken at sunrise or sunset, that reference showed us that it was possible to achieve that result. It was plausible. It was very important to have this reference, mainly because it makes us lose our fear. Because you gain confidence. Because you know that by following those steps, you can achieve a video with similar quality. I don't mean to say that there were not resources or back jets in dated lets video, but you can see on the screen that it was recorded with a DSLR camera. They probably used a good lens, but what really stands out is a great cinematography and creativity. So that is the reason why we used this reference. You can see that the video Saltan is in a city. We use a lot of sunset and sunrise and even also shots with high millimeter lenses, keeping the camera in the tripod as much as possible. Remember that we used a Um lens, a photography lens that allowed us to reach 70 millimeters. On the other hand, references serve as an invaluable tool for communicating the creative vision to other team members. By sharing specific references during reproduction and production, it ensures that everyone is aligned with the project's vision and works toward a common goal. Additionally, references help establish a stylistic and narrative framework for the project by selecting references that reflect the desired static and emotional tone of the story. A consistent visual guide is provided for production. Look at the other example we used as inspiration the subjective representation of the story of the Adele's lover. In the video, if you can see, the boy is talking to the camera as if we were Adele ourselves remembering those moments. We see him talking while she's singing in the chorus. In the Salto angle Music Video we created this objective representation. The girl is speaking towards the camera as if it were a memory of the character. Singing references can assist in planning and executing every aspect of the project, from location selection to storyboard creation, and art direction. By carefully studying references, creatives can identify specific techniques and approaches that can be effectively applied to their own work. Let's look at this, another example, this last sequence of this Robbie Williams video, Angels. Here we see a low angle shot that surrounds the two characters while they are kissing at the end of the video. So this was the reference to create the last sequence of the Saltan video. It's quite similar with the buildings behind surrounding the characters, but what I mean is that you are supposed to transfer the references to another context because although this video is a love story, it tells another story. So the reference doesn't look like a copy but rather like an inspiration. Now that we understand the importance of references, it's crucial to know how to use them effectively. First of all, thorough research, take the time to research and gather a wide variety of references that are relevant to your project. Explore films, photograph paintings, and any other media that may inspire you. Don't limit yourself to a single genre of style. Keep open mind and seek inspiration from diverse sources. Additionally, study each reference carefully. Paying attention to elements such image composition, lighting, color, and framing. Consider how these elements contribute to the tone and atmosphere of the reference and how they can be applied to your own work. Prioritize quality over quantity, and choose reference that truly resonate with you in your team. On the other hand, there is something important to mention. The references can also be conceptual, not necessarily static. For example, the conceptual inspiration of the video, Noi Mucha Tiempo, was these videos of Michael Jackson. They don't really care about us in Earth Sun. In this video, the character is shown making a social complaint, complaining about something through the sun and something we can see in a certain way in the music video while the main character sings. So even though the videos don't look alike, the conceptual origin is the same. So we can use this as an inspiration, as a reference point to create a guide for your work. In conclusion, having good references is essential for the success of any other Visio project. References, inspire creativity, establish a stylistic framework, facilitate communication, assists in planning and execution, and ensure visual coarence. By using references effectively, creatives can elevate their work to the next level and create Adi Visio works that are visually impactful, narratively, cohesive, and emotionally powerful until the next on. 14. Film Director Decisions to take into account for editing and post production Stock Video Strategy: Hello everyone. In this lesson, we are going to delve into how the decisions we make doing shooting can significantly impact the editing process and ultimately the quality of our field. When Un said, it's crucial not to confine ourselves to just one type of shot. We should aim to capture a wide variety of shots that allow us to visually tell our story in engaging in dynamic manner. This involves exploring different angles, focal length, and compositions to provide the editor with a range of options to work with in editing. For example, we can use a wide shot to establish the setting and context. Then the close ups to reveal emotions in details. And meeting shots to show character interaction. Each type of shot offers a new perspective and helps build a visually reach an immersive narrative. For instance, here we have two examples of what I'm trying to teach you. This is the same scene shot with different point of view. This allows me to meet two great things. On one hand, having two versions of the same actor's performance. I mean, although it's similar, there are nuances and small actions that are different. For example, in one of the shots, the character crouches completely on the beach and you can see the waves in his hands up close, and since the camera is closed, we see more his face at that moment. On the other hand, having two versions of the same performance allows me to take cuts to remove parts that I don't like from that performance. And that is really useful and even substantial improves the actor's performance. Additionally, having two versions of the same scene, especially in this way, that is a close up version in another, for more or less panoramic, allows me to later play in the editing so as not to lose position that the character has with respect to the space that surrounds him. You know, because seeing the beach immensity right at that moment seems to be important too. On the other hand, flexibility and set allows us to adapt to unexpected changes and size new creative opportunities as they arise. This means being open to experimenting with different approaches, even if it means deviating slightly from the original plan. If a new creative idea emerges during filming, let's not hesitate to try it out and see how it works. Sometimes the best ideas come in the moment. By being willing to experiment, we can discover exciting new ways to tell our story and enrich the visual quality of our field. For example, here in this scene, you can see that the pilot walks few steps, a croaches for a moment and then realizes that the jet is approaching. That is the original story, but during the shooting, the director of photography proposed that the pilot, before realizing that the jet was coming towards him, turned to see other planes, other jets passing around him. Although in the end I didn't use that action. It gave me a possibility to even change the actions units. That is the progress of actions in this scene. There you can see how the pilot turned to his left side before realizing the other jet was coming right in front. On the other hand, in the same way as the previous example here also used two different points of view of the same action. That was not only to have more possibilities at the time of editing, but also that in one of the point of view includes space when working with the stock images to be integrated into our montage. It's crucial to consider certain aspects during shooting to ensure visual and narrative currence in our final cut. First and foremost, we should dedicate time to pre visualize and select the stock images we want to incorporate into our project. This allows us to have a clear idea of how we want to use these images in relation to the scenes shot on set. This is stock, this is one of the plates forms I used to find those stock videos. The stock footage, it's very simple to use. You only have to select which is the format and the file nature. On this browser, you're going to type the name of the nature, you're going to describe your image. For example, here, the nuclear bomb and the search engine is going to provide you with several and hundreds of samples, hundreds of videos that you are able to use. If I type here Manhattan, then the search engine is going to display all the possible videos you are able to use. In this case, a large amount of them are drone videos, but you have taken into account when purchasing these rights. You have the right to use the videos as you want, but you don't have exclusivity over them. That is, other people could use them in their work as they have paid for. Once you choose the video that seems appropriate to you, you can download a preview right here and try it in your montage to see if it's perfect or not. That is why planning for this is important. Additionally, it helps us to determine if the production strategy we are applying can be successful or not. For instance, in the music video and salt as the editing strategy was designed in advance before recording for shooting. In the case of the skyscraper scenes, we knew we could film in that bel, we had to find drone images portraying a city location near the skyscraper. I know that you may wonder why not use directly a video of the skyscraper representing the building where the singer is singing. Actually, we used some reference images of the city, on the buildings, for example. As it was actually done however, we couldn't use a single skyscraper that represented where the singer is supposed to be. For the simple reason that it was supposed to see the singer, or at least his silhouette in a certain part of the skyscraper, at least from afar, for everything to look convincing. But that was not possible. Under those conditions, it was necessary to create a kind of editing in which the reference points of the space were used to unit the drawn shots with the shots of the skyscraper. In this case, we use the Empire State as a reference point. If the Empire State was seen from the camera shots showing the same building in the drawn images would complement the sensation of the space in the location. This is an excellent strategy for using drawn images in city locations. Furthermore, it is essential to select stock images that align with the visual style and overall atmosphere of the film. Let's keep an open mind during shooting and be willing to adjust our direction based on the stock images we select invites the versa. We could leverage and expect the fins and the shooting that happened in the shooting to turn them into truly attractive scenes. In the montage, for instance, in the other scene, we turn the gesture that the girl had when she was getting out of the car into a possibility. From that tester, we added a stock video as if she were seeing that at the end of that street, that image of the subway passing by. And this adds a better sense of space to the moment. The communication with the editing team is also important. Maintaining open and constant communication with our editing team to discuss how we plan to use the stock images in the film and how we can direct the scenes and set to facilitate their integration into the montage. That will help ensure that our directing decisions during film and support the editing process and contribute to the visual and narrative collation of the final film. On the other hand, remember that maintaining visual continuity throughout filming is essential to ensure that our sins blend smoothly in the final edit in the final cut. That means paying attention to details like the position of the objects on set lighting and composition in each shot. For example, if in one shot a character has a cap in hand, let's make sure they have it in the next shot to maintain consistency. Also, let's maintain a consistent color palette and visual aesthetic that reinforces the atmosphere and tone of the film. By considering this aspect, when directing a sensunset, we can create a solid foundation to effectively integrate stock images into our montage and enrich the visual experience of a film. Try to put all this into practice until the next lesson. 15. The Pitch: Hello everyone. In this lesson, we will delve into the fascinating world of pitching in the audiovisual industry. The pitch, far from being a mere presentation, is the art of selling our cinematic vision with passion and persuasion. Throughout this lesson, we will unravel what a pitch entails and what is essential in how you can craft one that leaves an indevelop mark on your listeners. But what is a pitch? A pitch is not simply an exposition of your audio visual project. It is a unique opportunity to captivate your audience and convince them of the greatness of your vision. It's a persuasive presentation designed to sell your product to potential investors, producers, directors, or distributors. In other words, it's your moment to shine and ignite your audience's enthusiasm for your project. Now let's break down one by one, what are the essential elements that a beach must have? First of all, the central concept. The central concept is the heartbeat of your cinematic project. Is the very essence of your story, encapsulated in a brief, yet powerful statement that arouses curiosity and interest in your audience. When crafting the central concept of your page, you should focus on conveying the fundamental premise of your film, credly visible, consistently, and attractively. Of course, to develop an effective central concept is crucial to identify the main theme in the unique premise that defines your story. What is the emotional core of? By answering these questions, you can articulate the central concept of your pitch in a way that resonates deeply with your audience, motivates them to want to know more. For example, imagine that you are developing a pitch for your film about a John Street artists struggle to find their voice at mist urban adversity. For example, the central concept of your pitch could be something like nemative exploration of creativity and resonance in the forgotten corners of the city where emerging talent struggle to find their voice. And amid the shadows and graffiti of the urban world. For example, in this brief statement, you have captured the emotional and thematic sense of your film. Inviting your audience to immerse themselves in the protagonist journey and discover the beauty and power of the art. Remember, the central concept of your pitch is your opportunity to make your story shine and stand out from the crowd. So make sure it is clear, convincing, and exciting. Another tip could be to use the story tack line, which could work perfectly. Remember, if you want to know more about the tack line and other writing elements and topics, you can go to my course Art Filmmaking, which is available on this platform. Also, another important element is the target audience. The target audience is the demographic group. Your cinematic project aim set, and whose attention you want to capture is essential to understand who your film is aimed at. Why is it relevant to that specific audience? But when describing your target audience, you should identify the demographic, psychographic, and behavioral characteristics to adapt your pitch effectively. For example, if you are developing a pitch for a film aimed at teenagers or young adults interstt in music and Europan culture, your target audience could be young people aged 18 to 25. For example, passionate about music, street art, and creative expressions, they seek authentic and exciting stories that reflects their life experience and values. So by describing your target audience, clearly make sure to highlight why your film is relevant and exciting for them. What aspect of your story will resonate with their interests, values, and life experiences? By answering these questions, you can tailor your pitch to more effectively connect with your target audience. In persuading that your project is something they cannot miss, the following element is the narrative structure. The narrative structure is the skeleton of your story. Organizing and shaping events that occur throughout your field. It's essential to summarize the main plot characters, arts and potential resolution consistently, but excitingly during your pitch. An effective narrative structure, for example, can follow the classic three act scheme, Introduction, Development, and Conclusion. In the introduction, the stage is set and the main characters in the centrum conflict are introduced in the development. The conflict intensifies and the characters face increasing challenges. Finally, in the conclusion, the conflict is resolved, providing an emotionally resonant conclusion to the story. For example, if you are developing a pitch for a film about doing street artists struggle to find their voice. Your narrative structure could be, for example, the introduction presentation of their protagonists and their urban environment. As well as the central conflict they face in trying to express themselves through the art. The following the development, the protagonist faces obstacles and challenges while striving to find their artistic identity. And the conclusion, the protagonist overcomes the doubts and fears, finding their unique voice and leaving an indelible mark on the world of the street art. When describing the narrative structure of your film during your pitch, be sure to highlight the key elements of the plot in how the story unfolds for the film. This will help your audience visualize the film's narrative and understand its emotional and cinematic potential. That is very important. The following element is visual elements and style. Describe the visual and aesthetic style of your project in a great detail. How will your film look on screen? What visual elements will make it unique and marvel? It's crucial to paint a vivid picture of your project's visual aesthetic and highlight the aspects that will set it apart from the competition. I will give you an example as if I were picturing the music video no much. In this music video project, we embark on a visual journey through the desert in the mind of a deserted pilot. We will use a variety of visual elements to capture the intensity and emotion of this unique story. Starting with visual compositions, we want to create images that are not only visually stunning, but also emotionally evocative. We will use dynamic camera angles and evocative framing to immerse viewers in the action and tension of the narrative. As for visual effects, we are committed to accurately creating key moments from area combat scenes to the pilots desperate escape for the ser. We will use special effects to bring the action to life and make each moment as realistic as possible. But this is not just about action and special effects. We will also use visual symbolism to deepen the narrative and convey deeper themes. Desert images will represent the pilots loneliness and inner struggle, while war images will symbolize the external conflict in. And finally, we come to the final scene, a moment that will leave a lasting impression on our viewers. With a stunning visual effects, striking visual composition, we will convey the destructive power of the nuclear bomb and emotional impact of the pilot's decision. This scene will not only be visually striking, but also emotionally powerful. In summary, the visual elements of this music video are essential to create an unforgettable cinematic experience from visual composition to special effects In visual symbolism, each element is designed to transport viewers to a world of action, emotion, and drama. So we hope you enjoy the visual journey as much as we enjoy creating it. The following key element is the market potential. You must demonstrate that you understand the market you are entering and have a solemn plan to succeed in it. Provide comprehensive information about your potential target market distribution strategies and competition in the current market. Your goal is to show that you are prepared to face the challenges of the market and size the opportunities that arise. For example, let's imagine that I'm talking about the potential market of the music video, No, mucha timo. Our project has a broad market potential as it addresses universal and appealing themes that resonate with a wide range of viewers, from music and film lovers to those interested in history and visual narrative. Our music video has something for everyone. One of the key target markets for our project is music video enthusiasts. With music as an integral part of our narrative, we are confident in capturing the attention of those seeking exciting and simulating at the visual experiences. Additionally, our focus in visual narrative, in high quality cinematography, allows us to reach a broader market of film in visual media enthusiasts. Those looking for an immersive and exciting cinematic experience will find much to enjoy in our project. In terms of distribution, we'll plan to leverage a variety of platforms in channels to reach our target holdings from online streaming platforms to film festivals and social media channels. We intend to maximize our visibility and reach. Addition, we are exploring collaboration opportunities with brands and sponsors that share our values and create vision. So these partnerships can provide greater exposure and financial support for our project, helping us reach our full potential. So in conclusion, our music video project has a broad market potential and is well positionated to capture the attention of a wide audience. With a focus on music, visual narrative, and strategic distribution. We are confident that we can achieve success and leave a lasting impression of entertainment world. That would be a kind of speech, you know. On the other hand, it's important to also talk about the creative team. When introducing the creative team behind your music video project or any project, it's important to highlight each member's skill and experience clearly and convincingly. Here are some guidelines on how to do this introduction of the director and creative role. Start by introducing the project's director and highlight their unique visioning experience in directing your project. Describe how their creativity has shaped every aspect of the project and how their leadership will guide the team to success. The following is the description of the production team. Then introduce the production team, including an executive producer and other key members, highlight their experience in coordinating large scale projects in their commitment to excellence in execution. Mention for example, any notable achievements for previous projects that demonstrate their ability to handle similar projects successfully. The following step is highlighting the cinematography team introduce the cinematography team led by the director of photography describe their ability to create visually stunning images. For example, in the mastery of cinematographic technique, try to mention any words or recognition they had received for the previous work to support their experience and skills. Finally, introduce the editing and post production team, including the lead editor, highlight their ability to bring the director's vision to life in the editing room and their experience in telling stories excitingly through editing and post production. If you have previous work you can mention this can also strengthen their presentation by presenting the creative theme of your project in this way and persuasively convey their talent and experience, which will help build trust with the audience and potential investors or collaborators. Developing an effective pitch involves practice, meticulous preparation and adaptability. It's essential to master the presentation of your project clearly and convincingly. Highlighting the most attractive aspects of your story from the central concept to the market potential. Practicing in front of different audience will help you to refine your presentation and adapt it to the specific needs and expectations of each listener. And finally, you must ensure that your patience for the project shines through every word and gesture during the presentation. Which will create a greater impact and leave a lasting impression on your audience until the next lesson. 16. Filmmaking and Video Production Ending: Hello everyone. We have reached the end of this course. I hope you have enjoyed it a lot. Very much. Remember that in the next volume, volume two, we will see step by step, how all the materials filmed in this volume one was edited. It's a very interesting course because you will be able to do it with me. On the other hand, if you want to delve deeper into the topic of filmmaking, you can go to my other course, Arts of Filmmaking available on this platform. On the other hand, I wanted to ask you something important. If you had made it to the end of this course and you liked it, you should know that it was made with a lot of efforts for you to try to share the best with you. I would love to continue making a course for each of my productions. I really would love that, but it depends on you. There are other courses on this platform. And for me to continue doing this, my course must be highly valued if you think my course is good. And as I mentioned, you would love to see other courses on other productions. For example, one in an indoor space, et cetera. I need a very good review, but it all depends on you. You are the ones who mas rate my course. Thank you very much for getting this far and I love you a lot until the next time.