Indie Filmmaking: Transform Your Idea Into a Movie | Olaf De Fleur | Skillshare
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Indie Filmmaking: Transform Your Idea Into a Movie

teacher avatar Olaf De Fleur, Filmmaker & Creative Coach

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Class Trailer

      2:02

    • 2.

      Class Project

      2:49

    • 3.

      Your Idea & My Example Film

      2:05

    • 4.

      Poster Tool

      3:10

    • 5.

      Theme

      2:09

    • 6.

      Fairy Tale Tool

      3:57

    • 7.

      Metaphors

      3:26

    • 8.

      Writing Your Idea

      6:49

    • 9.

      What Is A Film Moment?

      3:36

    • 10.

      Screenplay Format (optional)

      4:24

    • 11.

      Break | Program Interrupt

      0:28

    • 12.

      Shot List

      3:05

    • 13.

      Storyboard

      1:22

    • 14.

      Filming | Visual Style

      3:40

    • 15.

      Camera Angles

      5:23

    • 16.

      Film Directing Tips

      1:49

    • 17.

      Create A Film Proposal For Financiers

      2:10

    • 18.

      Producing Your Idea

      3:28

    • 19.

      Edit | Scene 1

      7:43

    • 20.

      Edit | Scene 2

      6:20

    • 21.

      Edit | Scene 3 & 4

      6:12

    • 22.

      Edit | Creating a Story

      5:14

    • 23.

      Sound

      10:26

    • 24.

      Color

      11:17

    • 25.

      Exporting Your Film

      1:24

    • 26.

      Edit Master & Export

      12:10

    • 27.

      Congratulations

      2:23

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About This Class

What is the best way to get an idea out of your head and into a video format?

In this film class, you will learn how to develop, write, produce, film and edit a short video out of your original idea. You can choose what kind of video you want to make:

  1. Film Scene (with or without dialogue)
  2. Film Sequence (experimental, atmospheric)
  3. Short Film (story)

ALL YOU NEED for this class is a camera, something to write on, and a computer to edit your film. 

If you want to understand, act. This class is interactive and hands-on.

Here are some of the things you'll learn in this class:

  • Extract your original idea into a video format
  • Experience hands-on complete film production cycle
  • How to develop your idea before you start writing or filming
  • Receive tips that can save you from unnecessary agony
  • Complete a video on a micro-budget
  • Enhance your visual storytelling ability

THE FOCUS of this class is the "Indie" in Indie Filmmaking. You'll learn how to do as much as possible on your own to prepare you for more significant projects in the future. We practice big by taking small steps.

EXAMPLE FILM I made an exclusive short example film for this class to provide you with on-the-go examples. I'll show you how to develop, write, film, produce, edit, and master the sound and color of your video.

This class is for anyone starting or who has done a couple of film projects; in either case, this class will help you get your idea into a video format. The concept is to demystify the filmmaking process, illuminate your creative strengths and help you identify areas of improvement as a visual storyteller.

YOUR TEACHER My name is Olaf, and I'm a dedicated filmmaker with a passion for teaching future visual storytellers. I have made film classes about making a short film, screenwriting, documentaries, and trailer editing. In this class, I dive even deeper than before into my toolbox of turning an idea into reality.

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TESTIMONIALS

  • "Olaf's experience and compassion is a unique resource for all who are open and ready" Giancarlo Esposito, actor, Breaking Bad
  • "Olaf's coaching helped me realize I was ready to write my first film. What for many years seemed daunting, became possible because of his expertise and warrior spirit." Suilma Rodriguez, actress
  • "Olaf's ability to see beyond the surface is like conjuring. I am forever grateful for his pragmatic, and expansive guidance." Jesse Megan Eidsness, CEO of Wild Love Apothecary
  • "I mentored Olaf and I'm happy he's spreading his wisdom" Dr. Jeff Spencer, The Cornerman Coach

Meet Your Teacher

Teacher Profile Image

Olaf De Fleur

Filmmaker & Creative Coach

Top Teacher

My name is Olaf de Fleur. I've made twelve feature films in my two-decades career as an indie filmmaker. I've worked with actors like Academy Nominee's Florence Pugh (Black Widow, Little Women) and Johnathan Price (Brazil), along with James Cosmo (Braveheart), Michael Imperioli (Sopranos), Giancarlo Esposito (Breaking Bad, Mandalorian).

I focus on teaching the building blocks, the fundamentals of visual storytelling. My passion is protecting and nurturing your competence by sharing my experience. For more FILM & WRITING resources, you can visit my website: www.defleurinc.com

I hail from a tiny town on the west coast of Iceland. Where I was taught manners by sheep and f... See full profile

Level: All Levels

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Transcripts

1. Class Trailer: What is the best way to extract an idea into a visual format? It has been my dream to make this class a film class that concentrates on extracting, transporting an original idea into a visual reality. My name is [inaudible]. I was born and raised in Iceland where volcanoes erupt and ponies stand by the road and just look you right in the eye. I've made 12 feature films in my two decade career as an Indie filmmaker. [BACKGROUND]. I've sold original concepts to studios, directed from Netflix and sold remake rights to my films. Throughout my 20 years of making films, the most challenging, the most important has been the art and the craft of really getting to know my idea before I start writing it or filming it. Getting an idea is easy. Getting it from here to here is. The emphasis of this film class is the do it yourself factor. We're going to learn how to do as much as we can on our own through transforming our idea into a film scene, a video sequence, or even a short film. I'll be sharing with you all my tips, tricks and secret so you can learn to extract and make a film out of your idea independently. Whether you're a beginner or you just started making films, either way, this class will help you deepen the art, the craft of visual storytelling. What you need for this class is a camera, pen or something to write on and a computer to edit your idea, and of course, a backpack to fit in all the creative tools that are coming your way. In this class, we'll start slow, small, and easy, because if you have an idea that has been waiting for you, let's meet up with it. See you in the first lesson. 2. Class Project: [MUSIC] Thank you for joining this class. In this section, I'm going to provide you with an overview of this film class and go over what you need specifically, let's start it. A simple way to explain this class is that you learn how to develop your idea in order for you to manifest it in a visual format for the world to see. I've done several film classes and in this class, the specific emphasis is the idea extraction, because that is an art form onto itself. In this class, you will be using a form of a pen, camera, and a computer to edit your material in order to make a video, and this video should be from one minute to three minutes in duration. It'll be up to you what video you want to make within 1-3 minutes. You can do a scene, sequence, or even a short film. The most important thing, is learning to communicate with ourselves, and bring our idea out to the world in a visual format. [MUSIC]. The technical requirements in this class is pen, paper, something to write on, a camera, and a computer to edit your material. The computer and the camera are a little bit of an afterthought, at least in the first half of the class. Because in the first half of the class we're going to be relying on the pen and the tools that I'm proposing. The main point here is that we are traveling into the irregularity of your imagination and it is about bringing something back. If you think about what we're doing in this class extracting an idea, let's say that your ideas like that and the tools and the pen will help you [NOISE] spread it out so you can use it, bring it to the real world. Use the camera and then the editing software to make some video out of it. In the first half of the class we'll focus on extracting your idea, providing you with a lot of lessons and tools. After that we'll move into practicality, how to organize, produce, direct, film, and edit and finish your idea. As you move through this class, I want to invite you to be open to sharing what you film. There is a simple law in the universe, the more we share, the more we help others to share, the more vulnerable we are, the more vulnerable and open the world becomes. If you have any questions about this class, you can post the question here in the discussion board or even contact me directly from my profile. Now that we have the formalities out of the way, let's start exploring your ideas. In the first lesson in the next video, we're going to be discussing just that, your idea. I'm not going to spoil it. See you in the first lesson. 3. Your Idea & My Example Film: [MUSIC] In this section, we're going to talk about your idea for this class. [MUSIC] What kind of an idea would you like to do for this class? The end result will be a scene, sequence, or a short film. But let's, at the moment, look only on the first steps of extracting your idea, of developing an idea, of getting your idea out of the cave, so to speak. Let's start with a couple of examples of framework references of what film or video you would like to do in this class. Maybe you can make a film or video about the corner shop in your neighborhood, a film about two people talking about a ghost, about a child, about an animal, a story that takes place in the future or the past. Maybe you want to make a film about hope or any kind of social issue that is important to you. The lesson in this class is to invite you to write down everything you know about your idea. We're just looking for keywords or something that comes to mind. To help you get started with this process of writing stuff down about your film, whatever you know about it, I'm going to share with you how I did my list for this first phase for the example film that I'm doing in this class about this statue here. [NOISE] At the moment, I don't know too much about my idea, but here are some of the keywords that came up when I wrote down everything that I knew about my idea. I got these words, statue, travel, silence, mystery, weather, people, thoughts. [LAUGHTER] Doesn't make much sense, but I know what the idea is, and when I write down, in this case, these keywords, it's the first step of making my idea more conscious. Take a little break here and write down everything you know about your idea in any way you want. [MUSIC] 4. Poster Tool: [MUSIC] Because we are focusing on bringing our idea into a visual format, now that you've written down a little bit about your idea, which is a very careful first step, in this lesson we're going to take another careful first step, but this time into the visual direction. Here we will be thinking in images and we'll start with a little tool I call the poster tool. [MUSIC] It works like this, you have an idea and you just going to write it down, not in the air though, but probably on paper or something and it might surprise you that you already have a little bit of an idea of the poster, even though you might not be far into your idea. [MUSIC] One of the ways to extract an idea is to think of it as a symbol. We can think about what images or symbols come to mind when we think of the idea, and when we do that, we make conscious what was not conscious before. The thought here is that every idea has something visual attached to it. The purpose of creating a poster before you actually start writing the idea is to discover the iconic metaphor or symbol that is attached to it. So if we imagine that your idea lives in a cave, then this exercise is almost like trying to figure out, what symbols are on the cave walls? It can be hard sometimes to see them because of the interaction between lights and shadows, so you've got to squint your eyes a little bit and draw it out. This exercise is all about making our idea more clear to us, make it more conscious. Then the more we work on it, then little by little we start to suspect that maybe the idea was there all along and we just got to play with it and stay with it. Let's look at an example of how this tool might work, I'm going to share with you an exercise I did for the example film I'm doing for this class. The poster tool basically means just drawing out the poster for the idea as you have it. Right now, this exercise works on many levels, as you'll discover later in this class. For example, later when we're going to discuss theme, you'll notice that your theme is already hiding in the preliminary poster you're going to do in this exercise. But I don't want to tell you too much yet because it's important that you discover the power of all the tools in the class for yourself. As soon as they ask the question, you might already have the poster in mind, but you might also think, I don't know how my poster looks like. If you don't know how your poster looks like at the moment, then I have good news because your hands know how the poster looks like, so use your hands. In baby words, the task in this lesson is to make a poor version of your poster. We want to do this exercise quickly and almost run through it, so we want to be quick here, just draw the poster and see what happens. [NOISE] 5. Theme: [MUSIC] In this lesson, we're going to discuss theme and provide you with tools where you can identify and develop your theme for your film. Theme is one of the most underrated, also one of the most complicated elements or story tools that I work with. [MUSIC] A theme in the story ties to your values and what you believe in life. The deeper you connect with a theme, the more you will be able to tell your story and the more passionate you will be about it. Knowing the theme is knowing the value what the story represents for you. That means, when you make the film, you will never get tired and always be passionate about your story because theme connects you to yourself. Theme always comes in the form of a question. A theme can be light will conquer darkness, or putting it in a form of a question. What can happen if light doesn't conquer darkness? [MUSIC] The angle of working with a theme is trying to find the question in it, the past. Turning that into a question could sound like, why can't we learn from our past mistakes? As we develop that question, that theme even further in this example into an even better question. What is the cost in the present time of not learning from past mistakes? Another example could be, let's take adventure. What quality do we need to see the adventure in everyday life? That could be a theme. Now we turn that concept of adventure into a question. Just like that, we want to start to think generally, very broadly about a theme. It could be retention, it could be innocence, it could be adventure. Then we take that concept and we polish it, and polish it, and think about, and think about it while we work on our film with the end goal in mind of turning it slowly into a question. [MUSIC] [NOISE] 6. Fairy Tale Tool: In this section, I'm going to share with you one of the fundamental story tools that I love using, and that is the fairy tale tool. The fairy tale tool works like this. We want to be able to tell our story to a child. It has to be understandable for a child or a golden retriever for that matter. I know that you won't reach this clarity immediately, but it's good to keep in mind regardless of what format you're doing that all stories, sayings or even sequences start with once upon a time. We can start with, once upon a time, there was pa-pa-parum, and then one day, pa-pa-param, and it turned out that pa-pa-parum, and maybe the hero or whatever we're discussing might not survive, and then we present the question, will they be able to face this great challenge? [MUSIC] Because the aim here is to explain your stories so clearly there a child will understand it. Be mindful of seeing through the child's eyes and ears as you tell your story. For example, a child doesn't really grasp a heavy backstory or names of characters. So instead of using a character's name, say maybe an old person, a young person, or something like that, in order for the child to easily imagine the character. So let's take one example. In regular description, so to speak, let's say, Adam was stuck in a dead-end job, but really wanted to spend his time writing poems, and now if we switch that into the fairy tale tool, once upon a time, a young man was working in a boring gray building. Even though his job was boring and gray like the building he worked in, he dreamt of writing about the colors inside his heart. [MUSIC] Here is the fairy tale tool. This is, of course, somewhat oversimplified, [LAUGHTER] but it all starts there. We're going to start with, of course, once upon a time, and after once upon a time, we introduce the main character who is the story about, and we introduce their normal life, life as it is. From there, we go to then one day, and when we do that, we reverse what used to be here, normal life, put it upside down. When we do that, we introduce a threat and danger, so we can think, for example, about Lion King, we know how the normal life wars in Lion King, there's a little lion that is destined to be king. The normal life is reversed when there is a betrayal, and the betrayal is committed by threat or danger. In Lion King's example, when you have a, I'm not going to spoil it even though probably all of you have seen it. Let me introduce the threat and danger where we are, of course, putting the main character in danger. From there, we go into resolution, and after we put the main character in danger, we want to increase the danger. This we can see in many fairy tales, everything from HC Anderson, and Charles Dickens, and the Grimms brothers, and so on and so forth. So after we really believe that the hero is in big danger and doesn't have a chance, then we can resolve the danger with the main character finding the solution. [NOISE] 7. Metaphors: In this section, I'm going to share with you one of the most powerful techniques I use to extract ideas and that is using metaphors. First, I want to say that the process of getting an idea out of your mind that into the real-world is unique to you. Anything I say here or after is a suggestion. What is the process I follow when I'm getting an idea out of my mind and into the real world? The process is of course not linear because an idea doesn't really come to us and conveys itself from left to right, from A to B. There is a seemingly high degree of randomness to it. I'm sure you've all experienced that. It is in that phase where I do my best, to try to not control the idea and try to step to the side. One of my favorite things when trying to get an idea out of my mind is to work with metaphors. I use metaphors to try and help myself understand the idea that wants to come out. For example, let's make a metaphor about using metaphors. If I imagine that my mind is a river, and the idea of fishing net. Using metaphors is like using a fishing tool to get the idea out. Another example that I sometimes use for myself is to use the metaphor of the cave. In this metaphor, I imagine that my idea resides in a cave. I even imagine that the idea is shy and vulnerable, and afraid to come out. Then I develop that metaphor even further. What if my idea needs to stay in the cave for a certain amount of time because it's not ready to be exposed by the sun outside? Playing with metaphor my job is to stay outside the cave and just wait and be available when it comes out. Another example I use is an idea coming to me like collecting drops of morning due, that metaphor helps me be patient, drop by drop, the idea will slowly grow into a lake. What is required in all metaphor is my presence. I have to wait by the river, by the cave, or by the morning dues. A way to do that is to stay there, and almost waste time in the vicinity of the idea. It doesn't mean I have to think about the idea all the time because that might scare it away. But I do try to be close by in case it calls me. This is an example of my metaphors. It is very important that you create your own metaphors. We want to start training ourselves a little bit. What metaphor would you like to create when it comes to extracting ideas? 8. Writing Your Idea: [MUSIC] In this lesson, we're going to write the script for your idea. In this class, we are focusing on making a contained version of bringing our idea out to the real-world. That doesn't mean that your idea is contained or small, but in order to manage thicker projects in the future, we need to learn to master the very details of a contained area of your idea as much as possible. A big part of that is writing the script. In this specific lesson, I'm going to give you some options on how you can approach writing your idea for this class. But before we do that, let's jump into my car here in Reykjavik, drive around, and discuss this lesson. When we're writing the script for this little idea that we're doing in this class, the most important thing is clarity. It is not the screenplay format that we're practicing here because there are plenty of classes out there, including mine. In this one, it is all about clarity. For example, we have been developing our idea throughout this class and all kinds of discussions, mostly metaphorical and visual. We've done some texts work. At this stage, I'm going to sharpen the focus a little bit. In this section, we're going to explore writing our idea down with the point of clarity. That is, is it understandable to us? Is it understandable to others? We have to be a little bit careful in this section not to overdo it in terms of perfectionism. We want to work it as far as we can without strangling the creativity of it. [MUSIC] Let's go over some of the options I want to offer you to use for this class. Option 1, no script. If you want to just jump out and film your idea, do it. The point here is to only leave behind a proof that you have taken an original idea out of your head, and transformed it into a visual video format. For this particular class, it is okay to simply skip this session and just go right into filming your idea if you want to. However, if you want to write the script for your idea, let me give you more options. Option 2, bullet points. For this method, you're just doing a little personal script. It is jot out some notes, stuff you want to remember before you do your film. This is more like a personal script, so you can throw everything you want to remember and simply do a rough version, almost like a notepad for yourself before you film, your idea. Option 3, one-page. Here we're stepping it up a little bit. We usually write one page about your idea. If you decide to pick this option, we want to have this page readable [LAUGHTER] to others, to strangers so they can understand your idea completely in one page. If we pick this option, we need to make it understandable, clear, and coherent. Then there's of course, option 4, writing the script in a screenplay format. After this lesson, I'm going to share with you how you write in a screenplay format. Right now I'm going to show you some examples using my idea going through these options. Of course, option 1, we're not showing a lot there because then you will be skipping the script. But let's look at option 2, which is the rough draft. My film is about a statue that can magically travel. Let me see if it was just my personal script that I will just say, statue, travel. I would say statue in one, plays inside, and another place inside. This is just my note version of a script. The bullet points, statue by window graphs. Snow outside, statue outside, film in car, film in snow, inside have darkness, use candle, and so on and so forth. This would be my rough draft version. Now let's continue here with the bullet points. That's option 2, let's move into option 3, which is the one-page. This could be my one-page here. I'm doing a one-page I would think, would usually do, I will split up the one page into three outs. Know know what my ideas about. It's about a statue inside. Statue starts moving around inside, until statue moves outside. First you want to stay inside, something like that. This would be act 1, I will just present the statue to make it mysterious. Suddenly it's moving around inside and then going to act 3. Then I will just spend some time on mastering this one page. But it's nice to use the helper wheel of these three Act, too attempt both through the one-page. Here we go. This was the one-page. Now let's move into method number 4, which is screenplay format. Just after this lesson, I'm going to have a quick class course and writing a screenplay format just if you want to view the site to explore this particular method for your idea, the screenplay format as you will learn in the next lesson. If you don't already know, we will start inside. Then I discontinue here, then I'll move to the next scene, when he statue is suddenly in a day, and so on and so forth. Again, in the next lesson, you're going to get a class course in writing in the screenplay format if you want to practice that, here we go. 9. What Is A Film Moment?: In this lesson, we're going to zoom into and understand what a film moment is made out of. What is a moment in a film? A film beat. It is a moment that we need to transport to the audience and make sure that the audience understands that moment. In order for the audience to receive a film moment, we need to take a moment and dissect it into three parts. A film moment is just like any moment that you notice around human life. One of the key tools that I've used is to think of a, every moment in a film in three parts. Just like any film is three acts. Any story for the matter actually is three acts. The same goes for a film moment. A quick example from daily life of a film moment could be, if you want to sip of water from a friend, you see that your friend has water. Then you ask or please if you can have a sip and then hopefully your friend hands you the water. Even if the friend doesn't hand you the water, then still. That's the third act three. Steps three, act three to rule them all. Let's look at another example. Let's say that we're writing a script where someone is raking leaves. So how do we convey this moment? How do we make a film moment out of someone raking leaves? So we need to dissect it into three parts. The order of these three shots is up to you, for example. The first shot could be a close up of someone raking leaves, like the close up of the actual raking. The second shot could be that we reveal who is raking the leaves. In the third moment, we could see where the leaves are being Ken, which is probably not the right English, but I'm saying it anyway. This was an example of film moment. When you write your script, think about what you want to say, make it as clear as possible to you. And then split what you want to say into three parts. 123, This is for a film moment. If you look at my face, my face, I'm going to have three subtle changes like an actor would do it. I'm going to start here Three. Yeah. It's crucial to understand that a film moment isn't necessarily composed of three different shots or camera set ups. It consists of three distinct story beats. This could be captured in a single shot focused on a character's face held steady on a tripod. The key is to linger on the face long enough to capture three subtle shifts in emotion or thought. For instance, the character's eyes might first reveal contemplation, then shift to indicate a troubling thought, and finally resolve with a decision on what action to take. 10. Screenplay Format (optional): For those who want to write a professional screenplay out of their original idea for this class, let's get familiar with the screenplay format. This is a crash course in screenplay format. We're going to start with a scene header when and where does the scene take place. Then we're going to go into characters, how we present them. What is uppercase? How do we say their age? How is dialogue? Format it and structure it. We're also going to talk about the fancy little brackets that we can use all along the screenplay in parenthesis and descriptions of screen dialogue and voice-over. We're going to wrap it up with the use of transitions. [MUSIC] First things first, let's start with the scene header. In scene header, we tell the audience if the scene is inside or outside, INT or EXT, then we say the name of the location where the scene take place, and then we tell the audience what time of day it is. This is a several practicalities like in terms of production, it is good for the production to know when and where the scene take place. When we introduce a character, we say their name and usually it's up to you as a little bit of style issue is nice to put their name in all caps in the beginning and then their age in brackets afterwards. As you probably know and we'll see in any screenwriting software, is that the characters are automatically centered in the middle with the dialogue. It is also good to keep in mind that every line that you write, it can be very helpful to think of it as a one shot. Right here we can see how one shot is a one line or paragraph, and this is the action section of the screenplay where we describe what is happening in the scene. Some of the little things around doing a screenplay are [LAUGHTER] in these nifty brackets spread around the screenplay. Let's talk about some of them. Just after the character's name, before they speak, we can put in what is called the parenthesis, which is a little bit like an afterthought or explanation so we can put in tone of voice and stuff like that. We just have to use it sparingly. Next stop in these fancy brackets section, is the OS after character's name, which is off-screen. When something is off-screen, it is happening in the scene. For example, somebody is walking and somebody yells, "Hey, come here." That is off-screen because it is in the scene, but they're not in the frame. Off-screen can also be used as, for example, there's a scene that took place a long time ago. We can also be listening to that scene. This is not to be confused with voice-over or V0. That is something we put in where the character is talking to the audience like, "I'll always remember, blah, blah, blah, blah." Keep in mind not to confuse these two: off-screen is one thing and voice-over is another. Let's go into transitions. It is very practical to put in, cut to, like you're in one scene, you write the scene and then you write cut to and then you're in the next scene. This is also a little bit of a style thing, you can choose if you use this or not. [MUSIC] 11. Break | Program Interrupt: We interrupt our regular program and we just want to look at some otters for a few seconds. [MUSIC] All right, so back to school. [MUSIC] 12. Shot List: In this lesson, we're going to create a shot list for your idea and discuss how it can help you. [MUSIC] In this next stage, it's all about creating a shot list. Now, we are always thinking the same thing, which is, we want to work our idea up to a certain degree and we always want to leave out a little bit of X factor or a creativity space. Again, we don't want to strangle the idea too much or make it too detailed. When we're working in the shot list, we are putting all the shots that come to mind. Some of them will stick, and some of them will develop to the next phase. Sometimes when I think about this, I always keep the same metaphor, which is the toothpaste metaphor. You have a toothpaste, you forget to put the cap on the toothpaste and it stifles at the top. Next time you brush your teeth, you got to squeeze it and get the stifle toothpaste out of there to get fresh toothpaste. The same goes when we're writing the script and when we are creating a shot list for our idea. It isn't so much about finding the perfect shot, it is more about working it, just work by work. That way we're getting the old toothpaste out and we get fresh ideas. Let's move away from toothpaste metaphors and jump into a little example. Here is an example of a shot list that I've made from my film. For example, in my first scene, I have the statue that is in darkness, so my shot list might be white shot of the statue, close-up of the statue, shot from above, shots from the side. You can notice that all I'm doing here is that I've created a little gravity poll here, or rather, I'm thinking about my anchor statue. Let's use another metaphor because I love metaphors. Let's call this statue a planet Earth and when we know our planet are anchored, it is so easy to orbit around and it's very important to differentiate the angles. For my particular scene here, I'm just going to suffice with three angles. This was my tiny example of a shot list and then I create this shortlist for the rest of my film and then when I film it, I might change my mind and I might update it somewhat but it's very important to run this first round of making a shot list. It's almost like imagining something so it can grow and evolve. Take a little break here and do your version of your shot list, and in the next lesson, we're going to add to it a little bit another possibility of using storyboards to enhance from your shortlist. [NOISE] 13. Storyboard: In this lesson, we're going to discuss how storyboarding your idea can help you prepare for your film. Great, we're now on your favorite topic, I'm sure, storyboarding. [LAUGHTER] Usually, myself included, when I talk about storyboarding, the first reaction is, I don't know how to draw. You also know what I'm about to say next, but I'm going to say it anyway, which is, do it anyway. The storyboarding is similar to making a shortlist. It's not about getting it perfect. It is about working it. It is almost like the attention we give to an idea, which is a form of alive. This attention becomes like a sunshine on our idea, we work it and the idea just starts growing. Our attention is not only sunlight, but it's also water and nutrition for the idea. Again, not about perfection, is just about staying with the idea and dealing with it, and then incrementally it's going to take its own form. 14. Filming | Visual Style: [MUSIC] In this lesson, we're going to talk about the importance of visual consistency and the importance of picking a visual style before you make your film. [MUSIC] In the end, your idea has very little to do with your equipment, what we are practicing here is that in the future, if ever you find yourself without the resources, without the high-end equipment, we want to, in the end, be able to create a film just by having particularly fine camera and some discipline with camera angles to be able to create a story out of anything. When we are making a film, the visual consistency is usually more important than the actual quality or individual beautiful frames. The consistency of the camera style, let's say it's handheld all the way through, tripod all the way through, and so on and so forth. That having the consistency is going to invite the audience to trust us as a storyteller. What we want to avoid too much is using maybe time-lapse, then drone and stock footage, then some phone footage, then some crane or you say. Let me share with you when I made my first short film. [MUSIC] I'm going to take you back to the year 1999 when I made my first decent short film, where I stumbled upon this nifty concept of visual consistency. By some fortune I realized that in order to fake my quality [LAUGHTER] or ability in filmmaking, it was to keep the camera as still and anchored as possible. So the camera in this film is mostly on tripod, I have one dolly shot, and then a couple of handheld shots. But all of the movements in the film are very minimal, slow, and heavy, and create together to this level of consistency. [MUSIC] 15. Camera Angles: [MUSIC] In this lesson, you'll be doing a mini film sequence to practice using camera angles to create a story within a moment. Holding a camera and recording is of course easy. However, what is very often missing is how to or where to point the camera in each shot in order to be able to structure and build a story out of our shots. Before we dive into this lesson, I want to mention that if you would be holding on camera right now and I would be asking you to go out and film something. It is very likely that you would able to do it perfectly. What I'm proposing in this lesson is to increase your awareness of how to use the camera angles consciously. This will not only help you be more efficient when you make your film, but it's also going to make your process more enjoyable. To help you with this lesson, I have also created my version of this exercise, and let's look at that example right now in order to help you with your version of using camera angles to tell a story. [MUSIC] Right now let's go over some of the basics you need to keep in mind before you do your version of the exercise of using or keeping in mind camera angles to create a story in a moment. This will be very helpful when you go into the editing phase. Because our imagination is so vast, wide, and beautiful to tame it and contain it. It really is key to create a set of measurable restrictions or parameters. The following are the set of parameters for this lesson. Regardless of what type of camera you have. One rule of thumb I have for myself is to think like I always have a very heavy camera. For example, if I'm using my phone to record video, I imagine that it's this huge heavy camera, and that way I never sway it around carelessly. The aim here is to have little or no movement in each shot. For each shot that you'll be filming, starting with the pushing the record button and ending it. We want the duration of each shot to be just about 10 seconds. As you hold the camera, look at the timer in the camera. Keep the camera still for these 10 seconds while you film each shot. For this lesson, we want to film about 5-10 shots of our subject. In my case, my subject was my nephew. To use a metaphor, when you pick a subject. Think of it like an anchor or even a planet that you will be orbiting around to film your subject from different angles. You can create an overview or maybe a bird view of your map. Here, you can see the area that I'm working in. [LAUGHTER] I have created an anchor or a subject. My nephew was in the car. Just to keep in mind, I'm just going to show you here quick 90 degree thinking. So anything that is 90 degrees in a camera angle will edit pretty well. And this is a fundamental tool. Right now here we're going to move into my scene. Here is my car, my nephew was in the car, and here are the horses. I'm placing myself in one spot and I'm staying in this spot holding the camera, and I'm looking at my subject then I noticed that my nephew was looking at horses in the Icelandic countryside. Without moving too much, I pointed the camera towards what he was looking at, and then I moved my camera back at him and created a video that only takes place in this spot. So I'm just holding the line, not breaking the lines. So if I jump over the line, then I need to stay there. If I want to edit the relationship, my nephew is the subject, he is the anchor, and then what he is looking at creates a relationship. When I have a relationship, I stay on one side side the line. This exercise will provide you with a hands-on experience that is invaluable, and much better than just theoretical like I'm doing here. Right now I want you to take a break here. Find time to jump out, pick a subject, film it from different angles. Keep in mind [LAUGHTER] that your camera is heavy, 5-10 shots, 10 seconds at a time. [NOISE] 16. Film Directing Tips: In this lesson, I want to share with you important elements to keep in mind for your role as a film director. I'll cover a range of responsibilities that fall under the important role of directing a film. Regardless of the size or scope of the film project that you're heading, the role of the film director stays the same. The film director is the glue that keeps all the departments together. And a common joke about film directing is that a film director spends 90% of their time listening to other departments, 9% worrying and 1% directing the film. This joke has some reality to it and keeping that in mind, it will also suggest how important it is for your role as a film director to really prepare as much ahead as you can. Because when you are filming onset a healthy degree of chaos will occur. That's the nature of the sport. Therefore, it goes without saying that the more you prepare, the better you can respond. Even though if you don't use much of your preparation, because anything again can happen on a film set. But preparing will give you a plan to abandon and even more importantly, the preparation phase. As you go through it, it will level you up and increase your focus. Once you will get on set like, the more you prepare, the more focused you will become. 17. Create A Film Proposal For Financiers: In this lesson, I'll cover how to present your film to investors by creating an informational document about your project. This document can be shown to potential financiers, supporters, and film funds. At the end of this video, you'll find information on how to download a 34 page example of a film information document that you can use to make a film proposal for your project. When crafting this document, the aim is to quickly convey your film concept to the reader. Think of it as an invitation into your film's universe. Let's dive into a quick guide on creating an information document for your film. This document goes by many names. It's sometimes called proposal film, dossier, or mood document. Creating this document not only allows you to present your film efficiently, but it also helps you delve deeper into your story and better understand it. Here are the crucial six steps you'll need to include to create an informational document for your film. One log line, a single sentence, summary of your film's plot. Two, synopsis, a concise overview of your film's story, characters, and themes. Three, treatment. A more detailed account of your film including character growth, plot twists, and key scenes. Four, author statement, your vision for the film and your unique angle as the filmmaker. Five, visual statement, a description of your film's aesthetic including lighting, cinematography and production design. Six, audience and marketing. A rundown of your film's target audience and promotional strategy. Once you have these six elements in your informational document, you're all set. I also encourage you to add your personal flare. Include images that capture the mood and essence of the film. To kickstart your process and give you more detailed information. You'll find a link to a PDF example of an informational document or a film proposal in the class resources. 18. Producing Your Idea: [MUSIC] In this lesson we're going to demystify and break down the production process for your idea. In this class we are focusing on being Indie filmmakers, that is going solo, doing as much as you can on your own for this particular class. In the future we want to work with other people. It's the whole point of being in filmmaking, is the community that often comes with it, that is the most biggest reward. But in this case, in this moment now, we are trying to do as much as possible on our own. That means holding our camera ourselves, writing those scripts, making our shortlist, editing our film. We're going to seek out all the resources we need but in this particular class, we are focused on something small that we can learn to do ourselves. If we were in a painting class, we will be in this class learning to write, learning to draw apples, oranges, and bananas. When it comes to production in general, and specifically with this contained idea we're doing in this class, let's demystify the process. You have your script, you have a shot list and maybe you've done some storyboarding, I didn't know. You have your subject or your topic, probably you need a camera and a physical location, a location. Again, this is training for bigger projects in the future, so we're really learning how to do things that we could easily do automatically or unconsciously. We're making this process conscious by counting up these four or five things. All we need to do for production in this demystifying bigger productions is we just need to think about these things. Do we have the location? Can we go there? Can we travel there? Do we need permission? Do we have our subject? If it's a human being, we probably need to call the human being. Because we're practicing in this class doing a small idea, Indie filmmaking, going solo, doing as much as we can on our own, so if possible I would try to avoid recording too much sound or dialogue using a drone. Be careful that because we're practicing the fundamentals. When I'm talking about don't use a drone or don't use a dialogue, be careful not to take it as a reverse psychology [LAUGHTER] and go do it. What I'm referring to is because we're practicing this solo Indie filmmaking, anything that requires more people at this stage, let's be careful with that because that's a great way to procrastinate. I want this shot or I want to do this or that, and then you require people and that makes you stop. The reason we're focusing on these fundamentals is that we want to actually film, do and execute and finish our little idea. If you want to record a dialogue, if you want to use a drone, absolutely go for it. I'm only saying it is good to just practice the fundamentals before we start taking flip-flops. Be careful with the flip-flops. [NOISE] 19. Edit | Scene 1: [MUSIC] So in this session, I'm going to demonstrate how I edit my story for this class, which is the story about the statue. They can meditate and move around. This Core Editing demonstration will be split up into three parts. I'm going to demonstrate how I work through my film scene by scene, and then when I've finished demonstrating the scene by scene approach, then in the upcoming lesson after that I'll be showing you how to assemble these scenes together to create a narrative story. Here I am in Final Cut. I'm going to start by importing the material. Here it is. Here we go. Drag it simply from here to here. Now I have all the material here. Let's look at the material. Here it is all spliced up so there's no audio. I'm just going to change the view a little bit, so I do that here. I can see what the material is. Let me see. Just so you know, if you're using Final Cut, this red thing here simply means that you're not seeing the full image. As soon as you see the full image, this red dot is going to disappear. I want to mention that this is material you can download in the class resources so you can practice. [MUSIC] Let's look at the first shot. You can see from these shots here, this is all one scene, so to speak. It's all in dark. I'll put it to the side. This one here is by a window. This one here is in a car, and then this one here is in the snow. As I edit all these shots here, I don't have any audio on any of the shots because sometimes I like to edit with the audio, sometimes I don't like to edit with the audio. That might change in 10 seconds. [LAUGHTER] But I'm just going to dig into the scene here. This is a wide shot. I'm just going to trim it down here. As you can see here above, I can see the seconds. This shot is nine seconds. Almost 10. I'm going to decrease it into something like that. Edit the ends of everything. I'm going to play it. There we go. Here I have a handheld style apparently. Forgot about that. Is this handheld? This is still. Here we have handheld. A little bit of movement. Put that here. Is a little bit more. Is it not almost? Almost. As you can see, I'm a little bit careful of not rolling through all the clips because I want to keep and protect my first impression a little bit. I Just start by tailoring the end of each clip. It is almost like tailoring. Speaking of tailoring, my mom used to, so what do you say? Quite a bit of clothes on me when I was a kid. My favorite clothes so as you can hear, I'm telling you stories from my childhood to distract myself and you hopefully. Because I have found that when I distract myself, I do the best work when I'm not overthinking it. Because it seems like my body knows quite a bit about this stuff. Just clipping the ends here. Now I've cut the ends of this scene here, and now I'm going to see what I do next. Just going to roll it. I don't like this up because it's too shaky. That's good. Now here I have the creators dilemma, the main dilemma of all the choice. Choosing which one of these do I want? I put this to the side because it's a little bit shaky. Again, I have to choose between these two. This one's quite nice. This one goes to the side. Because what I'm looking for here is differentiation. I want to make sure that each shot is different because the more different they are, the more story kicks in. If they're all too similar, then it's hard for the brain to register that there is a change or evolution. This is definitely new. Good. This could be fine. It's nice. I seem to have turned the statue here, or maybe the statue turned by itself. I didn't mean to scare you. These four are going on a holiday. I have no idea what the audio here should be. What I'm going to do now is simply be quiet and see what happens. Wait, what do I start here? I'll start with this one. No, this one. Then I'm just going to imagine some sounds. [NOISE] When I do these little sound imaginations, there's nothing fancy to say about it, it just helps me edit. [LAUGHTER] This is irrational. That might work. Let's see what happens here. Doesn't work because of the shake. Let's do it this one. It's good. One, we don't know where we are. That's good. There's a mysterious figure there. Good. I like these two. Sticking with them. This one. We don't have to use all of them. How is this one? Something in me tells me just do that. Put this one on a holiday as well with the others. Seems to me that behind someone, who is it? We don't see it clearly. Let me see it very clearly. It turns out that, that statue is in this environment, and then we see it from a spooky angle with smoke. Every shot here has differentiation, is different from each other. It's almost like making a battery or electricity. Plus and minus is very good. I'm happy with the scene. In the next lesson, we'll move into editing the next scene, or scene Number 2. [MUSIC] The takeaway after this lesson might be thinking about the rhythm of your video. Thinking about the rhythm of your scene, and perhaps trimming the beginning and ends of each clip and be mindful of saving first impressions of each shot. That is, don't look at your shots too often before you view it in the context of your film. 20. Edit | Scene 2: [MUSIC] I've just finished showing you how I worked through the first scene. Now we're going to move gently into Scene number 2 of my example film for this class. Moving to the next scene. I will do similar tactics. Start by tailoring all the shots a little bit. Cut the ends. Of course, I'm just doing that because I know that when I push rec and when I stop recording, the camera is going to shake a little bit. That is the only reason for this tailoring stuff. Here we have the statue by a window. Auto-focus is nice. Side shot. Again, I'm not thinking too much about the story at the moment. I'm just focusing on the moment on the scene or trying to build a little electricity in the scene. This is a front shot, and this here is a front shot. See if I can pair them together front to front. Technically, this is front. Let's put a side together. The other side, front. Let's see this one. I don't know why, but I feel like this shot should be the last shot in the sequence. Maybe this is next to last. Let's see what happens. Next to last. This is keeping like this at the moment. It's a little bit like this thing with eclipse and trying not to think too much. That's a full contact sport. This might be the first one. If this is the first shot. Then I'd like to do this. Compare the first shot and the last shot. This is the first shot and the last shot is here. Nothing fancy to say about it. Feels right at the moment. We create a little bit of container. So we're starting here. If this is the first shot, what could be the next shot? Which is different? Maybe this one. Check it out. That doesn't edit at all, nor does it the first shot. Let me just see if I can try. No. See if this one. It's jumpy, but let me see if I want to be jumpy. It's fine. The reason I think this was good, there's something disruptive about it. Audio will help me sell it when I put the audio. [NOISE] Maybe it will also differentiate from the first scene, which is a little bit static. This is a blur with a different style. A little bit clumsy. Good. Try this one. [NOISE] That's good. I don't know why. [LAUGHTER] I usually know after the fact. Will this edit? Yeah, sure. [LAUGHTER] Be a little bit careless with it. Of course I'm not going to use all the shots, but I tried to include most of them in the first assembly. It could start here. Probably not. This shot is a little bit too conscious for my taste. By conscious I mean the camera movements snaps me out of it. Statue, out-of-focus, in focus, out-of-focus. The statue is thinking. Now the statue has turned. Maybe this could be a powerful shot. You see the movement here. A little bit clean there. Let's see if we can sell this. It's borderline. Sent it on a holiday. Let's check this one out. Is it stable? No, it's not. But let's see if it works. It rhymes with the weather outside. Then something might be happening inside the statue. I have no idea. Shaking is consistent, so I'm buying it. Check it out. [NOISE] Good. Let me see. Out-of-focus. It's not going to suddenly jump out-of-focus. [NOISE] We go here. [NOISE] That's good. Just rolling through it. [NOISE] This will be good with sound. In the next lesson, I'll continue sharing with you my editing process as I work through the next two scenes. The takeaway from this lesson might be thinking about the opening shot of your film and your final shot to see if there is a relation. Are the front and final shots opposites, or are they similar? Creating relation between the two will help the audience contain the material just like you would hand someone a glass of water in a container. It makes it easier to drink. 21. Edit | Scene 3 & 4: [MUSIC] On we go. In this section, we're going to work on Scene Number 3 when the statue is in a car and Scene Number 4 when the statue is magically outside. We have completed this one here. The next one are these shots where the statue is in the car. Let's focus on that moment. There we go. Check it out. Speed bump. This is more close. This one is moved in it. That's a turn here. Turn is where? Here. See that? 1, 2, 3. Maybe we start on the bump here. We can shake up the viewer. Here we go. Let's go check the other one. [inaudible] it moves and we have a person here, which is nice. We do have a shot of it in the car here. Maybe we can use that and the same. Let's call this a scene. [MUSIC] Here the statue is outside. We, of course start by tailoring. [MUSIC] Check up the first shot. This one is front, this one is top, side, side, movement. [MUSIC] We've got people here. [MUSIC] Music. Seems to be a little bit of jazz feeling here. Let me check this out. Have a statue. Shaky. Again, the shaking part is not a problem. It's just if it's inconsistent. Shaking 1, 2, 3. If it's too inconsistent, it's going to break the trends. This is a nice final shot. Here it is. Let's see, can we use this close-up here? Maybe at the end, also, maybe. Let's see, 1, 2, 3, 4, boom, 1, 2, 3, 4, might be at the other end, switch them up. 1, 2, a little bit too shaky here. 1, 2, 3, so maybe we'll get away with, maybe not. The opening shock. Could that be this one? What could be the opening shot? Right now, I'm confused with the scene here. I'm just going to let go of my thoughts a little bit. Once upon a time, there was a statue and the statue was in the snow. Hypothetically, we can start from the top. Figure it out. Once upon a time, there was a thing in the snow. It was our statue. That's the fairy tale. Tool that works. Let me just play with this one. Take this section here, move it over here. Once upon a time, there was a statue, a thing, something in the snow, it turned out it was a statue. A statue might be thinking something, not sure. This is weird. Remove this one, let's go straight to this one and see if that works. Trial and error. Statue [MUSIC] nobody really saw the statue. Maybe it was too invisible. Now let me just jump right to the end and just see what happens with this sequence. Maybe these are the fundamentals that I don't know, roll it. Statue in the snow. Statue in the snow. People walking by, not noticing it. Statue is present. Maybe you don't need this one. Statue is present. People will notice the statue is right there. In the midst of human life. I'm going to buy that. I'm just going to put all these here on a holiday. We now have four scenes. Let's just gather these scenes here. Scene 4, Scene 3, Scene 2, holiday, then Scene 1. Let's count it for good measure, 1, 2, 3, 4. Now I'm going to take a break and then revisit this edit to take the next strong, to start to create a narrative with these four scenes. [MUSIC] In the next lesson, I'll share with you my process as I start to put all the individual scenes together to create a film, the takeaway from this lesson might be thinking about the Fairy Tale Tool and how it can help you when you edit. Each scene has a fairy tale and by considering or thinking about it, what it could be in a scene, will help you create a story. 22. Edit | Creating a Story: [MUSIC] In this section, we're going to continue our work. We have edited scene by scene, thinking about the unique story within each scene. In this section we're going to assemble the four scenes and create a story. Welcome to Round 2. In the first round, we assembled or created scenes and now I'm going to try to put these scenes together. Sometimes I do this with music, sometimes I do with with audio. Right now, for some reason I'm just starting by doing it with silence. However, [NOISE] I'm going to imagine some of the sounds. Let me see. Start this film here. [NOISE] I'm imitating the audio that I'm hearing. [NOISE] You're going to have to live with it. [NOISE] Already can see that this is a little bit too long. [NOISE] Here we go. [NOISE] Who said filmmaking was a regular job? [NOISE] See if either of these work. [NOISE] See what happens, so I just place it up here. [NOISE] When I look at this, I'm just going to play around with maybe this is the function. What happens if we do that? [NOISE] Shortening it? Not really thinking about why? Good. The statue is, it the opposite from the beginning? I'm just going to check the beginning here. Start it. Shadowy figure and then at the end we see that figure in full light. Here we see the back of it and here we see the front of it. This is one of the containers, the [inaudible] if you will. Now let's look at the whole film and see how it rolls in this second round. There we go. To get a couple of ideas now how to shorten it, but with experience, you can learn not to shorten everything too early. We're just going to shorten the obvious things. Good. I see that this is rolling fine. Now the next challenge will be to create the next layer for this film, which might be sound. It might be a narration, it might be music. I have no idea. Because I don't need to have the idea because this is the idea and it's communicating to me what it wants to try out. There you go. That was Round 2. [MUSIC] Now that I've created the first draft of my film, my next step will be to put the film away for a few days before I move into the final edit. This is important because if you wait a few days, you'll have much more energy and ideas when you make cut number 2. Meanwhile, in the next lesson, I'm going to share with you how I work the basic sound environment, the background for the first draft of the film. 23. Sound: [MUSIC] In this section, I'm going to work on these sound for the x Apple film that I'm doing for this class. My focus here will be strictly on creating a room tone to a background audio. Later I might put in music or narration, but right now for this section, I just want to focus on the atmospheric elements. Here we are with this film. I've selected some random sound effects here and I'm going to check them out. I'm going to go scene by scene. Start with this one here. Let me just check out. This is driving. [NOISE] Let's take this air tone here, like so. I'm not going to switch up the view here because we're focusing on audio and roll it. [NOISE] This is a nice one. Let me see if I take this sound effects here. Let's see if it's fitting there now. [NOISE] I like it. I'm going to have this base layer here is for sound, room tone. [NOISE] No big faults here, just placing it here and see what happens. Try out better. It's nice. Here we go. Even going to test something here. Taking this one, making it higher, making this one lower, and seeing what happens with a bump here. [NOISE] It doesn't work fit. Let's see how this goes. It doesn't really work. Finesse the fades with the fade is extremely important than this obviously. It doesn't work. I'm going bend on this for now, and I'm just going to stretch it out here. Look at the scene and see what comes up. The room tone is probably a little bit too high in the scene. But it's fine because I'm just working on the audio and tuning it up helps me sends into the scene. Because of the weather outside there, I'm probably going to get a snow storm later in this session and make it a part of the environment. Let's say that this is the sound layer here, and I were driving and car interior is here [NOISE]. This is tried out. That's the best way to check the transition of the audio. I would like it to be a little bit more rough. [NOISE] There is a bump. Lower it down a little bit. [NOISE] Yeah, like this. This is straight to the point. This is a different moment here. The environment, as we can obviously see, is different. I'm going to bump the sound. That is, I'm going to change where I am in the sound just see what happens there first roughly. [NOISE] There is little tick there always. Then always didn't do a little bit of audio fate. We bit. Here we go [NOISE]. It's low, higher. Let's see how this works. [NOISE] Taking some of the window, we then don't need that one. That's nice. Good, I like it. Have it like that and then we are not in the car anymore. Well, let me check if there's a bumping sound here, because we have a bump here in the beginning. [NOISE] Like that. Strong sound here. Where is the bump I want to market, just by pushing n a little falling car pro trivia. The m is here, that's first to roughly this is some how hard, does it? Let's see if I can slow it down. What happens then? [NOISE] That does something. Check it out. Nice. Let's just keep it like this for now. Faded like this and see how it rolls. [NOISE] Good. Now, we are inside the car. Let me see what can we use there. Was that? [NOISE] This is traffic. Always make this traffic outside by taking this. Just make it a little a low, place it here. [NOISE] Pretty good traffic. [NOISE] We can use this. Let's just take this sound here, randomly, and lower down quite a bit. Good. I'm going to keep this as one sound layer here and check out other [NOISE] lipid industrial. Let's see what happens there. There we go. I have to do some fading here. [NOISE] We lower, much lower. See. I'm not happy with that for some reason. I'm just going to go later in the edit soon as I jump. Then I'm just going to add a snowstorm. This is the audio here, and let's check the wind here [NOISE]. Let's check that out, storm wind. That might be closer. In fact I want to check it here. Lower it of course. Take it out. Maybe lower this one a little bit to hear the room tone. Now, check the transition. This is going to smooth it out a little bit. Good. Now we have put down the base layers for the audio here. Now again, I might throw out all of the sound if I want to replace it with music or something. But just for this exercise, I wanted to share with you just how we create a little bit of reality. First of this shots and then when we add these room tones, we are doubling down on the visual effect. Great visuals without good audio is a little bit like a visual out of focus. [NOISE] It feels very natural. Yeah. I like the sound world like this. It's almost like it's coming from the camera. Of course it isn't, but feels in tune with the idea. Now that I've created the basic sound environment for the film, in the next lesson, we're going to perform basic color correction for this first draft. That is towards the same reason we did the sound work. Having a basic color correction and basic sound will help you assess the film, bring more ideas to you after you've taken a break for a few days. 24. Color: [MUSIC] In this section I'm going to work on coloring the material for the example film that I'm doing for this class. My focus here is trying to support the material that I already shot and supporting the atmosphere that I already have created in the film. Again, I'm here in final cut and I'm going to perform some basic color correction. Now, please mind that I'm not a color correction specialist but I do know some of the basics. I'm just going to play around with it here just to share with you a little bit of my process when it comes to basic color correction. This is the first scene. Usually I go gut feeling into itchiness, the color corrected but sometimes I select my favorite shot within the light conditions, so where this light condition is dark. Maybe I'm going to take this shot here and use it as a frame of reference. There's no right or wrong way to do this. It's pretty much just in my fingers and my eyes. Color correction is a little bit like trying to find the right music for a film. You don't know it until you hear it. That is fine, playing around like this is very important. All these meters here, I don't really know how to explain them. But I do know a little bit, like with the light here, it is nice that the bottom line here, that is zero, so it will go lower than zero. Something like this would be fine. We don't want to be here. Then now I'll just use my eye. The question is do I want to, let's play around with this one here. I don't think we're going there. I'm going to maybe keep this a tad warm. I felt like this I think here. Now I want to look at the shot with Alta color and then I go here and do this one, original, and now I want to copy the settings for this clip here. I copy it and then I go for example here. Then I do what is called paste attributes. I'm going to paste these attributes. It is asking if I want to paste video attributes and audio attributes. I do not want to play with the audio but I just want to paste the color board ideas that, paste it. Magic happens. Take it off and see the difference. So on the darker side but it's fine. Now I'm going to copy this one as well and paste it over these clips here. I'd have nothing color corrected, pasting the attributes not the audio. I'm just going to check it out here. Good. Remember this is basic color correction. I'm not on purpose go in too deep because this is very much better of taste. Here we're going to find a shot that I like. Let's start with this one. Here I'm going to let my hands take over. Maybe I want to silhouette it a little bit. If I want a little bit warm, that's nice. Saturating for effect. Finding, that's interesting. see the difference? Very subtle. There isn't much difference because the light outside daylight lights everything beautifully. I'm going to try this one out on another shot. Copy it, pasting the attributes not the audio. Let's see what happens. Too dark actually. I want to fix saturated. Saturated too much even. I was going a little bit overblown on it. Check this settings on this shot for example. Really doesn't work, it's better. Of course each art is a little bit of a custom job even within a scene. But again, right now we're doing some basic elements like this. Let me see how it looks here. Take it out, like it's gloomy. This one, I just want to look. Tad too dark. Going to bring it up a notch. See how it fits. Good. This is beautiful. Second on this one. Like so. It sounds a bit grim. I haven't done this one. Let's paste it on these two final clips in the scene. I'm going to check the difference here. Maybe this is a close-up of the statue. Maybe I'll lift it up a notch to get a little bit more information. This one is a little bit similar to some conditions here. Let me check this one for example. Similar light, the settings no, this isn't way too gloomy but we'll fix it quickly. Might be lacking some light here. Maybe I'll pump up the saturation of the color. It doesn't need to be similar but I'm just going to check. For example if we would go very blue for example, it might actually work. Let's see how it works because it's a different location. Turn to blue, I don't want it to be too blue. The difference subtle. Then I'm just going to float this setting on the rest here and see what happens. This is too bright. I might have a different setting here on the camera. I'm going to lift this one, leave it as the same, and take this one down a notch. When I take down the light then the color increases so I'm going to decrease the color also a little bit here. Good. Now, these two are obviously very bright so I'm going to obviously lower the light on this one. Let me see even the highlights are here. Get some information, copy this and paste the settings here. See what happens? Good. We're still in the blue, very good. I'm going to take these settings and I'm going to clear the attributes here first and then paste the settings all of them here. See what happens. This is always too dark, dark, and dark. These four are a little bit too dark so I'm going to clear the settings again and get a shot. That was dark in daylight, that was this one. See if that gets us over the hurdle. Here we go. Short. News is that it doesn't work. We're going to do a little bit of more custom. Well, maybe this one here I can say, let's check it out. This was two blue decreases saturation, decrease the blue to dark, lift it up. Little bit too much blue, there we go. Now let's see if this gets us over the line, these settings. Here it matches. That's it. We have performed some basic color correction. I just want to check it by skimming through it. See if there's somewhat of a consistency. I'm happy with it. Every scene here has a different color world but it's not that far away from each other that it disrupts the consistency. There we go. This was on basic color correction. Right now I have edited through all my scenes. I've put them together into a story. I've performed basic sound work and basic color correction and now it's time for me to take a little break for a few days before I figure out the next steps for this example, film. 25. Exporting Your Film: Let's go over how you export your film. We export it should be like exporting, should be going from the computer anyway, when we are exporting our film, it depends on what software you're using. Of course, you have a premier. You have Devin Resolve, you have File. These are the main editing softwares. And it is a fairly straightforward way. We didn't sound right, everything is simple when you know it. Right. But I would say regardless of what editing software you're using, learning how to export it on Youtube video way, I'm not trying to sidestep that, you need to learn this, but I would just say, yeah, it's one Youtube video way. Because every software is different, but they have all these export functions. Did I really teach this or did ask Youtube to teach it for me? 26. Edit Master & Export: In this lesson, I'm going to master out my film. That is, I'm simply going to the final edit, see that I'm happy with everything, and then I'm going to show you how I export my film. Now I have taken a break for quite a bit of time. Now I'm going to revisit this edit here. We first do a little text document here, so I'm using this one here simply to this text title to measure how long is this film. This is one minute. Just from seeing from what I've talked about in my film throughout this class, all the editing lessons, the theme work and everything, it also reminds me and hopefully helps you to realize that when we do this film it is quite a bit of work. But I also want to remind you that we really don't always have to do all the work, sometimes it's good to just jump out and do it and edited somehow. I'm not saying it to confuse you. I'm seeing sometimes when we do all the pre-work, it is also easy to talk ourselves out of doughnut. We want to avoid that, anyway. Enough of yapping. I have done here text document to measure how long the film is. It is about one minute, 20 seconds. Now I'm just going to roll the film through and see what's going on. Let's go. [BACKGROUND] There you go. I didn't really have a lot of issues. It was here maybe that I found that it's a little bit be jumpy. Let me check that out. [BACKGROUND] Just wondering if I skipped that shot here. Let's see what happens if I skip it. [BACKGROUND] There you go. Let me delete this one. In the beginning, I thought maybe it was a little bit too fast. Let me see. [BACKGROUND] It's okay. I like this transition. Still wondering if I skim through this middle part here. I have this shot, this shot. Let me just see what happens if I remove this one and see if I miss it. I'll be careful with the audio here as well. Let's go to that. There we go. Then I'm going to come here, just make sure that the audio is gently coming in as well. Let's see what happens [BACKGROUND]. I like it. Even [inaudible] this very carefully, maybe I'm going to see if this shot can also take a holiday. Let me just see what happens, see if I miss it. This is always the benefit of taking a break then it's almost like leaving up, cake in the oven. After some time, when you look at it again, the cake becomes ready and you know what fits and what doesn't fit without even trying or thinking. Let me take this out with some [inaudible] scope. [BACKGROUND] I like it. Now I'm not thinking, I'm just saying one, I like it. Can this be a tad longer? Because this shot here is almost like a sister shot to this one, so I'm trying to equalize the duration. Unless I shake here. This is three seconds, this one here is also three seconds. I just wanted to take a little bit of holiday. Let me see it. [BACKGROUND] By equalizing the duration of these two, I'm able to settle into this new scene. Now let's see what happens if I keep this one. I see, this one and then it will be that one. That's back, side, back again but closer. Let me see. A little bit longer and now I'm stretching it out again, the duration. Always mindful of taking this sound with me. Pre-labs here and go, and focusing. [BACKGROUND] I'm going to try one thing here. What I'm going to try is I have a close up here, side close up, this is nice, and then maybe skipping this one because I'm guessing of course. But I guess this wakes me up from being hypnotized into the moment, so I'm going to put it on a holiday, and going to put this one here, fix the audio. There we go outside, so let's fix it like so, and this one here as well. Just checking it. Good. That works. I'm going to run through the skin again, having taken this one out. There we go. [BACKGROUND] I like this one better mainly because it doesn't break me out of the situation. I feel like this tattoo is gaining some power here, so my idea behind this scene or this film is just staying very subtle. For example, when I was doing the color correction I thought about being normal like it's a Tuesday. I'm trying to keep the Tuesday in the clip. We've shortened the film, bought from nine seconds and mind you, that wasn't the goal, is just what feels natural to me. Part of me is thinking I could put a voice over here, but I don't want to [LAUGHTER], and if I don't want it and I'm not doing it. Another part of me is thinking why do I put some music here? But I don't want to, I don't want to make this beautiful and easy. It's one minute. Yeah, so I'm very happy with the film as it is. I'm thinking what the title of this film could be. I'm going to put the title here. I already know the name, we're going to call it Holiday. Would've been editing this film or movie standing clips on a holiday. It's like holiday. Let's find some nice font for it. Take this one, here we go. Let me see, there it is, 1,2,3, 4. That's good. I'm going to put a few frames back here. I'm not going to fade in the audio here or anything, I just want to keep it very plain. Go. [BACKGROUND] Maybe I'll try a fade here. Let me see how the fade works go. [BACKGROUND] Now I have my film here and I'm going to master it out, and I master it simply by doing an in and out point using the letter I and the letter O, and then we go up here and we do master file. That is okay. Just call it a holiday short film, like that. Then I'm going to go here and simply export it. There we go. Thank you for staying with me and my statue throughout this journey of making this little example film. As a graduation, let's watch this film. [BACKGROUND]. 27. Congratulations: [MUSIC] It is honestly very hard for me to express what it means that I've taken this class. When I have worked in this specific industry for such a long time, it just becomes more about giving what you know. Always when I do that, for example, in this course, I start to relearn what I already know in the most multiple way. From beyond the bottom of my heart. Thank you so much. I would really appreciate if you would find the time to review this class when you finished it. If you have questions, remember, post them here in the discussion board, or even just contact me directly via the email and the link in my bio. Share your progress as you go along everything that constitute your mind. In case you would like to access further resources, you can visit my website where I have all tools regarding the creative process. If you liked this class, then you can also check out my other classes on filmmaking. For example, if you want to write a screenplay, you want to learn how to do a short film, learn how to add it a film trailer, or even learned how to do a documentary, I'm here to share my tools as a filmmaker. Everything so you can create your revision, use your voice and show your spirit. What inspired you to become a director? When I was 20, I broke up with a girl, you discover all things about yourself and you start to ask yourself serious questions and I found this answer, try to express myself through films [MUSIC]