Professional Filmmaking: Insider Secrets from Hollywood Veterans

1. TRAILER: Isaac, and I'm thrilled to welcome you to the filmmaking and movie production professional course. With over a decade of filmmaking experience, I've been privileged to direct produce and teach the art of film. And now I'm bringing this expertise directly to you. Whether you're embodying filmmaker, an aspiring producer or someone simply passonate about movies, this course is designed to take you from dream to distribution. We'll cover entire filmmaking process starting with development where ideas are born and moving through pre production, production, and post production finally, we dive into the business side with lessons on selling your movie and working with distributors to get your film out to the world. Throughout the course, we'll reference industry legends like producer Aly Sachs, director Tamara Davis, and cinematographer David Edwards, as well as explore insight from editor, Eddie Aminton, sound designer Mark Margini and many moe. By the end of this course, you will understand how to bring your script to life, navigate the film industry, and maximize your movie's potential to reach audiences worldwide. You need is a passion for storytelling. Basic access to tools like a camera or smartphone, and a willingness to learn. Together, we'll unlock the secret of professional filmmaking. So let's get star and make your cinematic dreams a reality. 2. Development Part1: Tom Ant once said, no one really knows how a movie is made, though many things they do from the flicker of an idea to the fakery image on screen. The entire process is nothing short of a miracle. This course will cover every aspect of filmmaking from script to screen. In this lesson, we'll begin with the first stage development, where we will dive into how filmmakers get their stories screened and financed. Help illuminate the development process, we refer to producer Al Sach, a film producer known for movies like the Florida Project and the Jennifer Lawrence comedy. No our feelings as deep insight into what it takes to navigate the early stages of film production. So Sax also has recently produced project. It ends with us starring Let Livia, and based on Colin Hoover's popular book. Let's dive in and get started. The development process in filmmaking refers to the insection of a movie from coming up with an idea, turning it into a screenplay and getting funded. The development process has evolved through cinemas history, film development history. During the height of the studio system in the 1930s and 1940s, films were produced in an assembly line fashion. With all creatives under the employment of the studio. So executives assigned directors, writers, and actors to various projects, leaving little room for individual choice. It was a highly controlled environment where shooting often took place on studio slots. Filmmakers had little say in the projects they worked on. After the collapse of the studio system, a new approach emerged the packet units. This module gave more power to producers who assembled key element for a them, known as a package. A package could include a script, intellectual property, a major star, and a director. With this system, creatives gained more freedom, but it became more challenging to secure financing for projects. So the package unit system shifted the focus from studio control to the ability of producers to bring together the right combination of talent and resources. So producer Steve Golin explains the delicate balance of assembling a package, noting that if you have a good piece of material and you get the right filmmaker, you will attract a good cast. According to Golin, good directors attract talented actors, but the quality of materials is what ultimately draws top tire filmmakers. Today, the package unit system remains the dominant method of production in the American film industry. Giving producers and creatives more flexibility while also adding complexity to the filmmaking process. The packaging process, let's take a closer look at the packaging process. According to producer Alex Sachs, the main goal when packaging a project is to secure funding. Sachs emphasizes the importance of assembling the package before presenting it to the market, as it provides more leverage and increases the overall value of the project. So you really need those value attachments to get independent financiers interested in writing you a check for you. SAC explains. This means that no matter how the package is put together, it must clearly demonstrate why it is worthwhile investment for potential financials. A package can start from various points depending on the element involved. Spec script. One way a film package can begin is with a spec script which is fully written screenplay created by a writer independently without any guarantees of being produced. Without attachment like directors or actors and without payment. Spec scripts are risky for writers, but they can learn in the hand of producers through agents, managers or other industry connection. A spec script might come to the attention of a producer. Additionally, scripts can gain attention by doing well at film festivals, getting selected for fellowships or appearing on the blacklist, a well known list of highly sought after screenplay. When packaging a project, the producer's primary goal is to secure from the producer, Alax explains that she prefers to package a movie before taking it to market. As this gives her more leverage and increases the overall value of the project, you really need those value attachments to get independent financiers interested in writing you a check for your Saks point out. This means that when assembling the package, it's essential to showcase where it would be a good investment for financials. A Spascript is often the starting point of a package. Whether it comes through an agent in festival or the Blacklist, these scripts can act as valuable assets in building a film project. One notable example is the wrestler, written by Boss Tier, screenwriter Robert Sieger. The script made its way onto the Blacklist where it caught the attention of Tzire pictures Darren ArnskiPduction company. This led to the film being produced. But this kind of space script success is relatively rare in the industry. More often than not, spec scripts serve as a way for producers and executives to scout new talent rather than as projects destined to be but. While the packaging process for SpaceScript is highly publicized, it's not the most common route for getting film produced. So instead, this script help producers identify promising writers who may be suited for other projects, expanding their whole of talent for future so if a producer sees a spec script they want to make, they might not purchase it outright, but instead obtain an option for the write. This means the producer secures the ability to buy the script within a few years without committing to a full purchase immediately. So if the project doesn't move forward, the scripts we are returned to the writer or the producer can renew the option. Options are significantly cheaper than buying the script outright. Allowing producers to avoid a large financial commitment until they are certain the project will be made. This option system provides the flexibility while keeping the project in development. Intellectual property. Another initial step for packaging a film is acquiring intellectual property, IP, which refers to a creative work like a book, article 0R even a character that can be legally protected with copyright. A producer will obtain the right to an existing piece of IV and then assemble the necessary creative team to adapt it into a movie. This packaging method has long been popular in Hollywood because it offers a lower risk investment. Since the material has already proven its appeal, whether through book sales, fun followings or cultural significance. Users often find it easier to secure juries on Ivy. Producer Al Sachs explains that while the process can unfold in many different ways, it always start with identifying the material, contacting the right holder or their representative, and negotiating a deal. She adds that the involvement of the original creator can vary significantly. So authors are more interested in understanding the creative vision and ensuring the film complements while others are simply happy to take the chair and step aside. The flexibility in our creators engage with the process depends on their personal interests in the adaptation. IP for films can come from almost anywhere, as it's illustrated by Greta Gawigs Barbie. The film rights to the famous door had been licensed by Martel to various producers and companies over the years before Warner Bros finally brought the project to life. Darick described the challenge of finding a story for a character that previously art no. She art to create a narrative for Barbie, where the ardent being work. Crafting a unique vision to transform the popular toy into a future nf. Garwik explained the process as a big question mark. How do you adapt a doll with no inherent story line? This challenge light the complexity and creativity needed when working with IP, especially when it involves translating something abstract, like a toy into a narrative driven medium like them. Despite the hurdles IP based projects continue to dominate the industry because of their pre existing appeal and financial potential. There are a few considerations to take into account when acquiring rights to IP, exclusive or non exclusive right. A producer must decide whether to obtain exclusive or non exclusive rights to exclusive rights, which prevent anyone else from owing or using the material cost more to secure. Additionally, the producer must determine how long they want to owe the right. Why securing the right in perpetuity or forever is ideal. It's often more cost effective to get an option, allowing the producer to own the right temporarily while keeping the development costs lower until the project moves forward. Ownership of rights to a property is known as the chain of title, and producers carefully review this before negotiating for a property. Ensuring a clear chain of title is critical because it establishes who owns the rights and guarantees that a producer can legally develop the project. Package becomes more enticing when a producer secures promising attachments, such as a high profile attor or a renowned director who is a perfect fit for the idea. Thise attachment can significantly boost the projects appeal, making it easier to raise financing and attract interest from studios or investors. Alessax shared an example of this process with our film Americana. She explained that the movie became a robust package due to the quality of the attachment, which played a key role in securing funding. If we add only Sidney and Paul attached, I don't think it would have been as undeniable. She noted, emphasizing how crucial strong attachment can be. A well rounded package with the right talent can elevate a project and make it irresistible to financials. We are often more willing to back a film when high profile names are involved. Similarly, Martin Scorses highlighted how Actor Robert Deniro was instrumental in getting taxing driver M Scorses explained that the project had a very low budget, but Deniro's recent academic Award win for the Godfather but two combined with his role in Scorses Min Street, helped packet the two of them together for Taxing Driver. In another example, producer Gail Berman emphasized Albus Lama's name was crucial to selling Elvis, stating that his unique ability to tell large iconic American stories made him the perfect director for the film. These examples underscore star power and directorial vision can be the linchpin of a successful package. Proof of concept. Sometimes a filmmaker will create a proof of concept to further sell their idea to investors. This can be an effective way to demonstrate the project's potential before it has full funding. For instance, they may haceel secure financing for Woodlash by first making a short version of the film, which garnered enough interest to fund the full length feature. Similarly, James Camera shot is seen from Alberta using groundbreaking motion capture technology to show financials how their money would be well spent. These examples illustrate how a visual proof of concepts can help producers and directors bring their visions to life by giving investors something tangible to live. In some cases, if a package doesn't yet include a completed screenplay, a producer might secure seed money to pay a screenwriter. For example, George Lucas presented a 15 page treatment of American Graffiti to United Artists, which provided $10,000 to hire a screenwriter. However, securing funding for a screenplay doesn't always guarantee production. Even after United Artists paid for the script, they passed on producing American Graffiti after reading the completed screenplay. This shows that securing money for writing is just the first order in a long development process. Once a screenplay is in development, writers guild rules come into play. According to the guild, a writer can submit one draft, one revision, and one policy before they require additional payment. This makes it crucial for producers to provide insightful and effective feedback early in the so the best producers are those who can give notes that help shape the script without stifling the writer's creativity, ensuring that both the producer and the screenwriter are aligned in their vision for the final program. For instance, producers often give notes when a director hasn't been a test yet or when the screenwriter is also the director. There may be aspect of the story that need to be more visually clear on the page or certain elements might require tweaks to fit the directors or producers vision. Ultimately, every writer and project is different. Some writers prefer to work or spell free from external pressures like marketing or studio interference. While others enjoy collaborating with producers and considering commercial factors early in the development process. A producer's approach varies depending on the writer's style and the project's needs, but the goal remains the same to create a screenplay that serves the story while also aligning with the vision of those bringing the project to life. This balance of creative freedom and strategic guidance is key to moving the project forward in a way that satisfies all parties involved. Table read, producers may also organize a table read where actors perform a live reading of the script, allowing filmmakers to hear the dialogue and sees out loud. Theise helps identify as that adjustment. Table read can also to generate excitement for a project. For example, Martin Scoses and Robert Denaro a a table read of the Irishman at Tribeca, which producer W Winkler recalling that it played like dunk busters, generating significant buzz around the film. In addition to table read, a producer often collaborates with the writer to create a log. Single sentence that captures the general tone and plot of the fee. A well crafted log line is a key tool for selling the project to potential investors or studios. Alongside the log line, the producer may develop a proposal which includes a brief overview of the fee, comparisons to other successful movies and a summary of the financial aspects. This proposal as paint a clear picture of the project's potential. A strong proposal often incorporates market research to outline the potential audience for the as veteran producer Todd, Lark advises young producers set yourself apart by hv material that's good and commercial. Lack stresses the importance of commercial viability in the pig, encouraging new producers to focus on projects that AV market appeal, which can help them stand out in the competitive industry. 3. Development Part 2: Pitch. A producer will also create a pitch, which is similar to a proposal, but more focused on generating excitement for the project and is typically delivered verbally. Sometimes a writer brings an idea that immediately feels ready to pitch to studio or financials, requiring little development. In these cases, as producers often say, it's less heavy lifting and a pleasure to read a screenplay that's already shining with potential. The goal of the pitch is to convey the project's unique appeal and get key decision makers excited about moving forward. Filmmakers may enhance their pitch by including concept art, especially when developing a fantasy world or a visually rich story. These visuals can help investors and studios better understand the filmmakers vision. Once a strong package is in place and the pitch generates the right level of interest, a studio or production company may agree to move forward with the project. This is known as green lighting. Turnaround. Even after obtaining a green light, a project completion isn't guaranteed. A film can be put into Turnaround where a studio hot production and tries to sell the project to another studio. This often happens due to shifting in studio leadership or other unforeseen circumstances. A famous example is Steven Spiebog ET. Initially, Columbia Pictures altered its development, doubting the project had an audience. Badge then had to persuade Universal to buy the script from Colombia for $1,000,000, a decision that would later prove to be a colossal mistake for Colombia as it became a blockbuster success. When a project fail to obtain a green light, it can end up in development hell where it stagnates for years in various iterations. This can occur for several reasons. A studio may own the right but refuses to sell or key attachments like actors or directors may drop. However, spending years in development doesn't always mean the end for a fee. Projects like Dallas Buyers Club and Mad Marx Fury Road experienced lengthy development processes, but eventually made it to the big screen after overcoming multiple orders. So once a script near its final form, the producer creates a rough budget estimate, usually broken down into production, post production and distribution costs. This budget estimate is essential for moving into the financing phase. There are two primary method for funding films studio financing and independent financing. Each method has its own processes and challenges, but the initial budget estimate sets the stage for securing the necessary fund to bring the projects to life. Studio financing. Studio typically have more established routes towards financing as their project tend to generate higher revenues and attract bigger investors. So with established distribution networks, access to top talent, and a track record of Box office success, studios can more easily secure large budget and partners. This financial stability allows them to take on high risk high reward project, often with substantial marketing campaigns and global reach. Additionally, studios often have relationship with financial product lstment deals and merchandising opportunities, further boosting their ability to fund large scale production. Sale. One type of financing for a studio is pre sale, where a film is licensed to a distributor in a specific territory before it's even completed. For example, a Japanese distribution company might prepare for the right to distribute the film in Japan. This model provides early financial support to filmmakers, allowing them to cover production costs before the movie is released. Historically, pre sales have mostly involved theatrical rights, but in today's market, production companies can also presell rights to streaming platform. Granting them the ability to stream the film in various regions. The success of pre sales often depends on the film's attachment, such as well known actors or directors. When big names are involved, distributors are more willing to invest early, making pre sales more lucrative. Sometimes securing deals with just two or three key territories such as a French or English distributor can be enough to fund the entire production. Once the movie is completed, any further distribution in additional territory becomes extra profit. This method be a critical part of a filmmaker's financial strategy, especially for independent films, GAP financing. A studio can also use GAAP financing, which involves taking out loans based on a films sold rights rather than relying on pre sales, the studio borrows money by anticipating future revenue from the eventual sales to distributors once the film is completed. This allows the studio to secure funding without committing to early distribution deals. Negative pickup. Another form of studio financing is called a negative pickup, where a producer sells their movie to a studio grant the studio distribution right. With profit split between the producer and the studio. In this arrangement, the producer or production company is responsible for financing the film upfront while the studio agrees to purchase the finished project. This allows the producer to retain creative control, but with the security of a studio backed distribution however, a major drawback of this method is that if the film goes over budget during production, the producer is solely responsible for covering the additional cost. This pressure can be immense, as seen during the production of Superman, where budget overruns led to significant tension between producer Pierre Spangler and director Richard Donner. The added financial strain can complicate relationships and potentially impact the quality of the final product slate financing. Slate financing is another form studio financing where private equity firms or hedge fund invest in a group of slates or films rather than a single production, these strategies spread out the financial risk as the success of one or more films in the slates increases the likelihood of recouping the investment. By diversifying across multiple projects, investors have a better chance of securing returns, even if some film under notable example of this approach was the 2005 deal between Warner Brothers and Legendary Pictures. This partnership secure $500 million in private equity funding to finance a slate of 25 films, including blockbusters like Batman Bigins and Trey hundred. The success of these films demonstrated OSLgFinancing can be a lucrative investment model for both studios and financial backers. C production O Production is the reverse of Slate financing. Web Multiple Studio collaborates to finance a single film and divide its distribution rights. This allows Studio to share both the financial risk and potentials. A notable example is Wells Times at Midnight, which was produced by Spanish production companies, by Spanish production companies, international films, and Swiss production company ApeanFlms as well struggled to secure funding for his later work. Product placement. Another source of funding for a studio them comes from product placement. Where brand pay to have their products featured prominently in a movie. A famous example is Enkin which reportedly paid nearly $45,000,000 for its appearance in Sky four. This type of sponsorship is becoming more prevalent. Our studios face the challenge of losing market see value in partnering with films to leverage the visibility and star power of celebrities, and as a result, product placement is expected to grow even more in the future. In addition to brand, studios sometimes partner with government entities for financial and logistic ssvals. One such partnership is the military Entertainment Complex, where the US Department of Defense collaborates with studios on certain action movies. This collaboration often involves providing production assistance such as access to military equipment or locations. In return, the films portray the military positive which can help boost public perception. A notable example is Top Gun, which received significant support from the US Navy. In exchange for this assistance, the movie depicted the Navy in a heroic light, helping to rehabilitate its image after the Vietnam War. This symbiotic relationship benefit both the military and the filmmakers, allowing for high quality action sequences while promoting the military interest. In the financing. Independent film financing often lacks access to large scale funding avenues available to studios, leading filmmakers and producers to seek money from less conventional sources. The process can feel more scrappy as they rely on creativity and persistence to gather the necessary resources. Ultimate goal in independent financing is to secure an equity financier. Someone who provides a direct cash investment. This is considered the easiest and most straightforward form of ind financing, as it simplifies the process by avoiding more complicated funding structures. However, finding such an investor can be challenging, especially for smaller or riskier projects. Crowd Many filmmakers early in their career turn to crowdfund relying on personal connections to raise money for their project. Platform like Kickstarter have become popular with films such as the Barber Doc using its secure additional funds for visual effect. Crowdfunding helps filmmakers build a community around their work while gathering essential financing backing. Other filmmakers like Coen Brothers took a different approach by creating a promotional trailer to attract private investors that both film blot they followed some Rahimi strategy from Evil Dead, where instead of cold calling potential investors, they invited them to watch a piece of film. This static helped them gain interest and funding in a more personal and engaging way. Grant. Grants are a valuable source of funding for filmmakers, providing financial support without the need for payment. The fund are typically offered by government bodies or non profit organizations, allowing emerging filmmakers to focus on their creative project without the burden of financial debt. Spike's first film, she's got her A received its initial funding through various New York based grants, providing how crucial grants be can be in launching a filmmaker's career. Once a filmmaker has completed a script or a short version of their project, they can also explore opportunities at Film Festival for additional funding. Festivals offer not only a platform for showcasing work, but also a chance to secure financing through networking by presenting a completed or critically acclaimed project at a film festival. Filmmakers can leverage the attention of potential investors. Wes Anderson, for example, managed to secure funding for his first future film. To Rocket after the short version was screened at Sundance. It was here that James Brooks recognized the potential in Anderson's project and offered to produce the future length film, illustrating how film festivals can be a crucial step towards securing major backing. Another prominent venue for film financing is American film market where filmmakers can present their project and network with financials at events like this, makers can announce a complete package, including a script director and cast to attract interest. The process is much like selling at a market where deals are made that eventually lead to the film's production a few months later. This marketplace environment allows filmmakers to generate excitement and investment in their project, propelling them closer to production. Independent filmmakers can find additional funding through private equity firms. Investment companies that managed investments of large amounts of money, these firms will be bet this firm will bet their money in the hopes of a big payout. On the back end, small fims are high risk. Small film are high risk investment. However, usually private equity firms, we only fund independent production companies with proven track record. Bond company. Independent filmmakers can seek additional funding through bond Bridge finance. Bridge financing is another key financial resource available to filmmakers. This short term loan is provided by a lender to secure an attachment with an investor's promissory note serving as collateral. The loan allows the producer to secure important elements such as a high profile director or actor for the project. However, bridge financing is costly because it is typically used in urgent situations and lenders charge a premium for the quick access to form. As Alax explains, bridge financing became a necessity as independent filmmakers sought ways to structure their financing outside of traditional studio system, enabling them to move forward with their projects despite financial constraints, self financing. Self financing is an option for filmmakers, though it comes with significant risk. As they say, high likelihood they won't recoup their investment, and even independent films can be costly to produce. However, there are notable success stories such as Kevin Smith Clark, which is financed using multiple credit card. So well established filmmakers like And also self financed their project. Since the visit, MKight Mortgage is out to fund each of his films, demonstrating the personal risk filmmakers take to see their vision through. In some cases, filmmakers or actors may reduce production costs by forging their upfront salaries in exchange for back end point, meaning they will only hard money if the film succeed this practice known as deferred compensation compensation is a way for personage creators to get their project made without needing immediate financial compensation. This can be particularly eth when trying to reduce the initial budget of a film, allowing more flexibility in financing. Effective way to keep production costs down is by utilizing tax incentives. Many countries and US states offer tax breaks to attract film productions, reducing expenses for filmmakers. Locations like Vancouver and Georgia are popular choices due to their general incentives, making them cost effective options for shooting films. Both independent and studio backed productions often take advantage of these incentives to save money and stretch their budget. Making a movie demand creativity, and this extends to the process of acquiring funding. The most successful producers are those who continuously find innovative ways to secure necessary finances to bring their projects to life. They tap into a variety of resources from grants and private equity to tax incentives and deferred compensation, constantly navigating the complexity of the industry. Development process is often one of the most challenging stages in filmmaking. It can be fraught with rejection, delays, and frustration, even for experienced filmmakers, securing funding and aligning the right team can feel like an up about both assistance and creativity are key to overcoming this do. With a clear vision, a compelling package and financial ingenuity, however, anything is. Well crafted story combined with strategic financing solutions can turn an idea into a fully realized film, proving that the power of creativity extends beyond the camera to the very foundation of getting the film made. 4. Preproduction Part 1: When does pre production start? Pre production is the critical planning phase in filmmaking, involving the planning process and execution of every task that must take place before production begins. This date typically kicks off once the script is finalized and involves a collaborative effort among key personnel, including the director, cinematographer, producer, first assistant director, production managers, production coordinators, and location scout. While each project varies based on its project and scale, certain universal checklists can help streamline this process. Pre production checklist is available in the cost asset for your reference, serving as a guardable resource while planning your own production. Okay, moving on. So once you move past the development stage and sit the green light, it's time to focus on laying a solid foundation for pre production before diving into more exciting aspects like tasting and locations counting. Think of every production as a business. Many are formally incorporated and registered with the state. The first significant step in your preproduction checklist is establish a business entity. For me, legal entity such as a limited liability company, LLC is common, as it protects the owners from personal liability and simplifies taxation. Though LLCs are the most popular choice for film companies, other entity types like sole proprietorships or corporations may also be used depending on the structure of the production. You need to determine whether the film will be produced under an existing production company such as JJ Abrams Bad Robot, or if you will create a separate corporate entity, Open LLC. Setting up this business structure is essential as it will govern all hiring and contract signing. With a business entity in place, you can open a bank account deposit production fund to retain legal counsel for oversight and assemble your production team. Pre production begins immediately after the development stage, following the completion of the script. Once the screenplay is you can kick off the pre production process. A diagram illustrating a basic preproduction workflow is provided to guide you, noting that while each project may differ, this sequence of operations can be applied across various formats, including short films, music, video, commercials, and feature films. During this phase, numerous tasks are undertaken by various crew members with the first assistant director playing a pivotal role in coordinating the workflow and ensuring that everything runs smoothly. So preproduction, preproduction is the crucial planning phase that occurs before the principal shooting of the film begin. Okay, start once the script has been finalized and the project is screening inside Italia, meaning, financing has been secured. During this stage, the producer and director begin working together, but soon the team expands to include a variety of specialists overseeing different aspects of the preparation. Tasting and locations counting to set design and budgeting. Preproduction is essentially about gathering all necessary information and distributing it to the appropriate department. Aiming to ensure that everything is meticulously planned and accounted for before the camera start rolling. So according to assistant director of Dona Spark, the duration and complexity of preproduction vary depending on the nature of the film. For big budget blockbusters like late runner 2049 or Black Panour Candle, forever, preproduction can required for special effects stunt and large scale set design. Okay, however, for simpler productions like a romantic comedy or drama, the pre production phase may take just about eight weeks. The time spent preparing during this phase is critical to avoid delays or unforeseen complications once shooting begins. So the key goal of pre production is to ensure that by the time the shooting day arrives, everything has been meticulously planned and visualized as packs a play. The process is like rehearsing for the actual shooting day, allowing the foresee and resolve potential issues and challenges in advance. Every decision made during pre production, whether it's related to scheduling locations or technical setups, drives the project towards a smooth and efficient production phase. So by the time the cameras roll, the day has essentially been pre lived in the planning process. Okay. So budgeting and scheduling. So no matter the size of the film project, there are essential steps in pre production that remain consistent. The four of which are budgeting and scheduling. So why producers typically have a general idea of a film's budget before it's greenlit preproduction is when they dive into the specifics. Okay? This involves analyzing the script and forecasting where and how much money will be needed for each aspect of the production. So during this phase, a producer, we often establish a production office to handle the administrative side so assistant director Eddie, a key figure in the pre production process is the assistant director, Ed who functions like the central processing unit of the project. As Assistant Director Donald Sparks describes, the Ed constantly takes in processes and redistribute information across department to keep the film on track. So the role of the ED goes beyond just management. They are responsible for setting up planning and managing the day to day activities of the film crew. So this requires a dynamic and flexible approach as the ED must make plans, backup plans and adjustments to ensure everything runs smooth right? So their oversight ensures that each department understands their timeline and manpower needs based on the shooting schedule and other pre production details, screenplay breakdown. One of the Ed's most important task is conducting a screenplay breakdown, a detailed analysis that pulls out every element of the script from characters and props to locations a special this breakdown involves splitting each page of the script into eight, allowing for a more precise understanding of how long each scene will take to shoot and how much it will cost. This information is crucial for creating a comprehensive budget and shooting schedule, which every department relies on to plan their resources and activities. So the shooting schedule that the Eddy produces serves as the blueprint for the entire production, so dictating the flow of the project from preproduction through film. So scheduling the production. The assistant director, Eddy is also integral to scheduling the production, a process that requires balancing a variety of factors to ensure a smooth shoot. Scheduling a film involves taking into account the number of pages to be shot each day, which varies depending on the budget and scope of the project. For a big budget production, the goal might be to shoot just one page per day. Allow complex setups and larger number of sales, okay? So on smaller independent films, the team may need to push through as many five pages in a single day to stay on budget and time. So the complexity of scheduling increases with the size of the project. So a small department and people are involved requiring careful coordination. So an essential aspect of scheduling is accounting for the availability of the cast and crew. In addition, in ideal scenario, the AD would block off the schedules of everyone involved for the entire generation of the shoot, ensuring availability. However, in reality, this is rarely possible, especially on smaller productions or those with high profile actors who may have conflicting commitments. AD must work closely with each department, whether it's wardrobe, special effect or camera crews to determine what is needed for each scene and how to accommodate the availability of key personnel. This often involves adjusting the schedule to prioritize scenes that require specific actors locations or preparation. Furthermore, certain scenes may demand significantly more prep time than others, to adding another layer of complexity to the scheduling process. So action sequencing, special effect or scenes involving elaborate set designs may require extra time to set up and execute. So the AD needs to anticipate these challenges by ensuring the schedule allows for the necessary prep time without delaying the overall balancing these variables is crucial to maintaining the flow of the chute, avoiding costly delays and ensuring that each department can deliver what is needed on time and within budget. Also, actors schedule play a significant role in how a production is organized. Once the casting process is complete, the assistant director AD must also work around the availability of each for instance, if an actor is only available for two weeks while another actor interacting with them is available for eight weeks, the AD must find a way to overlap their schedules during that time. This creates a complex puzzle as the AD has to ensure that the scenes requiring both actors are shot within the shared timeframe these types of challenges are constantly added to the mix, and it's the Ed's responsibility to manage these details, adjusting the schedule as new information comes in from casting and order department. Okay, to keep everything organized, an ED may also use a day out of day report. Which chart, which days each actor will be needed on set. This report is critical in ensuring that actors are effectively scheduled and that no time is wasted Additionally, the AD typically avoid scheduling to physically or emotionally demanding scenes back to back to prevent over exerting the actors. By carefully mapping out when actors are needed and balancing the demand of each scene, the AD ensures that the production runs smoothly and that actors are able to perform at their best when required. So equipment renters are another key factors the assistant director ED must consider when scheduling a film shoot. If an expensive piece of equipment like a specialized rig or camera setup is required for a multiple scenes, the EDI may group those scenes together to minimize the renter period and reduce costs. So by doing so, the production avoid unnecessary expenses and ensures that the equipment is available precisely when scheduling equipment, dependency is effectively is crucial, especially in larger productions where costs can quickly escalate. So additionally, external factors like weather can complicate planning are seen during the fiming of the revenant where the crew had to repeatedly adjust their schedule due to unpredictable weather so time of day is another important consideration when scheduling a shoot. Day and night sis often need to be scheduled separately to allow the crew adequate time to adjust between setups. Night shoots are typically limited because they require higher pay rate for the crew under union rules, making them more costly. To avoid these extra expenses, most production schedule night scenes parently unless the story demand otherwise. These logistical challenges contribute to the fact that films are rarely shot in the order, the story unfold. Instead, the Ed strategically plans based on practical concerns like actor availability, equipment need, weather, and time of day requirements, ensuring the shoot stays on budget and on schedule. So typically, a film shoot operates on a schedule of six days on, followed by one day off with each workday lasting around 11 hours. However, the assistant directors often try to build in extra time each day and reserve a few additional days at the end of the shoot in case things take longer than expected. This buffer period are essential for accommodating delays or reshoot. The production schedule is a dynamic entity constantly evolving in response to unforeseen circumstances. So weather changes, unexpected delays or illness among the cast or crew can all disrupt the schedule, requiring the Ed to continuously adjust the plan from the start of each day until the end. So managing production schedule involves juggling many moving parts, which is why dis often rely on tools like the strep strip board is a color coded chart that organize information for each C, helping the Edit keeps track of what needs to be filmed and when in the past, this was done manually, but today most of it is handled electronically. That's part the ship to digital too. So dis like Dona Sparks prefer the traditional method of laying out the strip board in physical format week by week. Where they can visualize the entire shoot at a glance. Having a physical board also encourages collaboration during meeting. It allows various department to gather around, examine the schedule and ask questions. So this and one approach offers the opportunity for team members to have discussions about specific scenes, troubleshoot issues in real time and ensure that everyone is on the same page regarding the production timeline. For many Edits, this method helps foster better communication and keeps the complex scheduling process man so the assistant director, Ed, works closely with both the line producer and the unit production manager, UPL to ensure the production stays on track. The line producer will get their title from breaking down the budget line by line, is responsible for overseeing the film's financial it's their job alongside the UPM to manage the budget and ensure each day of shooting is within the planned time frame. So at the end of every day, the line producer must report to the studio informing them whether the production is on schedule or falling behind. So for this process to run smoothly, the AD needs to maintain a strong relationship with the line producer and the UBM ending their trust by making decisions that serve the best interests of the project and sharing accurate up to date information. So while the line producer focuses on controlling cost and often negotiate compromises with the director, the UPM is responsible for the logistical aspect of production. So the UPM ensures that all elements, whether equipment, props or set pieces are sourced, transported, and managed effectively. This includes handling financial details as well as practical concerns like how and when specific resources will be obtained. Together, the AD line producer, the UPM form a vital team that balances creative ambsions with the practical and financial realities of the so as line producer Leo Macons explains, the unit production manager UPM is closely involved in the daily on the ground operations of the crew. So they handle the minute details such as coordinating with the camera house, grips and riggers to ensure that all necessary equipment and materials are ready on site. UPNs role is highly logistical as they are the ones physically making calls and confirming that everything is in place, allowing the chutes to run smoothly. This ands on involvement with the crew ensures that production stays on schedule and that any potential ECAPs are addressed promptly. 13 during the pre production also involves a significant amount of paperwork, particularly when it comes to securing insurance for the shoot. Producers ensures that production is covered in case of accident or unexpected delays. A notable example of the importance of insurance in film production is when Tom Cruise broke his ankle on the set of Mission Impossible Flo. The injury caused a costly production delay, with the extra expenses reaching around $70 million. Fortunately, the shot was insured, and the insurance company covered these additional cost, demonstrating the critical role that insurance plays in protecting a film's budget. Should require a lot of expensive equipment, which is typically insured to protect the studio from significant cost if anything is damaged. So when working with union actors, producers must fill out SAG Exhibit G time to ensure the actors are paid properly. And SAG Exhibit B form which log As and HEAT plan contributions. Additionally, producer sign talent agreement with Actors outlining how an actor's likeness can be used and how they will be compensated. So location agreements are also put together serving as legal documents between the production company and property owners to allow FEM on specific properties. So refer to the cost asset in this course to get the template for some of these documents we are talking about. 5. Preproduction Part2: Assembling the team. So while producers, assistant directors, and production managers handle the financial logistics of the film? Another crucial aspect of production is assembling the right team. So just like a heist movie where seasoned veterans come together for one last job, a good production sets to hire the best people for each. So typically, producers and the director need the hiring process, starting with the head of each department, including key positions like the production design. Cinematographer and sand mixer. This department head are highly skilled professionals who bring valuable experience and expertise to the table, which the director can leverage to help plan the production effectively. RN process is often influenced by the vision the producer and director have for the film, as well as any pre existing relationship they may have with certain professionals. For example, Steven piebot frequently collaborates with the same department head across multiple films, such as cinematographer, Joel kamski and production designer Rick Carter. Once the department head are on board, they are responsible for building out their teams, selecting the right crew members to ensure each department to run smoothly and contribute to the themes overall. So production designer Jason Kazvade explains that once a use game plan is established, more crew members start getting hired and brought into the project. Hiring people to hey, such as bringing in a construction coordinator before deciding whether set will even be built or not wouldn't make sense. This marks the beginning of reproduction, where the team solidifies their plans before expanding. So once those plans are in place, department head are hired and they begin assembling their teams accordingly. So this department head become the main point of contact for the line producer as well as the assistant director communicating the needs of their respective departments. During the meeting with the director of photography, production designer or costume designer, and the assistant director often plays a supportive role listening and taking notes to ensure they understand the creative goal. So if any questions arise, the AD ensures that they are directed to the appropriate departments. Helping the team get the answers they need to achieve the desired results. So of course, the RN process isn't just limited to behind the camera rules. The cast also need to be assembled. Often, the lead actors are touched the project during the development period, but most films required many more actors to complete the cast. So this is where the casting director steps in. A casting director begins by closely reading the scripts to understand the characters and their roles in the story. As casting director Emmy Hubbert explains, you work out exactly how many scenes each character are, so you know, without any doubt who is the lead, who are the supporting and even who as just one line. The process can go as far as deciding if a role could be played by an extra, especially if the character only delivers a crucial reaction. This detailed breakdown helps the casting director to effectively organize and prioritize the casting process. So the casting director also collaborates with the producer to determine the budget they are for hiring actor. So once the budget is set, they begin organizing auditions and process requiring the casting director to be both discerning and delicate. All right, so why finding the perfect fit for each role is crucial. Casting directors must also navigate the sensitivities of the actors, as rejection is common part of the process. As the casting process progresses, the production team continues to grow, department will fill their ranks with additional crew members, and the casting director will bring in auditions, unier agreements and contracts assigned during the stage. Casting director E Lewis highlights that casting is often a private process between the casting director and the actor. Protecting the vulnerability of actors audition especially since the majority of them will face rejection. Pre visualizing pre visualizing isn't all logistic. It also involves a significant amount of creativity, especially during the pre visualization process. So once the script is locked down, the director often with the help of the director of photography, begins to envision what the film will look like. So pre visualization can take many forms. So one common approach is storyboarding, where some of all of the film shot sketch out. This often involves hiring a storyboard artist. A specialized illustrator who helps bring the director's vision to the page. For instance, Alfred Hitchcock famously worked with the designer Sabas to create the storyboard for psycho. In some cases, especially with science fiction or fantasy films, director may commission concept art to visualize the more fantastical elements of the these visuals are essential for the art department as the production designer uses them to bring the director's idea to live. So George Lucas, for example, worked with designer Ralph Macquarie, to create detailed illustrations for Star Wars, which helped shape the look of the film's iconic setting. Whether the film involves sound stages or location shooting, the production designer, along with the cinematographer is crucial in creating and capturing the film's visual elements during pre production so pre visualization can also include animation with animatic serving as edited together storyboard with a rough soundtrack to help the cast and crew understand the tempo of the film. For more complex sequences, detailed digital animations, known as pre visualization or previs can be used. These are especially helpful for scenes that rely heavily on CGI or intricate action sequences, such as the massive free wages in the matrix screen. By using these visual tools, the production team can plan out complicated shots and ensure that everyone involved know what to expect where meaning it is. So a cinematographer, we often create a short list which is crucial documents that outlines all the coverage they aim to capture for a given scene. This list typically include detailed information such as the scene number, shot number, location, short style, camera angle, and camera movement. Additionally, it specifies the actors, their props, and the actions involved in each shot. Organizing this information, the cinematographer ensures a streamlined filming process allowing the crew to efficiently understand the visual plan and execute it effectively on set. Meanwhile, a production designer is responsible for establishing the visual palette of the movie, which involves overseeing the selection of probs, set decoration, and any necessary set construction. Jasen Caz valde explains that the approach varies depending on the project, particularly when it comes to construction. For instance, if a film requires extensive site the design team will begin working on floor plans and designs early to ensure that construction can commence promptly as this process can be time consuming. The production designer must also consider the shooting schedule, which may dictate when certain sets need to be ready for filming. Each project presents its unique challenges, but the common goal is to meet deadlines while effectively managing the overall design process. Production designer, Sarah Greenwood exemplifies this role through her work on the massive Barbie and set. The projects so extensive that it contributed to a global shortage of thing. Involvement, light, the significant impact a production designer can have not only on the film's aesthetics, but also on broader industry trends. So the meticulous attention to details and planning required in set design underscores the importance of collaboration among various department to bring a director's vision to while adhering to tight schedules and budget. So, likewise, a costume designer begins creating outfits based on Thorough scripts breakdown. Costume designer Sandy Powell explains that our approach to each project depends entirely on its nature and the director's vision. As our ultimate goal is to help bring that vision to life. Once the costumes are designed, the costume team usually makes multiple copies of each outfit to prepare for mishaps during filming. For example, during the production of Titanic, Debra L Scott to create 24 copies of Kate Wislet's dress due to the damage inflicted by Saltwater this attention to detail ensures that the film maintains visual continuity, even when unpredictable challenges arise. A significant aspect of a film's visual is its location, which are determined during the pre production stage through a search led by a location scout alongside the director, cinematographer and other high level New York based location scout Nika describes his role as one focused on observation where he spent time looking at the city and identifying unique features that stand out. Securing a location in a Bostle city like New York requires extensive pre planning, making the locations accounting team one of the first departments to be hired after accounting. This early involvement is crucial as finding the right locations can significantly impact the film's overall aesthetic narrative. Once a location is chosen, a text scout is often conducted a work through of the site with all the department aid. This meeting is designed to provide a clear picture of the Femi plans with the assistant director guiding the team through the logistics of the shoot. During this workthrough, the ED explains where various elements will be set up, such as where ladders will be placed, parking arrangement for equipment, and the specific areas where key actions will occur. The text scout serves as an opportunity for every department to highlight potential challenges that could arise Assistant Director Donald Sparks elaborate on the significance of this process, stating that it's all about the specific details crucial for a successful shoot. For instance, the team will assess where to park the equipment, determine the best location for the generator, and identify where base camp will be set off often a couple of blocks away from the main so this meticulous planning ensures that all departments have the information they need and that any logistical issues are addressed before filming begins, leading to a smoother production process. So a cinematographer typically conducts camera test before filming begins experimenting with various camera lenses and film stocks to assess how different elements translate offspring. So this process allows them to evaluate how specific locations, costumes, or makeup choices appear in front of the so, for instance, Rachel Morrison, the cinematographer for mod Bound tested racing the ASA settings on the A Alexa meaning to create a level of grain that would give a digital footage a more film like quality. So during pre production, these tests are crucial for establishing the overall visual style of the project. So as the cinematographer considers aspects such as low key lighting and the best lenses to capture the material effect. So, Assistant Director Donald Sparks emphasizes the importance of advanced camera test, particularly in projects with unique elements. For example, in Wakanda forever, which featured significant water scenes. Out of the testing phase involved evaluating how the costumes performed in a water environment compared to dry light. This level of preparation ensures that the cinematographer can make informed decisions about how to achieve the desired and feel of the thing, addressing potential challenges before the actual shooting begin. During pre production, directors frequently engage with actors to develop their characters and refine their performances. This collaboration often involves in depth conversations about the script and the character. So as David rosberg noted emphasizing the importance of dialogue between director and actor to fully explore the role. One common practice in this phase is the table read where cast members come together to read through the script. This not only helps the crew understand how the film will set, but also set the tone for the the table re serves as an opportunity for last minute adjustment to the script and casting deciso. For example, after the table read for Min Girls, director Mark Waters and producer Leon Mitchell realized that the character of Katy's love interest wasn't resonating as intended, prompting them to recast the this flexibility during the pre production phase allows for a more polished coercive final product, ensuring that the performances align with the director's vision. So the final step of preproduction involves sending out core sheets, which serves as crucial communication tool for the task and crew. This document inform everyone about when they should be onset and outline the day schedule, detailing call times, locations and specific tasks. In many ways, the call sheet act as the capstone of the preproduction process, consolidating all the information gathered throughout the planning stages into a single comprehensive reference that ensures everyone is aligned and prepared shooting day ahead, please download the production document provided in the court asset and use the included caset as template to guide your production. This resource will help you effectively organize your schedule and ensure that all cast and crew members of your production are informed and prepared for each shooting day. So, when does pre production end? Reproduction marks a crucial phase in the filmmaking process, demanding considerable effort and attention to detail. So the more diligent you during this stage, the better equipped your production will be to run smoothly. Problem solving ahead of time is accepted. Waiting until you are onset is not acceptable. By the time preproduction wraps up, key tasks such as casting outors, securing location permits, hiring crew members, and arranging equipment renter should all be completed. This preparation ensures that everything is in place for when the cameras are finally ready to. Despite thorough planning, it's important to recognize that unforeseen challenges can still arise. While preproduction involves a great deal of work, the effort put in now will minimize complication later on. Therefore, it's essential to remain flexible and adaptive, anticipating potential changes and being ready to pivot as needed. A proactive approach to problem solving during pre production can significantly enhance the overall efficiency and success of your project. 6. Production Part 1: In our last lesson, we explore all aspects of pre production. This time, we'll examine how a professional film set operates and the various roles involved. To illuminate the production stage, we'll reference insight from director Tamara Davis, cinematographer Jaron Leski and second assistant director Pete Dress, who will guide us through the production stage and clarify each team member's contributions to the filmmaking effort. Production. Production refers to the capturing of footage for a theme and is often known as principal photography. As this course has illustrated, making a movie is a marathon that can span years and demand extreme endurance from everyone involved. However, the production stage itself is typically a sprint, characterized by long hours and intense collaboration among various departments. So this concentrated effort is crucial for transforming your idea into a tangible as production is usually kept as brief as possible. The longer it lasts, the more expensive it becomes. So indie films may have a relatively short shooting schedule often lasting just a couple of weeks. For instance, Fruitvale Station was filmed over only 20 days. In contrast, Blockbuster productions typically extend over several months, as evidenced by Barbie, which began shooting in March and wrapped up in July. Additionally, it's common for production to overlap with both pre production and post production physics. For example, the cameras might start rolling why the production team is still planning later shoot days or even why the script is still being developed. In fact, Christopher McQueary was working on the top go Maverick script even after FIM at commenced. Editors often begin cutting footage before all scenes are shot, assembling rough cut, and ensuring adequate coverage to identify any potential shoots that may be necessary. Why no two productions are identical. Most follow a similar structure and adhere to best practices. Starting with meticular shoot planning. Although the bulk of this planning of course during pre production, the dynamics of a shoot can shift unexpectedly due to unforeseen variables requiring ongoing logistical adjustment from the production department. Many of the individuals working diligently during the shoot also contributed during the pre production phase, seamlessly transitioning between these stages. For more information on their roles in pre production, refer to our previous lesson. The line producer plays a vital role in managing the day to day logistic of *** tubes ensuring that everything runs smooth working directly under the line producer, the production manager focuses on keeping the project within budget and on schedule and learn the practicalities that are crucial for a successful production. So a key position within the production department is that of the first assistant director, First AD, who is indispensable in orchestrating the shoot over all Director Tama Davis emphasizes the importance of the assistant director, stating that an assistant director is like half my body. They are my right arm, my body throughout the thing. The first AD tackles a multitude of responsibility that go beyond what the director might consider such as managing actor availability and coordinating location by handling the logistical element, the First AD allows the director and the rest of the crew to concentrate on their creative task, maintaining the project momentum and ensuring that the production stays on track. Supporting the first AD is the second assistant director, second ED. Who assist in these critical duties? Is dress is second ADEpla prep with first ED. I don't necessarily get as much pre production, but when I'm there, I sit in on meetings and know what they know. This knowledge equips the second ED to act as a central hub during production, facilitating communication and coordination among the various elements involved in filming each day. Showing that everything is prepped and ready, the second ED Fs maintain the seamless operation of the set, ultimately contributing to the success of the film. Cost. Costs are a crucial component of nearly every film shot. And depending on the production, either the second assistant director, second ED or the first assistant SED, collaborate with the production coordinator to ensure to create them for each shooting day. A call sheet is a detailed document that outlines when and where the cast and crew are expected to arrive along with other essential information for the day. These include the shooting schedule, weather conditions, parking details, the location of the nearest of splitter and contact information for key personnel. A spit dress note, it gives you what our best case and perfect line will be on a random Tuesday. Call sheet is typically distributed the night before the shoot, which allows everyone to prepare adequately for the next day's work. Accuracy is paramount when creating coset, as any changes or resending of the document can lead to confusion among the cast and crew. By providing clear and precise information, the call sheet helps to ensure a smooth and efficient production. Addition to call ****, various logistical documents are generated on film shot. One of the most important in production reports. This report record essential information about what transpired each day, including who was present on set, the duration of each seen shot, any unexpected expenses incurred and any delays that occurred. This documentation serves as a legal record of the shoot, enabling producers and executive producers to monitor the production's progress and address any issues that may arise. Another key document is the camera report filled out by the second assistant camera. Second AC, this report includes detailed information about each shot taking, such as the scene and shot number. Jerome Blaski, a cinematographer, explains the significance of this report stating that a camera report we have obviously the scene, the shot number, but I will also include the lens used on the aperture. So I know if something is going with the opt. Including as many technical details as possible on the slate, the second AC helps ensure that the team can quickly identify any potential issues with the footage and maintain the overall quality of the film. So the camera report is invaluable for both cinematographers and editors as it provides crucial technical details that can be referenced if an editor need to replicate a shot digitally. Similarly, the production sound mixer generated which include relevant information for each take from a sound perspective. Effective logistic during the shooting also involve anticipating potential problems that could arise on set. For instance, the production department often establishes a cover a cover set, which serves as an alternate filming location in case the primary set becomes unusable. If inclement weather disrupt exterior shooting, an interior location may serve as a backup. Additionally, filmmakers often develop a plan for coverage detailing how a scene will be one common approach is the master scene method, which involves FIMI a scene in its entirety with a white shot before capturing tighter shots necessary insts. This strategy ensures that regardless of the challenges faced during the production, the editor will have enough material to piece together a coherent and continuous version of so to further it in this process, the short list and storyboard are utilized providing a visual roadmap that guides the filming and helps maintain clarity throughout the production. So short list and storyboard. Tamara Davis emphasizes the importance of shortlist and storyboard in capturing the best view of the set. She explains that by positioning herself strategically, she can identify the hero shot, which becomes the master shot for the scene. These master shot guides our staging of action and blocking of actors to maximize the visual appeal of the set. Thoughtfully planning this element, the director can ensure that the film captures the most striking images possible, laying a solid foundation for the subsequent filming process. To enhance efficiency of set, productions often opt to shoot one side of the scene first before revising for the other side. This technique minimizes the need for frequent adjustments to lighting and equipment, saving valuable time during production. Additionally, many productions utilize a second unit, which operate similarly to the first unit or focuses on specific shots or sees that do not require the principal cast. For instance, a second unit might undo an action sequence featuring only stunt performers or an establishing shot that captures the setting without any characters present. I in some instances, productions may employ multiple shooting units to keep up with a rigorous fi schedule. For example, the load of the rings at as many as seven shooting units at the height of its production. This approach allows for a thorough and meticulous planning process, ensuring that each day of shooting is executed efficiently and effectively. As Davis notes, relying on a full forced unit crew for minor inserts, such as close up on a book can waste resources. Instead, by setting up this shot in a corner of the set, the production can quickly capture essential details without interrupting the flow of fema before cameras start rolling. So once it's time to get to the location and setup, a significant amount of work occurs on set before the camera start rolling. Typically, crew members arrive well ahead of the cast to prepare both the location and equipment for the first scene today. The grip department plays a crucial role in this process. Setting up all the necessary rigging. Rigging encompasses any equipment needed to support other gear, including light stand, flags, camera dollies, and cranes. Leading this department is a key grip. We collaborate closely with the cinematographer to ensure the lighting is perfect for each in Key grip. Key grip Jake Rider emphasizes that grips are involved in every aspect of camera work. Stating that anytime the camera is involved, grips are also involved. And even with lighting, the true lighting is on grip side. He explains that the grip department shapes and controls light to achieve the desired effect on string. So cinematographer Jaron Lasky also highlights the often overlooked creativity of grips, noting their ability to solve complex problems. He point out that rigging solutions are not always straightforward. Grips must consider how to move the camera effectively while ensuring that the lighting quality and angles align with the director's feature. So grips are tasked with finding innovative ways to execute challenging setups, often requiring them to think outside the box. For instance, a grip might need to position a light in a way that avoids being visible in another shot or adjust its placement to maintain the desired quality of light from a particular distance. Level of creativity and problem solving is vital to the filmmaking process, as it allows the production to achieve its artistic goals while maintaining efficiency of set. Without the meticulous work of the grip department, the quality of the final product would likely suffer. So in the grip department, the key grips assistant is known as the best boil. One of their primary responsibilities is to organize the grip truck, ensuring that all necessary equipment is readily accessible for the show. Important to note that due to union rules and safety protocols, the grip department does not undo any electrical equipment. This responsibility falls to electrical department. The head of this department is the Gaper Who is responsible for executing the lighting plan developed in collaboration with the key grip and the director of photography. Cinematographer James Fred highlights the collaborative nature of the relationship between the cinematographer and Gaper stating it's more about collaborating with the gaper opposed to relying on a Gap partnership is crucial, as the cinematographer often discusses the emotional tone of a scene and the desired quality of light that should come through a window with the gaper. In turn, the gapher is supported by lighting technicians who assist in setting up the light for each shot. Why both the grip and electrical department work together to ensure that the lights and camera reads are properly installed. So, meanwhile, art department is busy preparing the set overseen by the production designer who manages the film's aesthetic elements, including settings, props, costuming and makeup. Dictor Tamara Davis emphasizes the importance of this preparation, noting that if a set isn't ready or if elements like windows or furniture are out of place, it can significantly impact the setup time and potentially delay the shoot. The seamless collaboration between these various departments is vital to maintaining the production schedule and achieving the desired visual outcome of the film 7. Production Part 2 : Costuming and makeup. So by the day of the shoot, much of the production designers work is typically complete allowing the set dresser to realize their vision by arranging decorations and props throughout the set. One of the set dressers key responsibility is to maintain continuity from shot to shot, ensuring that the set looks consistent in each day. While the crew arrives early to set up, the actors also have important preparations to make before film begins. They first need time for hair and makeup, which is handled by hairdressers and makeup artists, depending on the production size. Assistant may help with these task. Makeup artists are also responsible for applying any necessary prosthetics. Although especially complex applications may require the expertise of a special effect makeup artist. Additionally, the actors must don their costumes, which are provided by the costume designer. Director Tamara Davis emphasizes the importance of costumes in an actor's performance, stating stating that if the actor put on a costume and they don't feel that the costume represents the character they are playing, they are going to be injured by it. She further explains that the right costume can transform an actor's mindset. And then there's another thing that they put something on, and all of a sudden, it's like and the character in this outfit. This connection between an actor and their costume is vital for building confidence and enhancing performance. Costume and makeup preparations typically take place in base camp, which is the designated area where trailers for the cars, head and wardrobe are located along with various production offices. This organization ensures that the actors are fully prepared and comfortable before they step out onto the set, ready to bring their characters to life. Blocking and rehearsals. Before filming begins, actors often run through a scene to lock down their blocking. Allowing the Sand and camera department to rehearse alongside them. This rehearsal process is crucial for ensuring that all elements of the production are in sync before the camera starts rolling. In some cases, blocking may be performed by a second team of state who mimic the motions of the sea. This practice allows the crew to set up and text camera angus lighting and sand without requiring the principal actors to be present. Cinematographer Jaron Beleske explains that after finishing Walsing the first team of actors will step out making way for the second team to come in, they are what the cinematographer uses to light while the actors are either back at the trailer or in their cast chairs or grabbing a smoke or snack or whatever they love to do. I notes, highlighting the efficiency this method brings to the production process, if necessary, the stunt team may also need time for rehearsals, particularly when stunts are involved in the scene. These rehearsals are vital for ensuring that all actions can be safely and believably captured on camera. Stunts team practices the movement and timing of each stunt to minimize risk and ensure that the final performance meets the director's vision. This careful planning allows for smoother transitions between scenes and ensure that the filming process remains on schedule. By meticulously working through blocking and reusals, the production team sets the stage for its successful shoot where each element is coordinated and ready to come together on screen. Camera rolling starting the scene. Once the cast and crew have completed their preparations, it's finally time to start rolling on a scene. However, capturing a shot is far more complex than simply pressing a red button on camera. Most Hollywood set ad to specific rules and etiquette when it comes to recording a scene. Though variations do exist when everything is in place and ready to go. The assistant director ED announces that picture is out and calls for silence. Okay, pictures of quiet. Following this, the ED instructs Roll out roll sound, prompting the production sound mixer to begin. The mixer will respond with sound speed confirming that audio is being captured. Next, the AD will say row camera, which signals the camera operator to start filming. The operator respond with speed indicating that the camera is rolling. After the camera is rolling, the second assistant camera, also known as the clapper loader brings in the clapper slit the shot by reading of the scene information and marking the t, saying something like scene at two mark. Once the clapper loader finishes, the camera operator minutes to make slight adjustment to ensure the framing is perfect. When ready, they will call out frame or set signaling that everything is in place. If the SN includes extras, the AD will announce BGRnd indicating that those performers can begin their actions. Finally, the director says action, officially starting the scene with a clear command. Okay, here we go and action managing the Bagrand action. As the main action unfold, it's crucial for the director and Ed to manage the Bagran performance effectively. Ground action or the activities of extras in the scene should compliment the principal actors without drawing attention away from the primary narrative. The AD monitors the extra to ensure they are in sync with the overall tone and pace of the scene. Supply, guiding them to enhance the storytelling. This orchestration helps create a vibrant and immersive environment that enriches the film while allowing the focus to remain on the lead performances. In doing so, the director can maintain the emotional depth and visual coherence of the shot. Ensuring that every element contributes to the intended atmosphere. The collaboration between the main cast background actors and the production team is essential in creating a seamless and engaging cinematic experience. By carefully managing these dynamics, filmmakers can effectively capture the magic of storytelling on camera. So when filming comes to an end, the director will call out cops signaling the completion of a ti. Following this is the director and other key creatives typically review the footage from a designated area known as Video Village. This space is equipped with monitors and comfortable chairs for viewing the shots. However, some directors prefer to be right behind the camera during filming, allowing them to stay closely connected with their actors. This direct engagement can foster a more immediate and collaborate environment, enhancing the overall performance and energy of a scene. Director of photography DP may choose to operate the camera themselves. Although collaborating with a skilled camera operator will be immensely beneficial. Era Biski for example, notes that he usually operate his own camera, but acknowledges that his experience has evolved over time while working on the witch the first Union movie he did, he was required to have an operator, which pushed him to adapt. He mentions that although he operated off of that film, he later realized the advantage of directing the camera this shift allowed him to view the film holistically rather than being distracted by the technical aspect of operating the camera. To support the camera operator, the first assistant camera First AC, also known as the focus puller plays a crucial role in ensuring each shot remains in focus. This responsibility is vital as maintaining sharp focus is essential for a polished final product. The first AC also assists by holding the camera joining tags, allowing the operator to conserve energy throughout long shooting days. This team work between the operator and focus not only streamlines the filming process, but also contributes to the overall quality and coherence of the visual narrative. DIT work. When shooting in digita the production, we often have the assistance of the digital imaging technician, DIT. The DIT plays a vital role in the filmmaking process by collaborating closely with the director of autography GP to ensure that the camera settings aligned with the desired visual aesthetics of the cinematographer. This collaboration is crucial for achieving the specific look and field that the director envisions for in addition to adjusting camera settings, the DIT is responsible for overseeing the uploading of footage from the camera to the DIT station. This process involves transferring the recorded data safely and efficient, which is critical for maintaining the integrity of the footage. By managing this aspect of production, the DIT ensures that the data is preserved properly and is ready for post production work, sound mixer. Meanwhile, the head of Sand department, known as the production Sand mixer is responsible for capturing all the necessary sand onset. This role involves operating the sound recorder and making critical decisions about how to effectively capture sound for it. The production sound mixer coordinates various audio elements, including setting up and managing avilia microphones that are directly attached to the actors to ensure clear dialog recording. Assisting the production sun mixer is the boom operator, whose primary responsibility is the placement and operation of boom microphones. This involves maneuvering the boom pole Which all the microphone to capture the best possible while remaining out of the camera's frame. The boom operator must have a keen understanding of the scene dynamics and positioning, ensuring that the microphone is as close as possible to the sun source without intruding on the visuals, the script supervisor. During this scene, why the crew moves from take to take? The script supervisors plays a crucial role in maintaining the integrity of the production. They keep meticulos track of which part of the script have been filmed and note any changes made during. A attention to continuity is essential as they call out any deviations between ts, ensuring that every detail aligns with the story's flow. The script supervisor's notes are invaluable and as they are shared with the editing team, enabling them to navigate hours of footage with clear direction. In between takes, the director often focuses on communicating with actors, discussing what is working well and what may need to be adjusted. This interaction is vital for fostering collaboration and creativity on set. However, each director has their own unique approach to this process, influencing how they guide their actors and shape the overall performance. By maintaining open lines of communication, directors can ensure that the vision for the film is effectively realized through the actors interpretations, food time. Of course, a cast and crew need to eat, and food is typically provided by catering and craft services on set. Adequate breaks for meals are crucial. As failing to allow the cast and crew sufficient time to eat can result in fines known as meal penalties. Which the production team must compensate. This regulations ensures that everyone remains energized and focused during the demanding hours of filming. Highlighting the importance of proper nourishment in maintaining productivity on set, complete move. Generally, the crew will shoot everything they need at one location before moving on. Even if the scenes are not filmed in chronological order, this approach saves both money and time as it allows the production team to maximize the use of the location once the crew has completed all the necessary shots at a particular site, they will execute what is known as complete where they pack up their equipment and relocate to the next filming location. This strategy is essential in streamlining the shooting process and maintaining the overall efficiency of the production schedule. Final shot, final shot. The final two shots of the day on a film set have specific names that reflect their significance in the shooting schedule. Penultimate shot, which is the second to the last setup of the day is referred to as the Abe Singer. This term comes from the practice of calling for the last shot before wrapping for the day. The final shot. The final shot on the other hand, is called the martini. This term signifies the last shot there af the day's Femi, often celebrated with a sense of accomplishment and relief by the cast a cook. These designated names light the combination of a day's artwork in the filmmaking process. Turnaround after the Martini shot is complete, the crew to colleague begins breaking everything down, which involves this monthly set, parking equipment and ensuring the location is left as it was found. The time between the end of one shooting day and the start of the next is referred to as turnaround time. Due to union regulations, this turnaround is usually mandated to be no shorter than ten to 12 hours, allowing cast and crew ample time to rest and prepare for the next day's work. Structured schedule is crucial in maintaining the earth and efficiency of everyone involved in the production. As the filming progresses, the production schedule may need to be adjusted if reshoots are necessary. Reshoots can arise for various reasons, such as needing to redo a scene for clarity or adding entirely new scenes to address story issues identified during the editing process. Some cases, a new ending might be themed if text screenings yield unfavorable reactions from audiences. However, reshoots are often costly and generally avoided unless absolutely necessary to mitigate this risk, survey producers and first assistant directors, dies, we often plan for potential reshoot by leaving some flexibility in the budget and schedule. Ensuring the production can adapt as needed without excessive financial strain. So condoms, no matter how deep a crew is into production, maintaining professionalism is crucial for a smooth workflow and a positive atmosphere on set to ensure a successful shooting environment. There are several essential rules of tom to follow. First and foremost, it's important to respect the director's decisions. As their visions guide the entire production, crew members should avoid interfering with other departments work and equipment, as this can lead to unnecessary disruptions and delays. Additionally, it is vital to keep noise level down and be considerate of the actors space, allowing them the quiet they need to prepare for their performances. Running on set is discouraged as it can create safety hazard and distract from the ongoing work. By adhering to these basic principles, crew members can contribute to a professional atmosphere that fosters collaboration and creativity, ultimately leading to a more successful production, finer thought. Production can often feel like a mad dash to the finish line. Filled with intense energy and countless moving part. However, with careful planning and dedicated crew, this set doesn't have to resemble the chaotic depth of the heart of darkness. A well coordinated team can navigate the complexities of femi ensuring that everything runs and that the creative vision comes to life. That's all for now. Time for horse to say, Cut. 8. Postproduction Part 1: In our previous lesson, we explore the production phase. Today, we'll dive into post production where everything captured or set comes together to shape the final film. We'll examine the steps involved in finishing a film will contribute to the process and how sand can be refined in post. This lesson will reference notable professionals, including editor Eddie Hamilton, Sandy designer Mag Maginin and composer Rennie Bosco to illustrate this essential role, post production. Post production is the stage where the final product is crafted from the captured footage. Involving picture and sound editing, as well as the creation of visual effects. Post production work can sometimes begin before the production phase conclude. For instance, editors may start cutting footage while the film is still being shot, and visual effect artists may begin constructing digital element in advance. This early start helps streamline the post production workflow and ensures key pieces are ready once filming wraps. The length of post production can vary greatly depending on the film score. Budget and team size. Large scale productions like Avatar, the way of water required years of post production work to achieve its complex visual effect. While smaller films can sometimes wrap up in a few months, however, limited budgets often mean fewer team members, which can actually extend the process. For example, Shane Carruth Micro Budget film Primer took two years to complete after shooting due to Carruth handling much of the editing himself. Text screenings can further impact the duration of post production. During these screenings, rough cuts of a film are shown to audiences to gauge their reactions, and feedback can lead to additional edits. Titanic, for example, underwent revisions after test viewers found certain scenes unnecessary. Ultimately, the post production supervisor is responsible for keeping the process within the budget and on schedule, ensuring the final product meets the director's vision while staying on track. Post supervisor. Eddie Amington, a seasoned film editor, emphasizes the crucial role of the post production supervisor who act as the primary communicator throughout Ghost. This person provides weekly update on various aspects such as progress through the director's cut, the composer's timeline, the amount of ADR recorded, the duration of sound mixing, and the time required for foreign language versions. Ultimately, the post supervisor ensures that all elements are aligned to have a completed film ready for its release date. Post production involves far more than assembling shot from production. It's the phase where a film truly takes shape, often yielding new and unexpected meanings. This is the stage where major changes can reshape the story, bringing depth and clarity to the narrative. Typically the process begins with picture editing where the film structure and pacing start to crystallize, setting the foundation for subsequent stages like sound, music, and visual effects. Picture editing. Picture editing is indispensable to completing a film and this critical task force to the editor Eddie Amilton, a well known film editor, explains this process, saying his job is to watch all the footage, read the script, and work closely with the director to craft the best story that exists within the footage. According to Amilton, it's not about what's on the script or what the director intended to capture. Rather, the final story emerges from the raw footage available, shaped and refined to deliver the strongest possible narrative. Maintaining secure and organized footage is also essential in post production. Many professional editors rely on red, redundant array of independent disks. This technology emerge multiple drives to ensure data redundancy and boost performance in large scale, post production environment, centralized storage systems like SNS storage area network allow multiple team members to access files simultaneously without sacrificing speed crucial for complex projects with numerous moving parts assistant editor plays a key role here helping to ingest files and metadata such as short and text numbers and keep the project organized, enabling a smooth workflow for the entire team. So Eddie Aminton, a film editor, emphasizes the indispensable role of his assistant editors, saying that it's not without them. He explains that assistant editors do numerous tasks to prepare the footage, ensuring that everything is organized and ready, so he can focus on the core work of editing the from this stage, the editor begins piecing together the film, carefully selecting takes based on factors like performance, cinematography, narrative flow, and necessity. While each editor may have a unique approach, popular software options include Avid and Adobe Premiere Pro, both of which allow for non linear editing, where digital caves can be rearranged without altering the original footage. Digital editing has become the industry standard, even for films, initially short on physical film. Traditionally, editors would manually cut together a copy of the film negative, known as a work usually a flatbed editing system. Now, most films short on celluloid are scanned to create a digital intermediate, preserving the physical film while enabling digital precision. The editing process typically begins with the assembling cult where the editor and the director review all footage, select preferred text and arrange them in a general order. This initial cult lays the foundation for further refining, allowing the team to evaluate the story structure and flow before moving on to more detailed editing stages. Film editor Eddie Amington explains that, like any first draft, an initial cut of a film is often fairly rough, but that's simply part of the creative process. You've just got to get something down on the timeline. He notes that emphasizing that it doesn't matter if it's good or bad initially. What's important is completing the first version. From there, the real work begins as the editor refines and improves the cord, transforming it into a polished piece. The editor then refines the footage, crafting a more intentional rhythm, and more. Within each scene, leading to what's known as the rough cut. Nest is the fine cord, where further adjustments are made to enhance the film's flow and emotional impact, bringing it closer to the final version, the fine cord. During the fine cut, editing decisions become much more precise, often coming down to individual frames. EJ Aminton describes this stage as one that involves weeks and weeks and month and month and then years of going over the movie. He highlights the relentless pursuit of improvement, asking questions like, can it be better? And is this perfect? Every day, Editors scrutinize each moment in the film. Evaluating the evaluating line deliveries and exploring multiple versions to find the world that resonates most emotionally for each scene. This level of detail reflects the commitment and perfectionism that film editors bring to their work. You live and breathe it. Amilton asserts underscoring how deeply immersed editors become in the filmmaking process as they strive to create the best possible version of the film. Picture log. Once the editor, director and producer are satisfied with the cut, they reach a stage known as picture. After achieving this milestone, the editor creates an edit decision list, EDL, which is a document containing time code and short numbers. This list facilitates re editing and ensures that the film can be assessed across different platforms if needed. With a picture cut finalized, it's time to shift focus to additional visual work. It's important to note that the footage captured on set really resembles the final product that audiences will see. To achieve the polished look of a finished film, multiple post production teams are dedicated to refining and affecting the final image. These teams work on various aspects, including color grading, visual effect, and other enhancement to ensure that the film meet the desired artistic vision. Before it is released to the public refining and perfecting the final image, VFX. One of the largest teams involved in refining and perfecting the final image is the visual effect VFX department. Visual effect encompass any imagery that is created or manipulated that wasn't captured during the live action shoot. VFX supervisor Adam Vardes elaborate on the diverse nature of this work. Stating. You know, it ranges all over the place. We have some effects that are invincible and you don't really know we've done anything as well as really dramatic stuff. The Visual Effects team is guided by the VFX supervisor, who plays a crucial role in managing the project. Daniel Kramer, a visual effect supervisor at Image World, describes his responsibilities. In charge of the project regarding all the visual effects that we end up doing, but I'm not necessarily the final say. Obviously, the director has the ultimate authority, along with art directors and others, but our job is to execute their vision. This collaborative approach ensures that the visual effect aligns seamlessly with the director's intent, enhances the overall storytelling of the film. 9. Postproduction Part 2: CGI, visual effect work can be categorized into three primary areas, CGI, compositing and motion capture. CGI or computer generated imagery refers to visuals that are entirely created by computer technology allowing for the creation of complex and imaginative scenes that may be difficult or impossible to capture on film. Compositing, on the other hand, involves combining multiple images into a single frame which includes techniques such as blue and green screen work. As well as the integration of separately recorded special effects, miniatures, and more. Motion capture is another essential aspect of visual effect. Similar to the technique of rotoscoping. I motion capture, artists use live action footage to inform and create realistic CGI. This process typically begins with the recording of footage during the production stage, which is then refined and built out in post production to produce lifelike movement and interactions in the final visual effect. Together, these techniques contribute to the immersive quality of modern filmmaking, allowing creators to craft stunning visual narratives. Color grading. Coloring is a critical element in the post production process. Adding depth and atmosphere to the final visual output. Before a colorist begins their work, the editing timelines data goes through a process called conforming. These steps involves replacing lower quality proxy footage used during editing with the original higher quality footage to ensure the best possible image for color grading. Process of conforming may vary between project, but it's essential for preserving the visual integrity of the final products. Most modern colorists use Dave scene resolve, a popular software in the industry for achieving precise and consistent color grading. Typically, the colorists collaborate closely with both the director and the cinematographer who provide input on the visual field they envision for each scene. Cinematographer John D Bowman described the role of the director of photography in color grading, explaining that there might be a specific look they aim to achieve that is not fully apparent during the editing phase. This final look, which shapes the overall mood and continuity is often developed and refined in the coloring stage to create a coercive aesthetic that brings the director's vision to life. A colorist undertakes several key tasks to bring a film's visual to life. The first step is color correction, where the colorist works to accurately represent colors and ensure visual continuity from one shot to the next. This involves adjusting elements like white balance, exposure and skin tones to maintain consistency throughout the film. Once the footage is corrected, the colorist may apply a lot, look up table, a preset that shift the footages color space to achieve a specific look. Lots are often crafted collaboratively by the colorist and the director of photography DP and may even be developed before the post production, allowing the cinematographer to visualize the intended color scheme during filming. After applying the lot, the colorist moves on to the color grading phase, which involves creatively salising the footage to build the desired mood for each. Color grading allows the team to make artistic choices that enhance the narrative stone, evoking particular emotions, supporting the story's atmosphere. For movies shot on film, the coloring process may also include different film treatment techniques and chemical bar such as leach bypath during real development. This careful attention to color manipulation is essential in creating a visual compelling and coercive film experience, motion graphics. Another crucial aspect of post production visuals is motion graphics, which encompass titles, credit, and basic animations. Typically, crafted in software like After Effect, motion graphics add a dynamic layer to the film, emphasizing themes or key information visually. This element enhance storytelling by highlighting important titles or adding stylistic flourishes that resonate with the film stone and visual sound design. Sound is a crucial of a movie storytelling, requiring as much care and precision as visual elements. In post production, the sound process is led by the supervising sound editor who oversees the creation of a coercive and impactful soundscape. This role involves orchestrating the various components of sound editing and design to align with the director's vision and keep the project on track. Through sound, filmmakers can emphasize emotions, enhance storytelling, and create an immersive atmosphere that draws audiences that draws audiences deeper into the film's world. Mark Margini, a renowned supervising sound editor, explains that the role is rooted in understanding and interpreting the film's auditory aesthetics. He emphasizes the importance of clear communication with the filmmaker to define the desired feel and tone of the movie sound. Mine's job is to interpret this aesthetic and guide his team accordingly, selecting sound and crafted audio elements that embody this vision. By translating these abstract ideas into specific auditory choices, the supervising sound editor helps create a soundscape that complements and amplifies the film's emotional impulse. Sound editing. The post production sound process involves several key stages, each contributing to a film's auditory impact. The force of this is sound editing, where audio track are meticulously assembled. Dialogue is cleaned and arranged and necessary sound effects are added to bring scenes to life. In many cases, the existing audio need enhancement, requiring additional sounds to be created and recorded. This responsibility typically falls to the sound designer. Whose expertise lies in creating unique sounds that add depth and atmosphere. Their work is essential in making scenes feel real and engaging, setting the auditory foundation for the final sound mix. Mark Maginin, a prominent supervising sound editor, note that sound designers and supervising sand editors often overlap in roles. However, a sound designers primary focus is on creating sound that don't exist in the real world. These are the imaginative and abstract audio elements that you can't simply record on set or source from a standard sound effect library. The sound designers creativity enables them to invest to invent unique soundscapes from the role of mythical creatures to futuristic technology, all of which enrich a films narrative and transport audiences into new world. Another essential stage in post production sound is ADR or automated dialog replacement. This process involves actors re recording their dialog to replace audio that might have been compromised during filming due to excessive background noise or technical issues. While ADR can be crucial, Margin explains that the goal is often to preserve as much original audio as possible. He and his team strive to electronically clean up what he calls jetty production audio. Which may contain ambient sounds that suit the since realism. This careful approach to preserving original sound helps maintain authenticity and keeps performances through to the actors original delivery. The ADL process, which involves re recording dialogue is managed by the ADL editor. And since where additional background voices are needed, a loop group, a team of actors specializing in crowd noise, may be employed to provide ambience ambience, creating the illusion of large gatherings or busy locations. Dubin may also be required for foreign distribution, allowing actors to record dialogue in other languages to make the film accessible to global audiences. For effect that cannot be sourced from sound libraries, fully artists perform live to create custom sand that enhance the scene's realism from footsteps on gravel to the rustling of clothing. In addition to dialogue and effect, music plays a vital role in the post production sound landscape. The composer is responsible for writing and orchestrating the films score, working closely with the director to align the music with the story's emotional bit. The process involves crafting things and motives that reinforce character arts and plot development. Sharing the score resonates with the director's vision. A well composed score can dramatically influence the film's impact, subtly guiding the audiences emotions and enriching the viewing experience. Composer Rennie Boccio describes the role of a composer as similar to a head of department. As the lead on the musical score, the composer coordinates with directors, producers any subcontractors necessary to execute the VMs vision for the original score. This comprehensive responsibility include everything from initial discussions about musical tone to the final recording and mixing of the score. The composer's work is essential in bringing the film's auditory experience to its full potential, complementing the visual and adding depth to the story. Composers often take on the role of conductor as well, leading musicians through the recording process to ensure their score is accurately realized. However, this dual role isn't always the case. Composer Rennie Busch pointed out, many composers prefer to step back into the recording booth during sessions, allowing them to listen to the music in context with the rest of the production element. This perspective let them act as a producer of sort, hearing the recording in its entirety and making adjustments as needed. In such instances, separate conductor may be hired to handle the musical direction, freeing the composer to focus on the broader auditory experience. The music supervisor plays a distinct role in post production tasked with selecting and securing existing songs for the film. They are often involved early horn, brainstorming potential tracks and fetching song and pitching song ideas to the director to enhance specific scenes or move. In some cases, if a director has already chosen a play songs within the edit, the music supervisor focuses on clearing the necessary and managing licensing fees for each piece. This crucial role ensures that all pre existing music is legally secured and seamlessly integrated into the film, contributing to its emotional and thematic resonance. Poster, a well known music supervisor collaborate closely with director Wes Anderson to create and clear the iconic needle drops needle drops moment when songs are intentionally used for dramatic impact in Anderson's films. The music editor serves as a bridge between the director, composer, music supervisor, and editor, ensuring that all parties remain aligned on the musical vision requirement, and timing within each. According to composer Rennie Boucher, music editors are technically hired through the production team and are part of the editorial guild. However, because of the close collaboration required, composers often bring their own trusted music editors onto project, valuing the established rapport and understanding that enhances their creative work with all sound elements in place, the project moves into the mixing phase where the recording mixer takes over. This step is crucial in balancing audio levels and preparing the soundtrack for distribution across various formats. The recording mixer works to achieve the perfect blend of dialog, music, and effects, ensuring that each component complements the others. The mix is especially intricate in films. With rich soundscapes or numerous layers of sound effects where even slight adjustments can make a significant difference in how the audience experiences the movie's audio environment. Mixing for highly complex films such as Don, late runner or Madmax requires extraordinary skill and attention to detail. As supervising sound editor Mark Margini describes, this project can involve thousands of individual audio channels. Sometimes up to 2002 or 3,000 that must be unified into a cohesive and immersive soundtrack. This painstaking process is typically conducted in pro tools and industry standard software where the mixer adjusts and layers each sound with precision. The final mix ensures that audiences receive a clear, engaging and powerful auditory experience. Enhances the film's visual storytelling. The mixer's work relies heavily on tools like IQs, equalizers to adjust specific sound frequencies, ensuring that dialogue, sound effect and music mesh seamlessly without becoming modeled. Managing dynamic range. How much contrast there is between the loudest and quietest sound is also essential. By using a composer, the mixer can reduce this difference, making quieter sound more audible while an expander can widen the range, emphasizing subtle audio nuances. Stage of mixing balances scientific precision with artistic insight as the mixer refines each sound layer to enhance the film storytelling. A critical part of the mixer's job is ensuring that the audio translates well across various viewing platforms from theaters to televisions and mobile phones. To achieve this, the mixer collaborate closely with the director, tweaking scenes to align with the director's vision while also preparing mixes that will sound consistent across different environment. This often involves creating multiple versions, such as stereo and sound sound mixes tailored to each format's specific needs. By delivering multiple optimized mixes, the mixer ensures that the film's audio remains impactful regardless of where or how audiences experience it. Final. Production can truly make or break a film, even if the best scripts, performances or short inges on the expertise of the post production team, the right edit, color grading decisions or carefully chosen needle drop can transform a good scene into an unforgettable moment that resonates with audiences. It's a delicate balance where every choice matters, and the collaboration among various departments is essential for crafting the film's final vision. Given the numerous moving pieces involved in post production, careful planning and organization are vital to ensure that the project unfold smoothly. Each phase requires attention to detail and clear communication among team members to avoid potential pitfalls and maintain the integrity of the film's vision. By prioritizing this aspect, filmmakers can navigate the post production landscape effectively, allowing their creative workflow to shine through in its finished form. 10. Selling Your Film Part 1: Welcome back. This course d mystifies the entire professional filmmaking process. In our previous lesson, we covered post production, and today we'll explore how the finished product reaches an audience. So we'll dive into strategies filmmakers can use to maximize viewership and discuss the nuances of marketing and distribution. So drawing insight from seasoned movie marketing executive David Edward and independent key artist Eric Rice. Mark Marketing plays a crucial role in the commercial success of a film. So with the high cost of production, effective marketing is essential to ensure that a film can recoup its investment. So without it, even a well crafted movie might struggle to reach audiences, making it difficult to achieve financial success. So marketing combines a variety of strategies aimed at building awareness and interest, helping to secure a film's place in the competitive entertainment stream. David, Edward offers insight into the scope of marketing. I described it as a catch all time that can be elusive to define. A good friend of mine once said, nobody knows what it is, and that's why they call it marketing. So Edward explains pointing out the broad nature of the film. In the context of films, marketing involves making audiences aware of a movie, encouraging their interest and ideally motivating them to say this is where a film transforms from a self contained piece of art in a widely accessible culture. So a successful marketing campaign is essential to building anticipation for ensuring it reaches the widest possible audience. So this involves targeting specific demographies and generating interest, which can be a costly endeavor. So that's why most film projects allocate a significant portion of their budget to marketing, known as the print and advertising, P and E. Budget for a larger studio productions is different. So, for instance, the marketing budget often makes up 50% of the film's production cost. So in some cases, advertising expenses can exceed the production cost itself. So a prime example is the oral film get out, which had a production budget of around $4.5 million, but reportedly spent over $30,000,000 on marketing alone. So the investment paid off as a film grossed over $255 million worldwide, demonstrating the value of an effective marketing strategy. So, the marketing phase is usually overseen by a studios or distributor's chief marketing officer, CMO. Or president of marketing. Whose vision guides the campaign? So these leaders collaborate with a marketing manager who must be adept at identifying the target audience and developing a tailored strategy to reach them. So marketing managers often work alongside marketing assistants, and they may also contract advertising agencies for specialized expertise and additional resources. This collaboration ensures a cohesive campaign that aligns with the films goal and reaches the intended audience effectively. So film marketing strategies very significantly. So adapting to the type and budget of film. So field of marketing is constantly evolving, especially with the rise of digital media where viral marketing can turn a film into an overnight sensation. Now, let's explore the various types of marketing from traditional print and television hard to digital campaigns that leverage social media and online platforms, types of marketing. Effective marketing relies on a blend of strategy across multiple media streams, often categorized as paid, earned and on Media. So each type plays a unique role in building awareness and anticipation. Paid Media entails direct advertisement, such as trailers, Super Bowl spots, billboard, or bus benches, where the marketing team invest in specific spaces. So Bid Media ensures a guaranteed reach by purchasing impressions or video views, making it an essential tool for getting a film in front of targeted audiences in a reliable measurable way. So David Edward elaborates on the concept, explaining that paid media involves purchasing defined art space and impressions. This could range from large scale hard, like a Super Bowl commercial to smaller investment like social media boost that promotes trailers and post directly to the target demographic. So paid media ensures that audiences sees these messages frequently establishing a film's presence and generating early interest that can build momentum as the release date approaches. So media. And media involves content created through word of mouth or third party sources, including reviews, social media reactions, and press coverage. So although the marketing team can influence and media by crafting engaging campaigns and other things, it ultimately relies on audience response and it isn't fully controllable. This type of media holds significant value because it feels more organic to audiences and can build genuine excitement and trust around the film. As David Edward described Media as a phenomenon that often goes viral entering the slipstream of social commentary. When people find value in a piece of content, they share it naturally. Sparking conversation and amplifying reach, ideally, this leads to headlines and discussions that enhance visibility for the film fueled by the public's interest rather than paid effort on owned media refers to promotional avenues directly controlled by Studio, leveraging internal resources to boost awareness. For instance, Disney might use its network ABC to cover a Marvel movies benefiting from in house publicity without additional cost. So such synergy within conglomerate allows a studio to reach large audience through the media outlets, increasing exposure with minimum spending. So David Edward emphasizes for that thing. Value of studio controlled social media channels as owned media. For example, a studios TikTok channel can reach millions without paid art. Yet, engage fans by sharing exclusive previews, interviews or promotional content. Studios like Disney with multiple media outlets under the umbrella can strategically use these resources to amplify a film's presence. Their own platforms, creating a loop of visibility and audience interaction. Additionally, owned media often include content that was generated on set like interviews and behind the scene BTS footages, which are managed by the electronic press kit, EPQ electronic press kit producer. So working closely with the marketing manager, the EPK producer great essential press kit material. So coordinating with the assistant directly to place BTS cameras strategically on set, this carefully planning shows which content librar reading for press use and audience engagement, fuelling the marketing campaign from production to release. Trailer. The trailer crafted by a specialized trailer editor is essential for building audience interest. So capturing a film's tone. Characters are unique book to make viewers eager for more. So a well designated trailer light what sets the movie apart and teases the storyline without giving it too much. For highly anticipated films, Studios may release a teaser before the food trailer to build momentum. Shutter TV sports also play a role in creating integuw across platforms. Alongside this video asset. A marketing campaign relies on compelling and coercive visuals collectively referred to as Keyhart which help communicate the film's identity and attract attention across posters, billboard and digital platforms. So keyhart key artist Eric Re describes key art as the story of the movie distilled into a single captivating image meant to resonate with viewers in a way that leaves them thinking. Now, that makes sense. This encapsulation of the film's essays comes to life through posters, billboard, boss ad, and digital assets like banners and social media posts. So this piece serves as a touch point connecting the audience with the films mood and message at a glass. The core element of this visual strategy, the poster is designed are a poster designer. A graphics designer, although traditionally associated with physical movie posters in the digital age, the poster has evolved beyond print media. As Eric R note, it's now about creating a piece of art that not only draw viewers in or attracts them. But might even become something they want to display. So with streaming, the purples of key heart has shifted further. Instead of just being a piece that could be hung on a wall pista wall furniture, the modern day poster aims to cut the highs are endless grow. So it needs to be a work that grabs attention instantly. Views transforming static art into an interactive invitation. So like a trailer, a movie poster should convey the films theme and light compelling reasons for an audience to say it. As Eric Re put it, the poster should tell movie story or at the very least grab attention. Often a poster will feature a popular actor intriguing premiere sometimes or the name of a notable filmmaker. If a film has earned critical praise or won firstv accolade, these achievement may also be ilighted on the poster to boost appeal and credibility. In today's landscape, effective marketing teams need strong digital marketing skills. Most films build a significant online presence before their release, including dedicated social media accounts and websites. So the aim is to spark word of mouth balls, releasing enticing behind the scenes, content and amplifying teaser and trailer launches. So this online strategy not only engages potential views, but also creates a steady buildup of anticipation leading up to films Premiere. 11. Selling Your Film Part2: Social media marketing. Different social media marketing platform cater to various type of content, each playing a unique role in film marketing like Instagram, for instance, is ideal for sharing visually striking images captured by the unit stills photographer who is hired to take high quality images of scenes on set. These photos give fans a first look at the film's aesthetic star helping to build excitement. Facebook on the other hand, it's better suited for targeted advertisement due to its sophisticated ad platform. While Tik Tok Excels at engaging users through trend, making it a valuable tool for creating viral content and engaging younger audiences, marketing teams may also collaborate with influencers whose content and audience align with the film's target demographic to help promote the films organic. So actors with substantial social media following can be instrumental in the promotional campaign, so as their hosts can reach millions of fans. So this aspect of marketing is often managed by the actors for business. Who coordinates not only social media posts, but also appearances on talk shows, interviews, and other media outlets. Actors may also participate in press junket where they give back to back interviews to various news outlets at a single location allowing the press to generate consistent coverage. The film. Press kit are typically sent out to journalists and influential voices in the industry to generate burs and units publicist usually assembles this kit, which include press releases and promotional materials and works as a lesson on set to coordinate press visits. Additionally, press screenings are held exclusively for critics to encourage positive reviews. Advanced promotional screenings, SNC reviews are also organized to build early articipation directly with fans, offering them a chance to see the film before its official so films with potential to win major awards like Golden Globes or Oscars may conduct for your consideration campaigns to encourage industry voters to select their film. If the film wins an award, this often sparks a renew marketing campaign that lights the recent accolade, further attracting audiences and boosting ticket sales. This award can elevate a films status, adding credibility and award can significantly contribute to its commercial success. Publicity start Studios often use flashy publicity stunts to generate bulls around their films. For example, actors promoting smile creepy drang at cameras urn major spot event an approach that captured widespread attention. However, stunts can even sometimes backfire, such as when mentioned impossible. He suddenly caused a bomb scare in Los Angeles with a marketing gimmick gone wrong. Larger films also build awareness through product ties like happy meal toys, action figures or video games, which not only act as promotional tools, but also generate additional revenue. From eye catching stunt to branded merchandise, there are countless ways to hype a film, but without a well structured marketing plan to unify this effort, the impact can fall flat, making all the investment in this static a potential waste of resources, marketing plans. Marketing plans vary significantly depending on the type of movie, with indie films requiring a vastly different approach than Blockbusters releases. As Eric Rice explains, the most substantial difference is the budget, which affects access to resources and promotional opportunities. Indie films generally don't have the financial reach to afford extensive TV commercials. Board. So they lean more on social media, targeted Word of Mouth and even reviews to attract a specific audience. They also often hire outside marketing agencies like David Edwards, Tanks pictures to tailor a unique cost effective approach. In contrast, big studios often use their in house marketing department to do blockbusters promotions. For these larger releases, studios employ a 30 60 degree marketing approach designed to reach as broad an audience as possible. This type of marketing is typically reserved. Or what are called four quadrant movies, meaning films intended to appeal to all age groups and all genders. The marketing strategy aims to ensure everyone feels welcome and excited about the film, increasing its overall reach and potential revenue. Re point out that four quadrant films are all ages crowd leasers made to attract a wide audience rage. However, some movies are considered too quadrant, catering to a more targeted demographic. For instance, an action movie might primarily appeal to male audiences or older viewers, while these films may still attract a broader audience. The bulk of the marketing budget is directed at the primary demographic to maximize the return on investment ROI. In the end, studio allocate marketing resources based on audience segmentation to ensure their strategies are effective. So sing or marketing dollars on specific groups for two cauldront films or reaching as widely as possible for four quadrant blockbusters. Studios can create tailored campaigns that align with each movie expected via target audience. Identifying the film's potential audience is a fundamental step in crafting an effective marketing plan. So marketers divide the potential audience into three key categories. Target audience, secondary audience, and tertiary audience. The target or core audience consists of those most likely to watch the movie based on generous stars or them. The secondary or opportunity audience is the group that might attract that might attend, rather, if the movie resonates with them or get positive word of mouth. Finally, the tertiary audience represents those least interested. Though they might gain curiosity if the films them becomes big i deciding who fits into these categories is based on demographic research, which pinpoint age, gender, and location data. All this information influence your targeted audience avatis. So psychographic research, which focuses on personal lifestyle, values, income, and other individual traits is also crucial. So this research gives the marketing team insight into what might motivate specific groups to watch a movie, providing a clearer picture of the potential box office return. So it also helps decide how much budgets to allocate to advertising. Based on the size and nature of the audience. So folder, these insights can indicate whether viewers are more likely to go to theaters for the release or wait for streaming, impacting the overall timing of marketing efforts. So the movie's quality can also shape the marketing approach. If Ellie Pins suggests that the film may receive mixed reviews, the marketing team may also opt to limit or avoid pre release screenings to prevent negative word of mouth from affecting the cucireoNw conversely, if a film is likely to be well received, marketers may increase advanced screenings and engage more heavily with critics and influencers to create positive balls. Regardless of budget, a smart and adaptable marketing plan is key to maximizing the film's success. From Indy James to Blockbuster Giant, a well executed strategy can lead to remarkable returns at the box office, demonstrating the power of effective marketing. Now, let's examine a few successful campaigns to see these principles in action. Example of successful marketing campaigns in the film industry successful marketing campaigns often require creative out of the box strategies to generate balls for Barbie. They used this approach with a range of inventive thoughts. They aired a reality TV series called Barbie Dream House Challenge on HGTV, blending movie promotion with home improvement entertainment. Additionally, the marketing team built built a real life Barbie dream house in Malibu and placed strike. Like Big Billboard, in major cities worldwide that simply displayed the film's release date, generating curiosity and anticipation without traditional art. So studios can also use marketing to expand the fictional world of their films for Toy Story three. The team created fake commercials for the films toy immersing audiences in the movies play playful spirit. Dark Knight also used a form of campaign that has an alternative reality game, ARG to draw fans into Gotham City's pretty atmosphere. So providing an interactive experience that builds intrigue for the film. So these immersive strategies showcase how marketing can go beyond traditional art, creating memorable experiences that engage audiences and deepen their connection to a movie Marketing campaign for Ex Machina ingeniously played with reality, creating a Tinder profile for the AI character, Ava. This stunt was launched in Austin, Texas, just before the film's premiere at Shaw out South by Southwest, catching users' attention and hinting at the movie's themes around artificial intelligence and human relationship. Those kind of creative tactics are not limited to large blockbusters. Right. Low budget or film paranormal activity has famously used clips of terrified audiences a screens its trailers, creating a pair of mystery and genuine fear that intrigued viewers. Similarly, I'm still here played on Joaquin Phoenix, powered by blurring the line between reality mans leaving audiences curious about whether his mentor or ablin was real, which intensified the public's interest in the Fox documentary. Foreign films, however, face unique marketing challenges, often lacking the benefit of familiar stars to draw audiences in. For example, Gozila Minus one became a major success US setting record as the highest grossing Japanese film in US history, released on November 3, 2023 to celebrate the 70th 20th of the GzillaFranchise. David Edward and his team recognized its potential appeal to American audiences, working closely with Soho International. They translated and adapted Japanese trailers and holsters for the US method that preserved the films authenticity while ensuring accessibility for English speaking viewers. To elevate the experience, the marketing team created additional materials, specially for IMAX, fody MA, fody X, and Darby cinema releases, producing high quality posters and teasers aimed at enhancing the film's visual alloy. This careful blend of localized asset and international marketing survey helped bridge cultural allowing Gozilla minus one to become an international it. The success exemplifies how thoughtful marketing can amplify a film's reach, even without the familiar faces or eye budget often relied upon in mainstream US cinema. Digital marketing was essential in building momentum for Gozillas minus one in the US to tap into a dedicated fan base. The marketing team partnered with popular online outlets like IG Hen and Corridor Digital, ensuring that the film washed audiences already invested in Jerre Ponte social media channels dedicated to the film played a big role as well. Frequently sharing clips from the Gzilla franchise to stir up nostalgia and excitement among long term fans. The anticipation grew further with a high profile US premiere in Los Angeles on November 10, where director Takashi Yamasaki and lead actor unskeKamiki were in attendance. This was followed by an early access fan event on November 29, which kept fans eagerly engaged until the official release. The films US released on December 1 in 1,800 theaters marked a significant shift from previous Gzilas films, arriving in US theaters shortly after its Japanese depot. This close release gap was intentional aiming to maintain the film's momentum while interest was still high. Confidence in the movie's appeal, the team decided not to require theaters to commit to a specific run length, trusting that strong Box office performance would keep it on screens. Their strategy effective. Within two weeks, the films expanded too. Resulting to it 510 Theaters, a testament to its broad appeal and sustained audience demand. This success was further boosted by the release of GI Minus Color, a black and white rendition of the film, which brought a fresh, visually compelling experience to theaters, generating new excitement with dedicated thrillers and boosters. Further capitalize on the film's popularity, the marketing team launched for your consideration, FYC campaign, specifically aiming for recognition in the best Visual Effects category at the Academic Award. This final marketing push not only celebrated the film's technical achievement, but also sought to secure prestige and draw in new audiences. We might appreciate the film's artistry. This strategy culminating in an academic Award nomination for Best VFS, which brought the movie even more visual visibility and rounded out a highly successful multilayered marketing campaign for Gozilla Minus one. The US success of Gozilla Minus one a Lighthouse Smart multifaceted marketing can build essential Word of Mouth eye from strategic digital partnerships and immersive social media to early screenings and innovative theatrical releases. The film's campaign showcased the importance of connecting with audiences across multiple platforms. Making a film is an exhaustive and so it's vital that when it's finally completed, it reaches viewers who will appreciate it. Marketing therefore, shouldn't be seen as an afterthought, but as a critical part of the film's journey. Marketing is crucial because even a great movie can only be recognized as such by an audience if they are aware it when the campaign has done its job, it's time to shift to distribution where the film is finally brought to its intended audience in the manes segments of the course, we will dive into the ins and outs of distribution, exploring how to get a completed film onto screens for audiences to experience, see you there. 12. Distributor: In our previous lesson, we looked at marketing. In today's lesson, we look at final stage of filmmaking. We'll make references to entertainment lawyers, Melissa, Degodig, Theatrical Booker, Susan, Jacobsen programmer Jake Izgar. Getting a film in front of an audience involves two stages distribution and exhibition. Film distributor gets a film into different exhibit settings, whether it be a theater, TV streaming services or DVD. Exhibitor wa owns these platforms where the film can be shown as such. Distribution does not just pertain to getting a movie into theaters. It includes anciliary market where a movie can make money for years after the initial theatrica release. Since the Paramount decision in 1948, studios could not own the means of production, distribution and exhibition for most studio meant selling off their theaters, but that distribution has recently expired. So some studios once more getting involved in exhibition. For many films and filmmakers, landing a distributor is by no means a given. They must navigate the challenging process of finding distribution. Distribution begins with accusation. This is where a film ends up in a distributors in other words, the distributor obtains the rights to a film from its copyright order, which is typically a producer or studio. These deals outline what territories the distributor can operate in and for how long. So without any distribution, it isn't possible to make any of the films budget back. So it's a good idea to have distribution in mind earlier on. Susan Jacobson, no you really have to have a plan from the outside, just telling a story that you always wanted to tell. Yes, that's wonderful. Does that mean that it needs to play in theaters, especially since the pandemic? Probably not, because an empty theater is a sad place. A film can secure a distributor when it's still in development or preproduction. This is referred to as presale distribution, a guarantee from a distributor that they will acquire a film upon completion. So this typically happens for movies that are big stars or are sequel to Big E. For more on pre sales, check out our previous lesson on development in this course. So for Big Studios, distribution is typically done in house. Disney, for example, has the Waltz Disney Studios Motion Picture distribution Zab ecobsen explains that if a studio makes a film, they are going to distribute it themselves or they already have a deal in place to co distribute it with another studio, another big production company. In the studios, meanwhile, will have to shop their films around to multiple different films. Independent filmmakers have a few different options to try to get distribution festivals, film market, sales agent, and self distribution. The filmmakers, we typically utilize a combination of these strategies. Most distributors are only present at early prestigious festivals, such as the Big five, Venice, Kings, Berlin, Toronto, and Sundance. They are buzzy themes that get audience or critical attention will be approached by distribution companies. Film market. Fam markets are the primary purpose of selling a film to distributor. Sometimes these markets occur with a larger festival, such as King's Market DFM. But there are others that stand on their own, like the American film market and at the books. Many films bought at market are not finished, often only in the development stage. A film market can be a good route if your film cannot get to the highly selective prestigious festivals. Distribution reps at markets are called acquisition executives, and getting their attention requires a strong brief pitch along with enticing materials like a trailer scene or collection of steels. Often, filmmakers at festivals and market will be partnered with sales agents who specialize in selling films to distribution companies. They will usually represent films at market and festivals, as well as use their own well established connections. Filmmakers who are not established typically have to wait until their movie is finished to land a sales agent. It is possible to reach out to potential distributors using IMDB P. Though few distributors accept unsolicited submissions, different distributors have different areas of expertise. So specialize in certain audiences or genres. Therefore, it is a good idea to have a target audience in mind when meeting with distribution companies. If a filmmaker doesn't need a theatrical release for their movie and is content with a straight to streaming release, they can target aggregators. Aggregators are companies that we approach streamers on a film's behalf, and they do not require distributors or sales agent. Do, however, typically require either an upfront fee or a percentage of sales, self distribution. The final option is self distribution. With self distribution, all avenues of exhibition are still open, but they will be at the financial risk of the filmmaker. The theatrical release is possible, for example, but it will cost a lot of money, since the filmmaker will have to cover art, posters, certification, and more. The filmmaker typically need a sales agent to get a deal with a TV network. Deals can result in a lot of profits, but are typically lengthy self distribution also include posting work onto platforms like YouTube movies or VmeoO demand. These services allow filmmakers to sell their films directly to consumers at little to no cost. Once a method of distribution is procured, a filmmaker must then decide on license nearly all independent distribution requires some form of license. This is an agreement between the creator or right owner of a film and a distributor with set terms for compensation and duration to best navigate this process using an entertainment lawyer is a good idea. Melissa Degodig explains a role, saying that she can undo production contract for independent films and she can form the business entity that usually owns the film and enters into all the contracts on behalf of the filmmaker. So that registering trademarks brand names are huge part of what she does. She also register copyright once the film is in the c. And for screenplays, of course, she also register the script with the copyright office and work with a lot of creative people across the for major studios with their own in house, distribution licensing can be more straightforward, since the right stay within the parent company. However, distribution licensing can take many forms for independent filmmakers and smaller production companies before entering into any kind of distribution agreement, the producers of a film need to ensure that they have all of the clearing rights for the project. Dagodig explains that process. What work involves is reviewing the screenplay and reviewing the film to make sure that there's nothing in it that could trigger a copyright infringement lawsuit. So, what could that be? Strangely enough, for example, it could be like you have a building. A lot of people don't realize that that buildings like the Disney Concert Hall can be subject to copyright production. Moreover, there is trademark issues that could trigger infringement lawsuit as well. That could be like you have the brand name of a store appearing in the background, and that could be something where you have to get a license to have that name appearing. So there's a lot of intellectual property issues that need to be spotted. Larry Wright also means having a firm grasp on the chain of title for all the IP involved in your project. Lego explain that chain of title is really the way that you prove that you own all of the rights that you are representing and warranting that you do on into the film. So that comes down to contracts with all the talent, all the above the line below the line, people in your film, making sure that making sure that those rights track completely with the contracts that you have, if there are co producers or investors involved. Filmmaker will likely have to clear their distribution plan with them before a licensing deal is signed. So Dagodig said, there are two main types of distribution agreements, listen and profit sharing. When a distributor enters a leasing agreement, they will pay a fixed price for the rights to a film. A lasing agreement is for circumstances in which the distributor is distributing the film. Usually on a reduced fee basis. And then the production company will pay for distribution expenses like print of the film and advertising. And what's key in that type of distribution agreement is you want to make sure that you limit what can be counted as expenses. And if you don't limit that, there could be very little left for the filmmaker. Profit sharing agreements mir where a distributor get a percentage of profit of cured by a film. This is typically anywhere between 10% to 50%. Dagodig explained that while it might take more money from the filmmaker, it may also incentivize a distributor to maximize the film's distribution and profit with a profit sharing contract. That is also going to be a percentage of something, and it all matters how it's defined. So it really doesn't matter what you call it. Defined terms and contracts will be in capitalized letters. And what always matters is, what are the details of that definition? Like, what expenses does this person get to take out before they pay me? And how do I limit those expenses? So I get more money. That's what is crucial. Licensing agreements may also differ based on the type of distribution being offered. Primary rights refer to theatrical releases, whereas secondary rights refer to everything else. A licensing deal may give primary right to a distributor, but not secondary rights or vice versa. Distributors typically want all of the rights, but sometimes it can be strategic to withhold certain distribution rights. So you can negotiate down the. Distributors usually also want their license to be exclusive, meaning they will have the sole right to distribute a film in a specific territory for a given period of time. A distributor will pay more for this, but it may also limit your film's exposure. Non exclusive right means multiple different distributors can release in the same territory. For example, a film may be licensed to multiple TV networks. This kind of deal, however, can be trickier to negotiate. A license agreement will also dictate a term length. A term lent. In other words, how long the distributor will have the rights to the fi. These terms are often lengthy up to 50 years before signing a licensing deal. It is important to do your own research, make sure the distributor is willing and able to market your film. But at the same time, won't overspend and at the film's profit margins. This means looking at the distributors track record with prayer frames. International distributors will try to get a film into markets around the world. National distributors meanwhile will take the right for a film in their specific country. Second run licenses will then negotiated to reach a global audience with a license to complaint. It's time to deliver your film to exhibitors. An Exhibitor needs the necessary data to show a film. Typically, this comes in the form of digital cinema package or disappears. Highly resolution files that allow an exhibitor to show a film at its highest quality. Include audio, video and metadata files that are tailored for vision. These files are formatted in accordance with society of motion picture and television engineer standard for consistent playback from theater to theater. Usually, creating a DCP is outsourced is outsourced to a company which specializes in the process. If a movie is going to be shown on actual celluloid, its wheels will need to be delivered to the exhibitor. Bios are the real retail aspect of the film industry. In other words, they handle showing a film to the public, and this can take many forms. Jack Iska explains Exhibition can mean plenty of different things. Like, think of those FBI labels in front of old VHS tapes about public exhibition is not allowed unless you have that right. It could just be somebody getting a projector out at a bar and putting on a movie that is literally exhibition. You're putting something out there for other people to watch. As far as theatrical exhibition, it's just a you get movies and play them on screen for audiences. Distributors typically will work closely with theatrical bookers, negotiating when and where film will be shown. Jacobson explains the role that have to determine when it's going to happen, set the open date and figure out the theatrical strategy how wide is it going to go? Where is it going to play? Coordinate Q and hey, negotiate the terms and conditions, send all the marketing materials to the theaters and make sure that they got them, that the film is properly listed on their website. Make sure that the distributor is doing what they said they are going to do, that they are working to promote the film on their end and then do the collections at the. They will also decide on the split, which refers to how much E 30 will make from the profit. So distributor relationship, outstanding contract with fixed percentages. Jake Izgar explains that a split is negotiated on the outset often, or in some cases for major distributors, is Chain has ongoing deals with theirs and some splits change after a film has earned a specific amount. Scale is when if a theme makes X amount in its first week or second week, then that percentage is set. And then as the film continues to play on screen, the percentage can decrease. When it decreases, I mean, there is more favorable to the theater. So generally speaking, post run percentages can run between, let's say, on average, 50 to 60%, where that 50 to 60% will go back to distributor on the alternative side or in the side, you will realistically a 35 to 40% split where that's 35% 40% is what's going back to the distributor. That also could be why you see certain films play at certain theaters. I know this could gross in this city, but specifically on this screen in this city. So distributors might want to. A film's window will also be decided. This is the amount of time a film is available on specific media technology. For example, Disney Frozen was released theatrically in November 2013 on DVD in March 2014 and deported on ABC in December 2016. Jake Izgar explained that, how long is this on screen before it's available by other means. Other means being digital renter, digital down and others. And then there is also beyond that, when can this be available on streaming site, which is another secondary window where the producer is paying a passive amount of an X amount of dollars to subscribe to the streaming service. This streaming service has this thing that people normally press play on it and maybe watch it while they are doing laundry or doing some other thing. Any way they want to view it. So a day and date release, more rarely, films may also utilize a day and date release where it premieres on streaming the same day it's premieres theatrically. Occasionally, a film will come back for a second round to celebrate anniversaries or big award wins. Oppenheimer, for example, did a limited release after its numerous academic award wins. Theater windows have been shrinking, especially for mid and low budget films. This is largely thanks to proliferation of streaming services. Jacobsen explains, especially now since the pandemic. People don't go to the movies as much. So for a film now toward a theatrical release, it really has to be up to now. There are a film different there are a few different kinds of theatrical releases. Bigger movies will typically have a wide release, meaning playing at over 600 theaters. If a film plays under that number, it is considered a limited release. Films may begin with a smaller release before it expands. This is referred to as a platform release. Platform release. Platform releases will typically play on play only in New York and Los Angeles. This build word of mouth and can create special for a wider release. But if a film doesn't perform well during a platform release, it may just continue as a limited theatrical run in. Exhibitos must be strategic about their screenings. If a film opens too wide, meaning in too many theaters, then the audience may be spread thin. Exhibitos will often pressure distributors as they decide on a release date. For example, theaters will typically not want multiple highly anticipated film to be released on the same weekend. If a theater does not want to screen a film on its own di, a distributor or filmmaker may for wall, meaning they will underwrite a certain number of screens to ensure a film gets released. This removes any financial risk for the theater. Jake Izgar says, If you want to just buy out the screen, if you're intrepid enough, if you are a hotter, if you know what you're doing, then like for war why not like also get people in there's plenty of films that have succeeded that way or started that way, rated film. Before a film can be exhibited in many US forums, it must be rated by the MPA. A film's rating can affect how wide of a reach it will have. Most blockbusters will try to avoid an R rating because it will limit family audiences. Instead, they will aim for a PG 13 rating, indicating that almost all audiences are welcome. G and PG ratings typically indicate a movie is made for families and children. NC 17 rating Mewi can severely cut down the number of theaters or films shown in as happened with showgirls, a big budget film that ended up with a relatively limited theatrical release. Today, exhibition is evolving rapidly due to shift in the industry as well, as well as audience viewing patterns. Final thought. Distribution may be the last step in the filmmaking process, but it is certainly the list. Distribution in the mind from the beginning will help ensure your film gets by as many people as possible. Distribution requires a lot of planning, and you can start that learning at the development stage of the movie. That's all for this course on professional filmmaking master class. Now, you have all the tools to take your masterpiece from script to screen. 13. PROJECT: For this project, you apply what you've learned about pre production by using the production document provided in the course asset. This document are essential tools used by industry professionals to organize and streamline the filmmaking process steps to complete the project. Download the document, access the production document provided in a course asset. This includes templates for a script breakdown, shortlist, storyboard, production schedule, a court sheet two, customize for your film. Use this document to create pre production materials for your home film idea or a scene you'd like to produce. Be sure to include a detailed script, breakdown, a short list for at least one scene, a storyboard to visualize key moment, a basic production schedule, a completed call sheet for one day of filming. Once you've completed the document, take a clear screenshot of your work. You can include a screenshot of your entire folder showing all the completed document or highlight individual document. Upload to the project section. Submit your screenshot in the project section of this course. What to keep in mind? You don't need a fully polished project. This is about applying the process and getting on experience. Creativity is encouraged. Feel free to use your unique film idea or adapt a favorite scene from an existing story. If you encounter any challenges, refer back to the lessons to reach out in the discussion section for guardians. I'm excited to see how you bring your vision to life using these industry standard tools. App filmmaking.