In this course, veteran no-budget filmmakers Michael Scott and Ryan Wieber discuss how to make a high-quality film with little to no money, but with few to no compromises. This course will run the gamut from theory to tech, prep to post, exploring the crucial, yet oft-neglected interrelationship between production and post. This course will also cover some fundamental principles of digital filmmaking that everybody ought to know, utilizing examples from Scott and Wieber\'s prior work as well as new material created for the course.
Содержание Class 1: Discussion of the two meanings of "Get it in camera", and our opinion that sometimes the "why" of an effect - the way in which it serves the story - can be a more important question than "how". And, using the "severed arm" sequence from our film RvD2 to demonstrate how we attempted to get the most realism possible out of an unreal moment. Class 2: This class, the first of two classes focused on shooting fight scenes, begins with a conversation with fight choreographer Anthony Alba regarding his background and his process when creating a fight scene for a movie. Then we jump to the actual shoot of a fight scene that he created expressly for this class. The class is a "fly on the wall" view of the process, with tips and tricks shared throughout, all in preparation for next week's class, when we will edit the footage. Class 3: In this week's class, we talk through the editing process of the fight scene we shot in last week's class. We discuss organizing the project, picking the best takes, and then making the tough decisions of what to show, and what's gotta go. We start with the raw takes and have a full cut by the end of the class. Class 4: "Speed Compositing" Tips, tricks, and techniques for turning around a large number of shots in a small amount of time, organization, workflow recommendations, and high-volume batch compositing. Class 5: In our last class before the midterm break, we go back to concrete examples from our film Ryan vs Dorkman 2, and break down some of the other visual effects challenges we faced in the film, including a discussion of the popular wall sequence. Class 6: VFX Supervising What you really need to know on-set Class 7: Indie Digital Post Technical issues for low-to-no budget post Class 8: This week we get back to hands-on, real-world applications of concepts with a short driving-on-greenscreen sequence, showing the production and post-production concerns of a very common VFX scenario. Class 9: Cloning sequence, Part 1 Planning, shooting, and rough edit to pre-visualize the effects. Class 10: Cloning sequence, Part 2 A closer look at editing for vfx, and various techniques are used to finish a few shots in the sequence.
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Видеоуроки The Broadcast Ident [2011, ENG]
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