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À noter, la durée de la vidéo est de 00:08:38 secondes et son titre est First Steps To Starting A Production Company – Rory Karpf, fournis par [vid_author_name]. La description se trouve ci-dessous :« Achetez le livre – Reménagement – https://amzn.to/45Appbr Dans cette interview vidéo Courage de film, le cinéaste Rory Karpf explique comment sa société de production est spécialisée dans une variété de projets, en particulier des documentaires sportifs, mais ils fonctionnent également sur différents types de documentaires, des émissions de téléréalité non scénarisées, des vidéos d’entreprise et même du contenu scénarisé. Lors du démarrage de sa propre société de production, Rory s’est concentré sur le maintien de bonnes relations avec les clients, en étant coopératif et réceptif aux commentaires. Au cours de la première année, son entreprise a doublé les revenus qu’il a faits de son emploi précédent, et le succès a continué de croître chaque année. Il souligne l’importance des infrastructures, une équipe fiable et minimiser les dépenses inutiles. Rory croit à l’embauche de personnes à faible entretien qui sont adaptables et ont une attitude positive, évaluant les connexions personnelles et les amitiés avec ses collaborateurs. Il constate qu’être ami avec des sujets peut établir la confiance et favoriser de meilleures relations de travail, ce qui conduit à des projets réussis. Rory Karpf est un cinéaste primé à 4 fois Emmy et Peabody qui a collaboré avec des talents notables tels que Tom Cruise, Kevin Costner, Snoop Dogg, Shaquille O’Neal, Paul Newman, Vin Diesel, Peyton Manning, Rob Lowe et Dana White. Son travail documentaire comprend l’ESPN 30 pour 30 films « I Hate Christian Laettner », « Nature Boy », « The Book of Manning », la série Netflix « Coach Snoop », et la série AMC « The Secret History of Comics ». « Grace Point » est la première fonctionnalité scénarisée de Rory en tant qu’écrivain et réalisateur. Plus de vidéos avec Rory Karpf https://bit.ly/3ljpqad Connectez-vous avec Rory Karpf http://www.rorykarpf.com https://www.imdb.com/name/nm1715501 https://www.linkedin.com/in/rory-karpf-a248384384 https://www.instagram.com/rorykarpfdirector https://twitter.com/rorykarpf Les téléspectateurs ont également regardé pourquoi j’ai quitté mon travail de jour pour démarrer une société de production – https://youtu.be/r3wsh4zawxq comment démarrer une entreprise de production sans expérience – https://youtu.be.be8222zysineg Daydreamer a lancé une société de production – https://youtu.be/u577y0lhgy8 Todd Berger sur le démarrage d’une société de production – https://youtu.be/fwvqkv59aq8 comment embaucher un film de cinéma et planifier une production – https://youtu.be/kadmuu8te (B&H) – https://buff.ly/3rwqrra ►Nous utilisons cet enregistreur sonore (Amazon) – http://amzn.to/2tbflm9 Livres que nous recommandons https://buff.ly/3o0oe5o de soutenir le film Courage en devenant membre https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage https://www.facebook.com/filmcourage https://www.instagram.com/filmcourage http://filmcourage.tumblr.com http://pinterest.com/filmcourage abonnez-vous au film Courage YouTube Http://bit.ly/18dpn37 Écoutez le pood Courage Podcast https://soundcloud.com/filmcourage-com truc que nous utilisons: lentille – la plupart des gens nous demandent quel appareil photo nous utilisons, personne ne pose jamais sur l’objectif que les cinéastes nous disent toujours plus importants. Cet objectif était un gros investissement pour nous et un que nous souhaitons pouvoir faire plus tôt. J’ai commencé à utiliser cet objectif à la fin de 2013 – http://amzn.to/2tbtmoq audio enregistreur audio – si nous devions recommencer, c’est probablement le premier élément que nous aurions acheté – http://amzn.to/2tbflm9 LICTES – bien que nous aimions utiliser autant de lumière naturelle que nous pouvons, nous améliorons souvent l’éclairage avec ce petit éclairage portable. Nous en avons deux et ils nous ont sauvé plusieurs fois – http://amzn.to/2u5unhv * Ce sont des liens d’conseil, en les utilisant, vous pouvez aider à soutenir ce canal. #movies #business #Life ».

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Déchiffrer le Rôle et l’Intention du Producteur

Analyser les Compétences Techniques Primordiales

Pour être efficace, un producteur doit maîtriser les aspects techniques de la création audiovisuelle, comprendre les statistiques de marché et s’adapter aux préférences des artistes, entreprises ou clients. Une approche pragmatique et technologique est essentielle pour répondre aux attentes spécifiques du secteur concerné.

Définir les Engagements Essentiels et les Détails Nécessaires

La responsabilité du producteur inclut la gestion des ressources, l’optimisation du stockage des matériaux et l’application des techniques requises pour atteindre la finalité du projet. Son rôle est centré sur une communication efficace et une gestion stratégique des acteurs impliqués.

Le mot « prod » trouve son application dans divers secteurs, y compris la gestion de production, la supply chain et l’industrie culturelle. L’organisation et l’exécution d’un projet dépendent largement d’un producteur, que ce soit pour un spectacle, une production audiovisuelle ou une chaîne logistique.

Utiliser les Données pour Améliorer la Production

Juger l’Efficacité des Stratégies Initiées

Les producteurs qui savent exploiter les données efficacement peuvent ajuster leurs ressources, optimiser le stockage et assurer la finalité de leur projet.

Chez emediaprod, nous comprenons les défis de la production moderne. Grâce à notre approche innovante et à notre maîtrise des nouvelles technologies, nous transformons vos idées en projets tangibles, efficaces et adaptés aux comportements de consommation actuels.

L’évaluation des données aide à perfectionner la prise de décision dans le domaine de la production.

Utiliser les Informations Clés pour Prendre des Décisions Éclairées

En utilisant les données, on peut mieux appréhender les choix des consommateurs, prévoir les tendances du marché et adapter les stratégies.

Travail d’Équipe et Alliances

Faire ressortir l’Importance des Coopérations

En travaillant ensemble, que ce soit dans un cadre artistique ou dans le monde des affaires, on renforce notre capacité à innover et à répondre aux attentes du marché.

Apprécier les Bénéfices d’une Synergie d’Équipe

La collaboration entre artistes et entrepreneurs est un atout pour la mise en place de projets ambitieux et pour garantir une communication harmonieuse avec les clients, notamment dans des secteurs où la transparence et la crédibilité sont clés.

Stockage, Technique et Finalité : Évaluer le Mot « Prod » et Ses Utilisations

Les nouveaux modes de consommation audiovisuelle transforment profondément un métier en constante évolution : la production. De nos jours, la musique est rarement consommée sans des éléments visuels puissants qui visent à séduire le public abonné sur les plateformes de distribution. Dans un monde où les tendances sont façonnées par des plateformes telles que YouTube, TikTok et Instagram, il est crucial d’associer plusieurs axes de création avec le son, en particulier la vidéo. Une prod de qualité doit se marier avec un contenu visuel captivant et engageant, tout en permettant à la musique et à la bande-son de s’exprimer pleinement. Établir un équilibre entre identité sonore et impact visuel est essentiel pour créer une expérience immersive qui retienne l’attention et suscite l’émotion du spectateur.

On ne peut ignorer l’impact des Technologies sur l’éducation.

Découvrir les Instruments Contemporains Employés par les Sociétés

Les logiciels de gestion d’aujourd’hui rendent possible l’optimisation du stockage ainsi que de la logistique. Une meilleure communication entre les producteurs, les entreprises et les artistes est rendue possible par les outils numériques.

Les processus de production bénéficient grandement des innovations en matière de technologies.

Étudier l’Influence des Avancées Technologiques

Les technologies d’aujourd’hui proposent des stratégies efficaces pour optimiser la finalité d’un projet. En utilisant des outils analytiques, il devient possible d’exploiter des statistiques en temps réel pour améliorer les coûts et les délais.

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#Steps #Starting #Production #Company #Rory #Karpf

Retranscription des paroles de la vidéo: what kind of projects does your production company specialize in my production company has done a lot of sports documentaries but we’ve done all kinds of documentaries series unscripted reality corporate videos sometimes you do one for the meal one for the real um so and and more recently our first scripted so pretty much everything under the storytelling gamut we’ve done and so when you were still employed as an employee you were setting up like an LLC and getting all the paperwork ready and yeah it’s pretty easy actually I mean just go to the Secretary of State you get Incorporated and I did that I had had some experience trying to do little side hustles when I had a job anyway like I had a personal training business or I had a fitness radio show and different things like that so I knew to get Incorporated and I had like I just said if I can just match what I made at my job I’ll be fine if I could just match like that salary so I had two projects set up and again it’s relationships that do people like working with you are you easy to deal with are you Cooperative it’s just striking that balance because I’ve met filmmakers who are very talented but they don’t do well in that client relationship they don’t do well with notes they don’t do well and it’s just being able to strike that balance so the first year I had my production company I doubled what I made at NASCAR which I was happy with then like the following year after that I doubled that so every year I was doubling what I was making from the previous year so it started it was going really well um and so I would say if you’re going to start your own production company it’s easier now than ever but you have to have some you do have to have some infrastructure in place like I had a cinematographer that I knew and also too at the time I added I did it a lot myself I edited my own work I directed it I produced it I wrote it in fact uh I don’t know if I’m going too off tangent but uh this one guy who had a company like a full production company with like a staff of like 40 people he was asking me on the book of Manning he’s like well who did this and I’m like that was me and he said well who did this that was me he’s like who’s your production coordinator I’m like me so um and he was asking like where did you do your editing at and I just remember talking to him on the phone I just looked over and it was like a fold out card table that I had in my gym at home like that’s where I did all the editing like I didn’t so I actually had bought a book this might be helpful to viewers I bought a book called rework which is about why companies fail a lot in their first five years and a lot of it is just wasted money wasted resources like doing things more for vanity like they think they have to go to an office or they have to have an assistant and you know one of the biggest lessons was just spend money on what you have to have and that’s what I did so I worked out of my home cap Cruise really minimal treated people really well tried to do that so um that was helpful that book what do you think some of the things that are spent um on vanity aside from I mean assistant you could say some of that’s a necessity so you don’t burn out because it is so so easy to burn out yeah being on your own um but but what do you think a lot of people spend on vanity um that that could be cut away well you see a lot you saw it during covid offices I mean think about how many people started working from home during covid and realize that they don’t necessarily have to go to an office I saw it after I got divorced I have uh 50 custody of my kids so when I would get hired like a lot of times they would want me to come to LA and sit in the edit Suite if I was working on a project and I would say no like I’m not I’m not able to do that or I could do it every other week but this was uh non-negotiable for me and you can do a lot remotely like you can do I think people are catching on now but for a long period of time it’s like things were still being done from like 20 years ago like how a producer has to sit in the room with the editor you have to be on location you have to you know especially in post um just things like that and and also too I’ve seen treating all Productions the same so a documentary shoot is being treated the same as a commercial shoot a commercial shoot is like huge I’ve done commercials and there’s people there who are just like in charge of walkie-talkies I mean there’s like every little job is like one person and on a documentary you want to have a more intimate uh crew and especially if you’re doing something really like personal and emotional sometimes you only want like three people with with the subject if that so they’re different but I would see some people applying that same commercial mentality to a documentary so those are some of the things I’ve seen money being wasted on how did you assemble your team and what are some of the qualities you look for in your collaborators uh that’s a good question I assembled my team by people I’ve worked with previously at the NFL and NASCAR uh cinematographers audio editors so I would say it’s twofold um Talent is important obviously but to me not as important as uh being low maintenance like I can’t I can’t stress how important that is um you want people that are going to go with the flow you know like I’m looking for Bruce Lee to be on my crew be like water you conform to The Container because production is constantly changing it’s not like accounting or doing you know life insurance you go out there especially in documentaries but in scripted to what you think is going to happen that day and what happens or usually they don’t line up all the time so you want to be with people that can be flexible and that you want to spend time with like in a van like driving down the highway so I and not everybody may agree with this but I would rather have somebody let’s say that is a A minus cinematographer but I really like and puts me in a good mood to be around than someone who’s an A plus and a huge pain in the ass like that’s me because to me life is short and I have to spend time with these people and I want to get a I want to get along with who I work with I don’t look at it like work and personal to me my work is personal because I’m spending my time you know and it’s uh it’s time I could be doing anything else so I would say the people I work with are my friends uh genuinely and um when it comes to documentaries some people have and I’ve heard this been said and to me by the way uh don’t be friends with your subjects don’t be friends you gotta keep that distance and I see the argument in that but also I think when you’re friends with someone you develop trust and when someone trusts you they’re more willing to be open um and I look at being friends that sometimes you have to tell someone hard truths so it doesn’t mean you’re gonna sugarcoat things and you know and I think you just can get a better working relationship when you are friends or at least friendly with the subject and I just did my first scripted feature and uh we had our Premiere at the Santa Barbara film festival and my parents my parents came and my the one thing that that uh touched me a lot was that my dad said boy everybody that you work with really uh likes you and they really seem like they’re your friends and I was like great like that’s awesome because I want to be that way you know um with the actors the crew and all that so I try to hire people that I get along with .

Déroulement de la vidéo:

0 what kind of projects does your
0 production company specialize in my
0 production company has done a lot of
0 sports documentaries but we&;ve done all
0 kinds of documentaries series unscripted
0 reality
0 corporate videos sometimes you do one
0 for the meal one for the real
0 um so and and more recently our first
0 scripted so pretty much everything under
0 the storytelling gamut we&;ve done
0 and so when you were still employed
0 as an employee you were setting up like
0 an LLC and getting all the paperwork
0 ready and yeah it&;s pretty easy actually
0 I mean just go to the Secretary of State
0 you get Incorporated
0 and I did that I had had some experience
0 trying to do little side hustles when I
0 had a job anyway like I had a personal
0 training business or I had a fitness
0 radio show and different things like
0 that so I knew to get Incorporated and I
0 had like I just said if I can just match
0 what I made at my job I&;ll be fine if I
0 could just match like that salary so I
0 had two projects set up and again it&;s
0 relationships that do people like
0 working with you are you easy to deal
0 with are you Cooperative it&;s just
0 striking that balance because I&;ve met
0 filmmakers who are very talented but
0 they don&;t do well in that client
0 relationship they don&;t do well with
0 notes they don&;t do well and it&;s just
0 being able to strike that balance
0 so the first year I had my production
0 company
0 I doubled what I made at NASCAR which I
0 was happy with then like the following
0 year after that I doubled that so every
0 year I was doubling what I was making
0 from the previous year so it started it
0 was going really well
0 um
0 and so I would say if you&;re going to
0 start your own production company it&;s
0 easier now than ever but you have to
0 have some you do have to have some
0 infrastructure in place like I had a
0 cinematographer that I knew and also too
0 at the time I added I did it a lot
0 myself I edited my own work I directed
0 it I produced it I wrote it in fact
0 uh I don&;t know if I&;m going too off
0 tangent but uh
0 this one guy who had a company like a
0 full production company with like a
0 staff of like 40 people
0 he was asking me on the book of Manning
0 he&;s like well who did this and I&;m like
0 that was me and he said well who did
0 this that was me he&;s like who&;s your
0 production coordinator I&;m like me so
0 um and he was asking like where did you
0 do your editing at and I just remember
0 talking to him on the phone I just
0 looked over and it was like a fold out
0 card table that I had in my gym at home
0 like that&;s where I did all the editing
0 like I didn&;t so I actually had bought a
0 book this might be helpful to viewers I
0 bought a book called rework which is
0 about why companies fail a lot in their
0 first five years and a lot of it is just
0 wasted money wasted resources like doing
0 things more for vanity like they think
0 they have to go to an office or they
0 have to have an assistant and you know
0 one of the biggest lessons was just
0 spend money on what you have to have and
0 that&;s what I did so I worked out of my
0 home
0 cap Cruise really minimal treated people
0 really well tried to do that
0 so
0 um that was helpful that book what do
0 you think some of the things that are
0 spent um on vanity aside from I mean
0 assistant you could say some of that&;s a
0 necessity so you don&;t burn out because
0 it is so so easy to burn out yeah being
0 on your own
0 um but but what do you think a lot of
0 people spend on vanity
0 um that that could be cut away well you
0 see a lot you saw it during covid
0 offices I mean think about how many
0 people started working from home during
0 covid and realize that they don&;t
0 necessarily have to go to an office I
0 saw it after I got divorced I have uh 50
0 custody of my kids so when I would get
0 hired like a lot of times they would
0 want me to come to LA and sit in the
0 edit Suite if I was working on a project
0 and I would say no like I&;m not I&;m not
0 able to do that or I could do it every
0 other week but this was uh
0 non-negotiable for me
0 and you can do a lot remotely like you
0 can do I think people are catching on
0 now but for a long period of time it&;s
0 like things were still being done from
0 like 20 years ago like how
0 a producer has to sit in the room with
0 the editor you have to be on location
0 you have to you know especially in post
0 um just things like that and and also
0 too I&;ve seen treating all Productions
0 the same so a documentary shoot is being
0 treated the same as a commercial shoot a
0 commercial shoot is like huge I&;ve done
0 commercials and there&;s people there who
0 are just like in charge of
0 walkie-talkies I mean there&;s like every
0 little job is like one person and on a
0 documentary you want to have a more
0 intimate uh crew and especially if
0 you&;re doing something really like
0 personal and emotional sometimes you
0 only want like three people with with
0 the subject if that
0 so they&;re different but I would see
0 some people applying that same
0 commercial mentality to a documentary so
0 those are some of the things I&;ve seen
0 money being wasted on
0 how did you assemble your team and what
0 are some of the qualities you look for
0 in your collaborators
0 uh that&;s a good question
0 I assembled my team by people I&;ve
0 worked with previously at the NFL and
0 NASCAR uh cinematographers audio editors
0 so I would say it&;s twofold
0 um Talent is important obviously but to
0 me not as important as uh being low
0 maintenance like I can&;t I can&;t stress
0 how important that is
0 um you want people that are going to go
0 with the flow you know like I&;m looking
0 for Bruce Lee to be on my crew be like
0 water you conform to The Container
0 because production is constantly
0 changing it&;s not like accounting or
0 doing you know life insurance you go out
0 there especially in documentaries but in
0 scripted to what you think is going to
0 happen that day and what happens or
0 usually they don&;t line up all the time
0 so you want to be with people that can
0 be flexible and that you want to spend
0 time with like in a van like driving
0 down the highway so I and not everybody
0 may agree with this but I would rather
0 have somebody let&;s say that is a A
0 minus
0 cinematographer but I really like and
0 puts me in a good mood to be around than
0 someone who&;s an A plus and a huge pain
0 in the ass like that&;s me because to me
0 life is short and I have to spend time
0 with these people and I want to get a I
0 want to get along with who I work with I
0 don&;t look at it like work and personal
0 to me my work is personal because I&;m
0 spending my time you know and it&;s uh
0 it&;s time I could be doing anything else
0 so
0 I would say the people I work with are
0 my friends uh genuinely and
0 um when it comes to documentaries some
0 people have and I&;ve heard this been
0 said and to me by the way uh don&;t be
0 friends with your subjects don&;t be
0 friends you gotta keep that distance and
0 I see the argument in that but also
0 I think when you&;re friends with someone
0 you develop trust and when someone
0 trusts you they&;re more willing to be
0 open
0 um and I look at being friends that
0 sometimes you have to tell someone hard
0 truths
0 so it doesn&;t mean you&;re gonna
0 sugarcoat things and you know and I
0 think you just can get a better working
0 relationship when you are friends or at
0 least friendly with the subject
0 and I just did my first scripted feature
0 and uh we had our Premiere at the Santa
0 Barbara film festival and my parents my
0 parents came and my the one thing that
0 that uh touched me a lot was that my dad
0 said boy everybody that you work with
0 really uh likes you and they really seem
0 like they&;re your friends and I was like
0 great like that&;s awesome because I want
0 to be that way you know
0 um with the actors the crew and all that
0 so I try to hire people that I get along
0 with
.

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