Regardez dès maintenant ce film sur «Produktionsfirma» en streaming sur youtube.
Asua propose une exploration de « Produktionsfirma ».
Retrouvez cette vidéo mise en ligne par Asua sur Youtube.
dédié à « Produktionsfirma »:
Nous avons découvert cette vidéo récemment et elle bénéficiait d’une belle interaction. Le compteur de Likes indiquait: 2.
La durée de 00:34:59 secondes et le titre The Biggest VFX Mistakes in Pre-Production (And How to Avoid Them!) sont à prendre en compte, ainsi que les informations de l’auteur et la description qui suit :« Dans cette vidéo, je vais briser les ** plus grandes erreurs que les cinéastes font en pré-production lorsqu’ils traitent avec VFX et CGI – et comment les éviter. De la planification efficace des tirs à la travail avec votre équipe VFX, je partagerai des conseils essentiels pour gagner du temps, de l’argent et des maux de tête en post-production. 0:00 Intro 1:47 Pourquoi je couvre ce sujet 3:08 Différence de VFX entre une publicité et un film 5:42 CGI 6:51 Pré-production 7:09 Comment / Pourquoi un réalisateur est choisi pour un spot VFX 9:16 Travailler avec le Post Houses 11:00 Corridor Crew 12:27 My Knowet In VFX 13:56 Photoral CGI 15:26 17:29 Comment choisir un bon artiste VFX 20:21 se salir les mains à des moments 22:20 Comment un producteur peut aider 26:07 Avantage de travailler avec une House EST 29:09 Un autre conseil 30:28 Avoir un superviseur VFX sur Set Go Check Out Corridor Crew If You Love VFX https://www.youtube.com/@corridorcrew I Appréciez vraiment vous prendre du temps pour regarder. Si vous le pouvez, partager la vidéo, lui donner un semblable ou laisser un commentaire avec des questions signifierait beaucoup. Merci encore pour votre soutien! S’il vous plaît, comme, partagez et abonnez-vous aidez-moi à terminer mon projet passionné. Veuillez faire un don aujourd’hui via Paypal www.asuahan.com ou gofundme: www.gofundme.com/f/what-happens-when-an-im-immortal-warrior-meets-a-porsche ou devenir membre de Patreon aujourd’hui. Vous recevrez une tonne de contenu exclusif. Allez visiter aujourd’hui en frappant ce lien: www.patreon.com/asua Instagram: @asua_han Twitter: twitter.com/asua_han tiktok: tiktok.com/directorasua reddit: reddit.com/dir_asua ».
Cette plateforme de streaming favorise la diffusion et la découverte de vidéos inspirantes, tout en assurant une navigation sécurisée et respectueuse de la vie privée.
Groupements et Collaborations
Mettre en Relief la Valeur des Synergies
La coopération en collectif, qu’elle soit artistique ou entrepreneuriale, favorise l’innovation et nous permet de mieux répondre aux besoins du marché.
Analyser les Bénéfices d’une Action Conjointe
La coopération entre artistes et producteurs est essentielle pour la mise en place de projets ambitieux et pour garantir une communication efficace avec les clients, surtout dans des secteurs où la transparence et la crédibilité sont clés.
Exploiter les Statistiques pour Accroître l’Efficacité de la Production
Appliquer les Données Pertinentes pour Prendre des Décisions Éclairées
En analysant les statistiques, on peut mieux saisir les choix des consommateurs, anticiper les tendances et adapter les stratégies.
L’examen des résultats aide à optimiser la prise de décision dans le secteur de la production.
Apprécier l’Efficacité des Stratégies Planifiées
En tirant parti des données efficacement, les producteurs peuvent mieux gérer leurs ressources, optimiser le stockage et assurer la finalité de leur projet.
Lorsque la production audiovisuelle rencontre l’innovation, des projets uniques naissent. C’est ce que vous propose emediaprod, une entreprise à la pointe de la technologie, capable de transformer vos idées en réalité.
Stockage, Technique et Finalité : Révéler le Concept de « Prod » et Ses Perspectives
Les nouveaux modes de consommation audiovisuelle entraînent une transformation profonde d’un métier en constante évolution : la production. Aujourd’hui, pour attirer le public abonné sur les plateformes de distribution, la musique est souvent associée à des éléments visuels forts. Dans un monde où les tendances sont dictées par des plateformes comme YouTube, TikTok et Instagram, il est impératif de combiner plusieurs axes de création avec le son, notamment la vidéo. Un contenu visuel engageant et attrayant est nécessaire pour une prod efficace, tout en laissant la musique et la bande-son s’exprimer. L’enjeu est de parvenir à un équilibre entre impact visuel et identité sonore, pour développer une expérience immersive qui capte l’attention et éveille l’émotion du spectateur.
Les Technologies
Rechercher les Solutions Modernes Utilisées par les Organisations
Les logiciels de gestion actuels aident à optimiser le stockage et la logistique. Les outils numériques contribuent à une communication plus efficace entre les artistes, les producteurs et les entreprises.
Mesurer l’Impact des Progrès Technologiques
Les technologies d’aujourd’hui proposent des stratégies efficaces pour optimiser la finalité d’un projet. En intégrant des outils d’analyse, on peut tirer parti de statistiques en temps réel afin d’optimiser les coûts et les délais.
Améliorer les processus de production dépend largement de l’évolution des technologies.
Examiner la Mission et l’Objectif du Producteur
Décrire les Tâches Clés et les Éléments Nécessaires
En matière de gestion des ressources, d’optimisation du stockage des matériaux et de mise en œuvre des techniques adéquates, le producteur doit garantir la finalité du projet. Pour réussir dans son rôle, il doit allier une gestion stratégique à une communication efficace avec les différents acteurs.
Dans le cadre de la gestion de production, de la supply chain et de l’industrie culturelle, le terme « prod » est fréquemment rencontré. L’exécution d’un projet, qu’il concerne un spectacle, une production audiovisuelle ou une chaîne logistique, est largement influencée par le rôle d’un producteur.
Identifier les Compétences Techniques Incontournables
La compréhension des statistiques de marché, la maîtrise des aspects techniques de la création audiovisuelle et l’adaptation aux préférences des artistes, entreprises ou clients sont des qualités d’un bon producteur. Adopter une approche innovante et opérationnelle est fondamental pour satisfaire les besoins particuliers du domaine.
Accédez directement à la vidéo sur youtube grâce à ce lien :
la source: Cliquer ici
#Biggest #VFX #Mistakes #PreProduction #Avoid
Retranscription des paroles de la vidéo: uh as you can see it’s a whole new setup um the main reason is cuz I can’t seem to find my little puck which where I position my camera somewhere around here but uh yeah now it’s here with this low angle so I got to make sure to always look down and as you can see the distortions no longer up above the Distortion occur here yeah and I can it’s kind of cool setup look it kind of I get this camera to pan left and right kind of making it a bit cinematic but yeah I got my coffee here and um and yeah it’s been a while um now on my patreon uh for those of you who are not in the know you can um become a member of my patreon it’s it’s free and there’s also $1 $3 and a $5 um uh tiers which you can um apply for uh and you get exclusive content so so yeah just a do so from a dollar to $5 you get exclusive content uh if you get the $5 one you instantly get free access to my eBook The Only book you’ll need to become a commercial film director and that book alone is $5 so it’s a it’s a it’s a bargain um but yeah uh for my paid patreons we have a community where uh I give them uh the access to to ask me questions so we have so we have like a chat community and asked you know is there any topics you want me to cover and so uh one of the uh patreon members asked more in-depth VFX pre uh I assume he’s talking about preproduction V effects and how to I guess hopefully try and achieve a good outcome and just to give you uh quick background um so this patreon member um I actually know him he’s a producer I won’t um I won’t embarrass him by by letting you all know who he is but um he yeah he’s a producer and so it’s understandable why a producer would ask a question like this because uh especially when it comes to VFX and to be more specific vxs in the commercial world is um a whole different thing compared to say VX when working for when working in VFX for a feature film or let’s say for your own personal project it’s completely different and the main reason for that is the turnaround so for TV commercials there is a there is a in in most cases the um the the the timeline that that you have to complete a project so complete as in the editing color grading um VFX voice over music music has to be done in a much shorter duration compared to say a feature film where you have at least you know a good two to 3 years and then when it comes to let’s say personal projects then that’s a different story okay I got to remember to always look at the camera yeah so personal projects is a different story because you don’t have a deadline you can work at your own pace and and in most cases in those personal projects you’re having your friend work on it or someone who’s doing it at a at a lower fee and who is a freelancer and who’s most likely doing it uh during his um you know during his free time um then say for a commercial or feature film there is a deadline like for example for a feature film you know for example like um yeah most feature films will announce a release date so they’ll say oh this films coming out next year January and so they’re given a schedule to have the film complete I would say at least a week before the actual release date but I heard but I’ve heard some stories is where they’ve been working on the effects all the way up until the release date and yeah and anyway so um so when it comes to V effect or let’s say to be more specific CGI um CGI is computer generated imagery which we’re talking about like 3D objects and stuff so um this is quite heavy intensive because there’s a lot of um Manpower a lot of hours a lot of there’s a lot of whole lot of thinking involved when it comes to vfix CGI and so when the so for example when you do get a board it’s very important to know which shots or scenes require V effect um and when it comes to so yeah so so let’s put it um you let’s focus on pre-production pre-production focusing on VFX um in a lot of cases like this is this this is even the case for for feature films but the same case for TV commercials as well when there’s a project That’s Heavy on CGI they yeah so in many cases they would choose a director who has a strong background in VFX or cgo um and it helps a lot because they have a not they have a lot more knowledge in the field and they will know they’ll have a better understanding of certain things to avoid and um um and yeah because also directors have let’s say they have experience working with a number of post production houses and so they will know which um which post production house can can handle the load or can deliver the vision that the director wants and so yeah so so that’s the reason why even for Hollywood films you will see that you know for big budget CGI you know VFX Extravaganza type films you they would hire people directors like Michael Bay like Steven spiber like James Cameron because they have a strong um background and knowledge in VFX and knowing from their track record they will get you know a good result are almost likely so the same in the commercial World um because even when like let’s say a pro um a brief comes and it’s heavy on CGI they’ll think oh yeah aswa he’s um knowing from his real he’s done a lot of VFX work I will send the brief over to him for um as an example so um yeah yeah that’s how it works and so there are a number of post production houses like just like yeah I think this is the best um comparison I can make is comparing it to the Hollywood or let’s say feature film world and the TVC world because it’s somewhat similar so in the feature film world you you would have the top VFX houses like ilm weather digital um digital domain and same case with the commercial world you have the mill you have um what’s that one called it’s just PP PP something I’m sorry yeah um there’s also digital domain I I believe have a department where they do commercial as well um and yeah there are a number of big wellknown post production houses um that do big scale like CGI and VFX for commercials although it’s really early in the morning it uh it’s not really ear in the morning but I got up really early in the morning uh at 6:00 and now is 9 and and yeah yeah let me just slow down for a bit anyway yeah I’m hoping you’re enjoying this um also I’ve I’ve put a link um you’ll you can check it out in the description um area where there’s um there’s a YouTube channel called coridor digital and they have a um they have like a weekly episode episode where they dive into VFX and CGI and yeah that’s really um yeah for those of you who are not too familiar or want to gain more knowledge on VFX it’s a perfect channel it’s really really good like I I I watch it almost religiously so yeah every once a week they bring out a um uh yeah it’s like a reaction to good and bad CGI and there will discuss why it’s bad they’ll analyze the the scene or the footage and what makes it a good CGI what makes it a bad CGI etc etc so yeah go go check that out that’s that if you want to know about why certain CGI ends up looking a certain way or why certain CGI ends up looking really good then check this link out this is like basically covers the foundation of VFX and CGI so yeah so um yeah be yeah so if you’re interest so if you’re interested in in that kind of stuff then um then yeah um just I would say for like in my case what got me intrigued in terms of CGI is that uh or or VFX um I’m not a CGI guy I don’t make 3D models 3D animations and stuff but um I started off um learning After Effects and I’m still quite I would say my level in After Effects is um excuse me is uh above average I’d say um I’m not I can produce let’s say um pretty Advanced Pro results but it takes time for me compared to like let’s say someone who is a pro and does it for work you know they can do it within a matter of you know like maybe half a day well it takes me like a like a few days um but that’s just also me being very um being very picky but uh yeah so it started off with After Effects teaching myself after effects and um and then from there I just gained interest from online or VFX to CGI to yeah and I’m really um I’m a strong uh let’s say Advocate or uh um yeah I’m very into photo real CGI and that’s uh that’s a thing that’s not so common in the TVC World mainly because what I mentioned before that the the the timeline that you have is just not enough so usually you would let’s say that there are five shots that require CGI and the client like okay I want the TVC to be released by these states meaning that you only have like the Post House only has a week to put it together and that’s definitely not enough time and that does happen where it’s just um unrealistic um schedules are given and yeah it’s just rush you know the you’ve probably all seen like um on YouTube they have like that side by side comparison where someone draws like let’s say a character like Spider-Man one’s given like 5 seconds and then later they given like a minute or they do a comparison from let’s say a minute version to 1 hour and you see for sure the 1 hour version like way better cuz there’s more time for them to add the little details and stuff so it’s the same case and yeah it’s just I feel that also with tvcs um yeah so like I said main thing is the the window of time given to for the Post houses to work on the CGI is is a lot less secondly um the actual artists so for tvc’s the CGI artists that work on work on the work on tvcs they are basically um what do you call it they’re like a they’re like an allrounder like they don’t they’re not CGI artists that that specialize in in in fire or or liquid or or heart surfaces they are basically an allrounder they do everything they’re basically um Jack of all traits while in movies for Hollywood movies you you would have a team of people and and there will be certain people who specialize in different categories you know one person might be really good at doing you know creature like CGI creature designs or or humans you know or environments hard surfaces etc etc so there is that aspect as well and it’s basically because there’s just a lot more time um to work on for feature films compared to TV commercials I know I’m sounding like a what do you call it beating a dead horse I feel like I’m repeating myself but uh but these are again the fundamentals is time the thing is the artist itself like the the VFX or CGI coordinator um yeah from from past experiences when working for um for post houses I didn’t know at the time but now I can kind of guess if they’re capable or not um sometimes I’ve been fooled most times yeah for example uh it’s always good to go with a credible Post House like the mill or what’s that one sorry I I really have to know PP PP something uh I’ll I’ll probably put up a a little popup somewhere here because it’s really yeah anyway so you go with a credible Post House and um yeah they have a reputation of of delivering um good CGI and or you go with the smaller post houses and it’s a bit of a risk uh you don’t know if you’re going to you know it might be good it might not be that good it might be that you might have to get a bit more handson so for example from my experience when I’ve worked with a really good post house and I and when speaking with the FX um yeah with the VFX coordinator he would tell me oh no I would say you do it like this or it’s better that we go with this approach instead of me telling him how it should be done and sometimes that happens with the smaller post houses from my experience and so I prefer having an expert telling me how things should be done and of course when you know if something is goes a bit off Trail then I will tell him or her you know like no actually um this is the way I see it but in most cases you would want the VFX Guy The Specialist to kind of guide me and tell me how how things should be done and what to expect Etc and in many cases for example I worked with smaller post houses where I had to guide them and kind of um it got to the point where you know there are many times they’ll say oh no can’t do this can’t do that they you know cuz you also have to think of their mindset as well for them it’s just a job for you it’s your reputation and your your vision right for them it’s just the job when once they do this project then the next one comes or they’re working on multiple projects like they probably working on other projects while working on yours so sometimes you have to get your hands dirty and that’s where it’s good for like in my case um because I have a background in After Effects then say for example when it comes to masking and stuff then I would tell them that’s a pretty bad mask like you can look at the edges and I can see that a big area being cropped off and you know a lot of those um fine details are lost and um and they would say oh can’t do it because of this like they will make excuses because for them it’s a job so what I do is I would do it myself and then I’ll go look I could do it if I can do it you guys can do it and and um there have been other cases where where I’ve had um had uh what’s that called um oh yeah pretty there was like Banning on the on the footage so um because it was low light it was it was um filmed a pretty yeah at low light and for some reason there was some banding that that appeared and there’s ways of um eliminating it or reducing it and they did they did their version and then I was able to find a solution to get rid of it all like completely and and yeah it just it got me to I mean they were pretty open about it cuz when I showed them they were like wow like that’s that’s that’s cool okay we’ll just take your footage and just use that because for some reason for some reason it wasn’t working on the machine so um oh no no that’s right they were using flame and I was using after effect and for some reason I was getting better results with After Effects than the flame so um yeah uh I think um if you want to get good results I think the the thing is it’s not just up to the director it’s also up to the producer as well to really fight for those extra just fight for more time so that the vfix can can have um can have better results so um it’s also good for the director to not micromanage but to check in quite regularly with the FX house I check to see everything’s going the way it should be cuz it’s happened to me way too many times where the the effect guys were like okay uh we’re going to be working on the weekend and we’ll show you the finished result on Monday and then to my shocking surprise on Monday it turns out completely not the way that I want and so it’s good for the director to so in in that situation it would have been better for me to go look I’m going to come in on Saturday and just check it out see where you guys are at and then I’ll come in again on the Sunday check again I’ll go oh look I’ll come in tomorrow as well I want to double check I just want to make sure because um yeah that we’re going the right track because if you’re going to be presenting it to the agency or let’s say the client on that Monday or say the following Tuesday then there’s no time to to make those changes um other than that uh yeah I guess it’s really up to to a big part of it is up to the director’s Vision how he how he um sees the overall image but then at the end of the day what also can ruin it I’m not trying to point fingers here but when there are other parties who want to change things uh so let’s say for example the CG I shot was for um let’s say it’s meant to be like a city that’s being flooded so the effects guys have been working on it or have been planning this whole this massive sequence and then halfway the other party goes oh look we’ve we’ve kind of changed our idea we want it not flooded but we want it we want kind of of um what do you call it like we want nature to kind of take over and have trees and stuff and Greenery take over the city instead of water then that’s a big change you know and then they have to start from zero you know so so so there are things like that I mean this one’s extreme but there are many cases like that where there are where the where the other party will make these micro managing or will make these changes and it just kind of disrupts the flow of for the Post House to to Really um nail what they want to create and so yeah there there is that um I know I’m talking about a lot of um problems but how about Solutions so the good thing again to have an established Post House work on it is that they’d be pretty they would be pretty firm so let’s say a client or an agency or whatever would were was asking for something ridiculous and they wanted this and that and they was saying oh we want this and that within a week then a reputable sorry a reputable post housee will put their foot down and be like no we can’t do that and because they’re reputable as well they you know their fee would would Skyrocket so it’ll be pretty expensive to be honest so they have that under their belt um yeah so yeah they would have that under their belt and um while for example a smaller Post House they’re kind of under what do you say because they’re kind of not struggling but there’s you know they’re they’re striving for more clients and more jobs you know not not being a sucker but you know they need to kind of uh please the other parties then they would compromise and go okay we’ll we’ll do our best instead of putting their foot down um not saying all but it does happen and in most cases when um when there is a situation like this they would just bow down and go okay um okay we’ll we’ll try and make those change as well with a more reputable company like the mill will put their foot down and go no it’s not happening um it’s either this or that and yeah um yeah so for example yeah so so you’ve seen um youve probably seen some of my work and when it comes to good CGI um yeah it’s just really hard to to implement um good CGI in TVC but it’s possible it’s not impossible and it’s in these situations where creativity can really Thrive because you start to find Solutions or other ways creative ways to to um to create a scene which you thought may have required heavy CGI but hey how about if we change it to something like this where it minimizes the amount of effects then yeah so it’s good and bad so one more thing before I end off today’s um video um my my I mean the way I approach it also like let’s say I’m on set I would try and I try to rely on practicals as much as possible and avoid the amount of green or blue screen or chroma key um because that also requires a lot more work for the Post guys um and also it’s just really hard on the actors as well as the directors well because you’re just seeing this blue and green screen and if that’s all you have on set then it’s really hard to imagine or picture uh what’s going to be replaced and um yeah so for example on a set I would try and yeah I would make sure when it comes to practicals at least the foreground is built and yeah I’ll just again just just build as and use as much practical as possible and try and minimize the amount of green or blue screen onset and um and yeah and then from there you just cross your fingers and hope that everything goes smoothly after that uh what also helps uh again and you know you don’t always have this luxury but is to have a FX or CGI supervisor on set and it’s good because they would know how something or how a scene needs to be set up to make their jobs a lot easier and yeah because if there’s just one thing that’s out of place it for them it means hours of cleaning it up and while they could be working on other things to improve the visuals but because there is that slight error then yeah so so it’s always good also if you can to have a effect supervisor on set um that’s a thing with me on set I would constantly talk with the effect supervisor tell them is everything okay um yeah um this scene requires this and so is there anything do you need certain markers on the on the background for you to track Etc so yeah tracking markers as well sometimes when you don’t have a effect supervisor I just put tracking markers anyway you know um it’s better to have than not to have and for the Post team it’s easy for them to clean up so that’s just my way of working better to have tracking markers than no tracking markers cuz if they can’t track and there’s a whole lot of motion that’s a lot of work for the FX team and sometimes it’s just guessing as well cuz from then on because there’s nothing to track sometimes and the image might the background might be blurred or something so yeah um and especially when comes to like I said tvcs you don’t have the time to make those errors because they just have so little time to work on it yeah I think I’ve covered everything so yeah um again follow me on patreon uh become a member it’s free um and again if you want to gain those gain like exclusive content and want to uh build your or Kickstart your career in film directing then yeah just $1 there’s $1 $3 and $5 T and the $5 one will give you free I mean you get a free ebook which is already which alone is $5 so take advantage of it and yeah you can join the community you can ask me questions I answer them basically you have a director here to help you out like I didn’t have that luxury when when I started off and yeah there were I have to say there are certain routes I wish I would have taken or or I wish I would have known it would have made my uh I guess my progress as a director a lot smoother but yeah take advantage um yeah follow me on again please subscribe um check me out on Instagram I’m also quite active on Instagram and Instagram stories and stuff so that’s asore hand check out my website aswa uh asah hand.com and yeah I’m also working on a I’m in the process of completing a passion project so yeah you can go visit my GoFundMe page uh it’s a pretty ambitious project this one also has lots of VFX and CGI it’s going to be really cool and yeah I just need some help from the community so if you guys can help out yeah just visit the page if you can’t help with funds that’s cool but you can help by sharing it that’s equally you know um yeah um helpful so yeah go fund me uh patreon check out my book it’s only $5 check out my website and Instagram and yeah please again subscribe and I’ll see you in the next episode a .
Déroulement de la vidéo:
3.28 uh as you can see it&;s a whole new setup um the
main reason is cuz I can&;t seem to find my little
3.28 puck which where I position my camera somewhere
around here but uh yeah now it&;s here with this
3.28 low angle so I got to make sure to always look
down and as you can see the distortions no longer
3.28 up above the Distortion occur here yeah and I can
it&;s kind of cool setup look it kind of I get this
3.28 camera to pan left and right kind of making it a
bit cinematic but yeah I got my coffee here and
3.28 um and yeah it&;s been a while um now on my
patreon uh for those of you who are not in
3.28 the know you can um become a member of my patreon
it&;s it&;s free and there&;s also $1 $3 and a $5 um
3.28 uh tiers which you can um apply for uh and you get
exclusive content so so yeah just a do so from a
3.28 dollar to $5 you get exclusive content uh if you
get the $5 one you instantly get free access to
3.28 my eBook The Only book you&;ll need to become a
commercial film director and that book alone is
3.28 $5 so it&;s a it&;s a it&;s a bargain um but yeah uh
for my paid patreons we have a community where uh
3.28 I give them uh the access to to ask me questions
so we have so we have like a chat community and
3.28 asked you know is there any topics you want
me to cover and so uh one of the uh patreon
3.28 members asked more in-depth VFX pre uh I assume
he&;s talking about preproduction V effects and
3.28 how to I guess hopefully try and achieve a good
outcome and just to give you uh quick background
3.28 um so this patreon member um I actually know him
he&;s a producer I won&;t um I won&;t embarrass him
3.28 by by letting you all know who he is but um he
yeah he&;s a producer and so it&;s understandable
3.28 why a producer would ask a question like this
because uh especially when it comes to VFX and
3.28 to be more specific vxs in the commercial world is
um a whole different thing compared to say VX when
3.28 working for when working in VFX for a feature film
or let&;s say for your own personal project it&;s
3.28 completely different and the main reason for that
is the turnaround so for TV commercials there is
3.28 a there is a in in most cases the um the the the
timeline that that you have to complete a project
3.28 so complete as in the editing color grading um VFX
voice over music music has to be done in a much
3.28 shorter duration compared to say a feature film
where you have at least you know a good two to 3
3.28 years and then when it comes to let&;s say personal
projects then that&;s a different story okay I got
3.28 to remember to always look at the camera yeah so
personal projects is a different story because
3.28 you don&;t have a deadline you can work at your
own pace and and in most cases in those personal
3.28 projects you&;re having your friend work on it or
someone who&;s doing it at a at a lower fee and who
3.28 is a freelancer and who&;s most likely doing it
uh during his um you know during his free time
3.28 um then say for a commercial or feature film there
is a deadline like for example for a feature film
3.28 you know for example like um yeah most feature
films will announce a release date so they&;ll
3.28 say oh this films coming out next year January
and so they&;re given a schedule to have the film
3.28 complete I would say at least a week before
the actual release date but I heard but I&;ve
3.28 heard some stories is where they&;ve been working
on the effects all the way up until the release
3.28 date and yeah and anyway so um so when it comes
to V effect or let&;s say to be more specific CGI
3.28 um CGI is computer generated imagery which we&;re
talking about like 3D objects and stuff so um this
3.28 is quite heavy intensive because there&;s a lot
of um Manpower a lot of hours a lot of there&;s
3.28 a lot of whole lot of thinking involved when it
comes to vfix CGI and so when the so for example
3.28 when you do get a board it&;s very important
to know which shots or scenes require V effect
3.28 um and when it comes to so yeah so so let&;s
put it um you let&;s focus on pre-production
3.28 pre-production focusing on VFX um in a lot of
cases like this is this this is even the case
3.28 for for feature films but the same case
for TV commercials as well when there&;s a
3.28 project That&;s Heavy on CGI they yeah so in many
cases they would choose a director who has a
3.28 strong background in VFX or cgo um and it helps a
lot because they have a not they have a lot more
3.28 knowledge in the field and they will know they&;ll
have a better understanding of certain things to
3.28 avoid and um um and yeah because also directors
have let&;s say they have experience working with
3.28 a number of post production houses and so they
will know which um which post production house
3.28 can can handle the load or can deliver the vision
that the director wants and so yeah so so that&;s
3.28 the reason why even for Hollywood films you will
see that you know for big budget CGI you know VFX
3.28 Extravaganza type films you they would hire people
directors like Michael Bay like Steven spiber like
3.28 James Cameron because they have a strong um
background and knowledge in VFX and knowing
3.28 from their track record they will get you know a
good result are almost likely so the same in the
3.28 commercial World um because even when like let&;s
say a pro um a brief comes and it&;s heavy on CGI
3.28 they&;ll think oh yeah aswa he&;s um knowing from
his real he&;s done a lot of VFX work I will send
3.28 the brief over to him for um as an example so
um yeah yeah that&;s how it works and so there
3.28 are a number of post production houses like just
like yeah I think this is the best um comparison
3.28 I can make is comparing it to the Hollywood or
let&;s say feature film world and the TVC world
3.28 because it&;s somewhat similar so in the feature
film world you you would have the top VFX houses
3.28 like ilm weather digital um digital domain and
same case with the commercial world you have
3.28 the mill you have um what&;s that one called it&;s
just PP PP something I&;m sorry yeah um there&;s
3.28 also digital domain I I believe have a department
where they do commercial as well um and yeah there
3.28 are a number of big wellknown post production
houses um that do big scale like CGI and VFX for
3.28 commercials although it&;s really early in the
morning it uh it&;s not really ear in the morning
3.28 but I got up really early in the morning uh at
6:00 and now is 9 and and yeah yeah let me just
3.28 slow down for a bit anyway yeah I&;m hoping
you&;re enjoying this um also I&;ve I&;ve put
3.28 a link um you&;ll you can check it out in the
description um area where there&;s um there&;s
3.28 a YouTube channel called coridor digital and they
have a um they have like a weekly episode episode
3.28 where they dive into VFX and CGI and yeah that&;s
really um yeah for those of you who are not too
3.28 familiar or want to gain more knowledge on VFX
it&;s a perfect channel it&;s really really good
3.28 like I I I watch it almost religiously so yeah
every once a week they bring out a um uh yeah
3.28 it&;s like a reaction to good and bad CGI and
there will discuss why it&;s bad they&;ll analyze
3.28 the the scene or the footage and what makes it a
good CGI what makes it a bad CGI etc etc so yeah
3.28 go go check that out that&;s that if you want
to know about why certain CGI ends up looking
3.28 a certain way or why certain CGI ends up looking
really good then check this link out this is like
3.28 basically covers the foundation of VFX and CGI so
yeah so um yeah be yeah so if you&;re interest so
3.28 if you&;re interested in in that kind of stuff
then um then yeah um just I would say for like
3.28 in my case what got me intrigued in terms of CGI
is that uh or or VFX um I&;m not a CGI guy I don&;t
3.28 make 3D models 3D animations and stuff but um
I started off um learning After Effects and I&;m
3.28 still quite I would say my level in After Effects
is um excuse me is uh above average I&;d say um I&;m
3.28 not I can produce let&;s say um pretty Advanced
Pro results but it takes time for me compared to
3.28 like let&;s say someone who is a pro and does it
for work you know they can do it within a matter
3.28 of you know like maybe half a day well it takes
me like a like a few days um but that&;s just also
3.28 me being very um being very picky but uh yeah
so it started off with After Effects teaching
3.28 myself after effects and um and then from there
I just gained interest from online or VFX to CGI
3.28 to yeah and I&;m really um I&;m a strong uh let&;s
say Advocate or uh um yeah I&;m very into photo
3.28 real CGI and that&;s uh that&;s a thing that&;s not
so common in the TVC World mainly because what I
3.28 mentioned before that the the the timeline that
you have is just not enough so usually you would
3.28 let&;s say that there are five shots that require
CGI and the client like okay I want the TVC to be
3.28 released by these states meaning that you only
have like the Post House only has a week to put
3.28 it together and that&;s definitely not enough
time and that does happen where it&;s just um
3.28 unrealistic um schedules are given and yeah
it&;s just rush you know the you&;ve probably
3.28 all seen like um on YouTube they have like
that side by side comparison where someone
3.28 draws like let&;s say a character like Spider-Man
one&;s given like 5 seconds and then later they
3.28 given like a minute or they do a comparison
from let&;s say a minute version to 1 hour and
3.28 you see for sure the 1 hour version like way
better cuz there&;s more time for them to add
3.28 the little details and stuff so it&;s the same
case and yeah it&;s just I feel that also with
3.28 tvcs um yeah so like I said main thing is the
the window of time given to for the Post houses
3.28 to work on the CGI is is a lot less secondly um
the actual artists so for tvc&;s the CGI artists
3.28 that work on work on the work on tvcs they
are basically um what do you call it they&;re
3.28 like a they&;re like an allrounder like they don&;t
they&;re not CGI artists that that specialize in in
3.28 in fire or or liquid or or heart surfaces they
are basically an allrounder they do everything
3.28 they&;re basically um Jack of all traits while in
movies for Hollywood movies you you would have
3.28 a team of people and and there will be certain
people who specialize in different categories
3.28 you know one person might be really good at
doing you know creature like CGI creature
3.28 designs or or humans you know or environments
hard surfaces etc etc so there is that aspect
3.28 as well and it&;s basically because there&;s just
a lot more time um to work on for feature films
3.28 compared to TV commercials I know I&;m sounding
like a what do you call it beating a dead horse
3.28 I feel like I&;m repeating myself but uh but
these are again the fundamentals is time the
3.28 thing is the artist itself like the the
VFX or CGI coordinator um yeah from from
3.28 past experiences when working for um for
post houses I didn&;t know at the time but
3.28 now I can kind of guess if they&;re capable or
not um sometimes I&;ve been fooled most times
3.28 yeah for example uh it&;s always good to go with a
credible Post House like the mill or what&;s that
3.28 one sorry I I really have to know PP PP something
uh I&;ll I&;ll probably put up a a little popup
3.28 somewhere here because it&;s really yeah anyway so
you go with a credible Post House and um yeah they
3.28 have a reputation of of delivering um good CGI
and or you go with the smaller post houses and
3.28 it&;s a bit of a risk uh you don&;t know if you&;re
going to you know it might be good it might not be
3.28 that good it might be that you might have to get a
bit more handson so for example from my experience
3.28 when I&;ve worked with a really good post house
and I and when speaking with the FX um yeah with
3.28 the VFX coordinator he would tell me oh no I would
say you do it like this or it&;s better that we go
3.28 with this approach instead of me telling him how
it should be done and sometimes that happens with
3.28 the smaller post houses from my experience and so
I prefer having an expert telling me how things
3.28 should be done and of course when you know if
something is goes a bit off Trail then I will tell
3.28 him or her you know like no actually um this is
the way I see it but in most cases you would want
3.28 the VFX Guy The Specialist to kind of guide me and
tell me how how things should be done and what to
3.28 expect Etc and in many cases for example I worked
with smaller post houses where I had to guide them
3.28 and kind of um it got to the point where you know
there are many times they&;ll say oh no can&;t do
3.28 this can&;t do that they you know cuz you also have
to think of their mindset as well for them it&;s
3.28 just a job for you it&;s your reputation and your
your vision right for them it&;s just the job when
3.28 once they do this project then the next one comes
or they&;re working on multiple projects like they
3.28 probably working on other projects while working
on yours so sometimes you have to get your hands
3.28 dirty and that&;s where it&;s good for like in
my case um because I have a background in After
3.28 Effects then say for example when it comes to
masking and stuff then I would tell them that&;s a
3.28 pretty bad mask like you can look at the edges and
I can see that a big area being cropped off and
3.28 you know a lot of those um fine details are lost
and um and they would say oh can&;t do it because
3.28 of this like they will make excuses because for
them it&;s a job so what I do is I would do it
3.28 myself and then I&;ll go look I could do it if
I can do it you guys can do it and and um there
3.28 have been other cases where where I&;ve had um had
uh what&;s that called um oh yeah pretty there was
3.28 like Banning on the on the footage so um because
it was low light it was it was um filmed a pretty
3.28 yeah at low light and for some reason there was
some banding that that appeared and there&;s ways
3.28 of um eliminating it or reducing it and they did
they did their version and then I was able to find
3.28 a solution to get rid of it all like completely
and and yeah it just it got me to I mean they were
3.28 pretty open about it cuz when I showed them they
were like wow like that&;s that&;s that&;s cool okay
3.28 we&;ll just take your footage and just use that
because for some reason for some reason it wasn&;t
3.28 working on the machine so um oh no no that&;s right
they were using flame and I was using after effect
3.28 and for some reason I was getting better results
with After Effects than the flame so um yeah uh I
3.28 think um if you want to get good results I think
the the thing is it&;s not just up to the director
3.28 it&;s also up to the producer as well to really
fight for those extra just fight for more time
3.28 so that the vfix can can have um can have better
results so um it&;s also good for the director to
3.28 not micromanage but to check in quite regularly
with the FX house I check to see everything&;s
3.28 going the way it should be cuz it&;s happened to
me way too many times where the the effect guys
3.28 were like okay uh we&;re going to be working on the
weekend and we&;ll show you the finished result on
3.28 Monday and then to my shocking surprise on Monday
it turns out completely not the way that I want
3.28 and so it&;s good for the director to so in in that
situation it would have been better for me to go
3.28 look I&;m going to come in on Saturday and just
check it out see where you guys are at and then
3.28 I&;ll come in again on the Sunday check again
I&;ll go oh look I&;ll come in tomorrow as well
3.28 I want to double check I just want to make sure
because um yeah that we&;re going the right track
3.28 because if you&;re going to be presenting it to the
agency or let&;s say the client on that Monday or
3.28 say the following Tuesday then there&;s no time
to to make those changes um other than that uh
3.28 yeah I guess it&;s really up to to a big part of
it is up to the director&;s Vision how he how he
3.28 um sees the overall image but then at the end
of the day what also can ruin it I&;m not trying
3.28 to point fingers here but when there are other
parties who want to change things uh so let&;s
3.28 say for example the CG I shot was for um let&;s
say it&;s meant to be like a city that&;s being
3.28 flooded so the effects guys have been working on
it or have been planning this whole this massive
3.28 sequence and then halfway the other party goes oh
look we&;ve we&;ve kind of changed our idea we want
3.28 it not flooded but we want it we want kind of
of um what do you call it like we want nature
3.28 to kind of take over and have trees and stuff and
Greenery take over the city instead of water then
3.28 that&;s a big change you know and then they have to
start from zero you know so so so there are things
3.28 like that I mean this one&;s extreme but there
are many cases like that where there are where
3.28 the where the other party will make these micro
managing or will make these changes and it just
3.28 kind of disrupts the flow of for the Post House
to to Really um nail what they want to create and
3.28 so yeah there there is that um I know I&;m talking
about a lot of um problems but how about Solutions
3.28 so the good thing again to have an established
Post House work on it is that they&;d be pretty
3.28 they would be pretty firm so let&;s say a client
or an agency or whatever would were was asking
3.28 for something ridiculous and they wanted this
and that and they was saying oh we want this
3.28 and that within a week then a reputable sorry a
reputable post housee will put their foot down and
3.28 be like no we can&;t do that and because they&;re
reputable as well they you know their fee would
3.28 would Skyrocket so it&;ll be pretty expensive
to be honest so they have that under their belt
3.28 um yeah so yeah they would have that under
their belt and um while for example a smaller
3.28 Post House they&;re kind of under what do you
say because they&;re kind of not struggling
3.28 but there&;s you know they&;re they&;re striving
for more clients and more jobs you know not
3.28 not being a sucker but you know they need to
kind of uh please the other parties then they
3.28 would compromise and go okay we&;ll we&;ll do
our best instead of putting their foot down
3.28 um not saying all but it does happen and in
most cases when um when there is a situation
3.28 like this they would just bow down and go okay
um okay we&;ll we&;ll try and make those change
3.28 as well with a more reputable company like
the mill will put their foot down and go no
3.28 it&;s not happening um it&;s either this or
that and yeah um yeah so for example yeah
3.28 so so you&;ve seen um youve probably seen some of
my work and when it comes to good CGI um yeah it&;s
3.28 just really hard to to implement um good CGI
in TVC but it&;s possible it&;s not impossible
3.28 and it&;s in these situations where creativity can
really Thrive because you start to find Solutions
3.28 or other ways creative ways to to um to create a
scene which you thought may have required heavy
3.28 CGI but hey how about if we change it to something
like this where it minimizes the amount of effects
3.28 then yeah so it&;s good and bad so one more
thing before I end off today&;s um video um my my
3.28 I mean the way I approach it also like let&;s
say I&;m on set I would try and I try to rely
3.28 on practicals as much as possible and avoid the
amount of green or blue screen or chroma key um
3.28 because that also requires a lot more work for
the Post guys um and also it&;s just really hard on
3.28 the actors as well as the directors well because
you&;re just seeing this blue and green screen and
3.28 if that&;s all you have on set then it&;s really
hard to imagine or picture uh what&;s going to
3.28 be replaced and um yeah so for example on a set
I would try and yeah I would make sure when it
3.28 comes to practicals at least the foreground is
built and yeah I&;ll just again just just build
3.28 as and use as much practical as possible and try
and minimize the amount of green or blue screen
3.28 onset and um and yeah and then from there you just
cross your fingers and hope that everything goes
3.28 smoothly after that uh what also helps uh again
and you know you don&;t always have this luxury
3.28 but is to have a FX or CGI supervisor on set and
it&;s good because they would know how something or
3.28 how a scene needs to be set up to make their jobs
a lot easier and yeah because if there&;s just one
3.28 thing that&;s out of place it for them it means
hours of cleaning it up and while they could be
3.28 working on other things to improve the visuals but
because there is that slight error then yeah so so
3.28 it&;s always good also if you can to have a effect
supervisor on set um that&;s a thing with me on set
3.28 I would constantly talk with the effect supervisor
tell them is everything okay um yeah um this scene
3.28 requires this and so is there anything do you
need certain markers on the on the background for
3.28 you to track Etc so yeah tracking markers as well
sometimes when you don&;t have a effect supervisor
3.28 I just put tracking markers anyway you know um
it&;s better to have than not to have and for the
3.28 Post team it&;s easy for them to clean up so that&;s
just my way of working better to have tracking
3.28 markers than no tracking markers cuz if they can&;t
track and there&;s a whole lot of motion that&;s a
3.28 lot of work for the FX team and sometimes it&;s
just guessing as well cuz from then on because
3.28 there&;s nothing to track sometimes and the image
might the background might be blurred or something
3.28 so yeah um and especially when comes to like I
said tvcs you don&;t have the time to make those
3.28 errors because they just have so little time to
work on it yeah I think I&;ve covered everything so
3.28 yeah um again follow me on patreon uh become
a member it&;s free um and again if you want
3.28 to gain those gain like exclusive content and
want to uh build your or Kickstart your career
3.28 in film directing then yeah just $1 there&;s
$1 $3 and $5 T and the $5 one will give you
3.28 free I mean you get a free ebook which is
already which alone is $5 so take advantage
3.28 of it and yeah you can join the community you
can ask me questions I answer them basically
3.28 you have a director here to help you out like
I didn&;t have that luxury when when I started
3.28 off and yeah there were I have to say there are
certain routes I wish I would have taken or or
3.28 I wish I would have known it would have made
my uh I guess my progress as a director a lot
3.28 smoother but yeah take advantage um yeah follow
me on again please subscribe um check me out on
3.28 Instagram I&;m also quite active on Instagram and
Instagram stories and stuff so that&;s asore hand
3.28 check out my website aswa uh asah hand.com and
yeah I&;m also working on a I&;m in the process
3.28 of completing a passion project so yeah you
can go visit my GoFundMe page uh it&;s a pretty
3.28 ambitious project this one also has lots of VFX
and CGI it&;s going to be really cool and yeah
3.28 I just need some help from the community so if
you guys can help out yeah just visit the page
3.28 if you can&;t help with funds that&;s cool but you
can help by sharing it that&;s equally you know
3.28 um yeah um helpful so yeah go fund me uh patreon
check out my book it&;s only $5 check out my
3.28 website and Instagram and yeah please again
subscribe and I&;ll see you in the next episode
3.28 a
.
Pour vous tenir au courant, ce post sur le sujet « », vous est proposé par instantanesdumonde.com . L’objectif de instantanesdumonde.com étant de rassembler sur le web des données sur le sujet de et les diffuser en s’assurant de répondre au mieux aux questions de tout un chacun. Ce texte est généré aussi scrupuleusement qui soit. Vous avez l’opportunité d’écrire en utilisant les coordonnées indiquées sur notre site internet afin d’indiquer des précisions sur ce texte parlant du thème « ». Connectez-vous sur notre site internet instantanesdumonde.com et nos réseaux sociaux dans l’optique d’être informé des futures parutions.