Post-Production

Thanks for the share, Suzanne Bronson - have an awesome meetup!

Very informative! Thank you!

This is so smart and right on. Thanks for the share, Ashley Renee Smith!

is there a link?

The AMA is live now! Here's the link: https://www.stage32.com/lounge/post_production/Ask-Me-Anything-AMA-Wedne...

That's a huge question and probably worth a hour-long panel discussion to do it justice. But I do think it falls under the umbrella of "know your tools". The tools are changing, rapidly now, and storytellers benefit from understanding how tools can change and potentially improve or degrade the process. However, the actual process of developing, crafting and telling a story has not fundamentally changed, so the foundations of story are still as valid today as they were 1000 years ago.

Depends on whether you are speaking about independent creators or studio/studio sub creators. For the latter (studios) it allows corporate bean counters and incapable producers to cut costs and pressure people to get things done faster and cheaper - from writers through to all post people. This has already led and will continue to lead to more absolute reliance on reboot, rehash, repeat and standard, common techniques and off-the-shelf effects which become cliche within minutes in a global industry, leading (as it has) to a general rise in big budget garbage. For the former (independents), it permits a much wider potential for actual, original creative expression, original voice and open-minded approach to everything including the story, pacing, effects, etc. BUT despite the so-called "advancements" in the process, which are enormous, each function still requires a talent for that function and this, most of us do not have in abundance. Most of us are pretty good at one or two of these processes, only passable at most, and hideously bad at some. The learning curve is steep. So, again, while there has been and will continue to be a general rise in original approaches, on an industry wide scale, "production value" will be spotty. So this sounds like rather bad news on both sides. However, audience expectations have radically changed as well. While treated to mega-budget fare which is often devoid of dramatic value, the audience also have and are growing up with the really poor, and still poor, experience of social media video. This is leading to a much, much wider tolerance for so-called "low production value" and a growing sensitivity to the original in terms of story. The value of "star" or "name" talent is dropping rapidly and seems to already have become irrelevant to some of us. Now all that is just off the cuff, but we talk about these things constantly among ourselves at the Independent Producers Guild, because our mandate is to address these exact issues,

Shadow Dragu-Mihai, Esq., Ipg Your insights shed light on the complex dynamics within the film industry, differentiating between independent creators and studio-driven productions. The impact of corporate influences on studios, as you rightly point out, often results in cost-cutting measures that can compromise the creative process, leading to an overreliance on familiar formulas and clichés.

For independent creators, the flexibility to explore original and innovative ideas is a distinct advantage. However, as you emphasize, this comes with its own challenges, as each aspect of the filmmaking process requires a specific talent, and the learning curve can be steep. The trade-off between creative freedom and the need for specialized skills highlights the intricate balance independent creators must navigate.

The changing landscape of audience expectations, influenced by both mega-budget productions and the proliferation of content on social media, is a fascinating aspect you touch upon. The shifting emphasis from "production value" to the originality of the story indicates a significant evolution in audience preferences. The decreasing relevance of star or name talent adds another layer to this transformation, emphasizing a growing appreciation for substance over celebrity.

Your candid reflection on these industry challenges and discussions within the Independent Producers Guild highlights a commitment to addressing these issues head-on.

It's evident that the pursuit of creative excellence remains at the forefront, even amid the complexities and evolving nature of the film industry. These conversations are essential for fostering an environment that nurtures both artistic expression and industry sustainability.

I am here to foster discussion even if it may be a long response. Thanks for Sharing.

Mario Leone Thank you! On changing audience, IMO it is a fundamental mistake to assume or assert, like the industry does, that audience has EVER cared much about name actors or production values, generally speaking. Consider that this attitude came about in the brick/mortar days of theatre and broadcast/cable television. In that situation, you are in a time-slot environment. Audience had to attend at a specific time or not see a show, and if they wanted to see two shows at the same time, they had to decide one or other other. Add to that the evolution of MPA market control, which depends upon larger budgets and massive marketing budgets to ensure that they squeeze lower budget fare out of screens. In such a case, a "name" actor is important because the studio says so and spends money to make it so. Same for the budget. Name and advertised budget are also short-hand for audiences to associate a good or bad flick in their mind. Today we are in an on-demand environment. We don't have to choose to see one and ignore the other, and we don't have to go out of our way to see a movie at a specific time. IMO the audience's true preferences, which admittedly are changing, simply don't support the idea that they care overmuch about either name talent of budget. In fact, quite the opposite. This has always been evident in certain genres, such as horror. Now it is becoming evidence across genres.

Your view highlights the changing dynamics in the entertainment industry, emphasizing the shift from traditional brick-and-mortar models to an on-demand environment.

In this digital age, audiences indeed have more flexibility and options, challenging the traditional importance placed on name actors and high production budgets.

The emphasis on studio-driven marketing and larger budgets might not hold the same sway in an era where audiences have the freedom to choose content based on their preferences. Another words taste are becoming more diverse.

The rise of on-demand platforms has allowed a broad range of content to find its audience, breaking away from the constraints of time frames and location-based viewing.

Genres like horror, traditionally less dependent on A-list actors or massive budgets, showcase how audience preferences can diverge from the industry’s historical emphasis on star power and production values. Platforms like Tubi are growing due to those same diverse tastes.

However, it’s essential to acknowledge that audience preferences can vary, and the industry is navigating a period of transition.

While the on-demand model provides more freedom, there’s still a coexistence of traditional and emerging trends.

As the landscape continues to evolve, understanding the nuanced interplay between audience preferences, content quality, and accessibility remains crucial for industry professionals. Interesting times we live in. Shadow Dragu-Mihai, Esq., Ipg

Beautiful work Kanako. Thanks for sharing. Really liked Abandoned House!

Mike Hall thank you so much!!!

Ashley Renee Smith thank you will do

There are so many great people here in the composing field. Great to have you aboard.

Debbie Elicksen thanks nice to meet you. What's going on?

Brian Williams Welcome aboard! Some of us Film Folks do music videos too. A great crossover, not to mention that if you sound engineer you can score films, and furthermore perhaps even work on the set with recordings. It all crosses over.

Brian Williams do you have a particular genre that you love the most?

Nice find, Maurice Vaughan I see many similarities between writing the first draft of a screenplay and the first edit in post: get it down. Don't expect it to be Oscar worthy on the first attempt.

I also liked Kent's tip for getting through an edit quickly by working problems from big to small.

And finally, perhaps my fav bit, "The mouse is lava!" Same for software programming. The mouse is a time killer. I cringe when I watch some reach for the mouse when a quick one-two keyboard combo completes the task instantly.

Thx for sharing!

You're welcome, Ty Strange. I try to do the same thing ("edit quickly by working problems from big to small"). The keyboard shortcuts save me A LOT of time, especially when I'm switching between windows and copying/pasting.

Maurice Vaughan I love how he starts this out to grab our attention, and show his editing chops at the same time.

Yeah, Kent does a great job grabbing our attention in his videos, Debbie Elicksen. He knows his stuff, and he explains things really clearly. His videos are some of my favorites. He has editing videos, screenwriting videos, filmmaking videos, and more.

I work as a professional editor and post-pro as well. His tips are fine for very short-form, client-work with relative simple setups. I do similar things for those types of jobs. And keyboard shortcuts are always great to use as is some type of hardware controller device (shuttle wheel so much better than JKL keys for me). But beyond the organized project method, these techniques will create more problems than they solve on a feature, complex project or collaborative projects. I've posted some stuff from Eddie Hamilton that is a much better guide on narrative, bigger, collaborative project workflows.

This is a GREAT read. The film is conceptual on many levels and has remarkable cuts and scene transitions. Such a brilliant move involving his editor from the very beginning. Very cool.

I love that. Bringing them in early is a great way for the editor to think ahead while saving time and $ at the end.

Cool. I used to watch these guys all the time, haha.

I am addicted to VFX Artists React. This was a great episode seeing Previz at work.

Me too, Stephen V. Stone! We watch them every Saturday!

Pre-Viz looks like a great tool for pre-production, Ashley Renee Smith. I've heard a little about Pre-Viz, but I didn't know it played such a big part in making a movie.

Ashley Renee Smith Interesting video, thanks! I think he's got some valid points but there are some counterpoints for Stage 32 folks worth considering as his video and experience is slanted to social media work, not narrative storytelling.

His "choose one platform" has some truth but if you want to be successful as a freelancer (which most editors are), you will need to comfortable in Avid, Premiere Pro, Resolve and FCPx, but while mastering one is important but you should try to learn at least two more passably. This helps you learn editing apart from software as many people confuse learning editing from learning editing software. They actually have little to do with each other. I really encourage a new editor to edit at least one short on film with a film splicer or edit a short film in-camera with NO post. This helps you learn editing apart from software.

His point about about analyzing editors is valid but he suggests emulating your top 5 "creators". Unfortunately, online video editing is very limited in style and approach. I would strongly suggest looking outside of online social media to learn storytelling through edit before emulating online editors.

Things get fully on track from there as I totally agree about his point about joining a community of editors. Just make sure there are editors from all walks: documentary, narrative, commercials, music video etc.

And again, his next point about consistent practice is 100% on target. He wraps it up very nicely with his message about patience which is the most important aspect and a great thought to leave editors with.

Vince Opra gives great advice in the video, Ashley Renee Smith! Watching videos like this, webinars on Stage 32, etc. can save creatives so much time and money. And prevent a lot of stress and headaches.

Stephen V. Stone, your point about learning editing vs. learning editing software makes a lot of sense! It's an art form as much as a skill set and you definitely need to hone your eye for various types if editing, as much as you need to become skilled in the tools available to do so. Thank you for pointing that out!

You're welcome, Elena Maro . My pleasure!

FYI everyone- I am available to do music supervision and/or clearance and licensing for your project. Let me know if you'd like a consultation.

Alan Brewer can I add you and message you with my music?

Hello Alan,

Welcome to Stage 32.

Have a good day.

Thanks, Alan, for all this detailed information. Good things to know ahead of time.