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Video shoots require a lot of organization. Whether you're the director for a large crew, a solo shooter, or something in between, you need to develop a solid workflow for planning a shoot and keeping it on track. The portability and versatility of the iPad is helpful in any of these scenarios, keeping your footprint light and your budget even lighter.
With a handful of inexpensive apps and services that work with the iPad, you can create a very effective production toolkit. This course reveals the workflow that author and lynda.com content producer Nick Brazzi uses to plan and run shoots for low-budget productions and "no-budget" web series using iPad apps, cloud-based services, and optional desktop software. Find out how Google Drive, Dropbox, and specialty apps like Shot Lister, MovieSlate, Teleprompt+, and Easy Release can help you run a tighter ship and bring your production in on schedule and under budget.
Once you've finished the actual shoot day, after you've relaxed and recovered from what was probably a stressful day, you need to prepare the Shot Log or Camera Report for your editor. Your production team is going to deliver a bunch of memory cards or a hard drive full of video files to the editor, and the only hope your editor has of making any sense out of that folder full of video files is your shot list and camera report. This is how you communicate with your editor, so make it as clear as possible. In this movie, we're working with the paper version of the Shot Log before moving on to the iPad Apps later in this chapter.
So here I have a scan of the paper Shot List that we built. You could scan it like I did or you could use the camera on your iPad or iPhone. We're not dealing with a really high quality photo here, so you can just snap a picture with your camera. So, here's what you're sending to the editor, of course the Shot Log, which we'll talk more about throughout this movie. You also want to send the script and in this case I like to send the line script, which has all of the shots labeled in the script text itself. And you're going to need to send the Shot List, now there are two possible versions of the Shot List that you can send to your editor, or you might just choose to send both.
You can send this, which is the actual shoot day schedule that we built from the Shot List. Or you could send this. This is the full Shot List that is in the scene mode of the Shot Lister app. This shows all of the shots in scene order or narrative order. And we just used the PDF export option in Shot Lister to get both of these. I exported this one out of the scene mode and I exported this one out of the Shoot Day mode. If you send the Shoot Day mode. The editor can see the order that you shot them.
And this is generally the same order that they'll appear on the Camera Report or Shot Log. But, it might be more useful to the editor to have the scene view. Since the editor is cutting together the scenes in the order of the final narrative, they may want to see the order of the shots laid out in this way. So, those are all the documents you're going to include. I'm just going to tuck these away for a moment. Make sure you send those to the editor. But I want to focus on the Shot Log for the rest of this movie. So, what we need to do is make sure that everything is in order on the Shot Log before I send it.
The paper Shot Log is the easiest thing to prepare for the editor. You might not need to do anything more than just scan it and email it. But, here are a few things to look out for. First, you want to make sure that the handwriting is legible. Now I have terrible handwriting, especially when I'm in a stressful situation like the shoot day. So I'm going to take a look at my handwriting here. It is a little hard to read. So one thing I might want to do, is transcribe this with very careful handwriting. Onto a new version of the Shot Log.
Next you want to compare your Shot Log to your Shot List. You want to make sure that every shot is accounted for. If anything is missing, then why is it missing? Did you miss a shot? Did you decide to cut some shots? Did you reschedule them on another day? Or did you forget to log a shot? So, compare your Shot Log to your Shot List, and just make sure that everything is accounted for. If anything is missing from the Shot Log, the editor's going to be confused, so make sure you communicate why it's missing. If you've forgot something, well, now you need to sift through those raw video clips, and find what didn't get logged, and add some notes for it.
I will never expect the editor to just figure it out. You have to communicate with the editor. And then finally you want to make sure that for every shot there's at least one take that's circled. So here for shot 9B I have four takes and take four is circled, this is the best take. This is the one that I want the editor to use. Now I think in most cases, the last take is going to be the circle take. You can see a couple shots here where I only had one take. But there is a possibility that there will be shots where the last take is not the best take.
So, for example, here shot 4B. I circled take 1, I don't want to use take 2, and if you look at my notes you see that we ran out of time and I figured that take 1 was good enough, so take 1 is the circled take, I don't want the editor wasting his time on take 2. So, just go through and make sure that there's at least 1 circled take. Here on 4C there are 2 circled takes,. That means the editor can look at both of these takes and choose what they like from either one of those takes. Now, it's worth noting that I ended up using two pages for this shot log.
So, when I was on set, I had written in page one of blank. I just left it blank until I filled out all the pages that I need, and then I went back and I filled in this is page two of two, and this is page one of two. And that's it. If you did your Shot Log on paper you can send these documents along with the raw footage to the editor. Make sure you keep a back up of everything and now your editor should have the documents that they need.
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