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Un regard unique de Andyax sur « Produktionsfirma ».

Cette vidéo est accessible sur Youtube grâce à Andyax.
ayant pour thème « Produktionsfirma »:
[embedded content]

En la découvrant récemment, nous avons constaté qu’elle engageait son audience. Le décompte de Likes indiquait: 2181.

Notez la durée de la vidéo (00:23:25s), le titre (Our Biggest Music Video Shoot in Norway // Making a Film Company S4E4) ainsi que l’auteur, suivis de la description :« Voyez comment nous avons planifié et tourné deux clips vidéo en Norvège, pour l’artiste Yev. Et comment la nature a un impact sur la façon dont vous tirez. Découvrez l’artiste @yevmusic ici: https://yevmusic.com/ et restez à l’écoute pour sa libération de Motherless Child and Témoin! Rejoignez notre atelier de film en juin: https://andyax.com/film-workshops/ consultez notre boîte à outils Smallrig ici: https://geni.us/e4b1 Nous utilisons de la musique de fond d’ArtList. Obtenez 2 mois gratuitement (lien d’aide): http://tinyurl.com/4j2v4hmp comment nous utilisons AI pour étendre les ensembles: https://youtu.be/ksw8jysc_lc Cette vidéo est produite par VJUS (notre société de production de films norwegian): https://www.vjurs.No Rent notre film de films ici: https://www.oslofilmstudio.no/ Instagram: https://www.instagram.com/andyax_youtube/ https://www.instagram.com/vJus.no/ Facebook: https://wwwacbook.com/andyaxproductions/ https://www.facebook.com/vjus.no/ Homepage: https://www.andyax.com https://www.vjus.no louer notre équipement à Oslo ici: https://www.hygglo.no/USERS/3Ba90-Kim-kyung-Min-sletbach-g 0:00 Budgets MUCIFICS 0:47  » Vidéo « 1:12 L’artiste Yev 1:50 Budget et l’équipage Présentation 3:10 Emplacement Scout 3:59 SORG DE SHORT DE LA SHORT 1 8:25 LA BOUCLE DE TOODLES ANDYAX CREATOR 9:13 SCÈNES DE RAISE DU PROCHEMENT 12:43 SORT DE LA SUPIR 2 17:49 STUDIO Shoot Day 3 23:00 outro ».

Grâce à ses fonctionnalités avancées, Youtube permet aux utilisateurs d’accéder à un large éventail de contenus tout en garantissant sécurité et confidentialité.

Conclusion

La réussite de vos projets audiovisuels dépend d’une étape cruciale : le choix d’une société de production. En vous informant sur les missions et les étapes de la production, vous serez mieux armé pour choisir l’agence qui s’aligne avec vos attentes. Que ce soit pour un projet de film, une vidéo d’entreprise, ou un documentaire, il est essentiel de dénicher une société qui offre un service global, de la préproduction à la postproduction, et qui s’adapte aux évolutions du marché.

Il est essentiel de prendre en compte cette décision. Il est judicieux de prendre le temps d’examiner les agences, d’évaluer leurs compétences, et de vous assurer qu’elles saisissent vos objectifs. La réussite de votre projet audiovisuel dépendra de la société de production que vous sélectionnerez.

En alliant expertise dans la production vidéo et des technologies avancées, e-mediaprod répond aux défis de l’industrie du cinéma et du web avec des réalisations de qualité. Pour plus d’informations sur leurs services, cliquez sur ici.

Quelle méthode utiliser pour sélectionner la société de production vidéo et audiovisuelle adaptée à vos projets

L’évolution du métier de la production, ces dernières années, est le résultat de la simplification technique et de l’émergence de nouveaux médias. De nombreuses sociétés de production, comme e-mediaprod, mettent à disposition des solutions clés en main, permettant au client de ne fournir que son brief pour recevoir directement le produit fini. Cette méthode favorise une optimisation du temps et une amélioration de l’efficacité, s’adaptant aux besoins grandissants du marché. e-mediaprod a su, en particulier, développer ses compétences dans le domaine du web, en s’adaptant aux évolutions des formats numériques et des plateformes de diffusion en ligne. Cette société, grâce à un studio à la pointe de la technologie en motion et une équipe professionnelle, s’efforce de livrer des réalisations de qualité, tant pour des projets en France qu’à l’international. En se référant aux meilleures pratiques d’Entertainment et en s’inspirant des photos de référence aux États-Unis, elle parvient à insuffler une atmosphère unique à chaque production, tout en respectant les normes de l’industrie.

Les évolutions récentes dans le domaine de la production audiovisuelle.

Évolution des contenus et formats en adéquation avec les attentes du public.

La diversification des plateformes de contenu, telles que YouTube et Spotify, a également suscité un intérêt pour des formats plus courts et plus dynamiques. Un contenu authentique, créatif et engageant est recherché par les consommateurs. Une société de production chevronnée saura moduler les formats et les contenus en fonction des tendances du marché et des attentes du public.

Avec l’émergence de nouvelles technologies, l’industrie de la production audiovisuelle se transforme continuellement, tout comme les attentes des consommateurs.

Les nouvelles technologies et leur effet sur le domaine

Les innovations telles que la réalité virtuelle (VR), la réalité augmentée (AR) et l’intelligence artificielle (IA) transforment le domaine de la production. Ces développements permettent aux entreprises de production d’élaborer des expériences plus immersives et interactives. Il est crucial qu’une bonne société de production soit à la pointe des technologies pour vous proposer des solutions captivantes.

Il est important de connaître le rôle d’une société de production

Dans le secteur de la production audiovisuelle, la gestion de projets vidéos, films et autres contenus multimédias est une responsabilité clé d’une société de production. Ces sociétés cherchent à fournir un service complet qui couvre toutes les étapes de la production audiovisuelle, de la conception initiale à la diffusion du produit final.

Classer les types de production (film, vidéo, documentaire)

Les entreprises de production se spécialisent souvent dans des catégories spécifiques de films ou de vidéos. Elles peuvent se concentrer sur des productions cinématographiques de grande envergure, des projets de documentaires, ou encore des vidéos corporates à vocation marketing. Chaque type de production appelle une stratégie distincte, et les compétences spécifiques de l’agence de production sont indispensables pour mener à bien le projet.

Identifier les missions et les objectifs.

Les missions d’une société de production, qui dépendent du type de projet, incluent souvent la gestion des financements, la planification des ressources, et la coordination des équipes artistiques et techniques. En fonction du type de projet (film, documentaire, publicité, ou contenu institutionnel), la société de production s’occupera de tous les aspects de la création.

Choisir la bonne société de production est une étape clé.

Clarifier les attentes uniques du client.

La société de production que vous choisissez doit être en mesure de répondre à vos besoins spécifiques, car chaque projet est unique. Si vous êtes dans le domaine du marketing au sein d’une entreprise et que vous avez besoin de contenu vidéo pour faire connaître votre marque, assurez-vous que la société de production a une expertise dans la création de vidéos corporates et qu’elle comprend vos objectifs de communication.

Il est souvent difficile de choisir la société de production qui correspond le mieux à votre projet. Voici des critères à considérer pour faire un choix réfléchi.

Évaluer les agences en termes de compétences et d’expertise

Avant de se prononcer, il est crucial d’examiner l’expertise de la société de production. Alors que certaines agences se concentrent sur des productions cinématographiques à gros budget, d’autres se montrent plus aptes à gérer des vidéos de petite taille ou des films d’entreprise. Vérifiez que l’agence a l’expérience requise en consultant son portefeuille pour gérer votre projet.

Les jalons importants de la création vidéo.

En post-production, on s’occupe de l’édition et de la finalisation du contenu

La magie se déploie lors de la postproduction. Grâce au montage, à l’étalonnage, au mixage audio et aux effets spéciaux, le contenu final s’anime. Pour garantir la satisfaction du client, la société de production veillera à ce que le résultat final soit de la plus haute qualité possible.

Pour le tournage : organisation et gestion des équipes

Il est souvent admis que le tournage constitue l’étape la plus exaltante d’un projet audiovisuel. Il nécessite une organisation détaillée, incluant la gestion des lieux de tournage et la coordination des équipes. En prenant en charge le matériel, les autorisations de tournage et l’encadrement des équipes, une bonne société de production garantira un déroulement fluide.

Organisation du projet et préparation

En effet, la préproduction est une étape clé, car elle conditionne le succès du projet. Ce processus inclut la définition des objectifs, la rédaction des scripts, le choix des lieux de tournage, et la constitution des équipes techniques et créatives. Une société de production professionnelle saura gérer cette étape avec précision et efficacité, assurant un lancement sans accroc.

Une évaluation d’une société de production repose sur une bonne compréhension des étapes de la production. Voici un tableau des étapes cruciales :

Ce lien vous permet de voir la vidéo sur Youtube :
la publication originale: Cliquer ici

#Biggest #Music #Video #Shoot #Norway #Making #Film #Company #S4E4

Retranscription des paroles de la vidéo: [Music] there’s something about music video budgets I’m I’m very used to you know up and cominging artists coming to us they want the music video and they’re spending their own money from their own pocket to make a music video and then I understand that they don’t have that much as a company would have that wants corporate videos or commercials so something happens with my mindset at least when you have the same amount of budget for a music video and the same amount of budget for a corporate video you want to help that artist so much doesn’t feel at the same amount in a way so when the artist came to us with a quite good budget uh and also two songs that have a really important message I was very honored to direct this at the same time I was a bit scared because it means so much to him and and it means so much that we to tell these stories and the challenge is this needed to be filmed in autumn in Norway autumn in Norway is very unpredictable it’s been quite hectic because of the rain everything is very very hard to shoot out side in the evening join us to see how we made our biggest music videos yet welcome to a new episode of making a film company cool and interesting so the artist is jeev he lives in USA but he has Ukrainian Roots his music combines the Ukrainian immigrant roots with classic American Vintage pop he has received awards for his work and he now now telling important stories with new songs witness and motherless child focusing around the suffering of injured Ukrainian soldiers refugees and orphans and motherless child is actually an old African slave song so these two songs when I listened to them I was like it has to be good it has to be very [Music] good but it’s hard to do this to yourself we are a production company so we have people who can join uh as the crew so for coordinating in first ad we had Kim cinematographer was Matias Emma was doing behind the scenes and editing and Philip and Mars they were production assistants hey hello back I was directing this music video and also producing it with Morton in our company and for these music videos we also hired some Freelancers Leander was gaffer for the outdoor shoots Frida was makeup and Rebecca was hired as a pyro technician pyro technician pyro pyro Technic pyro pyro pyro Tech technician in addition we needed to hire some actors uh two children and one soldier uh and also 10 extras and we had to use some Budget on props and costumes luckily we have a van here in Oslo which has two echol flow Delta Pro batteries so we could generate power to our lamps when we’re shooting outside in the forest but our gaffer Lander demanded one more generator so we rented a fuel generator as well in case our batteries got empty so this is our rough overview of uh how we spent the budget and of course you also have this extra for unpredictable expenses and food on [Music] set okay we’re doing our location Scouts and we actually found a quite nice Forest open so it’s easy to add lights of course we went to a location scout beforehand and we found the perfect place actually it was very practical and it looked good it was a forest next to a parking lot so we could uh Park our van at the parking lot and then film just inside the forest next to it then we could also pull cables uh power cables from the van into the forest and if it was going to start raining we could always run back to the van and create a tent or something around the van we spent about a month back and forth uh communicating with jeev in USA sending them some pictures of the location some ideas the scripts so when they came over to Norway we knew exactly what we were going to do and now it was time to shoot we had to prepare for bad weather again this is autumn in Norway you never know what’s going to happen so we created a base camp at the parking using a big uh rain tent to our van [Music] this [Music] is I’ll clean your lens yeah looks better yeah it’s not actually that’s behind some directors like to be hard on their choices like they decide everything and that’s that’s fair I like to be more openminded and I think it’s very good to to get some feedback from cograph the gaffer makeup and show that you’re interested in hearing their thoughts as long as I know what we need and that their ideas fit and if you also have been doing a lot of editing and you kind of already been editing this music video in your head beforehand you know exactly what you need we started with the sunset scenes because just before it gets dark we have this really nice blue hour in Norway um which could fit the sunset look we’re going to have so we didn’t bring much equipment uh I like to bring less equipment and focus more on actors um but we had the 1200X as a low sun and then we used a big bounce uh to bounce a fillback on the on the actors um and a haste machine and smoke Genie and those things worked really well together when you are directing kids it’s very important that you give them time and that they trust you so I use some time beforehand to you know talk with them about everything and show that I’m uh I’m not scary for the camera we use the fx3 on the DJI RS3 gimbal for this shot we want to have a transition from NightLight to Sunset so we simply made the Phillip move the light uh while we filmed and we had a cold uh lamp hitting a big bounce to create the evening light so by doing this it’s not hard you can create really nice transitions we just finished the sunset shoot before it became dark and now it was time for the evening and uh yeah it started raining and it was dark cold and rainy and when it’s dark in the forest of course we have to lose stuff and when you lose stuff in the forest when it’s dark it’s hard to find them I think Anders lost his wedding ring again oh yeah yeah he’s referring to I I lost my wedding ring in South Africa when we were there uh we actually that that is a part of a video we made on YouTube I actually lost my wedding ring in the in the sand and I won’t spoil if we oh I still have yeah we found it wow wow I think my most emotional moment in uh any of our YouTube videos was that moment W this feel like a dream this is just crazy but this time it was just a small little cover for our tear blower which is a little uh thing you can blow into uh on the actor’s eyes to make them start crying which is a really nice trick if you need on so if you are living in Oso come up here and try to find it one day and you can get it for free in a situation like this where it’s just pouring down rain you need to make sure your lamp and Equipment has ip65 rating luckily the aperture lamps has this so there’s no problem having them in the rain but whenever you buy a new equipment now and you want to shoot outside a lot make sure especially Norway in Autumn make sure it has a high IP rating above 65 is good we also make sure that we always have uh folding chairs blankets emergency kit and of course we always bring the annex tool kit that we made in collaboration with small rig because we saw the need of having a box with everything that might be crucial on set you know sometimes you lose uh some screws and if you don’t have them what do you do you can’t stop the whole production right and you also have different uh tools to fix your tripod or the hex Keys things to clean stuff if you forget and different tape place to store documents agreements storyboards The Clapper which we usually use on set you know things that you don’t know where to put elsewhere you can always customize it of course you can uh change positions of things and add your own stuff as well so definitely check it out there’s a link to this product in the [Music] [Applause] description it takes so much more time filming when it’s raining and dark and cold time flies suddenly 1 hour has felt like 10 minutes so Kim the first ad made sure that we followed the the time schedule and we only had 30 minutes left and I needed still some more shots to be able to make the edit the right way and we are really strict to follow the time schedule because we would don’t want people people to to feel that they are just being pushed to stay there longer and longer so some of the crew started packing down uh the equipment into the van and some of us filmed the last shots also when you’re in a hurry of course it’s not nice to to find uh ways to shoot stuff efficiently we filmed everything in uh 60 frames 4K even though some of the shots might end up being in normal speed you can always add motion blur in post if you need to uh fix the shutter speed Problem by speeding up so uh it’s a good uh way to be flexible in the posts when you’re editing when you’re are working as fast as we do sometimes you of course you might end up um forgetting a couple of things like in this shot he was running the child was running with his hood on was not supposed to do that so he fixed that of course and also mat Matas was going to run with a gimbal but we uh we did not see the yeah the the stick standing up um there the one of the reasons why we H Mattias is that he’s really good at saving the camera when he falls this should he he saved the camera really well and also from the Blackmagic 6K video we made Le on me lean on oh yeah [Music] come here ph up [Music] up I guess people who are walking in this dark forest was wondering what was going to what was happening probably her sounds like someone’s got killed or [Music] something yeah then K and get the G me the idea of we can just scream without screaming because there’s no sound in this uh this video so that was a good idea Kim thank you then we don’t need to scare the the people around this forest real [Music] it was day two and luckily it was less rain but we did not take any chances so we brought our tent into the forest in case we had to hurry to run under and save the equipment and ourselves it was time to film The Artist jeev and we’re going to film in two different moods one in Sunset and one with evening or dusk look when you’re filming a music video I do recommend bringing a quite good speaker on set this helps the artist to get in into the mood H gets the whole crew into you can really feel the music and it’s easier to then also be in the mood and do the right choices so we decided to improvise some of the shots of je playing uh and then this very nice nice to have a headset to communicate so I could look at the monitor communicate with Matias while he was filming and also the gaffer and the the person with haste machine that we could all communicate so we knew that we had what we needed uh at all times a little bit more back yes good good left nice very good by the way Matas while you’re filming did you see the match yesterday you know holand is not playing so good anymore keeping a good wibe on set is very important I know sometimes hard because you are stressed but it’s about you know know giving Clear Directions uh giving good feedback to to everyone give [Music] compliments good nice we had planned to use a mirror as a metaphor in the story and I’m really glad we were able to shoot those scenes [Music] good job after the two performances for a motherless child since we were already in the forest we had planned it so this evening we were also going to shoot the outdoor shots for his music video witness okay we’re done with the first half of day two so you know you learn so much but you just go out and shoot like we learn learned so much from yesterday which helped us today now we’re done with Mother the child the first uh music video now we’re going to start with the second one uh where we have the full choir we have a bonfire torches also we heard a what is it called Jeff pyro pyro Technic pyro Technic py pyro Pirates Rebecca the pirate started making the bonfire oh yeah while we gave all the extras information about what’s going to happen we started to shoot some uh detailed shots before we shot the the bigger bonfire uh SE as we had 10 extras on set it was important to give clear directions in pre-production We talked about having a choir uh behind jev uh performing some of the song um but this is quite expensive and also takes a lot of time uh so what we did was that we hired 10 extras to mimic that they were singing and then also we’re going to duplicate the whole group so first we shot in one angle uh of uh uh with them in the background and then we move them to the other side uh of of jab to shoot the other angle and we also mix them mix the group so you wouldn’t uh hopefully see that they were the same people and also we did a static wide angle so we could just duplicate the group uh to make it look like it was 20 people there instead of 10 I do recommend thinking about the edit already in the pre-production because then you know what you need for the story and what you need for the compositing and VFX it’s quite common when you have people who are not used to be in front of the camera uh that they are are afraid to like give it all like pull out all the energy um so make sure as a director that you make them just give give it all um that’s the important thing and sometimes on set it looks like it’s everything is is uh is full of energy but there’s always a little bit more you can get out of them so just be a leader as a director and and give them uh clear directions and U and maybe you know Pump Up the Music a little bit more something to just make them uh give more energy and more of themselves you would not regret this in [Music] post the our power of our souls witness our tail and shattered stor witness witness are strange very you good than you good job hey it’s uh it’s it’s a wrap for today at least great great job everybody the next days we were going to be in our Film Studio ah that was uh a lot nicer and warmer we wanted to connect the studio shoot with with the outdoor shoot uh of course in this music video so we had already planned to shoot some shots outside that we could project uh on fabric that we hanged from the ceiling uh we want to create this uh interesting visual uh room uh where Jay was walking around looking at these portraits and this also focused on uh the message of the song about uh Witnesses about the people who’s been uh a part of um the brutality of war and uh you know just making him walk around this almost like I don’t know like almost like a museum or something like that we just used an old and quite uh poor projector uh but it works it creates something interesting when you work with projectors yeah Isn’t that cool also talked about or I wanted to ask you if you wanted to do a performance as well we had a little bit more time in the studios we also did some shots that was like a bonus uh where he was sitting in a chair we going to make add AI around him you can see a video uh I’m made about how you do that and there’s a link in the description and if you have a little bit of spare time uh when you’re shooting a music video The Artist just want the best music video possible so they are very often open and and eager to do more stuff so if you have time just uh together you know maybe find some bonus shots sometimes that’s actually ends up being a really really good shots because you know you have everything so you kind of feel safe when you feel safe you can take some chances so so do those spish chance uh shots and take some chances and we end up with something really cool [Music] angle and the light and then the outro is the r as well y [Music] thank you everyone thank you but are you uh happy yeah well we got so much in I’m it’s going to take me time to process all of it and I’m really looking forward to the the videos and how they come together and yeah be exciting Jeff if people want to listen to your music where should they go y have music.com y music.com I’ll give me Aug now we are currently editing the music videos but uh of course we want to show you a little bit sneak peek from modess child and the witness music video sometimes I feel like a motherless [Music] child sometimes I feel like I’m almost gone yeah sometime I feel I’m almost gone I feel de speak through our lips As we sing out forever [Music] hyy [Music] witness Witness [Music] [Music] oh the music videos will be released on Jeff’s YouTube channel so make sure to follow him there’s a link in the description and also we will of course share when we publish it uh on our Instagram so make sure to follow us uh you can see it somewhere here and let’s meet this June because every year we have a film Workshop in Norway for you guys and it’s a week you get your own room boom there a private Chef making the food we are together 24/7 making films courses you get new film making friends people are coming back every year some people have now this year are coming back for the fourth time so if you want to join it’s in June go into andex do.com and read more about it and send us an email to Workshop vi. we have some spots left so maybe let see you in June and of course don’t forget to check out the andex tool kit there’s a link in the description and also you can see a video on how we made this with small r we’ll probably show up somewhere here very soon feel free to comment below if you like this video And subscribe for the next video coming out very soon and I see you again [Music] .

Déroulement de la vidéo:

0.18 [Music]
0.18 there&;s something about music video
0.18 budgets I&;m I&;m very used to you know up
0.18 and cominging artists coming to us they
0.18 want the music video and they&;re
0.18 spending their own money from their own
0.18 pocket to make a music video and then I
0.18 understand that they don&;t have that
0.18 much as a company would have that wants
0.18 corporate videos or commercials so
0.18 something happens with my mindset at
0.18 least when you have the same amount of
0.18 budget for a music video and the same
0.18 amount of budget for a corporate video
0.18 you want to help that artist so much
0.18 doesn&;t feel at the same amount in a way
0.18 so when the artist came to us with a
0.18 quite good budget uh and also two songs
0.18 that have a really important message I
0.18 was very honored to direct this at the
0.18 same time I was a bit scared because it
0.18 means so much to him and and it means so
0.18 much that we to tell these stories and
0.18 the challenge is this needed to be
0.18 filmed in autumn in Norway autumn in
0.18 Norway is very
0.18 unpredictable it&;s been quite hectic
0.18 because of the
0.18 rain everything is very very hard to
0.18 shoot out side in the
0.18 evening join us to see how we made our
0.18 biggest music videos yet welcome to a
0.18 new episode of making a film
0.18 company cool and interesting so the
0.18 artist is jeev he lives in USA but he
0.18 has Ukrainian Roots his music combines
0.18 the Ukrainian immigrant roots with
0.18 classic American Vintage pop he has
0.18 received awards for his work and he now
0.18 now telling important stories with new
0.18 songs witness and motherless child
0.18 focusing around the suffering of injured
0.18 Ukrainian soldiers refugees and orphans
0.18 and motherless child is actually an old
0.18 African slave song so these two songs
0.18 when I listened to them I was
0.18 like it has to be good it has to be very
0.18 [Music]
0.18 good but it&;s hard to do this to
0.18 yourself we are a production company so
0.18 we have people who can join uh as the
0.18 crew so for coordinating in first ad we
0.18 had Kim cinematographer was Matias Emma
0.18 was doing behind the scenes and editing
0.18 and Philip and Mars they were production
0.18 assistants hey hello back I was
0.18 directing this music video and also
0.18 producing it with Morton in our company
0.18 and for these music videos we also hired
0.18 some Freelancers Leander was gaffer for
0.18 the outdoor shoots Frida was makeup and
0.18 Rebecca was hired as a pyro technician
0.18 pyro technician
0.18 pyro pyro Technic pyro pyro pyro Tech
0.18 technician in addition we needed to hire
0.18 some actors uh two children and one
0.18 soldier uh and also 10 extras and we had
0.18 to use some Budget on props and costumes
0.18 luckily we have a van here in Oslo which
0.18 has two echol flow Delta Pro batteries
0.18 so we could generate power to our lamps
0.18 when we&;re shooting outside in the
0.18 forest but our gaffer Lander demanded
0.18 one more generator so we rented a fuel
0.18 generator as well in case our batteries
0.18 got empty so this is our rough overview
0.18 of uh how we spent the budget and of
0.18 course you also have this extra for
0.18 unpredictable expenses and food on
0.18 [Music]
0.18 set okay we&;re doing our location Scouts
0.18 and we actually found a quite nice
0.18 Forest open so it&;s easy to add lights
0.18 of course we went to a location scout
0.18 beforehand and we found the perfect
0.18 place actually it was very practical and
0.18 it looked good it was a forest next to a
0.18 parking lot so we could uh Park our van
0.18 at the parking lot and then film just
0.18 inside the forest next to it then we
0.18 could also pull cables uh power cables
0.18 from the van into the forest and if it
0.18 was going to start raining we could
0.18 always run back to the van and create a
0.18 tent or something around the van we
0.18 spent about a month back and forth uh
0.18 communicating with jeev in USA sending
0.18 them some pictures of the location some
0.18 ideas the scripts so when they came over
0.18 to Norway we knew exactly what we were
0.18 going to do and now it was time to shoot
0.18 we had to prepare for bad weather again
0.18 this is autumn in Norway you never know
0.18 what&;s going to happen so we created a
0.18 base camp at the parking using a big uh
0.18 rain tent to our van
0.18 [Music]
0.18 this
0.18 [Music]
0.18 is I&;ll clean your
0.18 lens yeah looks
0.18 better yeah
0.18 it&;s not actually that&;s behind
0.18 some directors like to be hard on their
0.18 choices like they decide everything and
0.18 that&;s that&;s fair I like to be more
0.18 openminded and I think it&;s very good to
0.18 to get some feedback from cograph the
0.18 gaffer makeup and show that you&;re
0.18 interested in hearing their thoughts as
0.18 long as I know what we need and that
0.18 their ideas fit and if you also have
0.18 been doing a lot of editing and you kind
0.18 of already been editing this music video
0.18 in your head beforehand you know exactly
0.18 what you
0.18 need we started with the sunset scenes
0.18 because just before it gets dark we have
0.18 this really nice blue hour in Norway um
0.18 which could fit the sunset look we&;re
0.18 going to have so we didn&;t bring much
0.18 equipment uh I like to bring less
0.18 equipment and focus more on actors um
0.18 but we had the 1200X as a low
0.18 sun and then we used a big bounce uh to
0.18 bounce a fillback on the on the actors
0.18 um and a haste machine and smoke Genie
0.18 and those things worked really well
0.18 together
0.18 when you are directing kids it&;s very
0.18 important that you give them time and
0.18 that they trust you so I use some time
0.18 beforehand to you know talk with them
0.18 about everything and show that I&;m uh
0.18 I&;m not scary for the camera we use the
0.18 fx3 on the DJI RS3
0.18 gimbal for this shot we want to have a
0.18 transition from NightLight to
0.18 Sunset so we simply made the Phillip
0.18 move the light uh while we filmed and we
0.18 had a cold uh lamp hitting a big bounce
0.18 to create the evening light so by doing
0.18 this it&;s not hard you can create really
0.18 nice
0.18 transitions we just finished the sunset
0.18 shoot before it became dark and now it
0.18 was time for the evening and uh
0.18 yeah it started raining and it was dark
0.18 cold and rainy and when it&;s dark in the
0.18 forest of course we have to lose stuff
0.18 and when you lose stuff in the forest
0.18 when it&;s dark it&;s hard to find them I
0.18 think Anders lost his wedding ring again
0.18 oh yeah yeah he&;s referring to I I lost
0.18 my wedding ring in South Africa when we
0.18 were there uh we actually that that is a
0.18 part of a video we made on YouTube I
0.18 actually lost my wedding ring in the in
0.18 the sand and I won&;t spoil if we oh I
0.18 still have yeah we found it
0.18 wow
0.18 wow I think my most emotional moment in
0.18 uh any of our YouTube videos was that
0.18 moment W this feel like a dream this is
0.18 just
0.18 crazy but this time it was just a small
0.18 little cover for our tear blower which
0.18 is a little uh thing you can blow into
0.18 uh on the actor&;s eyes to make them
0.18 start crying which is a really nice
0.18 trick if you need on so if you are
0.18 living in Oso come up here and try to
0.18 find it one day and you can get it for
0.18 free
0.18 in a situation like this where it&;s just
0.18 pouring down rain you need to make sure
0.18 your lamp and Equipment has ip65 rating
0.18 luckily the aperture lamps has this so
0.18 there&;s no problem having them in the
0.18 rain but whenever you buy a new
0.18 equipment now and you want to shoot
0.18 outside a lot make sure especially
0.18 Norway in Autumn make sure it has a high
0.18 IP rating above 65 is good we also make
0.18 sure that we always have uh folding
0.18 chairs blankets emergency kit and of
0.18 course we always bring the annex tool
0.18 kit that we made in collaboration with
0.18 small rig because we saw the need of
0.18 having a box with everything that might
0.18 be crucial on set you know sometimes you
0.18 lose uh some screws and if you don&;t
0.18 have them what do you do you can&;t stop
0.18 the whole production right and you also
0.18 have different uh tools to fix your
0.18 tripod or the hex Keys things to clean
0.18 stuff if you forget and different tape
0.18 place to store documents agreements
0.18 storyboards The Clapper which we usually
0.18 use on set you know things that you
0.18 don&;t know where to put elsewhere you
0.18 can always customize it of course you
0.18 can uh change positions of things and
0.18 add your own stuff as well so definitely
0.18 check it out there&;s a link to this
0.18 product in the
0.18 [Music]
0.18 [Applause]
0.18 description it takes so much more time
0.18 filming when it&;s raining and dark and
0.18 cold time flies suddenly 1 hour has felt
0.18 like 10 minutes so Kim the first ad made
0.18 sure that we followed the the time
0.18 schedule and we only had 30 minutes left
0.18 and I needed still some more shots to be
0.18 able to make the edit the right way and
0.18 we are really strict to follow the time
0.18 schedule because we would don&;t want
0.18 people people to to feel that they are
0.18 just being pushed to stay there longer
0.18 and longer so some of the crew started
0.18 packing down uh the equipment into the
0.18 van and some of us filmed the last shots
0.18 also when you&;re in a hurry of course
0.18 it&;s not nice to to find uh ways to
0.18 shoot stuff efficiently we filmed
0.18 everything in uh 60 frames 4K even
0.18 though some of the shots might end up
0.18 being in normal speed you can always add
0.18 motion blur in post if you need to uh
0.18 fix the shutter speed Problem by
0.18 speeding up so uh it&;s a good uh way to
0.18 be flexible in the posts when you&;re
0.18 editing when you&;re are working as fast
0.18 as we do sometimes you of course you
0.18 might end up um forgetting a couple of
0.18 things like in this shot he was running
0.18 the child was running with his hood on
0.18 was not supposed to do that so he fixed
0.18 that of course and also mat Matas was
0.18 going to run with a gimbal but we uh we
0.18 did not see
0.18 the yeah the the stick standing up um
0.18 there the one of the reasons why we H
0.18 Mattias is that he&;s really good at
0.18 saving the camera when he falls this
0.18 should he he saved the camera really
0.18 well and also from the Blackmagic 6K
0.18 video we made
0.18 Le on me lean
0.18 on oh yeah
0.18 [Music]
0.18 come here ph up
0.18 [Music]
0.18 up I guess people who are walking in
0.18 this dark forest was wondering what was
0.18 going to what was happening probably her
0.18 sounds like someone&;s got killed or
0.18 [Music]
0.18 something yeah then K and get the G me
0.18 the idea of we can just scream without
0.18 screaming because there&;s no sound in
0.18 this uh this video so that was a good
0.18 idea Kim thank you then we don&;t need to
0.18 scare the the people around this
0.18 forest real
0.18 [Music]
0.18 it was day two and luckily it was less
0.18 rain but we did not take any chances so
0.18 we brought our tent into the forest in
0.18 case we had to hurry to run under and
0.18 save the equipment and ourselves it was
0.18 time to film The Artist jeev and we&;re
0.18 going to film in two different moods one
0.18 in Sunset and one with evening or dusk
0.18 look when you&;re filming a music video I
0.18 do recommend bringing a quite good
0.18 speaker on
0.18 set this helps the artist to get in into
0.18 the
0.18 mood H gets the whole crew
0.18 into you can really feel the
0.18 music and it&;s easier to then also be in
0.18 the mood and do the right
0.18 choices so we decided to improvise some
0.18 of the shots of je playing uh and then
0.18 this very nice nice to have a headset to
0.18 communicate so I could look at the
0.18 monitor communicate with Matias while he
0.18 was filming and also the gaffer and the
0.18 the person with haste machine that we
0.18 could all communicate so we knew that we
0.18 had what we needed uh at all times a
0.18 little bit more back yes good good left
0.18 nice very good by the way Matas while
0.18 you&;re filming did you see the match
0.18 yesterday you know holand is not playing
0.18 so good
0.18 anymore keeping a good wibe on set is
0.18 very important I know sometimes hard
0.18 because you are stressed but it&;s about
0.18 you know know giving Clear Directions uh
0.18 giving good feedback to to everyone give
0.18 [Music]
0.18 compliments good
0.18 nice we had planned to use a mirror as a
0.18 metaphor in the story and I&;m really
0.18 glad we were able to shoot those scenes
0.18 [Music]
0.18 good
0.18 job after the two performances for a
0.18 motherless child since we were already
0.18 in the forest we had planned it so this
0.18 evening we were also going to shoot the
0.18 outdoor shots for his music video
0.18 witness okay we&;re done with the first
0.18 half of day two so you know you learn so
0.18 much but you just go out and shoot like
0.18 we learn learned so much from yesterday
0.18 which helped us today now we&;re done
0.18 with Mother the child the first uh music
0.18 video now we&;re going to start with the
0.18 second one uh where we have the full
0.18 choir we have a bonfire torches also we
0.18 heard a what is it called Jeff
0.18 pyro pyro Technic pyro Technic py pyro
0.18 Pirates Rebecca the pirate started
0.18 making the bonfire oh yeah while we gave
0.18 all the extras information about what&;s
0.18 going to happen we started to shoot some
0.18 uh detailed shots before we shot the the
0.18 bigger bonfire uh
0.18 SE as we had 10 extras on set it was
0.18 important to give clear directions in
0.18 pre-production We talked about having a
0.18 choir uh behind jev uh performing some
0.18 of the song um but this is quite
0.18 expensive and also takes a lot of time
0.18 uh so what we did was that we hired 10
0.18 extras to mimic that they were singing
0.18 and then also we&;re going to duplicate
0.18 the whole group so first we shot in one
0.18 angle uh of uh uh with them in the
0.18 background and then we move them to the
0.18 other side uh of of jab to shoot the
0.18 other angle and we also mix them mix the
0.18 group so you wouldn&;t uh hopefully see
0.18 that they were the same people and also
0.18 we did a static wide angle so we could
0.18 just duplicate the group uh to make it
0.18 look like it was 20 people there instead
0.18 of 10 I do recommend thinking about the
0.18 edit already in the pre-production
0.18 because then you know what you need for
0.18 the story and what you need for the
0.18 compositing and VFX it&;s quite common
0.18 when you have people who are not used to
0.18 be in front of the camera uh that they
0.18 are are afraid to like give it all like
0.18 pull out all the energy um so make sure
0.18 as a director that you make them just
0.18 give give it all um that&;s the important
0.18 thing and sometimes on set it looks like
0.18 it&;s everything is is uh is full of
0.18 energy but there&;s always a little bit
0.18 more you can get out of them so just be
0.18 a leader as a director and and give them
0.18 uh clear directions and U and maybe you
0.18 know Pump Up the Music a little bit
0.18 more something to just make them uh give
0.18 more energy and more of themselves you
0.18 would not regret this in
0.18 [Music]
0.18 post the our power of our
0.18 souls witness our tail and shattered
0.18 stor
0.18 witness witness are strange
0.18 very you good than you good
0.18 job hey it&;s uh it&;s it&;s a wrap for
0.18 today at
0.18 least great great job everybody the next
0.18 days we were going to be in our Film
0.18 Studio ah that was uh a lot nicer and
0.18 warmer we wanted to connect the studio
0.18 shoot with with the outdoor shoot uh of
0.18 course in this music video so we had
0.18 already planned to shoot some shots
0.18 outside that we could project uh on
0.18 fabric that we hanged from the ceiling
0.18 uh we want to create this uh interesting
0.18 visual uh room uh where Jay was walking
0.18 around looking at these portraits and
0.18 this also focused on uh the message of
0.18 the song about uh Witnesses about the
0.18 people who&;s been uh a part of um the
0.18 brutality of war and uh you know just
0.18 making him walk around this almost like
0.18 I don&;t know like almost like a museum
0.18 or something like that we just used an
0.18 old and quite uh poor projector uh but
0.18 it works it creates something
0.18 interesting when you work with
0.18 projectors yeah Isn&;t that
0.18 cool also talked about or I wanted to
0.18 ask you if you wanted to do a
0.18 performance as well we had a little bit
0.18 more time in the studios we also did
0.18 some shots that was like a bonus uh
0.18 where he was sitting in a chair we going
0.18 to make add AI around him you can see a
0.18 video uh I&;m made about how you do that
0.18 and there&;s a link in the description
0.18 and if you have a little bit of spare
0.18 time uh when you&;re shooting a music
0.18 video The Artist just want the best
0.18 music video possible so they are very
0.18 often open and and eager to do more
0.18 stuff so if you have time just uh
0.18 together you know maybe find some bonus
0.18 shots sometimes that&;s actually ends up
0.18 being a really really good shots because
0.18 you know you have everything so you kind
0.18 of feel safe when you feel safe you can
0.18 take some chances so so do those spish
0.18 chance uh shots and take some chances
0.18 and we end up with something really cool
0.18 [Music]
0.18 angle and the
0.18 light and then the outro is the r as
0.18 well y
0.18 [Music]
0.18 thank you everyone thank
0.18 you but are you uh happy yeah well we
0.18 got so much in I&;m it&;s going to take me
0.18 time to process all of it and I&;m really
0.18 looking forward to the the videos and
0.18 how they come together and yeah be
0.18 exciting Jeff if people want to listen
0.18 to your music where should they go y
0.18 have music.com y music.com I&;ll give me
0.18 Aug now we are currently editing the
0.18 music videos but uh of course we want to
0.18 show you a little bit sneak peek from
0.18 modess child and the witness music
0.18 video sometimes
0.18 I
0.18 feel like a
0.18 motherless
0.18 [Music]
0.18 child sometimes I
0.18 feel like I&;m
0.18 almost
0.18 gone
0.18 yeah sometime
0.18 I feel I&;m almost
0.18 gone I feel de speak through our lips As
0.18 we sing
0.18 out
0.18 forever
0.18 [Music]
0.18 hyy
0.18 [Music]
0.18 witness Witness
0.18 [Music]
0.18 [Music]
0.18 oh the music videos will be released on
0.18 Jeff&;s YouTube channel so make sure to
0.18 follow him there&;s a link in the
0.18 description and also we will of course
0.18 share when we publish it uh on our
0.18 Instagram so make sure to follow us uh
0.18 you can see it somewhere here and let&;s
0.18 meet this June because every year we
0.18 have a film Workshop in Norway for you
0.18 guys and it&;s a week you get your own
0.18 room boom there a private Chef making
0.18 the food we are together 24/7 making
0.18 films courses you get new film making
0.18 friends people are coming back every
0.18 year some people have now this year are
0.18 coming back for the fourth time so if
0.18 you want to join it&;s in June go into
0.18 andex do.com and read more about it and
0.18 send us an email to Workshop vi. we have
0.18 some spots left so maybe let see you in
0.18 June and of course don&;t forget to check
0.18 out the andex tool kit there&;s a link in
0.18 the description and also you can see a
0.18 video on how we made this with small r
0.18 we&;ll probably show up somewhere here
0.18 very soon feel free to comment below if
0.18 you like this video And subscribe for
0.18 the next video coming out very soon and
0.18 I see you again
0.18 [Music]
.

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