Accédez à ce film sur «production company» en streaming sur Youtube.

Film Courage se penche sur la question de « production company ».

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qui aborde « production company »:

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Notez la durée de la vidéo (00:07:24s), le titre (Todd Berger On Starting A Production Company) ainsi que l’auteur, suivis de la description :« Dans cette interview vidéo Film Courage, le co-scénariste de The Happytime Murders, Todd Berger, parle du démarrage d’une société de production. Plus de vidéos avec Todd Berger https://goo.gl/r7wpx6 Connectez-vous avec Todd Berger http://todd-berger.com https://www.imdb.com/name/nm1787651 https://www.instagram.com/thejohnnyvoodooooooooooooo. https://twitter.com/thetoddberger devenez un membre de Courage de film https://www.youtube.com/channel/ucs8o1mdwafefjkdbg632_tg/join Connect With Film Courage http://www.filmcourage.com http://twitter.com/#!/filmcourage.com http://twitter.com/#! https://www.facebook.com/filmcourage http://filmcourage.tumblr.com http://pinterest.com/filmcourage de renseignements commerciaux http://bit.ly/22m0va2 abonnez-vous au film Courage YouTube Channel Podcast://bit.ly/18dpn37 écoute pour le film Podcast Podstol https://soundcloud.com/filmcourage-com promouvoir votre film, votre ligne de ligne ou votre produit sur film de film http://bit.ly/1nnjkgm Notre cheval de bataille – http://amzn.to/2u66v1j – La plupart des gens nous demandent quel appareil photo nous utilisons, personne ne pose jamais sur l’objectif que les cinéastes nous disent toujours plus importants. Cet objectif était un gros investissement pour nous et un que nous souhaitons pouvoir faire plus tôt. J’ai commencé à utiliser cet objectif à la fin de 2013 – http://amzn.to/2tbtmoq Rode Rode Videomic Pro – Le micro Rode nous aide à capturer notre audio de sauvegarde. Cela nous aide également à synchroniser notre audio dans le post http://amzn.to/2t1n2hx audio – si nous devions recommencer, c’est probablement le premier élément que nous aurions acheté – http://amzn.to/2tbflm9 LICTES – bien que nous aimions utiliser autant de lumière naturelle que nous pouvons, nous améliorons souvent l’éclairage avec ce petit éclairage portable. Nous en avons deux et ils nous ont sauvé plusieurs fois – http://amzn.to/2u5unhv Computer – Notre ordinateur préféré, nous en avons chacun et avons utilisé divers modèles depuis 2010 – http://amzn.to/2t1m67z Modifier – nous avons mis à niveau notre suite d’édition cette année et nous sommes ravis! Cela a amélioré notre flux de travail et la qualité de notre travail. Le fait d’avoir de nouveaux logiciels aide également lorsque nous avons un problème, il est facile de rechercher et de trouver une solution – https://goo.gl/56lnpm * Ce sont des liens d’aide, en les utilisant, vous pouvez aider à soutenir ce canal. #Filmmaking # Filmmaking101 #screenwriting ».

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.

Déchiffrer le Rôle et l’Intention du Producteur

Évaluer les Compétences Techniques Indispensables

Un producteur compétent doit avoir une bonne connaissance des aspects techniques de la création audiovisuelle, analyser les statistiques de marché et s’ajuster aux préférences des artistes, entreprises ou clients. Il est essentiel d’avoir une stratégie fonctionnelle et technologique pour répondre aux besoins spécifiques du secteur.

Spécifier les Responsabilités Fondamentales et les Données Nécessaires

La gestion des ressources, l’optimisation du stockage des matériaux et l’adoption des techniques nécessaires sont des tâches essentielles du producteur pour garantir la finalité du projet. Il doit gérer stratégiquement les différents acteurs tout en maintenant une communication efficace.

Dans de nombreux secteurs, le terme « prod » est utilisé, notamment en gestion de production, dans la supply chain et dans l’industrie culturelle. Dans le cadre d’un projet, qu’il s’agisse d’un spectacle, d’une production audiovisuelle ou d’une chaîne logistique, un producteur a un rôle clé à jouer.

Travail d’Équipe et Alliances

Considérer les Atouts d’un Travail en Groupe

La mise en réseau de talents et d’experts contribue à l’élaboration de projets significatifs et renforce une relation harmonieuse avec les clients, en particulier dans des secteurs où la transparence et la crédibilité sont primordiales.

Faire ressortir l’Importance des Coopérations

Travailler en équipe, que ce soit dans un contexte artistique ou commercial, favorise l’innovation et permet de mieux répondre aux attentes du marché.

Profiter des Données pour Optimiser la Production

L’interprétation des données est cruciale pour améliorer les choix dans le domaine de la production.

Examiner l’Efficacité des Stratégies Proposées

Les producteurs qui savent tirer parti des données peuvent ajuster leurs ressources, améliorer le stockage et assurer la finalité de leur projet avec succès.

La production audiovisuelle moderne implique des connaissances et des outils spécifiques, et c’est exactement ce que emediaprod met à votre disposition. Grâce à notre expertise, nous créons des contenus visuels adaptés aux plateformes actuelles, qu’il s’agisse de vidéos promotionnelles ou de productions pour les réseaux sociaux.

Exploiter les Informations Nécessaires pour Éclairer les Décisions

En se basant sur les données, on peut mieux appréhender les préférences des consommateurs, anticiper les évolutions du marché et ajuster les stratégies.

Les Technologies

Découvrir les Instruments Modernes Appliqués par les Compagnies

À l’heure actuelle, les logiciels de gestion contribuent à l’optimisation du stockage et de la logistique. Une communication plus fluide entre les artistes, les producteurs et les entreprises est également possible grâce aux outils numériques.

Les technologies avancées jouent un rôle fondamental dans l’optimisation des processus de production.

Évaluer les Effets des Nouvelles Technologies

En matière de technologies, des approches fonctionnelles existent pour renforcer la finalité d’un projet. L’utilisation d’outils analytiques permet d’accéder à des statistiques en temps réel, facilitant ainsi l’optimisation des coûts et des délais.

Stockage, Technique et Finalité : Clarifier le Mot « Prod » et Ses Applications

Un métier en constante évolution, la production est largement modifiée par les nouveaux modes de consommation audiovisuelle. De nos jours, les éléments visuels forts accompagnent la musique afin de capter l’attention du public abonné sur les plateformes de distribution. Alors que des plateformes telles que YouTube, TikTok et Instagram dominent les tendances, il est vital de conjuguer plusieurs axes de création en parallèle du son, notamment la vidéo. Pour qu’une prod soit réussie, elle doit s’intégrer dans un contenu visuel intéressant et engageant, tout en laissant la musique et la bande-son s’exprimer. Il est crucial de parvenir à un équilibre entre identité sonore et impact visuel, dans le but de concevoir une expérience immersive qui retienne l’attention et provoque l’émotion du spectateur.

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#Todd #Berger #Starting #Production #Company

Retranscription des paroles de la vidéo: Film Courage: We’re going to start with some questions that we got from Youtube. This one is from Kay.Puta and Kay writes “How were you able to juggle a production company through high school and University and still be a comedy legend?” Todd Berger, Co-Writer of THE HAPPYTIME MURDERS: Wow? That’s all news to me. Film Courage: Thank you Kay. Todd: Comedy legend? When I was a kid I started my first production company when I was nine or ten Boy of Destiny Productions. It was making movies, making little videos with my friends, it was my hobby. Like when other kids were playing soccer or kissing girls, like I was making little movies with friends. And as I got older and got out of high school I found fellow friends who wanted to make movies and we formed a production company, even just…we made a feature in high school, I made three features by the time we went to college over the summers. And from a young age I knew that I wanted to work in creative entertainment fields and I couldn’t imagine doing anything else. So starting as a company that started as a goof and then actually Johnny Voodoo productions which I started as a goof in high school and it now my actual LLC production company that I used to make stuff (I’ve just maintained it ever since) and yeah I guess I’ve just always kept that going because I have jobs to make money but also for fun or for a creative artistic outlet there is this stuff I do over hear and luckily we live in an industry, we work in an industry where you can sometimes make those things overlap. I don’t know if that answered your question at all? Film Courage: I think I does…it was actually Kay’s question but I think that does. You’ve talked about how you grew up in…sorry Nawlins’? Todd: It’s New Orleans. We don’t like ‘Nawlins. When you spell it Nawlins…no. Film Courage: Sorry…just trying to be cool. See it backfired. So you were born and raised in New Orleans. Todd: Born and raised in New Orleans on the Bayou…not really. But I grew up on the other side of the Mississippi River like from the French Quarter and like growing up in New Orleans was…I didn’t realize how unique it was while I was growing up because I just thought every city was like this. It’s like “Every city has got…is super old and you have Mardi Gras, right?” I didn’t realize, I just didn’t understand it’s uniqueness until I left and I was like “Oh, that’s a pretty cool place.” And the whole city has a vibe of creative energy and really supporting creativity and I love it. Film Courage: And there’s like a supernatural, mediumship undercurrent. Todd: Oh yeah, there’s a lot of voodoo. There’s a lot of ghosts. Everything is haunted. Everywhere you go there is some spirit doing something. Film Courage: Nice. Hopefully behaving? Todd: Usually pretty good. Well like the cool thing about New Orleans is every where you go it’s like “See that house over there, it’s like a 180 years old and a bunch of people died in that house.” And you’re like “Oh, okay cool.” But now it’s a dentist’s office. Film Courage: Yeah, sure. Now he does root canals. Okay so now we have another question from Nate’s Film Tutorials “How did you go about starting your own production company and what advice would you give to those who are starting out? (I’m 19 and decided not to go to film school, but to learn myself). So we kind of talked about that? Todd: Yes, all you have to do is start a production company is register it with the city and then you have a company and then it’s like you actually have to go do stuff, you have to make stuff. I live in Los Angeles and no matter where you live you find the creative people in your city and you kind of like hang out with them and get to know them and become friends with them and it’s amazing even going to a barbecue, like it’s a friend’s birthday barbecue and you go and you start talking to people and you’re like “So what do you do?” “I’m a composer.” “Oh, cool? I actually have been looking for a composer.” And then you get their card and you get their information and the next time you need a composer, you met that person at a barbecue. And they often say in the movie business it’s Who You Know but that doesn’t mean your family connections. It’s just like who you know socially in life because you went to a barbecue and met a composer and then part of having a production company or making stuff is knowing people in all fields. It’s not just…as a writer I sit at home working on my laptop by myself. But if you want to actually produce stuff and have a production company, you need to know people in all fields. You need to know sound people, you need to know composers, you need to know craft services people, you have to just get out and be introduced to people in the fields so that when it comes time to make something if you have a production company, you need to be able to call anyone in any position and if someone is like “Hey do you have a transpo guy? Someone who drives trucks?” You’re like “Yeah, I know three. I know three people I can call right now.” And that is really helpful. Film Courage: Do you have to force yourself to get out sometimes? Todd: Oh yeah. I can be an isolationist often. But also just trying to get on set in any capacity. When I was younger I was just a PA on set and you just meet everybody. You meet the craft services person, you meet the transpo guys, you meet the hair and make-up people and you become friendly with them and you become friendly with them. So much of production is just referrals of the DP is working on a new project and that project needs a craft services and he’s like “Oh, well I know a person I met on my last thing. Here…why don’t you call them?” I love being on set. I love directing and being on set. That’s so much fun that to me that’s almost like networking right? Is just being on a set meeting everybody. Some directors will go on set and not talk to anybody but their AD or the actors. But I’m someone like on the first day I try to introduce myself to everybody. I want to know who the transpo guys are, I want to know every art department person. What’s there name and get to know them all and become Facebook friends with them because maybe we’ll work together. Maybe I’ll need you or you’ll need me? Who knows? .

Déroulement de la vidéo:

0.089 Film Courage: We’re going to start with
some questions that we got from Youtube.
0.089 This one is from Kay.Puta and Kay writes “How
were you able to juggle a production company
0.089 through high school and University and still
be a comedy legend?”
0.089 Todd Berger, Co-Writer of THE HAPPYTIME MURDERS:
Wow?
0.089 That’s all news to me.
0.089 Film Courage: Thank you Kay.
0.089 Todd: Comedy legend?
0.089 When I was a kid I started my first production
company when I was nine or ten Boy of Destiny
0.089 Productions.
0.089 It was making movies, making little videos
with my friends, it was my hobby.
0.089 Like when other kids were playing soccer or
kissing girls, like I was making little movies
0.089 with friends.
0.089 And as I got older and got out of high school
I found fellow friends who wanted to make
0.089 movies and we formed a production company,
even just…we made a feature in high school,
0.089 I made three features by the time we went
to college over the summers.
0.089 And from a young age I knew that I wanted
to work in creative entertainment fields and
0.089 I couldn’t imagine doing anything else.
0.089 So starting as a company that started as a
goof and then actually Johnny Voodoo productions
0.089 which I started as a goof in high school and
it now my actual LLC production company that
0.089 I used to make stuff (I’ve just maintained
it ever since) and yeah I guess I’ve just
0.089 always kept that going because I have jobs
to make money but also for fun or for a creative
0.089 artistic outlet there is this stuff I do over
hear and luckily we live in an industry, we
0.089 work in an industry where you can sometimes
make those things overlap.
0.089 I don’t know if that answered your question
at all?
0.089 Film Courage: I think I does…it was actually
Kay’s question but I think that does.
0.089 You’ve talked about how you grew up in…sorry
Nawlins’?
0.089 Todd: It’s New Orleans.
0.089 We don’t like ‘Nawlins.
0.089 When you spell it Nawlins…no.
0.089 Film Courage: Sorry…just trying to be cool.
0.089 See it backfired.
0.089 So you were born and raised in New Orleans.
0.089 Todd: Born and raised in New Orleans on the
Bayou…not really.
0.089 But I grew up on the other side of the Mississippi
River like from the French Quarter and like
0.089 growing up in New Orleans was…I didn’t
realize how unique it was while I was growing
0.089 up because I just thought every city was like
this.
0.089 It’s like “Every city has got…is super
old and you have Mardi Gras, right?”
0.089 I didn’t realize, I just didn’t understand
it’s uniqueness until I left and I was like
0.089 “Oh, that’s a pretty cool place.”
0.089 And the whole city has a vibe of creative
energy and really supporting creativity and
0.089 I love it.
0.089 Film Courage: And there’s like a supernatural,
mediumship undercurrent.
0.089 Todd: Oh yeah, there’s a lot of voodoo.
0.089 There’s a lot of ghosts.
0.089 Everything is haunted.
0.089 Everywhere you go there is some spirit doing
something.
0.089 Film Courage: Nice.
0.089 Hopefully behaving?
0.089 Todd: Usually pretty good.
0.089 Well like the cool thing about New Orleans
is every where you go it’s like “See that
0.089 house over there, it’s like a 180 years
old and a bunch of people died in that house.”
0.089 And you’re like “Oh, okay cool.”
0.089 But now it’s a dentist’s office.
0.089 Film Courage: Yeah, sure.
0.089 Now he does root canals.
0.089 Okay so now we have another question from
Nate’s Film Tutorials “How did you go
0.089 about starting your own production company
and what advice would you give to those who
0.089 are starting out?
0.089 (I’m 19 and decided not to go to film school,
but to learn myself).
0.089 So we kind of talked about that?
0.089 Todd: Yes, all you have to do is start a production
company is register it with the city and then
0.089 you have a company and then it’s like you
actually have to go do stuff, you have to
0.089 make stuff.
0.089 I live in Los Angeles and no matter where
you live you find the creative people in your
0.089 city and you kind of like hang out with them
and get to know them and become friends with
0.089 them and it’s amazing even going to a barbecue,
like it’s a friend’s birthday barbecue
0.089 and you go and you start talking to people
and you’re like “So what do you do?”
0.089 “I’m a composer.”
0.089 “Oh, cool?
0.089 I actually have been looking for a composer.”
0.089 And then you get their card and you get their
information and the next time you need a composer,
0.089 you met that person at a barbecue.
0.089 And they often say in the movie business it’s
Who You Know but that doesn’t mean your
0.089 family connections.
0.089 It’s just like who you know socially in
life because you went to a barbecue and met
0.089 a composer and then part of having a production
company or making stuff is knowing people
0.089 in all fields.
0.089 It’s not just…as a writer I sit at home
working on my laptop by myself.
0.089 But if you want to actually produce stuff
and have a production company, you need to
0.089 know people in all fields.
0.089 You need to know sound people, you need to
know composers, you need to know craft services
0.089 people, you have to just get out and be introduced
to people in the fields so that when it comes
0.089 time to make something if you have a production
company, you need to be able to call anyone
0.089 in any position and if someone is like “Hey
do you have a transpo guy?
0.089 Someone who drives trucks?”
0.089 You’re like “Yeah, I know three.
0.089 I know three people I can call right now.”
0.089 And that is really helpful.
0.089 Film Courage: Do you have to force yourself
to get out sometimes?
0.089 Todd: Oh yeah.
0.089 I can be an isolationist often.
0.089 But also just trying to get on set in any
capacity.
0.089 When I was younger I was just a PA on set
and you just meet everybody.
0.089 You meet the craft services person, you meet
the transpo guys, you meet the hair and make-up
0.089 people and you become friendly with them and
you become friendly with them.
0.089 So much of production is just referrals of
the DP is working on a new project and that
0.089 project needs a craft services and he’s
like “Oh, well I know a person I met on
0.089 my last thing.
0.089 Here…why don’t you call them?”
0.089 I love being on set.
0.089 I love directing and being on set.
0.089 That’s so much fun that to me that’s almost
like networking right?
0.089 Is just being on a set meeting everybody.
0.089 Some directors will go on set and not talk
to anybody but their AD or the actors.
0.089 But I’m someone like on the first day I
try to introduce myself to everybody.
0.089 I want to know who the transpo guys are, I
want to know every art department person.
0.089 What’s there name and get to know them all
and become Facebook friends with them because
0.089 maybe we’ll work together.
0.089 Maybe I’ll need you or you’ll need me?
0.089 Who knows?
.