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These are the user uploaded subtitles that are being translated: 1 00:00:00,733 --> 00:00:02,299 on the last day of the main production 2 00:00:02,300 --> 00:00:03,766 I realized that the shooting schedule 3 00:00:03,766 --> 00:00:06,466 had previously created just wouldn't work 4 00:00:06,533 --> 00:00:08,699 we weren't going as quickly as I anticipated 5 00:00:08,700 --> 00:00:09,500 that we would have 6 00:00:09,500 --> 00:00:11,133 and there's no way we could get the shots we needed 7 00:00:11,133 --> 00:00:13,899 to have the scene make sense in just one shoot day 8 00:00:14,333 --> 00:00:15,999 so instead of just plowing through 9 00:00:16,000 --> 00:00:18,466 I made the decision to scrap the whole original plan 10 00:00:18,466 --> 00:00:19,566 and start over 11 00:00:19,900 --> 00:00:21,600 because the shoot went late the night before 12 00:00:21,600 --> 00:00:22,200 I didn't have 13 00:00:22,200 --> 00:00:24,366 any time to make changes before I got to set 14 00:00:24,600 --> 00:00:25,833 so here I am 15 00:00:25,933 --> 00:00:27,199 in production on set 16 00:00:27,200 --> 00:00:27,900 everybody's here 17 00:00:27,900 --> 00:00:28,700 ready to work 18 00:00:28,700 --> 00:00:29,900 and waiting for me 19 00:00:29,900 --> 00:00:31,400 and ready to be done and go home 20 00:00:31,400 --> 00:00:33,466 and then I tell them that I need to start over and plan 21 00:00:33,466 --> 00:00:35,466 the day was humbling 22 00:00:35,933 --> 00:00:37,399 but everyone was remarkably supportive 23 00:00:37,400 --> 00:00:38,066 all they waited 24 00:00:38,066 --> 00:00:38,933 I grabbed a 25 00:00:38,933 --> 00:00:41,266 couple people from the crew to help me re plan the day 26 00:00:41,266 --> 00:00:42,266 I grabbed Gavin 27 00:00:42,266 --> 00:00:43,066 our first ad 28 00:00:43,133 --> 00:00:45,133 because he has so much experience in planning shoots 29 00:00:45,133 --> 00:00:46,666 and also because he's first ad 30 00:00:46,666 --> 00:00:48,933 and should be intimately familiar with the new plan 31 00:00:48,933 --> 00:00:49,733 for the day 32 00:00:50,066 --> 00:00:51,566 I also grabbed Amy Anser 33 00:00:51,566 --> 00:00:54,099 who is extremely skilled in producing and editing 34 00:00:54,100 --> 00:00:56,300 and she knows if shots are going to cut together or not 35 00:00:56,300 --> 00:00:58,000 and which shots we don't even need 36 00:00:58,566 --> 00:00:59,666 while we brainstormed 37 00:00:59,666 --> 00:01:01,533 we kept in contact with Bright Troyer 38 00:01:01,533 --> 00:01:02,466 our second ad 39 00:01:02,466 --> 00:01:04,766 who basically ran the set while we were off 40 00:01:04,900 --> 00:01:05,866 we wanted to keep the crew 41 00:01:05,866 --> 00:01:07,899 informed as to how things are going 42 00:01:07,900 --> 00:01:09,833 what we were doing and why 43 00:01:10,200 --> 00:01:13,000 we ended up coming up with a great plan together 44 00:01:13,000 --> 00:01:15,533 we got better footage with fewer shots 45 00:01:15,533 --> 00:01:16,966 and it turned out so well 46 00:01:17,200 --> 00:01:18,166 when Amy Gavin 47 00:01:18,166 --> 00:01:19,733 and I finished our meeting and returned to set 48 00:01:19,733 --> 00:01:21,766 I was blown away by what I saw 49 00:01:21,800 --> 00:01:22,466 Josh Savari 50 00:01:22,466 --> 00:01:23,099 our sound mixer 51 00:01:23,100 --> 00:01:24,900 was capturing wild lions from all the actors 52 00:01:24,900 --> 00:01:26,366 in different sounds from on the set 53 00:01:26,366 --> 00:01:28,166 that ended up being very helpful to me 54 00:01:28,166 --> 00:01:29,233 in post production 55 00:01:29,333 --> 00:01:30,666 Steven Heller had built a huge 56 00:01:30,666 --> 00:01:32,866 smoky fire in the fire pit for the set 57 00:01:32,866 --> 00:01:33,699 which added so much 58 00:01:33,700 --> 00:01:34,266 the atmosphere 59 00:01:34,266 --> 00:01:35,166 the whole thing 60 00:01:35,300 --> 00:01:37,266 Will Rose who was the actor that played the preacher 61 00:01:37,266 --> 00:01:39,999 and somehow whittled and built this incredible holder 62 00:01:40,000 --> 00:01:40,600 for the assurance 63 00:01:40,600 --> 00:01:43,000 he was just gonna otherwise hold I mean 64 00:01:43,000 --> 00:01:45,466 he made one of my favorite props in the whole film 65 00:01:45,466 --> 00:01:47,399 on his own in his downtime 66 00:01:47,666 --> 00:01:49,666 Chris Taylor had his team put lights on stands 67 00:01:49,666 --> 00:01:50,966 to be ready when we were 68 00:01:51,066 --> 00:01:52,299 Ty Hoffer and Marco Scurge 69 00:01:52,300 --> 00:01:54,500 you got all the camera gear set up and ready to go 70 00:01:54,700 --> 00:01:55,500 and our second ad 71 00:01:55,500 --> 00:01:56,133 Bright Troyer 72 00:01:56,133 --> 00:01:57,766 had helped everyone stay ready for us 73 00:01:57,766 --> 00:01:59,699 and supervise this whole process 74 00:02:00,066 --> 00:02:02,399 this potential disaster was mitigated 75 00:02:02,400 --> 00:02:04,000 because my amazing crew 76 00:02:04,000 --> 00:02:06,000 was so constructive and diligent 77 00:02:06,000 --> 00:02:08,366 while we were off making the new schedule for the day 78 00:02:08,700 --> 00:02:10,100 and that is probably the best reason 79 00:02:10,100 --> 00:02:10,733 right there 80 00:02:10,733 --> 00:02:11,899 to take care of your crew 81 00:02:11,900 --> 00:02:12,533 with breaks 82 00:02:12,533 --> 00:02:13,499 and food gratitude 83 00:02:13,500 --> 00:02:13,900 all that stuff 84 00:02:13,900 --> 00:02:16,600 we've been talking about in this entire training series 85 00:02:17,200 --> 00:02:18,766 and after we got going for the day 86 00:02:18,766 --> 00:02:21,599 the right energy was just there we gelled 87 00:02:21,600 --> 00:02:23,000 we got awesome footage 88 00:02:23,000 --> 00:02:24,766 and as we looked at in the last chapter 89 00:02:24,766 --> 00:02:26,766 we even got ahead of schedule 90 00:02:26,766 --> 00:02:28,366 so much so that we took our lunch break 91 00:02:28,366 --> 00:02:30,266 before the food even arrived 92 00:02:30,500 --> 00:02:31,600 so we took a tiny crew 93 00:02:31,600 --> 00:02:33,333 and shot this scene of the girls running away 94 00:02:33,333 --> 00:02:35,299 in the few minutes before lunch showed up 95 00:02:35,700 --> 00:02:36,866 it was really 96 00:02:37,166 --> 00:02:39,733 really risky to stop everything on set for hours 97 00:02:39,733 --> 00:02:41,133 so just refine the schedule 98 00:02:41,133 --> 00:02:41,966 like we did 99 00:02:41,966 --> 00:02:42,933 and when you're on set 100 00:02:42,933 --> 00:02:43,933 you just have this impulse 101 00:02:43,933 --> 00:02:45,099 you want to push forward 102 00:02:45,100 --> 00:02:46,566 as fast as humanly possible 103 00:02:46,566 --> 00:02:48,199 because every second counts 104 00:02:48,666 --> 00:02:50,666 so to reset like this is 105 00:02:50,666 --> 00:02:51,533 not very common 106 00:02:51,533 --> 00:02:52,633 as far as I've seen 107 00:02:52,733 --> 00:02:54,466 so maybe this is only helpful for smaller 108 00:02:54,466 --> 00:02:55,466 low budget productions 109 00:02:55,466 --> 00:02:57,799 but I've found that pay attention to your instincts 110 00:02:57,800 --> 00:03:00,700 is one of the most important things on a film set 111 00:03:01,200 --> 00:03:02,200 from my experience 112 00:03:02,200 --> 00:03:03,666 if things aren't working 113 00:03:03,666 --> 00:03:06,099 it's just way better to take a minute 114 00:03:06,100 --> 00:03:08,033 stop and recalibrate 115 00:03:08,066 --> 00:03:09,566 rather than to keep pressing forward 116 00:03:09,566 --> 00:03:10,899 in the wrong direction 117 00:03:10,900 --> 00:03:13,466 because you're too scared to get behind 118 00:03:13,966 --> 00:03:15,066 for us at least 119 00:03:15,066 --> 00:03:16,099 stopping to reset 120 00:03:16,100 --> 00:03:17,900 was absolutely the right call in the end 121 00:03:18,000 --> 00:03:19,900 and when we get to the training series on editing 122 00:03:19,900 --> 00:03:20,733 we'll get how we did 123 00:03:20,733 --> 00:03:22,533 another massive stop and reset 124 00:03:22,533 --> 00:03:24,566 in post production as well 8624

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