THE RICHMOND STUDIO

FILM/VIDEO
WORKSHOP
HANKYEOL LEE / ANTOINE DE RAS

NOVEMBER-DECEMBER 2018 RUNNING (DATES TBC)

HLEEPRODUCTIONS@GMAIL.COM * 082 315 3355

Nov/Dec The Richmond Studio

“Unlike all the other art forms,

film is able to seize and render the
passage of time, to stop it, almost
to possess it in infinity. I’d say that
film is the sculpting of time.”
ANDREI TARKOVSK Y
Film/Video Workshop Hankyeol Lee / Antoine De Ras

CONTENTS INTENT / AIM

3 INTRODUCTION
The purpose of this workshop is to provide encouraged to ask for revisions, a review of
 Intent & aim of the workshop
participants with a digestible overview of certain sections, more in-depth focus on a
4 REQUIREMENTS / INFO the art and craft of filmmaking. Spanning five particular subject, or for private consultations
Tools, self-preparation, fees, days over five weeks, participants will learn outside of the workshop.
application process every step of the process, from pre-production
The ethos of this workshop and the Richmond
through production to post-production.
6 WORKSHOP OVERVIEW Studio-Cafe is about the communal spirit of
Course outline summary The hopeful aim of this is that each participant skill-share. The intent of this space is to stim-
will be able to walk away from this workshop ulate and encourage the growth of an artistic
8 COURSE OUTLINE
with the basic ability to create their own conversation, in which creatives are able to
Detailed day-by-day outline
content from start to finish - whether their share insights, skillsets, creative work and
16 CONTACT / ABOUT intention is to produce a music video, short debates.
Antoine De Ras / Hankyeol Lee fiction film, documentary, promos or show-
reels. HANKYEOL LEE
(filmmaker, workshop co-ordinator)
This includes the proper formatting and re-
quirements for documentation such as scripts, ANTOINE DE RAS
visual treatments, script breakdowns and (owner, The Richmond Studio)
shooting schedules; a basic crash course in
cinematographic language to ensure narrative
coherence; a crash course in post-production,
including the technical componenents of
learning the basics of the editing software;
ensuring good sound from the recording
process to mixing the sound in post; and the
art of packaging or finishing the film, from
titles to grading.

To facilitate this process, participants are

encouraged to create a short video or film
alongside the workshop; each step of the
production process offers an opportunity for
participants to work on these projects and
apply the principles learned on the day to their
own video productions.

Due to the nature of this workshop, there

will be sections which cannot be explored in
full; however, at any point, participants are

INTRODUCTION
Nov/Dec The Richmond Studio

REQUIREMENTS
01. Fees
This is a non-profit workshop. However, there will be a small mandatory cost
for the course, with all proceeds going to the utilisation and development of the
workshop space at The Richmond Studio. This will also include a lunch and a
coffee - other refreshments may be ordered at the café downstairs throughout
the course of the workshop.

The mandatory cost will be at R300.00 per person, per session.

(i.e. 5 sessions over 5 weeks will total R1 500.00 for the whole course).

01. FEES

02. NECESSARY TOOLS

02. Necessary Tools
03. APPLICATION PROCESS

You will be required to have the following for all sessions:

04. SELF-PREPARATION

• A laptop with decent performance to handle the software.

• USB stick or harddrive for transferral of footage

• A Dropbox account (the free version will be more than enough space) for
resources and lecture notes made available on a shared folder

You are NOT required to have your own camera and sound equipment, but if
you have access to these, it is recommended that you bring them along into the
sessions for your own benefit.

03. Application Process

This course will only accept 12 participants for the first running. Due to the
nature of this workshop, we will accept the first 12 who motivate and confirm.
Alongside this, there will be a waiting list for any people who would like to join
the course in the event that any of the 12 participants drop out of the course.

This course does not require you to have experience in the field of filmmaking
and video, but assumes you have some basic knowledge of photography and
cameras.

To apply, contact Hankyeol Lee at 082 315 3355, or hleeproductions@gmail.com

Film/Video Workshop Hankyeol Lee / Antoine De Ras

“Film as dream, film as music. No art passes

our conscience in the way film does, and goes
directly to our feelings, deep down into the
dark rooms of our souls..”
INGMAR BERGMAN

04. Self-Preparation
Understandably, it is not possible to cover every aspect of filmmaking over the
course of five days, although our aim is to cover most of it in a format that is di-
gestible for participants; and at the very least, that particpants can take away the
most fundamental aspects to start their journey in producing videos themselves.

Therefore, participants are encourage to research and learn beyond the content
covered within the workshop, to bring their own questions and to also practice
outside of the time provided at The Richmond Studio-Café. Participants are ex-
pected to dedicate time to reviewing course content, explore other avenues and
information (a wealth of information can be easily accessible on the internet),
and to continue to develop their craft.

Participants who are serious about pursuing film and video work are always
free to consult Hanky, the workshop co-ordinator, for advice on what equipment
to invest in, the pros and cons of one editing platform over another, and other
queries.
Nov/Dec The Richmond Studio

“Cinema is magic in the

service of dreams.”
DJIBRIL DIOP MAMBET Y

STILL FROM “TOUKI BOUKI” (1973, DJIBRIL DIOP MAMBET Y )

WORKSHOP
OVERVIEW
01. Pre-Production

02. Production (Shooting):

a. Cinematography

b. Sound design

03. Post-Production (Editing)

04. Packaging

05. (Optional) VFX/Animation

 Film/Video Workshop Hankyeol Lee / Antoine De Ras

01. DAY ONE : INTRODUCTION TO FILM/VIDEO

Filmmaking is an intensive process that requires an intersectionality of creativity, technical skill, business and administrative
prowess, human relational skills, and an understanding of all forms of visual, aural and scientific arts.

On day one, you will be introduced to the world of filmmaking - the process from conceptualisation, pre-production, production
(shooting) to post-production. You will learn the vocabulary of film and video, as well as the audio-visual language of cinema. You
will be introduced to all the parts and elements that make up the whole of the filmmaking process; the types of productions and
roles that go under the umbrella of film and video.

We will focus predominantly on preparations required for planning a film - from scripts, treatments, shot-lists, shooting schedules
to budgets and constructing timelines. You will also be briefly introduced to different types of equipment and tools available to you
as a filmmaker and the “rules” and guidelines for thinking in terms of cinema/film/video.

You will then be introduced to cinematography, the art of creating a visual narrative - from the technical aspects of the camera, to
the creative and narrative logic of visual storytelling, to the administrative element of structuring the act of shooting.

. 02. DAY TWO : PRODUCTION (SHOOTING)

You will be introduced to the elements of production - from the previous week’s lesson on pre-production, you will learn the
application of planning on the actual shoot - how treatments, shot-lists, shooting schedules and storyboards provide a necessary
structure onto the production; you will also further your understanding of cinematography.

You will then be guided into how to think about lighting, working with available light as well as working with studio lights.

One of the most important aspects of production is achieving good sound - you will be introduced to different equipment and
tools, the technical cmponents of recording sound, as well as the basics of how to conceive a plan for good sound design (thinking
about sound in a creative way).

03. DAY THREE : INTRODUCTION TO POST-PRODUCTION

“The film is made in the editing room. The shooting of the film is about shopping, almost. It’s like going to get all the ingredients
together, and you’ve got to make sure before you leave the store that you got all the ingredients. And then you take those ingredi-
ents and you can make a good cake - or not.” - Philip Seymour Hoffman.

On day three, you will be introduced to the art and craft of editing. We will go over Adobe Premiere Pro, as well as other editing
software available to you - you will be introduced to the importance of structuring your edit through workflows, backing up your
projects and other post-production etiquette required to facilitate the edit process. You will then be introduced to different “rules”
or guidelines, as well as different “montage theories”. You will aso be introduced to the vocabulary of film editing - from different
types of cuts (match-cut, parallel cutting, intercutting, montage sequences, L- and J- cuts for dialogue, etc) to different modes of
editing.

04. DAY FOUR : PACKAGING YOUR FILM

We will continue our session on post-production, focussing on the finer elements of creative and stylistic aspects of film-editing.
We will also focus on the art of sound design (from editing technically-good sound, the psychological effects of sound design, to
the importance of controlling the levels of music/soundtrack/score/dialogue/voiceover/etc.). You will be introduced to

We will then carry onto the final process of the edit: packaging your film. This includes colour grading, effective sound design, title
sequences, credits, exporting, etc. You will also be guided in the technical aspects of codecs and packaging formats.

05. DAY FIVE : REVIEW & CUSTOM COURSE

This will be a review session with opportunities for Q&A, comments on the course. This will be a recap of all of the content we
have covered thus far, as well as an opportunity for participants to request further attention on a specific element, or assistance
on a particular aspect of pre-production, production or post-production.

With adequate demand, participants also have the option to request an introduction into Adobe After Effects to learn some visual
effects and animation.
Nov/Dec The Richmond Studio

STEP-BY-STEP
COURSE
OUTLINE
01. DAY ONE

STILL FROM “STALKER” (1979, ANDREI TARKOVSK Y )

Film/Video Workshop Hankyeol Lee / Antoine De Ras

INTRODUCTION TO THE BASICS OF FILM AND VIDEO PRODUCTION & CINEMATOGRAPHY

1. Introduction
The process of filmmaking (workflow, roles, types of productions)
Essential vocabulary for videography and filmmaking

2. Basics of Video
Pre-production (planning, script, treatment, etc.)
Production (Equipment, cinematography, sound, locations, etc.)
Post-production (Edit guideline, narrative vs aesthetic, visual/audio)

3. Pre-production
Preparations required, from conception to pre-production
Planning and guiding the process of your film
Keeping equipment and budget in mind
Creating a workflow and production document to keep everything on track

4. Introduction to cinematography
Shooting terminology, shot types, cinematic vs video,
Considerations for script/edit/genre
Rules/guidelines for narrative/stylistic sensibility for film/video

5. Technical considerations for film/video

Codecs, bit-depth, chroma sub-sampling, compression
Dynamic range, latitude
White balance problems
Shutter speed for video (rolling shutter, frequency banding, motion blur)
Frame rate standards (NTSC, PAL, cinema)
Aspect ratio conventions

6. Cineamtography rules
180 degree rule, 30 degree rule, one-shot-size rule,
Gaze, POV, eyeline, direct vs. off-camera
Context, cutaways, establishing shots
Colour schemes/palettes
Cinematographic styles/aesthetics
Camera movement
Cinematographic conventions and psychology of the camera
Coverage

7. Introduction to lighting
Lighting equipment (types of light, light stands, accessories, reflectors, flags, diffusion
gels, etc.)
1, 2, 3 point lighting (key light, back light, fill light)
High key vs low-key lighting
Lighting conventions
Lighting for interview/dialogue
Lighting problems (diffusion, gels, white balance, softness)
Working with natural light
Basic cosmetic makeup in consideration for lights
Practical: light setup for an interview
Nov/Dec The Richmond Studio

“Sound is what truly

convinces the mind is in
a place, in other words
hearing is believing.”
JESSE SCHELL

“Films are 50 percent

visual and 50 percent
sound. Sometimes
sound even overplays
the visual.”
DAVID LYNCH
Film/Video Workshop Hankyeol Lee / Antoine De Ras

02. DAY TWO

PRODUCTION (SHOOTING) - FOCUS ON SOUND RECORDING

1. Introduction to sound equipment

Equipment: on/off camera, external recorders
Shooting for synchronisation
Lapel mics, DSLR mics, phone mic, directional mics
Condensor vs dynamic mics

2. Principles of good sound

Noise-to-signal ratio
Clipping
Atmospheric vs buzz tracks
Distance and directionality
Low-cut/hi-cut options
Framerates, frequencies, bitrates
Understandign noise: electronic, hiss, low-frequency hum, friction, airplanes, room
frequencies, delay, echo, reverb

3. Sonic aesthetic
On/off screen sound
Diegetic/non-diegetic/extra-diegetic sound
Narrative, dialogue, monologue, voiceover, etc.
Music/soundtrack/score
Sound effects
Foley/ADR
Effects

4. Practical
Getting clean interview sound
Making a soundscape

5. Post-shoot etiquette
Basics of footage dumping
Backup and organisation
Considerations for editing

6. Review session
End of production/shooting session
FAQ, Q&A, Concerns, Review
Nov/Dec The Richmond Studio

03. DAY THREE

“The essence of cinema is editing.
It’s the combination of what can
be extraordinary images of people
during emotional moments, or
images in a general sense, put
together in a kind of alchemy”
FR ANCIS FORD COPPOL A
Film/Video Workshop Hankyeol Lee / Antoine De Ras

AN INTRODUCTION TO POST-PRODUCTION (EDITING)

1. Basics of post-production & workflow

Preparing for edit
Pre-production & post-production process: considerations for post-production
Technical breakdown and workflow
Scene to scene, shot to shot, overall edit

2. Editing vocabulary
Kuleshov effect
Soviet Montage theory
History of editing
Types of cuts and rules for editing
The concept of continuity

3. Introduction to editing software

Adobe Premiere Pro breakdown
Basic editing (cutting)
Overview of your toolset
Technical breakdown: codecs etc.

4. Practical
Setting up your project file, importing, creating a sequence, basic cutting

5. Technique, timing, style

Continuity, pace
Basic “rules” of flow
Creating a narrative
Understanding mood, atmosphere, emotive and psychological effects

6. Experimental editing
Intuitive edits
Jump cuts
Intercutting, parallel editing
Assignment practical
7. Practical
Moving from basic cutting to basic editing
Creating a narrative in your edit
Nov/Dec The Richmond Studio

04. DAY FOUR

POST-PRODUCTION (EDITING) - FOCUS ON SOUND & FINISHING

1. Basics of post-production
Recap of Day 1, 2, 3 & assignment review
Commercial editing
Promos, music videos, fashion films, etc.
Interviews, documentary, newsreels

2. Editing sound
Recap on recording sound for edit
Adobe Premiere Pro & Audition
Diegetic sound and foley, sound effects
Dialogue/monologue editing
V.O. Editing
Panning, levels, emotive effect of
3. Packaging your film
Basic grading in Premiere Pro
Titles, credits and title-sequences
Advanced grading in Prmiere Pro
Animating, keystones, ease-in/ease-out
Minor title VFX
Exporting and Media Encoder

4. Practical
Packaging your film
Titles and grade
Mastering sound

5. Review Session
End of post-production review
FAQ, Q&A, Requests for custom elective lecture for Day 5
Film/Video Workshop Hankyeol Lee / Antoine De Ras

05. DAY FIVE

COURSE REVIEW

1. Overview of the whole course

Recap of Day 1, 2, 3, 4 & assignment review
Assignment presentation/consultation
Course evaluation and review

2. Custom lecture
Elective session for requesting in-depth coverage of other aspects of video/film that
have not been covered so far; or a revision session on particular aspects
3. (EXAMPLE) Introduction to VFX (After Effects)
An introductory session into AfterEffects
Learning the language of AE
Workflow and functions
Title animation
Green screen keying
Kinetic typography animation
using templates
stabilizing footage
Motion tracking

4. (EXAMPLE) In-depth course on shooting & grading in S-LOG formats

Dynamic range
Getting exposure right
Troubleshooting S LOG
Histogram, waveforms, metering in SLOG
Grading SLOG principles (LUTs, REC709, Cinegamma, ACES colour space etc.)

5. (EXAMPLE) Advanced lighting for cinema/film

Designing the lighting of a space, floorplans, mapping
Lighting a scene troubleshooting
Using artificial lights and gels to create a cinematic effect
 Address:

The Richmond Studio-Café

14 Menton Rd,
Richmond, Johannesburg
2092

Contact:

Antoine De Ras
(owner of The Richmond Studio)
info@the-richmondstudio.com
010 595 1070

Hankyeol Lee
(workshop co-ordinator)
hleeproductions@gmail.com
082 315 3355