Nikita Belomestnykh’s Post

What does a corporate video script look like? Like building a house, a video script is our set of plans. It puts us all on the same page before the cameras come out of their cases. 🎥 Your script is divided into three columns and multiple rows. Each scene has its own row. 🎥 The small left column is for scene numbers. We use scene numbers to ID scenes when we’re filming, plus they’re handy when you’re reviewing your script and want to direct us to a section you’d like to change or comment on. 🎥 The larger left column is everything vision. This is where we write vision ideas and place titles, graphics and logos. 🎥 The right column is everything audio: This might be suggested interview questions [that we'll ask as prompts to get conversation flowing] It might be a narrated voiceover. It could be a mix of both narration and interview questions. If your video has a presenter, this column will show what they will say. If your video is music only, this audio column will only have a link to the suggested music 🎥 If there’s a narrated voiceover, I like to break this up into small chunks – hence the rows – so there’s only one scene’s worth of vision against each piece of narration. This makes it easier to see what vision applies to each section of narration. 🎥 If I’m writing to a specific video length – let’s say 2 minutes – the word count will be approx. 240 words. This average of two words per second delivers a comfortable reading speed. [You don’t want your narration to sound like a race call!] 🎥 What's your role in creating this video script? You only need to review, give feedback and approve - easy as 😊 🎥 If video is on your radar, head to our website to have a browse: https://soundimages.net.au 🧡 Follow #soundimages #videomarketing #videoproduction #visualstorytelling #storytellingforbusiness #internalcommunications #workplaceculture

✂️ Want to EDIT better films? ✂️  👀 You need to watch THE EYES 👀 - - - - To edit great film or video content, you need to think about eyes 👀 Fortunately, I know a guy who can help … Orson Welles. In 1973, Welles released F for Fake - a film about authorship and forgery in art. It’s a masterful film for many reasons. But today, I want to show you how it’s a masterclass in how to edit eyes. Attached to this post is a 1 minute video I made. It features nearly every shot from Welles’ film to feature leading eyes. As you’ll hopefully see, Welles and his editor edit eyes like magicians. They use eyes to lead, trace and manipulate an audience’s focus. They use eyes to intercut interviews and ideas. They use eyes for rhythm, punctuation and emotion. They knew that eyes are the window to the soul. In the attached video, there are over 80 shots of eyes in under 60 seconds. That’s some FAST cutting. But I think audiences can process it. You see, human brains are incredible eye-spotting machines. We have evolved to instinctively spot the eyes of others. Hard-wired, we naturally shift our attention towards gaze whenever it’s there. Orson Welles understood this better than most. His film is a masterclass in directing and misdirecting an audience’s attention. It’s taught me everything I know about editing. I’d love it if you can watch the video and let me know your thoughts. Were you able to process all the shots of eyes? Could your own eyes keep up, or is the cut too fast? I look forward to hearing what you think. Your honest, real-world feedback will be greatly welcomed.   Cheers! H.

Mistakes are our superpower. As someone who's worked with words and ideas for 20+ years, this is a lesson that took some time to recognize. But ultimately, it's one of the few universal truths about creativity. It's something I try to embrace every day in my career. And as a parent, something I strive to instill in my children's view of their world: that making mistakes are what will lead us to our best, most lasting expressions of ourselves. Most of all, mistakes are our advantage in a rapidly changing world. AI makes LOTS of mistakes (at least for now). That will change. But I don't think it could ever learn to recognize the spark of genius in a "flawed" idea and turn it into something extraordinary, unexpected, and deeply human. Something that transcends our moment and ourselves.

"I don't have a style. It's my unique response to the idea that appears to be stylistic." - Christopher Doyle (DoP - In the Mood for Love) 9 years ago, I witnessed this amazing man sitting in front of me speaking his heart out (that's how great artists generally speak) at the MAMI Film Festival. As I continue my storytelling journey, here are 6 lessons I learned in the last 11 years that I keep getting back to - 1. You don't have to follow a structure template—go by what feels right. We're born storytellers, and we know the story structure intuitively. Beware, this can give you a good story, but it may not be well-crafted. You apply all the storytelling theories to make a story better, not to create a story from scratch. 2. Start writing about a character you'd like to see on screen or read about in a novel, then let them take the ride and tell you their story. Sometimes, we get bogged down by plots, themes, and internal conflicts - the easiest way is to make your characters come alive and let them guide you (even if that sounds woo-woo; the most magical creative processes are woo-woo). 3. Write 750 words every day (also, read, if possible) if you want to be a storyteller (it doesn't matter if you want to be a screenwriter, an author, a film director, etc.). A good storyteller is in sync with their thoughts - writing helps you make that sync happen. And if nothing, at least you become a 1% better writer than you were yesterday. 4. Write your first draft to discover your story. You don't have to show your first draft to anyone, so let go of all your fears, inhibitions, and insecurities. Once you know your story, you can decide how to tell it better in your consequent drafts. 5. Nothing you'll ever write or experience as a storyteller will go to waste. It will show up in some other form in the stories you write in the future—sometimes, in the form of a scene, a moment, a character choice, a thematic choice, or anything else. It might also change forms, but it will show up. There are no wasted experiences if you're a storyteller. 6. "You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should have behaved better. - Anne LaMott" You have full ownership of your experiences - good, bad, ugly, breathtaking, etc. You can turn them into stories right away. In fact, we all have access to at least 20 stories within us right now. They are in the form of dots. The only difference is that storytellers can connect those dots to give them a form. P.C. - Library of stories in your mind (MidJourney v6) --- If you're stuck, check out the (free) Ultimate Story Outline Template to organize your ideas and finish your story.

The Art of the Cut: A Single Decision That Makes or Breaks Your Sequence ✂️️ We often focus on the grand visuals and booming soundtracks in films, but there's a hidden hero lurking behind the scenes – the edit. The art of the cut is a subtle magic that can elevate a good sequence to greatness, or crumble a promising scene into dust. A Single Cut: Huge Impact Imagine two shots: a close-up of a nervous hand fidgeting and a wide shot of a bustling city street. On their own, these are static images. But with a single cut between them, the city becomes a backdrop for the character's inner turmoil. This seemingly simple decision creates tension, draws the viewer in, and sets the stage for the story to unfold. The Power of Pacing: Cuts dictate the pace of a sequence. A rapid series of cuts creates a sense of urgency and excitement, while slow, deliberate cuts allow for a more contemplative mood. Building Emotion: Cuts can be used to manipulate our emotions. A slow zoom into a character's face followed by a cut to a scene of devastation amplifies the character's grief. Conversely, cutting from a close-up of an actor crying to a shot of a beautiful sunrise can offer a glimmer of hope. Mastering the Art: The best cuts are invisible cuts. They seamlessly transition from one shot to the next, guiding the viewer's eye and fostering immersion in the story. So, the next time you watch a movie, pay attention to the editing. Notice the placement of cuts, the pacing they create, and how they shape the overall story. You'll be amazed at how a single decision in the editing room can make or break an entire sequence. #Filmmaking #Editing #Storytelling #PostProduction #FilmTwitter #BehindTheScenes

What does a corporate video script look like? Like building a house, a video script is our set of plans. It puts us all on the same page before the cameras come out of their cases. 🎥 Your script is divided into three columns and multiple rows. Each scene has its own row. 🎥 The small left column is for scene numbers. We use scene numbers to ID scenes when we’re filming, plus they’re handy when you’re reviewing your script and want to direct us to a section you’d like to change or comment on. 🎥 The larger left column is everything vision. This is where we write vision ideas and place titles, graphics and logos. 🎥 The right column is everything audio: This might be suggested interview questions [that we'll ask as prompts to get conversation flowing] It might be a narrated voiceover. It could be a mix of both narration and interview questions. If your video has a presenter, this column will show what they will say. If your video is music only, this audio column will only have a link to the suggested music 🎥 If there’s a narrated voiceover, I like to break this up into small chunks – hence the rows – so there’s only one scene’s worth of vision against each piece of narration. This makes it easier to see what vision applies to each section of narration. 🎥 If I’m writing to a specific video length – let’s say 2 minutes – the word count will be approx. 240 words. This average of two words per second delivers a comfortable reading speed. [You don’t want your narration to sound like a race call!] 🎥 What's your role in creating this video script? You only need to review, give feedback and approve - easy as 😊 🎥 If video is on your radar, head to our website to have a browse: https://lnkd.in/enQdHmFB 🧡 Follow #soundimages #videomarketing #videoproduction #visualstorytelling #storytellingforbusiness #internalcommunications #workplaceculture

What Is a Dynamic Character? https://ift.tt/P1B8mfQ There's something totally enrapturing about reading a script with a standout dynamic character. It just invigorates us in all the ways that make movies and TV feel magic and fun. Character development is something we talk about all the time on this website. It's because creating a great character can lead to some of the greatest stories ever told. But what about a dynamic character? What are they, and how do they fit into film and TV? From the memorable transformation of Ebenezer Scrooge in A Christmas Carol to the chilling change of Walter White (Bryan Cranston) in Breaking Bad, dynamic characters have long been at the heart of compelling narratives. These characters, who undergo significant internal changes during the course of a story, are an essential element in creating engaging and relatable content, whether in literature, film, or television. Let's unpack them together. 'Game of Thrones' Credit: HBO Dynamic Characters Definition A dynamic character is a character experiencing a major transformation or inner change throughout the story. This change could be in their personality, attitude, or understanding of life. The dynamic character's evolution, which is usually in response to the plot's twists and turns, adds depth and complexity to the narrative, making it more engaging and relatable to the audience. The Significance of Dynamic Characters in Storytelling In some stories, dynamic characters help push the plot forward and keep the audience hooked on a tangible goal. The bumps in the road and beats of the screenplay allow us to see a change appear in them over time. The importance of dynamic characters in storytelling cannot be overstated. They bring life and depth to the narrative by undergoing a transformation. There are a few main ways these characters matter in narratives. 'O Brother, Where Art Thou?' Credit: Buena Vista Pictures Distribution Preventing Monotony Without dynamic characters, stories could quickly become monotonous and unengaging. Characters that remain static throughout the story, regardless of the conflicts they encounter, can make the narrative dull and predictable. Imagine a scenario about a village of happy people. If no one changed or did anything you would be pretty bored watching them day in and out. Enhancing Realism You want your audience to believe what happens in the story, right? Well, characters are there to help your world build. You're showing the audience the kinds of characters who populate this place. Dynamic characters contribute significantly to the story's realism. Just like in real life, characters in stories don't remain the same. They evolve and adapt according to their circumstances, making them more relatable to the audience. Adding Depth Dynamic characters also add depth to the narrative. As they evolve, they reveal different aspects of their personality, making them more complex and interesting. This kee...

🎬 In your Life Movie …What if I told you that you get to be the Creative Director, Scriptwriter, Editor and Star? Imagine your conscious mind as the cinema screen and the unconscious mind is the script writer behind the scenes. Consciously exploring these spaces is like sitting in the director's chair and taking charge of what happens behind the scenes. Think of a scene set in low light, where our deep dark emotions play the undercover agents. Acknowledging them is the plot twist you suddenly become aware of, a crucial realisation that transforms your understanding of the storyline. You're not just rewriting but directing your own psychological film, with the power to influence the scenes. It's a cinematic dance, where awareness becomes your camera, capturing the intricate shots in the reel of your mind. You get to rewrite everything when you become the scriptwriter, you get to reframe when you become the editor and you get to project exactly what you want when you become the director. It’s your life, it’s your movie and you get to star in every scene. 🎬

- For all those people who have the bottle to carve their own furrow I salute you! Juggling the writing, the watching, the editing and keeping yourself visible is no mean feat! Putting across a professional image, adhering to deadlines and then delivering them to expectations is never easy. Doing it a few times might feel like plain sailing, but keeping at it with minimal motivation beyond your own willpower takes effort. Often it feels like no one is listening, no one is paying, and worse than that, no one cares. However, that is rarely ever the case and your dedication, perseverance and consistency will get noticed. That attention to detail which takes so much effort to maintain is being seen. You might not think so, but LinkedIn is a big place and you never know who might be reading your critical ramblings. That is why it is important to never lose heart, since it is impossible to know where that next opportunity might be coming from. On that note I would like to say thank you to the team over @cbr who have welcomed me in with such warmth and generosity. It is nice to know someone out there is paying attention, and the same thanks goes to those film makers who have commissioned me of late to create copy exclusively for them. Some of them returning clients, others first time investors who have asked for my most honest of opinions on their projects. My thanks goes out to you all. On a side note, right now I am finishing up a review on The Boys Season 4, will be jumping into another Harry Potter retro review for CBR, before diving into another commission for a film called Tableau. Not to mention two NTLive projects, highlighting the best in contemporary theatre for cinema audiences. Anyway, you lot have the best week and keep your chin up, and remember that my DMs are always open to copy opportunities! #review #freelance #television #film #critic

Pls make summery "Always let camera work or performance dictate which shots you use in your final video. However, the importance placed on each of these aspects will likely depend on the type of project you’re working on. For a scripted feature or documentary, the characters relation to the overall story is paramount. As such, editors who work on these projects sometimes have to leave beautiful shots or entire scenes on the cutting room floor simply because they don’t add anything to the overall story. On the other hand, when editing an interview or news story, your goal is usually to balance the speakers intended message with the expectations of the audience. When selecting footage for this type of project, it helps to think about what you would want to see or look at while listening to the audio. Using this method to choose camera angles and clips also helps the speakers to tell their story." Summary: When creating a video, prioritize the shots based on camera work and performance. The significance of these elements varies depending on the project type. In scripted features or documentaries, the characters' connection to the story is crucial, leading editors to exclude visually appealing shots if they do not contribute to the narrative. Conversely, in interviews or news stories, aim to balance the speaker's message with audience expectations. Consider selecting footage that complements the audio and aids in storytelling for the speakers.