Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Jews and Money. Asian Drivers. Polish IQ. CPT… that's racist! But where do these stereotypes come from? Comedian Mike Epps explores the backstories of this humor and how history and fact often distorts into a snide – but sometimes funny – shorthand.
"INSPIRED" features celebrities, visionaries and some of the biggest newsmakers of our generation, recounting the stories behind their biggest, life-changing moments of inspiration.
In a compelling series of verite encounters, Win Win provides unique access into the minds and lives of the world’s most-celebrated entrepreneurs and athletes.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
Mike runs down the whys and the what-fors surrounding pre-production scheduling. Surprise: a lot of it has to do with keeping ...
your cast and crew happy.
Tags:Pre-Production Scheduling Basics,basics for pre-production schedules,scheduling basics in filming,The Substream,tips for pre-production scheduling,pre-production,substream,thesubstream
Grab video code:
Hey! This is Mike this is the Film Lab here on the substream.com which is our website if you’re not on the substream.com and your watching our video on some other website please beware that we have our own website called the substream.com where this video leads as well as well as the woman with other cool videos they’re actually irritating unlike this video. In a bunch of those other videos we went over the beginnings of preproduction paperwork, the basics. How to write a screenplay in proper screenplay format if it’s looks and reads like a real script and how to take down the script and how from a broken down script to create breakdown sheets which are a pieces of paper that are special cool rainbow colors that you eventually use to schedule your actual production. We’re going to be talking in future videos about the specific pieces of film making production paper work that are specific in the film industry that you’re going to use to scheduling your production and that’s the thing called the production board which you need these things for production scripts. But for now we’re going to be talking about the basics, the rudiments, the fundamentals in scheduling your production so that when we get to that point it makes more sense just trust me. Now, I know that this probably go that scene and most people know this but I still have to cover anyways which is the idea that when people think about shooting a movie it’s really easy and kind to mix most scenes actually specially if you can thinking about it from a story telling or acting performance point of view to shoot your film in the order that the scenes will be in the script and eventually in the film and this is sounds great because when you have your love birds meet early in the first act on page three of the script that can be one of the first scenes that you shoots that can be the first time of the actual actors playing the love birds meet which is kind of neat because then reality informs your art. Unfortunately it’s almost always prohibitively expensive to shoot a movie this way because when you do it when story in a movie they go from one location to location B to location C back to location A, back to location C, back to location A,. B, C, B, A and when you shooting script order you have the whole your crew to all those different locations back and forth and relighting them and getting reset up all the time and it’s a trends out the only people that I’ve got in this card and money to work this way our people like Stanly Colbert at the high of his carrier where the movie like to shine. But the rest of us whether it’s a one day commercial shoots or a giant feature we have to be much, much, much more efficient than that because making movies whether the small one they think or big feature is incredibly expensive and even if you don’t have any money to spend on your thing, even though you have no budget at all your not just spending cash, your spending your volunteer crew and actors good well and that’s in just a short supply as money is. When you scheduling a film production especially when we are as not much money but this whole true there is a bunch of money as well the things is you always going to work to favor and your decision making process of that schedule a shoot is two things, first the availability of your lead actor and second the availability in trying to avoid moving between different locations. The thing with actors and the thing with working with crews that weird is that the people on small film that— are there everyday if they’re always something to do like the sound recorders of the camera man they expect to be there working all day everyday and usually show up from the beginning up to the end. When people get cranky is when they have to wait, when they have to sit around with nothing to do, then when you schedule actors so that they work a little bit on Monday morning a little bit on Tuesday afternoon, 10 minutes on Thursday at noon and then all day on Friday that’s when people get angry because they have a lot of down time in between. When you don’t schedule, when you don’t pay attention to there schedule and trying to condense all of there scenes together into small amount of shooting days they get angry. And you don’t want actors to get angry because when actors get angry they stop showing up for your production and if you’re already show a bunch of scenes with Aunt Brenda and she got blonde hair and then she quits and all of the sudden Aunt Brenda has got a brown hair for last after the movie, you movie is going to be in trouble. The other big thing to kill us always momentum in film making is dragging your crew back and forth between location, if you’re shooting in a warehouse and at home and that is skate park trying should all your warehouse scenes on one day, all your home scene on another and all your skate parks scenes from another. Don’t drag people back and forth between them; it is people will loss morale going back and forth with the same place having the light the same thing over and over and over again. It feels like waste of time because it is waste of time and people feel like your wasting there time they stop showing up and when they stop showing up you don’t have a movie anymore. So use those always if you’re just scrupling on paper where you are going to shoot and the availability of actors and not hurrying the move between locations, stick to one location and get all of your actor scenes done there as soon as you can so they can go and the actors working the jobs and acting the another gigs. And you will be in good stand especially when you come back to watch our future videos about the very specific pieces of paper which means on our schedule but actually on the production board and production scripts which will be in the future video. I love you, bye and thanks.