Principal Photography. 750 Words Tuesday, 30 August 2011.

My mind is still taking to me.

Principal Photography.

 So your first day of filming has arrived, good for you. In the pre production phase you should have set up a call sheet, not sure I mentioned that, sorry, but you should have, basically it tells everyone on the film, cast and crew, when and where to be. Cast usually get a later call unless they have special make up to apply. You the boss should be the first one on set and the last on off set, set the example so know one can complain about working long hours, so long as you don’t complain.

 Talk to your crew and tell them what your going to be doing today, this is of course something you have already done in Pre, but its always nice to make sure everyone is on the same page, get set up and block out the shots, thats means setting down makers so the actors know when to stop moving, if there are moving, this also helps the focus puller, if you have one, ideally you want to be ready to go when the actor arrive. You don’t want them to have to wait around for to long, the cliched “Hurry up and wait” is something you should at least try to avoid, call your actors when your ready for them this includes any extras.

 Now we look at your shot list, something you should have done in pre, figuring out what ‘coverage’ you want. Coverage being the shots you want to use. For example, I’d start with a master shot, everything or everyone in shot playing out the seen, you could have radio mic’s on the actors but I’d just stick to a decent shotgun mic as any dialogue will better once you move in for the closer shots. Get the master, then move in for any mid shots, if someone is speaking or reacting try to shoot something. Its also good to know how your going to edit the scenes together, if you wrote the script you might have some idea how you want this to stitch together, meaning you just shoot what you need, making things move quicker, but this is best for seasoned experienced directors. Then after the mis shots, usually form the naval to just about the head, move in for a close ups and extreme close up if the scene demands them, they do show emphasis on dialogues. Also particular angle might denote certain emotions. In one script I wanted a man to feel alone so I thought of moving the camera backwards through a door way, by the end of the shot the man is framed within the door frame, reducing this space down to almost nothing and filling the rest of the frame with a wall. Again this is all stuff you should have thought of before filming started, but thats not to say you want come up with something else on set, or someone else for that matter. If someone suggests a shot don’t just dismiss it because that someone isn’t experienced or a lot younger then you, visualize the shot and see if it’ll work. You never know, it might work better.

 Get all the coverage you can in the time you have, this is why indie’s like free hand shooting, less set up per shot and more set ups in your day. But don’t rush it, make sure you get the shots you need, nothing worse then finding out because you rushed a shot it doesn’t work and you have to reshoot it, wasted time is bad for your own morale. As for takes, I’d tend to get at least 3, even if the first one was great. But don’t stop until you get a great take, good is ok, great is better.

 Take each day at a time, but you will need to know what is coming and if you’ll need any special equipment for it and if it’ll be there on time, make the calls don’t wait until your setting on your ass waiting for it. You have to stay on top of everything, this is way you need that producer and you need them earlier so your on the same page from start to finish.

 Principal Photography will pretty much run the same each day until your finish, if its a low budget film or a short and not very complex. Just wake up each day and get to set weather it be a location or studio, get there shot what you need, log and capture the days footage check your dailies make notes on pick ups or reshoots if any. If you have time edit a little so you have some idea of how if fits with everything else from that scene that you’ve filmed.

 Remember that you are going to go over budget, if you have one and you will run long. When calculating how long it’ll take to shoot, you might want to account for this by added, extra time, how much depends on what your shooting, but you need it, you’ll most likely run through that extra time as well, just expect this and get on with filming what you need. A good idea would be if you have a scene that isn’t important, but for whatever reason you want to shoot it, put it at the end of the schedule and if you have to cut it, cut it. This again is where rewrites help out again, any dialogue that might be needed can go somewhere else. Plan for this.

 Once you done, have a party.

 This isn’t that in-depth, mostly because at my level it’ll just be the same thing over and over until you’ve filmed everything.

Pre-Production. 750 Words Monday, 29 August 2011.

From my mind to yours

This is more for me then anyone else, and its a bit all over the place so forgive the uneditedness of it.

Last night, instead of writing it down, like I should have done, I had a chat with myself. In my head not out loud, that would be weird. I usually do this if I need to figure something out, because I can then visualize the situation as if someone is asking me. I seem to be able to deal out good advise on subjects I know about but can never deal with it for myself. Which is odd but there you go.

 So last night I asked myself a question from the perspective of an amateur film maker wanting advice of bigger productions, doing this also helps me set out a game plan.

 I then proceeded to detail everything I currently know about the process, starting with Pre-Production then principal photography then post-production and film festivals and distribution. That, at best you might be involved with this film for many years.

 So I should try to remember what I said last night, this mind chat lasted a few hours. I sometimes have these mind chats about science stuff black holes and what not.

 So Pre-Production, it always starts with the idea, that idea can usually be very vague, it might actually only be a scene that you now need to put into context. Once I’ve written down as much detail about this idea as I can I write up an outline, which is usually only 3 or 4 pages long and is very rough, but I try to get the basic plot and story with the hooks and twists and turning points. After that I write a treatment and I pack as much detail as I can into this, which is why its usually 20 to 25 pages long. Here I get to know my characters and their dynamics and relationships I decide on locations, or at least what I would like to have, I even throw in dialogue if I feel I need to, like if I came up with something that sounds good I what to remember it later, if there is an action scene I’ll just write ‘ACTION SCENE’ and not write anything, unless something happens in that scene that will affect the characters afterwards. I had an action scene in a previous script where a main character lost an eye and was tortured. So I just wrote that, “So and So is tortured and looses an eye” I then continue, letting it flow writing lots of detail even though I might not use any of it, its nice to have. I then look at the treatment and cut it up into the three acts, I then cut up those acts into scenes, and write them out onto index cards, and now I spend a little time sorting them out moving scenes around if I need to. I tend to write for the Hero (Protagonist) and neglect the Villain (Antagonist) so here is where I look at the film from the villains perspective, I now “become” the bad guy and decide what he or she is doing while the hero is doing his or her thing, I then add the extra index cards and update the treatment, which can grow to maybe 30 pages. Once the treatment and index cards are done, and I’m happy with them, I start the script. Having everything already sorted out, knowing where your going with the story helps me write and I can get it done a lot quicker. I’ll usually try to get between 5 and 10 pages done each day. If I write for to long I tend to get vague, stopping for a bit, even if its just an hour helps me continue writing at the same level. Also I try to write scene by scene rather then seeing the whole picture because then I just try to get to the more interesting bits quicker. And I always keep in my head that its only a rough draft and will be edited in rewrites later on.

Once the script is completed in rough draft I start rewrites, my first rewrite isn’t really a rewrite, as such, I check my spelling and grammar. Then I go through a check list of 7 things to sort out in the coming rewrites, Characters, Conflict, Action, Plot, Construction, Content, Practicalities.

Do the characters work, are there to many, as this will have little or no budget, its better to have less characters, so I hack the characters if one isn’t needed they are gone, only main characters that move the story along are immune to the axe, if a supporting character only has a few lines, I get rid of it and give those lines to someone else. Basically rewrites give you the opportunity to tighten up everything, once your happy with a “locked” script it could be several pages lighter. This isn’t a bad thing. And don’t for a minute think that your script rewrites are over.

This is where I’d bring in a producer, if its a short film or super low budget feature you might end up also being a producer, but its always nice to have an extra pair of eyes. Because now your going to break up that script into a the different locations, characters and film days, you need to know how many different locations your going to need because you only want to visit that location once, get everything you need then move on, you need to know what characters are needed for that location, and roughly how many days you going to need that location. This will all help you build your shot list. Do this for all the locations. I location manager would also be nice but you might not have the budget for one, so get out there and find what your looking for. Its best to visit locations around the time you intend to shoot there, take light and sound readings, this you’ll give to the DoP and lighting crew, you should already know the angles you want to shoot, so this is also a good opportunity to see if you can get the shots you want, never underestimate the value of getting as much information on a location as you can, the more the crew knows before they get there, the better. Check each location for access, and weather the neighbours will be an issue, it might be a good idea to produce a leaflet to inform the neighbours, if any, that you’ll be around, when your going to start and how long you intend to be around and and weather you might be making any noise. Check for some kind of “green room” a place to put the actors before and after set ups, a place where the crew can eat and relax, also if you having craft services (Catering) where will it go.

During this time you should have already sent out a notice for actors to audition. Its better to not have auditions in your house, find a place comfortable where you can put the actors before they audition, then see them one at a time, as it might be the first time for some and even seasoned actors get nervous, try to see if its the nerves that are coursing a bad performance its important that they feel comfortable, so you can get their best, give them a page from your script and give them the context of it. Then test the actor, ask them to do it again, but this time as if they are on drugs or perform a sad scene happy. Once you picked you call backs, try to put actors together, test out dynamics and chemistry. Take you time, if you have the time. You want the best possible performance for you film, and good actors will make you film better. So once you’ve picked them, I’d bring them in for costume and make up tests. If your going to use a HDSLR or a 16mm cine camera you want to know how they will look, if they have any blemishes that need covering, again the make up artist will appreciate the heads up before hand, and if the costume look right for the characters and if your using radio mic’s do they hid will. It better to deal with this now rather then on set where you’ll be wasting light, time and money. Get as much done before filming as you can, find the problems now and find solutions. You going to have problems most of the way through your filming, thats a fact of film making, so reducing the amount before hand is always a good idea. If you have special make up or gore then again, get this all sorted and tested, if you know you’re going to be close on a prosthetic then your going to want to know how it looks in the format your using, better now then in post. It’ll give the special make up people a heads up on how much scrutiny their work will be under.

Back to the locations scouting, knowing what shots you want and where they are going to take place will inform you of what equipment you need, jibs, cranks dolls etc. And if there will be issues. Like if you want a crane shot but a tree is in the way, can you get the crank in there? Will it damage the ground, tear up grass. Ideally you wan tot leave the location in the same conduction you found it, don’t burn your bridges, you might end up having to go back there for a reshoot or pick ups, and then there might be other film makers that want to use that location. Keep relationships good with the people that own the location, if you do damage something, let them know immediately and take photos for the insurance company. Also knowing where your going to film will help the script, so once you have details on all your locations your in for another rewrite, nothing extensive just more information for the crew and cast so on the day, there are no surprises.

Pre-Production is a lot of work and could take as long as the filming and post put together. When I was doing carpentry in collage I was told to measure twice and cut once. Think of film making the same what, you want to cover as much as you can before you start filming, find those problems and the solutions.

Ideally you want all your cast and crew in place long before you start filming, that everyone knows what they are doing, when they are doing it and where, so day one can be a good day, and hopefully that first day will go without a hitch, you’l need that good day or morale.

 Create a shot list, Location list, character list, costumes and props list, regular and special make up if any, vehicles, camera equipment, jibs dolls cranes etc. Set dressing if needed, craft services or where the nearest food outlets are and coffee shops are to each location. Make sure any neighbours are aware that your going to be there. If any stunts, that the stunt team have enough time to check locations and rehears, if any visual effects or going to be used, that the VFX team get to the locations to get anything they need, they might even want to be around when your shooting those scenes. And its a good idea to have an editor ready to go, once you start filming stuff its a good idea to have the editor log and capture all the footage and even start the rough edit as you go.

 You need to be as prepared as you can be before you start.

Next up, Principal Photography. 

Living in a fantasy Land. 750 Words Friday, 26 August 2011

I Haz Camera

My opinion on the more, for lack of a better word, Popular Youtubers, and what they are doing wrong.

 Reading an interview with an Editor in _'The Guerilla Film Makers Pocketbook'_ and i came across a paragraph which i think is something that all Youtubers need to read and listen to, I see so many bad videos (Not films) being put on Youtube and most of them have the same problems, the most important are story and characters. But another fundamental problem is this, they live in a fantasy land;

 Page 170 Paragraph 5.

_"Editorial mistakes that i see often are that films are too long. They haven't screened the film enough times, or only screened to people who have an emotional connection to the project or the director, so they will never give honest feedback on whats is and what isn't working. The Director will be living in a fantasy world where they think that their film is better than it actually is"_

I see this so often on Youtube, especially the Tier 1 tubers. Sure its only Youtube and it really doesn't matter in the grand scheme of things, but these guys put so much time and effort into making something that they truly believe is great. But if you try to tell these people what you think is wrong with the video, you get branded a hater and they fail to recognise what you were trying to say. Sure they get tons of hater comments, but haters and trolls never usually give specifics of what is wrong, they just say it was shit, they never mention things like pace, bad edits or poor dialogue and delivery, so any helpful feedback is ignored.

 They have the technology, the Canon 5D's or 7D's. The have all the peripherals for their cameras, viewfinders or monitors, shoulder mounts and such, they edit on Mac Pros using Final Cut Pro 7 or X. They have great equipment and they have the resources they need to make videos (Not Films) but they all lack a basic understanding of good story telling, dialogue that flows and the basic editing needs of any project.

 The ones that don't seem to have this problem are those that have actually worked, in some capacity, in the industry. Like Cory Williams (Mr Safety) and Freddie Wong (FreddieW) but the rest, i guess as they all help each other and preview each others work they can't or won't tell themselves what doesn't work, maybe through the fear of straining a friendship. But all this means is, they don't learn to make better videos (Not Films), they move forward under the impression that their last video was brilliant. They never learn form their past mistakes because they don't seem to understand when they make them, because no one is telling them or they can't hear them over the haters and trolls. And so they continue to make the same mistakes over and over.

 And at some point their work, which they hold so dear, will become stagnant and repetitive. If it hasn't already. Personally i would love to help these people make better videos (Not Films) and i try to, but i'm always branded a hater when i do.

 So thats it, I finally had something worth, well I thought it was worth it, only hope some of them get to read it and understand it, I mean actually understand it. I’m not sitting here typing out hater comments because I think they make shit and post it on Youtube, I would seriously love to help these people, I really would. But they would have to accept what I say was feedback and not hate, if I say that I scene ran to long or the dialogue wasn’t very good and that it felt forced then then so be it, they can then choose to listen to me or ignore me, either way I’m giving them something to think about and hopefully they will make sure that next time they recognize something early on and fix it. Everyone on Youtube can edit these days, but that doesn’t make them good editors, everyone on youtube and make a video with a narrative, but that doesn’t make them good film makers, anyone can tell a story, but that doesn’t make them good story tellers. If you can’t recognize your mistakes, you can help yourself to learn and become better at what it is you are doing. You’ll just continue to make the same mistakes.

 Oh and before you chatter on about me thinking I know everything, I’ll let you guys in on a secret that every professional film maker already knows. No one knows everything about film making. No One. Some know more then others, but no one knows everything.

 Let me give an example or this default hater thing. I watched a video on Vimeo yesterday, its basically a skateboard video, pretty good skillz actually. The guy who edited the video added a song, I forget which, but he kept cutting from the HD skateboard footage to VGA quality music video footage which looked like it was pulled from Youtube. And I honestly thought that it ruined the video, the feel was just gone every time it happened. Now this editor had only posted the one video so was most likely just posting it everywhere he could for free. I mentioned, just like a few others, that the music video footage is a bad idea. And we were all branded haters. Haters for giving actually feedback, I even said that I liked the video and if it wasn’t from the music video clips it would have been better, but no, I’m a hater because I didn’t like it out right.

 It used to be that a hater was someone who simply hated on stuff because they could. But now-a-days even giving out feedback that is not conducive with someone else’s view is hater’ish. First the internet gave everyone a voice. Then the haters used that voice to tell people that what they were doing was shit. Now trying to give helpful feedback is hater’ish.