When you wrap your short film shoot, you feel so accomplished. However, that joy doesn't last long because this is when the real work starts. Especially if you are doing this uber low budget without the luxury of a fancy-pants editor.
I know what you are thinking: yeah, yeah, yeah, editing takes a long time, etc. Oh, no, before you can even dream of starting to edit your masterpiece you must label - all those days of footage (and you will soon regret all those Take 30s) every one of them must be labeled.
Okay, now that it's labeled you can start to build your movie, right? Wrong! Before that you must sync all that sound. I don't know if you've ever synced sound, but it is pretty much the most tedious job you'll ever do. You will start to want to murder the director for always yelling cut so much.
Great! Now that you've spent days prepping your footage you get to finally start editing. Yay! You are thrilled because you know all those takes you did are going to be gems. Slowly you start to piece scenes together and you realize there is no such thing as a perfect take. In this one the acting is amazing ... but the focus is soft. This one is perfectly clear, the acting is decent, but the actor has their glass in the wrong hand and it won't match the other shots. This one is 100% perfect if only your neighbor hadn't started mowing his lawn halfway through.
Don't worry because it will eventually start to come together and you'll find the shots and you will finish it. But, now you've spent weeks and weeks staring at all the footage so you know every flaw and the idea of actually watching it in front of other people will make you nauseous. But it's done - mostly. You still need to fix up the sound, add effects or a soundtrack, which if you don't know how to do yourself costs a lot of money. In my case I spent twice on sound editing than I did on the entire budget of the short to begin with.
Now you have your film that you've spent months working on. Yay for you! Okay, great, now what? Do you post it online and hope it goes viral, do you do the film festival thing and hope Harvey Weinstein sees it and wants to make you the next Matt Damon?
I chose the Film Festival route with my film, All You Need. And here is something you don't think about: film festivals are expensive. So, there is an extra couple hundred bucks not considered in the original budget. Also, how do you chose which ones to submit to? The big ones where you have a chance of getting seen by big people or the small ones that you have a shot at getting into?
I don't know the answers. I submitted to bigger ones and will see how that goes. If it doesn't go well then I guess I will try the smaller ones. I am up for any suggestions you guys have on places to submit my film to.
Showing posts with label filmmaking. Show all posts
Showing posts with label filmmaking. Show all posts
Monday, June 18, 2012
Tuesday, May 22, 2012
Just Do Your Job
When filming things are always changing, plans fall through, and it's probably already over budget. As an actor, you are normally protected from all this craziness, so what does it have to do with you? It's your job to make them not have to worry about you so they can worry about all that other stuff.
That means you come to every set, no matter how small your part is or how low budget is, completely prepared. Be so prepared that when everything changes you can change with it. Be flexible.
On set you are going to work with people who don't work the same way you do. That is why it's so important to be strong in your own craft and don't judge the other actors because they don't follow the same technique as you. Be there for the other actors, if they need you do something to help them be stronger in the scene, then you do it. Even if it's not part of your "process." Your job is to create the best scene possible and be the person the other actors can rely on.
Besides being the best actor you can be, you should be the nicest person on set. Say thank you to everyone. The crew who likes you will help make you look the best, sound the best, and do your best work. I recently heard some good advice, "Always remember you aren't as nice as you think you are." There is always room to be nicer.
Lastly, while on set smile and don't complain. Remember you love this job. Be the person people want to be around and then they will want to work with you again.
In short: be prepared and be nice. Don't make other people's jobs more difficult than they already are and just DO YOUR JOB.
That means you come to every set, no matter how small your part is or how low budget is, completely prepared. Be so prepared that when everything changes you can change with it. Be flexible.
On set you are going to work with people who don't work the same way you do. That is why it's so important to be strong in your own craft and don't judge the other actors because they don't follow the same technique as you. Be there for the other actors, if they need you do something to help them be stronger in the scene, then you do it. Even if it's not part of your "process." Your job is to create the best scene possible and be the person the other actors can rely on.
Besides being the best actor you can be, you should be the nicest person on set. Say thank you to everyone. The crew who likes you will help make you look the best, sound the best, and do your best work. I recently heard some good advice, "Always remember you aren't as nice as you think you are." There is always room to be nicer.
Lastly, while on set smile and don't complain. Remember you love this job. Be the person people want to be around and then they will want to work with you again.
In short: be prepared and be nice. Don't make other people's jobs more difficult than they already are and just DO YOUR JOB.
Monday, May 14, 2012
How to Keep my Goals
Since the beginning of this year, I've been making an effort to focus on my career. I started by created some professional goals to help me measure how I am doing.
As you know some of this work has already paid off. I got to film a co-star role on a pilot for USA Network, I'll keep you updated if it airs. I also completed three short films that have been accepted to the Playhouse West Film Festival. Plus, I've been cast in a couple projects that are set to start filming in the next couple months.
But, one thing that helps me keep track of the goals I set is by telling you guys how I am doing with them. So, here is how I did in the month of April (a couple weeks late.)
Goal: Attend class unless working an acting gig or sick.
Actual: I believe I missed a day or two when I was helping out at a casting office.
Goal: Work on scenes that from plays I can put up.
Actual: Still working on "Vanities."
Goal: Read two plays a month.
Actual: I actually read a ton of plays to find a scene for a web series I am involved with. So, I am probably good for the next few months.
Goal: Find a good on-camera class.
Actual: GOAL COMPLETED!
**UPDATE ON GOAL: Attend acting workout sessions that my friend, Tammy Taylor, is setting up with actor friends.**
Goal: Complete editing on my films for the Playhouse West Film Festival.
Actual: All three of my films were accepted to the festival. Final touches happening on ALL YOU NEED, just waiting on final sound.
**UPDATE ON GOAL: I want to submit All You Need to 10 more major film festivals by the end of the year.**
Goal: Write and produce two more shorts this year.
Actual: I have two new shorts written and hope to start filming them after the film festival.
Goal: Help at the agency once a week.
Actual: It's been very slow, but I have been helping out when I can.
Goal: Find three new Casting offices to help out as a reader.
Actual: One new one and one old one. I'd like to find two more new ones!
As you know some of this work has already paid off. I got to film a co-star role on a pilot for USA Network, I'll keep you updated if it airs. I also completed three short films that have been accepted to the Playhouse West Film Festival. Plus, I've been cast in a couple projects that are set to start filming in the next couple months.
But, one thing that helps me keep track of the goals I set is by telling you guys how I am doing with them. So, here is how I did in the month of April (a couple weeks late.)
Goal: Attend class unless working an acting gig or sick.
Actual: I believe I missed a day or two when I was helping out at a casting office.
Goal: Work on scenes that from plays I can put up.
Actual: Still working on "Vanities."
Goal: Read two plays a month.
Actual: I actually read a ton of plays to find a scene for a web series I am involved with. So, I am probably good for the next few months.
Goal: Find a good on-camera class.
Actual: GOAL COMPLETED!
**UPDATE ON GOAL: Attend acting workout sessions that my friend, Tammy Taylor, is setting up with actor friends.**
Goal: Complete editing on my films for the Playhouse West Film Festival.
Actual: All three of my films were accepted to the festival. Final touches happening on ALL YOU NEED, just waiting on final sound.
**UPDATE ON GOAL: I want to submit All You Need to 10 more major film festivals by the end of the year.**
Goal: Write and produce two more shorts this year.
Actual: I have two new shorts written and hope to start filming them after the film festival.
Goal: Help at the agency once a week.
Actual: It's been very slow, but I have been helping out when I can.
Goal: Find three new Casting offices to help out as a reader.
Actual: One new one and one old one. I'd like to find two more new ones!
Monday, February 6, 2012
Being an Actor isn't that Bad.
Recently, this article called 5 Awful Things Nobody Tells You About Being an Actor has been passed around the social networking sites. I took it upon myself to look up the writer of this article, Soren Bowie (click on his name to visit his IMDb page and help his Starmeter.) From what I can tell he has a similar career as me: a few independent films, a webseries, and some shorts he wrote. This article makes it sound like he is going through a pretty rough point in his career.
I know being an actor is tough, but I disagree with almost everything he talks about in this article:
#5 You Aren't Building a Real Skill Set
He asserts that most of the day jobs actors have like serving or retailing are not meant to be careers and generally aren't very enjoyable. That while your high school and college friends are moving up the career ladder you are stuck trying to upsell the vodka in someone's martini.
This is incorrect for two reasons. First off, actors don't have to work in the service industry. There are other flexible day jobs and if you find a generous boss almost any job can be flexible. I have actor friends who work all types of jobs including as a doctor, personal assistant, and lots of various office type jobs. Plus the career we want to build is as an actor, not in the service industry. We work these day jobs to pay for our dreams. If I always have to work in jobs other than acting in order to live, but it allows me the opportunity to act from time to time then I am happy.
Secondly, there are lots of skills actors learn that are useful in all walks of life. Skills like public speaking, listening to others, and how to market yourself. You even learn important skills in the service industry like how to deal with difficult people, multitasking, and even remembering long lists of specials helps with memory. Plus, the writer of this article seems to be building a skill set by writing articles for an online magazine. (Look another day job choice that is not in the service industry.)
#4 Most Roles Have Nothing to Do with Acting
His example of a role that doesn't require acting is a Listerine commercial where people make funny faces using the mouthwash. It's true that most commercials are more interested in your look than your ability to act. You don't do commercials because you want to act; you do commercials because you want to make some money to support your acting career. Those poor mouthwash people probably made tens of thousands of dollars for that one day of work. Cry me freakin' river that it didn't require real acting.
If you aren't getting to do the roles you want, then write them yourself. I noticed on Mr. Bowie's IMDb page that he wrote and produced a short that he acted in and that is exactly what you should be doing if you aren't happy with the roles in which you get cast.
#3 You Will Never Be Considered for Roles that Require Acting
First of all, never is a very harsh word. Second, if you treat co-star one line roles as if they aren't acting then you probably aren't going to be cast as in those either.
He goes on a long diatribe about the difficulties of getting in SAG and how if you aren't SAG you won't be asked to audition for SAG productions. Here is one argument: with the SAG New Media Agreement it is super easy to become SAG eligible. Here is another argument: most casting directors I know have no issues Taft-Hartleying someone who isn't SAG. True some productions will forbid it, but most allow it. I was Taft-Hartleyed into SAG on an Army PSA. He mentions a "hefty fine" but I've heard it isn't that much and certainly a pittance for a $20 million production.
He also mentions that directors are not likely to trust you in a lead role if they don't think you have experience. That's why you get experience by doing co-stars, your own films, theater, and then hope that the right people will see it. Most of the roles I worked have been given to me by someone who knows me and has seen my other work, including on stage and even as a reader in a casting room.
#2 Your Faith Will be Exploited
Here he talks about how much actors have to rely on everyone else in a production to help them look good. It's true filmmaking is always a collaboration. But, we've all made bad stuff and worked with people who were not so great at whatever they were claiming to be.
But, if you have a good technique then even if you look terrible and everything in the movie looks terrible you should still be acting correctly. In the end that is what's important. And if it really is that terrible then don't put the movie on your reel or show it to anyone. Chalk it up as a learning experience and move on.
#1 You Won't Make Enough Money to Live On
We've gone over this in my blog post When Do I Start Getting Paid For This. The answer is: maybe never. And if you want to keep pursuing this job then you have to be okay with that. You have to accept that you may never buy a house or be financially stable.
I've decided that the house with the barbeque and white picket fence are not part of my version of the "American Dream." My dream is to be able to act and perform. If I wanted money I could have picked a hundred different jobs. And if you want to be rich and famous check out this post on how to do that: So, You Want be Rich and Famous?
He is right; you may not make enough money to live on. And he ends the article by saying your take home pay for one day on an ultra-low budget movie is about the same as a Greyhound ticket home, which may be the point of this article: to make his competition want to go home. Remember, y'all, this is a game of attrition and much like Survivor the winner is the one who Outlasts their competition. So, do your best to outlast this guy.
And I wish Soren Bowie the best in his pursuit of the Hollywood dream!
I know being an actor is tough, but I disagree with almost everything he talks about in this article:
#5 You Aren't Building a Real Skill Set
He asserts that most of the day jobs actors have like serving or retailing are not meant to be careers and generally aren't very enjoyable. That while your high school and college friends are moving up the career ladder you are stuck trying to upsell the vodka in someone's martini.
This is incorrect for two reasons. First off, actors don't have to work in the service industry. There are other flexible day jobs and if you find a generous boss almost any job can be flexible. I have actor friends who work all types of jobs including as a doctor, personal assistant, and lots of various office type jobs. Plus the career we want to build is as an actor, not in the service industry. We work these day jobs to pay for our dreams. If I always have to work in jobs other than acting in order to live, but it allows me the opportunity to act from time to time then I am happy.
Secondly, there are lots of skills actors learn that are useful in all walks of life. Skills like public speaking, listening to others, and how to market yourself. You even learn important skills in the service industry like how to deal with difficult people, multitasking, and even remembering long lists of specials helps with memory. Plus, the writer of this article seems to be building a skill set by writing articles for an online magazine. (Look another day job choice that is not in the service industry.)
#4 Most Roles Have Nothing to Do with Acting
His example of a role that doesn't require acting is a Listerine commercial where people make funny faces using the mouthwash. It's true that most commercials are more interested in your look than your ability to act. You don't do commercials because you want to act; you do commercials because you want to make some money to support your acting career. Those poor mouthwash people probably made tens of thousands of dollars for that one day of work. Cry me freakin' river that it didn't require real acting.
If you aren't getting to do the roles you want, then write them yourself. I noticed on Mr. Bowie's IMDb page that he wrote and produced a short that he acted in and that is exactly what you should be doing if you aren't happy with the roles in which you get cast.
#3 You Will Never Be Considered for Roles that Require Acting
First of all, never is a very harsh word. Second, if you treat co-star one line roles as if they aren't acting then you probably aren't going to be cast as in those either.
He goes on a long diatribe about the difficulties of getting in SAG and how if you aren't SAG you won't be asked to audition for SAG productions. Here is one argument: with the SAG New Media Agreement it is super easy to become SAG eligible. Here is another argument: most casting directors I know have no issues Taft-Hartleying someone who isn't SAG. True some productions will forbid it, but most allow it. I was Taft-Hartleyed into SAG on an Army PSA. He mentions a "hefty fine" but I've heard it isn't that much and certainly a pittance for a $20 million production.
He also mentions that directors are not likely to trust you in a lead role if they don't think you have experience. That's why you get experience by doing co-stars, your own films, theater, and then hope that the right people will see it. Most of the roles I worked have been given to me by someone who knows me and has seen my other work, including on stage and even as a reader in a casting room.
#2 Your Faith Will be Exploited
Here he talks about how much actors have to rely on everyone else in a production to help them look good. It's true filmmaking is always a collaboration. But, we've all made bad stuff and worked with people who were not so great at whatever they were claiming to be.
But, if you have a good technique then even if you look terrible and everything in the movie looks terrible you should still be acting correctly. In the end that is what's important. And if it really is that terrible then don't put the movie on your reel or show it to anyone. Chalk it up as a learning experience and move on.
#1 You Won't Make Enough Money to Live On
We've gone over this in my blog post When Do I Start Getting Paid For This. The answer is: maybe never. And if you want to keep pursuing this job then you have to be okay with that. You have to accept that you may never buy a house or be financially stable.
I've decided that the house with the barbeque and white picket fence are not part of my version of the "American Dream." My dream is to be able to act and perform. If I wanted money I could have picked a hundred different jobs. And if you want to be rich and famous check out this post on how to do that: So, You Want be Rich and Famous?
He is right; you may not make enough money to live on. And he ends the article by saying your take home pay for one day on an ultra-low budget movie is about the same as a Greyhound ticket home, which may be the point of this article: to make his competition want to go home. Remember, y'all, this is a game of attrition and much like Survivor the winner is the one who Outlasts their competition. So, do your best to outlast this guy.
And I wish Soren Bowie the best in his pursuit of the Hollywood dream!
Monday, November 28, 2011
How to Find Your Audience
Acting is always a collaboration. Last week, I talked about how to Be Brave and Ask for Help. But, getting a crew and finishing your film is only half the battle.
The reason you create something is to have an audience to watch it. So, the question is how do you get that audience?
First decision you have to make is where you want to it to show, like film festivals or on the web. If you decide to post on the interwebs, you have to choose what site to post it on. I think it's best to focus on one site to drive all your traffic to. That way all your views show up in one place and they aren't spread amongst a lot of different sites.
But which site is best for your video? If it's a funny then Funny or Die is the obvious choice. I've posted a few videos there on my page, www.funnyordie.com/michellecoyle and it has a community of people who watch the videos which can drive up views. But, remember on Funny or Die people get to vote on your videos, unless you are one of the chosen (and if you don't know if you are, then you aren't.) Even really funny videos like Sunset Junction: Francophile can get a lot of die ratings.
Of course dealing with obnoxious comments is always something you have to deal with when you post things on the internet. The only way to fight them is by ignoring them. I know it's really tempting to scroll down and see what people have said but, trust me, don't. It's not worth the angst.
So, back to driving traffic to your video. There is always the usual social media blitz on your Facebook and Twitter pages. But, you don't want to over-saturate the newfeeds because even your family will get sick of seeing the same video posted over and over again. Plus, even if every one of your 900 Facebook friends watches the video that still isn't really viral video numbers.
I've had some success in the blogosphere. I reached out to Topless Robot and TrekMovie and they happily posted my videos and even wrote nice articles about them. I also follow lots of people who have similar interests as me on Twitter. I read their blogs, watch their videos, and repost them. I now have quite a few people who I have developed relationships with on Twitter and we help each other out.
But, you can't worry about the views you are going to get before you make a movie. So, the point is to get out there and start creating something. The audience will come and it's okay if most of your views come from your mom.
The reason you create something is to have an audience to watch it. So, the question is how do you get that audience?
First decision you have to make is where you want to it to show, like film festivals or on the web. If you decide to post on the interwebs, you have to choose what site to post it on. I think it's best to focus on one site to drive all your traffic to. That way all your views show up in one place and they aren't spread amongst a lot of different sites.
But which site is best for your video? If it's a funny then Funny or Die is the obvious choice. I've posted a few videos there on my page, www.funnyordie.com/michellecoyle and it has a community of people who watch the videos which can drive up views. But, remember on Funny or Die people get to vote on your videos, unless you are one of the chosen (and if you don't know if you are, then you aren't.) Even really funny videos like Sunset Junction: Francophile can get a lot of die ratings.
Of course dealing with obnoxious comments is always something you have to deal with when you post things on the internet. The only way to fight them is by ignoring them. I know it's really tempting to scroll down and see what people have said but, trust me, don't. It's not worth the angst.
So, back to driving traffic to your video. There is always the usual social media blitz on your Facebook and Twitter pages. But, you don't want to over-saturate the newfeeds because even your family will get sick of seeing the same video posted over and over again. Plus, even if every one of your 900 Facebook friends watches the video that still isn't really viral video numbers.
I've had some success in the blogosphere. I reached out to Topless Robot and TrekMovie and they happily posted my videos and even wrote nice articles about them. I also follow lots of people who have similar interests as me on Twitter. I read their blogs, watch their videos, and repost them. I now have quite a few people who I have developed relationships with on Twitter and we help each other out.
But, you can't worry about the views you are going to get before you make a movie. So, the point is to get out there and start creating something. The audience will come and it's okay if most of your views come from your mom.
Monday, November 21, 2011
Be Brave, Ask for Help.
We can't do everything ourselves. I know it can be very difficult,
but an important lesson to learn is how and when to ask for help.
This is true even if you are working on the most bare bones production, you almost always need at least one other person to help. When I shot segments for the webseries, That's What She Said, I did everything I could on my own: writing, directing, editing, craft services (I was practically Robert Rodriguez). Some people might even say that I have control issues. But, when it came down to filming I couldn't be behind and in front of the camera at the same time.
After much worrying I finally got the nerve up to ask a friend who just got a new camera and offered him lunch in return for filming the show. He was excited for the opportunity to play with his camera and jumped at the chance to help out.
What I've learned is that you can't be too afraid to ask for help. Generally, people in Hollywood want to work and if they aren't doing a paying gig then they are often excited to help you on your project. Just be sure to return the favor when they need help on their next project. Don't be the person who is always taking help from others without giving back, because you can quickly burn through those connections in this town.
One rule I follow is if I am not going to an audition or working a paying gig, I always, always, always volunteer to help out on my friends projects. I've been a grip, a boom operator, slated, gone on coffee runs, whatever needs getting done. I can tell you there is pretty much no job on a set that I am above doing.
I know you want your friends to cast you in their projects and not just hold the boom, but people notice who is helping out. Next time there is a part you are right for I promise they will think of you.
Plus, think about how difficult it is for you to ask your friends for help, so do them a solid and offer to help before they have to ask for it.
This is true even if you are working on the most bare bones production, you almost always need at least one other person to help. When I shot segments for the webseries, That's What She Said, I did everything I could on my own: writing, directing, editing, craft services (I was practically Robert Rodriguez). Some people might even say that I have control issues. But, when it came down to filming I couldn't be behind and in front of the camera at the same time.
After much worrying I finally got the nerve up to ask a friend who just got a new camera and offered him lunch in return for filming the show. He was excited for the opportunity to play with his camera and jumped at the chance to help out.
What I've learned is that you can't be too afraid to ask for help. Generally, people in Hollywood want to work and if they aren't doing a paying gig then they are often excited to help you on your project. Just be sure to return the favor when they need help on their next project. Don't be the person who is always taking help from others without giving back, because you can quickly burn through those connections in this town.
One rule I follow is if I am not going to an audition or working a paying gig, I always, always, always volunteer to help out on my friends projects. I've been a grip, a boom operator, slated, gone on coffee runs, whatever needs getting done. I can tell you there is pretty much no job on a set that I am above doing.
I know you want your friends to cast you in their projects and not just hold the boom, but people notice who is helping out. Next time there is a part you are right for I promise they will think of you.
Plus, think about how difficult it is for you to ask your friends for help, so do them a solid and offer to help before they have to ask for it.
Monday, October 31, 2011
Money vs Time
When it comes to film making you either need time or money. It is possible to make a good film with very little in your budget, but I promise it will cost you a lot of time. That's why when you start going down the road of producing your own stuff, make sure it is something you feel passionate about. You have to love it because if you want it to be good get ready to give most of your life over to it.
If you have money, you can hire people to do all the nitty-gritty work; if you are broke like me then you need time to do it all by yourself. It means driving all over creation to find a cheap pair of scrubs for a costume, sending hundreds of emails to find a few people willing to be extras, and getting up extra early in order to borrow a friend's printer to get copies of all the paperwork you need.
Doing all this helps lower your costs, but I have yet to master truly no budget film making. Incidentals always come up. Things like batteries and printer ink and paper all seem to run out halfway through any production. Plus, you always have to spend money to feed your cast and crew. That is generally more than half of my budget on any short I film. There are those people who I'm sure can sweet talk companies into sponsoring these things for them. This is not a talent I've mastered. (If you have: want to produce my next short?)
Now you're thinking, what about equipment? Cameras, lights, sound equipment, and editing software all cost money. For me, I decided it was logical to start investing in these things and started collected various pieces of equipment over the last few years and at every holiday and birthday that is what I ask for. I don't have the fanciest stuff, but it works. Generally, we try to use ambient lighting as much as possible and I write things based on what I already have access to (so no period pieces requiring crazy costumes or special effects.)
It is also possible to get a free crew of people looking for credit who can bring their own equipment with them. A great way to meet these type of people is by helping out on other people's sets. It's always good to have talented people with film equipment owe you a favor. But, if you ask me, the best thing is to learn how to do as much as you can on your own so you aren't relying on other people to get your project done.
Get a camera, start filming around your house, play around with the settings and the lighting, see what you can do on your own. Get a copy of Final Cut and fiddle around with it until you learn how to edit your own stuff. There are tons of instructional videos on YouTube that will show you how to do just about everything on Final Cut.
I know it sounds like a lot of work and that's because it is. But, when you get to watch something you created, I promise it's worth it!
If you have money, you can hire people to do all the nitty-gritty work; if you are broke like me then you need time to do it all by yourself. It means driving all over creation to find a cheap pair of scrubs for a costume, sending hundreds of emails to find a few people willing to be extras, and getting up extra early in order to borrow a friend's printer to get copies of all the paperwork you need.
Doing all this helps lower your costs, but I have yet to master truly no budget film making. Incidentals always come up. Things like batteries and printer ink and paper all seem to run out halfway through any production. Plus, you always have to spend money to feed your cast and crew. That is generally more than half of my budget on any short I film. There are those people who I'm sure can sweet talk companies into sponsoring these things for them. This is not a talent I've mastered. (If you have: want to produce my next short?)
Now you're thinking, what about equipment? Cameras, lights, sound equipment, and editing software all cost money. For me, I decided it was logical to start investing in these things and started collected various pieces of equipment over the last few years and at every holiday and birthday that is what I ask for. I don't have the fanciest stuff, but it works. Generally, we try to use ambient lighting as much as possible and I write things based on what I already have access to (so no period pieces requiring crazy costumes or special effects.)
It is also possible to get a free crew of people looking for credit who can bring their own equipment with them. A great way to meet these type of people is by helping out on other people's sets. It's always good to have talented people with film equipment owe you a favor. But, if you ask me, the best thing is to learn how to do as much as you can on your own so you aren't relying on other people to get your project done.
Get a camera, start filming around your house, play around with the settings and the lighting, see what you can do on your own. Get a copy of Final Cut and fiddle around with it until you learn how to edit your own stuff. There are tons of instructional videos on YouTube that will show you how to do just about everything on Final Cut.
I know it sounds like a lot of work and that's because it is. But, when you get to watch something you created, I promise it's worth it!
Tuesday, October 18, 2011
Proper Etiquette for No-Budget Filmmaking
I know filmmaking with little to no budget is difficult, stressful, and exhausting. You are super busy and have no time for politeness. But, when you have people helping you for free there is some proper etiquette that you should follow:
Respect their time and their talents. People will be happy and willing to help you out if they feel respected and know that they are an important part of the process.
This is dedicated to all the actors and crew who came out to help me on my shoot over the last few days. You are all amazing and this little film is going to be great because of all your hard work!
- Be grateful. Yes, your actors and crew may be getting something out of being there like experience or IMDb credit, but they are still giving you their time for free. Thank them every chance you get.
- Be prepared. There is always going to be a certain amount of waiting on a set: while lights are being set up or actors are rehearsing or the set is being decorated. Don't make your crew and actors wait on you because you didn't do your homework. Know what you want to shoot and as much as possible know how you want it to look and do test shoots. Things can change on set, but have a starting point.
- Be open. Filmmaking is a collaboration, always be willing to take advice from others on set.
- Be humble. No one is more important than anyone else on a set, especially on a no budget set. I don't care what you think you're title is, if a job needs to be done, do it. Even if it's just washing dishes between takes.
- Be flexible. Things never go as planned. Don't freak out when a shot doesn't work or the neighbor's dogs won't stop barking or you're behind schedule and the sun is setting faster than you thought possible. In the end it will all work out, I promise. Besides so many wonderful moments in films have come from the unexpected happening on set.
Respect their time and their talents. People will be happy and willing to help you out if they feel respected and know that they are an important part of the process.
This is dedicated to all the actors and crew who came out to help me on my shoot over the last few days. You are all amazing and this little film is going to be great because of all your hard work!
Tuesday, August 30, 2011
What you can do in a Weekend
As you know from my last blog, What I Learned at the 72 Hour Film Festival, I made a movie last weekend for the Playhouse West 72 Hour Film Festival. Over this past weekend, they screened all the films.
Our film, Grow A Pair, may not have won any awards, but I am extremely proud of what we made and I got lots of wonderful comments from the people who saw the films. Plus, I am pretty sure we would have won Best Black Eye Created by a Non-Makeup Artist and Best Use of a Muddy Waters Song had those been a categories.
Today I wanted to share with you all the final product, so that you can see that it truly is possible to create a quality short film that tells a complete story in less than 72 hours. Here it is:
Congratulations to everyone who made participated in this festival. It's a cliche', but everyone who made a film is truly a winner.
One last thing, I want to give credit to the fabulous cast and crew of "Grow A Pair":
Directed by Marilyn Porayko
Written by Michelle Coyle, Christina Maria Davis, Somya von Eames
Cinematography by Nick Weidner
Edited by Brian Finifter
Cast:
Alex Aquino
Michelle Coyle
Christina Maria Davis
Nat Dixon
Somya von Eames
AJ Eloy
Jamie Israel
Jermaine Johnson
Elyte Salna
Thanks, y'all!!!
Our film, Grow A Pair, may not have won any awards, but I am extremely proud of what we made and I got lots of wonderful comments from the people who saw the films. Plus, I am pretty sure we would have won Best Black Eye Created by a Non-Makeup Artist and Best Use of a Muddy Waters Song had those been a categories.
Today I wanted to share with you all the final product, so that you can see that it truly is possible to create a quality short film that tells a complete story in less than 72 hours. Here it is:
Congratulations to everyone who made participated in this festival. It's a cliche', but everyone who made a film is truly a winner.
One last thing, I want to give credit to the fabulous cast and crew of "Grow A Pair":
Directed by Marilyn Porayko
Written by Michelle Coyle, Christina Maria Davis, Somya von Eames
Cinematography by Nick Weidner
Edited by Brian Finifter
Cast:
Alex Aquino
Michelle Coyle
Christina Maria Davis
Nat Dixon
Somya von Eames
AJ Eloy
Jamie Israel
Jermaine Johnson
Elyte Salna
Thanks, y'all!!!
Monday, July 11, 2011
Where is your Craft at?
I am amazed how many people in Hollywood say they are following their dreams but don't find the time to go to classes or even read about the craft of what they are trying to do. If you can't find the time for your dream then how can expect anyone to give your dream time.
Why do so many people choose to not work on their craft? I see three main reasons: they get too busy, they get too lazy, or they think they know everything already.
Today I want to talk about the latter reason because I think it is the most detrimental. I know some people who think they are going to change all the rules of filmmaking, photography, writing, or whatever it is they want to do without ever even learning what the rules are in the first place. They want to change the world, but discount everybody who came before them. If you truly love to do something then you should want to learn as much as you about it as you can.
If you love acting then you should be reading plays and books by the masters all the time. If you love photography you should be studying photos by the greats and reading about the techniques they used. If you love filmmaking then you should watch the classics and learn about the intricacies of telling stories through moving pictures. This goes for anything that you want pursue on a professional level.
Would you go to a doctor who hadn't studied? Would you want to fly on a plane with a pilot who had never learned in a simulator first? Would you want to be represented by a lawyer who didn't study the precedents in your case?
If you want to be a professional why would expect anything less from yourself?
Why do so many people choose to not work on their craft? I see three main reasons: they get too busy, they get too lazy, or they think they know everything already.
Today I want to talk about the latter reason because I think it is the most detrimental. I know some people who think they are going to change all the rules of filmmaking, photography, writing, or whatever it is they want to do without ever even learning what the rules are in the first place. They want to change the world, but discount everybody who came before them. If you truly love to do something then you should want to learn as much as you about it as you can.
If you love acting then you should be reading plays and books by the masters all the time. If you love photography you should be studying photos by the greats and reading about the techniques they used. If you love filmmaking then you should watch the classics and learn about the intricacies of telling stories through moving pictures. This goes for anything that you want pursue on a professional level.
Would you go to a doctor who hadn't studied? Would you want to fly on a plane with a pilot who had never learned in a simulator first? Would you want to be represented by a lawyer who didn't study the precedents in your case?
If you want to be a professional why would expect anything less from yourself?
Monday, June 13, 2011
Some Film Festival Inspiration
I spent a very inspiring weekend at the Playhouse West Film Festival. Three days of films, mostly shorts and every film involved Playhouse West students. I have worked at this festival for the past 6 years and I am particularly proud of this year's film selections. We had so many well made films with tight writing and good acting.
I am a little disappointed in myself for not having a film in the festival this year. I helped out on a few projects as a PA and such, but nothing more.
So, I want to take this opportunity to make a promise to myself and to all of you that I WILL HAVE A FILM IN THE FESTIVAL NEXT YEAR!!!
Congratulations to all the filmmakers who got off their tush this year and produced such wonderful work. Throughout the festival, the advice most of the filmmakers give is to just go out there and do it. That's exactly what I plan on doing as soon as I take a nap since working the festival is not just very inspiring but also extremely exhausting.
I am a little disappointed in myself for not having a film in the festival this year. I helped out on a few projects as a PA and such, but nothing more.
So, I want to take this opportunity to make a promise to myself and to all of you that I WILL HAVE A FILM IN THE FESTIVAL NEXT YEAR!!!
Congratulations to all the filmmakers who got off their tush this year and produced such wonderful work. Throughout the festival, the advice most of the filmmakers give is to just go out there and do it. That's exactly what I plan on doing as soon as I take a nap since working the festival is not just very inspiring but also extremely exhausting.
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